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SAHRDAYĀLOKA is termed 'symbols' or 'images' or even what is termed as purely 'absurd' in literary or dramatic contexts. Ā. has kept his doors open for all this but for the present he observes that figures like metaphor and the like, become truly significant, (i.e. will be real ornaments) when they are employed in instances of śrngāra which is the soul of suggestion, with great descrimination. Again by śộngāra we should understand not only the emotive stuff but also the soul of poetry i.e. art-experience, the wider sense of śrngāra as taken by Bhoja-rājā also - 'raso'bhimano srngārah'. A. observes at Dhv. II. 17.
"dhvanyātmabhūte śộngāre samīksya vinivesitaḥ, rūpakā”dir alamkāra-varga
eti yathārthatām." For in his earlier kārikā (i.e. II. 16) he has observed that -
“rasā”kşiptatayā yasya bandhaḥ śakya-kriyo bhavet, a-prthag yatna-nirvartyaḥ
sólamkāro dhvanau mataḥ.” - i.e. (Trans. K.Kris. pp. 59, ibid) - "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.” - We may say that for Dr. K.Kris.'s use of words such as "the emotional suffusion of the poet”. we would like to read, “the art-experiment of the poet." This will include all amazing experiments such as done by modern literary artists in any spoken to-day. For, this is hinted at by Ā., when he observes in his vrtti on Dhv. II. 16, when he says - "nispattāv āścarya-bhūto'pi yasyā-'lamkārasya rasā”ksiptatayaiva bandhaḥ śakya-kriyo bhavet sósminn alaksya-krama-vyangye dhvanāv alamkāro matah. tasyaiva rasā’ngatvam mukhyam ity arthaḥ.” (Trans. K.Kris., pp. 59, ibid): "Though in the result it might appear very amazing, that figure, whose employment is due only to the poet's over-mastering emotion (i.e. art-sense, experience), regarded as a figure of 'suggestive poetry of undiscerned sequentiality.' The idea is that it alone serves as the best vehicle of sentiment.”
Ā. then lays down some guide lines for the use of alamkāras or we may say figurative style or diction in poetry. He holds that the sole consideration is that it is only a means to the delineation of sentiment, or say to bring about art
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