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1004
SAHRDAYĀLOKA this in greater detail as below : Under Dhv. II. 3, Ā. observes :
"rasa-bhāva-tad ābhāsatat-praśāntyādir akramah, dhvaner ātmā' ngi-bhāvena
bhāsamāno vyavasthitaḥ.” rasā”dir artho hi saha iva vācyena avabhāsate. sa ca angitvena avabhāsamāno dhvaner ātmā.
idānīm rasavad-alamkārād a-laksya-krama-dyotanā”tmāno dhvaneh vibhakto visaya, iti pradarśyate.".
- "Sentiment, emotion, the semblance of sentiment or mood, their (rise and) cessation etc., are all of, "undiscerned sequentiality". It is decided that when we have the prominent presence of this variety, we are having the very soul of „suggestion."
Categories like sentiment shine forth along with the literal import. If they shine also with prominence we have the very soul of suggestion.
It will be shown in what follows that the sphere of this suggestion of undiscerned sequentiality is quite distinct from that of the figure of speech called rasavad-alamkāra or "figurative sentiment”. (Trans. K.Kris. pp. 41, ibid)
It is to be noted that when Ā. observes that "that rasa"di is the very soul of dhvani, which is suggested as principal - i.e. 'angitvena'," this also implies that these rasa"di categories, can be suggested at times, as 'anga' or subordinate also. Ā. suggests that when 'rasā"di' is not principally suggested, but is suggested in a subordinate way (i.e., a-pradhāna), it is known as "rasavad ādi alamkāra”. Distinguishing between rasā”di-dhvani and rasā”di alamkāra, Ā. observes :
"vācya-vācaka-cārutva· hatūnām vivdhātmanām,
rasā"di-paratā yatra
sa dhvaner vişayo mataḥ.” (Dhv. II. 4) rasa-bhāva-tad ābhāsa-tat-praśama-laksanam mukhyam artham anuvartamānā yatra śabdártha'-lamkārā gunāśca parasparam dhvany apeksayā vibhinna-rūpāḥ vyavasthitās tatra kāvye dhvanir iti vyapadeśah.
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