Metefar Upchar ane Dhwani

Author(s): Ramesh S Betai
Publisher: Z_Aspect_of_Jainology_Part_2_Pundit_Bechardas_Doshi_012016.pdf
Catalog link: https://jainqq.org/explore/230207/1

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meTephara (Metaphor )-upacAra ane dhvani rameza beTAI " Art is the manifestation, of emotion, obtaining external interpre. tation now by expressive arrangements of line, form or colour, now by a series of gestures, sounds or words governed by particular rhythmic cadence." yuina vana doSairmuktaM guNairyukta - mapi yenojjhitaM vacaH / strIrUpamiva no bhAti ___ taM bruve'laMkriyoccayam // 1 -vAgbhaTa viSayapraveza-meTephara eTale upacAra meTaphara" eTale kAvyane eka arthAlaMkAra evA sAmAnya khyAla sAthe tenuM rUDha gujarAtI rUpaka' evuM karavAmAM Ave che. paraMtu aMgrejI AlocananA A paribhASika zabdanI mImAMsA ApaNe karIe tyAre ja, AraMbhe ja e spaSTa karI levuM jarUrI che ke aMgrejImAM "meTepharane khyAla rU5ka uparAnta ghaNe vadhu vizALa, vyApaka che. mammaTa rUpaka sahita 22 upamAmUlaka alaMkAra nideze che te tamAma A "meTephara mAM AvarI levAI zake ane chatAM teno khyAla pUro adhigata na thAya, e sthiti che. "meTephara"nI mImAMsAmAM mULa khyAla kavikalpita evAM atyanta sadazya svIkArIne tenAM kAvya para tathA sahRdaya vAcakanI kAvyAnubhUti paratanA kArya tathA pariNAmano jhINavaTabharI mImAMsA ApaNe karIe e jarUrI che. te khyAla mImAMsita karavAmAM pAzcAtya vivecakee potAnI vidvattA pUrI siddha karI che. sarjaka kavi kAvyanA saudaryane khIlavavA mATe ja vibhinna prayogo kare che, ane vAcana samaye sahRdaya vAcaka jene anubhava kare che, je AsvAde che. tenI vijJAnika mImAMsA karavI jarUrI che. A badhI hakIkatane AdhAre "meTephara" e zabda amane gujarAtImAM "upacAra" e rIte mUke ucita lAgyo che. upamA ane rUpakanI aneka vyAkhyAo tapAsyA pachI ane gauNuM prayajana vatI lakSaNanA mULamAM rahelA sAdasya saMbadhanuM parIkSaNa karyA pachI "meTephara no samAnArtha gujarAtImAM "upacAra" zabda pasaMda karatAM "sAhityadarpaNa"nI upacAranI vyAkhyA ane zobhAkara mitranI rUpakanI vyAkhyA dayAnamAM levA yogya lAge che. vizvanAtha "upacAranI vyAkhyA A rIte Ape che : upacAro hi nAmAtyantaM vizakalitayoH padArthayoH sAdRzyAtizayamahimnA bhedapratItisthaganamAtram / | sAva 20 2-20 zebhAkaramitra "rU5kanI mImAMsA A rIte kare che- * yujIsInI pUrA samayanI graMthalekhananI yojanAne AdhAre taiyAra thayelA graMtha "locana TIkA sAthe vanyAlokamAMthI.

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Ta rameza beTAI Aropo rUpakam / na ca tasyA sAdRzye sambandhAntare vA kazcidvizeSaH yenekatrAlaMkAratAparatratadbhAva iti syAt / na savRdhAntanimitta bAyopoDhaMDhA tathA vandita ........ sAdRzyasambandhanibandhanAyAH alaMkRtitvaM yadi lkssnnaayaaH| sAmye'pi sarvasya parasya hetoH sambandhamede'pi tathaiva yuktam // ekabIjAthI atyanta judA evA padArtho vacce paNa kavikapita, atizaya sAdazyanA gauravanA yoge bhedanI pratIti mAtra sthagita thaI jAya, tene upacAra kahe che. vizvanAthanI upacAranI A samaje e siddha thAya che ke kavio potAnA ka9panAnA samaye paraspara atyanta judA dekhAtA padArtho vacce paNa sAdasyano atizaya sAdhI A bhedanI pratIti kAvyAnubhavanA samaye dUra karI de che. A atyanta sadazya e kAvyanuM eka vilakSaNa tava banI rahe che. ane " Aropa eTale rUpaka" eTaluM vidhAna karyA pachI meTapharanA khyAlanI carcA ApaNe AgaLa karIe tyAre vizeSa pratIta thaze ke tene samAnArtha gujarAtI zabda "rUpaka" nahIM paraMtu "upacAra' e ja vadhAre ucita che. meTephara-upacAra-pAzcAtya khyAla : satata parivartanapara, pragatizIla ane vaividhyapUrNa evAM pAzcAtya kavitA ane AlocanAmAM svAbhAvika rIte ja upacArane khyAla samaya sAthe satata badalAto rahyo che. A chatAM leTA ane erisToTalanA samayathI Aja sudhI kramazaH ane suvyavasthita rIte upacArano khyAla utkrAnta thata rahyo che ema kahevuM muzkela che. abhigama ane khyAla baMnenI bAbatamAM upacArane artha vyavasthita rIte vikasyo nathI. rAja kahe che- "Aristotle's comparison of metaphors with riddles, besides suggesting that every methaphor contains a submerged riddle, confronts us with the related possibilty that there is something inherently puzzling about metaphor as a class or genuspara 