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when this 'clash' disappears, a new literary sense is born. "When metaphors become trite, they become powerless and literal". Thus "metaphors" like 'hood of a car' (where 'hood' originally was a metaphor) tend to vanish ...... by becoming literal...."2 6 6 "These are the frozen metaphors of which Lāvanya is a good example. ... ... The later tradition calls this Nirūdha Laksaņā but Abhinava is surely correct.... to regard such words as Anurāgā ....as examples of VivaksitaVācya, and not Tiraskrtavācya" (cf. Locana, pp. 147, 462).267 And the raison d'être of Metaphor is to "free the poet from the necessity of referring via conventions of reference", as Winifred Nowottny so ably puts. 268 Hence, so far as faded metaphors are concerned, Hemachandra is quite definite that we should take all such instances as Kušala etc. in the normal sense (Mukhyārtha) only.269 Thus words like Kusala, Dvirepha. etc. typify Abhidhā, and not Laksaņā. The Aesthetic Meaning
Any durable and cogent theory of aesthetic meaning must "free poetry from the sterner preprogatives and the heavy responsibilities which the didactic view of communication confers upon it. All utilitarian views of linguistic expression stand repudiated by a true theory of aesthetic meaning and artistic expression. It effects a dissociation of the feeling and responding side of human consciousness from the side of knowing and rational valuing. There (are) two emotive directions in which the dissociation could work - towards the inspirations. of the author of poetry and toward the responses of his audience". 270
The distinguishing feature of the aesthetic meaning is the unique alliance of the creative and the appreciative faculties. In fact, in Ānandavardhana's poetics, ably elaborated by Abhinavagupta, "the only criterion for judging on literary matters was the gift of a sound literary taste, or a responsive heart. The concomittance of poetic genius and critical taste is the unique achievement of the theory of poetic suggestion"
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