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other hand, involves a swallowing by Visayin (Aropyamānena) of the Visaya (Aropavişaya) so that total Abheda (unlike Bheda in Rūpaka) prevails, and only Vişayin is verbally expressed. Thus, Gauḥ swallows up Vāhika with the result that only Gauh is expressed by means of a word. This variety (Sadhyavasānikā which involves Adhvayasāna, Antahkřti or Nigirana) gives rise to Hyperbole or Atiśayokti of the first type (called Rūpakātisayokti). These two together constitute Gauņi, as Pradipa, a commentory on the Kävyaprakaśa, puts it :"... Gauņi āropādhyavasānābhyam bhidyate...." In aropa there is attribution, in Adhyavasāna there is Niscaya or determinaton. These are the two varieties of Gauni as explained by Mammata (K.P.II. 7). However, the Bhātta Mimāṁsakas headed by Kumärilabhatta himself recognize Gauņi as a separate Vstti. 29 Among the Alam kārikas, Bhoja followed by Hemachandra treats Gauņīvștti as an independent process, i.e., different from Laksaņā. This explains why Hemachandra mentions four types of word and sense. 30 Despite this difference of classification and treatment, it is difficult to find any vital difference in regard to the power of Gauna and Lakşaka words. Briefly stated, the difference between Gauņi and (suddha) Lakşaņā is that while the former is Gunayogadgauņi and Upacaramiśrā, the latter is Upacārāmišrā and Suddha. 31
Now the question that needs to be answared is as to how Gauņārtha comes about. Indeed, if properly stated, the question would be : What is the Gauņa Artha here? How Gauna Artha Comes About ?
Mammata has stated three different views which we find re-stated here. The views can be stated as under :
(1) The First View : (a) The word Gauh in Vāhika yields Gotva by Abhidhā; (b) and by means of Gauri, the qualities of Jādya and Mandya in Gauh are indicated, in virtue of Tadyoga (connection of these Guņas with the Vācyártha of Gauh) or Nimitta (Sambandha) or Sahacaryasambandha as both Gotva (Vācya) and Jādyādi (Avācya) reside in Go itself;
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