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1294
SAHRDAYĀLOKA (Trans. K.Kris., pp. 181, ibid) - "A sentiment which has no opposition due to sameness of substratum, but which becomes an opposite of another (i.e. principal) sentiment coming closely beside it (= i.e. if juxtaposed), should be so conveyed by the intelligent poet that a third sentiment will intervene between these conflicting ones.”
The vștti on this reads as : "yaḥ punar ekā’dhikarņatve nirvirodho, nairantarye tu virodhi, sa rasántara-vyavadhānena prabandhe niveśayitavyaḥ. yathā śāntaśrngārau nāgānande nivesitau."
Thus, the contradiction between two sentiments in one and the same sentence also can be remedied e.g. in the expression, “bhūreņu-digdhān navapārijāta..." etc. (vrtti. Dhv. III. 27) : "rasántara-vyavahitayor eka-prabandhasthayor virodhitā nivartata ity atra na kācid bhrāntih. yasmād eka-vākyasthayor api rasayor uktayā nītyā viruddhatā nivartate.”
Ā. is of the opinion that these instructions should be carefully observed more in case of śộngāra which is the most delicate type : (Dhv. III. 28) :
"virodham avirodham ca sarvatréttham nirūpayet, viśeşatas tu śrngāre
sukumāratamo hy asau.” If the poet is slightly negligent in respect of the delineation of śrngāra, it is immediately noticed and therefore he has to be very attentive in this task.
Other concepts : Having thus disposed of the main topic of rasa-dhvani, Ā. has to find place for other concepts of literary criticism as discussed by his predecessors. This he does under his wider and catholic scheme of 'vyañjanadhvani-rasa'. For example, he treats the topic of vrttis such as lalitā , parusā, upanāgarikā etc. as given by Udbhata, Rudrața, etc. and rītis such as gaudī and vaidarbhi, as given by Dandin, Vamana etc., in the following way: A. holds that the main task of a great poet lies in a proper marshalling of all the contents and the expressions in the direction of the sentiments and the like. Dhv. III. 32 observes :
"vācyānām vācakānām ca yad aucityena yojanam, rasā"di-visayeņaitat karma mukhyam mahākaveh."
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