Studies in the History of Sanskrit Poetics v2.c89.53

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