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'Dhvani' and other thought-currents such as guna,......
1157 central objective of rasa-realisation in poetry. So, he gives certain instructions. He observes : (Dhv. II. 16, 17, 18, 19), atra yuktir abhidhīyate -
"rasā”ksiptatayā yasya bandhaḥ śakyakriyo bhavet, a-ppthag-yatna-nirvartyaḥ sólamkāro dhvanau mataḥ-(Dhv. II. 16) "dhvanyātma-bhūte śộngāre samīksya vinivesitaḥ rūpakā”dir alamkāra-varga eti yathārthatām."- (Dhv. II. 17) "vivaksā tat-paratvena nā’ngitvena kadācana, kāle ca grahaņa-tyāgau nā’tinirvahaņaiṣitā ” (Dhv. II. 18) “nirvyūdhāv api cárgatve yatnena paryavekṣaṇam, rūpakā”der alamkāra
vargasyā’ngarva-sādhanam.” (Dhv. II. 19) "Only that is admitted as a figure of suggestive poetry, whose employment is rendered possible just by the emotional suffusion of the poet and which does not require any other extra effort on his part." - (Dhv. II. 16) · "The galaxy of figures like metaphor becomes truely significant (i.e. will be real ornaments) when they are employed with great discrimination in instances of the Erotic sentiment which is intrinsic to dhvani" (i.e. when the Erotic is in the centre of suggestive poetry). (Dhv. II, 17)
"The sole consideration that it is only a means to the delineation of sentiment and never an end in itself, the necessity of employing it at the right time and of abandoning it at the right time; the absence of over-enthusiasm on the poets part in pressing it too far, and finally, his keen watchfulness in making sure that it remains a secondary element only-these are the various means by which figures like metaphor become accessories (of suggested sentiment." (Dhv. II. 18, 19)
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