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SAHRDAYĀLOKA all, i.e. it remains a-samlaksya. On the other hand the two viz. vastu-dhvani i.e. suggestion of idea or matter, and alamkāra-dhvani i.e. suggestion of a figure have
clearly marked sequence - samlaksya-krama between the first apprehension of the primary sense and the next apprehension of the suggested sense. Thus these two are termed 'samlaksya-krama-dhvani' varieties. But A. and Abhinavagupta do accept the possibility of sequence even in this rasā"di-dhvani which is normally said to be without sequence. When such 'samlaksya-kramatva' of rasā”di-dhvani is accepted it is included in the variety called the "artha-śakty-udbhavasamlaksyakrama dhvani.”
As a matter of principle, Ā. accepts three-fold dhvani, but in reality he attaches supreme importance only to the variety called 'rasa-dhvani' i.e. "rasā"didhvani". Only to underline the fact of rasa"di-dhvani as the "soul", Ā. seems to accept the ultimate merging of the other two varieties i.e. vastu-dhvani and alamkāra-dhvani in this supreme dhvani called rasa-dhvani. We have noticed earlier how Locana on Dhv. I. 4 explains that the implicit sense is basically twofold viz. laukika or one which is also met with in ordinary parlance, and 'alaukika' or that which is never met with in ordinary parlance but is met with only in poetry i.e. kāvya-vyāpāraika-gocaraḥ, or in the field of art in general, we may add. This 'laukika' form is represented by vastu-dhvani and alamkāra-dhvani. We will go to see later that actually Ā. has taken care of the intellectual or rational and also volitional aspect of the total personality of the art-enjoyer or cultivated reader here, when he accepts this variety of vastu-dhvani. By alamkāra-dhvani he accepts the poet's immense capacity to experiment in poetic expression and not using figures of speech only. Thus it consumes the whole of practiced and unpracticed modes of poetic expression, i.e. 'vyañjaka-vaividhya' in literature. Thus we feel that by vastu-dhvani and alamkāradhvani Ā. reaches out to cover the most modern literary art-forms ever practiced to-day or that will ever be practiced in near or distant future by good poets (i.e. mahākavi). The so called abstract poetry, or absurdism seems to have its place in this fool-proof catholic scheme of Anandavardhana and thus this Indian theory of art, i.e. the theory of rasa-experience covers the total personality of the enjover of cultivated taste. By total we mean the emotive, intellectual and volitional aspects of his personality taken together. We will discuss this catholicity of rasa-experience in a greater measure later. But for the present, the first two i.e. vastu-dhvani and alamkāredhvani, the samlaksya-krama types also, ultimately merge into rasa-dhvani in Ā.'s opinion and here rasa-dhvani is to be taken not as enjoyment of sentimental
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