344. 346 HISTORY OF SANSKRIT POETICS

346 HISTORY OF SANSKRIT POETICS

TETSTaT etc. In the present book also it has not been possible for reasons of space to include a full account of the works on dramaturgy except in a few cascs (where the rasa theory is concerned). (III) Some works treat of only dramaturgy and the theory of rasa, such as the नाट्यशास्त्र, the दशरूपक. (IV) Many works are concerned with alankaras alone e. g. अलक्गारसार- संग्रह, अलक्कारसर्वस्व, कुवलयानन्द, चित्रमीमांसा. (V) A few are concern- ed with the exposition of somc special theory of poetics, viz. the ध्वन्यालोक on the ध्वनि theory, the वक्रोक्तिजीवित, व्यक्तिविवेक. (VI) Some works deal only with the powers of words, viz. अभिधा etc. such as the अभिधावृत्तिमातृका, वृत्तिवार्तिक, शब्दव्यापारविचार (VII) A few deal only with the theory of rasa (without treating of dramaturgy) such as the शृङ्गारतिलक, रसतरङ्गिणी. (VIII) Several dilate upon only some special matters such as the रसमअरी (wherc नायिकाs and their sub-divisions and other kindred topics are discussed). The यशस्तिलक vol. 1 p. 479 (3rd आश्वास verse 274, Nir. ed.) quotes 'त्रिमूलकं द्विधोत्थानं पन्चशाखं चतुश्छदम्। योऽगं वेत्ति नवच्छायं दशभूमि स काव्यकृत् I।'. त्रिमूलकं-लोको वेदोध्यात्मं (compare ववक्तिविवेक on p. 7 and p. 35 n 2 above); द्विघोत्थानं refers to शब्दार्थों, पञ्चशाखं to five वृत्तिs, परुषा, उपनागरिका, ग्राम्या &c .; चतुश्छदं refers to four रीतिs; अगं=वृक्षं; नवच्छायं=नवरसपूर्ण दशभूर्मि दशगुसकम्. The eq. p. 278 quotes a verse to the effect that a good poet presents without any hindrance at his own will things that are without cetana as acetana and vice versa (भावानचेतनानपि चेतनवच्चेतनानचेतनवत्। व्यवहारयति यथेष्टं सुकविः काव्ये स्वतन्त्रतया ।।). The अभिपुराण makes a profound observation that poets are rare and that even among poets 'sakti' (imagination) is rarer still (नरत्वं दुरलभं लोके विद्या तत्र सुदुरलभ।। कवित्वं दुलभं तत्र शक्तिस्तत्र सुदुलभा॥ अरस्नि० chap. 337.3-4) 6 The purpose of Poetry (काव्यप्रयोजन). Poetry is an art and its immediate purpose and aim are the giving of delight, of aesthetic pleasure. This has been recognised by Sanskrit critics from very ancient times. The नाट्यशाखत्र says that the dramatic art was promulgated by Bharata as a pleasure-giving device for all people 'करोड नीयकमिच्छामो दृश्यं श्रव्यं च यद्मवेत्' and 'वेदविधयेतिहासानामाख्यानपरिकल्पनम्। विनोदजननं लोके नाव्यमेतद्भविष्यति ॥'नाय्य. I. l1 and 116-7(=K. M.ed.I.Il and 120 and GOS. vol. I. pp. 9 and 45, chap. I. 11 and 123); 'तथापि प्रीतिरेव प्रधानं ... प्राधान्येनानन्द एवोक्तः' लोचन p.14 and प्रीत्यात्मा च रसस्त-