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 259

234
SAHRDAYĀLOKA Tatacharya is ill at ease to explain 'nitānta-ādi-mātrena' (pp. 17, ibid). Bui ultimately falls upon the right explanation when he observes : "vaksyamāna anuprāsa-viśesa-upasthāpana-dvārena nitāntā”díti bandha-komalatvam iha laksayati. srtipeśalatva-sampadakena bandhasya komalatva-mātrena kavya-vyapadeśa-ucitā cărutā giram na jāyate-vakrayor abhidheya-sabdayor-ghatanā tu vācām alamkṛtiḥ. kā śabdasya vakratā. anuprāsā”dimattā.”
Thus for Bhāmaha, word and sense charged with vakroti alone make for poetry, and this element of vakroti is mostly implicit, though it could be even explicit at times.
It will be interesting here, even at the cost of little diversion, to note some inherent parallalism in the thinking of both Bhāmaha and Dandin, the earlier masters. Dandin also at K.D. II. 214, observes that 'atiśayokti' is at the root of all poetic expression. He observes : (K.D. II. 214): .
"vivakşā yā viśeşasya loka-sīmátivartini asau atiśayoktiḥ syāt
alamkārottamā yathā..” Thus atiśayokti, the best of alamkāras, consists of a statement which tends to describe the matter in hand in an uncommon way. The ‘atiśaya' is ‘lokātiśaya', i.e. something beyond ordinary. It is this something special in poetry which makes for the aesthetic beauty in literature. Dandin, at II. 216 observes :
"samśayātiśayā”dīnām
vyaktyai kiñcin nidarśyate.” 'vyaktyai' takes us to inherent vyañjan, in the said description. At II. 220 (K.D.) Dandin says that this figure is the essence of all other figures and that this sort of an expression is praised by all the masters of speech. He observes :
"alamkārántarāņām apy ekam āhuḥ parāyaṇam,
vāgiấa-mahitām uktim imām atiśayā”hvayām.” So, for Dandin this ‘atiśaya', or vakrată of Bhāmaha, forms the essence which makes poetry what it is and separates it from local ordinary expressions. This 'atiśaya' of Dandin or 'vakratā' of Bhāmaha is seen implicit in poetic expression. This leads to the acceptance by both of implicit sense in poetry and also possibly vyañjanā as an instrument conveying this hidden treasure. Both Bhāmaha and