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Aksaradambara 144 fn. 145; favoured by Gaudas 131-4 Agnipurana its Alank. section a loose heap 173, indebted to several writers and chiefly to Bhoja 173, 179-181; analysis of its Alank. chs. 173-4 Anukarana (imitation, representation): drama defined as 194; converts Dosas into Gunas Anuprasa: As a Riti-defining feature 179-181, 146-7, 151 fn.; as Sabdamadhurya Aucitya of 210; must not 211 be in long series 238; patterns to change often 238-9; permitted in descriptive portions 86-7; rules for its use 86-7 : Ulbana' type not desirable 159; Causes Saithily a dosa 141; favoured by Gaudas 142; only mild type favoured by Vaidarbhas 142, 180; 180 In Dandin PAGE 189 -Srutyanuprasa 141, 156, 180; and Stevenson's contents of phrase ' -Sthananuprasa Varieties of it called Vrtti (Vrttyanuprasa) 183; 3 kinds in Bhamaha 183; 5 in Rudrata 192; 8 in Hari 192-3; 12 proposed and refuted by Bhoja Upanagarika (Vrttyanuprasa) 184; also called Masrna and Lalita 186; equated with Vaidarbhi riti 187; suggests Madhurya 187 and goes with Kaisiki vrtti 186 and Srngara rasa Gramya (Vrttyanuprasa) 183-4; also called Komala 184 and equated with Pancali riti Chekanuprasa Parusa (Vrttyanu prasa) 156 180 193 186 187 183, 187 184; also called Dipta 186; equated with Gaudi

riti 187; suggests Ojas 187; and goes with Arabhati vrtti 186 and Vira, Raudra and Bibhatsa Rasas 186 Latanuprasa 183 Vrttyanuprasa not different (Kaisiki etc.) 189 from Guna and Vrtti See also Sabda Vrttis under Vrtti Anubhava (vivid experience): created by Jati or Svabhavokti Anubhava. Riti and Vrtti as Anu. born of Buddhi 174-5; Anu. of Manas (Sattvikabhinaya) 175; of Vak (Vacikabhinaya) 175, 178; of Sarira (Angikabhinaya) Anumana versus Dhvani 250, 106 174 244; of acts, port, dress and speech Anyapadesa 67, 82-3 ; artificial specimens of Apasabda literary Apasabda different from the grammatical 159; real Apasabda is Nirasa (void of Rasa) Abhidhanakosa 213 32-3 243 264-5 Abhidhavyapara (poet's expression as : a whole) 16, 17, 21, 23: and Bhatta Navaka 17. See also under Vyapara Abhinaya is Anubhava 175; Angika-abhi., Sarirarambhanubhava and Arabhativrtti 175-6; Vacika-abhi., vagarambhanubhava and Bharativrtti 175-8; Sattvikabhi., Mana-arambhanubhava and Sattvativrtti Abhyasa (practice) 256 176 Anusandhana, Anusandhi 170 (continuity) 220, 227; Artha in poetry 236 essence of response 220 Artha matraka (bare idea) Anekasandhanakavyas 77-8 131-3 Anaucitya: 159 Alankara Cause of Abhasa 253; cause of Hasya 196, 253-4: general name of all Dosas 243; Gramya a kind of 213; as a Vakyarthadosa 200 fn; greatest Rasadosa 254; greatest Dosa 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 Pravrtti 202; of Riti 201; of Vrtti 224-5; of metre Arthalankaradambara 1, 2, 5, 6, 8-10 ff And Dhvani: analysis of some Alank. gave rise to Dhvani 260; when Alank. are suggested And Rasa as Antaranga of Rasa, not Bahiranga. 51; Aucitya of Rasa controls Alank. 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 52

PAGE object of 57; means of conveying Rasa 57-61; Rasa as Alankara And Riti 141; as comprehended in a consideration of Riti 163; Vicitramarga full of from Laksanas and hav- 58 169 And Laksanas: developing ing the same name as some Laksanas 8-11, 40-3 Laksanas multiply Alank. 10, 11 And Vakrokti: analysis of Alank. gave rise to Vakrokti 260; Alank. as Vakrokti 95-6; see under Vakrokti also. As all conprehensive As coming under Bharati PAGE Classified into 3 main kinds 66, by Bhoja 53; into four classes by Rudrata 95 fn. 105 Compared to Alankaras of woman, Bhava, Hava etc. 51-2; to Alankara in Music 52 fn.%; to saffron smeared on body 52; insufficiency of comparison to Kataka etc. 52-3; compared to three increasingly intimate kinds of ladies' toilet Number of: Numberless 50; as many as possible modes of attractive expression 51%; only three in Bharata 53 40 In Bhatti 96-8; difference on it between the Jayamangala and Mallinatha's gloss 97 fn. 98 fn. 99 fn. Its purpose clearer or more effective expression 58- 9; to heighten or lower an idea 167; to heighten effect 89; its purposiveness as inevitable as that of poetry Definition of 91 58 261 As beautiful expression 260 As beauty (Carutva, Saundarya) 50, 51, 261 Vrtti 177 As constituting the beautiful form in poetry 50 As constituting the strikingness of poetic expression 50 As the embodiment of the poet's idea 90 As expression itself with a turn (Bhangi Bhaniti). 51 As the inevitable incarnation of idea 51 As the several ways of expressing ideas 90 As the striking disposition of words and ideas Aucity of: 10, 16, 54, 55, 210, 228, 237-9; aucitya a criticism of overemphasis of 250; Aucitya of Rasa controls 19 209 tance 54 50-1 Increasing manifestation of it natural when emotion swells 61-2 Intimate Alank. 52-3 Its domination in Skt. Poetics 259-60 Discriminate use of 55, 60, 64 Every thing Alank. to Dandin and Bhoja 25, 139, 260 Everything else subserving 260 Exaggeration of its impor-

