________________
1060
SAHṚDAYĀLOKA
due to "sankhya-vaicitrya" or, "karaka-vaicitrya", or "purusa-vaicitrya". It is needless to say that all these charming expressions look all the more charming by virtue of the touch of suggestivity in them. Otherwise, if pure expression is equated with and placed on the same footing as an expression containing charms of suggestion, then this certainly is no doing of a true dhvanivädin, and it is in this sense that K.'s position can be questioned.
After discussing these varieties, K. goes to observe that only a few important forms of artistic beauty have been presented here to serve as examples. But thousands of them are possible in the plentiful usage of master-poets and they may be discovered by men of taste on their own. A. also had passed a remark to the same effect. Vṛtti, on VJ. I. 19 (pp. 35) reads as - "etac ca mukhyatayā vakrataprakārāḥ katicin nidarśanártham pradarsitāḥ. śistāś ca sahasraśaḥ sambhavanti iti mahākavi-pravāhe sahṛdayaiḥ svayam eva utprekṣaṇīyāḥ."
Under I. 20 VJ. (pp. 35, ibid), K. treats vākya-vakrată and tries to subsume all alamkāras here-under. A. has placed them under guṇībhūta-vyangya type, but in K. all vakratā is of an identical nature, and therefore has to be placed on the same footing. This is exactly where he violates the fundamantals of the dhvanivādins. The vākya-vakratā is illustrated (verse No. 70, pp. 36), in "upasthitam pūrvam upāsya..." etc. Actually, this can very well serve as an illustration of vastu-dhvani which is not named as such by K. On the contrary, K. wants to put this under the same banner which also corners all the figures of sense, i.e. arthálamkāras.
K. treats of prakaraṇa - vakratā or 'beauty of section' and 'pralandha vakratā' or beauty of a whole work or composition, at VJ. I. 21. We know that A. has already discussed "prabandha-vyañjakatva' and has screened the case of both the Rāmāyaṇa and the Mahabharata, and it is clear that here too, K. derives his inspiration from A. K. promises to discuss in greater details the six-fold vakratā in due course. But here, we will repeat once again, that the 'prakaraṇa-vakrata' and 'pabandha-vakrata' are but shades of A.'s vyañjanā. The illustration from Kirāta. is an instance in point: (vṛtti, VJ. I. 21, pp. 37, ibid) - "yathā vā kirātárjunīye kirātapuruṣóktiṣm vācyatvena sva-mārgaṇa-mārgaṇa-mātram eva upakrāntam. vastutaḥ punar arjunena saha, tātparyártha-paryālocanayā vigraho vākyárthatām upanītaḥ...". "Similarly, in the Kirātárjunīya also, we find only the seeking of his own arrow by the hunter plainly stated in the hunter's words. But, as a matter of fact Arjuna who takes the purport into account (and) understands rightly that the hunter's meaning is a challange for fighting." (Trans. K.Kris., pp. 323, ibid)
Jain Education International
For Personal & Private Use Only
www.jainelibrary.org
