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'Classification of Poetry' (Criticism Oriented)
1013 "Construction of only such a plot, either traditional or invented, as is charming with its decorum (of accessories of sentiment, viz.) stimuli of setting, abiding emotions, emotional responses, and passing moods.” (III. 10)
"If, in a theme, adapted from a traditional source, the poet is faced with situations conflicting with the intended sentiment, his readiness to leave out such incidents and inventing in their place even imaginary incidents with a view to delineating the intended sentiment.” (III. 11)
"The construction of divisions and subdivisions of the plot only with a view to delineating sentiments and not at all with a desire for mere conformity to rules of poetics.” (III. 12)
"Bringing about both the high tide of sentiment and its low ebb appropriately in the work; preserving the unity of the principal sentiment from beginning to end." (III. 13)
“A discreet use of figures of speech even when the poet is capable of using them in any number; such are the conditions which underlie the suggestiveness of a whole work of literature in regard to sentiments, etc.” (III. 14)
(Trans. K.Kris., pp. 135, 137, ibid) Thus A. suggests that for a whole composition to be suggestive of rasa, the first requirement is delineation of a theme which is furnished with appropriate determinants, consequents etc. The theme can be either historical or imaginary. In case it is historical, such facts of history as are not condusive to rasa, have to be omitted and even newly imagined factors have to be introduced that go to promote rasa, which is principal. Junctures and parts of them are to be introduced with rasa in focus. They are not to be introduced because the śāstra (such as the N.S. of Bharata) has so ordained. Ā. has here severely criticised Bhatta Nārāyana, the author of Venisamhāra'. The rise and fall of the sentiments in keeping with situations is recommended but never, the principal rasa, is to face an ebbing. In case if the impression is that the principal rasa has started fading away, the
nusamdhāna - preserving the unity of principal rasa-has to be effected. Even if the poets are capable of introducing figures of speech of their sweet will, the figures have to appear only in keeping with the principal rasa in centre. Only such figures as are condusive to rasa, whose creation is done in a very spontaneous way have to be used in a composition. The poet has not to make any extra or special effort to form a figure, over and above his normal effort to delineate rasa. In short an alamkāra has to be - "a-prthag-yatna-nirvartya.” (Dhv. II. 16)
It is thus that the whole composition becomes suggestive of rasa.
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