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Kāvyakalpalatāvsitti
(vi) So are his lists of different types of words that a poet can use.
(vii) He expects poets to be well-versed in 18 śāstras instead of 14. He has added four śăstras expected to be studied by poets.
(viii) In his whole Vrtti, he is mostly systematic and to the point, though in exceptional cases, which are very few, he makes an exhibition of his knowledge and scholarship
(ix) His 'Yatimimämsā' is very elaborate and highly scholarly. His discussion on the meaning of words gives further clarification and analysis. He therefore gives popular synonymous words from Apabhramba and old Gujarati. He has further elaborated the different lists of words in Parimala' and has also given more words in a new way. He adds so many words to the different lists of 'Parimala'. Again, even though he too mainly follows Hemacandra and Mammata, his mimāṁsā of 'Laksanā' is more elaborate, more detailed and more subtle.
(x) On the whole, 'Makaranda' makes us more conscious about how wide, constant and deep the training of a poet should be, so that he goes nearest to the secret of poetic beauty and thoroughly grasps it. Again, his 'Rītimimāṁsā' and 'Arthotpatt.prakāraprapanca' stand out as his own original contribution.
Thus, Amara Candra's work with his two Vrttis stands in better light with the scholastic though humble contribution of the 'Makaranda' of Pandita śubhavijayagani.
Chefe and watercoriachaften
A brief comparison of Amara Candra's work with the chofe of Vinaya Candra Sūri20 (13th century) will not be out of place in this Introduction because, after the work of Amara Candra, the work of Vinaya Candra is the most important. The work in six Paricchedas, is incomplete. The topics are betrayed by the titles as follows:
1st FT81 2nd क्रिया 3rd sich interest 4th also qua
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