Studies in the History of Sanskrit Poetics v2.c85.57

v2.c85.57

by the different tastes of different poetic *rasas*. Maṅgala, according to Rājaśekhara, regards *pāka* only as *sauśabdya* (excellence of words) or *tiṅāṃ supāṃ ca vyutpattiḥ* (proficiency in the use of nouns and verbs, cf Bhāmaha i 14-15). Vidyādhara admits only what is called *artha-pāka* above; but he alludes to the other theories which say that *pāka* consists of *pada-vyutpatti* (Maṅgala) or of *pada-parivṛtti-vaimukhya* (Vāmana). Vidyānātha calls this last *śayyā*, and accepts and defines *pāka* as depth of sense. Bhoja would call it *prauḍhi* and enumerate it as a *śabda-guṇa*. Rājaśekhara’s discussion of earlier views on this point (p. 20) is interesting and deserves quotation. ‘The *ācāryas* ask “what is *pāka*?” Maṅgala says “it is maturity (*pariṇāma*)”. “What, again, is maturity?” ask the *ācāryas*. Maṅgala replies “it is the skill in the use of nouns and verbs”. Hence it is *sauśabdya* or excellence of language. “The *pāka* is the fixedness in the application of words” say the *ācāryas*. It is said [by Vāmana i. 3. 15]: “The insertion and deletion of words occur so long as there is uncertainty in the mind; when the fixity of words is established, the composition is successful”. So the followers of Vāmana say “the *pāka* is the aversion of words to alteration by means of synonyms”. Therefore it is said [Vāmana, *loc. cit.*]: “The specialists in the propriety of words have called that *śabda-pāka* in which the words abandon the capability of being exchanged (by synonyms)”.