24 (9414 Hi inherenty puzzling as a class or genus nI vAta che, tenuM rahasya ukelavAno ja prayatna jANe anugAmI A lAyake e karyo che. Metaphor e zabda mULa bAbata Teresa hakasa kahe che " The word 'metaphor' comes from the Greek word 'metaphora' derives from 'meta' meaning 'over', and 'pherein ''to carry'. It refers to a particular set of linguistic processes whereby aspects of one object are carried over' or transferred to another object so that the second object is spoken as if it were the first." '** ane "Figurative language deliberately interferes with the system of literal usage by its assumption that terms literally connected with one

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94 meTepha (Metaphor) upacAra ane dhvani object can be transferred to another object. The interference takes the form of transference, or carrying over' with the aim of achieving a new, wider, special or more precise meaning." mekaranI A taddana prAthamika ane atisaraLa samajUtI che tenA thakI te eka alaMkAra kaI rIta che, alaMkAra tarIke tenI ramaNIyatA ke tenu alaMkAratva kayAM che te pUru spaSTa thatuM nathI. chatAM ahI eka vAtanI spaSTatA thAya che ke AmAM eka padArthanAM lakSaNNA khImAM jovAmAM Ave che, ane A spaSTatA tenI potAnI rIte upayAgI che. chatAM upacAra tarIke meTekaranA kAncagata garavA sthAnanA khyAla te AnAthI Upase ja kaI rIte? yAgya ja kahevAyuM che ke -- * Metaphor......is not fanciful 'embroidery ' of the facts. It is a way of experinencing the facts. It is a way of thinking and of living an imaginative projection of the truth." ane jhevanuM A vidhAna uparanI vAtanA AdhAra bane che-- .......if the poet's subject be judiciously chosen, it will naturally, and upon fit occasion, lead him to passions the language of which, if selected truly and judiciously, must necessarily be dignified and variegated and alive with metaphors and figures." kavinu` kathayitavya samucita bhASA prayAganI utkRSTa abhivyaktithI ane mekara vagere alakArAnA prayAganA khaLe uccatara kakSAnu', vaividhyapUrNa ane cetanAmaya bane che. siserA alaMkAra tarIke meTekaranI eka noMdhapAtra vyAkhyA rajU kare che-- A methaphor is a short form of simile, contracted into one word; this word is put in a position not to belong to it as if were its own place and if it is recognizable it gives pleasure, but if it contains no similarity it is rejected '' AnA parathI meTeranI bAbatamAM ATalA muddA spaSTa thAya che--rUpaka tarIke te upamAnuM nAnuM svarUpa che, kAvyamAM te peAtAnI nahI" evI sthiti prApta kare che, alaMkAra tarIke anubhavAtAM te vAcakane AnaMdanI anubhUti karAve che. eka muddA para bhAra mUkavAmAM AvyA che ke ahIM sAdazya nathI teA meTephara nathI, ane te tenI uparyukta siddhie nathI. bhAratIya kAvyamImAMsakrAnI e vAta ahI. teoMdhapAtra rIte vadhAre spaSTa ane sAthe tulanApAtra che ke upamAmUlaka alakArAmAM upameya upamAnane sarvathA samAna hAvAneA dAvA karI zakatuM nathI, chatAM tene alaMkArAmAM judA judA sAdasyabhAve mUkavAmAM Ave che ane e ja A alaMkArenuMala kAratva che. A dRSTie upamAnI candrAleAka'nI A vyAkhyA noMdhapAtra che. . upamA yatra sAdRzya lakSmIrullasati dvayoH / hRdaye khelatorucce stanyanIstanayovi // (12) venTIliyana meTaranI vyAkhyA A rIte Ape che

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rameza eTAI pa "Metaphor occurs when a word applying to one thing is transferred to another, because the similarity seems to justify the transference...They say that a metaphor ought to be restrained so as to be a transition with good reason to a kindred thing, and not seem an indiscriminate, reckless and precipitate leap to an unlike thing."3 ahIM upacAranAM ATalAM lakSaNA jovA maLe che--eka padArthone lAgu paDatA zabda khInna prati gati kare che, sAdRzyane kAraNe A gati atyanta AtmIya lAge che, upacAra atyaMta sayamita hAvA dhare, te kadI paNa kALajI vinAnA prayAgarUpa na heAya. A ja vAta sa MskRta kAvyarmImAMsAnI paribhASAmAM rajU karIe tA kahI zakAya ke kAvyanA saundaryanI siddhine mATe be vastu vaccenI ati garavI AtmIyatA eTale rUpaka, je pUrI kALajI sAthe pratyeAjAya, arthAt te tenA peAtAnA ala kAraucityathI sarvathA sampanna haiAya. kavikalpanAthI