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"Classification of Poetry (Criticism Oriented)
1029 Thus, A. seems to establish the supremacy of 'rasa' in poetry and suggests that all other thought-currents promulgated in the field of literary criticism should have 'rasa' in the centre and that a poet has to be rasa-oriented in his efforts. Ā. observes
"evam rasā"dişu virodhá-virodha-nirūpaņasya upayogitvam pratipădya vyañjakavācya-vācaka-nirūpanasyā’pi tad-visayasya tat-pratipădyate -
"vācyānām vācakānām ca yad aucityena yojanam, rasā"di-visayeņaitad
karma mukhyam mahākaveḥ." (Dhv. III. 32) vācyānām iti-vștta-viśeşāņām vācakānām ca tad-viṣayāņām rasā”di-visayeņa aucityena yad yojanam etan mahākaver mukhyam karma. ayam eva hi mahākaver mukhyo vyāpāro yad rasā"dīnām eva mukhyatayā kāvyārthi-krtya tad vyakty anugunarvena śabdānām arthānām ca upanibandhanam."
"The usefulness of the treatment of opposition and non-opposition of sentiments has been explained above. In the following, the usefulness of the treatment of the expressed and the expressions also as are suggestive of sentiment is indicated :
"The main task of a first-rate poet lies in a proper marshalling of all the contents and the expressions in the direction of sentiments etc. (Dhv. III. 32)"
The main business of a first-rate poet is none other than the proper marshalling of both contents, i.e. plots, and expressions used in setting them forth, in the direction of sentiments, etc. In other words, the main function of the poet lies only in making one sentiment principal throughout the poem and in employing both words and senses only in such a way that the sentiment is suggested clearly." (Trans. K.Kris. pp. 189, ibid)
We have suggested that we will deal with the problem of the number of rasas and the status of śānta-rasa by the end of this chapter. We will also take care of how different concepts such as those of guna, alamkāra, rīti, vrtci, dosa, laksana, etc. are also correlated to the pivotal concept of rasa in the Kashmirian school of thought in particular and Indian literary criticism in general. This we will do in the chapter that follows. But for the present, after having dealt with the first variety of criticism based classification in Ā. viz. dhvani kāvya, and there too rasa-dhvani in particular, now we will first proceed to deal with the other two types viz.
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