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in Bibhatsa and Häsya. So the Dosas are Anitya, Doșas not by themselves but with reference to the Rasa of the context. Hence, that whose presence or absence make them Doşa or Guņa is their Aśraya."1 3 3 Hemachandra on the Distinction between Guņas and Alamkāras
Hemachandra's views on Gunas and Alamkāras are also recorded in his Viveka Vyākhyā (p. 33) under Sūtra 11, Chapter 1, which provides an exposition of his words "Niralamkārayorapi" in the gloss on his defination of poetry. Here, he states :
"Anena kavye guņānāmavasyambhavamāha.
Tathähi-analaṁkstamapi guṇavadvacah svadate; alamkştamapi nirguņam na svadate."
Again, under Sūtra 1, 13, wherein he defines Alaskāras or poetic embellishments, the gloss mentions that the figures of speech pertain to words and meanings which constitute the body of Kāvya whose soul is Rasa and help the Rasa, if it exists, and sometimes do not help it, though it exists. But when Rasa is absent, they render themselves as mere fanciful expressions, but the Viveka Commentary characteristically draws a clear-cut distinction between poetic excellences on the one hand and poetic embellishments on the other, albeit in relation to Rasa, the supreme aesthetic principle. The Viveka (p. 34) states :
"Ye tvangini rase bhavanti te guņāh. Eşa eva guņālamkāravivekah. Etavatā sauryādisadşaśā guņāḥ keyuraditulya alamkāra iti vivekam uktvā samyogasamavāyabhyām šauryādināmasti bhedah. Tha tūbhayeşām samavāyena sthitirityabhidhāya tasmad gaddarikāpravāhena guņālaukārabheda iti Bhāmahavivarane yad Bhattodbhattobhyadhāt, tannirastam. Tathahi - kavitāraḥ sandarbheşvalaskārān vyavasyanti nyasyanti ca, na guṇah. Na cālamkstināmapod-dhārāhārābhyām vākyam dusyati pușyati vā."
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