SOME CONCEPTS OF ALANKARA SASTRA PAGE Objective differentia of poetic expression 50 priate 76-7; endless in Bana 79, favourite of Omnipresent in poetry 50 Daksinatyas Hetutpreksa Udatta Organic, necessary, structural, irremovable and otherwise : 52, 59, 60, 61, 89, 207, 215 Proper place and function of 55, 59, 60, 64 Result of the poetic activity called Varnan a Rules for the proper use of 61, 64, 209, Should not be emphasised 131-4 57 42 Upama 10, 21, 23, 24, 34, 40, 56-7, 58-9, 66-73, 81 -Appayya on 66; Abhinava on 66; Vamana on 66; and philosophical teachings 66-67; its greatness 66-7; its purpose to convey idea better 58, 67; the basis of numerous other figures, 66; two kinds, emotional and intellectual 214-5 Should not be an overgrowth 214 in drama 217 67 Should not necessitate Ullekha 41 57 special effort 89, 215, 238 Aupamya. See Upama. Skt. Poetics named after 51, 258-261, 264, 268 Dipaka 10, 40 Drstanta 41 Thematic points in drama Nidarsana 41 as 275 Parinama develops from Those in the Ramayana discussed 67, 70-1, 73-4, Rupaka 75; its defect 75. Paryayokta 65, 76 78-9, 81 Pratisedha 43 Those in Rudrata's VasPrasamsopama 11, 40 tava set 105 Preyas Use and abuse of 48-91, 197 Bhava discussed Use of particular Atisayokti 11, 23, 40, 41, 73, Alank. Bhavika. 56-7, 64-88 Bhavikacchavi Bhrantiman 77, 96, 97 fn. Atyukti 73, 143; loved by Gaudas 143 Anyapadesa 42 Anyokti, see Anyapadesa. Yukti Aprastutaprasamsa 23, 82 Arthapatti 41 Asis 43, 101 Utpreksa 76-7, 96, 131-2; appropriate 77; inapproSee separately. Mithyadhyavasaya Yathasankhya 75, 96%; cannot be spontaneous 75 ; rejected by Kuntaka Rasavad 76%; and Bhavika 128-130 Rupaka 10, 40, 41, 43, 61, 65, 67, 73, 81; and economy of language 67; 42,76 125 fn. 130 fn. 76 43 75 43

PAGE and emotion 67; flaws in Lesa Visesana Vyatireka Vyajastuti 73-5, 81 41, 95, 99, 100 ' kara in poetry comparable to ' Atman (soul, essence of 51-2 41 poetry) Camatkara as 41 270; Rasa-dhvani as 41 268 Beauty-realisation as 263 Slesa: 21, 34, 41, 61, 65, 77-80, 131-3 charming instances of 78-80 ; effective in gnomic poetry and Catus 79; favourite. of Udicyas 131-3; helps all Alankaras, except Svabhavokti 78-80; its flaws 27; overdoing of 79-80 Sabdabhanga variety of -Slistopama Samasokti 80-81; over-done 81 of Abhasa: caused by Anaucitya 230. See also Rasabhasa. Asukavi 83 6,8 Asrayasrayibhava (in laksa- nas) Aharya (Dress, make-up) 196. See also Pravrtti. Aharyasobha (artificial beauty) 162, 166-7 Upacara and Dandin's Samadhi 180, 181; as a Riti-defining feature 79-80 34 Sastraic variety 147, 179-181 82 Upadesa, teaching as an aim 42 of poetry 82 +1 Rsi and Kavi 92 95, 99, 100 Samuccaya Samsaya Suksma Hetu 41, 43, 95, 99, 100 -Arthalamkaradambara Alankarasastra: Explanation of the name 51, 258-62; its other names 258-67; called Kriyakalpa 26+-7; included in Vacikabhinaya or Bharati vrtti Rasa, Dhvani and Aucit- 159 177 ya its 3 great contributions 225 Graphic presentation of its schools 256 Alankara vadins 260 Alankara-age of Skt. Poetics Alankaras in Music 208-9, 260 52 fn. va, Hava etc 174; AlanAlamkaras of damsels, BhaAucitya 10, 19, 20, 24, 55-6, 60, 122, 194-257 (history of) And Agni purana 251-2; Abhinavagupta 227-30; Avantisu n dari 226; Anandavardhana 213- 25; Kuntaka 234-42; Ksemendra 245-51; Dandin 202-4; Namisadhu 208-13; Prakasvarsa 252-3; Bharata 194-8; Bhamaha 200-2; Bhoja 199-200, 230-4; Mahima 242-5; Magha 198-200; Municandra 50 fn. 200 fn.; Yasovarman 204-6; Rajasekhara 226-7; Rudrata 208-13 Lollata 206-8; Sarvesvara 200 fn.

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 And Rasa: arose out of Rasadoctrine 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 Patra (character) 205-6 And Laksana 10, 19, 20; Aksarasanghata laksana taken as Pada-aucitya And Vakrata (Vakrokti) 216, 237-42; identified with Vakrata 241-2; test of Vakrata 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 245, 253; as mutual help between parts 252; as the ultimate beauty in Kavya 20 241 54, 257 Of 235 As an Ubhayalamkara 251; as a Saodalamkara 252; as a Sadharana guna 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 255; as Proportion 198, 204, 206, 208, 219; as Propriety 197, 198 et. seq. as Relativity 196, 203, 255 as Sympathy 205 Of Alankara 10, 19, 20, 54- 56, 228, 238. (See also under Alankara.) Anuprasa 237. (See also under Anuprasa.) Of Aharya (dress) 194, 196, 213 of Upasarga 240, 248 of Karaka 222, 248; of Kala 248; of Kriya 222, 248; of Gati (verse, prose etc.) 233-4; of Gunas 10, 19, 199 (See also under Gunas); of Jati (languages) 233; of Tattva 248%; of Desa 248; of Nipata 248; of Pada 20, 222-3, 231-2, 247-8; of Patra 205-6; of Prakarana 219%; of Prakrti 222, 248; of Pratibha 236, 249; of Pratyaya 239; of Prabandha 218; of Bhavas 221, 228; of Yamaka 237, 239; of Rasa 156 (See Aucitya and Rasa and also separately under Rasa); of Riti 223. (See also under Riti); of

Linga 222, 240, 248; of Loka vrtta (Svabhava) 241, 249; of Vakta 217; of Vacana 222, 248; of Varna 199-200, 215-237; of Vacya (expression) 205, 217; of Visaya 145, 217, of Visaya-Riti 145, of Visaya-Vrtti (Anuprasa) 145; of Vrtta (metre) 244, 249; of Vrtti 223-5, 236-7; of Vrata 248; of Sabdalankaras -207-8, 209-10, 237; of Sattva 248; of Sarasangraha 248; of Svabhava 248-9 Criticism of over-emphasis on Alamkara and Guna 250; determines Gunatva 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 guna 244; in drama and other types of composition. 217; in grammar a sensedetermining 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 Kalah (Catussasti) Kavi and Rsi 293 PAGE 264 92 Kavivakya x Patravakya 74 Kavivyapara. See Abhidhavyapara and Vyapara 69 10, 13 Kavisiksa Kavyabhipraya Kavya beautiful mode of expression its distinctive feature 17; difference from Sastra and Purana 17; word and idea subordinate to mode of expression in 17. See also below Poetry. Kavyakriya 264-5 147 264, 266 Kavyapurusa (personified) Kavyalaksana Kavyasarira 6, 8, 9-11, 16-17, 19 Kuntaka and Ananda and Abhinava 236-41; full development of Bhamaha in 139; his originality 131 Krti (musical composition) 267 fn. Kriya (poetic composition) 267 Kriyakalpa, a name of Alank. Sastra Klistakalpana 264-7 71 Ksemendra and Ananda and Abhinava 245-8; and: Bharata 251; his originality Gati (gait-on stage) and 245, 269 86 233 172 character and Rasa (literary form, prose, verse etc.) and Aucitya As Riti Gadya compounds said to be the life of 88; considered test of a poet's powers 88; deterioration in latter-day writings 88