maNDita te sahRdaya vAcakane prabhAvazALI, hRdayaspazI, cetanAmaya lAge. pazcimanI AlecanAmAM vAlesa sTIvansa A ja prakAranI vAta rajU kare che-- "Metaphor creates a new reality from which the original seems to be unreal '' meTekara thakI navI ane cetanAsabhara evI je vAstavikatA UbhI thAya che tenI pAse mULa vAstavikatA jhAMkhI lAge che, e bhAva bhAratIya kAvyamImAMsakrA e arthamAM rajU kare che ke alaMkAranuM alaMkAratva, tenu sau rahasya kavinI kalpanAzaktie sarjelA navA saudarya mAM eTale ke navI cetanAmAM che. sTIvansanI vyAkhyA e meTarane mAtra alaMkAra tarIke rajU karatI nathI. chatAM ApaNane e suvidita che ke bhAratIya kAvyazAstrIonA mate alakArAnA upamAmUlaka, virAdhamUlaka, tarka nyAyamUlaka, bhaNitimUlaka vagere prakAre pADavAmAM Ave che tyAre A aupamya, tarka nyAya, virAdha, bhagRiti e vyavahAranI vAstavikatA nahIM parantu kavikalpanAnI kavijagatanI vAstavikatA dharAve che. sTIvansanA meTekaranA khyAlane ApaNe nitzenA jIvananI pelI ghaTanAmAM sAkAra thatA gaNI zakIe, cAjIkathI pAtAnA gheADAne phaTakAratA ghoDAnA mAlikanA hAthamAMthI cAbUka jhUMTavI laI nize gheADAne bheTayo ane tene 'Brother ' evuM saMmeodhana karyuM. ATalI carcA parathI e siddha thAya che ke eka arthAlaMkAra tarIke meTakare tenuM sudRDha ane sunizcita sthAna kAkhyAmAM laMkArAnA alaMkAra tarIkenuM sthApita karyuM che. A chatAM ATalA carcA pachI paNu meTekra eTale ke upacAra pAtAnA alakAra tarIkenA sthAnanI maryAdA bahAra vyApta thatA nathI, alabatta, sTIvansanI vyAkhyAmAM tenAM khIja tA che ja. AthI haoNsa yeAgya ja kahe che-- < The effect of mataphor * properly ' used is by combining the familiar with the unfamiliar, it adds charm and distinction to clarity, clarity comes from the intellectual pleasure afforded by the new resemblances noted in the metaphor, distinction from the surprising nature of some of the resemblances discerned. The proper use of metaphor also involves the principle of dewrum. Metaphors should be fitting ', i.e., in keeping

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meTephara (Metaphor) upacAra ane dhvani with the theme or purpose. They must not be far-fetched or strange, and should make use of words which are beautiful themselves." alaMkAra tarIke ahIM meTaphara pAsethI ATalAM lakSaNenI apekSA rAkhavAmAM AvI che-cArutva, spaSTatA, bauddhika AnaMda, Azcaryajanaka samya, viSaya sAthe saMvAditA, atirekanuM nivAraNa, svayaM saMdara zabdaprayogo vagere. upacArane alaMka 2 tarIke mImAMsavA uparAnta A vidhAna e Agantuka bhAvinA eMdhANa ApI de che, jyAre mAtra alaMkAra maTI jaIne meTaphara kAvyasarjana ane kAvyaprabhAvamAM atyaMta vyApaka ane ghaNuM badhuM vizeSa banI rahe che. alaMkAra tarIke ane vyApaka nodhapAtra kAvyatattva tarIke upacAranuM sathAna kAvyamAM sthira, sudaDha ane atyaMta AkarSaka banI rahe che. kavivANI viSe Adhunika vivecaka ricarDasanuM vidhAna che ke - " We shall do better to think of a meaning as though it were a plant that has grown - not a can that has been filled or a lump of clay that has been moulded." ane "But where the old Rhetoric treated ambiguity as a fault language in language, and hoped to confine or eliminate it; the new rhetoric sees it able consequence of the powers of language and as the indispensable means of most of our most important utterances especially in Poetry and Religion.rou A pachI meTapharane tenA Adhunika arthamAM rajU karatAM te kahe che-- "...... The co-presence of vechicle and tenor results in a meaning (to be clearly distinguished from the tenor) which is not attainable without their interaction." AgaLa vadhIne ciDUsa to eTale sudhI kahe che ke meTapharamAM anargata thAya che.- "All cases where a word gives us to two ideas for one, where we compound different ideas of the word into one, and sp thing as if it were another." ATalA parathI e spaSTa thAya che ke meTekarane khyAla samayanI gati sAthe vadhu ne vadhu vyApaka banato gayo che ane sArI rIte badalAyo che. prathama eka sAdazyamUlaka pachI alaMkArono alaMkAra banela te have kAvyanuM eka evuM tattva banI rahe che je kavivANIne tenI vilakSaNa bhAvasabharatA, kAvyartha ane sauMdaryanI sAdhanAmAM eka anerI abhivyakti ane vilakSaNa sArthakatA Ape che. atyanta AtmIya rIte yukta be padArthonA prAyaH avinAbhAva samA banI jatA saMbaMdhane vyakta karavA sAthe tenAmAM vyakta nahIM evA kavinA udiSTa arthone te vAcA Ape che. A sAdasya prakRtinAM be ta, mAnava ane mAnava, mAnava ane prakRti, prakRti ane mAnava, mAnavabhAvane prakRti para samAropa, prakRtinA vilakSaNa cArutvane mAnavabhAva para prabhAva vagere aneka rUpe kAvyamAM vyakta thAya che. zekasapiyaranA "kiMga liyara'mAM pramatta livara para varasAdanAM tephAnene

