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Beauty of Sentiments (Rasas) in SRS
/ VisvanatlmXaviraj(3L,the author of Sahityadarpaita defines poetry as a sentence the soul of v^hich is rasa. ^ The word
Pasa occurs in Rftveda; 'Rsibhih Sambrtam Rasam.* It is / also found in SatapathaBrahmana:“ ^ 'Punahsurasamadadhata ™ "I ■ • ■ ■' ' Sarasairhasya Chandobhiristambhavati Sarasaischandobhirya.inain ■ - '• • “ 3 - tanute.' In Taittiriyopanisad also we find the weed Rasa; 4 ’Rasovaisah' Likewise the word nasa has been employed in • « / Kavya literature. Bharata in his Natyasastra defines
"Tatra vibhavanubhavavyabhicarisamyogadrasanispatih"^ • • Maramata, Mandavardhana, Dandin etc. have also supported • • • the m s a theory in dramaturgy. 'The theory of ytasa is not merely psychological; it embodies the Indian philosophy
of aesthetics’.^ 'A full consideration of the general principle of rasa will remove the charge that the Indians
neglected aesthetics in their fondness for ethics and
metaphysical speculation. They achieved a synthetic harmony between the three fields (i.e. aesthetics, ethics
and metaphysics) unknown in the history of other countries.
All their canons of propriety and decorum follow from
their aesthetic principle of rasa; all their categories
of rhetoric, stylistic devices and figurative turns hinge
upon this vital principle'.^ Hence y^asa is rightly
described as the soul of poetry. 15 2
✓ Bharata, the author of Natyasastra classifies r^asa /” 8 into eight types. Kalidaso.in his Vikramorvasiyam supports
'The Lord of the Gods, together with the guardians of the quarters, desires to witness today the play, (so) gracefully acted, which the sage Bharata has taught you, and which Q contains all the eight poetic flavour. Vararuci, Dandin, • • Bhamaha etc. also follow Bharata. Sahityadarpana also / — says: Smgara, Hasya, Karuna, RaUdra, Vira, Bhaya^naka...... ~ ■*" ' — — / Bibhatsa and Adbhuta are eight types of P-asas and Santa
is regarded as ninth yasa later.
There is controversy regarding the fact that whether
Bharata included Santarasa in his Natyasastra. However _ / poeticians like Abhinavagupta, Anandavardhana and Sarada-
tanaya accept Santa as the ninth y?asa and according to
Raghavan the Jain and Buddhist authors might be pioneers / _ in composing works containing Santa Rasa and thereby
recognising it to be the ninth msa.^
3o far as Amitagati's SRS is concerned we observe that / Santa iPasa occupies the unique and central position among
all Rasas. In our opinion this further corroborates the
view held by Raghavan as expressed above. Other sentiments
occuring in SRS are Snigara, Vira. Raudra. Vatsalya,
Bhayanaka and Bibhatsa. In addition to them we find the Ibo
quality of sublimity (Udattata) v^ich may not be turned / rasa proper.' All rasas except Santa are employed to strengthen the later. They are just like rivers flowing towards and merging into the ocean in the form of Santa rasa.
12 According to Mammata Nim^eda is the Sthayin of Santa rasa, • ' v^ile Visvanatha refers to Sama as the Sthayibhava of Santa rasa.**^ It is interesting to note that in addition to / Sama and Nirveda there are other bhavas given by different poeticians which make their claim to be the Sthayin of Santa.
They are Samyag.inana. Trsn^saya. Sarvacittavrttiprasama, / -1A Nirvisesacittavrtti, Dhrti, Utsaha, Jugupsa, Rati etc. In our opinion these different Sthayibhavas from different aspects / of one irasa namely Santa as illustrated in SRS. Really speaking Jugupsa, U ts^a and Rati are the Sthayibhava of
Bibhatsa, Vira and Smgara rasas respectively. When some ✓ authors incline to associate them with Santa rasa it further / proves our stand that in SRS all rasas except Ssmta. in this / way or that way, enhance Santa rasa only. In short, Santa -
rasa is the soul of all other rasas in SRS,
/ This shows the supreme position of Santa rasa in SRS.
