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SAHRDAYĀLOKA Anandavardhana, has opted for a more broadbased scheme and held 'kavya', which theoratically shuns classification, as only 'kavikarma' or poet's creation. Though of course, without any outward gradation even in Kuntaka we find leanings towards Anandavardhana's rasa-vyañjanā, and this is borne out by the practical poemoriented criticism which Kuntaka works out even in cases of varna-vinyāsa-vakratā.
Kșemendra : In his Kavi-kanthābharana Ksemendra discusses only the external factors concerning poetry, while in Aucitya-vicāra-carcā he touches an absolutely internal condition viz. faucitya' or 'propriety concerning the concept of poetry. He has not attempted to construct any definition of poetry but has concentrated on a very important concept or thought-current concerning the basic idea of poetry. He has called it to be the very life of rasa-oriented poetry. His fuller discussion concerning the propriety or 'aucitya' in all its details has a basic concern with 'rasa' or aesthetic pleasure only. But this does not mean that he has embarked upon a totally new and original thought current or ideology concerning literary criticism. He has tried to put in focus, perhaps with a greater emphasis, whatever was laid down originally by Bharata and approved and supported by Anandavardhana and in his own turn by Abhinavagupta. We will discuss this thought-current or concept of 'aucitya' i.e. propriety in due course later in Vol. II but here, suffice it so say that Ksemendra takes 'rasa' i.e. aesthetic pleasure as the 'soul of poetry and 'aucitya', ‘propriety stands for the 'jīvita' i.e. life-force - prāņāḥ - of poetry. Keeping this element of aucitya at the centre does not stand to provide an independent path of literary criticism. It is not a new dimension so to say. Precisely because of this, we do not find any independent school of 'aucitya' and its followers, as in case of dhvani'. We may say that this is only a branch or an off-shoot of dhvani theory and Kșemendra turns out to be a spiritual heir, a 'mānasa-putra' of the great Abhinavagupta his guru, and therefore also of Anandavardhana.
Bhoja : In his Sarasvatī-kanthā”bharaṇa (SKA) and Spingāra-prakāśa, (śr. Pra) Bhoja has discussed the concept of 'sāhitya' and 'kāvya' and has also attempted definition of the same.
At Sarasvati-kanthābharņa (= S.K.Ā.; N.S. Edn. '34, Bombay) I. 2 he defines 'kavya' as :
“nirdosam gunavat kāvyam
alamkāraiḥ alamkrtam, rasánvitam kaviḥ kurvan kīrtim prītim ca vindati.”
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