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rameza beTAI je prabhAva varNavyo che te tenA manamAM bhISaNa tophAnanI sAthe atyanta sadazya dharAve che. kAlidAsanA "raghuvaMza'mAM parityaktA ane jaMgalamAM asahAya tathA ekalI paDI gayelI sItA rudana kare che tyAre tene pratibhAva kavi A rIte varNave che- nRtyaM mayUrAH kusumAni vRkSAH darbhAnupAttAnvijuhurha riNyaH / tasyAH prapanne samaduHkhabhAja matyantamAsIdrudita vane'pi // 14 ahI A baMne udAharaNomAM upacAra eka vilakSaNa kAvyatatva tarIke ane kArya bajAve che ane e siddha thAya che ke upacAra e kAvyanA kAvyatvane atyanta AtmIya banI rahe che. have e mAtra bAhya zobhArUpa nathI. ane upara varNavelAM judAM judAM sAdane kAvyakRtinAM pAtronA mana para UMDo prabhAva vAcakamanamAM jagADavAmAM ke pachI kavinAM pitAnAM sakSama hRdayagata spandane ke saMgharSo ke dvidhAone vyaMjita karavAmAM ane kArya kare che te paNa ApaNane aneka udAharaNemAMthI samajAya che. upacAra pratye jAya che tyAM keTalIka vakhata rAja kahe che tema "... ...primary-process diction may be said to partake of the characteristics of the primary process; if it is primitive, impulse-iden, id-oriented, wish-fulfilling, hallucinatory, concrete, symbolic, diction, diction which may paradoxically be said to have a proverbal quality. Secondary-process words are "adult words." They tend to be abstract, have a defensive function, and an ego and super ego oriented." ane anya keTalAMka kAvyataranI mAphaka kyAMka alaMkAra rUpe ane vizeSataH tenI vyApaka svarUpe upayAra kavinAM, pAtronAM ane vAtAvaraNanAM manovaijJAnika UMDANamAM UtarIne paNa vilakSaNa kArya kare che, tene IzAro ApaNane maLe che. tethI ja te vahIlarAITa mAne che ke "What really matters in a metaphor is the psychic depth at which the things of the world, whether actual or fancied, are transmuted by the cool head of the imagination." bhAvAbhivyaktinA kSetramAM upacAra je kArya karI zake che te pazu ApaNe uparanI carcAne anusaMdhAnamAM laI zakIe. esana yogya ja kahe che ke .." Emotions, as is well-known are frequenty expressed by language; this does not seem one of the ultimate mysteries; but it is extremely hard to get a consistent and usable theory about their mode of action. What an Emotive use of language may be, where it crops up, and whether it should be praised there, is not so much one question as a protean confusion, harmful in a variety of fields and particularly ram-pant in literary criticism,"?

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meTephara (Metapoor)-upacAra - A vidhAnanuM mULa e hakIkatamAM che ke bhAvasabharatAnuM rahasya kyAM ane zuM che te pazcimane mATe mahAMze vaNaukalI samasyA che. ane tenA sAInaesthesiyAnA khyAlamAM paNa AvI spaSTatAne prayatna che. mAnavabhAvanonA vilakSaNa nirUpaNa vinA zreSTha kAvya saMbhavatuM nathI tevuM pratipAdana romenTika kavio uparAnta bIjAonuM paNa che. chatAM A viSayamAM je spaSTatA bhAratIo karI zakayA che te temanI potAnI AgavI siddhi che. bhASA dvArA jyAre mAnavabhAva vyakta thAya che, tyAre bhASA e to sAdhana ke mAdhyama mAtra che. mAdhyama tarIkenA tenA kAryamAM kyAMka e rahasya chupAyeluM che. kyAMka A rahasya upacAra thakI paNa abhivyakta thaI zake che. upacAranA sAmarthyathI te bhAvAbhivyakti, kozenA zabadomAM kahIe to bhAvAbhivyaMjanAthI kAvyane maMDita kare che. ane upacArane khyAla keTale vyApaka banI gayo che tenI pratIti vizeSataH harbaTa rIDa ApaNane A rIte Ape che- "Metaphor is the synthesis of several units of observation into one commanding image; it is the expression of a complex idea, not by analysis, nor by direct statement, but by a sudden perception of an objective relation.? ane AthI ja zApe