1. Studies On Some Concepts of The Alankara Shastra Raghavan V. Adyar Library 1942 (MS)

Page 142

262 SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

Beauty is the primary factor and in its absence neither Alankāra nor Dhvani can have any claim to be called such or make for poetry.

262 SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

तथाजातीयानामिति । चारुत्वातिशयवताम् इत्यर्थः । सुलक्षितेति यत्किलैषां तद्विनिर्ह्रुतं रूपम्, न तन् काव्येऽध्यर्यनीयम् । उपमा हि ‘यथा गौः तथा गवयः’ इति । (रूपकम्) ‘गौः वाहीकः’ इति । श्लेषः ‘द्विवचनेऽत्रि’ इति तन्त्रातमकः ।

262 SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

This is said of Alankāra by Abhinavagupta and the point is stressed by Bhoja also in his Sṛṅgāra-prakāsa (Chap. XI,

Page 143

264 SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

In Uddyota I and else where, Ānandavardhana refers to writers on Poetics as Kāvya-lakṣaṇa-kārins, for, those who wrote on poetry did so with the idea of defining Poetry.

(Dhva. Ā. pp. 8, 10, etc.) And Kāvya-lakṣaṇa can also be taken as a general appellation applied to Poetics in the days of the reign of Alañkāra and even earlier. Bhāmaha, who opens his work with the words—

काव्यालङ्कार इत्येष यथाबुद्धि विधीयते ।

closes it thus with the name Kāvya-lakṣaṇa :

अवगम्य स्वधिया च काव्यलक्षम् ।

Dandin proposes in 1. 2 of his work to write Kāvya-lakṣaṇa :

यथासामर्थ्यमसमाभिः क्रियते काव्यलक्षणम् ।

All these names, Kāvya-lakṣaṇa, Alañkāra and Sāhitya, are however later names. Before Bhāmaha and before the names Alañkāra and the much less definite Kāvya-lakṣaṇa came into vogue, what was the name of the subject of Sanskrit Poetics?

It is the list of the sixty-four arts—Caṭuṣṣaṣṭi Kalāḥ—given by Vātsyāyana in his Kāmasūtras that gives out the first glimmer in this connection. After mentioning 'the composing of poetry'—Kāvya kriyā—and two of the subjects helpful to that purpose namely, Lexicon (Abhidhānā kośa) and Prosody (Chandojñāna), Vātsyāyana gives a subject called KRIYĀ-KALPA. (I. iii. 16, p. 32.) What does this Kriyā-kalpa mean? Coming close upon composing of poetry, Lexicon and Prosody, it is very likely that Kriyā-kalpa

265 NAMES OF SANSKRIT POETICS

is a subject related to literature and poetry. A reference to the Jayamaṅgalā upon this reveals to us that Kriyā-kalpa means Poetics or Alañkāra Sāstra. क्रियाकल्प इति काव्यकर-विधि:, काव्यलङ्कार इत्यर्थ: । त्रितयमपि (i.e. Abhidhāna, Chandas and Alañkāra) काव्यक्रियार्थं, परकाव्यावबोधार्थं च । p. 39. To explain, Kriyā-kalpa must be expanded into Kāvya-kriyā-kalpa, a practical treatise showing the way to compose poems.

The name Kriyā-kalpa consists of the two words—Kriyā meaning kāvya-kriyā and Kalpa meaning vidhi. Kriyā-kalpa is the correct word. S'rīdhara's commentary on the Bhāga-vata reads it wrongly as Kriyā-vikalpa and that wrong form is given in the list of sixty-four kalās in the S'abdakalpa-druma and the Vācaspatya, both of which reproduce from S'rīdhara. Relying on this reading, Mr. P. K. Acharya, in an article on Fine Arts in the Indian Historical Quarterly, (Vol. V, p. 206), says that Kriyāvikalpa is the art of “ derivation and conjugation of verbs in various ways ” and that “ it refers to grammar and poetics as Yaṣodhara says ” ! If the reading Kriyā-vikalpa is taken as correct and is interpreted as verbs and their derivation and conjugation, where does Poetics come in ? And nobody says that it refers to grammar.

The Lalita vistara's list of Kalās mentions this Kriyākalpa. See p. 156, Lefmann's Edn.

Daṇḍin says in his Kāvyādarśa, I. 9 :

वाचां विचित्रमार्गाणां निवन्धुः क्रियाविधिम् ।

Here he refers to his predecessors who wrote Kriyā-vidhi. Vidhi simply means kalpa and here there is an indirect

Page 144

SOME CONCEPTS OF ALAÑKĀRA S'ĀSTRA

reference to the name Kriyā-kalpa, which Vātsyāyana has acquainted us with. Taruṇavācaspati explains Danḍin's Kriyā-vidhi as Racanā-prakāra and the Hṛdayamiṅgamā, Kriyā-vidhāna which mean the same as the Kāvya-karaṇa-vidhi of the Jayamaṅgalā.

SOME CONCEPTS OF ALAÑKĀRA S'ĀSTRA

In a list of the sixty-four Kalās attributed to Bhāmaha and quoted on p. 29 of Tippabhūpāla's Kāmadhenu on Vāma-na's K. A. S. and Vṛ., which list closely agrees with that of Vātsyāyana, we have in the place of Kriyā-kalpa, the word Kāvya-lakṣaṇa. This again proves that Kriyā-kalpa is the correct word and that it is an old name for the Alaṅkāra S'astra.

SOME CONCEPTS OF ALAÑKĀRA S'ĀSTRA

Lastly, we find Kriyā-kalpa mentioned in the Uttara-kāṇḍa of the Rāmāyaṇa, along with many other arts and branches of knowledge. Though much of the present Uttara-kāṇḍa may be later accretion, it may be that the cantos on the banishment of Sītā and the recitation of the epic by her two sons are genuine or at least older parts of the epic. Their superior literary merit easily separates and marks them off. In canto 94, (verses 4 to 10), Vālmīki describes the assembling of Rāma and other men of learning in Rāma's court to hear the two boys recite the epic of Vālmīki. Among the learned men who gathered on that occasion are mentioned पुणिटता:, नेगमा:, पौराणिका:, शब्दविद:, (Grammarians), स्वरचक्षणज्ञा:, गान्धर्वा:, कलामात्राविमागज्ञा: (all the three referring to musicians), पादाक्षरसमासज्ञा:, छन्दसि परिणिष्ठिता: (those well-versed in Grammar and Prosody) and then we find the line—

SOME CONCEPTS OF ALAÑKĀRA S'ĀSTRA

क्रियाकल्पविदश्रैव तथा काव्यविदो जनान् । S'l. 7.

SOME CONCEPTS OF ALAÑKĀRA S'ĀSTRA

When Grammar and Prosody have been mentioned, surely Poetics is the only subject waiting to be mentioned and who

NAMES OF SANSKRIT POETICS

else than one who is learned in Poetics deserves a seat in a gathering aśsembled to hear a poem ?

NAMES OF SANSKRIT POETICS

Thus, from Daṇḍin in a way, and from Vātsyāyana and the Rāmāyaṇa in a clear manner, we come to know that, in its early stages, the Alaṅkāra S'astra was called KRIYĀ-KALPA.1

NAMES OF SANSKRIT POETICS

1The semantics of the word “Kriyā” is interesting to study in this connection. It means among many things “a literary composition ” and Apte's Dictionary gives here apt quotations from Kālidāsa himself.

NAMES OF SANSKRIT POETICS

श्रुणुत मनोभिरहिता: क्रियामिं कालिदासस्य काव्यां बहुमान्: । Mālavikāgnimitra.

NAMES OF SANSKRIT POETICS

Kriyā thus means Kāvya and Kriyā kalpa is Kavya kalpa. It is remarkable how the English language also has the synonym of Kriyā, " Work ", used in the sense of " a literary composition ". (" Krti " in South Indian music vocabulary means a music-composition).

Page 145

CAMATKĀRA

At first, works on Poetics approached from the stand-point of Alaṅkāra and were invariably named also Kāvyālaṅkāra. Then, with the rise of Rasa and Dhvani, works on Poetics approached the subject from the ‘Ātman’ of poetry, namely Rasa-Dhvani. Then came Bhoja, whose work, the Sṛṅgāra prakāsa, among the many points which it emphasised, emphasised the concept of Sāhitya also, which together with the brilliant exposition of that concept in Kuntaka’s Vakrokti Jīvita, gave rise to a new kind of aproach for a Poetics-treatise in the works called Sāhitiya mīmāṃsā.’ Another approach is that of Camatkāra, the literary delight which comprehends all the poetical elements from Guṇa and Śabdālaṅkāra to Rasa and Dhvani. It is clear that when we read poetry, we have a certain enjoyment ; this enjoyment may be due in one place to a sound effect, to a striking idea in another, and to the emotional movement in still another ; but it is all the same one relish.

It is a striking coincidence that, like the concept of Rasa, the concept of Camatkāra also came into the Alaṅkāra Śāstra from the Pāka sāstra. Its early semantic history is indistinct and dictionaries record only the later meanings, the chief of

1 One Sāhitiya mimāṃsā is the work of Ruyyaka mentioned in his Alaṅkāra sarvasva, but this work has not yet come to light. MSS. of another Sāhitiya mimāṃsā are available in the Tanjore, Madras and Trivandrum MSS. Libraries ; and this work has also been edited in a highly defective manner in the TSS. I have dealt with this work and the concept of Sāhitiya in a separate chapter in my thesis on the Sṛṅgāra Prakāśa.

which are ‘astonishment’ and ‘poetic relish’. In appears to me that originally the word Camatkāra was an onomatopoeic word referring to the clicking sound we make with our tongue when we taste something snappy, and in the course of its semantic enlargements, Camatkāra came to mean a sudden fillip relating to any feeling of a pleasurable type. Nārāyaṇa, an ancestor of the author of the Sāhitya darpaṇa, interpreted Camatkāra as an expansion of the heart, Citta vistāra, and held all kinds of Rasa-réalisation to be of the nature of this Camatkāra or Citta vistāra, of which the best example was the Adbhuta rasa. But as a general and all comprehensive name for literary relish, the word Camatkāra occurs even in the Dhvanyāloka (p. 144, N. S. edn.). In the same sense, the word occurs about fourteen times in the Locana of Abhinavagupta (pp. 37, 63, 65, 69, 72, 79, 113, 137 and 138). From the reference on p. 63 we understand that Bhaṭṭa Nāyaka also used the word in the same sense. On p. 65, Abhinavagupta describes Rasa to be of the nature of Camatkāra. Kuntaka uses the word in the same sense. The Agni purāṇa equates the Caitanya of the Ātman, Camatkāra and Rasa. (Ch. 339, Śl. 2).

Abhinavagupta’s pupil Kṣemendra, whose brain went on many a refreshing and original line, made an approach to poetry through this Camatkāra in one of his small but interesting works, the Kavikaṇṭhābharana. The third Sandhi of this work is called Camatkāra kathana and here, Kṣemendra analyses the points of Camatkāra in a poem into ten.

तत्र दशविषश्वस्मकः——अविचारतरमणीय:, विचारितरमणीय:, समस्तसूक्तव्यापी, सूक्तैकदेशहृदय:, शब्दगत:, अर्थगत:, शब्दार्थगत:, अलङ्कारगत:, रसगत:, प्रबन्धवृतिगलश ।

K. K. Ā. Kāvyamālā Gucchaka IV. p. 129

Page 146

270 SOME CONCEPTS OF ALAÑKĀRA S'ASTRA

But the first regular Poetics-treatise to make the Camat-

kāra-approach is the Camatkāra candrikā of Viśveśvara,

protege of Simhabhūpāla (c. 1330 A.D.).1 This work opens

with the statement that Camatkāra is the Sahṛdaya's delight

on reading a poem and that the ‘Ālambanas ' of this Camat-

kāra in a poem are seven, viz., Guṇa, Rīti, Vṛtti, Pāka, S'ayyā,

Alañkāra and Rasa.

चमत्कारस्तु विदुषां नयनेन्दुपरिप्लुतः ।

गुणं रीतिं रसं वृत्ति पांकं शय्यामलंकृतिम् ।

सहृतेतनि चमत्कारकारणं ब्रवते बुधाः ॥

India Office MS. No. 3966.2

Viśveśvara classifies poetry into three classes on the basis of

the nature of the Camatkāra. The three classes are Camat-

kāri (S'abda citra), Camatkāritara (Artha citra and Guṇibhūta

vyañgya) and Camatkāritama (Vyaṅgyapradhāna).

In A.D. 1729, Haripprasāda, son of Māthura miśra Gaṅ-

geśa, wrote his Kāvyāloka (Peterson's III Report, pp. 356-7)

in seven chapters. He solved the problem of poetry in a

straight and simple manner by taking his stand on Camatkāra

which he called the ' soul ' (Ātman) of poetry.

