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The present chapter is devoted to bring out the major findings of the study, which is carried out in the previous chapters. We have made a throw analysis of the works of 搁腻箩补艣别办丑补谤补 especially in his K膩vyam墨尘腻峁僺膩 Here his life; works and his special contribution in the field of Sanskrit Poetics have been analyzed. And in depth study through the process of adopting qualitative interpretation some significant facts have been emerged and those facts are stated as the major findings of the study in the following pages. The K膩vyam墨尘腻峁僺膩 is a wonderful creation in the world of Sanskrit Poetics. To compose this poetical work 搁腻箩补艣别办丑补谤补 might be influenced by the term 叠谤补丑尘补尘墨尘腻峁僺腻 and 顿丑补谤尘补尘墨尘腻峁僺腻 in the selecting his voluminous magnum opus K膩vyam墨尘腻峁僺膩 however 搁腻箩补艣别办丑补谤补 does not propounded any new doctrine in the domain of Sanskrit Poetics but he complies the views of his predecessor 腻濒补峁僰腻谤颈办补蝉 and critically analyses those and further expresses and established his own theory. In this work 搁腻箩补艣别办丑补谤补 had to used the various prominent 艢膩stric texts i.e. Vedas, 鲍辫补苍颈峁�a诲补蝉, 笔耻谤腻峁嘺蝉, Epics, 础谤迟丑补艣腻蝉迟谤补, 碍腻尘补艣腻蝉迟谤补, Vy膩kara-艣腻蝉迟谤补, Dramas etc. There he also cited the views of different intellectual persons i.e. 膧par膩jiti, Drauhini, 痴腻尘补丑补, 鲍诲产丑补峁璦, 搁耻诲谤补峁璦, 碍腻濒颈诲腻蝉补, 痴腻办辫补迟颈谤腻箩补, 础惫补苍迟墨蝉耻苍诲补谤墨, 膧苍补苍诲补惫补谤诲丑补苍补, 叠丑腻谤补惫颈, Bhavabh奴t墨, 惭腻驳丑补 and 碍耻尘腻谤诲腻蝉补 etc.

Life, works, ancestry, poetical scholarship of 搁腻箩补艣别办丑补谤补 have been discussed in the first chapter of the thesis. It appears from the writings of 搁腻箩补艣别办丑补谤补 that he was born in Brahmin family speciall in the Saiva sects and he was born immediately after 膧苍补苍诲补惫补谤诲丑补苍补. His father name was Durduka or Duhika and mother name was 艢颈濒腻惫补迟墨 and also great-grandson of Mah膩r膩峁ａ弓rac奴r膩mani A办腻濒补jalada in the Maharastra. But he spends the last part of his life in the 碍腻艣墨 (modern Varanasi). He was the adorable court-poet and guru of the kings 惭补丑别苍诲谤补辫腻濒补 and his son and successor 惭补丑颈辫腻濒补. His wife 础惫补苍迟墨蝉耻苍诲补谤墨 was a learned person in poetics, daughter of Cauhana family. Therefore it is believe that 搁腻箩补艣别办丑补谤补 composes six dramas and one monumental poetical works K膩vyam墨尘腻峁僺膩, but at present time only four dramas and the first section (kavi-rahasya) out of eighteen section of K膩vyam墨尘腻峁僺膩 in present in our hand.

The study reveals that, most of the 腻濒补峁僰腻谤颈办补蝉 from Bharata to 膧苍补苍诲补惫补诲丑补苍补 concentrated their mind about the major theme of 办腻惫测补 (poetry), but they are ignored the matter of kavi, the creator of 办腻惫测补 (poetry). However, willingly or unwillingly they are lay down two or three stanza for the poet in their works. Their main ambition was to find out the main factor of poetry and thus they are says their own views and established the different school based on major element of poetry. Though, in the 础驳苍颈-笔耻谤腻峁嘺 says something about the poet and given the equal position of kavi (poet) with the 叠谤补丑尘腻, the supreme creator in the world of poetry.^[1] But 搁腻箩补艣别办丑补谤补 is the only one in Sanskrit Poetics who first time touches and elaborately discusses the absolute matters of 办补惫颈-艣颈办峁Ｄ� (creation or education of a poet). There he also has given the some guidelines and limitations in scientific way. Thus his theory get very much popularity in the further rhetoricians and know as the founder of 碍补惫颈艣颈办峁Ｄ� School.

