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Studies in the History of Sanskrit Poetics v2.c89: I N D E X

Studies in the History of Sanskrit Poetics v2.c89

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English

Contents

I N D E X

v2.c89.1

Entries are confined to those passages which contain a substantive reference to, and not mere citation of, the persons, works or subjects indicated. The figures denote pages, and references to footnotes are marked with an asterisk. The following abbreviations are used : fig = poetic figure ; Agp = Agnipurāṇa ; Anv = Ānandavardhana ; Abh = Abhinavagupta ; Bh = Bharata ; Bhā = Bhāmaha ; Bh N = Bhaṭṭa Nāyaka ; Bhānu = Bhānudatta ; D = Daṇḍin ; Dh = Dhanañjaya ; Dhk = Dhvanikāra ; Hc = Hemacandra ; Jg = Jagannātha ; Knt = Kuntala ; Ks = Kṣemendra ; L = Lollaṭa ; Mmt = Mammaṭa ; Mkc = Māṇikyacandra ; Mbh = Mahimabhaṭṭa ; Rdt = Rudraṭa ; Rk = Ruyyaka ; Ud = Udbhaṭa ; Vg I = the older Vāgbhaṭa ; Vg II = the younger Vāgbhaṭa ; Vm = Vāmana ; Vis = Viśvanātha ; Vid = Vidyādhara ; Vin = Vidyānātha ; Snbh = Śiṅgabhūpāla.

v2.c89.2

abhaṅga-śleṣa 82 abhāvavādin, the school which denies dhvani 67 ; Bhā and Ud are not of this school 67 ; reactionary writers of this school 229 abhidhā, denotation of a word, 184f ; includes lakṣaṇā in Bh N 155, 234 ; its far-reaching function 157 ; as a means of generalisation 159 ; cannot comprehend rasa 170 ; as defined by different schools 184-5 ; in relation to vyañjanā 190f ; Dīrghavyāpāra-vādins on 192f ; as basis of vivakṣitānya-para-vācya dhvani 204, 321-2 ; postulated by Bh N 233 ; poetic figs as particular forms of 240 ; admitted by Agp 256 abhidheya (or saṃketita) artha 193 ; distinguished from vyaṅgyārtha 194 Abhihitānvaya-vādins 188f Abhinavagupta, his comm on Bh cited 3, 6*-19*, 20, 23*, 139 ; on the object of poetry 50-1 ; on pratibhā or śakti 53 ; on rītis and vṛttis 131; comments on Bhā’s vakrokti 136; interprets Daṇḍin’s idea of rasa 139-40; influence of Bh N on 159; maintains essentiality of rasa in poetry and in drama 160, 211, 224f, 283; criticises Bh N’s theory of rasa 164; his theory of rasābhivyakti (vyakti-vāda) 27, 165f, 171, 205*, 211, 224f; on previous existence of dhvani-theory 178; on the relation of indicated and suggested senses 195; defines citra-kāvya 201*; importance of his exposition of dhvani-theory 224, 227; Hc’s borrowings from 147*, 307; influence of his theories of rasa 325, 211

v2.c89.3

abhinaya, vācika 21; āhārya 350*; three kinds of 25, 349

v2.c89.4

abhineyārtha, drama, 56, 57. See rūpaka

v2.c89.5

abhiplutārtha, a doṣa in Bh 11

v2.c89.6

abhimāna, a lakṣaṇa, 313

v2.c89.7

abhimukha (rasa) 330*

v2.c89.8

abhisamḍhitā (nāyikā). See kalahāntaritā

v2.c89.9

abhisārikā (nāyikā) 341

v2.c89.10

abhivyakti (of rasa), Abh’s (q. v) theory of; synonymous with carvaṇā (q. v.) 171

v2.c89.11

abhivyakti, a fig, in Agp 260

v2.c89.12

abhiyoga. See abhyāsa

v2.c89.13

abhyāsa, poetical exercise or practice 54, 369; same as D’s abhiyoga 54

v2.c89.14

acala-sthiti or apṛthak-sthiti or asthiratva, of figs in relation to rasa 215*, 287

v2.c89.15

actor, when he is an appreciator of rasa 332-33

v2.c89.16

Acyuta Rāya, his work Sāhitya-sāra 312

v2.c89.17

adbhuta (rasa), implied in Bh’s udāra 18; emphasised by Nārāyaṇa 330; its presiding deity 344*

v2.c89.18

adhikôpamā 265

v2.c89.19

adhīrā (nāyikā) 340

v2.c89.20

adhyavasāya, complete superimposition, as basis of classification of figs 93-4.

v2.c89.21

Aesthetics, involved in Poetics 63*, 359*

v2.c89.22

aesthetic pleasure. See pleasure

v2.c89.23

aesthetic attitude, distinguished from the philosophic and natural, 158-9, 171f, 172*

v2.c89.24

Agnī-purāṇa, treatment of yamaka in in 8*; its definition of udāra 19*; its classification of riti and guna 130, 257-9;

v2.c89.25

school of opinion represented by 229, 254; nature and scope of the alaṃkāra-chapters in 255, 260f; features common with Bhoja's work 255f; ignores dhvani 255; unorthodox standpoint and spirit of eclecticism in 256f, 260f; its treatment of rasa 256-7; its classification of figs 259-60; accepts nine rasas 346, but emphasises śṛṅgāra 257; first admits śabdārtha-guṇas 259; its borrowings from older sources 255, 256f, 260; first admits ubhyālaṃkāra 91, 260

v2.c89.26

agrāmyatva, in D's mādhurya 101, 138, 139*. See grāmyatva

v2.c89.27

āhārya, a kind of abhinaya 350*

v2.c89.28

ahārya-buddhi (pupil) 369

v2.c89.29

akṣara-ḍambara, of the Gauḍas 95

v2.c89.30

akṣara-saṃhati, a lakṣaṇa, 313

v2.c89.31

Alaṃkāra, doctrine or system of 33; no particular theory in Bh 41; why so called 41-2; contemporaneous with dramaturgic Rasa system s42; earliest known exponents of 42, 48-9; coextensive with the original standpoint of the discipline itself 42, 269; its position explained 43f 269; Bhā not its originator 48; Ud as its exponent 87f; Rdt's relation to it 75-6; its decline connected with the rise of riti-system 84-85; D's relation to it 85, 96, 98f; its external theory of embellishment not accepted fully 86; influence on later systems 86; compared to riti-doctrine 127f; not coextensive with rhetoric 94, 241*; developed by Knt (q. v), Rk (q. v) and others

