287. 288 HISTORY OF SANSERIT POETICS

288 HISTORY OF SANSERIT POETICS

examples. It appears that the sutras constitute the काव्यानुशासन and the वृत्ति explaining the sutras is styled अलक्कारचूडामणि and the commentary, which in some places is extremely meagre and explains the वृत्ति and adds some examples, is styled विवेक, as the introductory verse shows (विवरीतं कचिददृन्धं नवं सन्दर्मितुं कचित्। काव्यानुशासनस्यायं विवेक: प्रवितन्यते ।।). The work is divided into eight अध्यायs. The first deals with the purposes of काव्य, the hetu (cause) of kavya (viz. प्रतिभा), the aids to प्रतिभा, viz. व्युत्पत्ति, भभ्यास; definition of काव्य; the nature of शब्द and भर्थ, meanings of मुख्यार्थ, गौखार्थ, लक्षयार्थ and व्यंग्यार्थ. The second chap- ter deals with rasas, sthayibharas, व्यभिचारिभावऽ, सातत्विकभावS. The third treats of dosas of word, sentence, artha and rasas. The fourth is concerned with gunas which are three, माधुर्य, भोजस् and प्रसाद and the letters that help on these. The .fifth speaks of six figures of sabda, अनुप्रास, यमक, चित्र, श्लेष, वक्रोक्ति, पुनरुक्ताभास. The 6th discourses upon 29 figures of sense. He includes संसृष्टि under सङ्कर, so defines दीपक as to include तुल्ययोगिता in it, defines a figure परिवृत्ति which contains the पर्याय and परिवृत्ति (of मम्मट), omits all those figures that have a touch of rasa, bhava &c. in them (viz. रसवद्, प्रेयः, ऊर्जस्वि, समाहित) and passes over भनन्वय, उपमेयोपमा (as varieties of उपमा), includes under निदर्शन the figures प्रतिवस्तूपमा, दृष्टान्त and निदर्शना (of others). He used the names जाति and भन्योक्ति for स्वभावोक्ि and भप्रस्तुतप्रशंसा. On pp. 292-294 he explains why he does not define some of the above figures. The 7th chap. treats of the characteristics and kinds of नायक and नायिका. The 8th gives the divisions of काव्य into प्रेच्य and श्रव्य and their sub-divisions and their characteristics. The काव्यानुशासन is a compilation1 and exhibits hardly

1. Mr. Vishnupada Bhattacharji takes objection (in 'Indian Culture' vol. XIII pp. 218-224) to my statement that the काव्यानुशासन is a compilation and has hardly any origin- ality. He points out that tHax demurs to Mammata's view that artha (wealth) is one of the rewards of writing poetry, that हेमचन्द्र differs from मुकुल and मम्मट and holds that लक्षणा is not based on रूढि or प्रयोजन but on प्रयोजन alone, that he differs (on P.46) from ध्वनिकार who divides भर्थशत्तिमूलध्वनि into three varieties viz. स्वतःसम्भवी, कविप्रौढोफिनिष्पन् and कविनिबद्धवक्तुप्रौढोफ्ति०, that मम्मट gives पुंस्त्वादपि प्रविचलेत as an example of श्लेषमूलाप्रस्ततप्रशंसा, while