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to be charming without the grand utterances of a poet. Therefore, Kaviprauḍhokti or the grand imagination of a poet is enough to produce a charming suggestion whether in an idea or in a figure of speech. In fact, Kaviprauḍhokti is an essential prerequisite for any beautiful piece of literature, (K. A. S. I. 24-gloss).
Hemachandra's Treatment of Arthaśaktimūladhvani Compared with Anandavardhana's and Mammaṭa's
It is also interesting to compare Hemachandra's treatment of Arthaśaktimuladhvani with its exposition as given by Anandavardhana. In his Dhvanyaloka (II. 22), Anandavardhana takes up this variety based on material significance (a variety of Samlakṣyakrama). Here, the matter (Artha), and not the form (Sabda) is more important than the words expressive of it. Again, in Sabdaśaktimula Dhvani the change of the doublemeaning (Ślista) word would be accompanied by the absence of the suggested sense. But in the case of the Arthaśaktimuladhvani, a knowledge of Prakaraṇa, Vaktṛ, Boddhavya etc., that is, of the Artha itself, is very essential so as to apprehend the suggested meaning. This is the sense that Mammata conveys in his definition or Arthivyañjana (K. P. III, 21-22),50 In fact, Mammata earlier had made a clear reference to Arthi in 'Sarveṣāṁ prayaśo'rthānāṁ vyañjakatvamapiṣyate'. Thus all the three Arths-Vacya, Lakṣya and Vyangya - can be suggestive. But these three by themselves cannot suggest anything. A set of circumstances (, etc.) is laid down to accompany these three to enable them to be suggestive. Hemachandra has enumerated, defined and illustrated these factors (K. A. S. I. 22 ff). This Arthavyāpāra or Arthivyañjana is responsible for arousing a consciousness of a different sense in those who are endowed with poetic susceptibilities or with connoisseurship.51 Classification of Arthaśaktimūla Unjustified
In Kārikā 24, Dhvanikara classifies Arthaśaktimula - a suggestion based on material significance into three sub-types
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