काव्यालङ्कार (आचार्य भामह - भारतीय काव्यशास्त्र एवं अलङ्कार-सिद्धान्त मूल महाग्रन्थ सटीक)

52 BHĀMAHĀLAṄKĀRA
to the three guṇas of poetry—माधुर्य, प्रसादः and ओजः.
The definitions of माधुर्य and प्रसाद are given in the two
halves of Verse 3.
माधुर्य is defined by Bharata thus—बहुशो यच्छ्रुतं काव्य-
मुक्तं वापि पुनः पुनः । नोद्वेजयति तस्माद्धि तन्माधुर्यमुदाहृतम् ॥ Daṇḍin's
definition is माधुर्यं रसवद्वाचि.
Kāvya Prakāsa defines प्रसाद thus:—
श्रुतिमात्रेण शब्दात्तु येनार्थप्रत्ययो भवेत् ।
साधारणः समग्राणां स प्रसादो गुणो मतः ॥
ओजस् is generally equated with समासभूयस्त्वं An
abundance of compounds. The first two are gene-
rally popular with the Vaidarbha school, and the
last with the Gauḍa school. The citation of मन्दारकुसुम-
रेणुपिञ्जरितालका as an example of Ojas shows that verbal
bombast or high-sounding language ordinarily con-
ceived of as characteristic of Ojas is not essential for
Ojas according to Bhāmaha. The soft and flowing
words, unaspirated and abounding in nasals in the
passage cited, contribute to and do not detract from
Ojas according to him. Bhāmaha gives two charac-
teristics—श्रव्यत्व and नातिसमस्तत्व as together constitut-
ing the definition of माधुर्य, but his view is dissented
from by Dhvanyāloka and Lochana since they over-
lap on the province of Ojas also. Vide Dhvanyā-
loka, page 79. श्रव्यत्वं पुनरोजसोऽपि साधारणम् and Lochana—
ननु 'श्रव्यं नातिसमस्तशब्दार्थं मधुरमिष्यत' इति माधुर्यस्य लक्षणम् । नेत्याह—
श्रव्यत्वमिति । सर्वं लक्षणमुपलक्षितमोजसोऽपि । 'यो यः शस्त्रं' (Veṇīsaṁ-