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1158
SAHRDAYĀLOKA (Trans. K. Kris. pp. 59, 61, 63, ibid)
In his vrtti on Dhv- II. 16 Anandavardhana clearly states that "tasmān na tesām bahirangatyam rasā'bhivvaktau." (pp. 60. ibid. "Hence they are never extraneous to the delineation of sentiment." (Trans- K. Kris., pp. 61, ibid).
After giving a number of illustrations to prove his point, Anandavardhana at the end of the discussion observes : (Vịtti, Dhv. II. 19, pp. 70, ibid) :
"sa evam upanibadhyamānó-lamkāro rasábhiyyakti-hetuḥ kaver bhavati. uktaprakārā'tikrame tu niyamena eva rasa-bhanga-hetuḥ sampadyate. laksyam ca tathāvidham mahākavi-prabandheşv api drśyate bahuśaḥ, tat. tu, sūkti-sahasradyotitā”tmanām mahātmanām dosóddhāranam ātmana eva dūsanam Bhavati iti. na vibhajya darśitam. kim tu rūpakā"der alamkāra-vargasya yā iyam vyañjakatve rasa"di-visaye laksana-dig-darsitā tam anusmaran svayam ca anyal laksanam utpreksamāno yady alaksya-krama-pratibham anantaroktam 'enam dhvaner ātāmānam upanibadhanāti sukaviḥ samāhita-cetāḥ, tasya ātmalābho bhavati mahīyān iti."
"A figure of speech thus utilized by a poet will succeed in revealing sentiments. In case the conditions laid down be transgressed, it invariably becomes a destroyer of sentiment. Even this is seen amply illustrated in the works of great poets. But it has not been shown in detail here, since a loud exposure of the defects of great men who have the bright light of a thousand good sayings about them, would amount to a censure of the critic himself. But it deserves to be reiterated that the poet will have best fulfilled his purpose only when he exercises concentration in infusing his work with the soul of suggestion 'with undiscerned sequentiality described above, follows faithfully the mentioned ways in which the galaxy of figures like metaphor can be harmonised with delineation of sentiment and imagines for himself the other details left unsaid herein." (Trans. K. Kris., pp. 71, ibid),
In Dhv. II. 2,3,4, Ānandavardhana goes to suggest how rasadhvani is arrived at in poetry through the agency of letters, words, sentence, construction or composition and the work as a whole. He observes : (Dhv. III. 2,3,4) :
yas tv alaksyakramavyangyo dhvanir vammapadā”dişu, vākye samghatanāyām ca sa prabandhe’pi dīpyate. (Dhv. III. 2)
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