________________
Introduction
cccxxi the author of the Sarasvati-kantha-bharaṇa, who in that work describes probably the greatest number of Alamkāras. The Viveka shows how some of them are included in the alamkāras of the text and how others are not to be regarded as alamkāras. (pp. 339-405).
The Al. C., after finishing its comment on the thirtyfirst sūtra which defines Samkara, discusses the problem as to why this one is called Şabdālamkāra and the other one Arthālamkāra.' The answer is that if 'Vaichitraya-charm- of the alamkāra is predominantly due to its Sabda, it is to be called a Sabdālamkāra while if it is due to Artha, it is to be called Arthälamkāra' (p. 401 ).
Thus in six adhyāyas (143 sūtras) the whole nature of Kāvya as such is defined and discussed in detail, the subject which Mammaga has discussed in ten Ullāsas (212 sutras) of his Kāvyaprakāşa.
The seventh adhyāya discusses, so to say, the question of characters in a literary work. It describes what is a Nāyaka (hero) (sutra 1), what are his characteristics (guņas) (sutras (2-10), the four classes of Nāyakas (11), their descriptions (12-19), and what is a pratināyaka-opponent of a hero (20). Then comes the description of the different classes of Náyikās or heroines (21-23-24-20). The thirtieth sūtra describes the eight states (avasthās ) of the Nāyikās viz:(1) Svādhīnapatiká (2) Proshitabhartrkā, (3) Khanditā, (4) Kalahāntaritā (5) Vāsakasajjā (6) Virahotkanthitā (7) Vipralabdhā and (8) Abhisārikā. The remaining twentytwo sūtras ( 31-52 ) are devoted to describing the qualities and the characteristics of women.
41
Jain Education International
For Private & Personal Use Only
www.jainelibrary.org