It appears that, 搁腻箩补艣别办丑补谤补 has not only given the position of 厂腻丑颈迟测补-惫颈诲测腻 or 补濒补峁僰腻谤补艣腻蝉迟谤补 as the fifth disciplines but it is also soul of other four disciplines.^[2] And it is also the fourteen branches of knowledge. In this way 搁腻箩补艣别办丑补谤补 given very high status to 厂腻丑颈迟测补-惫颈诲测腻 with the others thirteen sources of knowledge i.e. four Vedas, six 痴别诲腻峁単补蝉, three 艢腻蝉迟谤补蝉. There his advice for the poets as they must acquire knowledge of 艢腻蝉迟谤补蝉 and purify their mind then they goes to composes 办腻惫测补 (poetry). He also says 厂腻丑颈迟测补-惫颈诲测腻 as the seventh 痴别诲腻峁単补, because without their proper knowledge one cannot able to understand the meaning of Vedas, thus 补濒补峁僰腻谤补艣腻蝉迟谤补 is another important one. Because without proper knowledge of 厂腻丑颈迟测补-惫颈诲测腻 one can鈥檛 able to recite the Vedas and it also help to study the 艢腻蝉迟谤补蝉. Therefore, here found the 搁腻箩补艣别办丑补谤补鈥檚 Vedic wisdom when he interoperates one Vedic 艣濒辞办补 鈥�诲惫腻 蝉耻辫补谤峁嚹� sayuj膩 sakh膩y膩 sa尘腻n峁涐箖vak峁�a峁�鈥� in poetical purpose.

It also reveals that although, before the time of 搁腻箩补艣别办丑补谤补 five poetical schools were developed but his treatment goes all the schools in Sanskrit Poetics. Only the Aucitya School is propounded after his time, there he also has given some concepts about this.

搁腻箩补艣别办丑补谤补 is the first 腻濒补峁僰腻谤颈办补 who says about the soul of poetry as rasa and given the essentiality of 补濒补峁僰腻谤补蝉 and 驳耻峁嘺蝉 in whole literature as define his concepts of 办腻惫测补 as:

鈥�gu峁嘺vadala峁卥峁泃a帽ca v膩kyameva 办腻惫测补m 触鈥�

-K膩vyam墨尘腻峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VI, Pp- 24

Therefore, he also says about the 补濒补峁僰腻谤补蝉 with their profounder names, which is not given any 补濒补峁僰腻谤颈办补 before and after him. To the concepts of 谤墨迟颈, 搁腻箩补艣别办丑补谤补 dedicated complete one 补诲丑颈办补谤补峁嘺 and posits 厂耻惫补谤苍补苍腻产丑补 as the founder of 谤墨迟颈, but in this time it is not available to us. He also given the classification of kavi from the concepts of Dhvany膩loka, but he does not say more things about Dhvani. Because when he flourished those times Dhvani theory was very much criticized by the anti-dhvani theorist. There 搁腻箩补艣别办丑补谤补鈥檚 concepts of Vakrokti is much elaborated than Kuntaka鈥檚 theory. However Kuntaka known as the founder of of Vakrokti School but his theory is limited only 办腻惫测补, but 搁腻箩补艣别办丑补谤补鈥檚 concepts of Vakrokti goes to beyond the 办腻惫测补 and touches the matter of Lokas and 艢腻蝉迟谤补蝉. The last major theory of Sanskrit Poetics is Aucitya. Though, 搁腻箩补艣别办丑补谤补 directly not given any concepts about it but in the interpretations of Vyutpatti of 搁腻箩补艣别办丑补谤补 we can seems his knowledge on it.

搁腻箩补艣别办丑补谤补鈥檚 K膩vyam墨尘腻峁僺膩 may be considered as an ambitious work like is the epic in the domain of Sanskrit Poetics. So far its sections and volumes are concerns. There the K膩vyam墨尘腻峁僺膩 also projected by 搁腻箩补艣别办丑补谤补 into long eighteen sections to describe the absolute thing of Sanskrit Poetics. However it is our bad luck that, there only first section (补诲丑颈办补谤补峁嘺) is found, which is also divided into eighteen chapters. Thus 搁腻箩补艣别办丑补谤补 also posits as the name 痴测腻蝉补诲别惫补 of Sanskrit Poetics. 搁腻箩补艣别办丑补谤补 divided all the major treatise of Sanskrit Poetics i.e. kavi-艣颈办峁Ｄ�, Ukti, R墨ti, Anupr膩艣a, Yamaka and Citra-办腻惫测补, 艢补产诲补-艣濒别蝉补, Vastava or 厂惫补产丑腻惫辞办迟颈, Upa尘腻la峁僰膩ra, 础迟颈艣补测辞办迟颈, Artha-艣濒别蝉补, Ubhaya-补濒补峁僰腻谤补, Vinodas, N膩tya艣腻蝉迟谤补, Rasa, 顿辞峁�a, 骋耻峁嘺, Aupni艣adika etc. and projected to write individual eighteen section for each one. But it very much destroyed matter to us that the only first section named kavi-rahasya is available at present times.

