Kāvyabandha or Vākyavinyāsa (According to Narendraprabhasūri)

Introductory It is known to all more or less that Sabda and Artha constitute the medium through which a poet's expression of emotions and also poetic beauty take shape. The hammer and chisel of the architect, the paper, brush and colours of the painter, the bodily grace and movements of the dancer, the voice and

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बेटाई नरेन्द्रप्रभसूरि के वाक्यविन्यास-विवेचन का निरूपण करते हैं, जिसे अलंकारमहोदधि काव्यबन्ध भी कहता है — शब्द और अर्थ का वह संयोजन जो काव्य का शरीर बनता है। वे इसे उस ग्रन्थकार की मौलिक देन मानते हैं और आधुनिक पाश्चात्य समीक्षा के शब्द-संगीत-विषयक मन्तव्यों से इसकी तुलना करते हैं। Betai expounds Narendraprabhasūri's account of vākyavinyāsa, which the Alaṅkāramahodadhi also names kāvyabandha: the poet's arrangement of śabda and artha into the body of poetry. He argues the doctrine is that author's own, and sets it beside modern Western criticism on the transmuting music of words.

Written by the archive’s cataloguers, not by the author.