Abhidha

Author(s): Tapasvi Nandi, Jitendra B Shah
Publisher: L D Indology Ahmedabad

Page 32

[23]
Kuntaka (V.J.I., vṛtti) further remarks "kavi-vivakṣita-viśeṣābhidhānakṣamatvam eva vācakatva-lakṣaṇam yasmāt pratibhāyām tat-kālollikhitena kenacit parispandena parisphurantāḥ padarthāḥ prakṛta-prastāva-samucitena kenacit utkarsena vā samacchādita-svabhāvāḥ santo vivakṣā-vidheyatvena abhidheyatāpadavīm avatarantaḥ tathāvidha-viśeṣa-pratipadana-samarthenaabhidhänena-abhidhīyamānāś cetas camatkāritām āpadyante."
"Therefore, the proper definition of 'signification' is that capacity to convey the particular shade of thought intended by the poet. In fact, in the world of the poet's creative imagination, things come to life with a touch of original invention; or their real nature gets veiled by a rich afflatus calculated to present the subject in a most attractive light; as such, the process of communication is a slave to the poetic intention. Only when the right verbal correlative for the particular has been found, the delight of the reader is assured.
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From this it becomes absolutely clear that Kuntaka accepts only one power of word and that is abhidha, or say, 'vicitra abhidha' meaning 'beautiful or artful expression.' It is not the abhidha which signifies only the conventional meaning. But it is that abhidhā - which conveys any meaning intended by the poet, be it lakṣya, dyotya or vyangya. So, his is the 'vicitrā abhidha' which covers up the lakṣaṇā and vyañjana also. So, we may say, Kuntaka, has a definite approach, but no definite scheme. He wants to convey the poetic only.
After mentioning the unique features of words and meanings in poetry as distinct from their commonplace aspect, Kuntaka proceeds to show that there should also be the presence of positive artistic beauty. He observes (V.J.I. 10 pp. 20, ibid) -
"ubhau etau alamkāryau
tayoḥ punar alamkṛtih,
vakroktiḥ eva, vaidagdhya
bhangi-bhanitiḥ ucyate." - (V.J.J. 10)
"Both these are "the adorned". Their adornment consists in the poetic