315. 316 HISTORY OF SANSKRIT POETICS

316 HISTORY OF SANSKRIT POETICS

च्छौदोदनिः परमकारुशिक: स्वशास्त्रे प्रवतयिष्यन्प्रथमं काव्यस्वरूपमाह (p. 2); 'अ्रतमेवान्यथाकारमच्राणि कियन्त्यपि। काव्यालक्वारविद्यार्या शौद्धोदनिरसूत्रयद्।। (p. 83). Whether शौद्धोदनि is the name of an author or whe- ther the कारिकाs were composed by some Buddhist writer and were subsequently ascribed to शौद्धोदनि (a name of भगवान् बुद्ध) cannot be determined. The work very largely draws upon the काव्यादर्श, काव्यमीमांसा, the ध्वन्यालोक, the काव्यप्रकाश, वाग्भटालक्कार, भोजराज and quotes श्रीपाद (an otherwise unknown author on alankāra) very frequently. The work is divided into 8 GeTs and 22 मरीचिs (rays) the subjects of which are-1, definition of काव्य as 'रसादिमद्धाक्य' and its hetu, प्रतिभा etc .; 2, three रीतिऽ (वैदर्भी, गौडी and मागधी), उक्ति and मुद्रा with their varieties; 3, the three functions of a word viz. शक्ति, लक्षया and व्यञ्ञना; 4, eight dosas of पद; 5, twelve dosas of वाक्य; 6, eight dosas of अर्थ; 7, the five gunas of शब्द, संत्षिप्तत्व, उदात्तत्व, प्रसाद, उच्ति and समाधि; 8, four gunas of sense, भाविकत्व, सुशब्दत्व, पर्यायोक्ति and सुधर्मिता; 9, in some cases the above doșas become gunas and are called atrfae- गुरs or are not faults; 10, eight अलक्कारs of शब्द, viz. चित्र, वक्रोकि, अनुप्रास, गूढ, श्लेष, प्रहेलिका, प्रश्नोत्तर and यमक; 11, only fourteen alanikaras of sense and no more viz. उपमा, रूपक, उत्प्रेक्षा, समासोकि: अपहन्तुति, समाहित, स्वभाव, विरोध, सार, दीपक, सहोक्ति, अन्यदेशत्व (i. e. अ्सङ्गति of मम्मट), विशेषोकि and विभावना are enumerated and ten varieties of उपमा are illustrated; 12, sub-divisions of रूपक; 13, other figures (such as उत्प्रेक्षा and समासोकि) defined and illustra- ted; the उपमानs of a damsel and of her complexion, hair, fore- head, eyebrows etc .; 14, how poets should describe the physi- cal characteristics of the heroes of their works; 15, words that convey HI4, conventions of poets; 16, the topics to be descri- bed such as king, queen, country, town, city, river etc. and the peculiar characteristics of each that should be dwelt upon; 17, the colours of various objects in nature; 18, words that convey numerals from one to thousand, certain tricks of words such as गतागत, संस्कृत-प्राकृतक्यता (i.e. भाषासम); 19, समस्यापूरय; 20, Ta is the soul of poetry, the nine rasas, the sub-divisions of नायक and नायिका, the different भावs; 21, the dosas of रस; 22, what letters are favourable to each rasa. The कारिकाs of शौद्धोदनि appear to have been composed after the 11th century. He defines kāvya as a sentence contai- ning rasas etc. (p. 2) and says that rasa is the soul of poetry (p. 6). On p. 83 शौद्धोदनि refers to महिमभद्ट the author of the