काव्यमीमांसा (महाकवि राजशेखर - कवि-रहस्य एवं देश-विभाग सटीक)

142 EXPLANATORY NOTES Rīti, Dhvani, Vakrokti, Anumiti and Aucitya, and were of opinion that these principles were the essential factors in the best form of poetical composition other than the drama. During this period, the theory of Rasa underwent many changes and modifications in the hands of those who belonged to the other schools of literary criticism. In the middle of the 9th century Ānandavardhana revived the theory of Rasa and held that Rasa Dhvani is the chief principle in all poetical compositions including the drama. This theory of Dhvani though well established by Ānanda did not meet with general approval amongst a large number of critics during the period from 850 to 950 A. D. as they were content with the original Rasa school of thought started by Bharata and applied the same principle to both classes of the literature. Prominent among them were Rudraṭa, Bhaṭṭanāyaka, Dhanañjaya, and Dhanika. Rājaśekhara flourished during this period (cir 900 A. D.) and he was led to adopt the trend of literary criticism as was prevalent in his days. Thus, he held that the Rasa and not Dhvani is the soul of the Kāvyapuruṣa. Again, at the end of the 10th century A. D. the theory of Rasadhvani was revived once more by the great Kashmirian scholar Abhinavagupta following in the foot-steps of Ānandavardhana. Rājaśekhara did not even mention Dhvani as a part of the Kāvyapuruṣa or as the subject-matter of any of his eighteen chapters because in his time even the existence of Dhvani in poetry was not recognised by critics. For further information regarding the history of the Rasa school see the introduction to the Bhāvaprakāśana (G.O.S. No. 45). *[ l. 15 च॒त्वारि॒ शृङ्गा॒ त्रयो॑ अस्य॒ पादा॒ द्वे शी॒र्षे स॒प्त हस्ता॑सो अस्य । त्रिधा॑ ब॒द्धो वृ॑ष॒भो रो॑रवीति म॒हो दे॒वो मर्त्यां२॒ आव॑िवेश ॥ ( ऋग्वेद 3-8-10-3 ). For the different interpretations of this Ṛk see Sāyaṇa's Bhāṣya, Yâska's Nirukta 13-18 and Patañjali's Mahābhāṣya पस्पशा. Both the MSS. of the Kāvyamīmāṁsā read शृङ्गास्त्रयो and मर्त्यमा- विवेश. cf. सप्त स्वराः, त्रीणि स्थानानि, चत्वारो वर्णाः, द्विविधा काकुः, षडलङ्काराः, षडङ्गानि इति । भरतनाट्यशास्त्र chapt. 17 ] l. 20. उशना परिवृत्ते etc. The fact that Sārasvateya Kāvyapu- ruṣa was brought up by Uśanas or Kavi, as mentioned by