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'Classification of Poetry (Criticism Oriented)
1023 eko rasóngīkartavyas
teşām utkarşam icchatā.” "Though there is convention that more than one sentiment should find a place in entire works of literature, one of them alone should be made principal by the poet who aims at greatness of his works." (Trans. K.Kris. pp. 175, ibid).
Ā. observes in his vrtti, on Dhv. III. 21 : "prabandhesu mahākāvyā"dişu nāļakā"dişu vā viprakīrṇatayā angāngi-bhāvena bahavo rasāḥ upanibadhyanta ity atra prasiddhau satyām api, yaḥ prabandhānām chāyátiśaya-yogam icchati, tena tesām rasānām anyatamaḥ kaścid vivakṣito rasóngitvena viniveśayitavya ity ayam yuktataro mārgah.”
"Though in fact the convention is that, in epics etc., as well as in dramas etc., several sentiments should be delineated with either equal importance to each other or differing importance, the better procedure is that a poet who is intent upon adorning his work with abundant beauty should make it a rule to give principal importance to only one intended sentiment amongst them."
(Trans. K.Kris. pp. 175, ibid), Abhinavagupta in his Locana here explains : tad eva avatārayati-"idānīm ity ādinā". teşām rasānām krama iti yojanā. “prasiddhe' pīti" bharata-muniprabhrtibhir nirūpitépíty arthah. tesām iti prabandhānām. mahākāvyā"disu ity ādi śabdah prakāre. an-abhineyān bhedān āha-dvitīyas tv abhineyān. “viprakirnatayā” iti. nāyaka-pratināyaka-patākā-prakarī-nāyakā”di nişthatayā ity arthaḥ. angángibhāvena ity ekanāyaka-nisthatvena. 'yuktatara' iti. yady api samavakārā"dau paryāya-bandhā"dau ca naikasya angitvam tathā'pi nayuktatā tasya'py evam-vidho yah prabandhah tad yathā nātakam mahākāvyam vā tad utkrsta-tara śabdasya arthaḥ.” (Dhv. III. 21) (Locana).
Ā. answers an objection here. The opponent raises a point to the following effect. He argues that when actually several sentiments have been developed to their climax, how can any single, rasa or sentiment can be said to be 'angin' or principal ? The answer to this is given in Dhv. III. 22, and vrtti thereon. Ā. argues that the importance of the intended sentiment, which is shining through out the work abidingly, i.e. which looks like the vary basis of a composition - "sthāyitvena avabhāsinah”, cannot be marred by the inclusion of other sentiment. The 'vrtti' here goes to observe that when a rasa is intended to be principal or primary in a work, and is kept constantly in focus by being delineated again and again, its importance cannot be marred by the inclusion of other passing sentiments because it underlies all the rest. The reason for this is explained in Dhv. III. 23, where it is observed that
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