268. 298 CHAPTER V

298 CHAPTER V

of something that is not already known. But it simply corroborates what is already known, like the Arthantara nyasa, as defined by Udbhața. The Anumana (inference), however, as conceived by Mahima Bhatta, is different from it. It is very much like what Udbhata has called Kāvyahetu i.e. here what enters into consciousness in consequence of hearing a statement serves as a reason for the remembrance or inference of something else.1 The relation, however, of premises and conclusion (Sadhyasādhanabhāva) between the parts of the meaning of the sentence is common to both the cases.

ANUMEYĀRTHA.

The inferable meaning is of two types: (1) Directly inferable (Anumeyartha) and (2) Indirectly inferable, i. e. inferable from a meaning that is itself inferred (Anumitānu- meyartha), as for instance, when from the transient emotion, which is inferred from the presentation of the situa- tion and the mimetic changes, the basic mental state is inferable, e. g. 'Patyuh śiraścandrakalam' or 'Evamvādini tatrarşau'.

HIS CONCEPTION OF KAVYA IN THE CONTEXT OF THE CRITICISM OF BHATTA TAUTA'S DEFINITION OF IT.

Bhatta Tauta, Abhinava's teacher in dramaturgy, wrote a work on poetics, the Kavya Kautuka, of which we know from Abhinava's reference in the course of his discus- sion on Santa Rasa in the Locana. Therein Bhatta Tauta defined Kavya as 'an activity of a poet', (Tasya karma smrtamh kavyam). Mahima Bhatta does not accept the definition2. He holds that not any activity of a poet but only that which is concerned with such a presentation of the

1. K. S. 75. 2. V.V.V. 95

MAHIMA BHATȚA'S CRITICISM OF DHVANI 0299

situation etc. as 'suggests' the Rasa is Kavya. He elabora- tes this point as follows :- Kavya instructs people what to do and what not to do, exactly as does the Sastra. Therefore, its aim is the same as that of the Sastra. The two are only different means to the same end. Kavya is meant for those, who are intellectually incapable of understanding the difficult Śāstras.

Kāvya is of two types (1) presentable on the stage (II) unpresentable on the stage.1 The former directly presents the well-known deeds, which are objects of injunc- tion or prohibition, according as they are associated with the hero or the adversary, through imitation. It is meant for the moral instruction of those who are entirely incapable of understanding the Sastras and for whom women, dance and music have very great charm. Such persons have to be given moral instruction by first presenting to them what they like most. It administers the bitter medicine of moral instruction to them as it were after giving some palatable sweet in the form of Rasa, dance and music. For, otherwise they will have no inclination for it, and, therefore, their receiving any instruction would be out of question. The latter, that which is not to be presented on the stage, is meant for the moral instruction of the prosperous, such as the princes etc., who have tender intellect and are averse to hearing the Sastra.

Therefore, he who desires that the poetic composition should serve the end for which it is meant, should admit that the soul of poetry is Rasa ; because it is this that arouses the inclination for the Kavya in those for the moral improvement of whom it is meant. In fact

1. V. V. 96.