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 78

Definition and Scope of Poetry
53 How does a poet arrive at this rare word to convey the exact sense is explained by Kuntaka, while explaining the process of poetic composition resulting in the togetherness aimed at.
Kuntaka (Vịtti on I. 9) observes that when poets are interested in describing a particular feature, they are seen preferring an apt particular word as in the illustration viz. "dvayam gatam samprati" etc. (Kumāra. V. 71). While explaining the illustration in detail, Kuntaka suggests that the poet's preference for words with possessive terminations in respect of proper names of both i.e. 'kalāvatah' and kāntimatī) is also a means of excellence which cannot be conveyed by using their synonyms. He says:
"kavi-vivaksita-višesā'bhidhāna-ksamatyam eva vācakatva-laksanam. yasmāt pratibhāyām tatkālollikhitena kenacit parispandena parissphurantah padārthāh, praksta-prastāvasamucitena kenacit utkarsena vā samācchādita-svabhāvāḥ santo vivaksā-vidheyatvena abhidheyatāpadavim avatarantas tathāvidhavisesa-pratipadanasamarthyena-abhidhänena abhidhīyamānās cetas camatkāritām āpadyante." (Vrtti, on VJ. I. 9) -
"Therefore, the proper definition of 'signification' is that capacity to convey the particular shade of thought intended by the poet. In fact, in the world of the poet's creative imagination, things come to life with a touch of original invention; or their real nature gets veiled by a rich afflatus calculated to present the subject in a most attractive light; as such, the process of communication is a slave to the poetic intention. Only when the right verbal correlative for the particular has been found, the delight of the reader is assured.” (Trans. K. Kris., pp. 302, ibid)
Kuntaka 'here seems to convey that while composing poetry, an original invention or a flash takes shape in the poet's mind, as a result of which the external worldly objects leave their worldly nature and become objects, emotive in nature, in the poet's heart, and because of this they turn into 'bhāvas' or emotive or aesthetic stuff. Thus through words, that are appropriate to convey this internal vision of the poet, these objects are signified. Thus, they become objects of aesthetic delight for the sympathetic souls. Two things happen in this process. First, on account of the poet's original invention, the external worldly objects turn into objects of relish, and with the help of the same flash the poet is able to convey his internal stuff in words of poetry. These words are having the capacity to signify exactly what the poet intends to do. Kuntaka says that when the objects first appear in the poet's imagination, they are originally of the nature of a rough