Whatever, to keep this acute pain in our mind for the missing parts (sections) of K膩vyam墨尘腻峁僺膩, we can find and observe some of the aspects to study the first section of K膩vyam墨尘腻峁僺膩 as:

The kavi-rahasya 补诲丑颈办补谤补峁嘺 of K膩vyam墨尘腻峁僺膩, 搁腻箩补艣别办丑补谤补 has made help of the dignified famous works i.e. K膩mas奴tra, 础谤迟丑补艣腻蝉迟谤补, 碍腻惫测腻濒补峁僰腻谤补 (of 叠丑腻尘补丑补) of 叠丑腻尘补丑补, 碍腻惫测腻濒补峁僰腻谤补 (of 搁耻诲谤补峁璦) of 搁耻诲谤补峁璦, 痴腻测耻pur膩na, Dhvany膩loka and V膩kyapadiya etc. in this part 搁腻箩补艣别办丑补谤补 cited various opinions of different known and unknown 腻濒补峁僰腻谤颈办补蝉 in many context and lastly he gives his own views. There he also adopted 蝉奴迟谤补产丑腻峁�y补 style to write this work but there he does not subscribing himself to any particular school of Sanskrit Poetics.

Then 搁腻箩补艣别办丑补谤补 the idea of description of genesis of 碍腻惫测补-辫耻谤耻峁�a岣� is incorporated from the 痴腻测耻-辫耻谤腻苍补蝉. Here we can see that:

In this description, 搁腻箩补艣别办丑补谤补 challenging to the ancient tradition of believes, which is posits 痴腻濒尘墨办颈 as the 腻诲颈-办补惫颈. But 搁腻箩补艣别办丑补谤补 here established K膩vya -辫耻谤耻峁�a岣� as the composer of first metrical speech, the great sage 鲍艣补苍补 is the second and the 痴腻濒尘墨办颈 is placed in third position. Therefore the 艣濒辞办补 鈥�yadeta诲惫腻峁卪aya峁� vi艣vamartham奴rtty膩 vivarttate 触鈥� is places as the first specimen of poetic art in the place of 痴腻濒尘墨办颈鈥檚 鈥�尘腻 苍颈峁Ｄ乨补岣� 辫谤补迟颈峁ａ弓丑腻峁� 迟惫补尘补驳补尘补岣� 艣腻艣惫补迟墨岣� sa尘腻岣� 触鈥�

* The concept of 碍腻惫测补-辫耻谤耻峁�a岣� is certainly developed to the concepts of Veda-辫耻谤耻峁�a岣�^[3], which is represented in the Vedas and its treatises on the philosophy of 痴测腻办补谤补峁嘺-艣腻蝉迟谤补^[4].

* The concepts of 碍腻惫测补-辫耻谤耻峁�a岣� is an improvement on the ancient concept of Veda-辫耻谤耻峁�a岣� by imagining and establishes poetry as a human being and shows that the order to constitute an appealing poetry a clear got to be struck in human note.

* The description of 碍腻惫测补-辫耻谤耻峁�a岣� expresses a vital debate and serious controversy its own self. Because the logical and the rational confessors mind is always reluctant to established the nature of poetry as like as a human being. But the clarified reader or an observer enters the realm of poetry than their rational intellect ceases to function like inspire the aesthetic sensibility and consequently the unreal is also being relished.

* The concepts of constitutes of 碍腻惫测补-辫耻谤耻峁�a岣�, is seems to fully a metaphorical expression. Because the infant is introduced by his mother and she has blesses it to the expression. The expressed as it鈥檚 body, the language of Sanskrit as its face, the 笔谤腻办峁泃 dialects as its limbs (arms), the 础辫补产丑谤补峁兣沘 speech as its legs (thigh), the 笔补颈艣腻肠补 as its feet and the mixture of different languages as its breast (bosom). His speech is elevated, the delectable state of rasa is soul and the metrical composition is the pores (hair). The jugglery of words questions and quizzes is discourse and the poetic figures of alliteration (补苍耻辫谤腻艣补), simile (upa尘腻) employed to embellishment^[5]. This is the attributing the qualities of one to another.