yogya ja kahe che ke - "Words both reveal and conceal thought and emotion ......Metaphor fuses sense-experience and thought in language. The artist fuses them in a material medium or in sounds with or without words... My sound theory is that metaphor can only evolve in language or in the arts when the bodily artifices become controlled." rAjarsa tenA Metaphor e nAmanA pustakamAM mepharanI mane vaijJAnika mImAMsA sUkSma svarUpe ApIne tene kAvyagata prabhAva sarjaka kavi tathA AsvAdaka vAcakanI daSTie mImAMse che. ane temAM khAsa anubhavanI dazAmAM primary ane secondary meTepharane ullekha kare che. te ApaNane AnaMde lakSaNAmUlA vyaMjanA ane zAbdI vyaMjanAnA prakAre ApyA che tenuM saheje maraNa karAve che. upacArane lagatAM ane Ane samAna anya vidhAne sapaSTa rIte siddha kare che ke upacAranA kAvyagata artha, kArya ane kalApa bAbata pazcimamAM anekavidha mata pravartamAna che. eka arthAlaMkArathI zarU karIne kAvyarthanA mULa AdhAra rUpa, kAvyamAM saundaryanuM AdAna karanAra kAvyAlaMkAra tarIke te svIkArAyela che. AnAthI e paNa siddha thAya che ke sAdasthane anekavidha anaMta evo prayoga kavie temanA graMthamAM kare che, ane tenAthI kAvyanuM sauMdaryamaMDana thAya che. kavio virodhane paNa AdhAra le che, tenA subhaga prayogo paNa ApaNane maLI Ave che. chatAM, jagatanAM jANItAM bhASAsAhityomAM, saMskRtamAM to khAsa khAsa, A sAdastha ane upacArane Azraya khUba khUba levAmAM AvyA che. ane kAvyartha, kAvyacArutvane sAkAra karavAmAM A upacAra apAra rIte saphaLa ane sArthaka banyo che. daSTAnta rUpe kahI zakAya ke vilakSaNa upacArapravega rasapradhAna vanikAvyanI niSpatti uparAnta alaMkAra vininA suMdara prayogamAM atyanta upayogI thAya che, ane

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rameza beTAI svataMtra vistIrNa abhyAsamAM AvA prayogo samAntare rIte pAthAtya sAhityomAMthI paNa batAvI zakAya. A kAraNe ja Adhunika upacArathI mugdha banyA che. marenuM vidhAna che. - "Metaphor is as ultimate as speech itself, and speech is as ultimate as thought. If we try to penetrate them beyond a certain point, we find ourselves questioning the very faculty and instrument with which we are trying to penetrate them."!? - AthI ja sI. De. levisanA mate upacAra e "kavitAne jIvanasiddhAMta, kavinI mukhya bhASA, kavinuM gaurava" banI rahe che. ane narmana brAuna paNa kahe che- "Everything is only a metaphor; there is only metaphor." A saMdarbhamAM hokaSa ricarDasanane mata A rIte TAMke che- "Accordingly language"...... is utterly unable to aid us except the command of metaphor which it gives' and that is why Aristotle...argued that a command of metaphor is by far the most important to master and "the mark of great natural ability."12 upacAra ane vyaMjanA : upacArano A abhigama, tenA A anekavidha artho ane tene sarjanakriyA para prabhAva tathA vAyakane AsvAdanamAM sahAya vagerene khyAla karatAM e spaSTa thaze ke upacAranA A arthe pAzcAtyonA " sajezana"nA khyAlanI bahu najIka che, keTaleka aMze jANe bhAratIya kAvyamImAMsAnA khyAlonI paNa pAzcAtya Ale canAmAM ane khI bhAta pADatA tenA prakhyAta vivecana graMtha Seven Types of AmbiguitymAM emasana kahe che- "Ambiguity implies a dynamic quality in language which enables to be deepened and enriched as various "layers' of it become simultaneously available."13 ane yogya rIte ja umere che ke - "All good poetry is ambiguous sense. It contains "a feeling of generalisation from a case which has been presented definitely."" ane " What often happens when a piece of writing is felt to offer hidden riches is that one phrase after another lights up and appears as the heart of it; one part after another catches fire."14 kavi kahe che tenA karatAM te dvArA te je kahevA mAge che, tenA gUDha saundaryanI samRddhi kavivANImAM vyaMjita thAya che, te vAcakahRdaye pratyAyana pAmatAM kalpanA, anubhUti, varNana, vicAra, ghaTanA, paristhiti, bhAva, alaMkAra, vAtAvaraNa, game te svarUpe saundarya-saMpanna banI, vAcakanA cittane AkaSI, tene AnaMdanI anubhUti karAvI zake che. paraMtu epsanane mate te hoya che embIcuasa. A ebIDyuITImAM paNa upacAra kavine atyanta upayogI thAya che. vAstavamAM upacAra vayaM paNa eka e gyuesa prayoga che.

