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The Criterion to Decide Alamkāras
A poem is made up of word and sense and both these are indispensable to it. Now, we need a criterion to decide whether a particular figure is a sabdālamkāra or an Arthālamkāra; for in every figure, both the word and the sense are invariably present. This point assumes considerable theoretical importance in works on Poetics.
Hemachandra answers by saying that not only in the case of figures but even in the case of Doșas and Guņas this difficulty arises. In all such cases, the only criterion is to use the method of Anvaya and Vyatireka. This is the method advocated by Mammața (K.P. IX & X) in the context of the figure Slesa (K.P. IX 85) based on Sabda (i.e., the Abhangaślesa). The issue at stake here is how Sleşa can be regarded as a verbal figure, when Udohata and others have classified it with Arthālamkāras ? Mammața replies by pointing out the principle or criterion of Anvaya and Vyatireka, i.e., the test of co-presence and co-absence, for deciding whether a Doșa, Guņa or Alamkāra depends on Śabda or Artha on the basis of their presence or absence. In K.P. X.141 (gloss) Mammața reiterates the above principle and points out that no other principle holds the ground. Hence, a figure is classified as pertaining to that word or sense whose presence and absence it follows. Mammața also alludes to the principle of Aśrayāsrayibhāva (accepted by Ruyyaka) and says that even here Anvaya-Vyatireka will have to be resorted to. 1 8 3 A Critical and Comparative Review
It is interesting as well as instructive to compare Hemachandra's treatment of the poetic embellishments with that of the earlier authors like Bhāmaha, Dandin, Udbhata, Rudrața, Bhoja and Kuntaka and to note to what extent Hemachandra is influenced by the earlier writers' theory and practice so far as the definitions and illustrations of the various Alamkāras are concerned.
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