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Vyañjana-virodha or, opposition to suggestive power
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this, is a myth ! who has decided this? In fact tātparya or purport travels till that end when the final intention is realized. Thus it extends till the intention travels further and further and rests only when the intention is served. Actually 'tātparya' or purport is a power which is not balanced in a weighing maschine. It is not held in a balance." Thus the vyangyártha of the purvapakṣin is covered up by our tatparya.
But once again in Kärikā no. V, the Dhvanivadin argues that in the particular illustration viz. bhrama dharmika. etc., the sentence-sense coveys the positive act of free movement by the holy man. The Nayikā asks the person concerned to "moov at will, freely." Thus the purport is a positive injunction. There is no word used to negate this movement. So, the sense of negation is not identical with the purport or tatparya of this sentence. For us, this sense other than tatparya is suggested sense or vyangyártha, apprehended through the power of suggestion or vyañjanā.
To this Dhanika replies in kārikās VI & VII. His argument proceeds as below. Dhanika says that if rest or viśranti of intended sense is said to be only when the intention is fulfilled, then in that case, in the absense of the apprehension of the speaker's intention, why should we not say that this is the case of incompletion or a case where there is "absence of rest" -a-viśranti ?
Actually, kārikā VII suggests that a human utterance, pauruşeya-vākya, is dependent upon the intention of the speaker: "pauruṣeyasya vākyasya vivakṣāparatantrată." So, it is absolutely advisable that a poetic statement has its purport in the sense of the speaker's intention alone. As in ordinary parlance so also in poetry, a sentence for its comptetion or rest, is dependent upon the intention of the speaker and the sentence rests only when the speaker's intention is fully realized.
Therefore, concludes Dhanika, rasă"di are not related with poetry through the relation of suggestor and suggested. What then can it be? Dhanika's answer is that between rasă"di and kāvya there is "bhāvya-bhāvaka-sambandha". i.e. the relation of revelation and revealed - or the relation between emotive function (bhāvakatva) and emotive stuff realised (bhavya).
Poetry is revelator and rasas are revealed. Therefore rasa is born of its own in the heart or consciousness of a man of taste, and is revealed through the agency of poetry: "kavyam hi bhāvakam, bhāvyāḥ rasa"dayaḥ, te hi svato bhavanta eva
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