Sambodhi 1984 Vol 13 and 14

Author(s): Dalsukh Malvania, Ramesh S Betai, Yajneshwar S Shastri
Publisher: L D Indology Ahmedabad

Page 26

Kavyabandha or Väkyavinyasa
21
a get-together, a trivenisongama of the poet, vākyavinyāsa and the sahşda ya reader. This definition of kavyabandha seems to treat as a complete identity kävya, the poet and the sahrdaya and consequently all the three are known to us together. This definition defines all the three in the fewest possible words, the creative artist and his creative experience,kāvya and the salțdaya. NPS analyses and tries to lay down in clear, effective terms, what a poetic creation should be, in which language it should be, and what it shall give and not give to the sahrdaya reader. His conception of words-power in poetry naturally evolves with this. This is the precise attainment of the sūtra-like kārikās and the Vrtti thereon.
Important thoughts that are the outcome of this discussion and analysis can be laid down in these words.
The day-to-day worldly language is the same as poetic, still, day-to day worldly language is not the same as poetic language, in this sense that a poet's word and sense born thereof, and the happy unity and oneness of the two, give to the Sahşdaya reader, an experience of so many varied meanings and host of emotions. NPS has analysed these in his AM. This word and meaning and their identity can yield different meanings and experiences to different readers, in tune with their varying mental and emotional states and the resultant Sahğdayatya very often with every reading, in case often of the same reader. In a similar manner, this: word and meaning and their identity in Kavya and the resultant unique charm can yield different poetic experiences to different readers according to their differing Sahțdayatva, its differing status with each reader. Whatever it may be, the world of emotions and the varied experience of poetic charm, aesthetic experience as it is called, that is created with reading and enjoyment of Kavya, givcs in the end, to the right Sahrdaya's heart a happy, delighting concentration, and the resulting identity of the reader with the emotional world of Kavya and the aweinspiring experience of forgetting ones self. That is the reason why this indefinable experience surpassing all language and expression is known by NPS as unique, unparallelled, indescribable.
Following the preceding Ācāryas, NPS lays down in AM 2-30 and clsewhere the threefold sense and the supremacy of Dhvani including Rasa; but still lays down that the peculiarities of Kavya do not end with this. This shows that even though NPS follows predecessors in this, his approach and analysis are original and very very clear. His discussion, though brief, is profound. On the other side, this is a proof