The. tabular analysis shows the usage of different types
rasas in SRS. We have taken all those verses vrtiere rasa
occurs proninently. Then we are giving the theme of some of the important verses for the better understanding of
the usage of rasas in SRS. 1 5 4
Sr. Type Verse Nos. , Total N o . ------
1. Bhavanaka. 73, 76, 317,428, 643 5 2. Raudra 27, 285 2
3. Santa. 3,4,63,77,90,170,189,
257,261,263, 264,266,
270,272,293,303,306,
314,323,333,336, 342,
415, 650,678,722. ‘ 26 4. Srngara. 105,106,107,111, 112,
281,451. 7 5. jJdatta. 459,463,466,469. 4 6. Blbhatsa. 449 1 7. . Vatsalva. i64 ^
8. Bhavanaka and 118, 424. 2 / Santa.
9. Blbhatsa and 13,120 / Santa
10. Srngara and
Santa. 6l5 / 11. Blbhatsa. Santa / and Srngara. 275
/.-j*-'' -Ti * 1 r~ p’ DC
S r . Type Verse Nos, Total No.
12 Raudra. Blbhatsa 284 and Bhayanaka.
/ 13* Srngara and 518
Raudra.
Tabular Analysis of Rasas
Sr. Verse Theme Types of TTo. 1^0. Rasa/Bhava
Sensual pleasures can't be Bhava.
satiated even by celestial
beings then vAiat about
ordinary beings!
2. 73 Greed (for wealth, kingdom etc.)
makes oneself participate in a
dreadful and fatal battle even
at the cost of life. Bhayanaka.
3. 76 Greed compels a person to sail
in the stormy sea full of danger. Bhayanaka.
4. 105 A woman’s beauty possessing
strong sex appeal is described
here. Srngara. 5 . 106 -Do- « 1 5 0
Sr. Verse Theme Types of N o , ITol Rasa/Bhava.
6 107 -Do- "
7 111 -Do- ' ”
8 112 -Do- "
9 118 Sexual pleasure is more Bhavanaka and
disastrous and harmful than Santa,
fire, ocean and battle.
10. 120 A woman's body is said to Bibhatsa and / possess many filthy and dirty Santa
things; hence it is advised not
to have any attachment to it.
11. 164 As the cow loves her newly Vatsalya*.
born calf, a right believer
Jaina should love his newly
converted fellow men and
women.
12 189 The knowledge destroys all
passions and brings utmost
peaee, self-realisation and
religiousity to a person, Santa.
13. 257 In this world everyself is unprotected, unguarded, helpless and lonely. It is only due to delusion that he thinks his relatives to be his own vrtiich is not the fact Santa. 1 5 7
Sr . Verse Theme Types of No. No. ■ Rasa/Bhava,
14 261 It is a great surprise that a
man is not frightened of Samsara
in which everything such as a
body, beautiful-ladies, fortune,
wealth, youth and life is » ✓ momentary. Santa.
15. 263 Mumukss are advised to give up cif>aving for sensual-pleasures and
all sort of possessions because
they are harmful for one's / welfare. Santa. 16 . 264 Human life is as momentary as a drop of water sticking to the
blade of grass; hence an aspirant
should renounce attachment for
beautiful-ladies, wealth, senses / and sensual pleasures. S5ita.
17 . 266 An intelligent person turns his back to beautiful-ladies, royal
prosperity and all worldly things;
thus having taken shelter in a / forest, he practises penance. Santa. Sr. Verse Theme Types of ITo. TTou Rasa/Bhava.
18 275 Even in old. age craving does Bibhatsa. / not leave a person though he is Santa
no more capable of enjoying and
anythi ngI S rngara. 19 281 ' -Do- ' -J>o- - 20 285 A jealous lady in the form of
oldage harasses a person ^ o
is attached to her co-wife
namely Trsna (Craving)- Raudra. — • • • — ” 21. 293 As a juicy, ripe and tasty
frviit chewed by a hungry person
is swallowed fast, human being / is also sujallowed fast by death. Santa. / 22 3 0 3 Even a fortunate Srjkrsna having • • envible beautiful wife like
Laksmi had to surrender to death; / what about ordinary human beings', Santa*
23 306 Even if incarnation of God such as Ramac^ndra had to die, then \^at
about ordinary human beings! L Santa» 24 323 The considerate and wise renounce worldly life and go to a forest
for practising penance because
everything such a life, youth. 1 5 9
Sr . Verse Theme Types of No. No. Rasa^Bhava.
sensual pleasures and wealth. ✓ is transitory. Santa*
25 333 Life is reduced moment by moment; physical beauty decays; old age
approaches; diseases crop up but
the foolish being attached to
family life does not find out the ✓ way of overcoming transmigration, Santa.
