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MEANING AND EXPRESSION IN POETRY
321
not the Arthas. He accepts that the Arthas may or may not be congenial to the delineation of a sentiment. Yet he is not ready to concede to the view that the descriptions of the rivers, mountains and oceans are as a rule uncongenial to the development of sentiments'. On the contrary, he shows it by apt illustrations that a poet can suggest sentiments advantageously even in the descriptions of rivers or mountains. The following description of the River Tamraparpī suggests the sentiment of love:
एतां विलोकय तलोदरि ताम्रपर्णीमम्मोनिधी विवृतशुक्ति पुटोद्धृतानि । यस्याः पयांसि परिणाहिषु हारमूर्त्या वामभ्रुवां परिणमन्ति पयोधरेषु ॥
(c) Relation between Artha and Expression.
The point to be considered here is whether the charm of this verse rises specially from the diction and whether it is entirely independent of the novel combination that the Artha has undergone in this case. There is no denying that the alliterations and the smooth finish do contribute to the charm of the verse but it largely owes its appeal to the presentation of the river--the Artha--in a particular combination which has been obtained in the poet's in aginative activity. Would not the charm suffer seriously, in spite of the alliterations, if the river Tamraparpi, appeared in the following semantic combination:
- एतां विलोकय तलोदरि ताम्रपर्णी
या याति सागरमुखं मलयाद्विसृष्टा । यस्याः पयः पृथुल मौक्तिकलाभलोभा
दासेव्यतेऽम्बुधिगतं बहुदाशसंधैः ।। or if the poet, describing Tamraparpi simply said instead, "look at this Tāmraparni here; at its mouth good variety of pearls are found in abundance?” Can it be said that the Arthas in all the cases have remainded constant and only the words have been varied ? In reality
__1. अस्तु नाम निःसीमार्यसार्थः । किन्तु रसवत एव निबन्धो न नीरसस्य इति
अपराजितिः
यस्तु सरिदद्रि सागरपुरतुरगरथादिवर्णने यत्नः ।
कविशक्तिख्यातिफलो विततधियां नो मतः स इह ॥ आम् इति यायावरीयः । अस्ति चानुभूयमानो रसस्यानुगुणो विगुणश्चार्थ, काव्ये तु कविवचनानि रसयन्ति विरमयन्ति च नार्थाः ।
Kāvyam IX,
21
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