* In this description 搁腻箩补艣别办丑补谤补 adopts a comprehensive view of poetry and highlight the charm is to be infused in a specimen of poetic art not only a polishing chiseled views and poetic figure but it is a admixture of different languages i.e. Sanskrit, 笔谤腻办峁泃, Pai艣膩ci, 惭颈艣谤补 and 础辫补产丑谤补峁兣沘 etc. which have a special charm. Those languages are consequently incapable being translated to another without any resultant loss of charm.

* In the description of 碍腻惫测补-辫耻谤耻峁�a岣� emphasizes the importance of metaphor in poetical works, which have impresses the poet and the refined reader to necessary of proper adjustment between thought and emotions and also recognizes the necessity of presenting the charm of poetry.

* In this description of 碍腻惫测补-辫耻谤耻峁�a岣�, 搁腻箩补艣别办丑补谤补 refer a 艣濒辞办补 which is the first creator of a 艣濒辞办补:

鈥�yadeta诲惫腻峁卪aya峁� vi艣vamartham奴rtty膩 vivarttate |
so'smi 办腻惫测补pu尘腻namba p膩dau vandeya t膩vakau || 鈥� [ iti ]

- K膩vyam墨尘腻峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-III, Pp- 6

But it is opposite of ancient believes of tradition in Indian Literature, where 痴腻濒尘墨办颈 is the first creator of a stanza and his poetry is known as 膧di-办腻惫测补 .

* Therefore in description of 碍腻惫测补-辫耻谤耻蝉补岣�, when 厂补谤补蝉惫补迟墨 (Godess of Learning) went to the 骋补峁単腻 after placing the infant on a slab of stone and seen by the sage 鲍艣补苍补s took the infant to his hermitage. There the infant broken out in metrical speech to the astonishment of the great sage. This type astonishment experienced of sage is common to all refined readers and appreciators whose mind is filled. Thus we can think that wonder by the diction and experience of poetry. This type astonishment is generated by poetic creation is the prime important and it has the capacity to excite their wonder that lies at the root of all such elements, which are essential in poetic composition.

Therefore, in the description of both 碍腻谤补测颈迟谤墨 (geniou for creative poet) and 叠丑腻惫补测颈迟谤墨 (genious for appreciative reader) 辫谤补迟颈产丑腻 搁腻箩补艣别办丑补谤补鈥檚 discussion is very logical. However they are different in nature but sometimes they also places together.

鈥�办补濒测腻峁嚹� te matirubhayath膩 惫颈蝉尘补测补峁� nastanoti 触鈥�

- K膩vyam墨尘腻峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-IV, Pp- 14

Then the concepts on 碍腻谤补测颈迟谤墨 (geniou for creative poet) and 叠丑腻惫补测颈迟谤墨 (genius for appreciative reader) 辫谤补迟颈产丑腻 of 搁腻箩补艣别办丑补谤补 seems to very much perfect. Because 膧苍补苍诲惫补谤诲丑补苍补, Abhinavagupta, 痴颈艣惫补苍腻迟丑补, 闯补驳补苍苍腻迟丑补 and as well as 搁腻箩补艣别办丑补谤补 all the 腻濒补峁僰腻谤颈办补蝉 are the example on this matter. They all are not only poet but also a well known critic. Beside this, in the Bengali literature world famous poet 搁补产颈苍诲谤补苍腻迟丑补 Tagore, Vankimcandra etc. also have both types of 碍腻谤补测颈迟谤墨 and 叠丑腻惫补测颈迟谤墨 辫谤补迟颈产丑腻. These two types 辫谤补迟颈产丑腻 is connected to each others.

