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082			_a808.154 _bTIW
100			_aTiwari, R. S.
245			_aA critical approach to classical Indian poetics
260			_aVaranasi: _bCahukhambha Orientalia, _c1984.
300			_axxi, 416 p. _bbib., ind. _c22 cm x 14 cm
490			_aChaukhambha oriental research studies, no. 29
500			_aRecommended By: Shailendra Raj Mehta --------------------------------------------------------
521			_aContents (1) The Rosa Siddhãnta or the Doctrine of Relish Bharata’s Nya-astra:Bharata’s Rasasutra: Vibhvas ecetera Explained: Number of Rasas:The Sthyis : The Eight Sättvikas. The Thirtythree Vyabhichris: Constituents of Rasa Exemplified : Eliot’s Objective Correlative: Rasa Objective Entity : Bhata Lollata: kuka. Contribution of Louaa and añkuka. 3-22 Bhaanayaka: Three Functions of word: Concept of Sdhrajikaraza : Boga or Bhojakatva: Araya of Rasa : Nursea of Rasa: Bhaanyaka’s Philosophical Angle: Bhaana yaka’s Contribution. 22—31 Abhinavaguta: Fundamental Principles of aivism: Rasa Elucidation: Abhinava’s Position: Bhaanyaka and Abhinava: Further Elucidation of Abhinava : Abhinava’s Concept of Ananda: Poems fit for Rasa: Factors of Rasavighna: Abhinava’s Achievement: Abhinava’s Limitations. 32—47 Posterior Theorists :Mammata Bhaa : Bhnudatta: Vishwantha: Relish of Rasa: Sdhärai dkrta or Generalisation and Vibhavas and Rasa Production: Pariditarja Jaganntha: Bhävandoa and Rasa: Summary of Rasa Discussion. 47—58 The oncet of Ananda in Rasãnubhiti: Vishwantha’s Arguments: Arguments Exami-ned. 58—63 Theory of Catharsis: Limitations of Kathar-sis. 64—80 Bhojarãja’s Theory of AhaikJra-Abhimilfla rñgãra: Rasika and Sahrdaya: Criticism of Bhoja. 89—92 Original Rasa : Angin Rasa: Rasabhasa: rñgära or The Erotic: Misrita 92-103 Srngara Tennyson’s ‘Tithonos’ : The Karuia:Vra or The Heroic. Shnta or The Quietistic: Refe-rence to Bhakti Rasa: Hsya or The Comic: Comic emotion: 103-133 Impersonalism in Rasa: Emotional Theory in Western Speculations : Limitations of Rasa: Awareness of Life, the end of poetry. 134—141 (2) The Alamkara Siddhartha or The Doctrine of Embellishment : 142—161 Poetics Proper: Bhämaha, the Earliest Expotient : Wide Conception of Alamkara: Alamkara and Rasa: Vamana and Alamkara:Kuntaka and Ruyyaka:Alamkara and Alamkarya: Croce’s Aesthetic: 162—177 Värta and Kävya: Atisayokti and Vakrokti: Svabhvokti and Vakrokti: Vrt and Variiana: Bboja and Vakrokti-Svabhvokti. 177—207 Classification of Alari’ikJras : Rudraa’s Classi fication: An Appraisal of the Alaipkara Doctrin:Upam (Simile): Rupaka (Metaphor): Metaphor in Western Poetics: Utprek : Aiayokti (Exactions ggeratiàn): Prateepa ( Reversal) : Vyatireka ( Special Surpassing ) : Difference between Vyatireka and Prateepa: Sarnasoki ( Special Describing): Aprastutapraansa (Round-about’ Description) : Paryyokti (Periphrasis): Alaip kära in Western Poetics. (3) The Ritis Siddhãnta or the Doctrine of style: Meaning of Rid: Division of Riti : Ridand Guixas: Doas: The Concept of Rid in Western Poetics. 209—215 (4) The Dhoani Siddhänta or The Doctrine of Suggestion: Anandavardhana : Three-fold Division of Meaning: Dhvani Defined: Dhvani Classified: Vastu-sambhavi: Kavi -Praudhokti-matrasiddha: Svatah-sambhavi: Alamkara-dhavani:Asamlaksya-krama-vyangya-Rasdhvani: Rasadhyani Defined: Factors of Rasa-Bhanga: Friendly and Hostile Rasas:Rasa -Bhanga: Frified: Rasa-dhvani Divided: Classification of Kavya: Gunibhuta-vyangya: Chitra-Kavya: Contribution ot Poetics: Anandavardhana's Dhvani in Western Specualtions: Complicated Formulations. 216-250 (5) The Vakrohti Siddhdnta or The :Doctrine of Ingenuity: Vakrokti,A new Trail : Vakrokti Defined: Vakrokti Classified : Margas and Guiias in Vakrokti : Assimilative Character of Vakrokti: Vakrokti in Western Poetics. 251—264 (6) The Auchitya Siddhanta or The Doctrine of Propriety: Concept of Auchitya in Earlier Writers Kemendra : Jivita or Life of Kvya: Kavpn-gas or Limbs of Poetry : Illustrations : Kemen dra’s Contribution : Auchitya in Western Poetics. 265—295 (7) Poetic Miscellany: The Conception of Poet: Difinition of Poetry: Purposes of Poetry: Soul of Poetry: Factors of Poetry: Frontiers of Poetic Meaning: Poetic Instruction : 296—321 (8) Major Canons of Dramaturgy: Broad Laws of Plot-Cunstruction: Cate gories of Kvya: Three Kinds of Plot: Consti tuents of Plot: Stages of Plot: Junctures of Plot: Nyakas or Heroes: Characteristics and Categories: Shobhä or Beauty of Character: Madhurya or Sweetness: Dhairy or Steadfast ness: Gambhirya or Mental Equilibrium : Tejas or Brilliance : Lalitya or Affability : Audarya or Magnanimity: Vilãsa or Vivacity: Other Classes of Heroes : Nyiks or Heroines : Classifications and Characteristics: 322—345 (9) Richards’s Theory of Value arid the Rasa’ Doctrine 346—369 (10) Conclusions 370—373 Appendix Shabda-shakti or Powers of word: Sphoa: Dhvani : Powers of word : Abhidhä : Lakaiia: Prayojanavatl Lakaia : Vyaijana: Tatparya Vritti. 374—386 Bibliography 387—390 Index 391—416
650			_xCriticism, interpretation, etc
650			_xLiterature Philosophy
650			_xVedic poetry
650			_xHistory and criticism
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