विशिष्टशब्दरुपस्य काव्यस्यात्मा चमत्कृति: ।

उत्पत्तिभूमि: प्रतिभा मनाग्रोपपादितम् ॥

1 This Viśveś'vara must be distinguished from the author of

the same name of the Alaṅkāra kaustubha who flourished in the

beginning of the 18th cent. The Camatkāra candrikā is not yet

published, and on the basis of its MS. in the Madras Govt. Oriental

Library, (R. 2679), I published a study of it in the Annals of the

BORI, XVI, i-ii, pp. 131ff.

2 The introductory verses in the India Office MS. of the C. C.

are not found in the Madras MS.

271 CAMATKĀRA

It is again on the basis of this Camatkāra that Jagannā-

tha gives his most comprehensive definition of poetry in his

Rasa gaṅgādhara. Camatkāra, he says, is the supermundane,

artistic delight brought about by the contemplation of Beauty,

and poetry is such verbal expression as is the embodiment of

an idea conveying such Beauty.

रमणीयार्थमदिपादक: शब्द: काव्यम् । रमणीयना च लोकोत्तर-

ह्लादजनकज्ञानगोचरा । लोकोत्तरत्वं चाह्लादगत: चमत्कारापपर्य्याय:

अनुभवसाक्षिको जातिविशेष: ॥

Page 147

ADDENDA

ADDENDA I

LAKṢAṆAS

SĀGARANANDIN ON LAKṢAṆA

P. 28.—Sāgaranandin, author of the Nāṭakalakṣaṇaratnakoṣa (edn. M. Dillon, Oxford, 1937) speaks of the Lakṣaṇas in two places in his work, first in lines 1464—1729 and then in lines 1734—1852. In the first context, he speaks of these as Lakṣaṇas, gives thirty-six of them and follows the Anuṣṭubh recension. The text enumerating these follows that in the Kāśī edn. of the N. S’., except for a disorder from verse one, pāda four, to end of verse two.

On the function and nature of Lakṣaṇas, Sāgaranandin gives the simile of the Cakravarttin and his Sāmudrika Lakṣaṇas which bespeak his sovereignty, and adds to it a further comparison of the Lakṣaṇas to other good qualities with whose help a king attains to the state of an emperor.

When he begins the enumeration Sāgaranandin says:

‘तान्यमूनि लक्षणानि नामत एवाह भरताचार्यः:’ a remark which may give rise to the suspicion that, according to him, Bharata’s text originally contained only an enumeration and not definitions also; the definitions which follow in the

Page 148

274 SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

Nāṭakalakṣaṇaratnakoṣa are the same as those found in the Kāśī text of the N. S'. For Pṛcchā and Sārūpya, Sāgaranandin notes a second definition with the words ‘अन्यस्ववाह’.

274 SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

It is interesting to note that it is while dealing with the first Lakṣaṇa called Bhūṣaṇa, which is defined as “ being adorned with plenty of Alaṅkāras and Guṇas ”, Sāgaranandin gives his brief treatment of the Alaṅkāras, Svabhāvokti, Upamāna etc., and the ten Guṇas, S'leṣa etc. according to Daṇḍin.

274 SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

In the second context referred to above, lines 1734—1852, Sāgaranandin takes Bharata's statement ‘सालङ्कारं तु नाटकम्’ and says that though Upamā etc. are the generally accepted Alaṅkāras, there are still others which are called Nāṭakālaṅkāras; and he gives here 33 Nāṭakālaṅkāras, some of which pertain to the Upajāti-list of Lakṣaṇas in Bharata and the rest are found in the lists of Bhoja and S'āradātanaya and in Viśvanātha's list of Nāṭakālaṅkāras. The Nāṭakalakṣaṇaratnakoṣa shows that when Viśvanātha gives a separate set of 33 items under the name Nāṭakālaṅkāra, he is following Sāgaranandin or one whom the latter followed or one who followed the latter. As has been pointed out above on p. 32, footnote one, Mātrgupta is the earliest writer now known to speak of Nāṭyalaṅkāras, in addition to Lakṣaṇas. The next writer now known to do so is Sāgaranandin.

274 SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

The lists of Nāṭakālaṅkāras in Sāgaranandin and Viśvanātha tally, except in two cases : in the place of Ahaṅkāra and Guṇānuvāda of Sāgaranandin, Viśvanātha has Utprāsana and Upadeśana.

274 SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

At the end of the illustration of these 33 Nāṭakālaṅkāras, Sāgaranandin says that these are Alaṅkāras which exclusively pertain to the Nāṭaka, i.e., the first type of drama, as its own

275 ADDENDA

Alaṅkāras; but a poet may add to the Nāṭaka other Alaṅkāras also. What are these other Alaṅkāras ? They are 57, the 27 Aṅgas of the S'ilpaka, the 10 Aṅgas of Bhāṇa, the 13 of Vīthī, and the 7 of the Bhāṇikā.

275 ADDENDA

एवमस्य नाटकस्य स्वकीयालङ्कारविशदलङ्कारा: । अन्येषामप्यनैक्यान्ये-वाङ्कारत्वेन तदस्य कविमिः कार्योणि । यथाथा—शिल्पकस्य उत्कृष्टादि सर्वविशतिकाङ्कानि. भाषण्य गेयपदादि दश, वीथिकाया: उद्धात्याकादि त्रयोदश, भाणिकाया विन्यासादि सप्त । एवं सप्तपदार्थन्यज्ञानि नाटके-डङ्कारत्वेन कार्याणि ।

275 ADDENDA

Sāgaranandin, lines 1852-57.

275 ADDENDA

This places Nāṭakālaṅkāra on a par with Sandhyāṅga, Lā-yāṅga and Vīthyaṅga,—several thematic points which go to form and enrich the composition.

275 ADDENDA

SVABHĀVOKTI

275 ADDENDA

Pp. 101-2.—Regarding Dr. De's observation quoted here that it is Svabhāvokti “ when words are used in the ordinary manner of common parlance, as people without a poetic turn of mind use them ”—

275 ADDENDA

it must be pointed out that no Ālaṅkārika gives such a definition of Svabhāvokti. See pp. 93, 96, 103, 106, 111-4, where I have emphasised that Svabhāvokti is not a bald or ordinary statement, but that it has also got to be ' striking '.

Page 149

III RITI A

P. 131-2.—Regarding Bāṇa's verse on the literary habits distinguishing writers of the different parts of India,—लेखप्रायं-दीक्षोय etc.—compare Kātyāyana's remark on the subject of provinces and metres :

III RITI A

‘शार्दूललीला प्राच्येनु मन्दाक्रान्ता च दक्षिणे’ ।

III RITI A

quoted by Abhinavagupta in his Abhinavabhāratī, GOS, II, p. 246.

III RITI B

P. 147-9.—Regarding Rājaśekhara's high praise of the Vaidarbhī Rīti and his mention of Mādhurya and Prasāda as its essential Guṇas, on which both his Kāvyamīmāṃsā and Bālarāmāyaṇa have been quoted by me—the following may also be quoted on the same subject from Rājaśekhara's Viddhaśālabhañjikā—

III RITI B

अहो हत्था वैदर्भी रीति: । अहो माधुर्यमपर्यासन । अहो निप्प्रसाद: प्रसाद: ।

III RITI B

Act I. p. 40. Jīvānanda Vidyāsāgara's edn.

IV AUCITYA

P. 208.—Lollaṭa's verse that Yamaka, Anuloma etc., are undesirable, यमकानुलोम # # * गदरितादिप्रवाहो वा ।।, quoted here—

V NAMES OF SKT. POETICS A

P. 260, lines 16-19—On Alaṅkāras containing a suggested element and the evolution therefrom of the concept of Dhvani mentioned here—

V NAMES OF SKT. POETICS A

see my Bhoja's Śṛṅgāra Prakāśa, Vol. I, pt. 1, pp. 145-7.

V NAMES OF SKT. POETICS B

Pp. 261-3.—On Alaṅkāra and Beauty dealt with here—see also above, chapter on Use and Abuse of Alaṅkāra, pp. 50-51 and 90.

this is quoted, with mention of Lollaṭa's name, also by Jayamaṅgalācārya, in his Kavisikṣā. See Peterson's I Report, App. I, p. 79. The text is corrupt as printed there.

Page 150

INDEX

WORKS AND AUTHORS

SANSKRIT

PAGE

AGNIPURĀNA 108-9,

151 fn. 173-181, 251-2, 269

Acyutarāya 38

Anargharāghava 5, 34,

118, 191

Anargharāghavavyākhyā

(of Rucipati) 5, 34

Anyāpadesasataka

—of Nīlakaṇṭha dīkṣita 82

—of Bhallaṭa 82-3

Appayya dīkṣita 14, 29,

50, 66, 69, 76, 262

Abhijñāna śākuntala 5,

20, 32 fn. 33, 64, 72

Abhijñānaśākuntala

vyākhyā (of Rāghava

bhaṭṭa) 5, 13, 32 fn. 33-4

Abhinava, Abhinavagupta

2-6, 12-25, 39, 44-6, 50,

52-4, 58, 66, 73, 80, 119,

186-7, 204, 227-30, 239,

241, 245, 247, 249,

253-4, 261-3, 269, 276

Abhinava bhārati (Nāṭya-

sāstra vyākhyā) 2-6,

12-25, 33, 44, 66, 119,

239, 241, 247, 249, 253-4, 276

PAGE

Amarusataka 10, 20

Amṛtānandayogin 153 fn.

Arkasūri

153 fn.

Alaka 5, 35

Alaṅkārakāustubha 270 fn.

Alaṅkārasekhara 151

Alaṅkārasaṅgraha 153 fn.

Alaṅkārasarvasva 123,

126-130, 268 fn.

Alaṅkārasarvasvāakhyā

128

—of Jayaratha

—of Samudrabandha 130fn.

Avantisundarī 226

Aśmaka vamsa 136

Aśvaghoṣa 87

Ādi Kavi. See Vālmiki

Ānanda, Ānandavardhana

19, 50-2, 54, 57, 59-62,

64-5, 73, 80, 86, 90, 146,

184-5, 187, 204, 207,

209, 213-25, 227-8, 237-

9, 241-3, 245-8, 256, 261,

269

Āparājiti (Lollaṭa) 207.

See Lollaṭa

Āryāstavarāja 72 fn.

Page 151

280 SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

Udbhaṭa 4, 43 fn. 101, 106,

122, 126, 179 fn. 183-4,

186, 259

Upādhyāya. See Bhaṭṭa

Tauta

AUCITYAVICĀRACARCĀ

54-6, 81, 197, 215, 245-9

Kaṇāda 66

Karpūramañjarī 148, 152,

154 fn.

Karpūramañjarīvyākhyā

(of Vāsudeva) 148 fn.

Kalhana 83 fn.

Kavikanṭhābharaṇa 239,

245, 269

Kavikarnikā

Kavisikṣā 227 fn. 246 fn 277

Kātyāyana (on prosody)

249, 276

Kādambarī 191, 220

Kāmasūtras 264

Kāmasūtravyākhyā, Jaya-

maṅgalā 265

Kālidāsa 49, 63, 65, 70, 76,

82, 85, 87-8, 134 fn. 162, 170

Kāvyakautuka 4, 5, 12

Kāvyakautukavivaraṇa

(of Abhinavagupta) 5

Kāvyaprakāśa 107 fn.

108 fn. 110, 115, 125-7

146-7, 187-8, 220,

244

Kāvyaprakāśavyākhyā

—of Bhaṭṭa Gopāla

107 fn. 108 fn. 127

—of Mānikyacandra

115, 130 fn. 188

—of Vidyācakravarttin

110, 126-8

Kāvyamīmāṃsā 131 fn.

147-8 150, 179, 207,

226-7, 276

PAGE

Kāvyādarśa 25, 71, 77-8,

81, 94, 103, 105 fn.

138, 141-3, 156, 159,

171, 202-4, 264-5

Kāvyādarśavyākhyā

—anon 103 fn.

—Hrdayaṅgamā 103-4, 266

—of Jīvānanda Vidyā-

sāgar 105 fn.

—of Taruṇavācaspati 25,

103, 266

Kāvyānusāsana (of Vāg-

bhata) 152 fn.

Kāvyānusāsana, savyā-

khyā (of Hemacandra)

92, 104, 108 fn. 113 fn.

