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"Concept of Rasa" as seen in Anandavardhana and......
1299
experience and that it is never an end in itself. The alamkāra should be employed at the right time and should be given up also at the right time. The poet should not feel over enthusiastic in pressing an alamkāra too far, even when it is employed. Again, the poet should be keenly watchful in making sure that it remains a secondary element only. These are the various means by which figures like metaphor and the like, become accessories of the suggested sentiment, or better of say, the art-effect attempted. A. observes at Dhv. II. 18-19:
"vivakṣā tat-paratvena nä'ngitvena kadācana, kāle ca grahaṇa-tyāgau náti-nirvahaṇaiṣitā. nirvyūḍhāv api cángatve yatnena paryavekṣaṇam,
rūpakā"dir alamkāra-vargasya angatva-sadhanam."
A. duly illustrates all this.
He also correlates gunas or excellences and samghatana or structure and holds that both should be employed in poetry as to suggest sentiment i.e. to bring home aesthetic pleasure or art-effect (Dhv. III. 6).
Ā. also correlates the topic of doșa or blemishes in poetic art to the general concept of rasa or art-experience, i.e. rasa-vyañjana. He observes at II. 11, that
"śruti-duṣṭā"dayo doṣā anitya ye ca darsitāḥ
dhvanyātmany eva śṛngāre
te heya, ity udahṛtāḥ."
anitya-doṣāś ca ye śruti-duṣṭā"dayaḥ sūcitāḥ tépi na vācye artha-mātre, na ca vyangye śṛngāra-vyatirekiņi, śṛngare va dhvaner ana"tmabhūte. kim tarhi ? dhvanyātmany eva śṛngāre angitaya vyangye te heyā ity udāhṛtāḥ. anyathā hi teṣām anitya-doșată eva na syāt."
(Trans. K.Kris., pp. 53, ibid) - "Defects like 'indelicacy which have been shown to be impermanent (by ancient writers), have been in fact illustrated as blemishes only with references to the erotic sentiment when its nature is suggestion." (Dhv. II. 11).
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