Guna 3, 6, 8-10, 19-20, 178, 256 Additional gunas (in Bhamaha) 138, (in Kuntaka) 168 Analysis of the nature of 141-3, of Dandin's 138- 9, 178-9, of Vamana's 179 Anitya or Vaisesika, relative, not absolute 201-4, 211-13, 226 Come under Bharati vrtti 177 Comprehends Alank. and Rasa 163, 178-9, whole range of poetry Considered Alankara by 141-3 Dandin 139 Difference from Laksana History of 178, 203 fn. 6 In Bhamaha 138 taraya) of 38 Strange notion (of AcyuTwo classes: first classification into Sabda g. and Artha g. 143 ; two sets: 3 Rasa gunas and 10 Bandha gunas Slesa etc. Viparyayas of 8,9 138-9, 141 And Aucitya: 199, 200, 215-7 Aucitya-rule a criticism of 250 Aucitya the greatest guna 200 See also under Aucitya. And Rasa: 3 Rasa g. 9; inherent in Rasa as its dharma 6, 8, 9, 182, 200, 215 135-168, 182, 192 And Riti And Vrtti And Sanghatana 138, as Sanghatana-dharmas PAGE rana gunas (of poetry in general) 235; Saukumarya and Ojas the Asadharana gunas of Vaidarbhi and Gaudi 161 Vaisesika gunas: See under Guna and Dosa as Anitya or Vaisesika; see also under Aucitya. Agramyata (as Madhurya) 179 Arthavyakti 107-8, 123, 157; and Schopenhauer (of the Suku. Abhijatya (of the mara marga) Udara 142; and Dhvani 142; its 2 varieties 157 168 142 Ojas 9, 138, 144, 145, 152 fn. 154, 181, 199, 200, 217; and Dirghasamasa-sanghatana 138: and Demetrius 161; Guna of Raudra rasa 182; suggested by Paru- sa Vrtti 187: Vamana's self-contradiction on 144 fn.; Ojas of Artha as Praudhi 205 fn. Kanti 104, 149, 151 of Dandin 142; of Vamana 143 Komalatva Prasada 9, 120, 123, 128 fn. 138 138, 148, 152 fn. 199, 200 And Asamasasanghatana 138 And Schopenhauer 157-8: and Stevenson 157-8 Guna of Sukumaramarga 168 Secured by avoiding compounds 167-8, by avoiding 142, 146 Asadharana gunas (style-defining) 235, and Sadhasuperfluous words 158, by using wellknown words Praudhi 189-90, 193, 205 fn.; 168 Ojas of Artha as 205 fn.

PAGE Bhavika (of Sabda) Madhurya 8, 9, 120, 138, 144, 146, 148, 152 fn. 215, 217; as Agramyata 179: as Uktivaicitrya 143, 167; as the primary guna of Sukumara Marga 167; as uncompounded words 167; guna of Srigara 182; produced by Srutyanuprasa 141; suggested by Upana鈥� garika Vrtti 232 187 Lavanya (of the Sukamara Marga) 168 Srutipesalatva 138 Slesa 8, 9, 141-2; as Gha- tana 143 Samata 141; and Stevenson 157 Samadhi 143; and Aupacarikapra y oga 180-1; and Samasokti Alank. PAGE In Dhvanyaloka, Locana and Hrdayadarpana Jagannatha on Orign onomotopoeic " in Paka Sastra Semantics of 268-9: sever- 269 271 269 268 al Alambanas' of 269-70 Ten kinds of Carutva. See Saundarya. Chandas 269 1, 3, 264, 265 Jati (Arthalankara). See Svabhavokti. (Sabdalankara) as appropriate use of different languages Jatyamsaka (music) Jivita' (life, essence of poetry) applied to Aucitya 54, 198, 213-235, 245-6, 253; applied to Rasadhvani 245-6 applied to Vakrokti Tattvajnana 233 195 235, 245 66 Tatparya versus Dhvani 250, 256 Dandin and Bhoja 139, 260 Darsana (poetic insight, per- 80-1, 143 Saukumarya 159, 189, 193; and Demetrius 161 Saubhagya 235 ception) Gunatva: not absolute, but Dosas relative 196, 255 171 Gumpha (poetic composition) Camatkara 239, 246, 247-8 268-71 Agnipurana on 269; all-comprehensive 268-9; and Adbhuta Rasa 269 and Dhvani, Vakrata and Aucitya 248; as Atman of Kavya 270; as supermundane delight 271 269 Equated with Atman and Rasa First regular approach from 270 48, 49, 92 95, 111, 254-5 As Anitya or Vaisesika (relative) 201-4, 211-13, 226, 232; Anaucitya general name of 243; Anaucitya greatest dosa Become Gunas 210-4, 211-13, 254; Apartha as guna 202; Upama dosas (Adhika and Nyuna) as gunas 213; Gramya as guna 211- 213; Punarukta as guna 202-3; Vyartha as guna 202-3; Srutidusta as 196

guna 204; Sasamsaya as g. Defined as hindrance to Rasa 243; five major kinds of (Vidheyavimarsa, Prakramabheda, Kramabheda, Paunaruktya and Vacyavacana) 244-5; incongruity with Rasa greatest Dosa 196; Mahimabhatta greatest exponent of 203 244 Of Upama (Nyuna and Adhika) 213, 232, 254; of Artha 213; of Rasa 209, 213, 223-5; of Vakyartha 200 fn. 232 Atyukti 159 Apada 231-2 Apasabda 153, 243 Apusta 112 fn. 116 fn. 132 fn; Aprayojakapadas 157, compared to Stevenson's caville 157; Aritimat 201; Avakara 157, 159: Avacyavacana 111, 112, 158; Gramya 211; Niralankara 112 fn. 116 fn. Nirasa 224; Nirasa as void of Rasa 243; Neyartha 157 Patradusta 225; Padapurana 158 Prahelika praya 159; Loka viruddha 202 248 Lokagamavirodha Vacyavacana 111, 158; Virasa 232; Virudha 232 Vyutpanna 159 Saithilya 141, 156, Srutidusta 204, guna in Raudra 154, 254, and Demetrius 154 Irrelevant introductions 220 Non-emphasis of the essential 220; overdevelopment of the nonessential or the part Dosatva not absolute but relative 220 196, 255 Dhvani 153 fn. 214, 228-30, 245, 250, 268 And Alankaras: origin in the analysis of some Alank. 260; and Udara guna (Dandin) 142; and Aucitya and Varkrata 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 Critics of 256: versus Anu- 222 250, 256 mana, Bhavana-Bhoga and Tatparya Only artistic process of Rasa-realisation Of Karaka, Tin, Sup etc. 222, 241, 2478 of Pada 247, 223 of (Atmane and Parasmai) Padas 222; of Prabandha 218, 221 of Varna 215; Sanghatana 216; of sound-effect 222, of voice Rasadhvani 213, 229. See also under Rasa. Dhruvas (songs) Natakalankara. See Natyalankara Natya Anukara of the world Natyadharmi 214 222 249 131 194

