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762
SAHṚDAYĀLOKA
making him apprehend any sense from it. The utterance with no purpose in mind, will be meaningless sound for the listener. It will not be a sentence that conveys this or that particular sense. Thus, argues Dhanika, it is clear that any statement be it from the veda or used at ordinary parlour, has to be purpose-oriented, i.e. it has to be "karya-paraka".
Coming to the field of poetry, Dhanika observes that words in poetry make for the apprehension of vibhāvā"di i.e. determinants and the like, which in their turn lead to the apprehension of rasa. Thus, the words in poetry are related to the meaning in form of vibhāvā❞di through anvaya-vyatireka-sambandha i.e. through the positive and negative relation. If in poetry words that are capable of mentioning the vibhāvā"dis are used, we will have the apprehension of vibhāvā"dis accordingly. If they are not used, we will have no apprehension to this effect. Thus only the words actually used in poetry make for the apprehension of the vibhāvādis. But, it may be noted that a mere use of vibhāvā"dis does not make for the supreme bliss experienced through poetry. This supreme bliss - "nirtiśaya"nanda" is resulted through 'rasa' i.e. relish only, which is the objective of these vibhāvā"dis. Thus 'svā"nandodbhūti' or realisation of supreme bliss is the 'karya' i.e. purpose or objective of words in poetry that lay down proper vibhāvā"dis. 'Rasa' is the ultimate 'pratipadya' or goal of a kavya-vākya. When we take stock of a given piece of poetry, the words actually used in it, the vibhāvā"dis narrated through these words, etc. and the consideration of the sthayin and rasa - all this leads to the supreme goal - kārya of poetry viz. the experience of highest joy by the reader or listener in form of a man of cultivated taste: "sva"nandodbhutir eva kāryatvena avadhāryate." This supreme bliss is caused only by a sthayin accompanied by proper vibhāvā❞dis or determinants etc. Thus, observes Dhanika, we see that the power of conveying sense i.e. denotation, (i.e. tātparya here), gets active or operates, being dragged by the pratipadya rasa i.e. by the object of apprehension of rasa. The karya-rūpa rasa, i.e. aesthetic pleasure which is the ultimate goal or result i.e. kārya of poetic activity, causes that power i.e. tätparya to operate. Thus the sentence-sense results from tātparya-śakti which stands in need of such agents as vibhāvā"dis for conveying 'rasa'. Through the delineation of these determinants etc. i.e. vibhāvā"dis rasarealisation results. In this process of rasa-realisation, vibhāvā”"dis make for the wordsense of the words used in poetry, and the meaning in form of rati etc., correlated with these vibhāvā"dis is the vākyártha of kavya. Thus Dhanika asserts : "tatra vibhāvā"dayaḥ padā"rtha-sthānīyāḥ, tat-samsṛsto ratyādir vākyárthaḥ." Thus in a kavya-vākya, or sentence in form of poetry, the vibhāvā"dis make for padártha or
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