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100 mahephara (Metaphor)-upacAra bAraphIlDane mate pAzcAtya AlayanAne esananuM A mukhya pradAna che. te kahe che - " His major contribution is to recognize that ambiguity is fundamentally part of the same process...because metaphor, more or less far-fetched, more or less complicated, more or less taken for granted (so as to be unconscious), is the normal mode of development." A rIte upacArano eka artha embIvuITI-vyaMjanA e thaI zake che. A artha parathI upacAranA eka navA artha para ApaNe AvI zakIe. robarTa phrosTa mAne che ke upacAramAM vANInI uojanAnuM mUlya ghaNuM meTuM hoya che. te kahe che - "...but the chiefest of these is that it is metaphor, saying one thing and meaning another, saying one thing in terms of another. Poetry is simply made of metaphor...Every poem is a new metaphor inside, or it is nothing." . AthI upacAra eTale vyaMjanAnuM utejaka tatva ane vyaMjanA evA baMne arthe thaI zake. kavie vAcya rUpe kahyuM hoya tenA karatAM judo ja AkAra upacAra kavinA kAvyArthIne Ape che. AthI bhASAne upacArAtmaka prayoga kAvyanA udiSTanI vyaMjanA sahRdaya vAcakane ApavAnI kSamatA dharAve che. je dhvaninI vyAkhyA AnaMde ApI che tenI siddhimAM paNa A rIte upacAra agatyanA sthAne raheze. meTegyu ja kahe che- " The writer's mind will single out words and caress them, adorning the mellow fullness or granular hardness of their several sounds, the balance, undulation or trailing fall off their syllables, or the core of sunlike splendour in the broad warm central vowel of such a word as 'auroral'; each word's evocative value or virtue, its individual power of teaching springs in the mind and of initiating visions, becomes a treasure to revel in. "10 pite pasaMda karelA ane prayojelA zabdano artha ane arthe sAthe kavi kAvya dvArA ramata mAMDe, tyAre te kazuMka sahRdaya vAcakanA manamAM svayameva jAgrata karavA mAge che. svAbhAvika rIte ja aprayatna ane sahaja bhAve A kazuMka vAcakanA hRdayamAM svayameva uttejAya tyAre ahIM sIdhuM vAgya vidhAna khAsa upayogI thatuM nathI, temAM khAsa kAvyasaundarya uddabhavatuM nathI. sarjaka kavinA ane kAvyanA nADInA dhabakArA vAcaka potAnA hRdayamAM anubhavavA mAge che, ane e rIte eka vilakSaNa AnaMdarUpA anubhUti te pAmavA mAge che, jemAM kAvyanA kAvyatvanI sArthakatA rahelI che. ahIM upacAra kavine khUba khUba madadakartA thAya che. have vyaMjana rUpa jenuM vidhAna che tenI pUrNa ekarUpatA upacAra kavinA udiSTa viSaya . arthanI sAthe sthApita kare che, ane te paNa e rIte ke vAgyavidhAna jemAM lupta thaI gayuM che tevI vyaMjanAne sahRdaya vAcaka anubhava kare che, ane A anubhavamAM te pote kAvyAsvAdananI sArthakatA pAme che. Ama te A ja kAvya pradhAna uddeza che. AthI ja DecIsa kahe che-

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rameza beTAI 101 "Good poetry is the result of the adequate counter-pointing of the different resources of words (meaning), associations, rythm, music, order and so forth in establishing a total complex of significant expression."16 , ane tenI pUrve melAme e to kahyuM ja che ke - "My aim is to evoke an object in deliberate shadow, without ever actually mentioning it, by allusive words, never by direct words." zabdanI aneka arthachAyAo ane tenA prabhAvanI vyApakatAmAMthI Ama kAvyanuM sarjana thAya che. arthAta, vyaMjanAsabhara sajana saMbhave che, tyAM kavio upacArane bahoLo upayoga karatA AvyA che te ApaNane vidita che. * Ane lIdhe, upacAra tenA vyApaka arthamAM ghaNI vakhata kavinuM abhivyaktinuM ekamAtra mAdhyama banI rahe che e vAta para robina elTana bhAra mUke che "Metaphor is not to be considered then, as the alternative of the poet, which he may elect to use or not, since he may state the matter directly or straight-forwardly if he chooses. It is frequently the only means available if he is to write at all. '16 ane vimaseTane mata to A bAbata pUrI spaSTa che ke - " The metaphoric quality of the meaning turns out to be the inevitable counterpart of the mixed feelings. Sometimes this situation is to be far developed as to merit the name of paradoxical, ambiguous, ironic. The poem is subtle, elusive, tough, witty. Always it is an indirect stratagem of its finest or deepest meaning.'? mare upacArane kAvyanAM vilakSaNatA ane camatkAranI siddhinA sAdhana tarIke A zabdomAM rajU kare che- " It (i. e., metaphor) is the means by which the less familiar is assimilated to the more familiar, the unknown to the known; it gives to airy nothing a local habitation and a name ', so that it ceases to be airy nothing. "29 upacAra A rIte kAvyamAM kavinA udiSTane nizcita AkAra ApIne nirarthaka uzcata mAtra hevAnA AropamAMthI bacAve che, vAcakane enA thakI kAvyAnubhUti atyaMta paricita ane AtmIya bhAse che. kRSNarAyana vaLI umere che- "Metaphor specifies an idea, a local relation; suggestion is imprecise, intermediate, accessible through interpretation and dependent on such variable as the writer, the reader, the context. ''R? Ama hovA chatAM ApaNe upara joyuM che tema upacAra vyaMjanAne madadarUpa thAya che, ane tenI dekhItI lAkSaNikatA impreciseness, indeterminatenessne dUra kare che. ane e paNa

