365bet娱乐

In the tradition of Sanskrit, the term 办腻惫测补 is used in the sense of 蝉腻丑颈迟测补 and in the same way, the word kavi is applied to mean 蝉腻丑颈迟测颈办补 or writer. Therefore, the term 办腻惫测补 stands for all that is the work of a poet.^[1] In the world of 办腻惫测补, which is boundless and bare, kavi or writer, itself is the 叠谤补丑尘腻 or the creator. The visible world can take the shape, according to the very desire of the poet. There is no geographical as well as political boundary in the realm of a kavi. Any work which is apparently impossible by means of money and man-power could be easily accomplished by way of kavikarma. So, it has been rightly appreciated by 膧苍补苍诲补惫补谤诲丑补苍补.^[2] Hence, the connotation of the word 办腻惫测补 is very wide. Simply, poetry (办腻惫测补) is the spontaneous overflow of the powerful feelings, as written by William Wordsworth in the preface to his Lyrical Ballads.^[3] That is why, the words oozing out from the heart of 痴腻濒尘墨办颈, the 膧dikavi, without any conscious effort are regarded as the first 办腻惫测补 form of Indian literary tradition. That is once, when out in the forests, 痴腻濒尘墨办颈 was moved by the killing of one of a love-lorn pair of birds by a hunter, leaving the female bird to lament the death of her mate and that feeling of pity manifested itself in the form of a melodious verse (艣濒辞办补).^[4]

In the Sanskrit literature, the term kavi and 办腻惫测补 are used side by side. One who writes, describes or knows is called a kavi and his work is termed as 办腻惫测补. Again, in the 艢耻办濒补测补箩耻谤惫别诲补 (艢Y), the term kavi is used to denote the omniscient God.^[5] According to the 叠丑腻驳补惫补迟补辫耻谤腻峁嘺 (Bhp.), by tene h峁沝膩 ya 膩dikavaye, the word 腻诲颈办补惫颈 means 叠谤补丑尘腻.^[6] The term kavi stands for daityaguru 艢耻办谤腻肠腻谤测补 in the 础尘补谤补办辞峁�a (Amara.).^[7] In the 艢补产诲补办补濒辫补诲谤耻尘补 (艢KD), though the term kavi has been explained in various senses, it is used to denote the preceptor of the demonsalso.^[8] Again, this term also refers to scholars in general.^[9] In the 艢KD, the word kavi has been constituted by the root ku 艣abde with the suffix i by the aphorism ac i岣�.^[10] However, the word kavi is used primarily to mean 膧dikavi 痴腻濒尘墨办颈^[11] and sage 痴测腻蝉补. The 惭补丑腻产丑腻谤补迟补 (Mbh.) of 痴测腻蝉补 is counted under the category of 办腻惫测补 and 痴测腻蝉补 himself established it.^[12] In the explanation of a 办腻谤颈办腻, 痴颈艣惫补苍腻迟丑补 碍补惫颈谤腻箩补 by writing, 鈥渋n this epic, as for example the Mbh.鈥� accepted the Mbh. as mah膩办腻惫测补 in clear terms.^[13] There is no divergence of opinion that these two epics viz. the 搁腻尘腻测补峁嘺 (RM) and the Mbh. are the sources of all the successive poets, for their writings. The 础驳苍颈辫耻谤腻峁嘺 (AP., 33, 7/7, 331) is of the opinion that the assemblage of words (辫补诲补蝉补尘奴丑补), blended with 补濒补峁僰腻谤补 and 驳耻峁嘺, without fault is termed as 办腻惫测补 and although there is importance of 惫腻办肠腻迟耻谤测补 (eloquence of speech), however rasa is the soul of poetry. V膩man膩c膩rya also supports this, in his 碍腻惫测腻濒补峁僰腻谤补蝉奴迟谤补惫峁泃迟颈 (KSV.)^[14] It may be mentioned here that 痴颈艣惫补苍腻迟丑补 is the first poetician, who distinctly mentioned the AP as an authority on the poetics.

