320. 322 HISTORY OF SANSKRIT POETICS

322 HISTORY OF SANSKRIT POETICS

(except when dealing with the views of Appayya). The justice of his criticism has to be acknowledged in most cases. TaTY was a poet of great creative genius and also possessed the faculty of aesthetic appreciation in an eminent degree (i. e. he was a कवि as well as a सहृदय). Jagannatha was very proud and confident of his great command over classical Sanskrit. He could write verses that were full of pathos or joy as the mood of his mind dictated and he could make the sound an echo to the sense. At the end of the भामिनीविलास he says धुयँरपि माधुयैद्राक्षाक्ीरेत्तुमाक्षिकसुधानाम्। वन्धैव माधुरीयं पषिढतराजस्य कवितायाः ॥'. The work is a very bulky one and it is impossible to convey even a vague idea of its contents by a mere outline. It is the K. M. edition that is referred to here. In the first भानन he begins by defining kaupa as 'रमणीयार्थप्रतिपादकः शब्दः काव्यम्', examines the definitions of काव्य given by others, asserts that pratibha alone is the source of kāvya, divides ara into four varieties उत्तमोत्तम, उत्तम, मध्यम, भधम; explains rasas, bhavas and kindred topics; speaks of the different views about gunas being three or ten; explains भाव, रसाभास, भावोदय &c. The 2nd भानन treats of the divisions of ध्वनि; of संयोग, विप्रयोग and other deter- mining circumstances; discusses अमिधा and लक्षण and their varieties; syH7 and other figures of speech (70 in all). The work breaks off in the midst of the figure3 and the com. of नागेश who flourished only about 50 years after जगन्नाथ extends only up to that figure. It is not to be supposed that u passed away in the midst of the task of composing the aTfT because from the 2nd introductory verse to his चित्रमीमांसाखएडन it appears that he wrote the latter after the former 'ret चित्रमीमांसायां मयोदिताः। ये दोषास्तेत्र संच्षिप्य कथ्यन्ते विदुर्षा सुदे ॥'. In the चित्रमीमांसाखएडन (p. 12) he says 'विशेषस्तु उदाहरयालक्कारप्रकरये रसगज्ञा- धरादवसेयः'. Butin the extant रसगद्ञाधर there are no remarks on the figure T. The following are the well-known works of जगनाथ : (1) रसगङ्गाधर and (2) चित्रमीमांसाखएडन in Poetics; (3) मनोरमाकुचमदनं1 (or-मर्दिनी) in grammar against the प्रौढमनोरमा of 1. Jagannatha's temper wes roused by the fact that Bhattoji, a pupil of शेषश्रीकृष्ण, attacked his guru in his मनोरमा. Therefore, at the beginning of the मनोरमाकुचमर्दिनी Jagannatha pours the phials of his wrath on Bhattoji by calling the fatter gurudruh (traitor to his guru) and delivers his own diatribe against the Diksita in the somewhat indecent but striking