________________
147 Mammața (K. P. VIII. 77) is more specific when he comm
ents on the same verse to point out the departure
(from rules) in respect of diction, compounds and letters. 148 Bhoja's S. p. p. 336. 149 Ibid, p. 338. 150 lbid, p. 339. 151 i.e. pp. 287–288 in the K. A. S. MJV 2nd ed. used here. 152 Bhoja's śr. Pr., p. 339. 153 Vide Dr. K. Krishnamoorthy's paper : 'Mangala a Neglected
Name in SK Poetics' included in “Studies in Indian
Aesthetics and Criticism", pp. 109-120. 154 Vide Bhoja's S.P. pp. 265-270 (on Guna).
Also vide, C. R. Devadhara's paper on The Arthaguņa Ślesa in 'A Volume of Studies in Indology presented to Dr. P. V. Kane' (1941) pp. 147-154.
Prof. Devadhara says Bhoja, Mammața, Hemachandra, Visvanātha (S.D. VIII. 6), Jagannātha and Commentators hold that Arthaslesa is cleverness in the combination of ingenious incidents. Thus śleşa is a feature of plotconstruction. This is referred to as Ghataņāśleşa. Vāmana
refers to sudraka's work as abounding in this device. 155 Samadhi is slackness and closeness of style, so arranged
as not to cause disgust. It consists in the ascent and descend of Caesura (Yati). (Vide Vāmana's Vștti quoted
in K.P.P. p. 331). 156 "The verbal and ideal forms of 'sweetness' have been
called Vāg-rasa and Vastu-rasa respectively." - Dr. D. K. Gupta, 'A Critical Study of Dandin', p. 151.
On Dandin's Madhurya, read Dr. V. Raghavan, Bhoja's S.P., p. 274.
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