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