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 82

Definition and Scope of Poetry
57
Kuntaka suggests (Vs. 37-40; VJ. I. 17 Vrtti) in the antaras'lokas that he will now onwards discuss that element which produces delight in sensitive readers, even by the beauty of its style (= bandha), even if it is lacking in thoughtful content, just like melodious music; the element which is relished in its entirety whithout distinction of word and sentence import after the initial grasping of primary meaning, even like the unique savour of a sweet drink (panakaswadavat), by men of taste; the element without which a composition would appear lifeless to critics, like a body without life, or like life without vitality; - the element from the presence of which creative freshness of speech proceeds, the beauty of which is grasped only by the men of taste. This element Kuntaka takes up for discussion now onwards.
After a detailed discussion of the exact import of 'sahitya' the general nature of art as revealed in the poetic process is explained by Kuntaka: (V.J., I. 18):
"Art in the poetic process is divisible into six categories. Each one of them may have numerous subdivisions, every subdivision striking one by a new shade of beauty." (Trans. K. Kris. pp. 313, ibid)
kavi-vyāpāra-vakratva-prakārāḥ sambhavanti şat |
pratyekam bahavo bhedāḥ
teṣām vicchitti-śobhinaḥ ||
The process of creative poets is poetry itself - kavīnām vyāpāraḥ kāvya-kriyālakṣaṇaḥ, (vṛtti, on V.J., I. 18). Its art distinguishes it from other forms of composition. The main categories are six, having numerous sub-divisions.
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Kuntaka enumerates six art-forms or 'vakrata' as: (V.J., I. 19, 20, 21) 'varṇavinyāsa-vakratā' or art in arrangement of syllables; 'pada-pūrvárdha-vakratā' or art in the base-form of substantives; 'pratya-vakrata' i.e. art in inflection forms, 'vākyavakrata' i.e. art in a whole sentence, which has a thousand-varieties and which takes in its fold the whole lot of poetic figures; 'prakaraṇa-vakrata' i.e. art in a section of a work, and 'prabandha-vakrata' i.e. art revealed in a whole composition.
It may be noted that Kuntaka has practically covered up all vyañjakas or suggesters as pointed out by Anandavardhana in his Dhv. III. 16 and at other places scattered over the whole of his Dhv. The Dhv. III. 16 reads as :
"sup-tin-vacana-sambandhaiḥ
tathā kāraka-śaktibhiḥ |