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 91

66
SAHRDAYĀLOKA "That is designated as kavya'numiti i.e. poetic inference, wherein either the directly expressed sense or a sense inferred therefrom, flashes forth another meaning, based on any relation."
OR "That is called kāvyānumiti' wherein the literal meaning or the inferred meaning gives rise to another meaning due to some kind of relation between them.” (Trans. C. Rajendran, pp. 66, 67 “A study of Mahima Bhatta's Vyaktiviveka" - Edn. '91, Calicut).
Thus, Mahimā stands in support of the concept of poetry being both word and sense together. For Anandavardhana the principal suggested sense is the soul of poetry and is termed dhvani'. With this in mind Anandavardhana has attempted the definition of poetry gifted with principal suggested sense, i.e. what he calls 'dhvanikāvya', as follows :
“yatrā'rthaḥ śabdo vă tam artham upasarjanīkrta-svārthau | . vyanktaḥ, kāvya-viśeṣaḥ sa
dhvanir iti sūribhiḥ kathitaḥ 11" (Dhy. I. 13) "That kind of poetry, wherein the conventional) meaning renders itself secondary, or the conventional) word renders its meaning secondary and suggests the intended) (or) implied meaning, is designated by the learned as Dhvani or “suggestive poetry". (Trans. K. Kris. pp. ibid), (Edn. '74, Dharwad)
Anandavardhana takes dhvanikävya as a special variety of poetry. He attempted to give a definition only of this variety perhaps because he wanted to convey to the younger poets that now that the definition and scope of what he terms as dhvanikāvya have been laid down clearly, following the principle of vyañjanā-dhvani-rasa, they i.e. the younger poets had to strive for that only, or, as he later concedes, for the next variety of poetry called the ‘gunībhūta-vyangyakāvya' or poetry with subordinated suggested sense. He only theoretically talks of a third variety of poetry called the 'citra' kāvya, wherein only the directly expressed sense is a source of some beauty. He does not recommend it but gives a concession that those who are in a stage of primarily trying out their hand at drafting poetry may have a go at it. We will discuss these varieties when we deal with the topic of classification of poetry. For the present, suffice it to say, that by keeping vyañjanā or the suggestive word-power in the centre, Ānandavardhana