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'Classification of Poetry (Criticism Oriented)
1041 immediately removed and the enjoyer whose limitations of local worldly personality are removed, i.e. whose personalised factors are removed (maryādita-pramātstva thus being removed), he grows into a higher self and enjoys the self-evident and real aspect of his own self and along with this joy he chews the impersonalised emotions such as rati and the like; - this basic emotion, of unconditioned bliss is rasa - and this has been implanted in his own self since times immemorial i.e. from an unlimited number of previous births. This impression-vāsanā-which is the object of relish-is rasa.
We will go into the theoretical discussion on rasa later, in separate chapters when we will deal with the concept of rasa in the works of Bharata, Bhāmaha and other alamkārikas who preceeded .. and also in the works of those who followed Ā., such as Kuntaka, Dhananjaya and the rest and then M. and others. For the present we come to the end of criticism-based classification of poetry; here the first variety. Naturally, this sort of classification, which does not take into account the fact of external form such as prose or verse, etc., also has to evolve a convincing design wherein, with dhvani or rasa-dhvani in the centre, other concepts such as guna, dosa, alamkāra, rīti, vrtti and the rest are also accomodated in the field of literary criticism. We will go into this consideration later. But in the chapter that follows we will deal with the attitude of Kuntaka. Bhoja etc. towards dhvani and also pick up the other two varieties of criticism-based classification such as the gunībhūta-wangya and citra-kavya.
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