v2.c89.32

alaṃkāra, a term applied to to the discipline 41

v2.c89.33

alaṃkāra, in the general sense of beauty or embellishment 104f, 123-4

v2.c89.34

alaṃkāra, poetic figure, as a technical term unknown in early lit. 2; its limited sense and number in Bh 1, 4, 6-9, 20; not defined by Bhā 34, but its prominence in his system 41, 59, 66; conclusions re development of the discipline drawn from the treatment of Bh and Bhā 34f; Bhaṭṭi's treatment of 40; the discipline itself takes its name from 42, 43; in Ud 69f; in Rdt 76, 77f, 144-5, 80, 81, 83-4, 87; in D 85, 98, 106 f; its wider sense in D 104f, 85; not distinguished from guṇa in Bhā, D and Ud 74, 85, 104f; in Vm 123-4, 125f; sharply distinguished from guṇa by Vm 106, 123-4; its existence justified in poetry by Vm 125; its place in dhvani-system 86, 201, 207, 214-17, 220, 239; Knt's theory of 236f; as an aspect of and coextensive with vakrokti (q. v.), 65, 61*; significance of, justified by its vaicitrya (q. v.) due to kavipratibhā (q. v.) 94, 236f, 240f, 273, 288, 290f, 292, 291f, 323-4; included in citra-kāvya 201, 240; its relation to rasa 215-6, 276; its importance recognised in later systems 86f, 215f, 272-3; process of its multiplication 80, 87, 93, illustrated by an example 87f; difference of opinion on the nature and scope of individual figs 88f, the subject not

v2.c89.35

fully treated 89*; classification into subvarieties 91f, 93-4; works entirely devoted to 91, 93, 314, 316; in Agp 259; in Bhoja 261, 266; in Mmt 279; in Vis 287; in Hc 306*; in Jayadeva and Appayya 313-6; in Jg 317, 323-4

v2.c89.36

Alaṃkāra-cūḍāmaṇi 306*

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alaṃkāra-dhvani, 162, 220, 225f; not conveyed by abhidhā 193; included in saṃlakṣya-krama-vyaṅgya 204; in dīpaka 206; its place in a complete scheme of dhvani 208-9; resolves ultimately into rasa-dhvani 211, 226; can be vācya as well as anumeya 247-8; Vis on 283

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Alaṃkāra-doṣa 112*

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Alaṃkāra-kaustubha 316

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Alaṃkāra-mañjarī 290

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alaṃkāra-mukha (rasa) 330

v2.c89.42

Alaṃkāra-saṃgraha 69. See Udbhaṭa

v2.c89.43

Alaṃkāra-sarvasva 288. See Ruyyaka

v2.c89.44

Alaṃkāra-śāstra. See Sanskrit Poetics

v2.c89.45

alaṃkāra-sūtras 2

v2.c89.46

Alaṃkāra-śekhara 311, 366

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alaṃkriyā, used in the sense of alaṃkāra 105

v2.c89.48.1

alaukika, supernormal or disinterested, an attribute of the relish of rasa 149, 156, 163, 165*, 172, 320, 326; essential attribute of poetry 320. See lokôttara Amaracandra. See Arisiṃha Amaru 360 ananvaya, a fig, 87, 108 anaucitya. See aucitya anibaddha (kāvya) 97* antaraṅga (or artha-viṣaya) aucitya 252*, 355 antarbhāva-vādin 67 anubhava, a kind of knowledge 156; as a means of establishing vicchitti 324 anubhāva, factor of rasa, 21, explained by Bh 25f; recognised by Ud 71, 142; not used by Bhā 136; defined by later writers 345 anukārya (or utpādya), rasa as 148, 166 anukūla (nāyaka) 338 anumāna, logical inference, cannot comprehend rasa 171, 250-52; Mbh's theory of 247; how comprehends dhvani 247-9 anumāna, a fig, includes fig hetu in D 83; distinguished from logical anumāna 292 anumāna-theory (or anumiti-vāda) re vyañjanā-vṛtti, repudiated by Anv 197f; as set forth by Mbh 197, 229, 246f; re rasa, as held by Śaṅkuka 150 anumeya artha, inferrible meaning, 198, 247 anupalabdhi, non-cognition, as applied to the inference of dhvani 250 anuprāsa, alliteration, 8*; distinguished from yamaka 35*; in Ud 69; in Rdt 79, 81; in Bhoja 101*; in Vm 126 anvaya, logical connexion, 188, 193 anvaya-vyatireka, a principle of distinguishing figs of sound and sense 92, 294 Anvitâbhidhāna-vādins 189 anyadīya (nāyikā).

v2.c89.48.2

See parakīyā anyârtha, a doṣa, 13 anyathā-buddhi (pupil) 369 apabhraṃśa (kāvya) 56, 97 apahetu, a doṣa, 111* apahnava, concealment, basis of classifying figs, 94 apahnuti, a fig, 87; defined by D, Vm and others 126-7 apakrama, a doṣa, 12 apavarga (sāṃkhya) 158 apārtha, a doṣa, 11 Appayya Dīkṣita, accepts Rk's doctrine of alaṃkāra 293 ; his three works 316 ; criticised by Jg* 318 aprasiddhi, an upamā-doṣa, 83 aprastuta-praśamsā, a fig, 66, 167, 88 apratīta, a doṣa, 111* ardhabhrama, a fig 107 Arisiṃha and his commentator Amaracandra, their Kāvyakalpalatā and vṛtti 363-366 ; indebtedness of Deveśvara to 363, 366 arocakin 369 artha, sense or idea, its different forms 190*, 199*; as a ground of inference 249 artha-doṣa 111* artha-duṣṭa, a doṣa, in Bhā 13; called aślīlatva by later writers 13 artha-guṇa, Bh’s guṇas mostly 20; clearly distinguished from śabda-guṇa by Vm 19, 117; implied by D 103; Vm’s scheme of 118f, criticised as useless by Mmt 215 277*; in Agp 259; in Bhoja 265 artha-hīna, a doṣa, 10 artha-pāka 300*. See pāka artha-rasa, in D 139* artha-śleṣa 49, 294, 295 arthavyakti, a guṇa, in Bh 18; in D 101, 102, 104; in Vm 19*, 119; equivalent to D’s svabhāvokti 18*, 119, 121; of older writers, comprehended by Mmt’s prasāda 219, 277*; in Bhoja and Vin 304* artha-vyāpāra 185 arthālaṃkāra, distinguished from śabdālaṃkāra 8, 35*, 47-8, 78, reason of this distinction 91-2; in Rdt 79; number of, subject to fluctuation 92, 93; in D 107f; in Vm 126-7; in Agp 259f; in Bhoja 266;