PAGE Natyalankara, a name of Laksana: 5, 6, 33-5, 43 Matrgupta the first. to speak of 30-33, 31 fn. a separate set in Bahurupa 35-6; a separate set but mostly identical with Upajati-list laksa- nas in Visvanatha 30-3 and Sagaranandin 274-5 Niss'reyasa Pataka (in drama) Pada vocabulary to PAGE 211, 223; See also Sila, Svabhava. Pratibha (Imagination, poetic genius): 8, 49, 63, 69, 112, 115, 124, 167; and Bhavika 124, 127; like Siva's 3 rd eye or Yogic vision 115 reality called forth by 118, writing inspired by 111 66 Pratyaksa, Savikalpaka and 207, 219 suit Nirvikalpaka 115 Prabandha guna 117-130, character 231-2; see also Aucitya of Pada and Dhvani of Pada. Padadhvani Panthah (Riti) 223, 247 172 Parispanda (activity of the poet) 8; three stages of Pallava (flourish of expression) 132 fn: essence of poetry at its best 132 bane of poetry at its worst 132 fn. Paka (maturity of poetic culture and expression) 38-9, 144 as the securing of gunas clearly and in full Pathyagunas Patra (character) : Rasadevelopment appropriate to 144 195 205-6 Patravakya x Kavivakya 74 Prakaranavakrata 219 Prakari (in drama) 207, 219 Prakrti (Nature, character): 194-6; infinite variety of 195 involves Aucitya and Bhavaucitya 221; its anaucitya 202-3, 221 199, 200, 233 Prabandha dosahana 219, 234; Pra. dharma 9; Pra. dhvani 218, 221; Pra. anga 26 Pra. alamkara 204 Prayoga (presentation of drama) Pravrtti (Aharya, Dress, Make-up) 131, 134, 119 fn. 174-7, 194 As Aharyabhinaya or Vesavinyasa 174; as Buddhyarambhan ubhava 175-7 131 133-4 And Riti -Daksinatya Pravrtti and its gracefulness Bandha (poetic composition) 17, 25 fn. 143. See also Gumpha and Sanghatana. Bandhas (Duskaras, Sabda citra) 88; least to do with poetry 88; Cakrabandha condemned Bana on provincial literary manners 131-3; his view of the best style Bhaniti (poetic expression) Bhallata his poignant ex- : perience 207 133 17 83

298 Bhana SOME CONCEPTS OF ALANKARA SASTRA Bhanika Bhamaha: and PAGE 275 275 Kuntaka 139; has no fancy for Ritis 151 fn ; on the requisites of good poetry PAGE Mahimabhatta: and Ananda 243 and Mammata 244 Marga : 12 Margas of Vacikabhinaya, Mimamsa sastra etc. As Riti 134-5 Bhavana (versus Dhvani) 124-127 124, 127 Bhavanavyapara Bhavika 108, 116, 117-130: Udbhata on 122-3, 125-6; Dandin on 121-3; Pratiharenduraja's significant exposition of 123-5; Bhatti and Jayamangala on 120-1; Bhamaha on 117-9, 120, 126 Ruyyaka on 127-130 And Bhavita, 12 th Lasy- anga 118-9 and Imagi nation 124 and poet and Sahrdaya 124, 127; and Rasa-realisation 123-4, 127, 130 fn.; and Rasavad and Svabhavokti Alankaras 128-130 As a Prabandhaguna 177-122 As a Vakyalankara 122-130 A live concept in preBhamaha days A necessity in poetry Alapa 177 172, 177 12 Yamaka (sabdalankara) 80, 142, 237, 239 Aucitya re. 210; condemned 159, 207, 214, 220; discriminate use of 210; in Dandin 179: permissible in Rasabhasa 88, in descriptions 87; rules. for its employment 86-7: to be avoided in Rasa, Srngara (Vipralambha) and Karuna Yogavrtti as a Riti-defining 86 feature 147-8, 151, 179-81 Ramaniya, Ramaniyaka. 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 Ksemendra 245, by Mahima 122 Bhoja's theory of 118 Came from Pakasastra Its difference from some Clear presentation of '' 126-7 on 5, 6, 27, 29 Alan karas 128; two kinds of Bhusana, a name of Laksana Bhoga (versus Dhvani) 250, 256 242 173 268 123 56.63 Concentation of the poet Controls mode of expression 145 Dispensed with by some aucityavadins 229 139 206-8 Everything flows from 196 Everything to be appropriate to 196, 214-5, dress appropriate to 194, fancies 195, music 195, Bhoja and Dandin 260; full development of Dandin in Mahakavya: every part of it to be Rasavat

PAGE And Dhvani; realised through 213-4, 229, 230 191 Dhvani And Bhavika And Ragas speaking 195, verbal qualities 195, Riti 201, vrtti 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 Anuprasa 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 Alankara the garment of 214 Word devoid of it the real Apasabda 243 And Alankara 50-88,206-8, 209-11, 214-5, 228. See also under Alankara. And Aucitya; aucitya its greatest secret 251 ; aucitya to it the real test 196; aucitya to it determines Gunatva 196; makes Aucitya intelligible 245, 247 And Anaucitya anaucitya greatest enemy of 251; anaucitya to it determines Dosatva 196 Aucitya of 10, 19, 44 fn. 194-257. See also under Alankara, Riti and Aucitya. And Gati on the stage 86 And Guna 6, 8; the Gunas of 145, 199; Guna, Dharma of 215 123-130 250 And Riti assignment of Rasas to Ritis 153-4 fn. ; in the definition of Riti 143, 145, 153 fn. 163; Riti appropriate to 201 And Vrtti 145; Vrttyangas; 7: Sabdavrttis And sound-effect 184, 186 86 And Raleigh and Pater 166 Adbhuta 62, 199; and Camatkara 269 ; and Dipti 199 Karuna 73, 80, 86, 215, 225 should not be overdeveloped 223; Sabdacitra inappropriate in 80-86 Bibhatsa 85, 184, 186, 201,250 Raudra 182, 186, 199, 217, ; 225, 254 and Dipti 199, 215; and Gaudi riti 201; harsh sounds suggestive of 200, 204, 215- 6; and Ojas 217; sounds appropriate to 154; and Sragdhara metre Laulya, proposed as a Rasa by some 250 253 Vira 186, 199; and Dipti 199; and Gaudi riti 201; and Sragdhara metre 245-250 Srngara 8, 64, 80, 86, 182, 186, 215, 254; and Kaisiki vrtti 145, 182; and Vaidarbhi riti 145, 154 fn. 201; and Sabda vrttis 184 186; must not be overdeveloped -Vipralambha-Srngara 65, 66, 80, 214-5, 225; 223

