365bet娱乐

875
啶�啷嵿ぐ啶膏ぞ啶о�曕�� 啶曕�佮ぐ啷傕お啶距ぃ啶距ぎ啶о�嵿く啶距お啶曕ぎ啶多�囙�� 啶掂た啶�啷嵿ぐ啶�啶曕げ啶距え啶距��
啶掂い啶距ぐ啶�啶｀�堗��
啶掂い啶距ぐ 啶�啶傕�椸�囙�� 啷� ( [pras膩dhaka峁� kur奴p膩峁嚹乵adhy膩pakama艣e峁嘺 vibhramakal膩n膩峁�
惫补迟腻谤补尘补峁嘺颈岣�
vat膩ra ma峁僩e岣� | (] 264,8ff..
啶呧�傕�椸��啶曕�冟い啶掂い啷� 啶ㄠさ啶�啷屶さ啶ㄠ��-
[a峁僩墨k峁泃avat墨 navayauvan膩-
] It is to be noted here that we have confined ourselves
to the narrative part proper of the TM in illustrating the
use of various figures of speech by Dhanap膩la, and have not
touched those in the b茅 introductory verses to the text.
VII : K 脜 V YA-DOSAS
or POETIC
BLEMISHES :-
Sanskrit rhetoricians have emphasized upon the
intellectual equipment (vyutpatti) of poets, by which they
expected in them a thorough knowledge of the ways of the
world, of men, sciences, arts and what not. The poet 鈻� was
expected to be alert in the choice of words, and observance
of the rules of grammar, logic and poetic conventions. Cri-
tics have not been sparing in picking up inexcusable flaws
from the works of top-ranking poets like K膩lid膩sa, Bh膩ravi,
M膩gha, 艢r墨har峁嘺, and others. It may never be feasible for
a poet to totally eschew all possible faults. But, as a
setter of literary norms and ideals, the critic has to be
a scholar competent in appreciating good points (gu峁嘺jna)
and in exposing the defects (do峁�ajna), as is evident from
the definitions of Poetry (Kavya) postulated by rhetoricians
from Bharata to Bhoja and many others, all of whom have ge-
nerally accorded co-equal status to diction (sabda) and