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poetic trainings; the poetic conventions; the nature and divisions of poetry; theories of four types of words and senses; the drift power and the drift sense; the varieties and instances of Dhvani; the rules regarding the governance of the relation of Dosa, Guna and Alamkara with Rasa; employment or rejection of Alamkara in actual practice; Rasa, Bhāva, Rasābhāsa, Bhāvābhāsa, Bhavaśanti, Bhavodaya, Bhāvaśabalatā, etc.; the entire Rasa-theory with its apparatus and schools of interpretation; the nature and types of Dosas in theory and practice; the number of Gunas and their nature and function in poetry; the poetic blemishes of Word (Six) and of Sense (29); the Nayaka-Nayika-Bheda and its allied aspects and the different types of Literary 'forms' or Compositions, the rationale of their distinction, their aims, grounds, nature and examples. It may be stated that the method of treatment is So comprehensive that while discussing and explaining the abovementioned topics, a great deal of interesting as also critical material is presented with ample illustrative literature which not only provides tremendous intellectual stimulus to the student but also sharpens his awareness of the long tradition and of the many facets of the science of poetics and dramaturgy at the time Hemachandra came on the scene. It also refines his poetic, aesthetic and critical sensitivity.
The Pros and Cons
Much has been said about Hemachandra's lack of originality. 281 Well known scholars like Dr. S. K. De, Dr. P. V. Kane, Prof. S. P. Bhattacharya, Dr. V. Raghavan, Dr. V. M. Kulkarni and others have pointed out this aspect and tried to show the sources of Hemachandra's moral and material inspiration in writing the present work. On the other hand, scholars like Acarya A. B. Dhruva, Prof. R. C. Parikh 282 and B. P. Bhattacharya 2 8 3 have not only defended Hemachandra's attitude of 'I take what is good for me from whichever source I can', but they have also tried to explain the rationale of such an attitude and to
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