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Vyañjanā'
633 forth, in the direction of sentiments etc. In other words the main function of the poet lies only in making one sentiment principal throughout the poem and in employing both words and senses only in such a way that the sentiment is suggested clearly.” (Trans. K.Kris. pp. 189, ibid)
He proceeds to suggest that this course is observed even by Bharata when he talked of vrttis i.e. modes. Ānandavardhana here meets with some objections. Before proceeding to consider this, he establishes that between 'rasádi' (vyangya/ dhvani) and plots - itivrttā"di - etc. in poetry, there is jīva-śarīra-vyavahāra i.e. lifebody relation and not guna-guni-vyavahāra or the relation of quality-substance. He rejects the plea that rasā”dis may be taken as some speciality such as preciousness in diamonds discernible only to experts. He says that in this case, there will be another difficulty. For, if it were correct, just as the preciousness in diamonds of quality as not being different from the very nature of their being diamonds, so also rasádis would have to be discerned as not being different from the nature of the expressed situations, emotional responses, etc. But it is not so. No one gets the idea that the setting, the emotional responses and passing moods are themselves rasā"dis. The apprehension of the setting, etc. is only an invariable condition of all apprehension of rasā”dis etc. So, we may imagine a cause-effect relation to exist between these two apprehensions. So, there is bound to be some temporal sequentiality also between the two. But this sequentiality is not perceptible as it is very minute. Thus, observes Anandavardhana, that it is mentioned that rasādis are suggested only through undiscerned sequentiality : "ata eva ca vibhāvā"di-pratītyavinābhāvini rasā"dīnam pratitir iti tat-pratītyoh kārya-kārana-bhāvena vyavasthānāt kramovasyambhāvī. sa tu lāghavān na prakāśata iti "alaksyakramā eva santo vyangyā rasā"dayah" iti uktam. Dhv. Vrtti. III. 33. He establishes this point forcefully and suggests that even in musical notes, the sequence, though not noticed, still remains between the hearing of notes and experiencing of various feelings. He observes :"yesam api svarupa-pratiti-nimittam vyañjakatvam yatha
teşām api svarūpapratiter vyangya-pratiteś ca niyamabhāvi kramah. tat tu sabdasya kriyā-paurvāparyam ananya-sādhya-tat-phala-ghatanāsv āśubhāvinīsu vācyena avirodhini abhidheyántara-vilaksaņe, rasā"dau na pratīyate. kvacit tu lakṣayate eva, yathā anuranana-rūpa-vyangya-pratītiņu.” (Vștti, Dhv. III. 33) - “But even there we do have, invariably, temporal sequentiality between the apprehension of the nature of sounds and the apprehension of suggested sentiments. But this temporal sequentiality in the two functions of sounds cannot be noticed when sentiments are suggested; because sentiments are neither opposed
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