Studies in the History of Sanskrit Poetics v2.c87.4

v2.c87.4

Kṣemendra’s two works, *Aucitya-vicāra* and *Kavi-kaṇṭhābharaṇa*, which may be conveniently grouped here, are curious and valuable in many respects. In his theory of *aucitya* or propriety, he takes as his thesis, mainly, Ānandavardhana’s treatment of the same question with reference to *rasa* which is crystallised in the oft-quoted verse from the *Dhvanyāloka* : “There is no other circumstance which leads to the violation of *rasa* than impropriety ; the supreme secret of *rasa* consists in observing the established rules of propriety”³. To depict *rasa*, it is necessary to observe the rules of propriety ; and the subject, which is anticipated by Bharata (who, for instance, speaks of the proper employment of *anubhāvas*), may take various forms according as it relates to the subject-matter, the speaker, the nature of the sentiment evoked or the means employed in evoking it. We have already noted that this theme has been discussed topically at some length by the formulators of the *dhvani*-theory, by Mahima-bhaṭṭa, as well as by most post-*dhvani* writers who consider it generally in connexion with *rasa-doṣas*. Kṣemendra develops and pushes the idea to its extreme, and speaks of *aucitya* as the essence of *rasa* (*rasa-jīvitabhūta*), and as having its foundation in the charm or aesthetic pleasure (*camatkāra*)