conceivable theory,[1] for both consist largely of modes of exposition and figures of thought and diction, while they also contain, as recognized by Dhanaṁjaya, a number of feelings which fall within the sphere of sentiment and its discussion. Thus we find as ornaments the benediction, the lamentation, raillery, the use of argument to support a view (upapatti), the prayer, the expression of resolution, the reproach, the provocation, the adduction of a common opinion in order to administer covertly a rebuke, the request, the narrative, reasoning, and the telling of a story. The beauties again include the combination of merits of style with poetic figures; the grouping of letters to make up a name; the use of analogy and example; the citation of admitted facts to refute incorrect views; the fitting of expression to the sense; the explanation by reasoning of a fact which is not capable of sense perception; the description of an object from the point of view of place, time, or shape; the indication of a characteristic which serves to distinguish two objects otherwise alike; the allusion to the truth of the literal meaning of a name; the use of the names of famous persons in a eulogy of some living being; the expression unconsciously, under the influence of passion, of the contrary of what one means; the statement in succession (mālā) of several means attain a desired object; the expression of two different views, one of which in reality strengthens the other; the reproach; the question; the use of commonplaces; eulogy; the employment of a comparison to convey a sense which it is not desired directly to express; the indirect expression of desire; the veiled compliment; and the address of gratitude. Unfortunately no scientific attempt at orderly arrangement or examination of the principles on which these matters are based is attempted.
The Nāṭyaçāstra[2] adds an account of four ornaments of the drama (nāṭakālaṁkāra), which the Daçarūpa ignores, doubtless for the adequate reason that these matters appertain to poetics in general, and they are treated of in vast detail by the text-books of that science. The first is simile, defined as a comparison based on the similarity of characteristics in two objects; there
