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1014
SAHRDAYĀLOKA
Ā. is of the firm opinion that vrtti i.e. employment of word and sense - mode - vrtti. - and rītis or style or diction also follow the same discipline, i.e. they are being employed by a great good poet in view of 'rasa'. Dhv. III. 33 observes :
"rasādy anuguņatvena
vyavahārórtha-sabdayoh, · aucityavān yas tā etā
vịttayo dvividhāḥ sthitāḥ”, i.e. "vrttis (lit. modes) are said to be of two kinds only because they relate to appropriate employment of senses and sound in keeping with sentiments etc.” (Trans. K.Kris., pp. 189, ibid) Read also, Dhv. III. 46-47
"asphuta-sphuritam kāvya-tattvam etad-yathoditam, a-śaknuvadbhir vyākartum rītayaḥ sampravartitāḥ.” (III. 46) "sabda-tattvā”śrayāḥ kāścid artha-tattva-yujo'parāḥ, vȚttayópi prakāśante
jñātésmin kāvya-laksaņe.” (III. 47) "Those who were unable to explain properly this essential principle of poetry as they had only a glimmer of it (and nothing more) have brought into vogue the theory or styles.” (pp. 261, ibid)
"once this theory of poetry is fully understood, even the so-called "Modes", relating to the nature of sounds as well as to the nature of meaning will become intelligible.” (Trans. K.Kris. pp. 26, ibid)
Thus .. has established rasa on the highest pedestal. This vyañjanā-dhvani-rasascheme of .. was accepted and further established by such great names as Abhinavagupta, Mammața, Hemacandra, Vidyādhara, Vidyānātha, Viśvanātha, Appayya Dixit and Jagannātha. But, even after accepting the highest position of 'rasa', the process of arriving at it through 'vyañjanā' in literature and also in other arts, was challenged by such greats as Sri. Sankuka, Bhatta Nāyaka, Mukula Bhatta, Mahimā, Dhananjaya/Dhanika etc. Kuntaka, though he did not openly challange vyañjanā, remained reticent about the same and though the same whole-heartedly, accepted, its influence in his "vicitrā-abhidhā”. So, for sure, he was a "pracchanna dhvani-vădin”. Even he has accepted, not unlike Bhoja, the supremacy of 'rasa' in kävya.
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