203. DHVANYĀLOKA 201

DHVANYĀLOKA 201

its appropriateness to speaker, the sense, the subject, the rasa; how rasa is manifested, how it is to be sustained, the figures favourable to the various rasas; the plot and its relation to rasa; illustration of the fact that असंलच्यक्रम is conveyed even by parti- cular declensions, conjugations, कृत् and तद्धित affixes, compounds etc .; what things are opposed (विरोधिन:) to the proper evolu- tion of rasa; one T# should be the principal one in a composi- tion and others should be ancillary to it; discussion of the difference between वाच्य and गम्य sense; difference between गुपवृत्ति and व्यंग्य; व्यंग्यव्यअञक्भाव is not the same as अनुमान; a second variety of काव्य called गुीभूतव्यंग्य (where, though there is a व्यंग्य sense, the expressed sense is charming); examples of गुणीभूतव्यंग्य ; the third varicty of काव्य is चित्र, which is of two kinds, शब्दचित्र (such as यमक) and वाच्यचित्र (such as the figures उत्प्रेक्षा etc.); the third variety of aroy occurs when the poet has no intention to convey a suggested sense or to evolve rasa etc; by the combina- tion of these three varieties of arar numerous sub-varieties arise; the ritis and urttis (कैशिकी ete. and उपनागरिका etc.). IV The प्रतिभा of poets presents ever fresh aspects in the domain of ध्वनि and गुणीभूतव्यङयकाव्य; the same thought, when made to glow by the poet's imagination, appears new; the poet should concen- trate upon one rasa as the main purport of his work; in the रामायख, करुण is the main rasa and in the महाभारत, which is both शास्त्र and काव्य, शान्त rasa is the principal one intended by the poet; the province of poetry is unlimited in spite of the fact that hundreds of poets have composed works for centuries; the thoughts of inspired poets may bear a certain correspoudence; the resemblance between the works of two poets may be like that of बिम्ब and प्रतिबिम्ब, or between a thing and its picture, or between two human beings; the first two kinds of resemblance should be avoided, but the third is charming. Besides the रामायण and the महाभारत (the अनुकमखी, गीता, गृध्र- गोमायुसंवाद ofwhich are quoted) the following are among the authors and works mentioned by name :- अजनचरित (a महाकाव्य by श्रानन्द० pp. 183, 218), अमरुक, उङ्धट (116, 131), कादम्बरी, कालिदास, तापसवत्सराज (a drama), धमकीर्ति, नागानन्द, भट्टवा, भरत, भामह (46,259), मधुमथनविजय, रत्नावली, रामाभ्युदय, विषमनायलीला (a work by आानन्द० in Prakrit), वेखीसंहार, सर्वसेन (author of हरिविजय in Prakrit), सातवाहन (as having gone to नागलोक, 179), सेतुकाव्य, हरिविजय, हरि- वंश (as composed by कृष्यद्वपायन and placed at the end of the