v2.c89.48.3

in Mmt 279 arthāntara, a doṣa, in Bh 10; possibly same as vācyāvacana (q. v) and includes svaśabda-vācyatā of rasa (q. v.) 10* arthāntaranyāsa, a fig, in Bhā 36; in Agp 260 arthāntara-saṃkramita-vācya (dhvani) 242, 322 artistic expression, theory of 62 aślīlatva 13. See grāmyatva asambaddha, a doṣa, 111* asambhava, an upamā-doṣa 83 asaṃlakṣya-krama vyaṅgya 204; its function in suggesting rasa 204-5, 243, 275; why so called 205-6; its sphere distinguished from that of fig rasavat 243-4; Mbh's explanation of 248-9 asamartha, a doṣa 111* asādhāraṇôpamā 108 atimātra, a doṣa 111* atiśaya, involved in vakrokti 64, 238. See atiśayokti atiśaya, elevatedness, a basis of classifying figs in Rdt 79, 93 atiśayokti, a fig, involved in other figs 63*, 64f, 108, 207; identified in substance with vakrokti by Bhā and Knt 64, 65, 207; lokôttaratva (q. v.) implied in it 65; in Ud 69; in Mmt 80*; an example of 87; in Agp 260; in Bhoja 266 atyukti, opposite of kānti-guṇa in D 102, 110 atyanta-tiraskṛta-vācya (dhvani) 242, 322 aucitya, a fig, in Agp 260 aucitya, theory of, anticipated by Bh 357; based on Dhk's dictum 253f, 354, 355, 357; in relation to doṣa esp. rasa-doṣa 111*-12*, 354-5; Rdt's use of the term 144*; in relation to saṃghaṭanā (q. v.) 209-10, 214*; Mbh's treatment of 252*, 355, 357; in Ks 355, 357f; aspects of 357-8; defined by Ks 358; equivalent to sahr̥dayatva and incapable of formal treatment 359 Aucitya-vicāra-carcā 355, 357. See Kṣemendra audārya, a guṇa.

v2.c89.48.4

See udāratā audārya, an excellence of the hero 341 aupadeśika (poet) 369 Aupakāyana 48 aupamya, comparison, as a basis of classification of figs in Rdt 79, 93; in Vm 79*, 93, 126; in Rk 93 aupanāyika (rasa) 330 aurjitya, a guṇa, 305* Avantisundarī, on pāka 302* avasara, a fig, 80* avācaka, a doṣa, 13 avicārita-ramaṇīya (artha) 75*, 362* avidyā (philosophical) 171 avivakṣita-vācya dhvani, based on lakṣaṇā (lakṣaṇā-mūla) and includes metaphorical expression 203-4; why so called 203 ayoga (śr̥ṅgāra) 338* ayuktimat, a doṣa, 13 Ābhīra 97* ābhyantara guṇa 265 ābhyāsika (poet) 369 āgama-virodhi, a doṣa, 12

v2.c89.49

ākāṅkṣā, expectancy of words 11*, 188 ākṣepa, a fig, 37; difference of opinion re its scope and nature 88f, 126 ākhyāna 97* ākhyāyikā, distinguished from kathā (q. v.) 57, 97 ānanda 51, 170, 171 Ānandavardhana, on yamaka 8*; on rītis and vṛttis 130, 131,* 213; his familiarity with the views of Bh, Bhā and Vm, 24f, 183; his influence in later schools 184, 222f; on the relation of lakṣya to vyaṅgyārtha 195; defines citra-kāvya 201, 217; exposition of rasa 22*, 24, 218-9, 225f; on three kinds of suggestion 200f; on guṇa and alaṃkāra in relation to rasa 20, 214; on figs devoid of suggestion 217; accepts three guṇas 218; on plagiarism 362* āropita-śabda-vyāpāra 185 āśiḥ 5* āśrayāśrayi-bhāva, as a principle of distinguishing figures of sound and sense 91f, 294 āsvāda, relish (of rasa), 26, 165, 172, 173*, 327 āvantikā (rīti) 130, 265

v2.c89.50

āvṛtti, a fig, 108

v2.c89.51

bahiraṅga (or śabda-viṣaya) aucitya 252*, 355 Ballantyne 30*, 51* bādhayat, a doṣa 111* bāhya, guṇas 265 Bāṇa 37*, 57*, 95, 100*, 115* Berkeley 189 bhadrā, a vṛtti 81 bhakti, used for lakṣaṇā (q.v.) 195; the theory that dhvani is bhākta 194f, 242-3, 252 bhakti, as rasa 348*, 335; as bhāva 336* bhaugi, bhaṅgi-bhaṇiti, involved in vakrokti (q. v.) 65, 236, 237 bhaṇiti or prakāra, or viśeṣa, involved in vicchitti or vakrokti 236, 237, 293 Bharata, his views on Poetics in his Nāṭya-śāstra 1f; on kāvya 3*; on lakṣaṇa 4f; on figs 6-9; on doṣa 9f; on guṇa 14-20; on rasa 20f; his sūtra on rasa differently interpreted and giving rise to divergent theories 24, 27, 135, 147, 148, 150, 155, 163; on bhāva 25-6, 349f; accepts eight rasas 29, 346; on the function of the dramatic art 50*; his ten guṇas ultimately reduced to three 218 (see guṇa); his treatment of Poetics compared to that of Bhā 32f; influence of 19f, 23f, 134f, 159f 220, 326 Bhartṛmitra 186 bhaṭṭa-mata 192* Bhaṭṭa Nāyaka. See Nāyaka Bhaṭṭa Tauta. See Tauta Bhaṭṭi 5*, 7*, 8*, 40 Bhavabhūti 360 bhayānaka as rasa 165* bhākta (lākṣaṇika). See bhakti Bhāmaha, ignores drama turgy 2; on āsīḥ 5*; on doṣa 9, 11-14, 59; on guṇa 20, 58-59, 100*; on figs 34f, 59; practical character of his treatment of rhetorical categories 49, 59-60; his idea of vaidarbha vakrokti (q. v.) 6of, 68, 235f; first definite scheme of Poetics in 41f; his general idea of poetry 47; on figs of sound and sense 47; on the purpose of poetry 49f; on the sources of poetry and equipment of the poet 52f; on pratibhā 53; contents of his work 56f; his classification of kāvya 56; his indifference to riti and guṇa (q. v.) 58; on vaidarbha and gauḍa kāvya 58, 95, 100*; on rasa 66, 136-7; on dhvani 66f, 289; his relation to Ud and Knt 68f, 61, 239f, to Rdt 83, to D 96f Bhāmaha-vivaraṇa 69 Bhāmahālaṃkāra or Kāvyālaṃkāra of Bhāmaha 41f bhāṇa 339*, 340* Bhānudatta, his works on rasa and their contents 334; on bhāva 350; his peculiar classification of rasa 329*, admits śṛṅgāra as principal; accepts māyā as rasa 348* bhāva, a fig, in Rdt 77, 80*; Ud's view on 77 bhāva, feeling or emotion, as the basis of rasa 25, 26, 30*, 349; recognised by Ud 71; in later writers 349f; distinguished from rasābhāsa 351 bhāva, an excellence of the heroine, 342 bhāva-dhvani 322 bhāvaka, Rājaśekhara on 3 bhāvakatva (or rasa bhāvanā), postulated by Bh N 155-6 233, 234; its derivation 155, 154; Abh on 164, 167-8 Bhāva-prakāśa 334. See Śāradātanaya bhāva-mukha (rasa) 330* bhāvayitrī (pratibhā) 369 bhāvika, a fig, 60*; excluded by Vm 126 bhāvika, a guṇa 306* bhāvôtpatti, bhāva-śabalatā and bhāva-saṃdhi, aspects of bhāva 352; defined 352; not expressly mentioned by Bh 352; included in fig ūrjasvin by Ud 353; definitely established in Rdt and Dhk 353 bhinna-vṛtta, a doṣa, in Bhā 12 bhinnârtha, a doṣa, in Bh 10; in Bhā 12 Bhoja, on yamaka 8*; on the purpose of poetry 50; on rīti 130, 265; school of opinion followed by 229, 254, 261, 262; borrowings by 261-2; nature and object of his work 261-3; develops Agp's definition of poetry 263; gives prominence to rasa, but accepts śṛṅgāra as the only rasa 257, 263, 264, 347; his relation to utpatti-vādins 263; ignores dhvani 261; mentions ten rasas 264, 346, 347, 348*; his classification of guṇas 264-6; apparent emphasis laid on guṇa 263-4; his prauḍhi-guṇa equivalent to pāka 301*; on rasâbhāsa 351-2; value of his work 266-7 bhojakatva (or bhoga), enjoyment of rasa, postulated by Bh N 155, 156, 233, 234; Abh on 164, 165; a term denoting the aesthetic attitude 173*, 327; mental activity involved in 278*, 328; idea of, admitted in Sāṃkhya 158 bhrāntimat, a fig, 87 bhukti-vāda. See Bhaṭṭa Nāyaka bibhatsa, as a rasa 165* body of poetry. See kāvya-śarīra brahmâsvāda, likened to rasâsvāda 156, 171, 328 Bṛhatkathā 57* buddhi (philosophical) 158 buddhimān (pupil) 369

