________________
1056
SAHṚDAYALOKA
prasthāna-vyatireki", in the vṛtti on VJ. I. 18, is an instance in point. On VJ. I. 19, in his vṛtti while explaining varṇa-vinyāsa-vakrata, K. observes: (pp. 27, ibid) atra varṇa-vinyāsa-vakratā-mātra-vihitaḥ śabda-sobhátiśayaḥ sutarām samun-militaḥ. etad eva varṇa-vinyāsa-vakratvam cirantaneṣu anuprāsa iti prasiddham." - "Here, we see a perfect instance of abounding verbal beauty brought about, solely by the poet's skill in arrangement of syllables. This skill in verbal arrangement itself is well recognised even by the ancient theorists under the term 'Alliteration'. (Trans. K.Kris., pp. 314, ibid). It reflects but poorly on K.'s thinking, if he tries to equate this variety of vakratā, a mere śabda-citra, with another vakrata which may look charged with the suggested sense; and this variety also he recognises. It is unthinkable to put all varieties of vakrata on the same footing. But perhaps it is exactly at this point that K. like Casca of Julius Cacsar, has drawn his dagger to stab his master, A.
K. proceeds to explain pada-pūrvárdhavakratā (on pp. 27) under I. 19, VJ. He observes - (vṛtti, on VJ. I. 19, pp. 27): pada-pūrvárdha-vakratā padasya subantasya tingantasya vā vakra-bhāvo, vinyasa-vaicitryam. tatra ca bahavaḥ prakārāḥ sambhavanti. yatra rūḍhiśabdasyaiva prastava-samucitatvena vācya-prasiddhadharmántara'dhyāropa-garbhatvena nibandhaḥ, sa pada-pūrvárdha-vakratāyāḥ prathamaḥ prakāraḥ, yathā, "rāmósmi sarvam sahe". "Art in the base form of substantives". Words may be nouns or verbs. Their crude form will be either base or root. In their usage by the poet there is scope for artistic skill.
In fact, this admits of various forms. When a word in common usage is employed so as to include an attribution of associate meanings other than the primary one, we have the first variety, e.g. "Rāma I am, and bear every mishap." (Trans. K.Kris. pp. 314, ibid). Then he illustrates the second variety where a proper noun is employed in such a way that it involves an attribution of the extraordinary speciality of the feature under description in the sentence primarily. Art i.e. beauty in the use of synonym is also illustrated. All these instances are accepted from A. without an open acceptance of vyañjanā. And therefore all this sounds less convincing.
Again, in the illustration, viz. "ramo'smi sarvam sahe", K. observes that here there is attribution of associate meanings other than the primary one: "vācyaprasiddha-dharmántara'dhyáropagarbhatvena nibandhaḥ." This observation is also far from exact. Here what happens is not the attribution - i.e. adhyāropa-of another meaning which is not the primary one, for in that case it would be just lakṣaṇā. Actually here the second sense arrives even when the primary sense continues. They
Jain Education International
For Personal & Private Use Only
www.jainelibrary.org