114, 130 fn. 188, 208,

220-1

Kāvyālaṅkāra (of Bhā-

maha) 17, 49, 95-6, 98,

100, 102, 117, 135-7,

201-3, 259, 264

Kāvyālaṅkāra (of Rud-

raṭa) 58, 105, 191-3,

210-11, 213

Kāvyālaṅkārasarasam-

graha 106, 122, 183

Kāvyālaṅkārasarasah-

graha vyākhyā

—of Tilaka 106, 128, 183

—of Pratiharendurāja

123-5, 183-4

Kāvyālaṅkārasūtras with

Vrtti 37, 66, 107, 143-4,

158, 167 fn. 266

Kāvyālaṅkārāsūtravrtti

vyākhyā-kāmadhenu (of

Tippa) 153, 266

Kāvyāloka 270

Kuntaka 93 fn. 101-2,

110-1, 113-4, 116, 131,

134, 139, 161-3, 171,

216 fn. 219, 228, 234,

PAGE

235-42, 245, 256, 259-61,

266, 268-9

Kumārasambhava 49,

70 fn. 85

Kumārasvāmin 93 fn. 260

Kumbhakarna 5, 36

Kuvalayānanda 14, 29

Keśava 151

Kṣemendra 54-6, 81, 197,

213, 215, 227, 235, 239,

241, 245-51, 253, 256, 269

GAṆGĀVATAṚAṆA 171

Gaiṅgeś'a miśra (Māthura) 270

Gītagovinda 36

Gītagovindavyākhyā

(of Kum-

Rasikapriyābhakarṇa)

(Bhaṭṭa) Gopāla 107 fn.

108 fn. 127

CAṆDRĀLOKA 6, 14, 28,

38, 42-3, 130 fn.

Candrālokavyākhyā (of

Vaidyanātha pāyagunṭha) 29

Camatkārācandrikā 153 fn. 270

Citramīmāṃsā 66, 76, 262

JAGADDHARA 5, 6, 32, 34

Jagannāthapaṇḍita 188, 271

Jagannātha (of Tanjore) 72 fn.

Jayadeva 6, 28

Jayaratha 128

Jayamaṅgalā. See under

Kāmasūtras and Bhaṭṭi-

kāvya

Jayamaṅgalācārya 227 fn.

246 fn. 277

Jīvānanda Vidyāsāgar 105 fn.

PAGE

TANTRAVĀRTTIKA 173

Taruṇavācaspati 25, 103, 266

281 INDEX

DANḌIN 25, 43, 71, 77, 80-1,

86, 94, 96, 99, 102-3,

105 fn. 124, 138-149

151, 153 fn. 156, 159,

161, 171, 173, 177, 179,

192, 202-4, 206, 211,

245, 249, 260, 264-7

Das'arūpaka 4, 5, 14, 25,

30, 44

Das'arūpakavyākhyā

—Avaloka of Dhanika

5, 26, 35

—of Bahurūpamiśra 5,

35-6, 110, 151 fn. 179

Durvāsas 72 fn.

Dhanaṅjaya. See Das'arū-

paka

Dhanapāla 92, 149

Dhanika 5, 26, 35

Dharmabinduvyākhyā

55 fn. 200 fn.

Dhvanyāloka 19-20, 50-2,

55, 57, 60-2, 64-5, 80,

86, 90, 146, 185, 204,

214-25, 261, 269

Dhvanyālokavyākhyā-

Locana (of Abhinava

gupta) 20, 24, 50, 52-4,

58, 80, 186, 204, 227-30

239, 261-3, 269

Namisādhu 51, 95 fn.

105-6, 192, 206, 208,

210-2

Nalacaritanāṭaka 149

(Gopendra) Tippabhūpāla

153 fn. 266

Tilaka 106, 128, 179 fn. 183

Tilakamañjarī 92, 149

(Bhaṭṭa) Tauta 3-5, 11-12,

21-3, 39-40, 42-3, 48 fn. 92

Page 152

282

SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

PAGE

Nalavilāsanātaka 70 fn. 112, 131-3, 144 fn. 150, 170, 191, 220, 276

Navasāhasāñkacarita 162 fn.

Nāṭakacandrikā 5

Nāṭakalakṣaṇaratnakoṣa 273-5

Nāṭyaśāstra 2-4, 27, 39-44, 118, 119, 134 fn. 177 fn. 194-97, 211, 218, 222, 247, 251, 253 fn. 273-4

Nāṭyaśāstryākhyā 7

—of Abhinavagupta. See Abhinavabhāratī

—of Udbhata 4

—of Lollaṭa 4, 206

—of Saṅkuka 4

(Bhaṭṭa) Nāyaka 4, 12, 17, 124, 127, 256, 261, 269

(Bhaṭṭa) Nārāyaṇa 74

Nārāyaṇa 269

Nilakaṇṭhadikṣita 48, 50, 54, 82, 137, 149, 172

(Bhaṭṭa) Nṛsimha 161

Naiṣadhīyacarita 71, 73 82, 87, 130 fn. 132 fn. 149

PAGE

Bhaṭṭi 43, 96-8, 117, 120-1

Bhaṭṭikāvya 96-9, 117-8, 120-1

Bhaṭṭikāvyākhyā

—Jayamaṅgalā 97-100, 104, 116, 118-9, 120-1

—of Mallinātha 97 fn. 99 fn.

Bharata 1, 6, 14, 18-20, 26, 29-30, 32, 34-5, 37-40, 42-5, 47, 131, 133-4, 145, 173, 177, 194-9, 206, 213, 217-8, 221-2, 236, 249-51, 253, 256, 269

Bhartrmitra 173

Bhartrhari 231

Bhallaṭa 82-3

Bhallaṭasataka. See Anyāpadeṣaśataka

Bhavabhūti 84-6, 162, 170, 205 fn.

Bhāgavata 265

Bhāgavatavyākh y ā (of Sridhara) 265

Bhāmaha 17-8, 43, 49, 94-103, 117-121, 126, 132 fn. 134-5, 139, 151 fn. 162, 183-4, 192, 200-3, 228, 245, 259, 264, 266

Bhāratamañjari 222 fn.

Bhāravi 88

Bhāvaprakāśa 27, 119, 171, 175 fn.

Bhoja 3, 5, 14, 26-8, 31-4, 39, 42, 45-7, 53, 61 fn. 92, 101, 103, 106-110, 112, 139, 146, 151-2,

INDEX

283

PAGE

Maṅgala 3

Mañjira 170

Mammaṭa 43 fn. 108 fn. 110, 115, 125-8, 146-8, 187-8, 220, 244

Mallinātha 97 fn. 99 fn.

Mahāviracarita 86

Mahimabhaṭṭa 89-90, 111-5, 132 fn. 157-9, 167, 242-5, 256

Māgha 81, 88, 198-200, 255

Māṇikyacandra 3, 114, 130 fn. 188

Mātṛgupta 5, 32 fn. 33, 170, 274

Māyurāja 170

Mālatīmādhava 5, 34, 84-5, 205 fn.

Mālatīmādhavavyākhyā (of Jagaddhara) 5, 6, 32, 34

Mālavikāgnimitra 134fn.

Mudrārākṣasa 56, 63, 82

Muṇcandracārya 55 fn. 200fn.

Murāri 118, 191

Mūkapañcas‘atti 72 fn.

Meghadūta 9, 65, 85

PAGE

Rasāryavasudhākara 3, 29, 104-5, 152-3 fn. 175-6

Rasārṇavalānkāra 252

Rāghavabhaṭṭa 5, 13,32 fn.

Rājataranginī 83

Rājas‘ekhara 131, 147-51, 152, 154 fn. 170, 179, 206-7, 226-7. 276

Rājendrakarnapūra 76

Rāmacandra 70 fn.

Rāmābhyudaya 204-6, 209

Rāmāyaṇa 57, 62, 67-8, 70, 71, 73-4, 75, 78-9, 81, 86-8, 111 fn. 118, 169, 266-7

Rāmāyaṇa campū. See Bhoja campū

Rāvaṇavadha. See Bhaṭṭi-kāvya

Rtusamhāralakṣaṇa 153 fn.

Rucipati 5, 34

Rudraṭa 43 fn. 58-9, 95 fn. 105-6, 112, 125 fn. 151 fn. 153 fn. 191-3, 206, 208-13, 223-4, 232, 259-60

Rudrabhaṭṭa 224-5

Ruyyaka 116, 123, 126, 127-30, 259

Rūpagośvāmin (Nāṭaka-candrikā) 5

PAGE

Yas‘ovarman 204-6, 209, 223

Raghuvamśa 70, 72, 77, 79, 85, 87-8

Ratnākara 5, 34-5

Ratneśvara 105, 107-8, 112 fn. 132 fn. 189, 232-3

Rasakalikā 230 fn.

Rasagangādhara 188, 271

Vakroktijīvita 80, 93 fn. 110-11, 113-4, 116, 122 fn. 134 fn. 162-7 168 fn. 169-71, 235-42, 260, 268

Vākyapadīya 231

Vāgbhaṭa (older) 152 fn.

Page 153

284

SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

PAGE

Vāgbhaṭa (younger) 152 fn.

PAGE

Vāgbhaṭālankāra 152-3 fn.

PAGE

Vāgbhaṭālankāravṛtti (of Simhadevagaṇi) 153-4 fn.

PAGE

Vācaspatiṣa 265

PAGE

Vājapyāyana 9 fn.

PAGE

Vātsāyana 264, 266-7

PAGE

Vāmana 37, 66, 107, 108 fn. 143-4, 153 fn. 157-8, 167 fn. 205 fn. 245, 256, 259, 261, 266

PAGE

Vāmana Bhaṭṭa Bāṇa 69

PAGE

Vālmiki 57, 71, 81, 86-7 111 fn. 118, 169, 266

PAGE

Vāsavadattā 78

PAGE

Vāsudeva 148 fn.

PAGE

Vikaṭanitambā 212

PAGE

Vikramorvasīya 63, 267 fn.

PAGE

Viṭṭhala dīkṣita 153 fn.

PAGE

Viddhaśālabhañjikā 276

PAGE

Vidyākaraṅgavartin 110, 126-8

PAGE

Vidyānātha 93 fn. 153 fn. 191

PAGE

Viśākhadatta 82

PAGE

Viśvanātha 14, 30-3, 36, 42, 46-7, 110, 126, 259, 274

PAGE

Viśveśvara (Camatkāracandrikā) 153 fn. 270

PAGE

Viśveśvara (Alaṅkārakaustubha) 270 fn.

PAGE

Viṣṇudharmottara 97, 174

PAGE

Veṅṭisamhāra 74

PAGE

Vedāntadeśika 77

PAGE

Vemabhūpālacarita 69

PAGE

Vaidyanātha pāyaguṇḍa 29

PAGE

Vyaktiviveka 75, 89-90, 111-16, 158, 167-8, 242-5

PAGE

Siṅgabhūpāla 5, 14, 29, 30, 33-4, 104, 147, 152- 3 fn. 175, 178, 270

PAGE

Sivalīlārnava 50, 54, 137

PAGE

Sisupālavadha 81, 199, 220, 255

PAGE

Sīlābhaṭṭārikā 150

PAGE

Sṛṅgāratilaka 224

PAGE

Sṛṅgāraprakāśa 5, 26, 53, 60 fn. 107, 109, 110, 173, 175, 178-9, 200, 204-5, 230-1, 233-4, 260, 262, 268

PAGE

Sṛṅgārasāra 147

PAGE

Sridhara 265

PAGE

Sripāda 151-2

PAGE

Sṛiharṣa (poet) 71-2, 77, 82, 87, 130 fn. 132 fn. 149

PAGE

SAÑGITARĀJA 5, 36-7

PAGE

Sabhārañjanavataka 48

PAGE

Samudrabandha 130 fn.

PAGE

Sarasvati kaṇṭhābharaṇa 56, 60 fn. 103, 105-9, 110, 112, 132 fn. 152, 161, 173, 175 fn. 189, 190, 203, 212, 230, 232-4

PAGE

Sarasvati kaṇṭhābharaṇa vyākhyā —of Bhatta Nṛsimha 161 —of Ratneśvara 105, 107-8, 112 fn. 189, 232

PAGE

Sarvasena 170

PAGE

Sarveśvara 5, 37, 200 fn. 160, 255 fn. 258

PAGE

Sahrdayānanda 75, 78

PAGE

Sāgaranandin 273-5

PAGE

Sāhityakaumudī 153 fn.

PAGE

Sāhityadarpaṇa 3, 5, 30-3, 46-7, 259, 269

PAGE

Sāhityamīmāṃsā —of Ruyyaka 259, 268 fn. —anon. edn. TSS 37-8, 110, 151 fn. 268 fn.

PAGE

Sāhityasāra —of Acyutarāya 38-9 —of Sarveśvara 5, 37, 200 fn.

PAGE

Simhadevagaṇi 153 fn.

PAGE

Subandhu (Vāsavadattā) 78

PAGE

Subhāṣitantraṭi 77

PAGE

Suvṛttatilaka 245-6

285

INDEX

PAGE

Hamsa mitthu 154 fn.

PAGE

Hamsavilāsa 154 fn.