v2.c89.52

Candrâloka, cited 15*, 313 Chandrikā, on Dhvanyâloka 230* camatkāra, involved in rasa 173*, 319, 330; involved in vakrokti 238-39, 293; as an element of alaṃkāra 323; as explained by Jg 319; as the foundation of aucitya 357; its tenfold aspect as the basis of poetry 362 campū 97* carvaṇā (of rasa) 26*, 165 172, 327 caturvarga, as the aim of poetry 50, 51, 144 Cārudatta 339* cārutva, used for vicchitti (q. v.) 54, 291, 293, 324 chekānuprāsa 70 cit-svabhāvā (saṃvit) 158, 171 citra or citra-bandha, a class of fig, in Rdt and D 78, 79, 106-7; not mentioned by Bh, Bhā or Ud 82; Māgha on 82, 107*, Mmt on 82; discredited in later times in theory 107*; specialised works on 107*; its relation to citra-kāvya (q. v.) 107* citra-kāvya 107*; explained 201; includes figs devoid of suggestion 201, 207, 217, 240; not poetry but an imitation thereof 202; suffered by Mmt but rejected by Vis 201; why admitted by Anv 202; the exclusive province of Rk's work 290; Jg on 321 Citramīmāṃsā-khaṇḍana 317 citra-turaga-nyāya 150 Citrāṅgada 48 Critic, the. See sahr̥daya Criticism, in Sanskrit, its comparative rarity and its limitations 359; in Ks 359-60 cūrṇa (prose) 16*, 97*

v2.c89.53

dakṣiṇa (nāyaka) 338 Daṇḍin, ignores dramaturgy 2; on lakṣaṇas 5, 315*, on āśīḥ 5*; on doṣa 9*, 11*, 15*, 18*, 19*, 32, 33, 35*, 36, 38, 39, 109f; on kāvya-śarīra 44, 45; on the purposes of poetry 50; on pratibhā 53; intermediate position between Riti and Alaṃkāra schools 85, 96, but allies himself with the latter 96; his agreements and differences with Bhāmaha 96f; his classification of poetry 96; his theory of rīti and guṇa 99f; his classification of guṇas 101-4; on figs 104, 106f; on the distinction between guṇa and alaṃkāra 105f; on rasa 137f; rasa in his mādhurya-guṇa 138f; rasa as an element of certain figs 139f; his idea of rasa similar to that of Lollaṭa (q. v.) 140; indebtedness of Agp and Bhoja to 256, 258, 259, 260; his attitude towards dhvani 289 Daśarūpaka 3, 326f dāsya. See priti denotation or denoted (conventional) sense. See abhidhā deśa-bhāṣā 97* deśa-virodhi, a doṣa 12 deśya, a doṣa, 111 Deveśvara, his Kavikalpalatā 363; its scope and its borrowings 366 Dhanañjaya, on lakṣaṇas 5, 316*; Vin's indebtedness to 303; on śānta as rasa 346f; on the nature and function of rasa 326-9; his classification of śṛṅgāra 338* Dharmadāsa Sūri 107*, 365 dhvanana, a name for suggestion 199 dhvani, use for sphoṭa 181; Mmt's definition of 181, 275; accepted by most post-dhvani writers 183-4; used synonymously with vyaṅgyārtha (q. v.) and vyañjanā (q. v.) 190*; etymology of 190*; prominent in dhvani-kāvya (q.v.) 200; Kuntala on 241f; accepted by Vis 285, by Rk 290, by Vid 298, by Jg 320f Dhvanikāra The, his date 175f; follows an earlier tradition 175-6; sahr̥daya as his name or title 175*, 178*; knowledge of some theories of rasa, riti and alaṃkāra 175, 183; the object of his work 183; influence of Bh on 159f; applies rasa-theory from drama to poetry 44, 45, 160-2; first formulation of dhvani-theory 175; on the relation of, indicated to, suggested sense 195; three kinds of suggestion not taught in the kārikās of 208; lays stress on rasa-dhvani 159f, 208f, but does not speak of rasa as the essence of poetry 210-11, 225f; his comprehensive definition of poetry 211f; accepts three guṇas 213* 218; on the relation of guṇas to rasa 20, 214f; on the distinction between guṇa and alaṃkāra 214; on alaṃkāras as helping rasa 216; on rasavat 243f; followed by later writers 222f, 228, 270, 274, 283, 289, 298. dhvani-kāvya 190, 199, 200, 320; classsed into two types 303. See vyaṅgyārtha dhvani-theory (or system or school), in relation to rasaand alaṃkāra-theories 85f ; harmonised with the theory of rasa 161, 173, 204f, 225 ; its origin 175-7 ; why it did not influence early theorists of other systems 176 ; early forms of, lost 178 ; its inspiration from grammarians 179 ; its relation to sphoṭa-theory 180-3 ; hostile attacks on 190-199 ; not mystical or inexplicable 182f ; its analysis of expression 184-189 ; suggested sense set forth by it as the essence of poetry 199 ; not compassable by earlier theories 183 ; its classification of poetry 200-2 ; its anxiety to do justice to facts 202-3 ; how it comprehends all traditional notions 203f, 212 ; on metaphorical expression (q. v.) 203 ; on suggestion of rasa, vastu and alaṃkāra 204f, 208 ; stress on rasa-dhvani 209f ; whether an extension of rasa-theory 209-10 ; rasa accepted as an element of the unexpressed 162-3, 209, 210f ; on guṇa and alaṃkāra 85f, 213, 214f, 218, 220 ; on rīti 213 ; on doṣa 219 ; its teachings summarised 221f ; its chief contribution 221, 269 ; on the nature of suggestion 221 ; its influence on later writers 222-3, 227-8 ; its importance established by Abh 224, 227 ; oppositions to 22, 228f ; how explained by Bh N 230 ; criticism of by Mbh 246f ; ignored by Agp, Bhoja and Vgs 255f, 261, 308, 309

