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1032
SAHRDAYĀLOKA given a very subtle discussion on only 'citra' varieties, i.e. of alamkāras only, in his Citra-mīmāmsā, but he was basically a dhvanivādin to the core. He, in available documents therefore does refer to the other two types of poetry such as 'dhvani' and 'guņābhūta-vyangya' also.
For Jagannātha (= J.), in place of the threefold classification of Ā. and M., we come across a four-fold scheme such as uttamottama, uttama, madhyama and avara.
Uttamottama is one (R.G. pp. 9) - in which both sabda/sound and artha/ meaning get subordinated and suggest a charming meaning : "śabdárthau yatra gunībhāvitā”tmānau kam apy artham abhi-vyanktaḥ, tad ādyam.” This is almost similar to the definitions given by Ā. and M. It may be noted that J. takes the condition of "Camatkāra" or "Surprise" i.e. the feeling of extraordinary, as the major decisive factor and mentions the same in the definition. By 'kam-api' he exactly means this. J. observes (R.G. pp. 31, Edn. RBA) : “kam api iti. camatkệtibhūmim tena ati-ghūdha-sphuţa-vyangyayor nirāsaḥ. aparánga-vācyasiddhyanga-vyangyasya api camatkāritayā tad vāraṇāya gunībhāvitā”tmānau iti svāpekṣayā, vyangya-prādhānyábhiprāyakam. Thus 'kam-api' means "source of camatkāra” and this excludes 'atighūdha' or too much concealed suggestion, or indistinct, and also 'sphuta i.e. non-concealed or distinct suggestion. These two types of suggestion are devoide of charm. Now, argues J. further, if 'chmatkāra' alone is taken as the characteristic of uttamakávya, then 'vācya-siddhyanga' i.e. suggestion that is subserivent establishment of the expressed meaning, and 'aparánga' or that which is subservient to another (sense), also would walk in the field of 'uttamottama.' as these two varieties have a suggested sense which are gifted with 'camatkāra' or 'surprise'. All dhvanis of rasa, rasā”bhāsa, bhāva, bhāvā”bhāsa etc. fall under this type of poetry. We can equate J.'s 'uttamottama' roughly with the 'uttama' of M. and the Kashmir School of thought in general.
Actually his second and third types attract close observation. 'Uttama' is the second type of poetry which according to J. has the vyangya' i.e. suggested sense no doubt charming but is in itself subordinate to śabda or artha or both. J. observes, (pp. 53, ibid) : "yatra vyangyam apradhānam eva sac camatkārakāraṇam, tad dvitīyam. - vācyápekṣayā pradhānībhūtam, vyangyántaram ādāya guņābhūtam vyangyam ādāya ati-vyāpti-vāraṇāya avadhāraṇam. tena tasya dhvanitvam eva. līna-vyangya-vācya-citrā'tiprasanga-vāraṇāya 'camatkāra' ity adi."
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