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________________ JAIN CONTRIBUTION TO SANSKRIT POETICS AND AESTHETICS 323 Eye" and the "Arts of the Ear". Nor do they venture upon a definition of Art, applicable to all the (Fine) Arts. They merely attempt definition of one of the Fine Arts, namely Poetry (kavya or creative literature as such) and investigate into the sources of literary beauty. Finally, they arrive at the conception of rasa as the first and foremost source of Beauty in Literature. Modern scholars like M.Hiriyanna say "... the numerous works in Sanskrit on poetics furnish adequate data for constructing a theory of fine art in general." And, "The conception of rasa is general and furnishes the criterion by which the worth of all forms of fine art may be judged 26." Some other scholars however hold that in the context of other fine arts the term rasa is used by metaphorical extension only and the rasa theory is not applicable to other fine arts. Be that as it may, let us revert to aesthetic inquiry carried on by the alamkarikas in relation to the fine art of kavya (Poetry including the Drama). Two stages in the growth of Sanskrit literary criticism In the growth of Sanskrit literary criticism we discern two distinct stages, The first stage is represented by the early alamkarikas and the second by Anandarvadhana and his followers. The early alamkarikas hold that in kavya it is the alamkara that enjoys the pride of place. They fail to notice the central essence of kavya as their attention is concentrated on its body--the outward expression or externals of kavya, viz., sabda and artha. It is Anandavardhana the Dhvanikara-who completely revolutionized the Sanskrit poetics and aesthetics by his novel theory that dhvani (suggestion) is the soul. (the very essence) of kavya. Pratibha is the cause of poetry. It renders the poet's creation unique. And to appreciate and enjoy the poet's unique creation a sahrdaya (a sensitive and sympathetic spectator or reader) is needed. The poet and the sahrdaya are gifted with pratibha. In the realm of kavya pratibha enjoys the place of supremacy. Whatever is touched by the magic wand (power) of pratibha becomes alaukika (unique) and a source of beauty. Mere dhvani is not a source of beauty, the dhvani itself must be charming. There is no charm in such expressions as simho batuh (The boy is a lion) or gangayam ghosah' (there is a hamlet on Ganga.) just as there is no beauty in the bald vakrata of a dog's tail (but the vakrata of the crescent moon is incomparably beautiful). The traditional views of rasa Now, the traditionally accepted view of rasa is stated out in Abhinavagupta's Abhinavabharati on the Natyasastra and Locana commentary on Dhvanyaloka. Its distinguishing features are : Rasa is totally different from an ordinary emotion. It is generic Jain Education International For Private & Personal Use Only www.jainelibrary.org
| SR No. | 001868 |
| Book Title | Studies in Jain Literature |
| Original Sutra Author | N/A |
| Author | V M Kulkarni |
| Publisher | Shardaben Chimanbhai Educational Research Centre |
| Publication Year | 2001 |
| Total Pages | 114 |
| Language | English |
| Classification | Book_English, Literature, & Story |
| File Size | 14 MB |