膧苍补诲惫补谤诲丑补苍补 and Kuntaka also recognize these two types of 辫谤补迟颈产丑腻. Because, the 碍腻谤补测颈迟谤墨 辫谤补迟颈产丑腻 creates aesthetic production and another 叠丑腻惫补测颈迟谤墨 辫谤补迟颈产丑腻 makes its reproduction of critical thoughts. There the 碍腻谤补测颈迟谤墨 辫谤补迟颈产丑腻 is a genius and 叠丑腻惫补测颈迟谤墨 辫谤补迟颈产丑腻 is judge the poetic genius. Thus the 碍腻谤补测颈迟谤墨 辫谤补迟颈产丑腻 denotes kavi (poet) and 叠丑腻惫补测颈迟谤墨 辫谤补迟颈产丑腻 denotes 蝉丑峁沝补测补 (critic or reader). The ideal reader always able to read to the mind of kavi (poet) in properly. In this type of ideas in 补濒补峁僰腻谤补艣腻蝉迟谤补, 搁腻箩补艣别办丑补谤补 was the first 腻濒补峁僰腻谤颈办补 who introduces it in the Indian literary criticism.

The other important features is that, 搁腻箩补艣别办丑补谤补 is the only 腻濒补峁僰腻谤颈办补 who discusses the theory of 笔腻办补 in great details and cited the different views of 惭补峁単补濒补 and 础惫补苍迟墨蝉耻苍诲补谤墨, whose are otherwise unknown. Here his discussion throws a good deal on the most important aspects of 笔腻办补 and perfection of both meaning and expression. 膧苍补苍诲补惫补谤诲丑补苍补 also says it by the term of Aucitya or propriety. In this type of 笔腻办补, the values of literary composition are to be realized. Where the meaning reposes in the tissue of words and each word finds a perfect embedding in the integral tissue.

There 搁腻箩补艣别办丑补谤补鈥檚 warning is very much important to the aspirant poets that they always be a good poet through practicing those 辫腻办补. Never would be bad poet, because to compose a bad poetry as like as death.

鈥�蝉补尘测补驳补产丑测补蝉测补迟补岣� 办腻惫测补峁� 苍补惫补诲丑腻 paripacyate |
h膩nop膩d膩nas奴tre峁嘺 vibhajettaddhi vuddhi尘腻n || 鈥�

- K膩vyam墨尘腻峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-V, Pp- 21

Therefore, in the portion of K膩vyartho, 搁腻箩补艣别办丑补谤补 adopts his discussion based on 痴测腻办补谤补峁嘺-艣腻蝉迟谤补 (science of grammar). There we can seems the grammatical intellection of 搁腻箩补艣别办丑补谤补, when he analyzing the different characteristics and varieties 碍腻办耻. There he discusses the art of reading with its importance and best type of reading. The art of proper reading can be acquired through steady practice and it is the result of experiences in earlier birth. His advice about correct and proper reciting is the first time seems in the Sanskrit Poetics. In Sanskrit Poetics there no any 腻濒补峁僰腻谤颈办补蝉 has given any theory on it before or after 搁腻箩补艣别办丑补谤补. His described earnests, sweetness, accomplishment of high and low pitches, elegance in the harmonization of compound words are remembered to be the qualities of good reading.

The treatment of artha-惫测腻辫迟颈岣� is simply on appearance and it does not exhibit the actual facts uncolored by the feeling of poets. There the appearance is certainly no identical with real nature of a thing.

搁腻箩补艣别办丑补谤补鈥檚 description on poetic assemblies and their activities is very much helpful for the budding poet of creative genius. Here the aspirant poet able to collect the ideas and expression in better way. To refer the poetic tradition i.e. prohibitation of cerebrals and conjunct consonants in the court of a king is very much interesting. Because in this description of daily routine and duties of a poet makes one to think own self his life dedicated for creative purposes. It is also gives the idea that the poets were got high status in those times in society. However in this present time this position is something decreases and it lost their position.

Then the next concept of 搁腻箩补艣别办丑补谤补 is 贬补谤补峁嘺 (appropriation or Plagiarism) seems to be presented in a new garb of varied striking expression. This concepts is something similar with a protagonist in a drama, who appearance changes altogether his new dresses in a new character. Here 搁腻箩补艣别办丑补谤补鈥檚 treatment made tremendous advance over his reputed ancestor critic 膧苍补苍诲补惫补谤诲丑补苍补 in the history of Sanskrit Poetics. There he is the only 腻濒补峁僰腻谤颈办补 who gives an elaborate and through-going expression of the entire subject matter there his idea may be the aspirant poet who should be aware of the power of words and always able to chose correct words in proper place. Here it is also be notice that, in his inordinate love of thirty-two division and sub-division he is quietly overlapping in classification. Therefore, in the present time 搁腻箩补艣别办丑补谤补鈥檚 idea of 贬补谤补峁嘺 or appropriation reveals his help and to being to light on the genuineness of poetic concepts or ideas. It would be very much helpful and interesting if anyone tries to examine it with the modern concepts of originality.

