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Sabdavrttis, the nature of : Abhidhā
305 sense' are ‘alamkārya' and 'vakrokti' is the ‘alamkāra' for Kuntaka. This is what he calls “vicitrā abhidhā” :
"ubhau etau sabdárthau alamkāryau, kenápi śobhátiśayakāriņā alamkaranena yojanīyau. kim tat tayor alamkaranam iti abhidhīyate-tayoh punah alamkrtih - tayoh dvitva-samkhyā-viśistayoh api alamkrtih prasiddhábhidhāna-vyatirekini vicitrā eva abhidhā.” (vịtti on VJ. I. 10) (pp. 20, ibid) :
“ 'Both these refer to words and meanings which deserve to be looked upon as the subjects of ornamentation for the enhancement of their appeal. "What then is their ornament ?", one might ask. The answer is that though they are two in number, they have only one common ornament.
What exactly is this common ornament ? “Artistic turn of speech” is the reply. It stands for a charming and novel utterance peculiar to poetry and distinct from familiar usage. In other words, artistic utterance itself is the ornament in question." (Trans. K. Kris. pp. 307, ibid)
That Kuntaka is thus a 'kevala-abhidhāyādink or better say, "kevala-vicitrāabhidhā-vādin" is now clear. This follows even from the treatment he presents concerning paryāya-vakratā and upacara-vakratā as well. In the former he incorporates what we call śābdi vyañjanā. For upacāra-vakratā Kuntaka observes -(V.J. II. 13, 14) (pp. 93, ibid):
“yatra dūrántare'nyasmāt sāmānyam upacaryate. leśenā'pi bhavat kāñcid
vaktum udrikta-víttitām.” (V.J. II. 13) and, “yan mūlā sarasollekhā
rūpakā”dir alamkrtiḥ, upacāra-pradhānásau
vakratā kācid ucyate.” (V.J. II. 14) i.e. “Wherein even when the two are far apart from each other, a common attribute, however slight, is metaphorically superimposed in order to indicate that the resemblance is very close... (13)
... and which forms the basis for various pleasing and inventive figures of speech headed by metaphor - such a type of poetic beauty is designated by the name, 'beauty of metaphorical expression.' (II. 14). (Trans. K. Kris. pp. 381, ibid).
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