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whose chief source of beauty is the sentiment. It has to function as a promoter of the sentiment. And it is precisely this function of the figure that makes it an integral part of the poetic expression. Hence, it is the poet's function to utilize the numerous figures so that they become not external appendages but rather true and real ornaments of the principal sense. This calls for imagination and discrimination. Since a figure of speech is regarded as beautifier of the principal element of the poem in the same way as an ornament is considered a cause of beauty in our personality. If used with proper care and discrimination, the alamkāras will unfailingly perform their function of promoting the beauty of the sentiment. General Guide-lines for the Employment of Alaṁkāras
Hemachandra, therefore, lays down general guide-lines for the employment of the figures of speech so as to aid the process of Rasa-realisation. In Sūtra No. 14, Hemachandra states that those figures of speech are considered as favourable to a sentiment which are positively agreeable to a sentiment and are employed only at a proper time and only at the pro place and which do not deter the course of a sentiment nor occur in a poem without any definite purpose.
in the Sūtra (I. 14), Hemachandra points out the nature of the discrimination that a poet should exercise while employing the figures. Thus, according to him (a) if a figure of speech is intent on helping the development of the Rasa, (b) if it is employed only at proper time and place, (c) if it is not pressed too far due to indifference, (d) and even when it is employed it is kept subordinate at all costs, then it is said to be agreeable to the Rasa or considered favourably employed. In the gloss, he adds that the word 'alamkāra' follows. He says that Tatparatvam in the Sūtra means that a figure of speech is employed only in such a manner that it becomes agreeable or favourable to the principal element, and does not become detrimental, not does it come in without
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