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 87

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SAHRDAYĀLOKA The wider relationship of word and meaning as suggested by Bhoja can be shown in a tebular form as given below. The first eight varieties of togetherness of word and sense are termed as "kevala-sabda-sambandha-śaktayah” by Bhoja, while the latter four are termed as "sāpeksa-sambandha-saktayah" i.e. word-powers depending on relationships that are 'relative to something in nature. The table is shown as :
Kāvya i.e. poetry sabda
n t artha
sahitya (= word)
(= twelvefold) (= togetherness, twelvefold)
vyākarana-mülaka i.e. based on gram- kāvyagata-i.e. based on poetry; fourmar (= Eight-fold togetherness depend- fold, viz. (i) dosa-hāna or = absence of ing on grammar)
poetic blemishes (ii) gunópādānam, or (= presence of poetic excelleness) (iii) alamkāra-yogaḥ (= use of poetic turns of expression; figures; & (iv) rasa-aviyoga i.e. absence of disconnection with aesthetic experience.
kevala-sabda-śaktayaḥ - i.e. pure sāpeksa-sabda-śaktayaḥ or four relaword-powers-of four types viz. (i) abhidhā tive word-powers such as (i) vyapeksā = expression; denotation; (ii) vivaksā = i.e. special expectancy (ii) sāmarthya = desire to express meaning (iii) tātparya = potentiality (iii) anvaya = correlation & purport (i.e. sentence sense) (iv) (iv) ekārthībhāvah = having identical pravibhāgah = classification, part, portion meaning.
Of these, the first eight have been discussed by Bhoja in the VIIth and VIIIth chapters of his Sr. pra, and the last four are discussed in Ch. IX of Sr. pra. These last four relationships are termed as 'samyak-prayoga' i.e. 'right or proper-usage' and he has observed that, “samyak-prayogaś ca asya tadā upa-padyate, yadā dosahānam, guno-pādānam, alamkārayogah, rasá-'viyogaś ca bhavati', i.e. right usage takes place when there is avoidance of poetic blemishes, acceptance of poetic excellences, acceptance of poetic turns of expression i.e. figures of speech, and absence of disconnection with aesthetic pleasure. (Sr. Pra. Vol. II, Ch. IX, pp. 305).
Thus Boja's concept of 'sāhitya' i.e. togetherness of word and sense is very wide. He has absorbed all thought-currents promulgated by ālamkārikas beginning with Bhāmaha, down to Anandavardhana and Dhananjaya-Dhanika, in his Sr. Pra. He