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Dhvani in Kuntaka, Bhoja and others, and Gunībhuta-vyangya and Citra-Kavya. 1133
Abhibavaguptaś attitude in this respect is quite characteristic of his general approach to poetry. For him, as noted at many places in his Locana, both vastudhvani and alamkāra-dhvani ultimately terminate into rasa-dhvani which alone, virtually is the soul of poetry. So, in all the varieties of gunībhūta-vyangya according to the great Abhinavagupta, what happens is that first of all some suggested sense is subordinated to an expressed sense, which in its turm ultimately terminates into some other rasa-vyañjanā. Thus for him all gunībhūta-vyangya is ultimately nothing else but dhvani-kāvya itself. : “ata eva iyati vācyasya prādhānyam, tathā’pi rasa-dhvanau tasyā’pi guņatā iti sarvasya gunībhūtavyangyasya prakāre mantavyam. ata eva dhvaner ātmatvam ity uktataram bahuśaḥ.”- Locana, Dhv. III. 34.
In Mammata, however, we come across a more systematic classification and division. He defines guṇībhūta-vyangya poetry as : "a-tādņši gunībhūta-vyangyam vyangye tu madhyamam” (K. P. I. 5ab): - “But when the suggested meaning is unlike that, (i. e. is not principal), it (poetry) is called mediocre wherein the suggested becomes subordinate.” (Trans. R. C. Dwivedi, The Poetic Light; Kavyaprakāśa of Mammata; Pub. Motilal Banarasidass, Edn. 67, Delhi). (pp. 13, ibid). He starts the ullāsa V, K. P. with an eight-fold division of gunībhūta-vyangya poetry, wherein the following varieties are mentioned : (K. P. V. 45, 46 ab-pp. 138, ibid) : evam dhvanau nirnīte gunībhūta-vyangyasya prabhedān āha :- .
"agūŅham aparasyā’ngam vācya-siddhyangam a-sphustam,
sandigdha-tulya-prādhānye ... kākvā”kşiptam a-sundaram- (V. 45)
vyangyam evam guṇībhūta- .
vyangyasyā’stau bhidāḥ smộtāḥ.". "Thus having determined the dhvani (the best type of poetry), the author now states the varieties of the poetry of subordinated suggestion. .
(V. 45) (i) Non-concealed, (ii) subservient to another, (iii) subservient to the establishment of the expressed meaning, (iv) indistinct, (v) of doubtful prominence (vi) of equal prominence, (vii) implied by intonation, and (viii) non-striking." (Trans. R. C. Dwivedi. pp. 139, ibid).
As noted above, he calls this type of poetry to be ‘madhyama' i.e. ‘mediocre. dhvani' being ‘uttama' or 'excellent and 'citra' being 'adhama' or 'low-class poetry.'
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