and Madhurya 217; Yamaka improper in 214- -Irsya-Vipralambha -Srigarabhasa 220 61 253 Hasya 186; and Anaucitya 253-4 in Skt. Lit. 253 fn. Laulya an accessory of 253; produced by Anukrti and Abhasa 253-4 Rasa-dosas 209, 223-5; Virasa of 2 kinds 223-4; Nirasa 224; excess of Rasa 223-4; mix-up of contradictory Rasas 223-4 Rasa-prayoga 194-5, 198 Rasabhasa 230, 253. See also under Anaucitya. Rasaviyoga, securing eternal presence of Rasa ferring it to Vakrokti 162 234 Rasokti 92, 103; style preRasikas Ragas and Rasas Rajasekhara: source of Bhoja on Ritis Ramayana: Alankaras in 172 250 179 Ram. discussed 62, 67, 68, 70, 71, 73-5, 78-9, 81 Rudrata and Ananda 209 Riti 10, 223-4 38, 131-181, 256 Agnipurana on 151 fn. 173-81 Kuntaka on 139-140, 162-171 Kuntaka its greatest exponent 163; Dandin on 138- 143, 154-61: Bana on 131-3; Bhamaha on 134-8, 141 Bhoja on 152 his indebtedness on Ritis to Rajasekhara 178-181; Mammata on PAGE 146-7, 187-8; Rajasekhar on 147-51, 179-81 Rudrata on 144-5, 153 fn. 180, 191-2; Vamana on 143-4, 157-158; Singabhupala on 147, 152-3 fn. Minor writers on 152-4 fn. And Dhvani as part of its definition And Pravrtti 153 fn. 131 And Gunas at its lower level in Sabdagunas 143, at its higher level in Artha gunas 143; as its constituents 167; the gunas comprehending Alankara and Rasa 163, 178-9 And Rasas 145, 153 fn. 154 fn. Rasas as part of its definition 143, 153 fn. And provincial literary manners 131-7; dissociation from geographical divisions 144, 163-4 And style 140-172: does correspond to the western concept of style 140-172; Thematic treatment of style in Western Lit. 153-5 As Anubhava 146, 174-8 ; Buddhyarambhanuas bhava 174-8 As the characteristic way of a writer As characterised by an attitude to every aspect of expression As comprehending Alankara, Rasa and the whole field of expression 172 163 140, 163, 167, 169, 178-9

PAGE As expression appropriate to Rasa As infinite and not strictly classifiable 169-172; one poet's Riti subtly different from another's 190 171; two final types 139-40, 161-2; six in Bhoja 190 As the soul of poetry 143 As Vacikabhinaya 176 As Sabdasanghatana 146 Anaucitya of 201 Andhra (riti) Synonyms of: 147-153 fn.; Gati, Nadai, Panthah, Prasthana, Marga, Vali 147, 153 fn. 172, 177 Singabhupala's new names for Two main types; one preferring Sva b hava and Rasa uktis and showing Sakti 162, another prefering Va krok ti and showing Vyutpatti 162 153 fn. .Aucitya of 154, 201 Avantika (riti) 152, 190 Gaudi (riti) 100, 133-181, 192 on 16+ Criticism of the old views Defined by Anuprasa 146-7, 151 fn., 179-181; identified with Anuprasa Jatis, Upanagarika etc. 147; defined by gunas 138- 168; defined by Samasa 147, 151, 153 fn. 178- 181, 191-2; defined by other features 147, 151 fn. Yoga viti 147-8, 151, 179-181; Upacara in its definition 147, 179-181; the relation of these new defining features to the old ones, gunas Distinction of a poet due to his distinct Riti Higher and lower conceptions of 180-1 172 139 Origins of 131-3; pre-Bhamaha, pre-Dandin history of 131-3, 192 Related to character of poet (in Skt. Lit) 131, 140, 160, 163-171 Related to theme 145, 153-5 And Arabhativrtti 145; and Raudra Rasa 145; called Kathina by Singa 147, 150 fn.; equated with Parusavrtti 188; suitable to Vira, Raudra and Bibhatsa Rasas 201; stood for vigour 145; contrasted with Vaidarbhi 153 fn.; possible good type of 135-7, 140, 161; good type comparable to Kuntaka's Vicitramarga 139, and to the Forcible or Elevated style 140, 161; bad type comparable to the Frigid or Affected style 161; possible overdoing of its features Pancali (riti) 144, 145, 147, 150, 153 fn. 154 fn. 180-1, Akin to Vaidarbhi 144-5; Vaidarbhi minus Madhurya and Saukumarya plus Ojas and Kanti (in Vamana) 144; called 135 192

sincerity of artistic perfectio outweighing sinPAGE Misra by Singa 147; considered neither good nor bad 147%; defined as style with sound and sense well-balanced 150, as exemplified by Bana and Sila Madhyama (marga or riti) (of 150 cerity of emotion Vaidarbhi (riti) 133-162, 166 180-1, 188, 191 And Kaisiki vrtti 145 And Gunas: Madhurya Kuntaka): 165, 170; exemplified by Matr. 170 155 fn. gupta, Mayuraja and Manjira Misra ritis, one for each province Magadhi (riti) same as Maithili 148, 151-2, 153 fn. 15+ fn. 190; and Sripada, the Buddhist. writer 152 fn. 150-2 Maithili (riti) same as Magadhi Latiya (riti) 145, 152, 153 fn. 154 fn. 180-1, 192: akin to Gaudi 145; fourth Riti introduced by Rudrata Vacchomi (Vatsagulmi) name of Vaidarbhi after the capital of Vidarbhas, Vatsagulma 148; mentioned by Rajasekhara 148, by Simhadevagani in addition to Vaidarbhi 153-4 fn., by Hamsamitthu in addition to Vaidarbhi 144 154 fn. Vicitramarga (riti) 139, 140, 161, 162, 169, 170, 235; becomes Gaudi if it deteriorates 163, 165-171; exemplified by Bana, Bhavabhuti and Rajasupreme in it 145, 148; Prasada its characteristic 148 145 And Rasa Srngara its Rasa Also called Vacchomi (Vatsagulmi) 148; called Komala by Singa 147,153 fn. As the best style 143-4, 147-150 as name of uncompounded collocation 191 On its excellence: Dhanapala 149, Nilakantha diksita 149, Rajasekhara 147-9, 276; Vamana 144; Sriharga Possible bad type of 135-7; possible overdoing of its. features Sukumara marga 139, 140, 161, 162, 165-171, 235; compared to the classic manner 163, to the Vaidarbhi 139-40, 161; exemplified by Kalidasa and Sarvasena 170; result of sincerity of emotion Saurastri (riti) Laksanas 149 135 166 153 fn. 1-47, 177 38 AbhinavaAccording to Acyutaraya " " gupta 11, 13, 15-25, 39, 44 According to Alaka " " sekhara 170%; result of 35 Kumbhakarna 36-7