PAGE

Haravijaya 5, 34

PAGE

Haravijayavyākhyā (of Alaka) 5, 35

PAGE

Hari (Prākṛt poet) 192

PAGE

Harprasāda 270

PAGE

Harivijaya 170, 220

PAGE

Harṣacarita 49, 57 fn. 78-9, 84, 93, 131, 220

PAGE

Hṛdayadarpaṇa 4, 12, 17

PAGE

Hemacandra 3, 92, 104, 108 fn. 113 fn. 114, 130, 188, 190, 206-8, 220-1

ENGLISH

PAGE

Abercrombie 225, 225 fn.

PAGE

Acharya, P. K. 265

PAGE

Aristotle 139-41, 153-4 160, 255 fn. 258

PAGE

Authorship and Style 157

PAGE

Bain 48 fn. 50 fn. 77

PAGE

Bhattacharya, Sivaprasad 141 fn.

PAGE

Bhoja's Sṛṅgāra Prakāśa 43 fn. 54, 61 fn. 108 fn. 138 fn. 139 fn. 144 fn. 178, 181, 203 fn. 233 fn. 259 fn. 260 fn. 268 fn. 269 fn. 277

PAGE

Bridges, Robert 255

PAGE

Brown, J. S. 62 fn. 68

PAGE

CREATIVE UNITY 48 fn.

PAGE

De, S. K. 98 fn. 99, 101, 122, 139 fn. 140, 165 fn. 173, 275

PAGE

Demetrius 140-3, 154, 160-1, 163

PAGE

Dickens, Charles 68

PAGE

ESSAY ON CRITICISM 237 fn.

PAGE

Essentials of Criticism 48fn.

PAGE

Hunt, Leigh 49

PAGE

Kane, P. V. 99

PAGE

Keats 89

PAGE

Keith, A. B. 77, 84

PAGE

Kuppuswami Sastri, S. Mm. 2 fn. 256-7

PAGE

Lamborn 48 fn.

PAGE

Longinus 263

PAGE

Murry, M. 155-6

PAGE

ON STYLE 140-3, 154, 160-1, 163

PAGE

On the Sublime 263

PAGE

Pater, W. 59, 61, 157, 166

Page 154

286

SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

PAGE

Personality

48 fn.

Pickwick Papers

Picture of Dorian Gray

92 fn.

Poetic Diction (Bridges)

255

Poetic Diction (Quayle)

Poetry As Representative

Art

48 fn. 58 fn.

Pope

237 fn.

Problem of Style

155

Quayle, Thomas

Raghavan, V.

43 fn. 78,

108 fn. 109, 110, 131 fn.

138, 144 fn. 147 fn. 174,

176, 178, 194 fn. 203 fn.

207 fn. 216 fn. 233 fn.

248 fn. 249 fn. 253 fn.

255 fn. 259 fn. 268 fn.

269 fn. 270 fn. 277

Raleigh

166

Rhetoric and Composition

48 fn. 50 fn.

Ramasvami Sastri, K. S.

179

Raymond

48 fn. 58

Sankaran, A.

101

Sanskrit Poetics (De)

98 fn. 99, 101, 122 fn.

138 fn. 140, 165 fn.

Schopenhauer

157-160

Seven Arts and Seven Con-fusions

212

Shakespeare

174

Sleep and Beauty

Some Principles of Literary Criticism

161

Spingarn, J. E.

212

Stevenson, R. L.

156-7

Style (Pater)

Style (Raleigh)

166

Subrahmanya Ayyar, K.A.

62 fn. 68 fn. 74 fn.

Tagore, Rabindranath

48 fn. 91

Tatacharya, D.T.

101-2,135 fn.

Technical Elements of Style

156-7

Theories of Rasa and Dhvani

101

Tolstoy

60 fn. 263

WHAT IS ART ?

60 fn. 263

Wilde, Oscar

92 fn.

Winchester

161, 163

World of Imagery

62 fn. 68

SUBJECT

SANSKRIT

PAGE

Akṣaradambara

144 fn. 145 ;

favoured by Gauḍas

131-4

Agnipurāṇa : its Alañk. sec-tion a loose heap 173, in-debted to several writers and chiefly to Bhoja 173,

179-181 ; analysis of its Alañk. chs.

173-4

Anukaraṇa (imitation, repre-sentation) : drama defined as 194 ; converts Doṣas into Guṇas

211

Anuprāsa :

As a Riti-defining feature 179-181, 146-7, 151 fn.; as Śabdamādhurya

180

Aucitya of 210 ; must not be in long series 238 ; patterns to change often

238-9 ; permitted in des-criptive portions 86-7 ; rules for its use 86-7 :

'Ulbaṇa' type not desirable 159 ;

Causes S'aithilya doṣa 141 ; favoured by Gauḍas 142 ; only mild type favoured by Vaidarbhas

142, 180 ;

In Daṇḍin

189

—Śrūtyanuprāsa

141, 156,

180 ; and Stevenson's 'contents of phrase'

156

—Sthānānuprāsa

180

Varieties of it called Vṛtti (Vṛttyanuprāsa)

183 ; 5 in Rudraṭa 192 ; 8 in Hari 192-3; 12 proposed and refuted by Bhoja

193

Upanāgarikā (Vṛttya-nuprāsa)

184 ; also called Maṣṛṇā and Lalitā 186 ; equated with Vaidarbhī riti 187 ; suggests Mādhurya 187 and goes with Kais'iki vṛtti 186 and Sṛṅgāra rasa

186

Grāmyā. (Vṛttyanuprāsa)

183-4 ; also called Ko-malā 184 and equated with Pāñcālī riti

187

Chekānuprāsa

183, 187

Paruṣā (Vṛttyanuprāsa)

184 ; also called Dīptā 186; equated with Gauḍī

Page 155

288 SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

PAGE

riti 187 ; suggests Ojas 244 ; of acts, port, dress and speech 213

PAGE

Ārabhaṭi vṛtti 186 and Vīra, Raudra and Bibhatsa Rasas 186 Lāṭānuprāsa 183

PAGE

Vṛttyanuprāsa not different from Guṇa and Vṛtti (Kais'iki etc.) 189 See also Sabda Vṛttis under Vṛtti

PAGE

Anubhāva (vivid experience) : created by Jāti or Svabhāvokti 106

PAGE

Anubhāva. Riti and Vṛtti as Anu. born of B u d d h i 174-5 ; Anu. of Manas (Sāttvikābhinaya) 175 ; of Vāk (Vācikābhinaya) 175, 178 ; of Sārira (Āngi-kābhinaya)

PAGE

Anumāna versus Dhvani 250, 256 Anusandhāna, Anusandhi (continuity) 220, 227 ; essence of response 220 Anekasandhānakāvyas 77-8

PAGE

Anaucitya : Cause of Ābhāsa 253 ; cause of Hāśya 196, 253-4 ; general name of all Doṣas 243 ; Grāmya a kind of 213 ; as a Vākyārthadoṣa 200 fn ; greatest Rasadoṣa 254 ; greatest Doṣa 196, 200 ; greatest defeat of Rasa 221, 244, 251 ; greatest offence 252 ; in a story to be avoided by changes in the story 219, 234 ; of Pravṛtti 202 ; of Riti 201 ; of Vṛtti 224-5 ; of metre

PAGE

Anyāpades'a 67, 82-3 ; artificial specimens of 82-3 Apas'abda : literary Apas'abda different from the grammatical 159 ; real Apas'abda is Nirasa (void of Rasa) 243

PAGE

Abhidhānakos'a 264-5 Abhidhāvyāpāra (poet's expression as a whole) 16, 17, 21, 23 : as Bhaṭṭa Nāyaka. 17. See also under Vyāpāra

PAGE

Abhinaya : is Anubhāva 175 ; Āṅgika-abhi., Sāttvirām-bhānubhāva and Ārabhaṭi-vṛtti 175-6 ; Vācika-abhi., vāgārambhānubhāva and Bhāratavṛtti 175-8 ; Sāttvi-kābhi., Mana-ārambhānu-bhāva and Sāttvatavṛtti 176

PAGE

Abhyāsa (practice) 170 Artha in poetry 236 Artha mātraka (bare idea) 131-3

PAGE

Arthālaṅkāradambara 159 Alaṅkāra 1, 2, 5, 6, 8-10 ff And Dhvani : analysis of some Alaṅk. gave rise to Dhvani 260 ; when Alaṅk. are suggested 52 And Rasa : as Antaraṅga of Rasa, not Bahiraṅga 51 ; Aucitya of Rasa controls Alaṅk. 209 ; exists to suit Rasa 209 ; flow out of Rasa 89 ; outer garment of Rasa 214 ; subordinate and serviceable to Rasa 214 ; suggestion of Rasa 19

PAGE

289 INDEX

PAGE

object of conveying Rasa 57-61 ; Rasa as Alaṅkāra 58 And Riti 141 ; as comprehended in a consideration of Riti 163 ; Vicitra-mārga full of 169

PAGE

And Lakṣaṇas : developing from Lakṣaṇas and having the same name as some Lakṣaṇas 8-11, 40-3 ; Lakṣaṇas multiply Alaṅk. 10, 11 And Vakrokti : analysis of Alaṅk. gave rise to Vakrokti 260 ; Alaṅk. as Vakrokti 95-6 ; see under Vakrokti also.

PAGE

As all conprehensive 261 As beautiful expression 260 As beauty (Cārutva, Saundarya) 50, 51, 261

PAGE

As coming under Bhārati Vṛtti 177 As constituting the beautiful form in poetry 50 As constituting the strikingness of poetic expression 50

PAGE

As the embodiment of the poet's idea 90 As expression itself with a turn (Bhaṅgi Bhaṇiti) 51 As the inevitable incarnation of idea 51

PAGE

As the several ways of expressing ideas 90 As the striking disposition of words and ideas 50-1 Aucitya of : 10, 16, 54, 55, 210, 228, 237-9 ; aucitya a criticism of over-emphasis of 250 ; Aucitya of Rasa controls 209

PAGE

Classified into 3 main kinds 66, by Bhoja 53 ; into four classes by Rudraṭa 95 fn. 105

PAGE

Compared to Alaṅkāras of woman, Bhāva, Hāva etc. 51-2 ; to Alaṅkāra in Music 52 fn. ; smeared on body 52 ; insufficiency of comparison to Kaṭaka etc. 52-3 ; compared to three increasingly intimate kinds of ladies' toilet 53

PAGE

Number of : Numberless 50 ; as many as possible modes of attractive expression 51 ; only three in Bharata 40

PAGE

In Bhaṭṭi : 96-8 ; difference on it between the Jaya-maṅgalā and Mallinā-tha's gloss 97 fn. 98 fn. 99 fn.

PAGE

Its purpose : clearer or more effective expression 58-9 ; to heighten or lower an idea 167 ; to heighten effect 89 ; its purposive-ness as inevitable as that of poetry 91

PAGE

Definition of 58 Discriminate use of 55, 60, 64 Every thing Alaṅk. to Daṇḍin and Bhoja 25, 139, 260

PAGE

Everything else subserving 260 Exaggeration of its importance 54 Increasing manifestation of it natural when emotion swells 61-2

PAGE

Intimate Alaṅk. 52-3 Its domination in Skt. Poetics 259-60

Page 156

290

SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

PAGE

Objective differentia of poetic expression

Omnipresent in poetry

Organic, necessary, struc-

tural, irremovable and otherwise :

52, 59, 60,

61, 89, 207, 215

Proper place and function

55, 59, 60, 64

Result of the poetic acti-

vity called Varnanā

Rules for the proper use of

61, 64, 209,

214-5

Should not be an over-

growth

214

Should not be emphasised

in drama

217

Should not necessitate

special effort

89, 215, 238

Skt. Poetics named after

51, 258-261, 264, 268

Thematic points in drama as

275

Those in the Rāmāyaṇa

discussed

67, 70-1, 73-4,

78-9, 81

Those in Rudraṭa's Vās-

tava set

105

Use and abuse of

48-91, 197

Use of particular Alaṅk.

56-7, 64-88

Atisayokti 11, 23, 40, 41, 73,

77, 96, 97 fn.

Atyukti 73, 143 ; loved by

Gauḍas

143

Anyāpades'a

Anyokti, see Anyāpades'a.

Aprastutapras'amsā

23, 82

Arthāpatti

Ās'is

43, 101

Utprekṣā 76-7, 96, 131-2 ;

appropriate

77 ; inappro-

priate 76-7 ; endess in

Bāṇa

79, favourite of

Dākṣiṇātyas

— Hetūtprakṣā

Udātta

Upamā 10, 21, 23, 24, 34,

40, 56-7, 58-9,

66-73, 81

— Appayya on

66 ; Abhi-

nava on

66 ; Vāmana

on 66 ; and philosophical

teachings

66-7; its great-

ness

66-7 ; its purpose to

convey idea better 58,

67 ; the basis of numerous

other figures,

66 ; two

kinds,

emotional and

intellectual

Ullekha

Aupamya. See Upamā.

