Studies in the History of Sanskrit Poetics v2.c85.11

v2.c85.11

Mammaṭa’s general standpoint will be obvious at a glance by examining his well known definition of poetry. Although he adheres in the main to the teachings of the Dhvani school and accepts *rasa* as an important element of poetry, his definition *tad a-doṣau śabdārthau saguṇāvalaṃkṛtī punaḥ kvāpi* ("poetry consists in word and sense, devoid of the defects and possessing the excellences, and sometimes devoid also of poetic figures") follows the time-honoured custom of starting with word and sense (*śabda* and *artha*) and mentioning the *guṇa*, *doṣa* and *alaṃkāra*; but it does not expressly include any reference to *dhvani* and *rasa*, which are apparently comprehended by implication. For, following up this definition, Mammaṭa begins with the discussion of the functions of *śabda* and *artha*, incidentally establishing the function of suggestion (*vyañjanā*) and the superiority of the suggested sense (*vyaṅgya artha* or *dhvani*), and divides poetry into three classes (viz., *dhvani*, *guṇībhūta-vyaṅgya* and *citra*) in relation to the suggested sense. This leads him to enumerate and exemplify the various subdivisions of these three classes of poetry, and in this connexion dilate upon the nature and theory of *rasa*, which is included in the scope of "suggestion of imperceptible process" (*asaṃlakṣya-krama vyaṅgya*). In this context, he examines and rejects the views of Loṭṭa, Śaṅkuka and Bhaṭṭa Nāyaka, and accepts the *vyakti-vāda* which he ascribes to Abhinavagupta. Mention is made of the eight orthodox dramatic *rasas* (*aṣṭau nāṭye rasāḥ smṛtāḥ*), but the ninth *rasa*, the *śānta*, is added, apparently as relevant to poetry.