PAGE >> " ,, Jayadeva 28-9 " " caspati 25 According to Jagaddhara. 34 Tarunava. Compared to Samudrika Laksanas 7, 12, 29, 37 9 Compared to texture (Sparsa) Tauta 3, 4-5, Evolution into Alamkaras " " Dandin 25 " " " " " " 11-12,21-3,39-43 Dhananjaya 25 Dhanika 26, 33 Bahurupa- " m " misra 35-6 " " Bharata 2, 6, Bhoja 39-44 26-7 "" " Margupta 32 fn. Raghava- 8-11, 40-3 Inclusion in other concepts, Alank, or Bhava 5, 14, 25-6, 30, 33, 37, 44 Lists of 45-7; literature on 4-6; not elaborated in later lit. 2 Other names of 6, 27, 29-36; (See also Bhusana, Vibhusana, Natyalamkara) Relation to Alankara 2, 5-6, 8-11, 13-23, 27-43 " " Ratnakara 34-5 " " " " bhatta Rucipati " " 33-4 " " Aucitya 10, 19, 34 20,24 " " Visvanatha 30-3 Vaidyanatha payagunda 29 Saradata- " "" Bhava 5, 14, 25-6, 30, 33, 44 " " " " Guna 6, 8, 19-20, 22, 33 fn. " " naya 27-8 Singa bhu- " " pala 29-30 Sarvesvara 37 " " " "" " mamsa " writers 37-8 6-13 Sahityami- 禄 pre-Abhinava As Abhidhavyapara 16-18, " " " " " 21, 23 characteristics of different types of Kavya 9, 131 features of drama 7, 13- 4, 26-8, 30, 33, 35 Kavyasarira 6, 8-11, 16, infinite 19, 22-3 18, 24 as multiplier and beautifier of Alankaras 10-1 21-5, 40, 42 27-8, 39 " " Sandhyangas 7 " " 12-6, 26-7, 44 Vrttyangas Ten old views 5, 6-14; twofold (Alankara-like and Bhava-like) 13-4, 44 Siddha and Sadhya 7; two recensions of Bharata's text 3, 5, 18, 26, 28, 31-2, 45-7 Anustubh recension 3, 4, 34, 39 fn. 45-7. Upajati rec. 3-5, 28, 30, 35, 37-9, 41, 44-7; Upajati laksanas as Natyalankaras 31 (See separately Natyalankara); clever explanation of the two rec, 18; those common 7

to both rec. 4, 45-7; differences between the two 3, 4, 30-1 45-7; ininclusion of those of one in the other 4, 18 fn. 45-7 Come under Bharati vrtti 177 Lasya 118-9; Lasyangas 275 Lokadharmi (realism of Bharata's stage) 131 fn. 194 Lokasvabhava 249. See also Prakrti, Sila, Svabhava. Vaktrokti (Vakrata) 78, 92, 95-6, 102-3, 109-10, 168-9, 228, 235, 256 And Dhvani and Aucitya 237-42, 241-2, 247-8 As the striking, beautiful expression distinguishing Kavya 17, 43, 92, 95, 96; a continuation of Alankara 260; arose out of Alankara 228, 260; dominates in Vicitra marga Of Sup etc. 169 241, 247-8 Pervasive of the whole range of poetic expression 92; style preferring it to Svabhava-ukti or Rasa-ukti 162 Varnadhvani 154, 215; in Demetrius 154 Varnana (poetic presentation and expression) 48, 92; an aspect of poetic activity Varnavakrata Vastu (idea, story) 244; to be the body of Rasa Vartta Antithesis of Kavya 96-7, 99, 100; expresVacikabhinaya Vacyavacaka 8 215, 237 218 1 225 sion in Loka and Sastra 96; 'oosely used for Svabhavokti or Jati 96; Jayamangala (on Bhatti) on 97; Dandin on 97, 100, 104-5; Bhatti on 96; Bhamaha on Alankara in Jayamangala 98; not Alankara in Bhamaha 96-100; a different concept altogether in Dandin 100, 104-5; two varieties in Jayamangala Vibhusana, a name of Laksana Vivaksa Vithyangas 96 97-8 6, 32 fn. 231 14, 275 Vrtta (metre) 84; aucitya of 249, 250; its need in poetry 84; Anustubh and narration, summing up and pointed speech 250; Sragdhara and description of war, Vira, Raudra and Bibhatsa Rasas Vrttis of Natya (four) 38, 134, 174, 178, 182-3; six in Bhoja 190; the nature of Vastu or Itivrtta or ideas And Guna 145, 182; 250 182 result of Gunas 184, 186 And Riti 182: comprehends Riti 174 ; similar to Riti 193; but more intimate with Rasa Applied from Natya to Kavya 145; history in Kavya As Anubhava 146, Buddh- 146 145, 182-193 yarambhanubhava 174,

