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 71

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SAHRDAYĀLOKA Anandavardhana clearly observes : (Dhv. III. 36, vrtti):
'tatrā'tiśayoktiryam alamkāram adhitisthati kavi-pratibhāvaśāt tasya cārutvā'tis'ayayogo 'nyasya tv alamkāra-mātratā eva iti' i.e. ‘only that figure in which exaggeration reigns supreme, acquires abundunt beauty due to the poet's genius. Others are ornamental figures only in name." (Trans. K. Kri., pp. 229, ibid). What is arrived at by the advent of this 'atiśaya' or by this 'lokātikrānta-gocaratā' or 'lokottara-tā'? The answer to this question is - anayā arthah vibhavyate' i.e. worldly objects are turned into sources of aesthetic pleasure. The process of 'vibhāvana' is explained by the Locanakāra in three ways, such as -
(i) the meaning which rendered old or respeated due to the use made by all people, is realized in a beautiful form; - or,
(ii) the worldly objects such as a lady, a garden etc., become vibhāvas, i.e. determinants causing a feeling or emotion to be awakened; - or,
(iii) these objects turn into bhāvas i.e. feelings and become objects of rasa - Thus, through vakrokti old objects take newer forms, become vibhāvas that evoke feelings, and get transformed into the shape of bhāvas or feelings themselves leading to rasa.
Thus Bhāmaha recommends the coming together of such word and sense that are promoted by such vakratā, that turns the worldly into aesthetic. The repetition of Bhāmaha's ideas here, is to introduce clearly the views of Kuntaka. That Bhāmaha has under-rated the concept of rīti-or mārga i.e. poetic style, has not missed the attention of the experts. Bhāmaha welcomes both gauda and/or vaidarbha style only if it caters to vakrokti, - without which even the so called 'vaidarbha' composition carries no weight for Bhāmaha, and even gaudacomposition steals his admiration if it is blessed with this vakratā or poetic beauty (Bhāmaha, I. 34, 35)
Kuntaka's advent on the horizen of indian literary criticism took place at the most opportune moment. Anandavardhana had welcomed and woven in his scheme all thought-currents that came from his predecessors. He accomodated everything in his wider scheme of vyañjanā-dhvani-rasa, in the context of rasadhvani. At the same time he accorded new connotation to certain terms and thus dwarfed the concepts of alamkāra, rīti and the rest in comparision with the tall all
g concept of dhvani in general and rasa-dhvani in particular. Other thought-currents almost merged and melted into this, leaving very thin individuality of their own. The forceful and successful establishment of vyañjanā as an