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1008
SAHRDAYĀLOKA Explaining the whole discussion in a nut-shell Ā. observes :
"rasa-bhāvā"di-tātparyam āśritya viniveśanam, alamkştīnām sarveșām
alamkāratva sādhanam." i.e. "It is only the employment of figures, one and all, in view of the main purport of sentiment, emotion, etc., that really justifies their being regarded as sources of charm.” (Trans. K.Kris. pp. 45, ibid).
Ā. observes : “tasmād yatra rasā"dayo vākyárthībhūtāḥ, sa sarva na rasā"der alamkārasya visayah, sa dhvaneh prabhedah, tasya upamā"dayo'lamkārāh. yatra tu prādhānyena arthấntarasya vākyárthībhāve rasā"dibhiś carutva-nispattih kriyate, sa rasā’der alamkāratāyā viņayah-evam dhvaneḥ rasavad alamkārasya ca vibhaktavisayatā bhavati.”
"Therefore, none of those cases where sentiments etc. happen to be the main purport, become instances of figurative sentiment. On the other hand they will only form a species of suggestion. Simile etc., are all enhancers of its charm alone. But in cases where the main purport happens to be some other meaning and when its beauty is enhanced by sentiment etc., we get proper instances of figurative sentiment.
Thus understood, the distant spheres of suggestion, figures like simile and figurative sentiment becomes clearly demarcated.” (Trans. K.Kris. pp. 45, 47, ibid)
A. discusses yet another opinion regarding the rasā"di alamkāras. Some critics are of the opinion that rasā"di-alamkāra has for its scope the treatment of sentient objects alone. But, argues A., in that case very little or no scope at all will be left for figures such as upam, and the rest. For even when the theme happens to be the behaviour of an insentient object, there has to be superimposition of the behaviour of a sentient object in one way or the other. Now, if it is held that even if such a superimposition is present, it will not be the sphere of rasavad-adi alamkāras, for the object described is itself insentient. But this would be tantamount to assert that the vast bulk of literature which happens to be really the golden treasury of sentiments will have to be taken as 'nīrasa', or one having no sentiment (for sentiment is the pre-requisite of the sentients - alone). Thus the best verses from Kālidāsa, such as, "taranga-bhrū-bhangā." etc. and "tanvī megha-jalā”rdrapallavatayā.” etc. will have to be treated as being without sentiment, for the central thing described is non-sentient. But in these examples, though insentient objects happen to be themes of description, the attribution of sentient behaviour to them
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