PAGE PAGE 175; as Cesta or whole dramatic action 174, 176; as expression appropriate to Rasa 146, 185; as the disposition of letters to suit Rasa 184-5, 187-8 Arabhati vrtti 176, 177; and Angikabhinaya 176; and Ojas 182, 191; and Gaudi riti 145, 182, 191; and Raudra Rasa 145, 181 in Kavya Madhyamarabhati Kaisiki vrtti 134 and Madhurya guna 183, 191; and Vaidarbhi riti 145, 183, 191; its Rasas, Srngara and Karuna 145, 191 graceful Abhinaya and dress included in 182 190 174, 176 182 -Madhyama Kaisiki 190 -in Kavya Bharati vrtti 174, 177, 178 an As Vacikabhinaya 174-5; as the realm of Ritis 174-5 becomes Arthavrtti with changed meaning in Kavya 187, 190, 193; includes the entire Alankara Sastra 177; its nature 190-1; its Rasas Hasya, Adbhuta and Santa 191; whole Sravya Kavya its field 182 Sattvati vrtti 176-7; changes meaning in Kavya 190, 193; in Kavya 182; its nature 190-1; its Rasas Vira and Bhayanaka - Vrttyangas 7-25; and Laksanas 191 7 Vrtti several concepts of the name of -as Anuprasa Jatis 183: See under Anuprasa as Sabdavrtti 183; See separately Sabdavrtti and Vrttyanuprasa under Anuprasa -as Samasa Jatis 183. See under Samasa -Two kinds, Artha Vrtti and Sabda Vrtti 146, 185 Artha vrtti as ideas suitable to Rasa 185-6, 190; Sabda vrtti, See above Vaicitrya 216 fn; another name of Camatkara or Vakrokti 183 247-8 173 Vaidagdhya 69; vagvaidagdhya of Agni p. compared to Vakrokti Vya para (poet's activity). 8, 12, 17, 20, 266 Vyutpatti 69, 82, 162, 164, 170; style showing more Vyutpatti than Sakti 162 Sakara and Dosas becoming Gunas in his portrayal 254 Sakti (poetic genius) 60, 162, 164 the style owing more to it than to Vyutpatti Sankaravarman, King (and Bhallata) Sabda in poetry Sabda vrtti (Upanagarika 162 83 236 etc.) 146,183-190:as Anuprasa Jatis 146-7; as the Ruis 187-8; as varieties of Varnasanghatana 188; as the use of words suitable to Rasa 185-6 20

CONCepts of aLANKARA SASTRA PAGE PAGE Sabdartha pravibhajaka dharmas Sabdalankaras 84-88, 196, 207-8, 209-10, 214, 237- 93 inappropriate when Rasa is to be supreme 197; in Dandin 142, 179; provision for Sabdacitra in Rasa bhasa For Aunprasa, Bandhas (Duskara) and Yamaka, see separately. Silpaka, Uparupaka 231 59 275 Sila 195-6, 207. See also Prakrti Sangita 259 Sanghatana: And Gunas 138 As collocation 192 Aucitya of 199-200, 215-7 215 as 146 Of Varnas (letters) 200; suitable to Rasa -Sabdasanghatana Riti Samasa in Sanghtana as Riti-determinant 138; Asamasa Sanghatana as Vaidarbhi 191; varieties of Samasa as other Ritis ---Sanghatanadhvani 191-2 216 Sandhyangas 7, 25-7, 44, 207, 221-2, 275; and Laksanas 7, 12-16, 27, 44; suggestiveness to guide the use of 221 Samasa 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 ' by Gaudas 150; 路 mentioned by Aristotle 154 ; not favoured by Vaidarbhas 168 ruinous to em. phasis and understanding 167 varieties of compounded collocation called Vrtti 183; taken as the sole Riti-determinant by Rudrata 191-2; uncompounded is Vaidarbhi 191 compounded yields Gaudi, Pancali and Latiya 192 Sahrdaya 57, 124, 168, 208, 235, 252, 256; his experience a circuit starting with the poet and ending with himself 124; his experience an asthetic re-creation Sadharmya vaidharmyapariksa Sadharanikarana (universalisation) Samanyabhinava 124 66 129-30 119 fn. 7, 12, 37 52, Samudrikalaksanas 7; and Laksanas Sahitya 235-6, 244, 258-9, 264, 268; concept born of grammar 258: explained 259; name of Skt. Poeties as common as Alankara Sahitya vidya (personified) 447 her nuptials with Kavya purusa Saundarya (Carutva, Ramaniyaka Beauty) 50-1, 90, 261-3; aim of the poet 90: Alamkara equated with Alankara 50-1, 261; or Dhvani 259 148

PAGE 48-50 desirable only when there is 24, 262; called Camatkara 263, Ramaniya 263, Vakrata, Vicchitti, Vaicitrya 263%; of form necessary in poetry -In Appayya 262, Jagannatha 263, Dhvanyaloka and Locana 261-3, Bhoja 262, Vamana 50, 261, Vyaktivivekavyakhya 51, Western Literature 263 -Its Realisation soul of Kavya Poetry embodies it thro' Artha and Sabda Svabhava (Character, Na PAGE on 96-97 Bhamaha on 94-6 ; Bhoja on 106-110; Mahiman's eloquent defence of 110-16; Rudrata on 95 fn. 105; Ruyyaka on 116; Vamana on 107- 8 Vidyadhara on 116, Vidyanatha on And Arthavyakti guna Bhavika Vartta " 93 fn. 107-8,110 116, 128-30 96-9 95 fn. 105 Vastava group of figures " 263 in Rudrata 271 ture) 236, 240, 242, 248 See also Prakrti and Sila. Svabhavokti 42. 49, 58, 64, 92-116, 244 Agni purana on 108-9; Udbhata on 106; Kuntaka's rejection of 93 fn. 110, 111, 113 Kumarasvamin on 93 fn.; Jayamangala on 97-100; Dandin on 94, 102, 103; Namisadhu on 95 fn. 105- 6 Bana on 92; Bhatti Called also Jati 93, Svarupalankara 109; Rjukti 110 Comprehended in Vakrokti for Bhamaha 95, 103 Divided into 4 by Dandin 94, 103 into many by Rudrata and Bhoja 103, 105 Explained as Guna-ukti by Bhoja 109-110 Should be striking and vivid 93, 103, 105-6, 115-6, 133; style prefering it to Vakrokti Hasya See above under Rasas 162 ENGLISH ACTORS 195, 196 Adaptation 197-212, 217, Agreement 208. See above Aucitya. 226, 232, 254-5; Allegory 67 converts Dosas into Anthologies 82 Gunas 201-12, 217, Arts. See above Kalah. 226, 232, 254-5 Atmosphere 225, 232 See also above Aucitya. Aesthetics 263 BEAUTY. See above Saundarya.