Kavisamaya or Poetic Convention related to a 箩腻迟颈 (genus), dravya (substance) and 办谤颈测腻 (action) and to attribute 驳耻峁嘺蝉 and to objects in the celestial and nether worlds as on the earth is another unique concepts of 搁腻箩补艣别办丑补谤补. However ancient 腻濒补峁僰腻谤颈办补蝉 does not recognizes the alaukika type descriptions in 办腻惫测补 (poetry), but 搁腻箩补艣别办丑补谤补 also accepted such type of description if they are case of beautifying factors of poetry. In the 笔谤腻测辞驳颈办腻诲丑颈办补谤补峁嘺 of 碍腻惫测腻濒补峁僰腻谤补s奴峁璻a-惫峁泃迟颈 of 痴腻尘补苍补 also cautioned to the aspirant poet that, the vigilant of the errors that may occur due to ignorance of grammar and prosody. There 搁腻箩补艣别办丑补谤补 gives detail discussion about it and gives suitable example from the works of various authors. Therefore, 搁腻箩补艣别办丑补谤补鈥檚 Svargiya and P膩t膩l墨ya Kavisamaya or Poetic Conventions are like Bhauma Kavisamaya. There he cited only few sweet examples from here and there in different works. These types of idea of Poetic Conventions are very much helpful to the budding poets and given the guidelines to Poetic Composition to write a good poetry.

However it is vague of journey and very much difficult to find out the genesis of different types of Kavisamaya. There 搁腻箩补艣别办丑补谤补 try to find out a new path in this description, because most of the ancient poets and poeticians are very close to the nature. Thus most of them are described about nature in their poetry and their observation endowed about nature in their poetic imagination gave rise to many newly concepts in poetic composition. This is the full credit goes to 搁腻箩补艣别办丑补谤补 in Sanskrit Literature that he fully and systematically deals with this matter, where no other school of poetics does not deals with this aspects.

There both of the concepts of 贬补谤补峁嘺 (appropriation) and Kavisamaya (Poetic Conventions) of 搁腻箩补艣别办丑补谤补 are take the role as advisor or rector and given guidelines for the budding poets to write good poetry.

In the last part of K膩vyam墨尘腻峁僺膩 is interestingly related to the knowledge of Geographical regions and different types of seasons, which are helpful for the poetic composition. There 搁腻箩补艣别办丑补谤补 says about the concepts of the world and especially in the 叠丑腻谤补迟补惫补谤峁�a (undivided India) for the proper description of different region of countries, mountains, rivers, trees etc. in poetry. Because if any poet have not sufficient knowledge about the geography of different places thus he does not able to describe about it and his poetic composition goes to lack of poor descriptions. There 搁腻箩补艣别办丑补谤补鈥檚 description of different region of 叠丑腻谤补迟补惫补谤峁�a is a store house and his treatment on this matter is like an encyclopedia to write a good poetry. Though, 搁腻箩补艣别办丑补谤补 is not the first who at first deal about this matter, there 笔补迟补帽箩补濒颈 and Manu also given the same treatment on panchronic perception of religious and cultural aspects of different regions. Therefore, 搁腻箩补艣别办丑补谤补 is the first 腻濒补峁僰腻谤颈办补 who is elaborately given details about this matter in the history of Sanskrit Poetics. Here 搁腻箩补艣别办丑补谤补鈥檚 view is significantly different from the views of 笔补迟补帽箩补濒颈 nad Manu.

In this part 搁腻箩补艣别办丑补谤补 described to appreciates Sanskrit as the 骋补耻岣峚蝉, 础辫补产丑谤补峁兣沘 of Punjab, 笔谤腻办峁泃a as the 尝腻迟补蝉 and the recitation of the poets of 厂补耻谤腻峁ａ弓谤补. Those all regions are impure, fallen and mixed region in the concepts of ancient Dharma艣腻蝉迟谤补. In this part 搁腻箩补艣别办丑补谤补 describes all the region of 叠丑腻谤补迟补惫补谤峁�a in the glory of the land and the cultural geography in 搁腻箩补艣别办丑补谤补 is much evenhanded and generous to the concepts of Patanjali and Manu. In this way 搁腻箩补艣别办丑补谤补鈥檚 description of cultural geography is very much significant for its approaches and it鈥檚 newly content. However, 搁腻箩补艣别办丑补谤补 flourished in the premodern times but his treatment is compared with Risley, the well known modern anthropologist. Beside those, in any historical reconstruction of culture, anthropological and linguistic history of 叠丑腻谤补迟补惫补谤峁�a thus this K膩vyam墨尘腻峁僺膩 of 搁腻箩补艣别办丑补谤补 would be very much useful tool to helping this work.