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meTephara (Metaphor)-upacAra spaSTa thAya che ke bhAvAtmaka lekhananI bahAra paNa upacArane vyA5 che. AnaMdanI paribhASAmAM kahIe to rasavani uparAnta vastuni ane alaMkAravaninI siddhimAM paNa upacAra kAryarata thAya che. AthI kAvyagata upacAramAM je kaMI saundarya che, te je kaMI kAvyane Ape che, te vyaMjanA thakI ja che, vyaMjanA e upacArane prANu che. empasana yogya ja kahe che- "The rose of metaphor is an ideal rose, which involves a variety of vague suggestions and probably does not involve thorns, but the leaf of transfer is merely leafish. "23 AthI kRSNarAyana yogya rIte ja pAzcAtya sAhityanA upacAra mATe kahe che "All that is claimed here is that often (if not always, as sanskrit poetics insists) a metaphor carries a load of suggestion and that in certain conditions its momentary disruption of logical discourse quickens the reader's sense of the suggested meaning. "28 Suggested meaning file wi metaphor, ambiguity, symbolism, expressionism, grotesque, oblique vagere potapotAnI rIte kAryarata che. AmAM upacAra anya tamAmane temanA kAryamAM vilakSaNa rIte upayogI thavAne avakAza che. sAthe ema paNa kahI zakAya ke vyaMjanaparyavasAyI A tamAma potAnI kAryasiddhimAM kharekhara to parasparAzrayI paNa I zake che. AthI, upacAra e vyaMjanA che, vyaMjanAnI kAvya gata siddhimAM sahAyaka paNa che, kAvyanA saundaryanI siddhimAM tenuM cokkasa pradAna hoI zake che, te pote keTalIka vakhata kAvya saundarya rUpa paNa heya che. tamAma prakAranAM kAvyomAM, tamAma vAdavizeSatI bhAta pADatAM kAvyamAM upacAra vyaMjanA svarUpe ane anyathA paNa kAryarata hoI zake che. upacAramImAMsA-pAzcAtya AlecanAnI anupama siddhi : upacAra e kAvyamImAMsAno khAsa noMdhapAtra evo pAribhASika zabda nathI ane upacAranA kAvyagata kAryanI vilakSaNatAo bhAratIya kAvyamImAMsAe sarva daSTie pUrI vigate pramANI nathI. rUpaka alaMkAranA saMdarbhamAM upayAranI upalabdha agatyanI vyAkhyAo ApaNe A viSayanI carcAnA AraMbhe joI che. aMgrejI bhASAnA "meTaphara" mATe samAna saMrakatamAM bIjo zabda "rUpaka e che ane alaMkAra tarIke rUpakanA kAryanI sUma mImAMsA bhAratIya kAvyamImAMsAmAM maLI Ave che. vaLI upamAmUlaka tarIke jANIne tamAma alaMkAramAM kavi-kalpita atyaMta sAdaNyanuM tattva che. ane A sAdazya judA judA alaMkAromAM judI judI vilakSaNatA saha vikase che. sAdAyamUlaka alaMkArothI saMskRta kAvya ane kAvyamImAMsA atyanta samRddha banyAM che te viSe be mata nathI. alaMkAra tarIke rUpakanI carcA judAM judAM dRSTibinduothI thaMI che. chatAM A rUpaka alaMkAra tarIke ja svIkArA che. anya alaMkAronI sAthe A alaMkArano prayoga kAvyamAM keTale devo ghaTe, alaMkAra kaI rIte kAvyanA AtmAne anusarI kAvyasaundaryanA piSaka bane, tenI je vistRta mImAMsA AnaMde karI che, temAM kAvyamAM ane vyaMjanAmAM A alaMkAranuM zuM kArya che te siddha thAya che. chatAM alaMkAra tarIkenI prAthamika gaNunAthI AgaLa vadhI upacArane khyAla pazcimamAM je rIte satata vyApaka banato gaye

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rameza eTAI 103 ane te sAthe tenA kAvyAtha paratvenA pradAnanI je UMDI sUjha pAzcAtya vivecane dAkhavI te bhAratIya kAvyamImAMsAne adhigata nathI. vizALa rIte kAvyamAM vAstavika jagatanI kAvyajagatamAM parivartita AkRtio, tenAM citrA, tenAM pAtrA, tenAM kalpanA, tenAM vibhinna ala kAraNAnI siddhi vageremAM sAdRzyamUlakatA eTale upacAra kevA ane keTalA bhAga, tathA kaI rIte bhajave che tenI carcA ane hAI darzana e pAzcAtya kAvyamImAMsAnI AgavI siddhi che. A kAvyagata upacAranI matAvaijJAnika asarA ane siddhinI paNa UDI mImAMsA aiye pAzcAtya AleAcanAnI potIkI siddhi che. rUpakanA ane Ama vistArI, vyApaka banAvI, tenA kAvyagata kArya nI mImAMsA karavI zakya che te sa MskRta kAnyAnAM ja udAharaNA laI ApaNe batAvI zakIe. uttararAmacarita' nA tRtIyAMkanA AraMbhe kruDakavananI bhISaNutAnu` varNana ApaNane bhavabhUti Ape che. kevaLa vaSNu tarIke pazu A varSoMna nivivAda rIte sudara che. chatAM ApaNe A vaNu nane sItAvivAsanapaTu rAmahRdayanI UMDI vyathA ane rAmanA hRdayane