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(P. 292. A. 4. S. 9.
instance in the verse 428 in which will describes in a graphic manner the thundering notes of drum, there is no late and consequently 110 1199; but because the speaker is ofth, the style is full of hard-sounding words.
Sometimes the style follows the subject matter without any regard to the particular speaker or composition. For instance the description of the head of FHFOI in the verse 429:--
"Here falls down from the sky with a loud crash the head of 377*; while it is falling the winds in the caverns of mountains with their howling sound are extolling as it were the exploit of Rama. The head is observed by Aruna the charioteer who is wheeling round the chariot of the sun because the horses have got frightened on account of the sudden movement of 77e-which was due to the tremendous force of the head being thrown after its complete chopping by TTA.
Here the speaker as well as the composition do not necessitate the forcible style, but the description of the monstrous head of FFH*T has fittingly rendered the style fiery.
Sometimes the style is changed according to the nature of the particular composition, without any regard to the speaker or the subject-matter. For instance, in the Bezifier kind of composition cven when iki is to be portrayed, the style is not altogether full of soft words. Again in the wet kind, even in tata the style is not fiery. Similarly in dramas, even in stare, long compounds and harsh-sounding words are not admitted because they are against the very nature of a dramatic composition.
Thus the criterion of a style is (to say it in one word) 'propriety'. The style of a composition or a verse must be proper that is fitting to the place or occasion,
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