26. 342 The wise adopts Jain religion
having realised the transito- / riness of sensual pleasures. Santa.
27 415 One should practise a penance ,
destroying Karmans and yield / eternal bliss of salvation. Santa.
28. 42‘4 To be b o m in human species is an
outcome of great past merit. It
is a golden opportunity for follow
ing religious discipline and gett-
ing salvation from infinite sorrows / of transmigration. Santa.
29. 428 The company of the wicked is more
dreadful than that of the wicked
elephant, tiger, serpent, stormy
ocean and ferocious fire, Bhavanaka. IGO
Verse Theme Types of No. No. Rasa/Bhava.
30 451 The company of the virtuous is preferable to that of a beauti
ful lady. Srngara»
31. 459 The virtuous is as lofty and steady as the mountain Meru; as
pure, cool, pleasant and full
of nectar as the moon. BHavg.
32. 463 The mountain may shake, the
fire may become cool, the ocean
may cross its boundary, the wind
may fail and become motionless,
the moon may become hot, the sun
may loss its brilliancy but the
virtuous would never give up
their nature. 0)Hqlvq^-
33. 466 The virtuous are compared -with
an obliging, magnificent and
dignified tree.
34. 469 Sandal-wood though powdered
does not leave out its fragrance;
though sugarcane is pressed, does
not give up its sweetness, though
gold is cut and heated does not give
up its nature, similarly, though the
virtuous is tormented by the wicked
does not give up his good nature 1 6 1
Sr. Verse Theme Types of Ho. lo:^ Rasa/Shava.
35 518 Ladies in the form of intelligi-
ence, courage, fame and kindness, Srngara
on finding that a man has come and
lender the sway of liquor, become Raudra.
angry with him.
36. 6l5 A prostitute alluring a person S rngara and • / like wine, making him suffer from Santa.
a fire of separation and destroy
ing his body as if by cutting into
pieces with a knife, cannot bring
happiness to any one
37. ■ 643 An Apta or a prophet is He vho destroys attachment,dettachment
and delusion that are responsible
for throwing living beings in the
^ dreadful ocean of transmigration
in T»^ich there are v^irl pools
like birth, death and old age,
■ miseries like crocodiles and
rivers like diseases. Bhayahaka.
38. 650 A sexy person attached to a lady / cannot attain liberation Santa 1 8 2
Alamkaras In SRS
"The poetry la an art of conveying beauty through words, which are Its medium. A single word seldom constitutes
the integral element of speech, it can be called the atom 1S or its ultimate constituent." "Poetry is not mere thought.
Ahile great poetry must necessarily embody it, very genuine
poetry, at times may do not more than give to the merest airy nothings a local habitation and a name," "Poetry is
neither pure emotion anc^houghtnor mere manner.For a
poetry there is necessity of rasa, rlti. guna, chanda and
alamkara. Alamkara is one of the vital features among them.
Poetry means not only the thought but also beauty. "There are
different levels of beauty, beauty in the material handled, beauty in the manner of handling it, beauty in nature and beauty imagined. The Indian thinkers are concerned their
classifications of subjects fit for poetic treatment, styles, 1A qualities and figures of speech." "poetry has both a logic
and magic. The logic of poetry is the very reversal of the • 1Q normal logic; it is called alamkara." ^ Alamkara increases the
effect, it is to aid the poet say more pointedly, where poet
exaLts or does the opposite their alamkara helps. "Albeit
the importance, of form, one should not misunderstand rhetoric
as poetry. It is possible to sacrifice poetry at the altar
of figure. There is such a thing as aucltya, appropriateness, 20 harmony and proportion, which is the ultimate beauty in poetry". 1G 3
Just like Sanskrit poeticians the westerners also have expressed their views on 'qiamkara. For example Raymond 21 gives a similar opinion on xiLainkara as Locana does .