Dipaka

10, 40

Dṛṣṭānta

Nidarś'ana

Pariṇāma : develops from

Rūpaka

75 ; its defect

Paryāyokta

65, 76

Pratiṣedha

. 43

Pras'amsopamā

11, 40

Preyas

42, 76

Bhāva

125 fn.

Bhāvika. See separately.

Bhāvikacchavi

130 fn.

Bhrāntimān

Mithyādhyavasāya

Yathāsaṅkhya 75, 96 ; can-

not be spontaneous

75 ;

rejected by Kuntaka

Yukti

Rasavad 76 ; and Bhāvika

128-130

Rūpaka 10, 40, 41, 43, 61,

65, 67, 73, 81 ; and eco-

nomy of language

67 ;

291

INDEX

PAGE

and emotion

67 ; flaws

73-5, 81

Les'a

41, 95, 99, 100

'Ātman ' (soul, essence of

poetry) :

Camatkāra as

270 ; Rasa-dhvani as

268 ; Beauty-realisation

263

Ābhāsa : caused by Anaucitya

See also Rasābhāsa.

Āśukavi

Āśrayāśrayibhāva (in lakṣa-

ṇas)

6, 8

Āhārya (Dress, make-up)

Page 157

PAGE

And Dhvani 216, 237-42 ; cannot be separated from Dhvani 227, 229-30 ; intelligible only through Dhvani 245, 247 ; Dhvani its proof and touchstone 219, 230, 247 ; sequel to Dhvani doctrine 227-8, 250

PAGE

And Rasa : arose out of Rasa-doctrine 227-8 ; cannot be separated from Rasa 227, 229-30 ; greatest secret of and relation to Rasa 221, 225, 246 ; intelligible only thro' Rasa 229, 245, 247 ; life of Rasa 246, 253 ; most essential to Rasa 214 ; presupposes Rasa 229, 242-3 ; mutual aucitya among Rasas 223 ; of Rasa with ref. to Pātra (character) 205-6

PAGE

And Lakṣaṇa 10, 19, 20 ; Akṣarasaṅghāta lakṣaṇa taken as Pada-aucitya 20

PAGE

And Vakratā (Vakrokti) 216, 237-42 ; identified with Vakratā 241-2 ; test of Vakratā 241

PAGE

As an absolute principle of criticism 229 ; as all important 55 fn. 200 fn. ; as essence of artistic expression 197 ; as 'life' of poetry 54, 198, 213, 235, 245-6, 253 ; as 'life' of Rasa 246, 253 ; as mutual help between parts 252 ; as the ultimate beauty in Kāvya 54, 257

PAGE

As an Ubhayālaṅkāra 251 ; as a Śabdālaṅkāra 252 ; as a Sādhāraṇa guṇa 235

PAGE

As Adaptation 197-9, 201-4, 211-3, 217, 226, 232, 254-5 ; as Agreement 208 ; as Harmony 198, 204, 206, 208, 213, 216, 219, 255, 257 ; as Keeping Propriety 197, 198 et. seq. ; as Relativity 196, 203, 255 ; as Sympathy 208

PAGE

Of Alaṅkāra 10, 19, 20, 54-56, 228, 238. (See also under Alaṅkāra.)

PAGE

Of Anuprāsa 237. (See also under Anuprāsa.)

PAGE

Of Āhārya (dress) 194, 196, 213 ; of Upasarga 240, 248 ; of Kāraka 222, 248 ; of Kāla 248 ; of Kriyā 222, 248 ; of Gati (verse, prose etc.) 233-4 ; of Guṇas 10, 19, 199 (See also under Guṇas) ; of Jāti (languages) 233 ; of Tattva 248 ; of Deśa 248 ; of Nipāta 248 ; of Pada 20, 222-3, 231-2, 247-8 ; of Pātra 205-6 ; of Prakaraṇa 219 ; of Prakṛti 222, 248 ; of Pratibhā 236, 249 ; of Pratyaya 239 ; of Prabandha 218 ; of Bhāvas 221, 228 ; of Yamaka 237, 239 ; of Rasa 156 (See Aucitya and Rasa and also separately under Rasa) ; of Rīti 223. (See also under Rīti) ; of

PAGE

Linga 222, 240, 248 ; of Loka vṛtta (Svabhāva) 241, 249 ; of Vaktā 217 ; of Vacana 222, 248 ; of Varṇa 199-200, 215-237 ; of Vācya (expression) 205, 217 ; of Viṣaya 145, 217, of Viṣaya-Rīti 145, of Viṣaya-Vṛtti (Anuprāsa) 145 ; of Vṛtta (metre) 244, 249 ; of Vṛtti 223-5, 236-7 ; of Vrata 248 ; of Śabdālaṅkāras 207-8, 209-10, 237 ; of Sattva 248 ; of Sārasaṅgraha 248 ; of Svabhāva 248.9

PAGE

Criticism of over-emphasis on Alaṅkāra and Guṇa ; determines Guṇatva and Dosatva 201-4, 211-3, 226, 232, 254-5 ; doctrine derivable from Bharata 197-8, 211, 221 ; explains secret of poetic appeal 198 ; first use of the word 205, 208-9 ; greatest guṇa 244 ; in drama and other types of composition 217 ; in grammar a sense-determining condition 231 ; looms larger than Rasa 229 ; makes intelligible every means of expression 225 ; must heighten power of expression 236 ; a relation 229 ; subserved by all other rules 255-6 ; three stages in the emergence of the name 209 ; two kinds, external and internal 244

PAGE

Kalāḥ (Catuṣṣaṣṭī) 264

PAGE

Kavi and Ṛṣi 92

PAGE

Kavivākya x Pātravākya 74

PAGE

Kaviyāpāra. See Abhidhā-vyāpāra and Vyāpāra

PAGE

Kavisikṣā 69

PAGE

Kavyabhiprāya 10, 13

PAGE

Kāvya : beautiful mode of expression its distinctive feature 17 ; difference from Śāstra and Purāṇa 17 ; word and idea subordinate to mode of expression in 17. See also below Poetry.

PAGE

Kāvyakriyā 264-5

PAGE

Kāvyapurusa (personified) 147

PAGE

Kāvyalakṣaṇa 264, 266

PAGE

Kāvyaśarīra 6, 8, 9-11, 16-17, 19

PAGE

Kuntaka : and Ananda and Abhinava 236-41 ; full development of Bhāma-ha in 139 ; his originality 131

PAGE

Kṛti (musical composition) 267 fn.

PAGE

Kriyā (poetic composition) 267

PAGE

Kriyākalpa, a name of Alaṅk. 264

PAGE

Śāstra 267-7

PAGE

Kliṣṭakalpana 71

PAGE

Kṣemendra : and Ānanda and Abhinava 245-8 ; and Bharata 251 ; his originality 245, 269

PAGE

Gati (gait-on stage) and character and Rasa 86 (literary form, prose, verse etc.) and Aucitya 233

PAGE

As Rīti 172

PAGE

Gadya : compounds said to be the life of 88 ; considered test of a poet's powers 88 ; deterioration in latter-day writings 88

Page 158

294

SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

PAGE

Guṇa 3, 6, 8-10, 19-20, 178, 256

PAGE

Additional guṇas (in Bhā- maḥa) 138, (in Kuntaka) 168

PAGE

Analysis of the nature of 141-3, of Daṇḍin’s 138- 9, 178-9, of Vāmana’s 179

PAGE

Anitya or Vaiśeṣika, rela- tive, not absolute 201-4, 211-13, 226

PAGE

Come under Bhārati ṛtti 177

PAGE

Comprehends Alaṅk. and Rasa 163, 178-9, whole range of poetry 141-3

PAGE

Considered Alaṅkāra by Daṇḍin 139

PAGE

Difference from Lakṣaṇa 6

PAGE

History of 178, 203 fn. 138

PAGE

In Bhāmaha

PAGE

Strange notion (of Acyu- tarāya) of 38

PAGE

Two classes : first classifi- cation into Śabda g. and Artha g. 143 ; two sets : 3 Rasa guṇas and 10 Bandha guṇas Śleṣa etc. 8, 9

PAGE

Viparyāyas of 138-9, 141

PAGE

And Aucitya : 199, 200, 215-7

PAGE

Aucitya-rule a criticism of 250

PAGE

Aucitya the greatest guṇa 200

PAGE

Page 159

296

guṇa 204; Sasamsaya 203 Defined as hindrance to Rasa 243; five major kinds of (Vidheyavimarsa, Prakrama bheda, Krama bheda, Paunaruktya and Vācyāvacana) 244-5; in congruity with Rasa greatest Dosa 196; Mahimabhaṭṭa greatest exponent of 244 Of Upamā (Nyūna and Adhika) 213, 232, 254; of Artha 213; of Rasa 209, 213, 223-5; of Vākyārtha 200 fn. 232 Atyukti 159; Apada 231-2; Apasabda 153, 243; Apuṣṭa 112 fn. 116 fn. 132 fn; Aprayojakapadas 157, compared to Stevenson’s caville 157; Aritimat 201 Avakara 157, 159; Avācyavacana 111, 112, 158; Grāmya 211; Niralankāra 112 fn. 116 fn.; Nirasa 224; Nirasa as void of Rasa 243; Neyārtha 157; Pātradūṣaṇa 225; Pādapūraṇa 158; Prahelikā prāya 159; Loka viruddha 202; Lokāgamaviroddha 248; Vācyāvacana 111, 158; Virasa 232; Viruddha 232; Vyutpanna 159; Saithilya 141, 156, Śrutiduṣṭa 204, guṇa in Raudra 154, 254, and Demetrius 154 Nāṭyadharmi 194

Irrelevant introductions 220; Non-emphasis of the essential 220; over-development of the non-essential or the part 220 Doṣatva not absolute but relative 196, 255 Dhvani 153 fn. 214, 228-30, 245, 250, 268 And Alankāras: origin in the analysis of some Alaṅk. 260; and Udāra guṇa (Daṇḍin) 142; and Aucitya and Vārkatā 237-42, 247-8; and Aucitya 216, 219, 230, 245, 247-8, 250; touchstone of Aucitya 219, 230; and Riti 153 fn. All means of Dhvani welcome 222 Critics of 256; versus Anumāna, Bhāvana—Bhoga and Tātparya 250, 256 Only artistic process of Rasa-realisation 214 Of Kāraka, Tiṅ, Sup etc. 222, 241, 247-8; of Pada 247. 223 of (Ātmane, and Parasmaī) Padas 222; of Prabandha 218, 221; of Varṇa 215; of Saṅghaṭanā 216; of sound-effect 222, of voice 222 Rasadhvani 213, 229. See also under Rasa. Dhruvās (songs) 249 Nāṭakālaṅkāra. See Nāṭyālaṅkāra Nāṭyālaṅkāra: Anukāra of the world 131

297

Nāṭyālaṅkāra, a name of Lakṣaṇa: 5, 6, 33-5, 43; Mātrgupta the first to speak of 30-33, 31 fn. a separate set in Bahurūpa 35-6; a separate set but mostly identical with Upajāti-list lakṣaṇas in Viśvanātha 30-3 and Sāgaranandin 274-5 Niṣreyasa 66 Patākā (in drama) 207, 219 Pada: vocabulary to suit character 231-2; see also Aucitya of Pada and Dhvani of Pada. Padadhvani 223, 247 Panthāḥ (Riti) 172 Parispaṇḍa (activity of the poet) 8; three stages of 8 Pallava (flourish of expression) 132 fn; essence of poetry at its best 132; bane of poetry at its worst 132 fn. Pāka (maturity of poetic culture and expression) 38-9, 144+; as the securing of guṇas clearly and in full 144 Pāṭhyaguṇas 195 Pātra (character): Rasa-development appropriate to 205-6 Pātravākya x Kavivākya 74 Prakaraṇavakratā 219 Prakari (in drama) 207, 219 Prakṛti (Nature, character): 194-6; infinite variety of 195; involves Aucitya 221; and Bhāvaucitya 221; its anaucitya 202-3, 211, 223; See also Sīla, Svabhāva. Pratibhā (Imagination, poetic genius): 8, 49, 63, 69, 112, 115, 124, 167; and Bhāvika 124, 127; like Siva’s 3rd eye or Yogic vision 115; reality called forth by 118; writing inspired by 111 Pratyakṣa, Savikalpaka and Nirvikalpaka 115 Prabandha guṇa 117-130, 199, 200, 233; Prabandha doṣahāna 219, 234; Pra. dharma 9; Pra. dhvani 218, 221; Pra. alaṅkāra 204 Prayoga (presentation of drama) 119 fn. Pravṛtti (Āhārya, Dress, Make-up) 131, 134, 174-7, 194 As Āhāryābhinaya or Veṣavinyāsa 174; as Buddhādhya rambhān ubhā v a 175-7 And Riti —Dākṣiṇātya Pravṛtti and its gracefulness 133-4 Bandha (poetic composition) 17, 25 fn. 143. See also Gumpha and Saṅghaṭanā. Bandhas (Duṣkaras, Śabdacitra) 88; least to do with poetry 88; Cakra-bandha condemned 207 Bāṇa: on provincial literary manners 131-3; his view of the best style 133 Bhaṇiti (poetic expression) 17 Bhallāṭa: his poignant experience 83

