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traced right from Bharata's Natyasastra to the exposition of Rasa. and to the number of Rasas. The special devices and methods of art with refe rence to its aim of realism are discussed with profound insight into the inajor movements in Indian thought, viz., Buddhism, orthodox Brabanism. monistic saivism and Jainism. The idea of literary and dramatic appreciation is elaborately explained from the developmental points of view right from Bharata to Rapagoswami and Kavikarna pūra and his commentator Lokanātha.
2., Buda, profons of arresa, an
Chapter Three (pp. 54-76) outlines the elements of objective, livrtta Arthaprakrii, Samdhis, the five rhetorical devices, the twenty one Sandhyan. taras, the theory of the ten stages of love, the four varieties of injection of subsidiary matter (Patakasthanaka), the Sandhyangas, the use of these limbs, the arrangement by acts and the total length of a play, duration of full length plays, various considerations its brings to bear, some additional recommendations as to the tinie of performance, structural theories of Bharata, Sabandhu, Matrgupta, Dhananjaya, Abbioavagupta, Saradatanaya, singabhupala, Vidyanatha, Rāmacandra and Gunacandra, Udbhata and Sankuka, Then follows the interesting discussion about the new device of Garbhanka, application of dramatic structure to other forms of Kavya, consideration of scenery and props, stage and conventions of time, space, and of gradually shifting scene. The origin of the main classical tradition of drama is, then, traced from Mathurā, the home both of the dialect Saurasent and the company of the actors of the Sailalaka school. The chapter concludes with passing references of the theory of types of hero and heroine, the underlying principles of the drama, the acting of four kinds and its relation to various Rasas as also its combination in five classes of Nafaka.
In Chapter Four (pp. 77-121), follows the consideration of the theory of figurative language, stylistics and nature of poetic suggestion as distinct from that of the techniques and theory of dramatury, Dr, Warder is aware that the two studies overlap, however, and that the separation represents a tendency on the part of critics and theorists to specialise in different aspects of the aesthetics and critical field relating to literature. The theory of characteristics (Lakşanas) or modifications, the figures of speech (Alankaras), and the faults (Dosas) are traced from Bharata, through Bbamaha, Dandin, Vamana, Anandavardhana, Udbhata, Rudrata, Raja. sekbara, to Kuntaka. The author has outlined at length the contribution of Bhāmaba and that of Kuntaka in view of the latter's systematic dise cussion of the whole range of poetic activity basing all the topics on a single concept of figurative expression at six levels of expression, such as phonetic, lexical, grammatical, sentential, contexual and composition as 4