"The one truth underlying all the rules laid down for the employment of Ijigures is that nothing is gained by any use of those which do not add to the effect of the thought to which they give expression. Language is to express our thoughts to others and in ordinary conversation, we use both plain and figurative language but when a man wants I to give another the description of a scene he has seen, he does not catalogue one and all of the details of that sight but brings only his own idea of the landscape by adding to such of the details as have struck him many 22 mor.e ideas and emotions that have been aroused in him'*.
Alamkara enhances the beauty of poetry. Anandavardhang^^ the author of Dhavanyaloka, has supported the above points.
According to him *Angasritastvalamkara -mantawah ^ takadivat!
Alamkara is defined differently by different poeticians.
Vamana used the word Alamkara in two senses; First beauty of po'Si'^3, and second, a figure of speech. The former is general while the latter is particular.According / to Kavyadarsa of Dandin-Qualities adorning poetry are
said to be ftlamkaras According to Bhamahctthe author of
Kavyalamkara - *the cd.amkaras of the kavya such as, rupaka etc. embellish it Just as ornaments adorn a beautiful face 25 - of a woman. VisvanathctKaviraJo-^the author of Sahitya- darpana. defines qlamkaras - -^ose unsteady properties of words and meaning enhancing their beauty Miiile assisting
other factors are called .alamkaras which are like ornaments i.e' 27 cuigada etc- that beautify the body. Likewise many
Alamkarikas have defined olaihkaras in many ways. Bhainaha,
UdDhata, Dandin and Rudrata attached unique significance • • • • to alamkaras in poetry so as to subordinate ^jRasas to alamkaras
and defined such figures as jflasa. Thus Alamkaras are
generally essential for a good poetry.
The history of the .olamkara goes as back as
Rgveda. There we find the word ‘Aram* instead of *^ a m * ,
*aram* comes from the root ’m * which means to move.
An Olamkara is generally defined as *,alamkriyate
anenaiti Alamkarah*; here the suffix ghan is in the
sense of karana but v^en the etymology is '(XLamkaranam
alamkarah' the suffix ghan is in the sense of bhave.
The word Alamkara is found in the seventh mandala " • • ~ of RgVeda * Kateastyarankrtih suktaih kada nunam te • ———— • • • ~ ———— ' ^ 28 maghvandasema*. Sirice the vedic period to the age of
the PanditraJ Jagannathctwe find the gradual development • • in the concept of aiamkara. SR3 of Amitagati is a laghukavya. Since Amitagati thinks Olamkara to be one of the essential principles of poetry we intend to imdertake the study of cdamkaras employed by him in this chapter.
Alamkaras are divided into two types. Sabdalamkara and Arthalamkara. Amitagati employes both of them in his
SRS. In all he has used 19 types of Arth^amkaras. So far as the definitions of alamkaras are concerned, we have only followed >Sahityadarpana when we identify the alamkaras of SRS. We shall present here the tabular analysis of alamkaras. in an alphabetical order,
Arthalamkaras
Sr. Type Verses Nos. Total INO. ----
1. . Arthantaranyasa 281,440,453»45^#469,470 6
2. Arthvupama 122, 286,505 3
3. Bhrantiman 86 1
4. Drstanta 18, 146, 149, l6l, 204, 257, 306, 309, 311, 449,
533, 715, 721, 722, 904. 1^
5. Luptoma 239 1
6. Malopama 434, 494, 615 3 IGG
Jr. Type Verse Nos. ' Total H o .
7. M^arupaka 126, 505 2 / « 8. Nidarsana • 63. 142, 143, 144, 168,
203, 301, 305, 374, 428,
A63, 695, '754. 13
9. Parisamkhva 96, 112. 2
10. Prativastupama 95, 162, 164, 437, 690. 5
11, Rupaka 11, 12, 47, 64, 77, 82, 109, 193, 200, 201,
252, 314, 336, 337, 525, '
617, 653, 656, 702, 708,
• 709, 740, 741, 742, 743,
747, 779, 795, 799, 879,
880, 883, 892, 907, 908,
910, 912, 913. 38
12. Srautvupama 97 1
13. Safikara 103, 105, 123, 431. 4
l4. SaiiKarupaka 20, 316, 643, 678,
757, 761, 811 7
15. Svabhavokti 276, 506, 735 3 87
Sr. Verse• "VNos. Total Ho, .. ■
16 Upama 90, 106, 132, 135, 135,
136, 137, 145, 247, 263, 271,
275, 319, 320, 451, 607, -
723, 866, 919. 19
17. Utpreksa 40, 270, 272. 3
18. Vlrodha 918 1
19. Vvatlreka 2, 10, 42, 110, 111,
118, 119, 140, 141, 170,
206, 427, 538. 13
Sabdalamkaras
1. Anuprasa 72, 154, 914 3
2. Slesa 284, 918. 2
This tabular analysis shows that we have taken into
account only those alankaras which occur in the verses as
a whole, the ones found with the words have been left out.