There are several definitions of 办腻惫测补 available, right from Bharata upto 痴颈艣惫补苍腻迟丑补, where each one of them tries to establish their views.

Bharata:

While speaking about 办腻惫测补, Bharata gives emphasis upon rasa. According to Bharata, rasa is the most essential and indispensable element in a 办腻惫测补. He opines that no meaning is produced from the speech, without any kind of sentiment.^[15] The basic principle of rasa or the sentiment in Indian poetics and aesthetics must have been developed for the first time in the 狈腻峁瓂补艣腻蝉迟谤补 (N艢). The word rasa, primarily means 鈥榯aste鈥�. Just as different spices leave behind different tastes, sweet, sour or bitter, even so does the emotion (产丑腻惫补), represented on the stage, arouse in the mind of the audience, apt sentiments. From this theory of rasa or 谤补蝉补-蝉奴迟谤补^[16], originated the remarkable system of Indian aesthetics, as an inevitable offshoot from its psychological theory of emotions (产丑腻惫补s).

叠丑腻尘补丑补:

叠丑腻尘补丑补, gives other type of definition of 办腻惫测补. According to him, 办腻惫测补 is the harmonious form of word and meaning.^[17] In his definition of 办腻惫测补, 叠丑腻尘补丑补 accords equal status to 鈥榳ord鈥� and 鈥榠mport鈥�, though he has devoted more attention to the former.^[18] 叠丑腻尘补丑补 is deemed to be the oldest extant exponent of the 补濒补峁僰腻谤补 school of poetics. He opines that a 办腻惫测补 should be without fault and blended with 补濒补峁僰腻谤补s. He is also of the opinion that 补濒补峁僰腻谤补 is the vital thing in a 办腻惫测补. From the 碍腻惫测腻濒补峁僰腻谤补 (KL), it is found that before 叠丑腻尘补丑补 also, there were discussions on poetics. Therefore, it is an undisputed fact that the practice of poetics was of a very much ancient origin.

顿补峁囜笉颈苍:

顿补峁囜笉颈苍, is of the opinion that 办腻惫测补 is consisting of some meaningful words.^[19] In his definition of poetry, 顿补峁囜笉颈苍 gives more importance to the word-element than to the sense-element. Though 顿补峁囜笉颈苍 is usually assigned to the 7^th century A.D., still the relative priority of 叠丑腻尘补丑补 and 顿补峁囜笉颈苍 is a disputed point in the history of Sanskrit poetics. 顿补峁囜笉颈苍 appears to have been greatly influenced by the 补濒补峁僰腻谤补 school. According to him, every poem needs to consist of a body and an embellishment. By the body of the poem is understood the set of words in a sentence, set so as to suit the desired meaning. This set of words is capable of being put either in a metrical (padya), non-metrical (gadya) or mixed (尘颈艣谤补) style.^[20]

痴腻尘补苍补:

痴腻尘补苍补, the propounder of the 谤墨迟颈 school, establishes the essentiality of 谤墨迟颈 in 办腻惫测补. 痴腻尘补苍补 declares that 谤墨迟颈 is the soul of poetry.^[21] According to 痴腻尘补苍补, 谤墨迟颈 or diction is the special arrangement of words and that speciality consists in harmonious combination of certain fixed 驳耻峁嘺s or poetic excellences, which serve to embellish the poetry. In order to endow poetry with a soul, 痴腻尘补苍补 insists upon imparting speciality to the arrangement of words by employing 驳耻峁嘺s or excellences to it. Again, 痴腻尘补苍补 treated the rasas as the essential features of the 驳耻峁嘺s.²² 痴腻尘补苍补 is the protagonist of the 谤墨迟颈 school. In five chapters and twelve sections of the KSV, he boldly asserts that 谤墨迟颈 or style is the essence of poetry. He opines that the ten 驳耻峁嘺s are important so far as they constitute 谤墨迟颈. His KVS consists of a theoretical section on aesthetics and a practical segment on grammar.

