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'Vyañjanā'
687
iti śabdártha-yugala-rūpa-kāvyasya vyañjakatvam nirbādham iti bhāva iti udyotasudhāsāgarayoḥ spastam."
The Sampradayaprakāśinī also supports vyañjana and rules out other pramāņas such as pratyakṣā"di i.e. direct perception and the like from the sphere of vyañjanā. By 'adi' obviously inference, etc. are meant "yo hy ayam artho dhvanati sa hi sabdaika-pramāṇakaḥ, na punaḥ pratyākṣā"di-pramāṇakaḥ. ataḥ śabdasya sahakāritvam. pramāṇántara-vedyasya arthasya laukikatvād vyañjakatvam prasiddham."
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Thus it is clear that aestheticians are normally of the opinion that whatever results from art - i.e. rasa is a-laukika, and 'art' being the medium, here poetic art, the outcome is branded as "suggested" i.e. 'vyañjita'. This function, exclusive to art is called 'vyañjana', only to distinguish it from other pramāṇas in loka, or worka-day world, as they give rise to 'laukika' or worldly apprehension. It is precisely for this that Anandavardhana and his followers have named it as vyañjanā-vyāpāra which is a-laukika, i.e. not worldly, but exclusive to art of any form only.
Hemacandra in his kāvyánuśāsana follows Mammața, and under kā. śā. I. 20 speaks of the four sabda-vṛttis. He observes :
"mukhyā"dyās tac chaktayaḥ". I. 20. pp. 58 mukhyā-gaunī-lakṣaṇāvyañjakatva-rūpāḥ śaktayo vyāpārā, mukhyā"dīnām śabdānām."
He tries to furnish the definition of vyañjanā as -
"tat sakty upajanita-arthávagama-pavitrita-pratipatṛ-pratibha-sahāyā'rthadyotana-śaktir vyañjakatvam."
Vyañjakatva or suggestive power is that power which suggests a meaning, through the agency of the meaning born of that power (i.e. abhidhā, gauṇī, and lakṣaṇā) and due to the strength of pratibha i.e. poetic imagination or genius of the person to whom everything is communicated (i.e. pratipatta).
Hemacandra observes that he has not mentioned the tatparya-sakti and the tātparyártha (i.e. purport) as they are considered only with reference to a 'vakya' i.e. sentence and therefore do not strictly go with 'a word' or 'sabda'. Hemacandra, though does not specifically indulge in classification of vyañjana, but implies twofold classification when he says: "vaktrādi-vaiśiṣṭyād arthasya api vyañjakatvam.”
i.e. 'artha' is also suggestive through the speciality of the speaker and the like. By 'api' be accepts śabdasya vyañjakatvam. Thus both śabdi and arthi vyañjanās are accepted by Hemacandra, following Mammața. He also presents illustrations
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