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'Classification of Poetry (Criticism Oriented)
1009 is quite obvious. But here, if one argues that as there is attribution of sentient behaviour, let it be the province of figurative sentiment i.e. rasavad alamkāra, then no scope will be left for upam, and other figures. For there is no such insentient theme at all in poetry, in which attribution of sentient behaviour is wholly absent; it will be found at least in form of vibhāva (= ālambana) i.e. the setting or situation for the delineation of rasa. Hence the fact stands that when sentiments etc. are treated as subordinate it is the case of rasā”di alamkāra, and when rasa is predominent, angī, and is 'alamkārya', it is the soul of dhvani : (vrtti, on II. 5) - "tasmād angarvena ca rasā"dīnām alamkāratā. yah punar angi raso va bhāvo vā sarvākāram alamkāryah sa dhvaner ātmā iti."
We will see later in the following chapter how Ā.'s 'vyañjanā-dhvani-rasa” scheme assimilates in its catholic fold all other thought-currents such as alamkāra, guna, dosa, rīti, vrtti, etc. that were already prevelent in the field of poetics and how 'dhvani' is capable to render such concepts as tātparya, anumiti and aucitya also as having no value. But for the present we will continue with A.'s further treatment of classification of dhvani and his treatment of rasa and some problems connected with rasa-vyañjanā as treated by him in udyota III. of the Dhv.
Ā. starts the IIId udyota with the words :
"evam vyangya-mukhena dhvaneḥ pradarśite sa-prabhede svarūpe, punar vyañjaka-mukhena etat prakāśyate -
"avivakṣita-vācyasya pada-vākya-prakāśatā, tad anyasya anuranana
rūpa-vyangyasya ca dhvaneh.” (Dhv. III. 1) So far the nature and varieties of suggestion have been pointed out in detail from the standpoint of the suggested. Now the same shall be set forth from the standpoint of the suggester:
“Both the varieties of suggestion with unintended literal import and the resonance-like suggestion are suggested by individual words and by whole sentences.” (Trans. K.Kris. pp. 107, ibid)
Ā. also discusses which 'varņas' or letters are favourable in case of which particular rasa, the form and types of construction, the factors that fix this or that type of samghațanā or construction for this or that type of rasa or sentiment, etc. He also discusses how a whole composition or prabandha suggests rasa. This involves topics such as consideration of factors that do not
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