179. DHVANYÂLOKA 177

DHVANYÂLOKA 177

mangala by invoking Dhvani as Sabda-Brahma or Sarasvati that has two functions viz. kavi and sahrdaya ( sarasvatyāstattvam kavisahrdayākhyam vijayatāt, as the Locana puts it). Dr. K. Krishnamoorthy (in Annals of B.O.R. I. vol. 28 at p. 194) quotes the three passages from Mukula and Pratīhāren- duraja that I set out in my last edition and then remarks 'these evidences are quite insufficient to prove the hypothesis that a circle of sahradayas first gave currency to the theory of Dhvani' and argues that 'sahradayaih' can be taken as standing for the author of Dhvanyaloka also. It must be remembered, however, that I never said that a circle of सहृदयs composed कारिकाऽ. But on p. 195 he seems to be mystified why Mukula and Pratīhāren- durāja should give such respect to an author who belongs to a rival school of thought and winds up 'Thus though incidentally आनन्दवर्धन may also be meant by the expression it is not exclu- sively applicable to him. It primarily refers to the whole class of critics that preceded भानन्द०.' The general practice seems to be that ancient authors were mentioned in the singular while those that were elderly contem- poraries or flourished just a little before the writer are mentioned in the plural. For example, Mammata mentions Bharata (an ancient muni), Rudrata (from whom he quotes probably more verses than from any other single author) and Dhvanikāra in the singular, while he refers to Abhinava a commentator of Bharata and of the Dhvanyāloka in the plural. Sankarācārya refers to Bhagavān Upavara and Ācārya Sabara in the singular. For this reason Mukula who as will be shown below was almost a younger contemporary of nanda spoke of the latter's teacher (if he was called Sahrdaya) in the plural. The Dhvanyāloka itself pays great honour to Udbhata and others from whom it entirely differed as to the soul of poetry (as in the vrtti on II. 27 'तत्रभव्विरुद्रटादिभिः'), since Udbhata was very near in time. I cannot accept the hypothesis of Dr. Krishnamoorthy that there was a circle of sahrdayas who first gave currency to the theory of dhvani. Such revolutionary theories are not embo- died in kārikās by a cirole of people, but only by a single gifted author. The words of Mukula ध्वन ..... नूतनतयोपर्वनतस्प should leave no doubt in an unbiassed mind that the reference is to a work recently produced. yareregrra, being a pupil of Mukula, followed his master in employing the plural na :.