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on the other. In poetry, language is used uniquely because the poet endeavours to convey emotions, moods and feelings in addition to mere facts and actions. Even such hard and dry things like stones and bones associated with some mental feeling like anguish; and, therefore, even in seemingly rasaless passages of poetry, a perceptive and sensitive reader will experience some shade or the other of rasadi. So the logically distinct categories of vastudhvani and alamkaradhvani cannot be deemed to be totally exclusive of rasa any time. Once we theoretically admit that dhvani is the essence of best poetry, to do full justice to the claims of rasa, we cannot rule out logically the application of that definition to vastudhvani and alamkaradhvani also. These latter too are definitely more aesthetic than their vacya counter-parts and they also in some measure atleast, partake of the healing touch of rasa which is not however prominent enough to be classed as rasadhvani."40
Hemachandra Tackles the Various Theories of Meaning
Incidentally Hemachandra takes up (Viveka, p. 48) the discussion of the various theories of meaning which have been or can be applied to 'Bhrama dharmika etc.'
We have seen the general explanation of this verse attempted by Hemachandra with his comment that even in cases of Laukikadhvani like Vastu and Alaṁkāra, there is always a relieving touch of Rasa. Now, "if this verse is interpreted as the utterance of a lady who is inside the thicket or bougher,. the second meaning 'Ma bhrama' will be an indicated sense, and with its purpose (removal of the Dharmika from the rendezvous) will be suggested, then the interpretation will not be appropriate. Here Vasina (stalking the thickets) may perhaps (ca) be the Abhidheya (expressed sense). But it is not possible to say that the prohibition is expressed. To explain : Since no comprehension of a Sense is possible without a Sanketa being there, a word can only convey a sense if a Senketa exists
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