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In the opinion of Bhoja, says Krishna Caitanya, the whole composition considered as an organism demands that it should have one Rasa as its dominant mood. But this does not entail exclusiveness or monotony%; for in the development of that one dominant sentiment throughout the composition, all the rich variety of human sentiments can be portrayed in a subtle orchestration which strengthens the focal sentiment in its supreme status, The sentiment may be of a very com- .306 plex kind and can assimilate a conflict in a ctical synthesis. And we should not take the dialeterm Rasa only in its popular sense signifying the principal nine sentiments enumerated by the rhetoricians, but should also understand it in its etymological sense of poetic or aesthetic 303. Tilakamanjari, pp.14-20. 305. Sanskrit Poetics, p.189. relish. / 304. ibid.,p.263(2-10);273(3- 19). parasparam karyakarana- 306. Srg.Pr.(x), p. 471: rasa bhavanirantaratvamityanena rasagrahanenapi tatkarana-- bhutanam bhavanam parigraha prthagbhavagrahanane rasabhavana bhavamabhida 鈥�dhad 鈥�sambhyo bhasa bhavebhyo rayah ise bhyanna rasa iti nairantaryasya rasabhava bahutva sthanya tvena bhojanasyevaikasya prabandhasyapi vairasyamaya karoti |

777 What, then, is the focal sentiment of Dhanapala's prose-ronance? There is no doubt that the poet himself seems to subscribes to the above-noted view of Bhoja as regards the dominant sentiment of the whole composition (prabandharasa), as is evident from his censure of poetic compositions 307 devoid of a good story and a good sentiment. 'He has also alluded once to the sentiment of the 'frame of the story' 308. (sarasatam katha-panjarasya). In the introductory verses, Dhanapala has specifically mentioned that the story is intended to have 'distinctly manifested Marvellous sentiment However, towards the end of the Tilakamanjari of Dhanapala, he has indirectly referred to the total effect of excitement or poignancy (sam- 310 vega). The rhetoricians like Rudrata and Bhoja have insisted on having Srngara as the principal sentiment of full-fledged compositions like a Nataka, an Akhyayika and etc.)?), 311 on the other hand veteran Jain authors like Haribhadrasuri, Udyotanasuri and others, who regard Dharma-katha as the only literary type worthy to be attempted by a devout Jain poet, also allowed, though as a second choice, a mixed type called Sankirna-katha, which deals with the acquisition of the threefold Purusarthas on the part of the hero, and delineating 307. cf. Tilakamanjari, p. 3, vs. 18: satcya rasavandhyesu nibandhesu niyojitah | niceciva bhavantyarthah prayo vairasya hetavah || E 308. ibid., p.161(19). / 309. ibid., p.7.vs.50d: 310. (p.t.o.)... 1924, racita kadhyam ||

Santa- 778 -rasa. Dhanapala, as a devout Jain, wanted to strike a middle path calculated, on the one hand, to conform to the demands of his faith and, on the other hand, to comply with the prescription of the rhetoricians and fall in line with the tradition of Bana's Kadambari. Thus, we find that though there is an undercurrent, throughout the story, of the tragic delineated in connection with the by-plot concerning Samaraketu and Malayasundari, the dominant sentiment of the main plot of Harivahana's love with Tilakamanjari is Srngara. We shall now examine how Dhanapala has succedded in delineating this and other sentiments (rasas) in the course of his narrative.