History of Sanskrit Poetics c6.53.2

c6.53.2

रसान्वितं कवेः कुर्वन्कीर्तिं प्रीतिं च विन्दति॥ सरस्वती०. On account of the limitaions of space imposed in this work it is impossible to refer to the criticisms passed on these definitions. *Vide* my notes to साहित्यदर्पण pp. 5-30 for some of them. In order to understand the relative positions of रस, ध्वनि, गुण, अलङ्कार, रीति in the theory of Poetics, the different schools or rather theories must be enumerated and their doctrines briefly stated. The principal theories in chronological order of the extant works are those of rasa, of alaṅkāra, of rīti, of dhvani, of vakrokti. *Vide* ध्वन्यालोक pp. 5-12 where the author refers to three schools, one totally denying the existence of ध्वनि, the 2nd saying that what is called ध्वनि is included under भक्ति (i.e. उपचार or लक्षणा) and the third asserting that ध्वनि is not capable of scientific treatment but can only be experienced by the mind of the man of literary taste (सहृदयहृदयसंवेद्य). In the first class (ध्वन्यभाववादिनः) again three sub-schools are pointed out slightly differing from each other (*vide* लोचन p. 4). समुद्रबन्ध speaks of five schools in a somewhat different manner ‘इह विशिष्टौ शब्दार्थौ काव्यम्। तयोश्च वैशिष्ट्यं धर्ममुखेन व्यापारमुखेन व्यङ्ग्यमुखेन वेति त्रयः पन्थाः। आद्येऽलङ्कारतो गुणतो वेति द्वैविध्यम्। द्वितीयेपि भक्तित्वैचित्र्येण भोगकृत्त्वेन वेति द्वैविध्यम्। इति पञ्चसु पक्षेषु पञ्चाध उद्भटादिभि- रङ्गीकृतः, द्वितीयो वामनेन, तृतीयो वक्रोक्तिजीवितकारेण, चतुर्थो भट्टनायकेन, पञ्चम आनन्दवर्धनेन।’ (p. 4).