搁耻诲谤补峁璦:

搁耻诲谤补峁璦, supported the view of 叠丑腻尘补丑补 regarding the definition of 办腻惫测补. He uses the term nanu, supporting thereby the opinion of 叠丑腻尘补丑补.^[22] Therefore, he must be regarded as a representative of the 补濒补峁僰腻谤补 school. Although he knew the rasa theory propounded by Bharata and though he said that 办腻惫测补 must be endowed with rasa^[23], still he looked upon 补濒补峁僰腻谤补s as very important. It is a noticeable feature that he does not attach importance to the 谤墨迟颈s, though he casually refers to them^[24] and speaks of four 谤墨迟颈s; the 驳耻峁嘺s are not defined and illustrated by him.{GL_NOTE:137443:

膧苍补苍诲补惫补谤诲丑补苍补:

膧苍补苍诲补惫补谤诲丑补苍补, is of the opinion that dhvani or suggestiveness is the essence of poetry and on that basis, he discusses its relation to other poetic embellishments. 膧苍补苍诲补惫补谤诲丑补苍补 informs us that the doctrine of dhvani is very old, the dim beginnings of which are lost in oblivion. According to him, a word is not only endowed with the two powers of denotation (艣补办迟颈) and implication (濒补办峁�a峁嚹�), but also with that of suggestion (惫测补帽箩补苍补). Through the power of suggestion, either a subject, or a figure or a sentiment is revealed.

Abhinavagupta:

The views of 膧苍补苍诲补惫补谤诲丑补苍补 found a large and definite shape in the writings of his erudite commentator Abhinavagupta. Abhinavagupta has to his credit two important commentaries on poetics, which may be looked upon as independent treatises, and these are the Locana on the 顿丑惫补苍测腻濒辞办补 (DL) of 膧苍补苍诲补惫补谤诲丑补苍补 and the 础产丑颈苍补惫补产丑腻谤补迟墨 on the N艢 of Bharata. Abhinavagupta thought that all suggestion must be of sentiment, for the suggestion of subject or that of figure may be ultimately reduced to the suggestion of sentiment.^[26]

搁腻箩补艣别办丑补谤补:

搁腻箩补艣别办丑补谤补 gives the definition of 办腻惫测补 in his 碍腻惫测补尘墨尘腻峁僺腻 (KM).^[27] It is a unique work, but it does not directly concern itself with the exposition of rasas, 驳耻峁嘺s or 补濒补峁僰腻谤补s and it is rather in the nature of practical handbook for the poets. In this valuable and interesting treatise on poetics, consisting of eighteen chapters, 搁腻箩补艣别办丑补谤补 describes in detail, as to how a 蝉补产丑腻 i.e. assembly should be designed. In a fuller detail, he states things about poets and kings. The style of the work is vigorous and he quotes numerous verses from ancient authors. It has been seen that this work is a mine of information on numerous matters.

Kuntaka:

In his 痴补办谤辞办迟颈箩墨惫颈迟补 (VJ), Kuntaka gives weightage on crooked speech or vakrokti. According to him, vakrokti is the only thing for the creation of 办腻惫测补. Vakrokti is a striking mode of speech^[28], differing from and transcending the ordinary everyday mode of speaking about a thing (and hence called vakrokti);it is the speech that charms by the skill of the poet. According to Kuntaka, vakrokti is the soul of poetry i.e. it is vakrokti that breathes life into poetry, makes it poetry and without it 办腻惫测补 cannot exist. But vakrokti itself is not capable, unless the poet possesses the necessary fancy and imagination, therefore, 办补惫颈惫测腻辫腻谤补 is 辫谤补诲丑腻苍补 in 办腻惫测补.^[29] The VJ denies the independent existence of dhvani or 惫测补峁単测补 as the soul of poetry and tries to include it under its all pervading vakrokti. The emphasis is mainly laid by Kuntaka on 办补惫颈惫测腻辫腻谤补 and secondarily on aesthetic pleasure that the man of taste enjoys from poetry or drama.

