________________
10
ecessors and keeps several Alankāras out as noted by Jnanapramodagani. Somo other traits of the work may be noted as follows: 1. He defines 3219 as constant and respectful practice of poetic compositios
at the feet of, i.e., under the supervision of a teacher (1.6), so that his Pratibha
-creative personality-gets nourished and becomes more lustrous. (1.7-8). 2. His discussion on 07491591, though brief, is interesting: more on account of
the illustrations of a gigea that follow, with originality duly stresssd and imitation criticised (1,12). Actually thus, the discussion on 377418 and af891659
proceeds up to 1.27. 3. In these verses, he has given some guidelines to the developing poet and those
are practical, useful and realistic (1.15 to 19). 4. His concept of Bhāṣā as the medium of expression in poetry and three types
of poetic language are interesting (2.1 to 3). 5. His definition of 1814 as centering the mutual love of husband and wife
(5.4) is coloured by moral considerations. Similar are his definitions of
€121 (5.13), 9 2 (5.14) and a g (5.15). 6. His treatment of Raşa is fairly scholarly like his treatment of Alankāras and
both are rich with exact, precise and often poetic illustrations. 7. Every topic that follows in the new chapter is connected with each topic that
precedes, strictly from the point of view of beauty of poetry. Poetic beauty is thus his main concern in the present work.
The work is thus of no mean order. Definitions are given like sätras though these are never complicated and are invariably suitable, and precisely illustrated. All illustrations come from the poet's pen and this too speaks for both his scholarship and poetic faculty.
(9) Sauddhodani, Vagbhata and Keśava Misra
We have here to discuss one important question. Kesava Migra (v. s. 17th century), the writer of Alankāra Šekhara ', quotes so many kārikās it seems, from the chapter on Rasa in the Vagbhatālankāra'. Many kārıkās are taken verbatim and some others with a slight change here and there. But the author has not acknowledged. On the contrary, he refers to Sauddhodani as a writer of some Alankarasntra. He acknowledges his debt to him both in the beginning and in the end, in these words.
अलंकारविद्यासूत्रकारो भगवान्शौद्धौदनिः परमकारुणिक: स्वशास्त्रे प्रवर्तयिष्यन्प्रथम काव्यस्वरूपमाह 15 and
श्रुतमेवान्यथाकारमक्षराणि कियन्त्यपि ।14
काध्यालधारविद्यायां शौद्धौदनिरसूत्रयतू ।। 13. On p. 2 of printed text, Kávyamala Series, No. 50. 14. On p. 83
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