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'Classification of Poetry (Criticism Oriented)
977
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We may add that even by taking the proper names also, if we had the experience of rasa, then in that case we could have experienced all the eight sentiments, when we recited the famous kārikā of Bharata enumerating the eight sentiments, such as : "śộngāra-vīra-karuna." etc. But this is not so.
It may be noted that in these three varieties of dhvani i.e. implicit sense, it is only the 'rasā"di' type which is the 'soul of poetry, though theoretically A. all the three on a par. Ā. suggests that only rasā"di-dhvani is the 'soul of poetry in the real sense when at Dhv. I.V. he suggests that in Rāmāyana of Ādi kavi Vālmīki, it is the 'soka' born of the separation of the curlew couple which is principle in form of karuna rasa. It is only the karuna-rasa which is principally suggested in Rāmāyana and thus only that is the object of the whole composition. It may be noted here that in this famous kārikā (i.e. Dhv. I.V) we do not have to construe "Vālmīkeḥ śokaḥ”, but we have to take it as "generalized śoka has become the object of Vālmīki's śloka, i.e. composition. - sokaḥ vālmīkeh śokatvam āgataḥ.” - Ā. observes that though the implicit is having three forms, the illustration of Rāmāyana is cited only to bring home a point that in fact, virtually, it alone (i.e.
asā"di alone) is the principal variety. By mentioning 'rasa-bhāvā"di', explains the Locanakāra, Ā. here includes all varieties such as rasā”bhāsa, bhāvā”bhāsa, bhāvódaya, bhāva-samdhi, bhāva-sabalatā, bhāva-praśama etc.
Read Ā. : (vịtti, Dhv. I. 5) : pratīyamānasya ca anyabheda-darśanépi rasabhāva-mukhena eva upalaksanam; prādhānyāt.”
On this read Locana : "tena rasa eva vastutaḥ ātmā. vastvalamkāra-dhvani tu sarvathā rasam prati paryavasyete iti vācyād utkrstau tāv ity abhiprāyeņa "dhvanih kāvyasya ātmā iti sāmānyena uktih" ... etc.
It may be noted that Abhinavagupta is exactly echoing Ā.'s views. He is not adding anything of his own when he observes as above that in reality rasa-dhvani alone should be considered as the 'soul of poetry. This is borne out by observations from the Dhv. at a number of places as we will be pointing out from time to time. But for the present we quote from vrtti, on Dhv. I. 6. A. observes : "pratīyamānasya ca anyabheda-darśanépi rasa-bhāva-mukhena eva upalaksanam, prādhānyat." Though one can discern other sub-species of the implicit, they can all be understood by the synecdoche of sentiments and emotions since these happen to be the most important representatives of the rest."
Abhinavagupta further observes (on Dhv. I. 6) : "evam itihāsa-mukhena pratīyamānasya kāvyā”tmatām pradarśya, sva-samvit-siddham apy etad iti darśayati -
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