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SAHRDAYĀLOKA vidhena vaicitryena vicitrabhāvena vakratā vakra-bhāvaḥ.” “An intention to shower extra-ordinary belittlement or extra-ordinary glorification of the theme.” The poet might desire to present his subject for too less or for too more than it actually is. The 'subject here meant is the one denoted by the conventionally used word. Such an art is designated as 'art in beautifying conventional sense', because a denotative word gets artful extension of sense in all this. (Trans. K. Kris., pp. 370, ibid).
All this is full of Ā's implicit sense. The first illustration cited viz. "tālā jāanti..." etc., is also from Dhv. (pp. 38, ibid). And it is here that K. clearly mentions the 'Dhvanikāra' and “vyangya-vyñjaka-bhāva”. K. observes : (vịtti, VJ. II. 9, pp. 83, ibid) : “pratiyata iti. kriyāpada-vaicitryasya ayam abhiprāyo yad evamvidhe visaye śabdānām vācakarvena na vyāpāraḥ, api tu vastvantaravat-pratītikāritva-mātrena iti yukti-yuktam api etad iha na atipratanyate. yasmād dhvanikāreņa vyangyavyañjaka-bhāvótra sutarām samarthitas tat kim paunaruktyena" "The predicate, 'is seen to expand', in the Kārikā, has special significance. In all such instances the verbal function involved is not ordinary denotation but suggestion which can signify a world of extending connotative meanings. This conclusion is indeed reasonable, but we are not concerned with that question here. So refrain from devoting space to its consideration. The learned author of the Dhvanyaloke has established at length the relation of word and meaning in such instances to be that of 'suggestor' and 'suggested'; there is no point served in our repeating the same.” (Trans. K.Kris. pp. 371, ibid).
K. is so much under the spell of Ā., that very often he turns to him even for illustrations. He illustrates rūdhivaicitrya-vakratā, which is here two-fold and seems to be modelled on Ā.'s "arthántara, samkramita-vācya-dhvani', with the help of an illustration accepted from Ā., viz.” snigdha-śyāmala-kānti..." etc. (pp. 83-84, ibid). The same beauty of 'rāma'-pada is brought out, but is branded here as a particular type of vakratā. But once again, what can we say to K. who equates 'varna-vinyāsavakratā', having the charm of varņas, i.e. expression only, with “rūdhi-vaicitryavakratā” having the charm of pure vyañjanā, and places them on the same footing? We are reminded here of the famous verse :
"kācam manim kāñcanam ekasūtre, mūrkhā nibadhnanti, kimatra citram ? vicāravān
pāņinir eka-sūtre śvānam yuvānam maghavānam āha." Illustrations after illustrations prove the supreme dominance of vyañjanā. In
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