Page 160

298 SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

PAGE

INDEX

299

Bhāṇa 275 Bhāṇikā 275 Bhāmaha : and Kuntaka 139 ; has no fancy for Ritis 151 fn ; on the requisites of good poetry 134-5 Bhāvanā (versus Dhvani) 124-127 Bhāvanāvyapāra 124, 127 Bhāvika 108, 116, 117-130 ; Udbhata on 122-3, 125-6; Daṇḍin on 121-3 ; Prati-hārendurājā's significant exposition of 123-5 ; Bhaṭṭi and Jayamaṅgalā on 120-1 ; Bhāmaha on 117-9, 120, 126 ; Ruy-yaka on 127-130 And Bhāvita, 12th Lāsy-aṅga 118-9 ; and Imagination 124 ; and poet and Sahṛdaya 124, 127 ; and Rasa-realisation 123-4, 127, 130 fn. ; and Rasa-vad and Svabhāvokti Alaṅkāras 128-130 As a Prabandhaguṇa 177-122 As a Vākyalaṅkāra 122-130 A live concept in pre-Bhāmaha days 122 A necessity in poetry 118 Its difference from some Alaṅkāras 128 ; two kinds of 126-7 Bhūṣaṇa, a name of Lakṣaṇa 5, 6, 27, 29 Bhoga (versus Dhvani) 250, 256 Bhoja : and Daṇḍin 260 ; full development of Daṇḍin in 139 Mahākāvya : every part of it to be Rasavat 206-8

PAGE

Mahimabhaṭṭa : and Ānanda 243 ; and Mammata 244 Mārga : 12 Mārgas of Vācikābhinaya, Ālāpa etc. 177 As Riti 172, 177 Mīmāṃsā śāstra 12 Yamaka (śabdalaṅkāra) 80, 142, 237, 239 Aucitya re. 210 ; condemned 159, 207, 214, 220 ; discriminate use of 210 ; in Daṇḍin 179 ; permissible in Rasābhāsa 88, in descriptions 87 ; rules for its employment 86-7 ; to be avoided in Rasa, Sṛṅgāra (Vipralambha) and Karuṇa 86 Yogavṛtti as a Riti-defining feature 147-8, 151, 179-81 Ramaṇiya, Rāmaṇīyaka. See Saundarya. Rasa 6-8, 38, 48-91, 123-130, 143, 145, 153 fn. 154, 174, 175, 185, 190-1, 193, 194-257 Accepted by Kuntaka 236, 245, by Kṣemendra 245, by Mahimā 242 Bhoja's theory of 173 Came from Pākaśāstra 268 Clear presentation of 123 Concentration of the poet on 56, 63 Controls mode of expression145 Dispensed with by some aucityavādins 229 Everything flows from 196 Everything to be appropriate to 196, 214-5, dress appropriate to 194, fancies 195, music 195,

PAGE

speaking 195, verbal qualities 195, Riti 201, vṛtti 191 Ground of reference to estimate everything else in poetry 54, 196, 198, et seq. Helped by appropriate sounds 184, 186, 188, 201, 215, 216 Hindered by Yamaka or Anuprāsa 86-7 Natural discription of 92 Not even a word to be devoid of 243 Root of everything 196 Soul of poetry 6,54,196,227,256 Transparence of 133 Vastu-Alaṅkāra the gar-ment of 214 Word devoid of it the real Apas'abda 243 And Alaṅkāra 50-88,206-8, 209-11, 214-5, 228. See also under Alaṅkāra. And Aucitya ; aucitya its greatest secret 251 ; au-citya to it the real test 196 ; aucitya to it determines Guṇatva 196 ; makes Aucitya intelligible 245, 247 And Anaucitya : anaucitya greatest enemy of 251 ; anaucitya to it determines Doṣatva 196 Aucitya of 10, 19, 44 fn. 194-257. See also under Alaṅkāra, Riti and Au-citya. And Gati on the stage 86 And Guṇa 6, 8 ; the Guṇas of 145, 199 ; Guṇa, Dharma of 215

PAGE

And Dhvani ; realised through Dhvani 213-4, 229, 230 And Bhāvika 123-130 And Rāgas 250 And Rīti : assignment of Rasas to Ritis 153-4 fn. ; in the definition of Riti 143, 145, 153 fn. 163 ; Riti appropriate to 201 And Vṛtti 145 ; Vṛttyaṅgas 7 ; Śabdavṛttis 184, 186 And sound-effect 86 And Raleigh and Pater 166 Adbhuta 62, 199 ; and Ca-matkāra 269 ; and Dipti 199 Karuṇa 73, 80, 86, 215, 225 ; should not be over-developed 223 ; Śabda-citra in 80-86 Bibhatsa 85, 184, 186, 201, 250 Raudra 182, 186, 199, 217, 225, 254 ; and Dipti 199, 215 ; and Gauḍī riti 201 ; harsh sounds suggestive of 200, 204, 215-6 ; and Ojas 217 ; sounds appropriate to 154 ; and Sragdharā metre 250 Laulya, proposed as a Rasa by some 253 Vīra 186, 199 ; and Dipti 199 ; and Gauḍī riti 201 ; and Sragdharā metre 245-250 Sṛṅgāra 8, 64, 80, 86, 182, 186, 215, 254 ; and Kaiśiki vṛtti 145, 182 ; and Vaidarbhī rīti 145, 154 fn. 201 ; and Śabda vṛttis 184 186 ; must 'not be overdeveloped 223 — Vipralambha-Sṛṅgāra 65, 66, 80, 214-5, 225 ;

PAGE

Page 161

300

SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

PAGE

and Mādhurya 217; Ya-

146-7, 187-8; Rājas'e-

maka improper in 214-

khara on 147-51,

220

179-81; Rudraṭa on

-Ṛṣyā-Vipralambha

144-5, 153 fn. 180,

191-2; Vāmana on

-Sṛṅgārābhāsa

143-4, 157-158; Siṅga-

253

bhūpāla on 147, 152-3

Hāsya 186 ; and Anaucitya

fn. Minor writers on 152-4fn.

253-4 : in Skt. Lit. 253

And Dhvani as part of its

fn. Laulya an accessory

definition

of 253 ; produced by

153 fn.

Anukṛti and Ābhāsa 253-4

And Pravṛtti

Rasa-doṣas : 209, 223-5 ; Vi-

131

rasa of 2 kinds 223-4 :

And Guṇas : at its lower

Nirasa ; excess of

level in Śabdaguṇas 143,

Rasa 223-4 ; mix-up of

at its higher level in

contradictory Rasas 223-4

Artha guṇas 143 ; as its

Rasa-prayoga

constituents 167; the

194-5, 198

guṇas comprehending

Alankāra and Rasa

Rasābhāsa 230, 253. See

163, 178-9

also under Anaucitya.

And Rasas 145, 153 fn.

Rasāviyoga, securing eternal

154 fn. : Rasas as part of

presence of Rasa

its definition

234

143, 153 fn.

Rasokti 92, 103 ; style pre-

And provincial literary

ferring it to Vakrokti

manners 131-7; dissoci-

162

ation from geographical

Rasikas

divisions

172

144, 163.4

Rāgas and Rasas

And 'style' 140-172; does

250

correspond to the western

Rājas'ekhara: source of Bhoja

concept of style 140-172;

on Ritis

Thematic treatment of

179

style in Western Lit. 153-5

Rāmāyaṇa: Alañkāras in

As Anubhāva 146, 174-8 ;

Rām. discussed 62, 67,

as Buddhyārambhānu-

68, 70, 71, 73-5, 78-9, 81

bhāva

10, 223-

174-8

Rudraṭa: and Ananda 209-

As the characteristic way

224

of a writer

Riti

172

38, 131-181, 256

As characterised by an

Agnipurāṇa on 151 fn.

attitude to every aspect

173-81; Kuntaka on

of expression

139-140, 162-171 : Kun-

163

taka its greatest expon-

As comprehending Alañ-

ent 163 ; Daṇḍin on 138-

kāra, Rasa and the

143, 154-61 ; Bāna on

whole field of expression

131-3; Bhāmaha on

140, 163, 167, 169, 178-9

134-8, 141 ; Bhoja on

Ritis to Rājas'ekhara

152 ; his indebtedness on

178-181; Mammaṭa on

Ritis

301

INDEX

PAGE

As expression appropriate

Synonyms of : 147-153 fn.;

to Rasa

Gati, Naḍai, Panthāḥ,

190

Prasthāna, Mārga, Vaṭi

As infinite and not strictly

172, 177

classifiable 169-172;

Siṅgabhūpāla's new names

one poet's Riti subtly

for

different from another's

147, 153 fn.

171 ; two final types

Two main types : one pre-

139-40, 161-2; six in

ferring Svabhāva and

Bhoja

Sakti 162, another pre-

190

ferring Vakrokti and

showing Vyutpatti

As the soul of poetry

162

143

Āndhrā (riti)

As Vācikābhinaya

153 fn.

176

Āvantikā (riti)

As Śabdasañghatanā

152, 190

146

Gauḍi (riti)

Anaucitya of

100, 133-181, 192

201

And Arabhaṭṭiṿṛtti 145; and

Aucitya of

Raudra Rasa 145 ; called

154, 201

Kaghinā by Siṅga 147,

Criticism of the old views

150 fn.; equated with

Parusāṿṛtti 188 ; suit-

164

able to Vīra, Raudra and

Defined by Anuprāsa 146-7,

Bibhatsa Rasas 201 ;

151 fn., 179-181 ; identi-

stood for vigour 145 ;

fied with Anuprāsa Jātis,

contrasted with Vaidar-

Upanagarikā etc. 147;

bhi 153 fn.; possible good

defined by guṇas 138-

type of 135-7, 140, 161 ;

168 ; defined by Samāsa

good type comparable to

147, 151, 153, 153 fn. 178-

Kuntaka's Vicitramārga

181, 191-2; defined by

139, and to the Forcible

other features 147, 151

or Elevated style 140,

fn. Yogavṛtti 147-8,

161 ; bad type compar-

151, 179-181 ; Upacāra

able to the Frigid or Af-

in its definition 147,

fected style 161 : possible

179-181 ; the relation of

overdoing of its features

these new defining fea-

135

tures to the old ones,

Pāñcālī (riti) 144, 145, 147,

180-1

150, 153 fn. 154 fn.

Distinction of a poet due to

180-1, 192

his distinct Riti

Akin to Vaidarbhī 144-5;

172

Vaidarbhī minus Mā-

Higher and lower concep-

dhurya and Saukumārya

tions of

plus Ojas and Kāṇti (in

139

Vāmana) 144 ; called

Origins of 131-3; pre-Bhā-

Related to character of poet

maha, pre-Daṇḍin his-

(in Skt. Lit) 131, 140,

131-3, 192

160, 163-171

Related to theme

145, 153-5

Page 162

302

Mis'rā by S'iṅga 147; considered neither good nor bad 147 ; defined as style with sound and sense well-balanced 150, as exemplified by Bāṇa and S'ilā

Madhyamā (mārga or riti) (of Kuntaka) : 165, 170; exemplified by Mātr-gupta, Māyurāja and Mañjira

Mis'ra ritis, one for each province

Māgadhi (riti) same as Maithili 148, 151-2, 153 fn. 154 fn. 190; and Sripāda, the Buddhist writer

Maithili (riti) same as Mā-gadhi

Lāṭīyā (riti) 145, 152, 153 fn. 154 fn. 180-1, 192; akin to Gauḍi 145; fourth introduced by Rudraṭa

Vacchomi (Vātsagulmi) name of Vaidarbhi after the capital of Vaidarbhas, Vatsagulma 148 ; mentioned by Rājas'ekhara 148, by Simhadevagaṇi in addition to Vaidarbhi 153-4 fn., by Hamsamitṭhu in addition to Vaidarbhi

Vicitramārga (riti) 139, 140, 161, 162, 169, 170, 235 : becomes Gauḍi if it deteriorates 163, 165-171; exemplified by Bāṇa, Bhavabhūti and Rāja-s'ekhara 170 ; result of

sincerity of artistic perfection outweighing sincerity of emotion

Vaidarbhī (riti) 133-162, 180-1, 188, 191

And Kais'iki vrtti

And Guṇas : Mādhurya supreme in it 145, 148 : Prasāda its characteristic

And Rasa; Sṛṅgāra its Rasa

Also called Vacchomi (Vātsagulmi) 148; called Komalā by S'iṅga 147,153 fn.

