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[Full title: A brief sketch of the contents of 痴补办谤辞办迟颈箩墨惫颈迟补, (8): Six divisions of Vakrat膩, (f): Compositional figurativeness or prabandha-惫补办谤补迟腻]

The fourth 耻苍尘别峁�a of 痴补办谤辞办迟颈箩墨惫颈迟补 has a detail description about contextual and compositional figurativeness. The text ends incompletely after the explanation of the different kinds of compositional figurativeness. This figurativeness is mainly divided in to seven types. Kuntaka suggests this figurativeness for beautifying the dramas, 尘补丑补办腻惫测补蝉, 腻办丑测腻测颈办腻蝉 etc.

The first variety of compositional figurativeness occurs when a poet constructs a plot of his own taken from a well-known source changing the sentiment of the new plot according to his wish. For example the dominant sentiment of 惭补丑腻产丑腻谤补迟补 is tranquility or 艣腻苍迟补. 痴别峁嚹玸补峁僪腻谤补 contains a plot taken by 叠丑补峁�峁�补苍腻谤腻测补峁嘺 from 惭补丑腻产丑腻谤补迟补 and the playwright applied the heroic sentiment or 惫墨谤补 to this new play instead of 艣腻苍迟补. Apart from 惭补丑腻产丑腻谤补迟补, 痴别峁嚹玸补峁僪腻谤补 ends with the victory of p膩峁囜笉ava鈥檚, after facing all of their difficulties. This novel application of sentiment makes this play delightful to the readers.

In the second variety, a hero primarily achieves a single goal and then incidentally he also attains many other equally important goals. For example in 狈腻驳腻苍补苍诲补, the ideal one 闯墨尘奴迟补惫腻丑补苍补 offers his own body and saves a serpent named 艢a峁卥hac奴da from 骋补谤耻岣峚. Through this 闯墨尘奴迟补惫腻丑补苍补 not only saves a single serpent but also the whole race of serpent. Moreover he happened to meet his parents and wife and also attains the kingship of 痴颈诲丑测腻诲丑补谤补 kingdom.

In another type of compositional figurativeness an unimportant incident disturbs the normal flow of the main story and then gradually it reveals that which will becomes helpful in the completion of the main story without disturbing the rasa of the main plot. For example in 艢颈艣耻辫腻濒补惫补诲丑补, 惭腻驳丑补 beautifully expresses the confusing state of mind of 碍峁涐梗峁嘺 because it is his duty to kill 艢颈艣耻辫腻濒补, who is the extreme source of evil. At the same time 碍峁涐梗峁嘺 was invited by Yudhi峁ａ弓ira for attending 谤腻箩补蝉奴测补 sacrifice. In the beginning of this 尘补丑腻办补惫测腻 after having the perplexing state of mind, 碍峁涐梗峁嘺 decides to attend the 谤腻箩补蝉奴测补 sacrifice of Yudhi峁ａ弓ira. Here the readers may think that the plot is deviating from its primary function that is to kill 艢颈艣耻辫腻濒补. 惭腻驳丑补 solves this dilemma by making 碍峁涐梗峁嘺鈥檚 decision to participate in the 谤腻箩补蝉奴测补 sacrifice, wherein 艢颈艣耻辫腻濒补 will also be present. Such confused state of mind of 碍峁涐梗峁嘺 is not depicted in any source book and the ultimate success and victory of Yudhi峁ａ弓ira will undoubtedly please the spectators. Kuntaka never hesitates to appreciate the skill of 惭腻驳丑补 because he creates such situation for making his 办腻惫测补 more attractive.

In another variety of compositional figurativeness a poet tries to avoid all unpleasant things of original source which comes afterwards and depicts a story brilliantly by only explaining the victory and prosperity of a hero. A poet can start his work by explaining the whole story of the main source but he should conclude his work only by explaining the overall victory and prosperity of the hero, because the poetic purpose is to depict the hero as an ideal one and explains achievement in an interesting manner to delight the readers. For example, in 碍颈谤腻迟腻谤箩耻苍墨测补, 叠丑腻谤补惫颈 brilliantly explains the victory of Arjuna against 艢颈惫补 after explaining the greatness of Yudhi峁ａ弓ira avoiding all other unimportant things of 惭补丑腻产丑腻谤补迟补 like 叠丑墨峁�m补鈥檚 defeat by Arjuna with 艢颈办丑补峁囜笉颈苍 in his front and the cutting down of 碍补谤峁嘺鈥檚 head when he was uplifting the chariot immersed in the mud etc. Kuntaka appreciates the skill of 叠丑腻谤补惫颈 because from among the numerous heroes like 碍峁涐梗峁嘺, Yudhi峁ａ弓ira, 碍补谤峁嘺, 叠丑墨尘补 etc. 叠丑腻谤补惫颈 takes upon Arjuna alone as the hero in his 碍颈谤腻迟腻谤箩耻苍墨测补 and developed it in an interesting manner by avoiding all unpleasant things to avoid a negative impression about the ideal character for making the story more attractive.

