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1176
SAHṚDAYALOKA
Sahityadarpaṇa (=S. D.) I. iii (pp. 20-25, Edn. ibid, with Lakshmi-tikā) observes"vākyam rasā"tmakam kāvyam doṣās tasyápakarşṣakāḥ utkarṣa-hetavaḥ proktāḥ, guṇā'lamkāra-rītayaḥ."
Viśvanatha observes in the vṛtti on S. D. I. iii. (pp. 25, ibid)- "guṇāḥ śauryā"divat, alamkārāḥ kaṭaka-kuṇḍalā"divat, rītayaḥ avayava-samsthāna viśeṣavat, deha-dvāreņa śabdā"rtha-dvāreņa, tasyaiva kāvyasya āṭmabhūtam rasam utkarṣayantaḥ kavyasyotkarṣakā iti ucyante. Thus, the wider scheme introduced by Anandavardhana continues in the dhvani-school of literary aesthetics.
Jagannatha of course is a dhvanivadin to the core, but he has his own ideas which at times do not conform absolutley with the traditional views of the dhvanivādins. Thus, for example he discusses the rasa-vyañjakatva of letters, words, racanā (i.e. rīti/vṛtti etc.) sentence and a whole composition etc. in his own way. He has certain reservations. He begins with the traditional view and then gives his own observations. He observes (pp. 368-372, CH. I. Edn. Chowkhamba Vidyabhavam, Varansi, '55; and pp. 316-317, Edn. Prof, Athavale, ibid): tad ittham nirūpitasya asya rasa❞di-dhvani-prabandhaiḥ padaika-deśair avarnā”tmakai rāgā"dibhiśca abhivyaktim amananti.... varṇa-racanã-viseṣāṇām mādhuryādiguṇábhivyañjakatvam eva na rasábhivyañjakatvam, gauravān mānábhāvācca..."
We will see how Jagannatha proceeds:
Jagannatha observes that the rasa-bhāvā"di-dhvani discussed so far is said to be suggested by pada, varna, racanā, vākya, prabandha, padaika-deśa i.e. parts of a pada and also by raga etc. which are not part of a pada. (a-varṇā"tmakair dhvanirūpair gīta-vādya"di-sambandhinībhiḥ rāgaiḥ, ādi-pada-grāhyābhiśceṣṭā"dibhiśca - (pp. 366, Candrikā tikā). This is the view of some ālamkarikas. He holds that when a vākya or sentence is said to be suggester, virtually only that pada or word which is not dissociated from suggestivity is in reality a suggester and not all words therein. But the whole activity of suggestion proceeds on the analogy of 'dandacakra-nyāya'. Just as daṇḍa, i.e. handle, cakra i.e. wheel etc. jointly make for ghata or pot, in the same way here also pada, vakya and racanã-each of these can be taken as rasa-vyañjaka.
Now he proceeds to give the view of the "navyas". According to this view, the 'racanã' (or style/diction) which consists of employment of special letters, is
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