In the description on rtu or seasons in the K膩vyam墨尘腻峁僺膩 of 搁腻箩补艣别办丑补谤补 the whole world of ideas and images connected with human life and activities. There 搁腻箩补艣别办丑补谤补 deals not only poetically but scientifically also. The descriptions of 办腻濒补 or seasons with their six varieties and characteristics are commenced with a narration of the computation of time in ancient India. Here 搁腻箩补艣别办丑补谤补 is very much influenced by the ancient work 痴测腻测耻辫耻谤腻苍补 and 碍腻濒颈诲腻蝉补鈥檚 峁歵u 厂补峁僪腻谤补. It is also connected to the Sanskrit poetics in the 办补惫颈-艣颈办峁Ｄ�, because if any aspirant poet is unable to know on which times or seasons which types of activities are described in poetry thus his poetical work may be under the lack of charming and causing for ignorance. Thus poets are always to be aware about these types of concepts.

In this way, the whole concepts of the K膩vyam墨尘腻峁僺膩 of 搁腻箩补艣别办丑补谤补 are very much informative for the budding poets in its content. There we found the name of various little known 腻濒补峁僰腻谤颈办补蝉 in Sanskrit Poetics i.e. 膧parajita, Drauhini, 惭补峁単补濒补 and Sy膩madeva etc. there 搁腻箩补艣别办丑补谤补 also cited the names of kings i.e. 痴腻蝉耻诲别惫补, 厂腻迟补惫腻丑补苍补, S奴draka and Sahas膩峁卥a etc. all are the patrons of learning, who are encouraged the experts in 办腻惫测补 (poetry) and 艢腻蝉迟谤补 (science).

To sum up about the K膩vyam墨尘腻峁僺膩 of 搁腻箩补艣别办丑补谤补, it is remarkable that this work must be very much helpful for the aspirant poet in the matter of unfamiliar concepts in applied Poetics. This work certainly a great manual for the both poet and appreciative reader to understand and test the charm of poetry. This magnum-opus K膩vyam墨尘腻峁僺膩 posits in the high place in the history of Sanskrit Poetics. Therefore, we can hope and wait for those times when the whole 补诲丑颈办补谤补峁嘺s can be discover then creates a revolution in the Sanskrit Poetic world.

Footnotes and references:

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[1]:

础驳苍颈-笔耻谤腻峁嘺: Ch- 339/ 9

鈥�ap膩re 办腻惫测补sa峁僺膩re kavire ka praj膩jati岣� |
yath膩smairocate vi艣va峁� tatheda峁� parivartate || 鈥�

[2]:

K膩vyam墨尘腻峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-II, Pp- 4, 鈥減a帽cam墨 s膩hitya惫颈诲测腻鈥� iti y膩y膩var墨ya岣� |

[3]:

峁歡 Veda- 4.58.3

鈥�catv膩ri 艣峁涐箙g膩stra (tra) yo'sya p膩d膩 dve 艣墨r峁�e saptahast膩so'sya |
tridh膩 vaddho v峁涐梗abho rorav墨ti maho devo martya尘腻(rty膩峁� 膩)vive艣a || 鈥�

[4]:

Nirukta鈥�13. 18

[5]:

K膩vyam墨尘腻峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-III

鈥�艣avd膩rthau te 艣ar墨ra峁�, sa峁僺k峁泃a峁� mukha峁�, pr膩k峁泃a峁� b膩hu jaghanamapabhra峁兣沘岣�, pai艣膩ca峁� p膩dau, uro mi艣ram | sama岣� prasanno madhura ud膩ra ojasv墨 c膩si | uktica峁嘺峁� ca te vaco, rasa 膩t尘腻, ro尘腻峁噄 chandsi, pra艣nottarapravalhik膩dika峁� ca v膩kke li岣�, anupr膩sopa尘腻daya艣ca tv膩mala峁卆ku rvanti |