As the best style 143-4, 147-150; as name of un-compounded collocation

On its excellence : Dhana-pāla 149, Nilakaṇṭha dikṣita 149, Rājas'ekhara 147-9, 276; Vāmana 144 ; S'riharṣa

Possible bad type of 135-7; possible overdoing of its features

Sukumāra mārga 139, 140, 161, 162, 165-171, 235; compared to the classic manner 163, to the Vaidarbhī 139-40, 161; exemplified by Kālidāsa and Sarvasena 170 : result of sincerity of emotion

Saurāṣṭrī (riti)

Lakṣaṇas 1-47, 177

303

According to Jagaddhara 34

„ „ Jayadeva 28-9

„ „ Taruṇavā-caspatī 25

„ „ Tauta 3, 4-5, 11-12,21-3,39-43

„ „ Daṇḍin 25

„ „ Dhanñjaya 25

„ „ Dhanika 26, 33

„ „ Bahurūpa-mis'ra 35-6

„ „ Bharata 2, 6, 39-44

„ „ Bhoja 26-7

„ „ Mātṛgupta 32 fn.

„ „ Ratnākara 34-5

„ „ Rāghava-bhaṭṭa 33-4

„ „ Rucipati 34

„ „ Vis'vanātha 30-3

„ „ Vaidyanātha pāyaguṇḍa 29

„ „ S'āradā-tā-naya 27-8

„ „ S'iṅga bhū-pāla 29-30

„ „ Sarves'vara 37

„ „ S'āhityami-māmsā 37-8

„ „ pre-Abhinava writers 6-13

As Abhidhāvyāpāra 16-18, 21, 23

„ characteristics of different types of Kāvya 9, 131

„ features of drama 7, 13-4, 26-8, 30, 33, 35

„ Kāvyaś'arita 6, 8-11, 16, 19, 22-3

„ infinite 18, 24

„ as multiplier and beauti-fier of Alañkāras 10-1

21-5, 40, 42

Compared to Sāmudrika Lakṣaṇas 7, 12, 29, 37

Compared to texture (Sparśa)

Evolution into Alañkāras 8-11, 40-3

Inclusion in other concepts, Alañk. or Bhāva 5, 14, 25-6, 30, 33, 37, 44

Lists of 45-7 ; literature on 4-6; not elaborated in later lit.

Other names of 6, 27, 29-36; (See alśo Bhūṣaṇa, Vi-bhūṣaṇa, Nāṭyālaṅkāra)

Relation to Alañkāra 2, 5-6, 8-11, 13-23 27-43

„ „ Aucitya 10, 19,

20,24

„ „ Bhāva 5, 14, 25-6, 30, 33, 44

„ „ Guṇa 6, 8, 19-20, 22-3

„ „ Sandhyāṅgas 7, 12-6, 26-7, 44

„ „ Vṛttyāṅgas 7

Ten old views 5, 6-14: twofold (Alaṅkāra-like and Bhāva-like) 13-4, 44 ; Siddha and Sādhya 7 ; two recensions of Bharata's text 3, 5, 18, 26, 28, 31-2, 45-7—Anuṣṭubh recension 3, 4, 34, 39 fn. 45-7. Upa-jāti rec. 3-5, 28, 30, 35, 37-9, 41, 44-7; Upajāti lakṣaṇas as Nāṭyālaṅ-kāras 31 (See separately Nāṭyālaṅkāra) ; clever explanation of the two rec. 18 ; those common

Page 163

304

to both rec. 4, 45-7 ;

304

differences between the

304

two 3, 4, 30-1 45-7 ; in-

304

clusion of those of one

304

in the other 4, 18 fn. 45-7

304

Come under Bhāratī vṛtti 177

304

Lāsya 118-9 ; Lāsyāṅgas 275

304

Lokadharmī (realism of Bha-

304

rata's stage) 131 fn. 194

304

Lokasyabhāva 249. See also

304

Prakṛtti, Śīla, Svabhāva.

304

Vaktrokti (Vakratā) 78, 92,

304

95-6, 102-3, 109-10,

304

168-9, 228, 235, 256

304

And Dhvani and Aucitya

304

237-42, 241-2, 247-8

304

As the striking, beautiful

304

expression distinguish-

304

ing Kāvya 17, 43, 92,

304

95, 96 ; a continuation

304

of Alaṅkāra 260 ; arose

304

out of Alaṅkāra 228,

304

260; dominates in Vicitra

304

mārga 169

304

Of Sup etc. 241, 247-8

304

Pervasive of the whole

304

range of poetic expres-

304

sion 92 ; style preferring

304

it to Svabhāva-ukti or

304

Rasa-ukti 162

304

Varṇadhvani 154, 215 ; in

304

Demetrius 154

304

Varṇanā (poetic presentation

304

and expression) 48, 92 ;

304

an aspect of poetic acti-

304

vity 8

304

Varṇavakratā 215, 237

304

Vastu (idea, story) 244 ; to

304

be the body of Rasa 218

304

Vācikābhinaya 1

304

Vācyavācaka 225

304

Vārttā : Antithesis of Kāvya

304

96-7, 99, 100 ; expres-

304

sion in Loka and Sāstra

304

96 ; loosely used for

304

Svabhāvokti or Jāti 96 ;

304

Jayamaṅgalā (on Bhaṭṭi)

304

on 97 ; Daṇḍin on 97,

304

100, 104-5 ; Bhaṭṭi on

304

96 ; Bhāmaha on 96

304

Alaṅkāra in Jayamaṅgalā

304

98 ; not Alaṅkāra in

304

Bhamaha 96- 100 ; a

304

different concept alto-

304

gether in Daṇḍin 100,

304

104-5 ; two varieties in

304

Jayamaṅgalā 97-8

304

Vibhuṣaṇa, a name of Lak-

304

ṣaṇa 6, 32 fn.

304

Vivakṣā 231

304

Vithyaṅgas 14, 275

304

Vṛtta (metre) 84 ; aucitya of

304

249, 250 ; its need in

304

poetry 84 ; Anuṣṭubh

304

and narration, summing

304

up and pointed speech

304

250 ; Sragdharā and

304

description of war, Vira,

304

Raudra and Bibhatsa

304

Rasas 250

304

Vṛttis : of Nāṭya (four) 38,

304

134, 174, 178, 182-3 ;

304

six in Bhoja 190 ; the

304

nature of Vastu or

304

Itivṛtta or ideas 182

304

And Guṇa 145, 182 ;

304

result of Guṇas 184, 186

304

And Riti 182 : compre-

304

hends Riti 174 ; similar

304

to Riti 193 ; but more

304

intimate with Rasa 146

304

Applied from Nāṭya to

304

Kāvya 145 ; history in

304

Kāvya 145, 182-193

304

As Anubhāva 146, Buddh-

304

yārambhānubhāva 174,

305

Ārabhati vṛtti 176, 177 ; and

305

Aṅgikābhinaya 176 ; and

305

Ojas 182, 191 ; and

305

Gauḍi riti 145, 182,

305

191 ; and Raudra Rasa

305

145, 181 ; in Kāvya 182

305

-Madhyamārabhaṭi 190

305

Kaisikī vṛtti 134 ; and Mā-

305

dhurya guṇa 183, 191 ;

305

and Vaidarbhi riti 145,

305

183, 191 ; its Rasas,

305

Śṛṅgāra and Karuṇa

305

145, 191 ; graceful Abhi-

305

naya and dress included

305

in 174, 176

305

-in Kāvya 182

305

-Madhyama Kaisiki 190

305

Bhāratī vṛtti 174, 177, 178

305

As Vācikābhinaya 174-5 ;

305

as the realm of Ritis

305

174-5 ; becomes an

305

Arthavṛtti with changed

305

meaning in Kāvya 187,

305

190, 193 ; includes the

305

entire Alaṅkāra Sāstra

305

177; its nature 190-1 ; its

305

Rasas Hāsya, Adbhuta

305

and Sānta 191 ; whole

305

Śravya Kāvya its field 182

305

Sāttvati vṛtti :76-7 ; changes

305

meaning in Kāvya 190,

305

193 ; in Kāvya 182 ; its

305

nature 190-1 ; its Rasas

305

Vira and Bhayānaka 191

305

-Vṛttyangas 7-25 ; and

305

Lakṣaṇas 7

305

Vṛtti : several concepts of the

305

name of 183

305

-as Anuprāsa Jātis 183 ;

305

See under Anuprāsa

305

-as Śabdavṛtti 183 ; See

305

separately Śabdavṛtti

305

and Vṛttyanuprāsa under

305

Anuprāsa

305

-as Samāsa Jātis 183.

305

See under Samāsa

305

-Two kinds, Artha Vṛtti

305

and Śabda Vṛtti 146,

305

185 ; Artha vṛtti as ideas

305

suitable to Rasa 185-6,

305

190 ; Śabda vṛtti, See

305

above

305

Vaicitrya 216 fn ; another

305

name of Camatkāra or

305

Vakrokti 247-8

305

Vaidagdhya 69 ; vāgvaiḍag-

305

dhya of Agni p. com-

305

pared to Vakrokti 173

305

Vyāpāra (poet's activity)

305

8, 12, 17, 20, 260

305

266

305

Vyutpatti 69, 82, 162, 164,

305

170 ; style showing more

305

Vyutpatti than Śakti 162

305

Śakāra and Doṣas becoming

305

Guṇas in his portrayal

305

254

305

Śakti (poetic genius) 60, 162,

305

164 ; the style owing

305

more to it than to Vyut-

305

patti 162

305

Śaṅkaravarman, King (and

305

Ś Bhallaṭa) 83

305

Śabda in poetry 236

305

Śabda vṛtti (Upanāgarikā

305

etc.) 146, 183-190 ;as Anu-

305

prāsa Jātis 146-7 ; as

305

the Ritis 187-8 ; as

305

varieties of Varṇasaṅ-

305

hatanā 188 ; as the use of

305

words suitable to Rasa 185-6

Page 164

306 SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

PAGE

Sabdārtha pravibhājaka dharmas 231 S'abdālañkāras 84-88, 196, 207-8, 209-10, 214, 237- 9 ; inappropriate when Rasa is to be supreme 197 ; in Daṇḍin 142, 179 ; provision for Sabdacitra in Rasā- bhāsa 59 For Aunprāsa, Bandhas (Duṣkara) and Yamaka, see separately.

PAGE

Śilpaka, Uparūpaka 275 Śīla 195-6, 207. See also Prakrti Saṅgita 259 Saṅghatanā: And Guṇas 138 As collocation 192 Aucitya of 199-200, 215-7 Of Varṇas (letters) 200 ; suitable to Rasa 215 -S'abdasaṅghatanā as Riti 146 Samāsa in Saṅghaṭanā as Riti-determinant 138 ; Asamāsa Saṅghaṭanā as Vaidarbhī 191 ; varieties of Samāsa as other Ritis 191-2 -Saṅghaṭanādhvani 216 Sandhyāṅgas 7, 25-7, 44, 207, 221-2, 275; and Lakṣaṇas 7, 12-16, 27, 44 ; suggestiveness to guide the use of 221 Samāsa 138, 144 And Ojas 138, 144, 181 ; as a Riti-defining feature 147, 151, 153 fn. 154 fn. 179, 181, 191-2; long varieties to be avoided in drama 217-8; loved

PAGE

by Gauḍas 150 ; mentioned by Aristotle 154 ; not favoured by Vaidar- bhas 168 ; ruinous to emphasis and understanding 167 ; varieties of compounded collocation called Vṛtti 183 ; taken as the sole Riti-determinant by Rudraṭa 191-2 ; un- compounded is Vaidar- bhī 191 ; compounded yields Gauḍī, Pāñcālī and Lāṭīyā 192 Sahrdaya 57, 124, 168, 208, 235, 252, 256 ; his ex- perience a circuit start- ing with the poet and ending with himself 124 ; his experience an aesthe- tic re-creation 124 Sādharmya-vaidharmya- parikṣā 66 Sādhāraṇikaraṇa (universali- sation) 129-30 Sāmānyābhinava 52, 119 fn. Sāmudrikalakṣaṇas 7 ; and Lakṣaṇas 7, 12, 37 Sāhitya 236-5, 244, 258-9, 264, 268 ; concept born of grammar 258 ; ex- plained 259 ; name of Skt. Poeties as common 259 Sāhitya vidyā (personified) 447 ; her nuptials with Kāvya puruṣa 148 Saundarya (Cārutva, Rāma- ṇīyaka-Beauty) 50-1, 90, 261-3 ; aim of the poet 90 ; Alaṅkāra equ- ated with 50-1, 261 : Alaṅkāra or Dhvani