v2.c89.54

Dhvanyāloka, its object 183f ; its influence on post-dhvani writers 184, 270, 274, 280, 288, 307

v2.c89.55

dhīrodātta, dhīroddhata, dhīra-lalita, dhīra-praśānta (nāyaka) 339

v2.c89.56

dhīrā, dhīrādhīrā (nāyikā) 340

v2.c89.57

dhṛṣṭa (nāyaka) 338

v2.c89.58

dīpaka, a fig, in Bh 6, 7 ; in Bhā 35, 37* ; an example of 87 ; involves apprehension of a suggested fig 206 ; in Bhoja 266

v2.c89.59

dīpta, opposite of D's sukumāratā 101, 110

v2.c89.60

dīpti, associated with ojas by Jg 322

v2.c89.61

Dīrgha-vyāpāra-vādins 192-3, 252

v2.c89.62

doṣa, blemishes of composition in Bh 1, 9f ; Bhā's two lists compared with those of Bh and D, 11f, 13-4, 109-10 ; when becomes guṇa 14 ; whether positive entities or negations of guṇa 14, 101-2, 110f ; as subservient to rasa 20, 112*, 219, 285 ; of alaṃkāra 82 ; the doctrine of 109f ; four classes of in Vm 111 ; Rdt's classification of 111 ; in later schools 111*, 219, 254-5, 285 ; whether nitya or anitya 112*, 219 ; Mmt on 278

v2.c89.63

Drama. See rūpaka

v2.c89.64

Dramaturgy, as a separate discipline 2-3, 22 ; works on 3 ; ignored by Bhā 2, 41, and by D and Vm 2 ; by Mmt 279 ; included by Hc, Vid, Vis 3, 279, 285, 303, 308

v2.c89.65

dravya, individual, 185

v2.c89.66

druti, associated with mādhurya-guṇa 218, 277*, 322; 328

v2.c89.67

dṛṣṭānta (logical) 12

v2.c89.68

dṛṣṭānta (or kāvya-dṛṣṭānta), a fig 71, 83, 88

v2.c89.69

durbuddhi (pupil) 369

v2.c89.70

ekārtha, a doṣa, 10*, 11, 12

v2.c89.71

embellishment, theory of. See alaṃkāra

v2.c89.72

empirical analysis, 42-4, 114, 202-3, 212

v2.c89.73

enjoyment, involved in rasa, its nature 156, 158f, 165*, 170, 172, 234. See rasa

v2.c89.74

erotic rasa-writers 311, 333f

v2.c89.75

gadya, prose, See padya

v2.c89.76

gamana, a name for suggestion, 199

v2.c89.77

garbhita, a doṣa, 111*

v2.c89.78

gatārtha, a doṣa, 111

v2.c89.79

gati, a guṇa, 306*

v2.c89.80

gauḍa kāvya, Bhā's view on 58, 95, 100f

v2.c89.81

gauḍa mārga in D 85, 95, 100f

v2.c89.82

gauḍī (or gauḍīyā) rīti, in Rdt 76, 129, 257 ; in Vm 113-4 ; whether earlier than vaidarbhī 115* ; in Agp 130, 257 ; in Vis 286*

v2.c89.83

gāmbhīrya, a guṇa, 259, 265, 302, 305 ;* an excellence of the hero 241

v2.c89.84

geya (kāvya) 98*

v2.c89.85

gomutrikā 107

v2.c89.86

Gopendra Tippa Bhūpāla 16*, 228

v2.c89.87

Govinda, on L's theory of rasa 148 ; on Śaṅkuka's view 151 ; on Vis's definition of poetry 283, explains bhāva 350

v2.c89.88

Grammarians, on abhidhā 185 ; incapable of relishing rasa 169 ; the vyaṅgyārtha not intelligible to 162; influence on Poetics and on the dhvani-theory 179f grammatical correctness (śabdya) 47, 48, 59*, 301* grāmya, a doṣa 111* grāmyatva, rejected by D 101; meaning of 138; opposite of kāntiguṇa 277* grāmyā, a vṛtti (also called komalā) 69, 70, 81, 279* grāmyānuprāsa 69-70 grāmyāpabhraṃśa 97* gūḍha-śabdābhidhāna, a doṣa 13 gūḍhārtha, a doṣa, 10; differentiated from ekārtha and paryāyokta 10* gūḍhārtha-pratīti, a basis of classifying figs 93 guṇa, excellence of diction or of poetry, in B 1, 5, 9, 14f, 19f, 100, 122; whether mere negation of doṣa (q. v.) 14, 110f; differences in the definition of individual 19, 122, 58-59 119f; Bhā’s indifference to 58f, 100*; D’s view on 45*, 85, 100; its relation to rīti 104f, 113; how rīti is characterised by 113-4; essential to poetry in Vm’s view 113f, 116, 124; cognition by sahr̥daya a proof of its existence 117; its classification in relation to śabda and artha 117, 277*, 279*; Vm’s scheme of 118f; protest against its multiplication 120-1, 134, 213, 218, 276*, three guṇas of Bhā 59, 100*, of Anv and Mmt 121, 134, 214, 276, 286; how differentiated 59, 218, 277*, 278*, 286, 328f; relation to alaṃkāra 74, 85, 104f, 124-5, 216f, 276; functions of alaṃkāra assigned to 121; relation to saṃghaṭanā 74, 213*; place of, in dhvani system 86, 213f, 275f; related to rasa 132, 213, 214f, 220, 275f; Agp on 258-259; Bhoja on 261, 265; Mmt on 275, criticised by Jg 322f; appropriate to particular rasas 277*; caused by combinations of particular letters 277, 278*; equalised with Vm’s rītis and Ud’s vṛttis 129, 130, 213*, 277f; confined to śabda by Mmt 272*; Vis on 285f guṇa, quality, 185 guṇa-vṛtti, subordination or secondary application 195 Guṇāḍhya 57 guṇībhūta-vyaṅgya (kāvya) defined 200, 201; eight kinds of 201 ; includes figs which involve a suggested sense 206, 239 ; when it becomes true poetry 210 ; Mmt, Vis and Rk on 275, 285, 290