We have also left out some of the verses containing some
sort of alainkaras but not beautifying the poetry
(kavyasobha) \rf:aich forms the main feature of alamkara. bo
It is surprising to note that ^^itagati has not used
Yamaka at alll Thus we see that he has employed ma;)or
Arthalamkaras renown in Sanskrit literature.
Poetic beauty reflected in Alamkaras*
Let us take some excellent examples of poetic beauty expressed through the medium of aiamkaras in the following verses.
Verse No. 440: Arthahtaravasa.
The wicked person's nature doesn't change even if he stays in the company of the virtuous. For explaining this universal truth, the following examples are given; though a serpent drinks milk doesn't become devoid of poison. Similarly^ Nim tree doesn't give up bitterness though sprinkled with the pitchers of milk and honey.
Again a barren land doesn't produce any crop even though 29 it may be ploughed.
Verse No. 453; Arthantaranyasa.
In this verse first particular examples are given and then a universal truth is deduced. Trees frequently bear fruits for offering to others; clouds repeatedly hold 1G3
water to shower the earth; and lions all the ^lile hunt elephants to provide their dependents with meat. Simi- larij^ the virtuous live for obliging others only.^®
/ Verse No. 5! Nidarsana.
in this verse insatiability of sensual pleasures in case of human beings is compared with that of river- water in case of the ocean and that of fuel in case of fire.^''
/ Verse No. 63s Nidarsana.
The fire of greed would not stop its burning even though the movement of the sun stops, the moon becomes hot, the sky stops (its function of providing space to other substances.), the ocean is satisfied with the river-water, the wind becomes motionless and the fire stops its burning.
Verse No. 695: Nidarsana
Perchance the mount Meru would move, the fire would become cool, the mountain would float in water, the moon would become hot, the sun would irLse in the w^t, but the killing of living beings would not lead to religiosity.^^
Verse No. 22: Prativastupama.
No one will like even a meritorious person who 170
becomes angry for no reason. Who will love a deadly poisonous serpent eventhough it posses a (medicinal) gem ■54 capable of curing different diseases?'^
Verse No. 314; Rupaka.
The theme of this verse is transitoriness of human life which is compared with the fl^roe @f lamp rendered unsteady due to the blowing of wind.^^
Verse No. 336; Rupaka.
In this verse a beautiful spouse is compared with the fire of separation viiile liberation with a lady bestow ing eternal bliss upon the aspirants.'
Verse No. 678; Saiigarupaka.
In this verse sensual pleasures are compared with a forest; mind with an elephant; pecification and control of senses with strong chains tied to the elephant; and 37 meditation with a sharp goojd controlling the elephant.
I Verse No. 272: Utpreksa.
In this verse the poet imagines that gray hair situated on the heads of people are as if proclaiming to them that death has approached very close to them; the I days of youth are over, the old-age leading to destruction 1 7 1
is prevailing over all their limbs. They should, there fore, abstain from persuing sensual pleasure and wealth and should follow Dharma.
/ Verse No. 97: Srautyupama
In this verse the insatiability of sensual pleasures in case of human beings is compared with the insatiability of the ocean in case of waters of thousands of rivers and insatiability of fire in case of variety of fuels.
Verse No. 438; Prativastupama
In this verse ingratitude of the wicked is compared with the ingratitude of Pulindas v^o don't bother to put the forest on fire vdiich sustains them and provides them An with a shelter.
Verse No. 141: Vyatireka.
In this verse the upameya wrong faith is compared with the number of Upamanas such as a lion, a serpent, an. elephant, a king, a furious enemy etc. and it is estab lished that wrong faith is more harmful to living beings than the lion etc. Since the comparables are the most dreadful things we can imagine the unique disastrous 4l nature of the wrongfaith. 1 7 2
Verse No. 170; Vyatireka.
