Sambodhi 1983 Vol 12

Author(s): Dalsukh Malvania, H C Bhayani, Nagin J Shah
Publisher: L D Indology Ahmedabad

Page 52

Srngäre Vipralambhaklıye
Let us understand these statements of Anandvardhana in the translation of Di K. Krishnamoorthy.
“The Erotic indecd, is the sweetest and most delighting of all sentiments. The quality of sweetness is grounded securely on poetry wluch is full of this sentiment", (2.7)
The Erotic shines as sweeter and more delecatable than all other sentinients. 'Sweetness' is a quality which relates towards meaning of compositions (imbued with this sentiment) and not to mere soundharmony For, sound-harmony is found alike in forcefullness too (and is not a differentia of sweetness.)
“In sentiments viz., love-in separation and the pathetic, sweetness will be uppermost It is so because the mind is moved very much in such
instances". (2.8) The quality of sweetness alone is uppermost in the sentiments of love-in-separation and the Pathetic, as it causes great delectation in the minds of refined critics--
“In none of the varieties of the principal poetic sentiment does alliteration shine forth since it
involves great effort at achieving similarity". (2. 14) In none of the varieties mentioned above, of the principal erotic sentiments does alliteration become a partaker of suggestion, because it will proceed with the exclusivc purpose of achieving similarity (in sound).
The employment of the adjective principal' in the text serves to point out that when the erotic sentiment is only secondary in importance, the use of such alliterations is left to the option of the writer.
“Even if a poet be an expert in the use of figures like ressonance, his employment of them in the erotic sentiment which is of the nature of suggestion, and particularly in that of love-in-aeparation, would amount to a lapse on his part" (2.15)
"In instances where we find the erotic sentiment as of the nature of suggestion, i.e. as that which is principally suggested by both sound and sense, it would be a lapse indeed on the part of the poet if he were to employ various kinds of rassonace and difficult verbal puns involving the splitting of words in different ways, however skillful he might be in devising these.
(Trans. by K. Krishanamoorthy.)