v2.c89.89

haraṇa, See plagiarism Haricand Śāstrī 237*, 296* Harṣa-carita 58* Hāla 115* hāva } an excellence of the helā } heroine 342 Hemacandra, includes dramaturgy 3, 279, 308 ; reviews guṇa-doctrine 121, 123 ; explains rasa in D's mādhurya 138 ; his work chiefly a compilation 305f; its nature and content 306f ; on figs 306* ; accepts nine rasas 346 ; includes practical treatment of Poetics 366 hetu (logical) 12 hetu, fig, 36* ; rejected by Bhā 63, 83 ; in D, Ud and Rdt 80, 83, 108 ; in Agp 260 hetu, a lakṣaṇa, 313* hīna-pātra 352 hinôpamā 265 Hṛdaya-darpaṇa, by Bh N, whether a commentary on Bharata 24*, 230-2

v2.c89.90

Hṛdayadarpaṇa-kāra. See Bh N hṛdyatva, synonymous with vicchitti (q. v.) 54, 293, 324

v2.c89.91

Indication, or indicated or transferred sense. See lakṣaṇa intention, of the speaker (vivakṣā) when an object of logical inference 198 Itihāsa 54,

v2.c89.92

Jacob, Col. 141 Jacobi, 14, 28*, 31*, 34, 43*, 61*, 63*, 77*, 109*, 115*, 137*, 142*, 180*, 292*, 319*, 327* Jagannātha, on enjoyment of rasa 166*, defines vyakti 171 ; criticises Vis's and Mmt's definitions of poetry 211, 227, 280-1, 282, 283 ; on the influence of the Dhk 228 ; revives D's definition of poetry 273 ; follows Knt's theory of alaṃkāra and defines Vicchitti 293, 324 ; the scope and nature of his Rasa-gaṅgādhara 317f; his Citra-mīmāṃsā-khaṇḍana 317f ; his criticism of earlier authors 318 ; his reactionary tendencies 318 ; defines poetry 318-20 ; on suggestive poetry 320-1 ; on guṇa 322-3 ; on the śānta rasa 349 ; on rasābhāsa ; on bhakti as rasa 336*

v2.c89.93

Jayadeva, his Candrāloka 313-4 ; on ten lakṣaṇas 313*

v2.c89.94

Jayaratha, on RK’s indebtedness to Knt 291 ; on the test of a fig 292 ; criticised by Jg 318

v2.c89.95

jāti, a fig, another name for svabhāvokti (q. v.)

v2.c89.96

jāti, genus 185

v2.c89.97

jāti-bhāṣā 97*

v2.c89.98

jāyā-sammita. See kāntā-sammita

v2.c89.99

jñāpaka-hetu 152

v2.c89.100

jyeṣṭhā nāyikā 430

v2.c89.101

Kane 2*, 89*

v2.c89.102

kaniṣṭhā nāyikā 340

v2.c89.103

Kant 162

v2.c89.104

kalahāntaritā (nāyikā), also abhisandhitā 341

v2.c89.105

kalā-virodhi, a doṣa 12

v2.c89.106

kalpanā-duṣṭa, a doṣa 13

v2.c89.107

kalpitôpamā, the simile with an imagined object 6

v2.c89.108

Kapila 183

v2.c89.109

karman (philosophical) 171

v2.c89.110

karuṇa (rasa) in D 139 ; pain following upon 154 ; how enjoyable as rasa 165*

v2.c89.111

karuṇā (philosophical) 329

v2.c89.112

kathā, varieties of 97*. See ākhyāyikā

v2.c89.113

kathānikā 97*

v2.c89.114

kavi, classification of by Ks 361f, by Rājaśekhara 369-70 ; his education etc, see kavi-śikṣā

v2.c89.115

kavi-goṣṭhi 368, 372*

v2.c89.116

Kavi-kalpalatā. 363, 366. See Deveśvara

v2.c89.117

Kavi-kaṇṭhābharaṇa 357. See Kṣemendra

v2.c89.118

kavi-prauḍhôkti 235, 289

v2.c89.119

kavi-pratibhā (or °karman, °vyāpāra, °kauśala) as the source of vakrokti (q. v.) 61, 235, 237, 240, 241, 291, 324 ; analysed 238 ; as the source of poetry, see pratibhā

v2.c89.120

kavi-rahasya, Rājaśekhara’s treatment of 367

v2.c89.121

kavi-rāja 370

v2.c89.122

kavi-samaya 364, 365, 368, 373

v2.c89.123

kavi-śikṣā, theme of, in older authors 43*, 52f, 272, 311, 356, 374 ; origin and scope of 43*, 356 ; Ks’s on 357f ; Rājaśekhara on 367f ; in Arisiṃha 363f ; in Deveśvara 366 ; in Keśava 366 ; in Hc and Vg II 366* ; in Vid 298

v2.c89.124

Kādambarī 37*, 58* kāku, intonation, as the basis of vakrokti in Rdt 81, not admitted by Hc and Rājaśekhara 81

v2.c89.125

kāla-virodhi, a doṣa 12

v2.c89.126

Kālidāsa 47*, 360

v2.c89.127

kāma (philosophical) 171

v2.c89.128

Kāmadhenu, the comm. of Gopendra Tippa Bhūpāla (q. v.) 124

v2.c89.129

kāmaṇiyaka 291

v2.c89.130

kāntā-sammita or jāyā-sammita 51, 137

v2.c89.131

kānti, a guṇa, in Bh 19, 119, 141; in Vm'19*, 119, 121, 141; in D, 102, 104, 121; as a mere doṣābhāva (opposite of grāmyatva) 120, 219, 277*; in Bhoja 265, 304; in Vin 304*

v2.c89.132

kānti, a fig 260

v2.c89.133

kāraka-hetu 152

v2.c89.134

kārayitrī (pratibhā) 369

v2.c89.135

Kāśmīrakas 263

v2.c89.136

kāvya, in relation to nāṭaka 2; in Bh 3*; definitions of 47, 99, 113, 199f, 211, 236, 260-1, 263, 273-4, 280-1, 283, 301, 308, 318f; distinguished from sciences and scriptures (śāstra) 51, 62*, 137, 236; function of vakrokti (q. v.) in 63; its relation to the poet 63*; classification of 56-7, 199f; persons entitled to study 98, 361, 369f; its 'body' and 'soul' (see kāvya-śarīra and ˚ātman); its sources (see ˚hetu, ˚yoni); function of riti (q. v.) 113f, 127, 146; place of guṇa (q. v.), alaṃkāra (q. v.) and rasa (q. v.) in; earlier theories of, insufficient 146

v2.c89.137

kāvya-doṣa. See doṣa

v2.c89.138

Kāvyādarśa 2. See Daṇḍin

v2.c89.139

kāvya-guṇa. See guṇa

v2.c89.140

kāvya-hetu 50, 361, 369

v2.c89.141

kāvya-hetu, a fig, see kāvya-liṅga

v2.c89.142

Kāvya-kalpalatā 363. See Arisiṃha

v2.c89.143

kāvya-kavi, distinguished from śāstra-kavi 369-70

v2.c89.144

kāvya-lakṣaṇa. See lakṣaṇa

v2.c89.145

kāvya-liṅga (also called kāvya-hetu), a fig. 71, 83

v2.c89.146

kāvyālaṃkāra, why so called 241*. See alaṃkāra

v2.c89.147

kāvyālaṃkāra of Rudraṭa (q. v.) 76, 78

v2.c89.148

kāvyālaṃkāra of Bhāmaha (q. v.). See Bhāmahālaṃkara

v2.c89.149

kāvyālaṃkāra-vivṛti. See Bhāmaha-vivaraṇa

v2.c89.150

kāvya-mātaraḥ. See kāvyayoni

v2.c89.151

kāvya-mīmāṃsā 366f. See Rājaśekhara

v2.c89.152

kāvyāṅga, auxiliaries of poetry.