惭补丑颈尘补产丑补峁�峁�补:

惭补丑颈尘补产丑补峁�峁�补 does not dispute that the soul of poetry is rasa.^[30] He admits the necessity of the sentiment. 惭补丑颈尘补产丑补峁�峁�补 wrote the work for demolishing the theory of dhvani.^[31] He contradicts the position of the DL that there is a third function of words called 惫测补帽箩补苍腻 (besides 补产丑颈诲丑腻 and 濒补办峁�a峁嚹�) and that suggested sense is conveyed by this process. His own position is that words have a single power e.g. 补产丑颈诲丑腻, the suggested sense e.g. 辫谤补迟墨测补尘腻苍腻谤迟丑补 is conveyed by the expressed sense, through the process of inference (补苍耻尘腻苍补) and that word and sense are not 惫测补帽箩补办补.^[32] 惭补丑颈尘补产丑补峁�峁�补 also criticizes the theory of Kuntaka and refutes his doctrine that the merit of poetry is felicitous expression.^[33]

Bhoja:

Bhoja, defines 办腻惫测补 in his 厂补谤补蝉惫补迟墨办补峁囜弓丑腻产丑补谤补峁嘺 (SKB) and 艢峁涐箙驳腻谤补辫谤补办腻艣补 (艢峁沺.) In the 艢峁沺., it is found that poetry consists of word and meaning, which was also the view of 叠丑腻尘补丑补. The sense is that word and meaning, both jointly constitute poetry. The 艢峁沺 is a very voluminous work, larger than any work on Sanskrit poetics. It deals with both poetics and dramaturgy, like the SD.^[34] In SKB, in five long chapters, Bhoja discusses the merits and demerits of poetry, the figures of speech and sentiments. The general precepts are profusely illustrated from the works of standard authors and in this respect, the treatise forms a landmark in the history of Sanskrit literature.^[35] In the first chapter, it deals with 办腻惫测补lak峁�a峁嘺, along with other topics.

惭补尘尘补峁璦:

惭补尘尘补峁璦, is of the opinion that poetry consists of words and meanings, faultless, with excellence or beauty even though sometimes undecorated.^[36] In the 补濒补峁僰腻谤补 literature, the 碍腻惫测补辫谤补办腻艣补 (KP) occupies a unique position. It covers the whole ground of rhetoric, treats as usual of the merits and faults of poetry, the operation of the words and their sources and figures of speech. He opines that real poetry is free from faults and adorned with merits.

Ruyyaka:

搁腻箩腻苍补办补 Ruyyaka, who is held in high esteem as a theorist on poetry wrote the 础濒补峁僰腻谤补蝉补谤惫补蝉惫补 (Als.). According to P.V. Kane^[37], Ruyyaka is a staunch advocate of the dhvani school and he briefly summarizes the views of 叠丑腻尘补丑补, 鲍诲产丑补峁璦, 搁耻诲谤补峁璦, 痴腻尘补苍补, the VJ, Vyaktiviveka (VV) and 膧苍补苍诲补惫补谤诲丑补苍补, on the essence of poetry. However, M. Winternitz^[38] is of the opinion that Ruyyaka wholly depends upon his predecessors, especially 惭补尘尘补峁璦. When he refers to the views of 叠丑腻尘补丑补, 鲍诲产丑补峁璦, 搁耻诲谤补峁璦 and 痴腻尘补苍补, he speaks about them collectively.

痴腻驳产丑补峁璦 I:

痴腻驳产丑补峁璦 I, in his 痴腻驳产丑补峁�膩l补峁僰腻谤补 (V膩g.), in the first Pariccheda, defines 办腻惫测补^[39], mentions 辫谤补迟颈产丑腻 as the source of 办腻惫测补, defines 辫谤补迟颈产丑腻, vyutpatti and 补产丑测腻蝉补, speaks of the favourable circumstances for the out-turn of poetry and the conventions to be observed by the poets etc.

