222. 222 HISTORY OF SANSKRIT POETICS

222 HISTORY OF SANSKRIT POETICS

experience of the reader or spectator (which, like मक्ानन्द, is स्वसंबेध and not capable of being defined in words); that expe- rience for the moment makes the सहृदय reader or spectator forget all else and makes him one with the subject presented. भमिनवभारती vol. I p. 279, हेमचन्द्र (विवेक p. 61) and जयरथ (अलं.स. बि. p. 11) quote the following verses on this point: (2) भभिषा भावना चान्या तन्भोगीकृतिरेव च। अभिधाधामरतां याते शब्दार्थालक्कती ततः ॥ भावना- भाव्य एषोषि शृक्गारादिगणो मतः । तन्भ्रोगीकृतिरूपेख व्याप्यते सिद्धिमान्नरः ॥'. जयरथ adds one half verse (दृश्यमानाथवा मोक्षे यात्यऋ्त्वमियं स्फुटम्). That he was the author of the हृदयदर्पण follows from several circumstances. The लोचन quotes certain verses of भट्टनायक in which he distinguishss between शाख and भाख्यान on the one hand and काव्य on the other : (3) 'शब्दप्राधान्यमाश्रित्य तत्र शाखत्रं पृथ- गिविदुः। भ्थतत्त्वेन युक्त तु वदन्त्याख्यानमेतयोः। दयोगखतवे व्यापारप्राधान्ये काव्य- गीर्भवेद्।I' (p. 32) and भ. भा. vol. II. p. 298. These verses are quoted from the हृदयद्पण by हेमचन्द्र (काव्यानु.pp.3-4). मासिक्यचन्द्र on का. प्र. (संकेत p.6) quotes these verses. The अलक्कारसवस्व (pp. 10-11) summarizes the views of भट्टनायक 'भट्टनायकेन तु व्यज्ञयव्यापारस्य प्रौढोक्त्याभ्युपगतस्य काव्यांशत्वं ब्रुवता न्यग्भावितशब्दार्थस्वरूपस्य व्यापारस्यैव प्राधान्यमुकम्। तत्राप्यभिधाभावकत्वलक्षणव्यापारद्योत्तीरणों रसचवशात्मा भोगापर- पर्यायो व्यापार: प्राधान्येन विश्रांतिस्थानतयाङ्गीकृतः'. With reference to this view, जयरथ speaks of भट्टनायक as हृदयदपसकार (p.15). महिमभट्ट says that he composed the व्यक्तिविवेक to secure fame (of demoli- shing the ध्वन्यालोक) without looking at the दर्पण (the हृदयदपख) 'सहसा यशोभिसत समुदतादृष्टवर्पणा मम घीः। स्वालक्कारविकल्पप्रकल्पने वेति कथमिवावधम् ।I' (p.1, अभिसतृ means also to approach as an भभि- सारिका' and दर्पस also means 'mirror'). The commentary on this explains 'दपणो हृदयदर्पणाख्यो ध्वनिध्वंसग्रंथोपि'. The com. on व्यक्तिविवेक (p.13) quotes a half verse from the हृदयदपय-तत्कर्ता च कविः प्रोक्तो भेदेपि हि तदस्ति यत्।' इति काव्यमूलं कवित्वं प्रतिपादितम्. It follows that भट्टनायक wrote the हृदयदरपया for demolishing the theo- ry of ध्वनि. The लोचन (p. 23) refers to the adverse criticism of भट्टनायक on the illustration भम धम्मित्र (ध्व.p.19). and then twits him by saying 'किं च वस्तुध्व्नि दूषयता रसध्वनिस्तदनुग्राहकः समथ्यंत इति सुष्ठुतरां ध्वनिध्वंसोयम् (लोचन p. 23). The principal point on which he differs from the ध्वन्यालोक is that he regards ध्वनि as transcending definition and as purely स्वसंवेध. So he was a follower of those of whom the ध्वनिकारिका says 'केचिदाचा स्थितम- बिषये तस्मूचुस्तदीयम्' or as the घ्व0 says 'केचित्पुनलचयकर पाशालोनबुद्धयो ध्वनेस्तसवं गिरामगोघरं सहृदयहृदयसंबेधमेव समाख्यातवन्तः' (p.12). According