This verse is an example of vyatireka OXamkara in which Right faith is compared with a friend, women, a son and wealth and it is established that Right faith is more beneficial than any one of them.^^ I
Verse No. 353J Vyatireka.
In this verse man's fortune is upameya while a thunderbolt and a flower are Upamanas . vJhen a man is fortunate even a thunderbolt turns into a flower when his destiny is unfavourable even a flower turns into a thunderbolt.
Verse No. A27: Vyatireka.
This is cun example of Vyatirekailamkara. The wicked's company is compared with fearful forest in vrfaich wild animals such as tigers, elephants etc. reside; it is similarly compared with the stormy ocean and burning fire.
In conclusion, it is proved that the wicked’s company is more dangerous than any other dangerous things in the UU worid. V 3
Metres In SRS.
The study of metres used i n ’any poetry is essential for its critical appreciation. According to W.H. Hudson the element of composition and style is one of the important elements of any literary composition. We may include the study of metres in this element of composition.
We may include the study of metres in this element of composition and style, iiccept blank verse both in Sanskrit ♦ poetics and English poetics rhythem and metre are treated as inseparable essence of poetry.
According to Edgar Allan Poe, "Poetry is rhythmic creation of beauty"^^ while according to Prof. Curthope,
"It i-s the art of producing pleasure by the just expression of imaginative thought and feeling in metrical language?^
According to Mr. Watts - Dunton also, "Poetry is the concrete and artistic expression of the human mind in emotional and ukl rhythmical language.
Thus^ so far as the metres of the SRS are concerned
we contend that Amitagati has used in all 20 Aksaraganavrttas
in 32 chapters. 174
The chapterwise analysis of the metres is as followsi
Tabular Analysis.
Sr. Metres used. m ,
1. Visavavicara M ^ i n l • 2. Kooanisedha Vasantatilaka • 3. Manmavan!sedha Vasantatilaka • 4. Lobhanivarana Vasantatilaka • 5. Ind riva rasani s edha Vasantatilaka • Strigunadosavioara 6. • • Sragdhara 7. Mi thvatvatathasarava- Vamsastha ktvaniruoana • 8. Jn&iani ruoana Upa.lati, Indrava.ira • 9. Caritrani ruoana Upendrava.ira • 10. Jati CJanma)niruDana Prthvi • • 11 . Jaraniruoana Harinl • / ^ 12. Ma ranani rupana Sardulavikridita • • ■ • 13. Samanvani tvatani rupana SikharinI, prthvi
14. Daivanirupana Arya • 15. J atharani rupana Arya • • 16. Jlvasambhodhana Sragdhara ✓ * 17. Dur.ianani rupana Sardulavikridita • • 18. Su.ianani rupana • Mandakrihta 19. Dananirupana Mandakranta 1:^5
Sr. Name of the Chapter^. Metres used. N o .
20 Madyanisedha Drtavilambita • • 21 . Manjsanisedha Upa.iati
22. Madhunisedha• Anustubh 23. Kainanisedha Upa.iati 24. Vesyasanganisedha Svagata
25. Dyutanisedha Rathodhata 26. Aptavicara Sragdhara
27. Gurusvarupanirupana Rucira • 28. Dharmanirupana MalinI / 29. Sokanirupana Totaka / • • 30. Saucanirupana Vasantatilaka /
31. . Sravakadharmakathana Anustubh ✓ _ 32. Tapascaranani rup ana Vamsastha. ♦ •
From the table given above it is obvious that
Amitagati has used 20 metres in 32 chapters as said above•
All metres are Aksaraganavrttas:some of them he has used ~ ' only once while others he has repeated for more than one time. For example Vasantatllaka used for five times;
Sragdhara used three times, Vamsastha used two times,
Upa.iati two times, Sardulavlkridita two times, Arva two times, Mand^ranta two times, MalinI two times Anustubh two times and Prthvi two times. The remaining ten metres are used only once in the respective chapters. I V) . O