PAGE

desirable only when there is 24, 262 ; called Camat- kāra 263, Ramaṇīya 263, Vakratā, Vicchitti, Vaicitrya 263 ; of form necessary in poetry 48-50 -In Appayya 262, Jagan- nātha 263, Dhvanyāloka and Locana 261-3, Bhoja 262, Vāmana 50, 261, Vyaktivivekavyākhyā 51, Western Literature 263 -Its Realisation soul of Kāvya 263 -Poetry embodies it thro' Artha and Sabda 271 Svabhāva (Character, Na- ture) 236, 240, 242, 248 See also Prakṛti and Sīla. Svabhāvokti 42, 49, 58, 64, 92-116, 244 Agni purāṇa on 108-9; Udbhata on 106 ; Kun- taka's rejection of 93 fn. 110, 111, 113 Kumārasvāmin on 93 fn.; Jayamaṅgalā on 97-100 Daṇḍin on 94, 102, 103; Namiṣādhu on 95 fn. 105 6 ; Bāṇa on 92 ; Bhāṣi

PAGE

on 96-97 ; Bhāmaha on 94-6; Bhoja on 106-110; Mahiman's eloquent de- fence of 110-16 ; Rudraṭa on 95 fn. 105 on 116 ; Vāmana on 107- 8 ; Vidyādhara on 116, Vidyānātha on 93 fn. And Arthavyakti guṇa 107-8, 110 ,, Bhāvika 116, 128-30 ,, Vārtā 96-9 ,, Vāstava groupof figures in Rudraṭa 95 fn. 105 Called also Jāti 93, Svarū- pālañkāra 109 ; Rjukti 110 Comprehended in Vakrokti for Bhāmaha 95, 103 Divided into 4 by Daṇḍin 94, 103 ; into many by Rudraṭa and Bhoja 103 105 Explained as Guṇa-ukti by Bhoja 109-110 Should be striking and vivid 93, 103, 105-6, 115-6, 133 ; style prefer- ing it to Vakrokti 162 Hāsya: See above under Rasas

INDEX

307

PAGE

ACTORS 195, 196 Adaptation 197-212, 217, 226, 232, 254-5 ; converts Doṣas into Guṇas: 201-12, 217, 226, 232, 254-5 See also above Aucitya. Aesthetics 263 Beauty. See above Saundarya.

ENGLISH

Agreement 208. See above Aucitya. Allegory 67 Anthologies 82 Arts. See above Kalāḥ. Atmosphere 225, 232

Page 165

308 SOME CONCEPTS OF ALAṄKĀRA SĀSTRA

PAGE INDEX 309

PAGE

Cacophony : to be avoided 239 Caville (Aproyojaka padas) 157

PAGE

Character (personality, soul) of poet 160, 163-171

PAGE

" in the story. See above Pātra, Prakṛti and Sīla. 163

PAGE

Classical manner : culmination of art 163

PAGE

Comedy, Comic : employment of Nyūnopamā and Adhikopamā in 213. See also above Hāsya.

PAGE

Compounds. See above Samāsa

PAGE

Conceit. See above Utprekṣā under Alaṅkāras.

PAGE

Conductors (of drama) 195

PAGE

Continuity 220. See also above Anusandhāna.

PAGE

Court-poetry 76 : its far-fetchedness 76

PAGE

Decoration. See above Alaṅkāra and Āhārya.

PAGE

Descriptions: should be organic, structural, necessary and naturally emergent 207 : should be proportionate and harmonious 219

PAGE

Digressions (descriptive) 219

PAGE

Double Entendre. See above Śleṣa under Alaṅkāra.

PAGE

Drama 26, 28, 119 : aɛ imitation of the three worlds 194, and of states of personalities 194 : as representation of moods 196 : Alaṅkāras not to be emphasised in 217 : grammatical

PAGE

matical flourishes to be avoided in 217; harsh words to be avoided in 217; long compounds to be avoided in 217; principles of Aucitya enforced by its form 217; text of 1

PAGE

Dress. See Make-up as also above Āhārya and Pravṛtti

PAGE

Effectiveness the test 199

PAGE

Emotional suggestion 155-6

PAGE

Episodes (sub-plots) 207, 219. See also above Patākā and Prakari

PAGE

Excellence of build 204

PAGE

Excess : to be avoided: decorative 160; descriptive 207

PAGE

Expediency the test 199

PAGE

Expression : 'the empirical technique ' 255 ; symbol and vehicle of Rasa 225 ; apporopriate to Prakṛti 205. See also above Abhidhāvyāpāra.

PAGE

Figurative Language 49, 58-9 ; adopted when one describes to another a scene 58 ; less proper when character itself speaks 74 ; natural in heightened moods 61-2 ; overdoing of 73

PAGE

Fine Arts 263

PAGE

Flaw : not absolute, but relative 196, 199. See also above under Dosa

PAGE

Form : essential in poetry 48-50, in art 92

PAGE

Gender : preference of feminine 80 ; and Dhvani 222, 240

PAGE

Genius (poetic) 8, 49, 261. See also above Śakti

PAGE

Goodness, not absolute, but relative 195, 199

PAGE

Grammar 1, 266 ; grammarians 266 ; grammatical flourishes 218

PAGE

Harmony 198, 204, 206, 208, 213, 216, 219, 255, 257. See also above Aucitya

PAGE

Hyperbole 142 ; Gauḍas' love of 142. See also above Atiśayokti and Atyukti under Alaṅkāra

PAGE

Imagination. See above Pratibhā

PAGE

Imitation of art (counterfeit art) 60

PAGE

Impressionism 250

PAGE

Incidents. See story

PAGE

Jingle 222, 225

PAGE

Kashmirian Ālaṅkārikās 228

PAGE

Keeping (harmonising of medium) 255

PAGE

Language : Aucitya of dialects 233 ; exploitation of all the means afforded by 222-3

PAGE

Laughter. See Comedy, Comic as also above Hāsya

PAGE

Letters : suggestiveness of 237. See also above Varṇa

PAGE

Literary forms (play, epic etc.) 217

PAGE

Logicians 115

PAGE

Make-up-, Dress, 194, 196. See also above Pravṛtti

PAGE

Maturity (of expression). See above Pāka

PAGE

Maturity (of poetic power) defined as securing expression suited to Rasa 226

PAGE

Metaphor. See above Rūpaka under Alaṅkāra

PAGE

Mimāṃsakas 94 fn.

PAGE

Moderation 168

PAGE

Moods : Drama the representation of 196 ; source of action etc. 196

PAGE

Music : appropriate to Rasa 195 ; of Dhruvās 249 ; of words 84 ; musical qualities of Rhythm 155

PAGE

Nature 194, 196. See also above Prakṛti, Sīla, Svabhāva, as also World

PAGE

Natural Description. See above Svabhāvokti

PAGE

Natural Beauty 10, 20, 22, 159, 162, 166-7 : rendered further attractive 170

PAGE

Onomotopeoic effect 84-5

PAGE

Originality : of Kuntaka 131 ; of Kṣemendra 245, 269 ; lack of 88-9

PAGE

Painting 255, 263

PAGE

Parable 67

PAGE

Parody 254

PAGE

Perception. See above Darśana

Page 166

310 SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

PAGE PAGE INDEX PAGE

Poet

Poet : compared to Ṛṣi 118. See also above Kavi Poets : see world as made in beauty 80 ; those with learning, but no imagination 69, 70, 82 —of latter day : artificiality of 88 ; experts in Yamaka 87, in Śleṣa 77 Poet's attitude 253 Poetic Culture : defined as the sense of proper and improper 226. See also above Vyutpatti Poetic Experience : a circuit starting with poet and ending in reader 124 Poetic Expression. See above Abhidhāvyāpāra, Alaṅkāra, Vakrokti Poetic insight. See above Darśana Poetics 258-60, 263-7, 268 Poetry : and emotion 48 ; and expression 49, 50 ; and form 49, 50 ; and thought 48 ; as beautiful idea beautifully expressed 89 ; as criticism of life 82 ; as expression (Abhidhā pradhāna) 92 : as expression of the poet's mind 91, 122 ; as līlā of the poet 91 ; its enjoyment an æsthetic recreation 124 ; its essential features according to Bhāmaha 134-6; must be sensuous 84 ; neither pure emotion nor pure thought 89 ; nor even mere manner 89 ; not to be judged

from utilitarian view-point 91 ; past and future made present in 118 : similar to God's līlā of creation 91 ; a striking form natural to it 94 ; teaching as an aim of 82 ; versus ordinary talk and scientific expression 94, 96 See also above Kāvya Practice. See above Abhyāsa Precision : of expression with ref. to emotional suggestion 155-6, 163 Production (of drama) 196 Proportion 198, 204, 206, 208, 219 ; as excellence of build 204 ; its perfection all the morals in art 198. See also above Aucitya Propriety 197, 198 ff. See also above Aucitya Prose. See above Gadya Prosody 1, 3, 266. See also above Chandas and Vṛtta Provinces : and literary manners 131-4, 150 —Gauḍas 131-168. See also above Gauḍi under Ṛti —Dākṣiṇātyas 150 —Vidarbhadeśa 148 ; Vatsagulma its capital 148 ; headquarters of poesy 148 ; home of grace 133-4 ; Vaidarbhas 132-168. See also above Vaidarbhī under Ṛti

—Easterners. See Gauḍas —Northerners 131-2 —Westerners 131-2 Pun. See above Śleṣa under Alaṅkāra

Realism

Realism. See above Lokadharmi Relativity : of good and bad in poetry 196, 203, 255. See Adaptation Relevancy 204, 206 Representation (Drama as) 196 Restraint 142 Rhetoric not poetry 54

Sanskrit Literary Criticism

Sanskrit Literary Criti-cism 194, 255. See also above Alaṅkāra Sāstra Sanskrit Poets : their ear for the music of words 84 Satire 254 ; Nyūnopamā and Adhikopamā used in 213 Sculpture 263 Simile. See above Upamā under Alaṅkāra. Simplicity in art 157, 160 Sincerity 166 ; two kinds, emotional and artistic 166 Sound-effect 84-6, 91 ; and Rasa 86 ; and Ṛti and Vṛtti 86 Sounds : Pleasing 239 ; torturous 239 Speech : and Rasa 196 ; appropriate on stage 195 Stage 194-6 ; Idealism and Conventions and Real-ism of 195 fn. Stock Diction 88-9

Story

Story : as expression of Rasa 218 ; appropriate change of 219, 234 ; incidents of emotional value alone to be retained 218 ; subsidiary themes 219, 220

Style

Style : a higher and lower conception of 140 ; oratory 160 ; certain fixed types of 140, 141 ; does correspond to Skt. Ṛti 140-5,153-172 No end to ethical valuations of 160 ; objective 140 ; subjective 139 ; thematically fixed 140, 141 ; two final styles 139 Affected style 161, 163 Agreeable „ 160 Attenuate „ 160 Elegant „ 140, 154, 160, 161 ; suited to Śṛṅgāra 155 Elevated style 154, 160, 161 ; may deteriorate into Frigid and Affected styles 163 ; suited for battle description 154 Forcible style 154, 160-1 ; may deteriorate into Frigid and Affected styles 163 Frigid style 139, 160-3 ; compared to Gauḍī 161 Grand style 155 ; suited to superhuman and majestic theme 155 Grave style 160 Medium style 160 Plain style 140, 154, 160, 161

Page 167

312

312 SOME CONCEPTS OF ALAÑKĀRA SĀSTRA

PAGE PAGE

Subjectivism 249

Sublime 263

Surplusage 158 ; to be re-moved 60 ; see also above Aprayojakapadas and Avācyavacana under Doṣas

Sympathy (mutual con-formity of parts) 208

Teaching : as aim of poetry. See above Upades'a Text-reconstruction : Agnipurāṇa 176 fn. 180 fn. Bhāmaha 98-100, 259 ;

Locana 186,229; Vyakti-viveka 113-4

Theme : See story ; and Riti. See above Riti

Verbal Ornaments : See above S'abdālañkāras.

Verbal qualities : suited to different emotional situ-ations 199-200

Visual suggestion of im-agery 155-6

Western Literary Cri-ticism 153-63, 255 fn.

Western writers : and Skt. writers—

Brāmaha and Schopen-hauer 159

Bhāmaha and Winches-ter 162

Dandin and Schopen-hauer 157-9

Dandin and Stevenson 156

Kuntaka and Demetrius 161

Kuntaka and Winches-ter 162-3

Mahimā and Stevenson 157

Vāmana and Stevenson 157

Vāmana and Schopen-hauer 158-9

Word : echoing sense 84 ; their music 84 ; the sug-gestive, proper or strong word 223

World : ground of refer-ence of success of art 195 ; pramāṇa of Nāṭya 195. See also Nature and above Prakṛti, S'īla and Svabhāva.