Studies in the History of Sanskrit Poetics v2.c85.80

v2.c85.80

into eight *ratnas*, consisting of twenty-two *marīcis*. The first *ratna* defines *kāvya* as *rasādimat vākya*, and discusses *pratibhā* etc. as its sources. After an enunciation of three *rītis* (*vaidarbhī*, *gauḍī* and *māgadhī*, (which are defined with reference to the employment of compounds), along with *ukti* (4 kinds) and *mudrā* (4 kinds), it goes on to discuss the three usual functions, viz., *śakti* (=*abhidhā*), *lakṣaṇā* and *vyañjanā*. Then comes the *doṣa-ratna*, in which are detailed two series of eight faults each of word and sense, and twelve defects of sentences. The next section, called *guṇa-ratna*, deals with five excellences of *śabda* (viz., *saṃkṣiptatva*, *udāttatva*, *prasāda*, *ukti* and *samādhi*), and four excellences of sense (viz., *bhāvikatva*, *suśabdatva*, *paryāyokta* and *sudharmitā*). This is followed by a discussion of the cases where some of the above *doṣas* may sometimes become *guṇas*. The influence of Bhoja's opinions on this part of the work is obvious. Then comes the *alaṃkāra-ratna*, where mention is made of eight figures of sound (*citra*, *vakrokti*, *anuprāsa*, *gūḷha*, *śleṣa*, *prahelikā*, *praśnottara* and *yamaka*) and only fourteen figures of sense (*upamā*, *rūpaka*. *utprekṣā*, *samāsokti*, *apahnuti*, *samāhita*, *svabhāva*, *virodha*, *sūra*, *dīpaka*, *sahokti*, *anyadeyatva* = *asaṃgati* of Mammaṭa, *viśeṣokti* and *vibhāvanā*). This is followed by a curious chapter, entitled *varṇaka-ratna*, in which are detailed the *upamānas* of a damsel, of her complexion, hair, forehead, eyebrows etc. It goes on to give practical hints as to how poets should describe the physical characteristics of the hero, mentions words which convey the idea of similarity, details the conventional usages of poets (*kavi-samaya*), as well as the topics for description (such as the king, the queen, a town, a city, a river etc.) and the way of describing them, the colours of various anything fresh to our knowledge²⁸. Jayadeva's *Candrāloka*²⁹, has been a deservedly popular manual, but in spite of its clearness and brevity of