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1082
SAHRDAYĀLOKA "An art in a whole sentence admits of a thousand varieties. In it is included the whole lot of figures of speech." (Trans. K. Kris., pp. 422, ibid). We know that Ā. would include the figures under what he calls the "gunībhūta-vyangya”. Not so with K., who seems to include even instances of rasa also under "vākya-vakratā." This is defiance, pure and simple.
K. proceeds to give 'svabhāvódāharana' and 'rasódāharana' in verses, nos. 21, 22 (pp. 136, ibid), under vākya-vakratā. Verse No. 21, viz. “taşām gopa-vadhu..." etc. is read in the Dhv. (pp. 48) also. K. does all this without any direct mention of vyañjanā. On rasódāharana (verse, no. 22), viz. "loko yadrśam āha..." etc. (pp. 136, ibid), K. observes (vịtti, VJ. III. 4, verse 22, pp. 136-7, ibid) · .
"atra utsāhābhidhānaḥ sthāyi-bhāvaḥ samucitā”lambana-vibhāva-laksanasaudaryā-'tiśaya-ślāghā-śraddhālutayā vijigisor, vaidagdhya-bhangi-bhanītivaicitryeņa parām pariposa-padavim adhiropitaḥ san rasatām niyamānaḥ, kimapi vākya-vakra-svabhāvam kavi-kauśalam eva ävedayati. anyesām pūrvaprakaranódāharaṇānām pratyekam tathā’bhihita-jivita-lakṣaṇam vākya-vakratvam svayam eva sahệdayair vicāranīyam.”
"Here the abiding emotion is heroism. The poet is concerned with endowing beauty to the appropriate person who happens to be the abode of that emotion. He is portrayed therefore as a great conqueror. Now the artistic mode of the sentence used raises the emotion to its highest point, so that it comes to be felt as the sentiment of valour. This reveals the poet's art in respect of composing a forceful and artistic sentence. The several examples already given in the previous section wherin artistic beauty relates to construction of such sentences should also be reconsidered in this light by the connoisseurs as further instances. (Trans. K.Kris., pp. 423, ibid)
K. discusses 'vākya-vakratā' with reference to "abhidhānā-bhidheya”, and "abhidhā”, and then proceeds to classify the thing described : (vrtti, prior to VJ. III. 5; pp. 137, ibid):
"evam abhidhānā’bhidheyā'bhidhā-lakṣaṇasya kāvyopayoginas tritayasya svarūpam ullikhya varṇanīyasya vastuno visaya-vibhāgam.vidadhāti.”
“We have so far discussed the nature of the three entities associated with poetry, namely word, content and the process of communication. Now the author proceeds to classify the things described.” (Trans. K.Kris., pp. 423, ibid)
K. does this under VJ. III. 5, 6, 7 (pp. 137-138, ibid). He classifies 'vastu' or things into 'cetana' i.e. sentient and 'jada' i.e. insentient, and again either into
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