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SAHṚDAYALOKA
K. defines "vicitra-marga" in VJ. I 34-43 (pp. 52, 53, ibid). This is one in which "artistic beauty appears to be radiating brilliantly from within, in respect of both word and meaning." (Trans. K.Kris., pp. 338, ibid) (Vṛtti, VJ. J. 34-43, pp. 53, ibid) : "kīdṛśaḥ sa mārgaḥ yatra yasmin sabdábhidheyayor abhidhana'bhidhiyamānayor antaḥ svarūpánupraveśinī vakratā bhaṇiti-vicchittiḥ sphuratīva praspandamānā iva vibhāvyate, lakṣyate." This comes to the beauty caused by word and meaning - śabdā'bhidheyayoḥ" (VJ. I. 34) (pp. 52, ibid). This is also a style, "wherein the adorned is made to acquire brilliance by virtue of the tropes brilliant in themselves, and reflecting it through their own excessive beauty." (Trans. K.Kris. pp. 339, ibid):
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"yatra tad-vad alamkāraiḥ bhrājamānair nijā"tmanā,
sva-s'obhātiśayántaḥstham
alamkāryam prakāśate."
This is again a style (VJ. I. 40, pp. 53, ibid)
"pratīyamānatā yatra väkyárthasya nibadhyate, vācya-vācaka-vṛttibhyām
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vyatiriktasya kasyacit."
"Wherein further, the intended purport of the whole is communicated by a suggestive use of language which is distinct from the two well-known uses, viz. "the communicative use of meanings and the denotative use of words." (Trans. K.Kris., pp. 339, ibid). We have quoted the whole karika above. What harm is there, we may ask, if direct mention is made of vyañjanā, which alone for a dhvanivadin, is capable of conveying the implicit sense? Surely, K. cannot admit "anumiti" here. If he does not accept 'vyañjana' should he accept 'lakṣaṇā' or 'dirgha-dirghataravyāpāra" or "tātparya" ? And, in all these cases we refuse to call him a dhvanivädin. But perhaps he also accepts vyañjana at heart, but whatever appeals to hissense of beauty in poetry, he calls it 'vakrata', a broader term to designate all poetic beauty. We will discuss this when we come to the end of his assessment.
While dealing with the vicitra-marga, i.e. the brilliant style, K. refers to the striking aspect of beauty both in words and meaning which will appear as natural and not involving a special effort on the part of the poet, as in, "kóyam bhāti”, etc., (verse no. 89, under VJ. I. 43, pp. 54). He goes to observe that (vṛtti, VJ. I. 43;
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