385. DHVANI SCHOOL 389

DHVANI SCHOOL 389

ध्वन्यालोक is careful to point out that a true poet should never waste his powers over composing poems that have no relation to rasa 'एतच्च चित्रं कवीनां विशङ्गलगिरां रसादितात्पर्यमनपेद्यैव काव्यप्रवृत्तिदर्श- नादस्माभि: परिकल्पितम्। इदानीतनानां तु न्याय्ये काव्यमयव्यवस्थापने ... एव न शोभते। (p. 277 quoted on p. 166 above). Vide his remarks on अनुप्रास and यमक (II. 15-16 pp. 103-104). After having dealt with ध्वनि as the soul of poetry it assigns to gunas and alankaras their proper position (ध्व. 75 'तमर्थमवलम्बन्ते &c.) ; vide p. 378- 79 above on which the वृत्ति is 'ये तमर्थ रसादिलक्षयमङ्विनं सन्तमवलम्बन्ते ते गुयाः शौर्यादिवत्। वाच्यवाचकलक्षणान्यक्ञानि ये पुनराश्रितास्तेऽलद्वारा मन्तव्या: कटकादिवदिति'. About the ritis (III. 47 p. 290) he says that they are explained by the position assigned to the gunas (as the लोचन remarks on p. 290 रीतिर्हि गुयेष्वेव पयवसायिता). It speaks of सङ्टना (ध्व० III. 2, 5, 6) which means nothing more than वर्णरचना or पदरचना1. The काव्यप्र. VIII states : अवृत्तिमध्यवृत्तिर्वा माधुर्ये घटना तथा and on the following कारिका it says 'विकटा सङ्कटना भोजस्' (p. 486), thus making it threefold (असमासा, मध्यमसमासा, and दीर्घ- समासा) and that each of the three is generally suited to some particular rasa or rasas (though not as an invariable rule) and that gunas are not of the nature of सङ्टना, nor are they depend- ent upon सङ्गटना, but that the appropriateness of सङ्गटना is deter- mined by the rasa and by the speaker and the subject (vide ध्व. pp. 164-169). The वृत्तिs dependent upon words such as उपनागरिका and those dependent upon sense (such as कशिकी) are on the same level with rītis i. e. like the latter they all depend upon rasa as the soul.1 Compare ध्व. p.226 'तत्र रसानुगुय शचित्यवान् वाच्याश्रयो यो व्यवहारस्ता एताः कशिकाधा वृत्तयः। वाचकाश्रयाश्चोप- नागरिकाद्याः। वृत्तयो हि रसादितात्पर्येण संनिवेशिता: कामपि नाट्यस्य काव्यस्य च 1. ध्व. III.2 says that असंलद्यक्रमध्वनि shines forth in वर्ष, पद, वाक्य, सङ्गटना and प्रबन्ध and the लोचन remarks 'सङ्गटना पदगता वाक्यगता च। सङ्गटितवाक्यसमुदायः प्रबन्ध:' (p. 159). ध्व. III. 5 states that सङ्गटना is of three kinds, असमासा, मध्यमसमासा and दीर्घसमासा. Onp. 166 ध्व. remarks 'तस्मान्न गुखाः संघटनास्वरूपा न च संघटनाश्रया गुणाः' The two, सङ्गटना and गण, are more or less independent (ध्व० p. 169 तस्मादन्ये गुखा अन्या च सङटना). ओजस् is a गुण and is specially suited to रौद्ररस; but as in 'यो यः शख्त्रं विभर्ति' (वेषीसंदार III.) there is ओजस, but असमासा सङ्घटना. In 'अनवरतनयनजललवनि- पतनपरिमुषितपत्रलेखान्तम्। करतलनिषएणमवले वदनमिदं कं न तापयति ।।' there is शङ्गार (in which there should be a few समासs ordinarily) and also दीर्घसमासा सङ्घटना.