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Dhvani in Kuntaka, Bhoja and others, and Gunībhūta-vyangya and Citra-Kāvya.
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statement is called 'Kavya'. This is supposed to be 'vakra' i.e. 'beantiful'; first and last. It is termed 'poetry.' Bhoja thus distinguishas between a statement in ordinary parlance and a poetic utterance. The former is 'a-vakra' while the latter is necessarily vakra.' These terms 'a-vakra' and vakra' are directly under Kuntakaś influence, as are the terms 'saubhāgya' and also 'lāvanya' seen earlier, they being 'gunaś or excellences recognised by Kuntaka as qualifying this or that 'mārga', or poetic practice. We also remember here Bhāmaha's expression, viz., "vakrábhidheya-sabdārthau”.
In the second verse Bhoja seems to explain what is ‘tātparya' for him. He uses the term "abhiprāya-sarvasva"-i.e. the essence of the intended sense. Now this cannot be just the tātparya of the mīmāmsā, which gives only the correlated sentence sense as tātparya, or the sumtotal of all padārthas as vākyártha, which is termed 'tātparyārtha.' Bhojas tātparya is the essence-'sarvasva'-of the ‘abhiprāya' i.e. intention of the speaker. Thus Bhojas tātparya goes beyond the traditional mīmāmsā sense. It covers the suggested intention also as is done by Dhananjaya / Dhanika, for whom 'tātparya' is not limited to sentence-sense only. "tātparyam na tulādhỉtam."
But when he says 'sabdadharmaḥ punar dhvanih” he echoes only the grammatical connotation of the term, meaning 'sound' only, which is the quality
purse Bhojaś dhvani' in the context of poetry goes beyond this grammatical sense as is the case with Anandavardhana also, who goes beyond the grammatical connotation of the term 'dhvani.'
'Dhvani' in this narrow sense of sabdadharma i.e. 'sound' only is external to both 'saubhāgya' and 'lāvanya' which are said to be internal qualities of Vāg-devatā. The poetic tātparya, which is also termed 'dhvani' is different frem this grammatical concept of 'dhvani' which is 'sound' only, and therefore only an external quality of a word. Even Anandavardhana had also suggested the same and the whole idea was beautifully elaborated by Abhinavagupta in his Locana. All this literature is before Bhoja when he dwells upon tātparva-dhvani-synthesis.
'adūra-viprakarśa' means 'not a long distance', i.e. closeness. Bhoja holds that on account of closeness between sabda i.e. dhvani and tātparya in the ordinary sentence, the same pair, is termed poetic tātparya and dhvani in the context of poetry, like the months caitra and vaiśākha being called 'madhu' and 'madhava' in a different context. Dhvani-tātparya i.e. sabda and vākyártha in ordinary parlance are termed 'dhvani-tātparya' or poetic-import of a statement in poetry. Just as Anandavardhana says that he being the follewer of the grammarians extends the
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