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TAPASVI NANDI
SAMBODHI 'vicitra abhidhā' of Kuntaka which embraces in its fold very poetic expressions at all levels such as abhidhā, laksana and also vyañjanā. Bhoja's 'pratīyamāna' is a special term clubbed with intention of a speaker at worldly parlance. It is all implicit sense in ordinary conversation. It is anything but poetic. Everything that is poetic is all 'dhvani-tātparya' for Bhoja. This is clear thinking.
In view of the above, I would venture to observe with due respect for Dr. Raghavan that his observation, viz. "He even goes so far as to restrict the name tātparya to the suggested, that is, to Dhvani, within which we can include his Pratiyamāna also. Therefore, Bhoja's position is a compromise and at a later stage, it deserts Dhanika and others to follow Anandavardhana and makes Tātparya a name for dhvani”- (pp. 162), is off the mark. Bhojaś 'pratīyamāna' is implied sense i.e. sense not directly expressed in sentences used at ordinary parlance. This can never be identical with, or this can never be included in 'Dhvani' of Bhoja, which is for him "implicit sense in a poetic expression. i.e. "kavya' alone." Dr. Raghavan further discusses Vidyānāthas view which we will pick up in due course later.
Dr. Raghavan himself partly comes to realize what we have observed above when he says, (pp. 163, ibid) -
"Both the sections on Dhvani in the 6th and 7th chapters of the śr. pra (pp. 221, and pp. 251-2 Edn. Josyer) close with the following verses - (Actually the ch. 7 does not close with these verses) -
“tātparyameva vacasi, dhvanireva kāvye . saubhāgyam eva guna-sampadi vallabhasya. lāvanyameva vapuși svadate'nganāyāḥ
śrngara eva hrdi mānavato janasya." and,
yad-abhiprāya-sarvasvam vaktur vākyāt pratiyate tātparyam, artha-dharmas tat, śabda-dharma punar dhvanih saubhāgyam eva tātparyam antaro guna īsyate vāgdevatāyā lāvanyam iva, bāhyastayor dhvanih, adūra-viprakarsāttu dvayena dvayam ucyate, yathā surabhi-vaišākhau madhu-mādhava-samjñayā.
UD1
vate
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