N)otes
1. 'Vakyam rasatmakam kawam' . Acarya Sesarajct
Seirma. Sahltyadarpanam. 24-
2. J^RI, Krishandev*^ Bharativaka^vyasldhahta Rasa. 17.
3. Ibid. P^ 17'
4. Ibid. Pj 17. / 5. NAGAR, Ravlshankan Natyasastram of Bharata. 271.
6. KWSM^^qORTOT, K.^ Essays In Sanskrit Criticism. P, 6.
7. Ibid. P, 8.
8. 'Munina bharatena yah prayogo bhavatlsvastarasasrayo-
nlyuktah/ lalitabhinayam tamadyabhartca‘marutam
drastumanah salokapalah’
RAGHAVAI'J, V.. The number of rasa-s. P.1*
9. DEVADHAR C.R.^ Works of Kalidasa. Vol. V 53-
10. *Srngarahasyakarunaraudravirabhayanakah/ • • bibhatso'dbhuta ityastaurasah. santastathamatah' // • ♦ • - / ✓ _ REGMI, Acarya SesaraJ Sarma, Sahltyadarpanam. P, 229.
11. ^GHAVAN, V.^ The number of rasas. P^xvli. / 12. *Nir^edasthaylbhavo’stl Santo'pi navamo rasah*
CHOUDHAM, Satyadeva.^ Bharatiya kavya Sastra. P, 251. 1 7 7
13. 'Sahtah Samasthavlbhava Uttamaprakrtirmatah* • • • - / _ / _ _ ^GMI, Acarya Sesaraj Sarma. Sahltyadarpanam, P, 271.
14. RAGHAVAN, V.^The niomber of rasa-s. PP^ 69-103.
15. ANTONI, B,S^ A Study of Alamkaras In Sanskrit
Mahakavyas and Khandakavyas, 1.
16. RAGHAVAN, V Some Concepts of the Alamkara ^astra,
48.
17. Ibid. 89.
18. KFUSHNAMOORTHY, K.. Essays in Sanskrit Criticism, P.11. ======5 = = = = =' J --- I — . ------J ^
19. Ibid. P; 14.
20. V.^ Some Concepts of the Alamkarasastra, •
•P^ 54.
21. ^GHAVAN,V., Some concepts of the Alamkara Sastra.
P, 54.
Upamava yadyaplvacyo *lamkriyate, “tathapltasya
tadeamkaranam. yad vyangyarth^hlvya.inana samarthya
dhanamiti . Vastutodhvanyatma 1 va alamkaryah tCataka
keyuradibhlrapl hi sarira" samavaylbhlh • ———atmalva — —— ' tattva clttavrttlvisesaucityasucanatmataya alamkrlyate.
Locana. 74, 75.
22. Ibid, P, 58. 23. PATH^, Jagannath.^ Dhvanvaloka, 216.
24. »Kavyam grahyam alamkarat' / '-/aundaryam . lamkara* H
K M E , P.V.. History of Sanskrit Poetics, 373.
25. 'Kavyasyasobhakaran dharman ..lamkaran pracaksate * .
SHAE^, Devendranath.^ Kavyalamkara, 40 *
26. Rupakadi ralamkara statha naibahudhoditah nakantamapi nirbhusam vibhati vanitananam.
Ibid. P^ 7.
27. Savdarthayorasthira ye dharmah Sobhatisaylnah.
Rasadinupakurvanto * lamkaraste * ligadadivat.
^GMI, Sheshara.isharma^ Sahltyadagpanam P^ 764.
28. KANE. P.V. History of Sanskrit poetics P^ 372. Foot notes
29. SHASTW, Pandit Balchandra S i d h a n t Amitagati ' s
Subhasita Ratnasamdoha, P. 49.
30. Ibid. P, 128.
31. Ibid. Pj 3 *
32. Ibid. P^ 19*
33. Ibid. P,189-
34. Ibid. P^ 8- \ * 35. Ibid, P^ 87• % 36. Ibid, P^ 94. 1 ^ 9
37. Ibid. 185*
38. Ibid. 73.
39. Ibid. P^ 26.
40. Ibid. P^ 120-
41. Ibid. 40.
42. Ibid, ?, 46.
43. Ibid. Pj 97. 44. Ibid. P, 116 .
45. HUDSON, W.H.^ An Introduction to the Study of literature.
P. 65.
46. Ibid. 65.
47. Ibid,
XX