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Is Vasta Divani an Expendable form of Poetic Excellence?
Lavanya, Anuloma, Pratiloma and Sabrahmacari Prayojanavati laksana is divisible inio saropa mukhacandra and sadhyavasina-Sure'smin saudha sikhare candra rajt virajate-ladies peep from terraces. It is also divisible into Jahallaksana where the meaning is rejected entirely and Ajahallakṣaṇā where it is partly retained. There is Upadana lakṣaṇa in cases like Yaghah pravela ya and Kuntaḥ pravisanti and also Viparita laksana and Vyatireka. lakṣaṇā. In Kakebhyo dadhi rakṣyatām a dog or cat is also included. Laksana is of 3 types according to the verse
अभिवेयेन सामीप्यात्सारूप्यात्समवायतः । वैपरीत्यास्क्रियायोगात् लक्षणा पश्ञ्चचा मता ॥
Even Abhinavagupta a staunch advocate of dhvani, boggled by the possibilities of laksana says, 'एवमनया लक्षणा पचविषया विश्वमेव व्याप्तम्'
I. p. 283
151
1. The eg. for lakṣanã due to abhidheya is dvirepha 2. that due to samipya and sarūpys is Gangāyām ghoṣaḥ. 3. di to samavaya Yaşthiḥ pravefaya 4. due to vaiparitya when one addresses an enemy sardonically with praise 5. due to Kriyayoga in Präṇan ayam harati deniting anna and Ayurghṛtam. While lakṣaṇa is present always with primary denotation, gauna is due to the association of certain qualities in the subject with. äropa. Agairmänavaka to indicate the sharp intellect etc. For instances like Mancah krofanti, Mancaḥ hasanti, Pato dagdhah and Girir dahyate. Aksepa itself will give the required sense, Upacara is fourfold-due to 1. tädarthya, 2. svasvami bhava, 3. avayavävayava bhava and 4. tatkarmya. In all these cases of secondary function, there is a break in the flow of literal sense and the primary sense is rejected to give the new meaning. Moreover, it is always vacyärtha which is suggested which has no special. poetic charm.
Jain Education International
In all the verses quoted by Mahimabhaṭṭa as egs of lakṣaṇā and anumana there is no mukhyartha badha. Hence they come only under vastudhvani which can be due to abhidha as well as laksana. Moreover, the Ramyata in the verses more than justifies the title of dhvani for the prakāra. As Abhinavagupta says, अतिरमणीयमिति भाक्ताद्वयतिरेकमाह । न हि सिंहो वदः गङ्गायां घोषः इत्यत्र रम्यता काचित् 1 p. 57. In all cases Mahimabhatta confuses the device with the genre. Upacara, gauna, and lakṣaṇā are mere devices which enhance the beauty of vastudhvani. So also a catu or a prahelika in vastudhvani is superior to a catu or prahelika or direct
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