v2.c89.153

See kāvya-hetu and kāvya-yoni kāvyānumiti 247. See anumāna-theory Kāvya-prakāśa 51, 189, 274f. See Mammaṭa kāvya-prayojana, object of poetry 50f, 298 Kāvya-puruṣa, 45*, 367-8 kāvya-rasa, in relation to nāṭya-rasa 22*, 24; its meaning in Bhā 136-7; in D and in old classics 137*. See rasa kāvya-śarīra 44f; Bhā on 46f; D on 45*, 48, 96, 99, 260-1; Vm on 45*, 113; Rdt's view on 46*, 145; attention of earlier writers confined to 45*, 145f, 220 kāvya-śobhā 104, 124, 128 kāvyātman 44f (see kāvya-śarīra); not explained by alaṃkāra-system 86, 113; Vm's enquiry on 45*, 113, 146; attitude of earlier writers towards 44f, 145-6; the dhvani-theorists on 199 kāvya-yoni (kāvyāṅga or kāvya-mātaraḥ) the arts and sciences comprised in 54f, 98, 363, 369, 372 Keith 115*, 339* Keśava Miśra, professes to be a follower of Śaudhhodani, but really belongs to post-dhvani group 22*, 311, 366; scope and content of his work 311; influence of earlier opinions on 311, 312, 366; accepts rasa as the essence of poetry 311*, 325 khaṇḍa-rīti 130, 265 khaṇḍitā (nāyikā) 341 kiṃcit-sadṛśī upamā, the simile based on partial similarity 6 kīrti, as an object of poetry 50 kliṣṭa, a doṣa 13 Kohala 3 komalā, a vṛtti. See grāmyā komalatva, a guṇa 259 koṣa (kāvya) 96* krama, a name for yathāsaṃkhya 38* krama-bhedā, a doṣa 252*, 355 kramôddyota vyaṅgya 285 kriyā, action, 185 krodha, as a basis of raudra rasa 30, 140 kṛṣṇa-rati as sthāyi-bhāva 336 Kṣemendra, his two works 357f, 361f his theory of aucitya 357-8; critical acumen displayed by 360f; on the means of poetry and classification of poets 361; on plagiarism 362; on the sources of poetry 363 kṣobha, a mental state involved in bibhatsa rasa 328 Kubera 48 kulaka 96* Kumāra-saṃbhava 351, 360* Kuntala, the vakrokti-jīvitakāra develops Bhā’s idea of vakrokti 61, 68, 239; his system an off-shoot of the older alaṃkāra-system 239; on svabhāvokti 62*, 239; on atiśaya involved in vakrokti 64, 238f, 323-4; on figs which help rasa but result in mere vaicitrya 217, 240, 290; could not supplant dhvani-theory; on the test of an alaṃkāra 240f, 290-1; how he supplies a deficiency in dhvani-theory 241, 288, 290; on dhvani 241-2, 289; on upacāra 242; on rasa 243f; criticised by Mbh 252-3; whether alluded to by Abh 253*; his theory ignored in later times 254; followed by Rk and others 291f Kuvalayānanda 15*, 315-6

v2.c89.154

Lacote 57* lakṣaka 190* lakṣaṇa, Bharata on 1, 4; included by D and Dh in alaṃkāras and rasa 5, 315*, 316*; disappears in Poetics but persists in dramaturgy 5, 20, 33, 313*; Jayadeva on 313f*; Vis on 313*, 315*; not distinguishable from nāṭyālaṃkāras 314*, 315* lakṣaṇa (= vyāvartaka dharma) 194 lakṣaṇā vṛtti or upacāra, indication or transference of sense, as the basis of D’s samādhi (q.v.) and Vm’s vakrokti (q.v.) 122, 162; basis of metaphor or metaphorical exp. 187, 242; an extension of abhidhā 186, but included in it by Bh N 155, 186, 234; what it means 185f; as an arthavyāpāra 185; classification of 186-7; its relation to vyañjanā 190; whether it can convey the suggested sense or rasa 170-1, 194f; may be the basis of suggestion, e. g. avivakṣitavācya 197, 203; Knt on 242; Agp on 256 lakṣaṇā-mūladhvani, see lakṣaṇā and avivakṣita-vācya lakṣyārtha, indicated or transferred sense 185f, 190*; distinguished from vācyārtha and vyaṅgyārtha 185, 194-7 lalita, an excellence of the hero 341 lalitā, a vṛtti, 81 laya 173* laukika 149, 163, 165, 167. See alaukika lālitya, a guṇa 259 lāṭī or lāṭīyā (rīti) mentioned by Rdt and Vg I 76, 129-30, 257; an intermediate style in Vis 286* lāṭānuprāsa or lāṭīyānuprāsa, kind of alliteration 69-70, 101* leśa, a fig 36*, 63 liṅga, liṅgin, syllogistic major and minor terms 198, 248, 250, 251, 289 Lindenau 160*, 344* Locana. See Abhinavagupta logical correctness 12, 59, 109 logicians 184, 185. See Nyāya logos 180 loka-nyāya 93 loka-virodhi, a doṣa, 12 lokâtikrânta-gocaratā 62*; involved in atiśayokti and vakrokti 238. See lokôttara lokôttara, disinterested or supernormal, 54, 62* (explained) 238, 318-19, 323. See alaukika Lollaṭa, Bhaṭṭa, on Bh’s sūtra on rasa 24, 27, 140, 147f; his lost work 24*, 147; review of his opinion in later writings 147, 275; his theory on rasa (utpattivāda) 148-9, 152, 166, rejected by Śaṅkuka 149f; said to have been a Mīmāṃsaka 149, 157; whether a dīrghavyāpāravādin 192*

