316. ALANKĀRAŚEKHARA 317

ALANKĀRAŚEKHARA 317

व्यक्तिविवेक and his treatment bears close resemblance to वाग्भटा- लक्कार (compare p. 27 with वाग्भटा० p.28). The अलक्कारशेखर mentions among others the following works and authors :- कविकल्पलता (p. 48, as following श्रीपाद), गोवर्धन (frequently quoted pp. 17, 29, 37, 43, 49 &c.), भार्गवसवस्व (p. 24), भोजराज (p. 7), महिमा (p.81, the verse अनौचित्यादृते which occurs in ध्व० p. 145 and also in व्यक्तिविवेक), राजशेखर (pp. 32, 67), श्रीपाद (frequently quoted, pp. 4, 5, 23, 27, 32, 72, 83 &c.), श्रीहर्ष (p.41). The author tells us that before the अलक्कारशेखर he composed seven works for the benefit of poets (3rd Intro. verse). Out of these he mentions two works अलक्कारसवस्व (pp, 9, 38) and काव्यरत्न (p. 72). The word वाक्यरत्ने (on p.12) seems to be a mistake for काव्यरत्ने. केशवमिश्र tells us in the Introduction and at the end that he wrote the अलक्वारशेखर at the instance of king माशिक्यचन्द्र son of धमचन्द्र This धर्मचन्द्र was son of रामचन्द्र, a scion of the family of सुशर्मा, who routed a Kabila (Afgan) king of Delhi. According to Cunningham (Arch. Survey of India vol. V. p. 160) माणिक्य- चन्द्र, king of Kangra, succeeded धर्मचन्द्र in 1563 A. D. and ruled for about ten years. Hence the अलक्कारशेखर was composed in the latter half of the 16th century. 38 अप्पय्यदीक्षित. This versatile and prolific writer, who is credited with the authorship of over one hundred works, contributed at least three works on Poetics. In the वृत्तिवार्तिक, which is divided into two परिच्छेदs as printed, he treats at length of the two functions of words, viz. अभिधा (of three sorts रूढि, योग and योगरूढि) and लक्षणा (first divided into शुद्धा and गौणी each of which is again sub-divided into निरूढ and फल and their sub-divisions). His second work कुवलयानन्द is an elementary treatise on अलक्कारs. It generally adopts the definitions and examples of the चन्द्रालोक 'येषां चन्द्रालोके दृश्यन्ते लच्ष्यलक्षणश्ोकाः । प्रायस्त एव तेषामितरेषां त्वभिनवा विरच्यन्ते॥' (verse 5) and he wrote the work by order of king वेक्टपति 'भ्रमुं कुवलयानन्दमकरोदप्पदीच्षितः। नियोगाद्वककट- पतेर्निरुपाधिकृपानिधे: ॥' In the कुवलयानन्द he adds his own corhments and cites examples from other authors also. To the hundred figures of the चन्द्रालोक, he adds 15 separate ones. In some editions of the कुवलयानन्द (e. g. Nir. edition of 1910) some शब्दा- लक्ारs are interpolated from चिरब्जीवभट्टाचार्य's काव्यविलास. His third work, the चित्रमीमांसा, is a more solid performance. His method is to give a kārikā at first and then discuss in prose the views

318 HISTORY OF SANSKRIT POETICS of others and to refute them where necessary. He first of all briefly treats the division of काव्य into ध्वनि, गुणीभूतव्यक्षय and चित्र, and says that, as शब्दचित्र is generaly void of charm, he will treats of भर्थचित्र alone. He then takes up उपमा and points out how twenty-two figures are based thereon. Unfortunately the printed edition (K. M. series) breaks off in the midst of भतिशयोक्ति (the figures treated of being उपमा, उपमेयोपमा, अनन्वय, स्मरख, रूपक, परिणाम, ससन्देह, भ्रान्तिमान्, उल्लेख, अपह्नुति, उत्प्रेक्षा, अतिरा- योक्ति) and a verse at the end says that the चित्रमीमांसा, though mutilated, causes delight like the digit of the moon or like Aruna 'अप्यर्धचित्रमीमांसा न मुदे कस्य मांसला। अनूरुरिव धर्माशोरधेन्दुरिब धूर्जट: ॥' The printed चित्रमीमांसाखएडन of जगन्नाथ goes only as far as अपह्नुति. That he contemplated writing on more figures follows from his words 'अधिकं निदर्शनालक्कारप्रकरणे चिन्तयिष्यते' (चित्र० p.131); while in the कुवलयानन्द (at end of श्लेष) he says '(एतद्वि- वेचनं तु चित्रमीमांसारयां द्रष्टव्यम्', on which वैधनाथ remarks 'यद्प्युत्प्रेक्षा- अ्रन्थानन्तरं चित्रमीमांसा न कापि दृश्यते'. This shows that we have now a little more of it than वैधनाथ could secure. It appears that Appayya wrote also a work called लक्षसरत्नावलि in which he defined technical dramatic words like नान्दी, सूत्रधार, पूर्वरक्, प्रस्तावना, Vide J. O. R. Modras, vol. IV.pp. 242-244. The name of the author is written in various ways, अप्पदी- चित, अप्पयदी० and अप्पय्यदीक्षित. For the form अप्पय, vide रसगआाधर p. 218. The third Intro. verse in the चित्रमीमांसाखएडन gives it as भप्पय्य (and the metre requires it to be so 'सूचमं विभाव्य मयका समुदीरितानामप्पय्यदीचितकृताविह दूषयानाम्।') and रसग० (p. 120) has that form also. The verse at the end of the कुवलयानन्द (अमु ... दीक्षितः) shows the form अप्पदीचित and रसग० (pp.209,226, 249, 254, &c.) has that form also. अप्पय्यदीक्षित is very severely criticized by जगनाथ and on the devoted head of the दीक्षित he heaps the choicest abuse (such as दीर्घश्रवस at रसग. p. 239, द्रविडपुशव p. 420). He was of the भारदाजगोत्र and a Tamil brāhmaņa and Śaiva. His position as an Advaitin devotee of far may be understood from the following verses at the be- ginning of his 'शिवादित्यमणिदी पिका "यब्यप्यद्वंत एव श्रुतिशिखरगिरामागमानां च निष्ठा। ... प्रत्नैराचार्यरत्नैरपि परिजगृहे शङ्करावैस्तदेव। तथाप्यनुग्रहादेव तरु- सेन्दुशिसामयेः । अद्वंतवासना पुंसामाविभवति नान्यथा॥ (Hultzsch's Report II. at p. 100). That he wrote one hundred works is stated by नीलकयठविजय (I. 44) composed in 1637 A. D. As अप्पय्यदीक्षित quoted the पकावली, the प्रतापरुदरयशोभूषण and the