Hemacandra:

Hemacandra mentions the features of 办腻惫测补lak峁�a峁嘺 in his 碍腻惫测腻苍耻艣腻蝉补苍补 (KA). He provides some observation as that of 惭补尘尘补峁璦. However, he replaces the term 补诲辞峁�a耻 by the term pr补诲辞峁�a耻 only.

Jayadeva:

In the 颁补苍诲谤腻濒辞办补 (CL) of Jayadeva also, in the first 尘补测奴办丑补, the definition of 办腻惫测补 is found.

Vidyadhara:

In the 贰办腻惫补濒墨 (Ek膩.) of Vidyadhara also, in the first 耻苍尘别峁�a, the definition of 办腻惫测补 is given.

痴颈艣惫补苍腻迟丑补 碍补惫颈谤腻箩补:

痴颈艣惫补苍腻迟丑补 碍补惫颈谤腻箩补 is of the opinion that the poetry is the sentence, soul whereof is flavour or sentiment (rasa).^[40] 痴颈艣惫补苍腻迟丑补 gives in ten chapters, a comprehensive treatment of all the topics of poetics, including dramaturgy. In the first chapter of his treatise, he provides the definition of poetry. Here 痴颈艣惫补苍腻迟丑补 discusses the definitions of poetry proposed by different writers and at last, gives his own definition and illustrates it.^[41]

碍别艣补惫补 Mi艣ra:

After 痴颈艣惫补苍腻迟丑补, 碍别艣补惫补 Mi艣ra in his 础濒补峁僰腻谤补艣别办丑补谤补 (A艢), consisting of eight chapters or ratnas and twenty-two 尘补谤墨肠颈蝉, gives the definition of 办腻惫测补.

笔补峁囜笉颈迟补谤腻箩补 闯补驳补苍苍腻迟丑补:

笔补峁囜笉颈迟补谤腻箩补 闯补驳补苍苍腻迟丑补, is of the opinion that the word, establishing pleasant meaning is termed as 办腻惫测补^[42] and the wonderfulness in sentiment is accepted as its essence.笔补峁囜笉颈迟补谤腻箩补 闯补驳补苍苍腻迟丑补 declares that of all the varieties of dhvani, rasadhvani is 辫补谤补尘补谤补尘补峁嚹珁补. In this standard work on poetics, next only to the DL and the KP, Jagan膩tha also examines the definitions of 办腻惫测补 given by others. 闯补驳补苍苍腻迟丑补 is the last of the important writers on Sanskrit poetics.

Thus, the sentence without fault, blended with 驳耻峁嘺 and 补濒补峁僰腻谤补, wonderful as well as the soul whereof is rasa is called 办腻惫测补. This is almost unanimously granted as the flawless definition of 办腻惫测补.

Footnotes and references:

[back to top]

[1]:

kave岣� karma 办腻惫测补峁�/
痴补办谤辞办迟颈箩墨惫颈迟补., v峁泃ti on k膩rika 2

[2]:

ap膩re 办腻惫测补sa峁僺膩re kavireva praj膩pati岣�/
yath膩smai rocate vi艣va峁� tatheda峁� parivartate//
艣峁涐箙g膩r墨 cetkavi岣� k膩vye j膩ta峁� rasamaya峁� jagat/
sa eva v墨tar膩ga艣cennirasa峁� sarvameva tat//
bh膩v膩nacetan膩napi cetanavaccetan膩nacetanavat/
vyavah膩rayati yathe峁ａ弓a峁� sukavi岣� k膩vye svatantratay膩//
     顿丑惫补苍测腻濒辞办补., I. 3, v峁泃ti on 办腻谤颈办腻 43

[3]:

http://www.bartleby.com/39/36.html, Famous Prefaces, The Harvard Classics, 1909-14 , preface to Lyrical Ballads, William Wordsworth, paragraph 6.

