Sahrdayaloka Part 01

SR No.: 006908
Original Sutra Author: N/A
Author: Tapasvi Nandi
Publisher: L D Indology Ahmedabad
Publication Year: 2005
Total Pages: 602
Language: English
Classification: Book_English
File Size: 14 MB

Page 115

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SAHĶDAYĀLOKA hārā”divad alamkārāstatra syuḥ upamā”dayaḥ 11211 śleşā”dayo guņās tatra śauryā”daya iva sthitāḥ 1 ātmotkarşā”vahās tatra svabhāvā iva rītayaḥ 11311 śobhām ārthikīm prāptāḥ vịttayo vịttayo yathā | padánugunya-viśrāntiḥ śayyā śayyeva sammatā 11411 rasā”svāda-prabhedāḥ syuh pākāh pākā iva sthitāh | prakhyātā lokavad iyam
sāmagri kāvya-sampadaḥ 11511 Both word and sense are like the body of poetry. The richness of the suggested sense makes for its life. Thus like Vidyadhara, Vidyānātha also accepts 'dhvani' as the 'soul of poetry. Then following the lead of Mammața, he calls figures such as ‘upama' i.e. simile and the like, as ornaments such as necklace etc. He takes ślesa and other 'guņas' or excellences as qualities such as bravery. It may be noted here that while the kashmir tradition of Anandavardhana, Abhinavagupta and Mammata accepts only three excellences such as mādhurya, ojas and prasada - i.e. sweetness, floridity and perspicuity - Vidyānātha following Bhoja's lead, accepts twenty four excellences, thereby trying to strike a balance between the Kashmir and Mālava schools of thought. Over and above this, Vidyānātha mentions rīti i.e. style, which is displaying the predominance of 'soul'-factor. They i.e. 'rītis' are like human nature - svabhāvā iva - In this respect we can place Vidyānātha along with Vāgbhata (I) and Jayadeva Piyūṣavarsa. Like Jayadeva again, he mentions vịttis or modes that reveal the beauty of sense. He again revives the concept of 'śayyā', the bed. The 'sayyā' or accomodation is a quality of words that are favourably matched with one another. Thus a poet's ability to choose such words that not be replaced by synonyms, makes for this quality of sayyā. This quality of sayyā is first noticed in Rājaśekhara's Kāvyamīmāmsā, so far as available records are concerned. This almost forgotten concept of literary criticism is revived by Vidyānātha. Likewise, from Rājeśekhara, he also revives the concept of 'kavya