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Introduction
xxix
The Candraloka defines, explains and illustrates 4 figures of sound
and 100 figures of sense.
17. Ekavali (or The Necklace) : Vidyadhara's (13th century AD)
Ekāvalī is divided into 8 chapters and written in the traditional
method of sutra, vṛtti and udāharaṇa (ie definitions, their explana-
tions and illustrations). One special feature of this treatise is that
all the illustrations composed by the poet himself are written in
praise of his patron king Narasimha of Utkal (Orissa). Its commen-
tary entilled Tarala comes from the pen of the famous commenta-
tor Mallinātha (14th-15th century AD). Vidyadhara is a follower of
Ruyyaka's Alamkāra-sarvasva in his treatment of figures. He defines,
explains and illustrates 4 figures of sound and 100 figures of sense.
18. Prataparudra-yasobhūṣaṇa (or Ornamental glory of
Prataparudra): This treatise wirtten in the traditional format (ie
kārikā, vṛtti and udāharaṇa) is authored by Vidyānātha, a court poet
of Prataparudra (1275-1325 AD), king of Varangala. In his treat-
ment of the topics of poetics, the author follows Mammața,
Ruyyaka and Jayadeva. Like Vidyadhara's Ekavalī the illustrative
verses of this work are composed by the author himself and are
related to the royal glories of his patron king. Its commentary
Ratnapana is written by Kumarasvāmin, son of the renowned
scholar Mallinātha.
Digitized by
19. Sāhityadarpaṇa : (or The Mirror of Poetry): Viśvanātha
(1300-1380 AD) a poet, an erudite scholar and a rhetor, is the
author of Sahityadarpana. He was a resident of the utkala province
and held high office in the court of a kalinga king. A good number
of works (such as epics, long poems, drama, a polyglot dictionary
in 16 languages and a commentary on Mammața's Kāvyaprakāśa)
have been ascribed to him, but all these are unfortunately lost. The
Sahityadarpaṇa, a voluminous work in 10 chapters is more or less a
compilation of the different views and principal theories of
Sanskrit poetics without any oroginal contribution of his won. But
in spite of the fact the book became very much popular as a stan-
dard text of literary criticism in Sanskrit and it is at present, as it
was previously, an indispensible text for Sanskrit students and
Google
Original from
UNIVERSITY OF MICHIGAN
xxix
The Candraloka defines, explains and illustrates 4 figures of sound
and 100 figures of sense.
17. Ekavali (or The Necklace) : Vidyadhara's (13th century AD)
Ekāvalī is divided into 8 chapters and written in the traditional
method of sutra, vṛtti and udāharaṇa (ie definitions, their explana-
tions and illustrations). One special feature of this treatise is that
all the illustrations composed by the poet himself are written in
praise of his patron king Narasimha of Utkal (Orissa). Its commen-
tary entilled Tarala comes from the pen of the famous commenta-
tor Mallinātha (14th-15th century AD). Vidyadhara is a follower of
Ruyyaka's Alamkāra-sarvasva in his treatment of figures. He defines,
explains and illustrates 4 figures of sound and 100 figures of sense.
18. Prataparudra-yasobhūṣaṇa (or Ornamental glory of
Prataparudra): This treatise wirtten in the traditional format (ie
kārikā, vṛtti and udāharaṇa) is authored by Vidyānātha, a court poet
of Prataparudra (1275-1325 AD), king of Varangala. In his treat-
ment of the topics of poetics, the author follows Mammața,
Ruyyaka and Jayadeva. Like Vidyadhara's Ekavalī the illustrative
verses of this work are composed by the author himself and are
related to the royal glories of his patron king. Its commentary
Ratnapana is written by Kumarasvāmin, son of the renowned
scholar Mallinātha.
Digitized by
19. Sāhityadarpaṇa : (or The Mirror of Poetry): Viśvanātha
(1300-1380 AD) a poet, an erudite scholar and a rhetor, is the
author of Sahityadarpana. He was a resident of the utkala province
and held high office in the court of a kalinga king. A good number
of works (such as epics, long poems, drama, a polyglot dictionary
in 16 languages and a commentary on Mammața's Kāvyaprakāśa)
have been ascribed to him, but all these are unfortunately lost. The
Sahityadarpaṇa, a voluminous work in 10 chapters is more or less a
compilation of the different views and principal theories of
Sanskrit poetics without any oroginal contribution of his won. But
in spite of the fact the book became very much popular as a stan-
dard text of literary criticism in Sanskrit and it is at present, as it
was previously, an indispensible text for Sanskrit students and
Original from
UNIVERSITY OF MICHIGAN