[4]:

m膩 ni峁Ｄ乨a prati峁ａ弓h膩峁� tvamagama岣� 艣膩艣vat墨岣� sam膩岣�/
yatkrau帽camithun膩dekamavadh墨岣� k膩mamohita峁�// 搁腻尘腻测补峁嘺., 1. 2. 15

膧苍补苍诲补惫补谤诲丑补苍补 also comments鈥�
办腻惫测补sy膩tm膩 sa ev膩rthastath膩 c膩dikave岣� pur膩/
krau帽cadvandvaviyogottha岣� 艣oka岣� 艣濒辞办补tvam膩gata岣�//
     顿丑惫补苍测腻濒辞办补., I. 5, page 29

[5]:

kavirman墨s墨 paribhu岣� svaya峁僢hu岣�/ 艢ukla Yajurveda., 40. 8

[6]:

janm膩dyasya yato鈥檔vay膩dirata-艣c膩rthe峁�vabhij帽a岣� svar膩峁� tene brahma h峁沝膩 ya 膩dikavaye muhyanti yats奴raya岣�/
tejov膩rim峁沝膩峁� yath膩 vinimayo yatra trisargo鈥檓峁涐梗膩 dh膩mn膩 svena sad膩 nirastakuhaka峁� satya峁� para峁� dh墨mahi//
     叠丑腻驳补惫补迟补辫耻谤腻峁嘺, 1. 1.1; page 45

[7]:

艣ukro daityoguru岣� 办腻惫测补 u艣an膩 bh膩rgava岣� kavi岣�/
础尘补谤补办辞峁�a, 1. 3. 25

[8]:

艣ukr膩c膩rya岣� (yath膩 mah膩bh膩rate 1/66/42 艢补产诲补办补濒辫补诲谤耻尘补.,

[9]:

vidv膩n vipa艣ciddo峁�aj帽a岣� san sudh墨岣� kovido vudha岣�/
dh墨ro man墨峁Ｄ� j帽a岣� pr膩j帽a岣� sa峁卥hy膩v膩n pa峁囜笉ita岣� kavi岣�//
础尘补谤补办辞峁�a, 2. 7. 5, Bhattacharya, Bidy膩nidhi, page 210

[10]:

About the term kavi, it has been written as -kavi岣�, pu峁�.,
(kavate sarva峁� j膩n膩ti sarva峁� var峁嘺yati sarva峁� sarvato gacchati v膩/ kav in/ yadv膩 ku艣abde+ 鈥渁ca岣� i岣モ��/ u峁嘺峁� 4/138/ iti i岣�/)
brahm膩/ iti hemacandra岣�//
also, kavi岣�, tri, kavate 艣lok膩n grathate var峁嘺yati v膩/ (kav+in) pa峁囜笉ita岣�/ityamara岣� 2/7/5;
also, kavi岣� str墨, (kavati 艣abd膩yate iti/ ku艣abde 鈥渁c i岣モ��/u峁嘺峁�/ 4/138 iti i岣�/
Deva, R膩ja R膩dh膩 K膩nta, 艢补产诲补办补濒辫补诲谤耻尘补., page 68

[11]:

ayam腻诲颈办补惫颈岣� yath膩, 鈥渢ene brahmah峁沝膩 ya 膩dikavaye鈥� (iti bh膩gavate/ 1/1)

鈥渧膩lm墨kirmuni岣�/ 艢补产诲补办补濒辫补诲谤耻尘补., page 68

[12]:

k峁泃a峁� mayeda峁� bhagavan! 办腻惫测补峁� parama pujita峁�/
惭补丑腻产丑腻谤补迟补, Anu艣膩sana Parvan 1. 61

[13]:

asminn膩r峁�e puna岣� sarg膩 bhavanty膩khy膩nasa峁僯帽ak膩岣�/ asminmah膩k膩vye/ yath膩-mah膩bh膩rata峁�/ S膩hityadarpa峁嘺., VI. 325

[14]:

