Handbook of Classical Sanskrit Rhetoric /18

vi
 
A Handtures, placement of words, syntax, phonetics, appropriateness of
meaning and agreeabook of Classical Sanskrit Rhetoric
 
tures, placementleness of words, syntax, phonetics, appropriateness of
meaning and agreeableness of words. Therefore, it is desired that a

perfect poet needs mastery of all these subjects, and besides all

these he must possess high imaginative faculty and strong sense of

beauty.
 

 
Standard texts of Sanskrit poetics discuss mainly the following

topics:
 

 
i) utility of poetry or literature towards the society (kaāvya-prayo-

jana-ie poetry offering social status with fame and glory as well as

financial support for the poet, worldly and practical knowledge;

removing evils, refreshing conscience and ultimately bestowing

aesthetic delight to its readers),
 

 
ii) the most essential qualities or equipments for the making of

a true poet (ie pratibhā or śakti, vyutpatti and abhyāsa
-- poet's genius or imagination, scholarship, practice and culture),
 
poet's
 

 
iii) What is poetry? Numerous critics <error>definining</error> <fix>defining</fix> in their own
way the basic characteristics of poetic expression and giving impor-
 
iii) What is poetry? Numerous critics definining in their o
tance to artful diction, figures of speech, qualities of wn
way theord and
meaning, avoidance of any kind of literary basic characteristics of poetic lemishes, suggested or
expression and gitra-ordinary artistic sense, propriety in all respects, stylistic
refinement of sound and sense and last of all aesthetic contempla-
tion as the sublime beauty (ie ving impor-
tance to artful diction, figures of speech, qualities of word and
meaning, avoidance of any akind of literary blemishes, suggested or
extra-ordinary artistic sense, propriety in all respects, stylistic
refinement of sound and sense and last of all aesthetic contempla-
tion as the sublime beauty (ie varokrokti, alamti, alaṃkāra, guṇa, doșa, dhvani,
aucitya, riti or ma
aucitya, rīti or mārga and rasa),
 

 
iv) aesthetic realisation as the sublime essence of poetry and its

psychological background (rasa-carvaṇā or āsvāda or camatkāra),
 

 
v) functions of word and quality of poetic expression (ie

abhidhā, lakṣaṇā and vyañjanā - denotation, extended denotation

and suggestion or connotation),
 

 
vi) classification of poetic composition (ie padya, gadya, miśra,

mahākavya, nātya, kathā, ākhyāyikā etc. — poetry, prose, combina-

tion of prose and poetry, epic, drama, prose romance, historical-

poetical writings etc),
 

 
vii) figures of speech (ie alamṃkāra of śabda, artha & ubhaya
--
the schemes and the tropes),
 
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