Book Title: Sambodhi 1984 Vol 13 and 14
Author(s): Dalsukh Malvania, Ramesh S Betai, Yajneshwar S Shastri
Publisher: L D Indology Ahmedabad
View full book text
________________
R. S. Betai
manner, the heart of the Sahırdaya and to win him over in love. This Vak yavinyasa gives to the Sahrdaya, a unique experience of nectarbath and yields to him, varied and ever beautiful experiences beginning from this Amftasnāna to ultimate experience of the complete merger of his personality in the beauty, charm, appeal and delight of Kavya, so that on his part it is loss of his seperate identity or, to state in other words, his personality becomes cxpanded like the expanse of human experiences that Kavya leads to, in its own original way.
Thus, the uniqueness and typical traits of Vak yavinyasa in Kavya cannot be described to the full inspite of all efforts. That is precisely thie meaningfulness of Kavyabandha, the ideal of which ranks very high in NPS.
Analysis of the Views
This discussion on the use of Padas in Kavya as also Väkyavinyasal or Kavyabandha, in the Karikas and Vrtti, gives a fine expression to NPS's conception of it in AM. It also analyses and reveals the unique powers and capabilities of use of words in Kavya; it also reveals at the same time, how poetic speech very much differs from common worldly speech. Ananda states :
ध्वनेरित्थं गुणीभूतव्यंग्यस्य च परिग्रहात् । न काव्यार्थविरामाऽस्ति यदि स्यात्प्रतिभागुणः ॥ वाचस्पतिसहस्राणां सहस्ररपि यत्नतः । निबद्धाऽपि क्षयं नैति प्रकृतिर्जगतामिव ॥ ...
The same truths apply to NPS's conception of Vakyavinyasa that creates Dhvani par excellence of Kavya.The alaukikatva -other worldliness-of beauty and its quite unconimon experience, expect their own charm in the limbs of a youthful girl and also an uncominon identity of all these that constitutes beauty of the girl. The same truth applies to the body of Kavya. The experience of poetic charm, known as Lalanālāvanjaprakhya by Ananda (Dhr. 1.4)dlepends almost entirely on kävyabandha. Still liowever, kavyabandha is shaped by and is decisively clependent upon the poetic experience and enjoyment of the Sahrdara. When therefore, NPS analyses kavyabandh strictly bearing in mind this experience of the Sahırdaya, he brings abou
