386. 390 HISTORY OF SANSKRIT POETICS

390 HISTORY OF SANSKRIT POETICS

च्छायामावहन्ति। रसादयो हि दयोरपि तयोजीवभूता इतिवृत्तादि तु शरीरभूतमेव ।।'; vide also sव. pp. 200 and-291. The three वृत्तिऽ, उपनागरिका, परुषा and आम्या (called कोमला by some) are spoken of by उद्ट, मम्मट (IX) and other writers ;. 'शषाभ्यां रेफसंयोगैष्टवर्गेय च योजिता । परुषा नाम वृत्तिः स्याद् हहताघैश्च संयुता। सरूपसंयोगयुतां मूर्ति वर्गान्त्ययोगिमि:। स्पश- र्युता च मन्यन्ते उपनागरिका बुधाः ॥ शेषवंषैरयथायोगं कथिता कोमलाख्यया।' उद्भट I. उपनागरिका is appropriate to शृद्गार, परुषा to वीर and रौद्र, and कोमला to हास्य. रुद्रट (II. 19) enumerates five वृत्तिऽ (मधुरा, ललिता, प्रौढा, परुषा and भद्रा). The वृत्तिs peculiar to the नाट्यशाख are four, भारती, कैशिकी, सात्वती and भारभटी. All these propositions laid down by the ध्वन्यालोक about the several component parts of a complete theory of Poetics are implicitly followed by all later writers on Poetics. The word ध्वनि has five senses according to the लोचन. According to ध्व. I. 13 (यत्राथः ... व्यंक्त: काव्यविशेषः स ध्वनिरिति सुरिभि: कथितः ॥) ध्वनि means a special kind of काव्य. The लोचन (p. 39) remarks 'कारिकया तु प्राधान्यन समुदाय एव वाच्यरूपमुखतया ध्वनिरिति प्रतिपादितम्।'. The first karika asserts that ध्वनि is the soul of poetry ('आत्मशब्दस्य तत्त्वशब्देनार्थ विवृवानः' &c. लोचन p. 3). Hence the second meaning of ध्वनि is the essence of काव्य i.e. suggested sense (व्यङ्गय). On कारिका I. 17 (p. 60) the लोचन says 'अत्रोक्तकार इति पक्चस्वर्थेषु योज्यम्। शब्देऽर्थे व्यापारे व्यङ्गये समुदाये च।'. शब्द and वाच्यार्थ are called ध्वनि (ध्वनतीति), व्यंग्य is called ध्वनि (ध्वन्यते इति). ध्वनि also means व्यापार (ध्वनन) as लोचन p. 21 says 'तस्मा-

नादिसोदरव्यपदेशनिरूपितोभ्युपगन्तव्यः'. It is therefore that the रसगङ्गाधर says 'ध्वनिकृतामालक्कारिकसरयिव्यवस्थापकत्वात' (p. 425). भामह, दएडी, उद्धट, वामन and रद्रट expatiate on शब्द, अर्थ, गुयऽ, अलक्कारs and दोषs. The school of ध्वनि regarded these as of secondary importance, they are only the external appearance of poetry and it holds that we must look deeper into the inner or implicit meaning viz. the emotional atmosphere or mood that underlies the best poetry. As in Vedānta, objects of experience are beld to be not the ultimate reality but only manifestations of Reality, so words and the expressed meaning came to be regard- ed as the mere external appearance of poetry and the emo- tional mood which a poem communicates to those who read it came to be regarded as the essence of poetry. Poetry came to be regarded as having a double purpose viz. giving the highest delight (सधः परनिर्वृति) and also contributing towards a higher mode of conduct and character ( उपदेश) in a subtle