Sahrdayaloka Part 03

SR No.: 006910
Original Sutra Author: N/A
Author: Tapasvi Nandi
Publisher: L D Indology Ahmedabad
Publication Year: 2005
Total Pages: 676
Language: English
Classification: Book_English
File Size: 15 MB

Page 143

1318
SAHRDAYĀLOKA 'rasókti' is the best expression. The SKĀ. V/8 reads as :
"vakróktis' ca rasóktiś ca svabhāvóktiś ca vānmayam, sarvāsu grāhīņīm tāsu
rasóktim pratijānate.” (pp. 555, Edn. NS. Bombay, '34) 'Vakrokti' for Bhoja is having predominance of alamkāras. 'Svabhavākti' has gunas as predominant feature while 'rasókti' abounds in 'rasa'. It may be noted that Dr. Rewaprasad Dwivedi in his Sanskrit work viz. "Kāvyálamkārakārikā” takes exception to the term 'rasókti' with an argument that 'rasa' and 'ukti' are selfcontradictory for 'rasa' is never 'ukta' or directly expressed. But we may, in defence of Bhoja here suggest that even Bhoja does not suggest that 'rasa' is ever 'ukta' or an object of abhidhā'. What he means by 'rasókti' is only this much that it is a sort of poetic expression with 'rasa' as its predominent feature, i.e. an 'ukti' charged with rasa. We should not over-read things. For Bhoja is very clear about the importance and the nature of rasa. He observes that like 'presence of excellences' i.e. 'gunayoga', 'rasa-aviyoga' i.e. 'absence of separation from rasa' is a 'nitya'/must' feature of poetry : “nityo hi kāvye guņa-yoga iva rasā’viyogah.” (pp. 437, Śs. Pra.)
This ‘rasa-a-viyoga' is brought about by two factors, (i) depending on vākya i.e. vākya-visayaka and (ii) depending on prabandha i.e. prabandha-visayaka. The Sr. Pra. (pp. 431) observes, (Ch. XI) : "tayor vākya-visayo'ślīla-a-mangala-ghrnāvad artha-grāmyam ity adi dosahānena, dīpta-rasatvam kāntir ityādi gunópādānena, kaiśiki-vaidarbyādy alamkāra-yogena ca." i.e. The first variety is arrived at by remaining free from blemishes such as aślīla, a-mangala, ghrnāvad, artha-grāmya etc., and by accomplishing excellences such as kānti etc. and also by such embellishments as kaiśiki and vaidarbhi, etc.
Bhoja holds that “rasa-aviyoga' is brought about by many factors operating together. He gives illustrations from food, dress, cosmetics, music, love etc. He observes : (Śr. Pra.) pp. 431, Ch. XI) : "tataś ca bhojana iva madhurā’mla-lavanasāļavānām, veșa iva vastrā’nulepana-mālya-vibhūşaņānām, dhūpa iva candanā’gurukarpura-sidhrakāņām, sangīta iva nștta-vādya-pathyānām, premaņi iva kopā’nunayaprasāda-sangama-sukhādīnām, gārhasthya iva dharmártha-kāma-mokşasādhanā’nusthānānām kāvya-śarīrépi rūpakā"dīnām samsșstir eva viśeşataḥ svadamāno rasā'viyoga-hetur bhavati. He adds (pp. 435, ibid) that even 'rasa' is alamkāra in a wider sense as it makes for poetic beauty - "tatra alamkāra-samkaraḥ samsrstir ity eva vaktavye nānā-grahaņam guņa-rasā"dīnām apyalamkāratāpratipattyartham. teşām api kāvya-sobhā-paratvena alamkāratvāt.