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Classification of Poetry
805 "kuryād kșudre kāvye, khanda-kathāyām ca, nãyakam sushinam, āpad-gatam ca bhūyo
dvija-sevaka-sārthavāhādim.” (XVI. 33) Rudrata wants that in such compositions the principal emotive context should be that of tragic or of love in separation-due to journey -
"atra rasam karuņam vā
kuryād athavā pravāsa-śộngāram.” Or, the theme portrayed (XVI.-34 ab) could be that of the first or fresh love of the hero with the hero's rise delineated at the end. This means the end has to be happy.
"prathamánurāgam athavā
punar ante nāyakábhyudayam.” (XVI. 34-cd). Rudrata is very clear that all these various features which have been enumerated with reference to minor or major works in both verse and prose cover only those which have an invented theme and not those having historical theme, for in the latter the narration has to follow the original source and this instruction does not touch them.
“naitad anutpädyeșu tu, tatra hy abhidhīyate yathāvȚttam, alpesu mahatsu ca vā
tadvisayo nā’yam upadeśah.” (XVI.-35) This means that Rudrata is not prepared to give liberty to such creative works as have historical or semi-historical theme. But we feel that here Rudrata adopts a rather narrow outlook for his near and immediate followers such as Anandavardhana and Kuntaka seem to be more liberal when they allow such changes even in a historical theme that promote rasa. For them rasa-ananugunasthiti, i.e. such situations which go to thwart the process of rasánubhūti, have to be either omitted or altered.
In XVI. 2. Rudrata used such words as - "kathā”khyāyikā"dayaḥ." Namisādhu recounts this in the beginning of XVI. 36 and observes that now Rudraţa proceeds to discuss that which was implied by "ādi." . "atha kāvyā”khyāyikā”daya ity atra ādi-grahaņa-samgļhītam darśayitum äha -
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