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Introduction
that we can compare the same with the contents of the work of Amara Candra. The very first fact to be noted is, that unlike the work of Amara Candra Kavyakalpalatävṛtti and Parimala the 'Viveka' is traditional in its contents. In four Paricchedas, it deals with these topics - दोषदर्शनम् गुणविवेचनम् शब्दालङ्कारदर्शनम्; अर्थालङ्कारदर्शनम्. The main sub-titles in each are as follows :
दोषदर्शनम् पददोषाः; वाक्यदोषाः; अर्थदोषाः; रसदोषाः
श्रव्यत्वादिशब्दगुणः; अर्थगुणाः
गुणविवेचनम् शब्दालङ्कारदर्शनम् पाठ्यगुणाः; ध्वनि; रसादिः; गुणीभूतव्यङ्ग्यः; चित्रकाव्य अर्थालङ्काराः औपम्य and उपमा; उपमादोषाः; अन्येऽलङ्काराः; रसनिष्पत्तिः
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Prof. Vora's following remark is pertinent in the matter -
"It is interesting to note that the names of these chapters are all very significant. Dosas or blemishes are to be pointed out so as to enable the aspiring poets to avoid them. Guņas are to be critically discerned from the apparent qualities of Kavya, which can be achieved by the mere avoidance of some doṣas. Figures of sound are to be actually paraded while the figures of sense offer a source of controversies as to their number, names, varieties etc., and therefore they are to be settled"27.
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But another interesting feature is that along with 3 and 4 in particular, Dhvani, Dhvani and other Kavyas, Rasa, the 3 powers of word, views about Rasanispatti etc., are also studied and discussed. The author has, at places, analysed and even criticised Vamana and, on the whole he follows Mammața and Anandavardhana in his views; at places he follows Bhoja. His illustrations are exact and precise, his discussion in prose is, at places scholarly.
The writer has, however, not anything particular to state about the training and equipment of a poet that is the be all and end all of the work of Amara Candra. The three powers of word that Amara Candra takes up for discussion and the 3 sabdaśaktis that are discussed here, are very much similar, though the method and approach differ. The 'Viveka' gives great importance to Dhvani, not so Amara Candra. Similarly the figures of word and sense can be compared with the treatment of figures in 4.1 of the work of Amara Candra. But here also, the method and approach differ.
Actually it seems that the Jaina authors of those days have a fascination for
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