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Sanskrit Aesthestics
101
is called 'dhvani' (suggestion, suggestiveness). This method is extended to two other spheres of theme and content of kavya. viz vastu (a fact, a bare idea) and alamkara (figure of speech) Both vastu-dhvani and alamkara -dhvani can be paraphrased but rasādi dhvani can never lend itself to paraphrase. The beauty lent by suggested sense is the greatest alamkāra oi poetic speech just like bashfulness of womeo. (i) तृतीयस्तु रसादिलक्षणः प्रभेदो वाच्यसामर्थ्याक्षिप्तः प्रकाशते, न तु साक्षाच्छन्दव्यापारविषय इति वाच्याद् विभिन्न एव ।
-Dhvanyaloka, p. 80 वस्त्वलंकाराव पे शब्दाभिधेयत्वमध्यासते तावत् । रसभावतदाभासतत्पशमाः पुनर्न कदाचिदभिधीयन्ते, अथ चास्वाधमानताप्राणतया भान्ति । तत्र ध्वननव्यापाराहते नास्ति कल्पनान्तरम् ।
-Locana, p. 78
(ii) मुख्या महाकविगिरामलंकृतिभृतामपि । ___ प्रतीयमानच्छायैषा भूषा लज्जेव योषिताम् ।।
-Dhvanyaloka II. 37
(iii) प्रतीयमानता छाया शोभा सा च लज्जासदृशी गोपनासारसौदर्यप्राणवात् । [ कामिनी कुचकलशनिदर्शनदिशा ]
-Locana, p. 4.5 Abhinavagupta too upholds this method of dhvani as propounded by Ādandavardhana in the course of his exposition he often diaws our attention to 'gopanasārasaundarya'; and in one passage he aptly compares dhvani to a beautiful or noble lady's breasts partly covered or concealed and partly revealed the better to excite curiosity (and passion)
तल्लक्षणाप्रयोजन.. अशब्दवाच्यत्वेन गोप्यमान सन्नायिकाकुचकलशयुग. लमिव महार्घतामुपयद् ध्वन्यत इति ।
-Locana, p. 138 This simile on account of its inherent beauty and aptness became famous in later alamkāra literature. At one place be makes a perceptive remark : what cbarm is there if the sense to be conveyed is directly or openly conveyed by the power of denotation ? शब्दस्पृष्टेऽथे का हृयता ।
- Locana, p. 138 Anandavardbana boldly declares that dhvani (suggestion) is ‘kävyasya ätma (the soul, the very essence of poetry, creative literature). It may present itself in the form of vastu or alankära or rasadi. He is perfectly aware of the importarce of rasa-dhvani. But it is Abhinavagupta who
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