v2.c89.155

madhura (rasa). See mādhurya madhurā, a vṛtti 81 madhurā rati, sthāyibhāva for ujjvala rasa (q. v.) 336 madhyā nāyikā 339 Mahābhārata 349 Mahimabhaṭṭa, the vyaktiviveka-kāra, the scope and object of his work 246f; compared with that of Bh N 230f; his criticism of dhvani theory 246-7, 250-2; acknowledges rasa 173; comprehends dhvani in anumāna 247-9, 289; his theory of kāvyānumiti 247f; his theory criticised 250-2; could not supplant dhvani-theory 222, 229; opposes dīrgha-vyāpāravādins 252; on Knt’s theory 252-3; on anaucitya 252*, 355, 357; value of his work 253; why his theory ignored in later times 254 maitrī (philosophical) 329 ; or friendship of words 300*

v2.c89.156

Mammaṭa, dismisses yamaka 8* ; on kāvya-śarīra 46* ; on the aim of poetry 50 ; on śakti or pratibhā 53 ; on guṇa 121, 215, 275-6, 278, 279*, 323 on rīti and vṛtti 130, 277-8, 286 ; on the Abhihitānvaya-vādins 188-9 ; on śabda-vṛttis 189 ; his definition of poetry 216*, 273, 274-5 ; criticised 280-1 ; explained historically 281-2 ; establishes Anv’s system and makes older speculations converge in his work 228, 268, 274 ; the principal post-dhvani writer 268, 272, 274 ; contents of his work 275f; on rasa 24, 275, 328, 329 ; on śānta as rasa 347 ; on alaṃkāra 215, 241, 276, 279 291 ; on rasavat 244 ; excludes dramaturgy 279 ; scope and value of his work 279-80 ; reactionary tendency in 282 ; defines bhāva 350

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Maṅgala, belongs to the Rīti school 123 ; on pāka 301*

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maṇikulyā, a kind of kathā 97*

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Maṅkhuka 55

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Manoratha 177

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mata, a fig, 80*

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matallikā, a kind of kathā 97*

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mādhurya, a guṇa, in Bh 17 ; in Bh 59, 100* ; in D 101, 102, 103, 104, 119, 138 ; in Vm 118, 121 ; in Dhk 213* ; defined by Dhvani-and post-dhvani writers 218, 276*, 277* ; in Agp 259 ; as appropriate to certain rasas 277* ; produced by certain letters 278* ; in Bhoja and Vin 304* ; in Jg 322

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mādhurya or madhura, also called ujjvala, a rasa in Vaiṣṇava theology 335

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mādhurya, an excellence of the hero 341

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māgadhī (rīti) 130, 265 ; called māahi by Rājaśekhara 130

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Māgha 10*, 22*, 47*, 82

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Mālatī-mādhava 339*

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Mālavikāgnimitra 339*

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Māṇikyacandra 15*, 16*, 121, 122, 230*

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mānorathika (rasa) 330*

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mārga a name for rīti 58, 85, 95, 99

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māyā, a rasa 348*

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Medhāvin 37-9, 49

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metaphorical expression, not equivalent to suggestive poetry 162 ; comprehendedby D's samādhi 102, 103, 203, by Um's vakrokti 16*, 61, 126, 203 ; recognised by earlier systems 162, 203 ; based on lakṣaṇa (q. v.) 187, 242 ; comprehended by avivakṣitavācya dhvani 203 mitra-sammita 50* miśrālaṃkāra. See ubhayālaṃkāra mithyādhya vasāya, a lakṣaṇa 313* Mimāṃsā school or Mimāṃsakas, influence of, on Lollaṭa 149, 157 : on abhidhā 155, 185 ; impervious to rasa 169 mokṣa, as the aim of poetry 50 ; Vedāntin's idea of 171 Mṛcchakaṭika 339* muditā (philosophical) 329 mugdhā (nāyikā) 339 Mukula, Bhaṭṭa 128*, 178, 228-9 muktaka (kāvya) 96* muraja-bandha 8*

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Naming of rasa (sva-śabda-vācyatā) 163, 193, 205 Nāmi-sādhu 46*, 143* Nandikeśvara 21 narma-saciva 339 naṭa-sūtra 2 Nāgeśa 349 nāma-dvirukti (anuprāsa) 101*

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Nārāyaṇa 330 nāṭaka 2, 98 nāṭya-rasa, Bh's doctrine of 24f. See kāvya-rasa and rasa Nāṭya-śāstra. See Bharata nāṭyālaṃkāra, mentioned by Vis 313* ; not distinguishable from dramatic lakṣaṇas 314*, 315* nāyaka, the hero, classification of 338-9 ; characteristics of 339*, 341 ; comes topically in the discussion of ālambana-vibhāva 343 344 Nāyaka, Bhaṭṭa, on Bh's rasa-sūtra 24, 27, 231 ; his lost Hṛdaya-darpaṇa 230-31 ; review of his opinion in later writings 147*, 155*, 275 ; on earlier theories of rasa 152-4, 232* ; his doctrine of enjoyment (bhoga) of rasa (bhuktivāda) 154f, 232f, 289 ; postulates three functions of words and three-fold potency of poetry 155f, 233f ; influence of Sāṃkhya on 157f, 234 ; not a Mimāṃsaka 158* ; his influence 159 ; criticised by Abh 164 ; criticism of dhvani-theory his main object 229, 231-2, 231*, but his failure to supplant it 222; relation to Mbh’s work 230f; accepts rasa-dhvani but not vastu-dhvani 233; regards as sva-saṃvedya 234; on the mental activity involved in the bhoga of rasa 278*, 328

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nāyikā, the heroine, classification of 339-41; her qualities 341-2; her ten graces 342; comes topically under ālambana-vibhāva 343, 344

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New School, the, after Mammaṭa 268f. See Post-dhvani writers

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neyatva, opposite of D’s artha-vyakti 101, 110

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neyārtha, a doṣa 13

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nibaddha (kāvya) 97*

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nidarśana, a kind of kathā 97*

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nidarśana or nidarśanā, a fig 88

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nindôpamā, the simile which condemns 6

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nirāgama, a doṣa 111*

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nirukta, a lakṣaṇa 313

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nirveda, the sthāyi-bhāva of śānta rasa 343, 346f

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niṣpatti. See rasa-niṣpatti

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Nobel, J 7*, 80*, 89*

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nyāya, logic, influence of Śaṅkuka 157

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nyāya, logical correctness of poetry 12, 59

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nyāya (logical reason), a basis of classifying figs 93; split up into three varieties 93

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Nyāya-sūtra, The, 186

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nyāya-virodhi, a doṣa 12

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nyāyâpeta (defective logic), a doṣa 11

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ojas, a guṇa, in Bh 17; in Bhā 59, 100*; in D 102, 103, 122, 123; in Vm 118, 119, 120; in Dhk 213; defined by post-dhvani writers 218, 276*, 277*; comprehends śleṣa, samādhi and audārya of older writers in Mmt 219, 277*; appropriate to certain rasas 277*; produced by certain letters 278*; in Bhoja and Vin 304*; in Jg 322

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