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out from various authors whom he notes down by name.
He invariably gives his references when quoting illustra
tions of the breach or observance of poetic precepts. He
has no respect for individual fame or dignity and he deals
out praise or censure as a true critic. He illustrates the
two sides of the canon by different verses from the same
work of his own. Everywhere he shows himself an impressive
writer. His Suvritti-tilaka is a wort on metric and has three
chapters—vrittavachya, gunadoshadarsanam and vrittaviniyoga.
In the concluding chapter the author quotes various poets of
olden times as excelling in one or other metres, e.g* Kalidasa
in Mandakranta and Rajasekhara in Sardula-vikridita.	•
Rajanaka Ruyyaka attempts at a classification of the figures of speech, grouping them under convenient heads. His -Alankara-Sarvasva shows a clear advance in the nature of its prose* • He was a Kashmirian and tutor to the poet Mankha of Jayasimha's court. Jayadratha, the author of the poem Haracharitachintamani, wrote the Vimarsinia commentary on Ruyyaka's work about 1200 A. D. It is probable threfore that Ruyyaka flourished in the first half of the 22lh century* Besides he was a predecessor of Mammata who criticises some of Ruyyaka's views! Ruyyaka 'does not consciously restrict the length of expressions and the sentences smack more of the merit of the Bhashyas, His criticisms are not cut and dry and the dogmatic temper, an observable trait of the Indian rhetoricans, is not prominent in Ruyyaka. His only other extant work is the lyric Sahridayariti.
Vidyanatha lived at Warangal under the patronage of King Prataparudradeva (1268-1319 A. D.). The Pratapa-rudra-yasobhushana is a work on poetics with, illustrations