Sahrdayaloka Part 02

SR No.: 006909
Original Sutra Author: N/A
Author: Tapasvi Nandi
Publisher: L D Indology Ahmedabad
Publication Year: 2005
Total Pages: 642
Language: English
Classification: Book_English
File Size: 15 MB

Page 608

'Dhvani' and other thought-currents such as guna,......
1163 Thus Ānandavardhana has harnessed all forms of literature in whatever style, with the central concept of rasa-dhvani
After explaining fully dhvani in all its divisions and sub-divisions, Anandavardhana, at Dhv. III. 44 (pp. 258, ibid) observes :
"evam dhvaneh prabhedāḥ prabheda-bhedāśca, kena sakyante samkhyātum din-mātram teşām idam uktam asmābhih.” anantā hi dhvaneh prakārāḥ, sahrdayānām . vyutpattaye teşam dinmātram kathitam. ity ukta-laksaņo yo dhvanir vivecyaḥ prayatnataḥ sadbhiḥ. satkāvyam kartum vā
jñātum vā, samyag abhiyuktai).” (Dhv. III. 45) (pp. 260. ibid) ukta-svarūpa-dhvani-nirūpana-nipuņā hi satkavayaḥ, sahrdayāś ca niyatam eva kāvya-vişaye parām prakarsa-padavīm āsādayanti."- (vrtti, Dhv. III. 45, pp. 260, ibid)
-"Such are some of the different ways of principal suggestion and some of the minor classes of the major ways. Who can ever count them exhaustively? We have just indicated therefore, their direction only.” (Dhv.II. 44)
The ways of principal suggestion are indeed limitless. We have only pointed out their direction with a view to educating refined critics.
"Principal suggestion which we have defined hitherto should be attentively studied not only by all the poets who aspire after writing good poetry, but also by all critics who aspire after understanding it well.” (Dhv. III. 45).
It is only by their skill in recognising principal suggestion defined above that good poets and good critics attain abiding glory in matters relating to poetry.” (Trans. K. Kris., pp. 259, 261, ibid).
Ānandavardhana now proceeds to suggest that the concepts of 'rīti' (=style) and "vștti" (=modes, diction) propagated by earlier ālamkārikas are also welcome to him and that these could also be suggesters of rasa-dhvani. Thus they have a sure place in his catholic scheme of literary aesthetics, viz. in his scheme of vyañjanā-dhvani-rasa.' He observes : (Dhv. III. 46; pp. 260, ibid) :