vyathAnI kArI khAtI bhISaNatAnI pratiSThAyA rUpe joIe tA A vadhu nanuM vyaMjanAtmaka kavitva che ane te mUlavAyu che tenA karatAM dhaNuM uccatara che te ApaNe anubhavI zakIzuM, rAmahRdayanI vyathAnI bhISaNutA sAthenA sAdazyanA saMdarbha mAM khIjA aMkanA ane kaMIka aMze trIjA aMkanA daMDakavanavarNanane mUlavavA AsvAdavA jevu che. ApaNane saheje AnAthI zeksapacaranA kiMga lIyara'mAMnA pavananAM, tAkAnA, lIyaranA mananAM tAkA sAthe sAdRzya dharAvatAM smaraNamAM Avaze, AvuM ja eka dRSTAMta ApaNune 'zAkuntala'nA chaThThA aMkamAM maLe che, kulavadhinI, kulapratiSThA evI priyatamA dharma patnInA akArachu tyAga karI bhAre hINapatanA anubhava karatA pazcAttAparata duSyanta peAtAnA dilane bahelAvavA mATe, pote sarvaprathama je zakuntalAnuM subhaga darzIta karyuM hatu` tenu citra, tenA, anupama prAkRtika vAtAvaraNa sAthenu dore che. vAstavika jIvananI mugdha praNayInI dRSTie joyelI, tenA hRdayamAM aMkita zakuntalAnuM sAdazya vAstavika zakuntalAnI sAthe cheja. Ama ja vAstavika jIvananI zakuntalA, duSyantanA praNayI hRdayamAM aMkita zakuntalA ane citrAkArA zakuntalA vacce keTaluM sAdRzya che, chatAM bheda pazu keTalA che! A bheda praNayI ane have pazcAttAparata duSyantanA uSmAbharyAM, aneka umaLakAbharyAM praNayanA raMgAnA che. ane tethI vAstavika zakuntalA ane duSyantanA hRdayanI zakuntalA ane citrAkArA zakuntalA vyaMjita kare che ke ekamAM aneka vyaktitvA dharAvatI kAvyagatA zakuntalA vilakSaNu rIte, anupama rIte su'dara che. Ane AdhAre ja ApaNane sahRdaya vAcakrAne vyaMjanAnI akalpya sauMdarya paramparAnA vilakSaNa AnaMdadAyI anubhava thAya che. ahI" upacAra kAvyanA kAvyatvane abhivyakata karavAmAM vyaMjanAonI A paramparAne sAdhaka ane che. Ama kavivANI e vAstavika jIvananI vANI che te chatAM tenI potAnI vilakSaNatA * laIne kAvyamAM vilase che. vANInI kAvyagata A vilakSaNutAnu` sAdhaka ati agatyanu ala karaNa upacAra e che. AthI ja kahevAyu che ke Metaphor is hardly an amusing embellishment or diversion, an 'escape' from harsh realities of life or of language. It is made out of, and it makes those realities. Their * opposite and discordant' k

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104 meTephara (Metaphor)-upacAra qualities are given by metaphor's inter-active function, a form and an integrity, a whole and an oder. In this sense, man's reality is formed by the metaphorical processes that inform his language." - A che kAvyamAM, kAvyarthamAM, kAvyavyaMjanAnI siddhimAM upacAranuM pradAna. kAvyanA A ati agatyanA alaMkAraNane subhaga, suMdara ane sahaja prayoga bhAvapradhAna kavitAmAM, romenTika kavitAmAM, rahasyapradhAna kAvyamAM, nATakomAM ane prAyaH tamAma prakAranAM kAvyomAM kAvyacArutvanA ati mahattvanA AdhArarUpa che. upacArathI kAvyavyaMjanA kAvyartha ane kAvyasaundaryane siddha kare che. moTe bhAge upacAra svayaM kAvyartha nathI, svayaM vyaMjanA, hamezAM heta nathI. jo ke te svayaM kAvyartha ke kAvyacAru ke kAvyavyaMjana na ja banI zake evuM paNa nathI. kAvyamAM upacAranA A ati vyApaka prabhAvanI pAzcAtya vivecananI mImAMsA saMsakRtanAM zreSTha kAvyonI vyaMjanAnA navA ja saMdarbhamAM AsvAdanamAM preraka baLa banI zake tema che. pAdaTIpo. 1. vAgabhaTAlaMkAra - 409 2. " Metaphor'-pA.4 3. upara mujaba-pA. 11-12 4. upara mujaba-pA. 9 5. "Philosophy of Rhetoric." 6 upara mujaba 7. raghuvaMza 14. 8. Metaphor" pA. 27 9. "Structure of Complex words," esana. 10. English Prose Style," pA. 339 11. " Metaphor" pA. 22 12. "Metaphor' pA. 63 13, "Seven Types of Ambiguity" 14. upara mujaba 15. upara mujaba 45. ' Poems of Robert Frost' Intro 24.' Words, Words.'96, 'A Study of Literature." pA. 126 19. "Practice of Poetry," pA. 15 20. "Twentieth Century Poetry," Martin and Furbank, pA. 5 uparathI 21. upara mujaba pA. 7-8 uparathI. 22. "Suggestion and Statement in Poetry, " pa. 73 23. "Seven Types of Ambiguity,' 4. 70 28. "Suggestion aud Statement in Poetry," pA. 85 agatyanA sandarbhagraMtho 1. nATayazAstra (chaThTho adhyAya)-bharata, "abhinava bhAratI' TIkA sAthe gAyakavADa orienTala sIrIjha, vaDodarA. 2. Metaphor-Robert Rogers, University of California Press, London, 1978.3. Metaphor-Terence Hawkes, Methuen and Co. London, 1978. 8. Practical Criticism-I. A. Richards, Routledge and Kegan Paul, London, 1930 4. Principles of Literary Criticism -I, A, Richards - Routledge and Kegan Paul, London, 1976 $. Seven Types of Ambiguity - William Empson.-Chatto and Windus. Londo 6. Structure of Complex Words-William Empson. Chatto and Windus. 'London, 1977 L. Suggestion and Statement in Poetry-Krishna Rayan, University of London, Athlone Press, London' 1972.