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SAHRDAYĀLOKA to arrage the material in chapters called ucchvāsas having two āryās at the beginning of each chapter. The āryās should be well-knit and expressive of normal information.
Rudrața (XVI.-28, 29) further observes that on the occasion of voicing any doubt concerning past or future time, the poet has to arrange for recitation (by some agency) in form of either one or two of devices such as anyokti,samāsókti or ślesókti, to remove any doubt i.e. to establish something finally. This recitation should suit the context. The poet has to frame poems in āryā, apara-vaktra or puśpitāgrā metre, or even mālinī metre that may suit the theme, also could be used (XVI. 30) :
"tatra cchandah kuryād āryā’para-vaktra-puśpitāgrāņām,
anyan mālinā-prāyam.” (XVI. 30) • Rudrața observes that in those three forms (i.e. (mahā)kathā, ākhyāyikā and mahākāvya), subordinate themes and narrations of opposite nature but necessarily purposeful and well-knit with the main theme and story, also could be woven by a poet :
"sábhiprayam kiñcid viruddham iva vastu sat-prasangena, antaḥ kathāśca kuryāt
trişv api esu prabandheșu.” (XVI. 31) In all these major art-forms, both in verse and prose, Rudrața well-comes a complex nature of theme and story decorated even by sub-plots having an opposite colouring and nature. But the whole should create an impression of total unity of purpose. Thus loss of kingdom of the hero, till kingship is regained by him, or under the pretext of an ascetic such theme as deals with pursuit of liberation or moksa, could be delineated by the poet (Rudrata, XVI. 32).
Rudrata then turns his attention towards minor compositions. He observes (XVI.-33) that in a minor (verse) composition or in a khanda-kathā i.e. a minor prose composition, the hero is to be pictured as a happy go lucky man who comes to grief. Other characters such as a brahmin, or a (royal) servant or a businessperson, etc. should also be painted quite often.
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