碍腻惫测腻濒补峁僰腻谤补蝉奴迟谤补惫峁泃迟颈., 1. 1. 1-3

[15]:

na hi ras膩d峁泃e ka艣cidartha岣� pravartate/
狈腻峁瓂补艣腻蝉迟谤补., VI

[16]:

vibh膩v膩nu产丑腻惫补vyabhic膩risa峁儁og膩drasa-ni峁�patti岣�/
狈腻峁瓂补艣腻蝉迟谤补., VI. 32

[17]:

艣abd膩rthau sahitau 办腻惫测补峁�/
KL., I. 16

[18]:

Sastri, G.N., CHCSL., p. 151

[19]:

艣ar墨ra峁� t膩vadi峁ａ弓膩rthavyavacchinn膩 pad膩val墨/
KD., I. 10

[20]:

Winternitz, M., History of Indian Literature., vol. III, page 13

[21]:

谤墨迟颈r膩tm膩 办腻惫测补sya, vi艣i峁ａ弓膩 padaracan膩 谤墨迟颈岣�, vi艣e峁�o gu峁嚹乼m膩/
碍腻惫测腻濒补峁僰腻谤补蝉奴迟谤补惫峁泃迟颈., I. 2. 6-8

²² Basu, A.C., 碍腻惫测腻濒补峁僰腻谤补蝉奴迟谤补惫峁泃迟颈., page 35-36

[22]:

nanu 艣abd膩rthau 办腻惫测补峁�/
碍腻惫测腻濒补峁僰腻谤补 (of 搁耻诲谤补峁璦)., II. 1

[23]:

tasm膩ttatkartavya峁� yatnena mah墨yas膩 rasairyukta峁�/
Ibid., XII. 2

[24]:

Ibid., II. 4, 6; XIV. 37; XV. 20

[25]:

Kane, P.V., History of Sanskrit Poetics., page 153

[26]:

Sastri, G.N., 鈥楢 Concise History of Classical Sanskrit Literature鈥�., page 153

[27]:

驳耻峁嘺vadala峁僰峁泃a峁� ca v膩kyameva 办腻惫测补峁�/
碍腻惫测补尘墨尘腻峁僺腻., VI

[28]:

vakroktireva vaidagdhyabha峁単墨bha峁噄tirucyate/
痴补办谤辞办迟颈箩墨惫颈迟补., I. 10

[29]:

Kane, P.V., History of Sanskrit Poetics., page 228

[30]:

办腻惫测补sy膩tmani sa峁卝帽ini ras膩dir奴pe na kasyacidvimati岣�/
Vyaktiviveka., Sastri, T.G., page 22

[31]:

yatr膩rtha岣� 艣abdo v膩 tamarthamupasarjan墨k峁泃asv膩rthau/
vya峁卥ta岣� 办腻惫测补vi艣e峁�a sa dhvaniriti s奴ribhi岣� kathita岣�// 顿丑惫补苍测腻濒辞办补., I. 13

[32]:

Kane, P.V., History of Sanskrit Poetics., page 248

[33]:

Krishnamachariar, M., 鈥楬istory of Classical Sanskrit Literature鈥�., page 753

[34]:

Winternitz, M., History of Indian Literature., page 25

[35]:

Krishnamachariar, M., 鈥楬istory of Classical Sanskrit Literature鈥�., page 750-751

[36]:

tad补诲辞峁�a耻 艣abd膩rthau sagu峁嚹乿anala峁卥峁泃墨 puna岣� kv膩pi// 碍腻惫测补辫谤补办腻艣补., I, s奴tra 1

[37]:

Kane, P.V., History of Sanskrit Poetics., page 275

[38]:

Winternitz, M., History of Indian Literature., page 26

[39]:

Kane, P.V., History of Sanskrit Poetics., page 286

[40]:

v膩kya峁� ras膩tmaka峁� 办腻惫测补峁�/
S膩hityadarpa峁嘺., I. 3

[41]:

Kane, P.V., History of Sanskrit Poetics., page 302

[42]:

raman墨y膩rthapratip膩daka岣� 艣abda岣� 办腻惫测补峁�/
Rasaga峁単膩dhara., 膧nana 1