CACOPHONY: to be avoided 239 Caville (Aprayojaka padas) Character (personality, " 157 soul) of poet 160, 163-171 in the story. See above Patra, Prakrti and Sila. Classical manner: culmi. nation of art 163 Comedy, Comic: employment of Nyunopama and Adhikopama in 213. See also above Hasya. Compounds. See above Samasa Conceit. See above Utpreksa under Alankaras. Conductors (of drama) Continuity 220. See also 195 above Anusandhana. Court-poetry 76: its farfetchedness Decoration. See above Alankara and Aharya. Descriptions: should be organic, structural, necessary and naturally emergent 207; should be proportionate and harmonious 76 219 Digressions (descriptive) 219 Double Entendre. See above Slesa under Alankara. Drama 26, 28, 119; as imitation of the three worlds 194, and of states of personalities 194 ; as representation of moods 196; Alankaras not to be emphasised in 217; grammatical 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 Dress. See Make-up as also above Aharya and Pravrtti 1 199 155-6 EFFECTIVENESS the test Emotional suggestion Episodes (sub-plots) 207, 219. See also above Pataka and Prakari Excellence of build Excess to be avoided: decorative 160; descriptive Expediency the test Expression: the empirical technique' 255; symbol and vehicle of Rasa 225 appoporiate Prakrti 205. See also above Abhidhavyapara. to 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 Fine Arts Flaw not absolute, but relative 196, 199. See also above under Dosa 204 207 199 Form essential in poetry 48-50, in art 73 263 92

GENDER: preference of femenine 80; and Dhvani Genius (poetic) 8, 49, 261. 309 PAGE Literary forms (play, epic 222, 240 etc.) Logicians 217 115 See also above Sakti Goodness, not absolute, but relative 195, 199 Grammar 1, 266; grammarians 266; grammatical flourishes HARMONY 198, 204, 206, 208, 213, 216, 219, 255, 257. See also above Aucitya Hyperbole 142; Gaudas' love of 142. See also above Atisayokti and Atyukti under Alankara IMAGINATION. Pratibha See above Imitation of art (counterfeit art) Impressionism Incidents. See story Jingle 218 60 250 222, 225 KASHMIRIAN ALANKARIKAS 228 Keeping (harmonising of medium) LANGUAGE: Aucitya of dialects 233; exploitation of all the means afforded by 255 MAKE-UP, Dress, 194, 196. See also above Pravrtti Maturity (of expression). See above Paka Maturity (of poetic power) defined as securing expression suited to Rasa Metaphor. See above Rupaka under Alamkara Mimamsakas Moderation 226 94 fn. Moods: Drama the representation of 196; source of action etc. Music: appropriate to 168 196 Rasa 195; of Dhruvas 249; of words 84 ; musical qualities of Rhythm 155 NATURE 194, 196. See also above Prakrti, Sila, Svabhava, as also World Natural Description. See above Svabhavokti Natural Beauty 10, 20, 22, 159, 162, 166-7; rendered further attractive 170 ONOMOTOPOEIC effect : Originality of Kuntaka 131; of Ksemendra 245, 269; lack of 222-3 PAINTING Parable Parody Laughter. See Comedy, Comic as also above Hasya Letters suggestiveness of 237. See also above Varna 84-5 88-9 255, 263 67 254 Perception. See above Darsana

Poet compared to Rsi 118. See also above Kavi Poets see world as made in beauty 80; those with learning, but no imagination -of latter day: artificial- 69, 70, 82 ity of 88; experts in Yamaka 87, in Slesa Poet's attitude 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 Poetic Expression. See above Abhidhavyapara, Alankara, Vakrokti Poetic insight. See above Darsana 77 253 124 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 (Abhidha pradhana) 92 ; as expression of the poet's mind 91, 122; as lila of the poet 91; its enjoyment an asthetic recreation 124; its essential features according to Bhamaha 134-6; must be sensuous 84; neither pure emotion nor pure thought 89; nor even mere manner 89; not to be judged viewfrom utilitarian point 91; past and future made present in 118 similar to God's lila of creation 91; a striking form natural to it 94; teaching as an aim of 82; versus ordinary talk and scientific expression See also above Kavya Practice. yasa 94,96 See above AbhPrecision of expression with ref. to emotional suggestion 155-6, 163 Production (of drama) 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 Vrtta manners 196 Provinces and : and literary 131-4, 150 -Gaudas 131-168. See also above Gaudi under Riti -Daksinatyas 148; -Vidarbhadesa Vatsagulma its capital 148 headquarters of poesy 148; home of grace 133-4; Vaidarbhas 132-168. See also above Vaidarbhi under Riti 150

Northerners -Westerners PAGE 131-2 131-2 - Easterners. See Gaudas Pun. See above Slesa under Alankara REALISM. See above Lokadharmi : Relativity of good and bad in poetry 196, 203, 255. See Adaptation Relevancy Representation 'as) Restraint 204, 206 (Drama 196 142 54 Rhetoric not poetry SANSKRIT Literary CritiCISM 194, 255. See also above Alankara Sastra Sanskrit Poets their ear PAGE 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 a higher and lower conception of 140 and oratory 160; certain fixed types of 140, 141; does correspond to Skt. Riti 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 Elegant 160 " 140, 154, " for the music of words Satire 254 Nyunopama and Adhikopama used in 84 213 263 Sculpture Simile. See above Upama under Alankara. Simplicity in art 157, 160 Sincerity 166 two kinds, emotional and artistic 166 Sound-effect 84-6, 91; and Rasa 86 and Riti and Vrtti 160, 161; suited to Srngara Elevated style 154, 160, 161; may deteriorate into Frigid and Affected styles 163; suited for battle description Forcible style 154, 160- 1 ; 155 154 may deteriorate into Frigid and Affected styles 163 86 Frigid style 139, 160-3; Sounds Pleasing 239; compared to Gaudi 161 torturous 239 Grand style 155; suited Speech and Rasa 196; to superhuman and appropriate on stage 195 majestic theme 155 Stage 194-6 Idealism and Grave style 160 Conventions and RealMedium style 160 ism of 195 fn. Plain style 140, 154, Stock Diction 88-9 160, 161

Subjectivism 249 WESTERN LITERARY CRISublime 263 TICISM 153-63, 255 fn. Surplusage 158; to be reWestern writers: and Skt. moved 60; see also above writersAprayojakapadas and Bramaha and SchopenAvacyavacana under hauer 159 Dosas Bhamaha and WinchesSympathy (mutual conter 162 formity of parts) 208 hauer 157-9 TEACHING as aim of poetry. See above Upadesa Text-reconstruction : Agnipurana 176 fn. 180 fn. Bhamaha 98-100, 259; Locana 186,229; Vyaktiviveka 113-4 Theme: See story; and Riti. See above Riti VERBAL ORNAMENTS: See above Sabdalamkaras. Verbal qualities: suited to different emotional situations 199-200 Visual suggestion of imagery 155-6 Dandin and SchopenDandin and Stevenson 156 Kuntaka and Demetrius 161 Kuntaka and Winchester 162-3 Mahima and Stevenson 157 Vamana and Stevenson 157 Vamana and Schopenhauer 158-9 Word echoing sense 84; their music 84; the suggestive, proper or strong word World ground of reference of success of art 195; pramana of Natya 195. See also Nature and above Prakrti, Sila and Svabhava. 223