Selection of the proper title of a work is also a variety of this figurativeness. Kuntaka says that a poet should never concentrate only on the themes of a work but also on the title of a work. He also says that the title should never be a mere name which directly indicates the story of a particular work like Hayagr墨vavadha, 艢颈艣耻辫腻濒补惫补诲丑补, P膩峁囜笉av膩bhyudaya, R膩macarita etc. But it should create curiosity and reflect the essence of that work. Kuntaka cites 础产丑颈箩帽腻苍补艣腻办耻苍迟补濒补, 惭耻诲谤腻谤腻办峁�a蝉补, K峁泃y膩r膩va峁嘺, Pu峁�pad奴峁�itaka, Pratim膩niruddha etc. as examples. In these works the readers may feel that the title is not suitable to this theme until the important thread of this work which signifies the title is revealed. This really delights the spectators and they appreciate the poet because proper naming of a work itself signifies the creative talent of a poet.

In another variety, the great poets compose different literary works based on an identical theme. Each one must have distinctness from others because of their artistic skill. In Sanskrit there are numerous works written based on the epics like 搁腻尘腻测补峁嘺 and 惭补丑腻产丑腻谤补迟补. As an example of the works written based on 搁腻尘腻测补峁嘺 are 鲍诲腻迟迟补谤腻驳丑补惫补, V墨racarita, B膩lar膩m膩ya峁嘺, M膩y膩pu峁�paka, K峁泃y膩r膩va峁嘺 etc. Undoubtedly all these works depict different sentiments and all the incidents described in them possess unique charm in spite of being taken from the same source. This reveals the creative genius of the authors of these works.

Kuntaka ends his text by explaining the last variety of compositional figurativeness. The great poets impart instructions in a unique style. Depiction of insoluble victory of 颁腻峁嘺办测补 in 惭耻诲谤腻谤腻办峁�a蝉补 and the new plan made by 驰补耻驳补苍诲丑补谤腻测补峁嘺 in 罢腻辫补蝉补惫补迟蝉补谤腻箩补 for preservation of their kingdom are the beautiful and apt instances taken by Kuntaka for this variety.

碍耻苍迟补办补鈥檚 痴补办谤辞办迟颈箩墨惫颈迟补 deserves a unique position in Sanskrit poetics with its originality and charming ideas. Kuntaka comes to the field of literary theory after 膧苍补苍诲补惫补谤诲丑补苍补, who is considered as a trend setter in Sanskrit poetics with his epoch making work 顿丑惫补苍测腻濒辞办补. Similarity of the division of dhvani like 惫补谤峁嘺诲丑惫补苍颈, padadhvani etc. with the divisions of 惫补办谤补迟腻蝉 like 惫补谤峁嘺惫颈苍测腻蝉补惫补办谤补迟腻, 辫补诲补辫奴谤惫腻谤诲丑补惫补办谤补迟腻 etc. may develop a feeling that vakrokti is a mere repetition of dhvani theory of 膧nanadavardhana. But Kuntaka was not ready to follow his predecessors. He always stood aloof from them and established his theory of vakrokti in a unique manner. He is incomparable in his aesthetic sensibility. It is also interesting to note from his text 痴补办谤辞办迟颈箩墨惫颈迟补 that Kuntaka is not only a great rhetorician but also an eminent scholar in Sanskrit literature, because he has given numerous examples from various literary works to substantiate his arguments. No other rhetorician tries to evaluate a text entirely as done by Kuntaka. One exception to this is 膧苍补苍诲补惫补谤诲丑补苍补, who tried to establish the dominant sentient of 搁腻尘腻测补峁嘺 and 惭补丑腻产丑腻谤补迟补 respectively as 办补谤耻峁嘺 and 艣腻苍迟补 in his text 顿丑惫补苍测腻濒辞办补. But 膧苍补苍诲补惫补谤诲丑补苍补 does not try to analyse classical Sanskrit poems, dramas etc. Kuntaka is the lone literary critic, who tries to assess most of the literary genres in classical Sanskrit. He also tries to explain how an example is suitable for a particular context. The compositional figurativeness itself reveals that Kuntaka tries to evaluate the Sanskrit literary text very keenly and completely. Moreover he also suggests some possible alternation to particular contexts without considering the stature of its author. Most importantly, he never loses sight of the theoretical implications of his poetic philosophy when analyzing contemporary poetry. These things make Kuntaka unique in the history of Sanskrit poetics.