Sambodhi 1998 Vol 21

Author(s): J B Shah, N M Kansara
Publisher: L D Indology Ahmedabad

Page 12

Vol. XXI, 1997
KUMĀRASAMBHAVA AS CRITICALLY EXAMINED BY....
7
inevitable in the above illustration. The purport is that, taking for granted the presence of the general at all places, the use of you need not be restricted to neuter / singular alone, but it can be used with different genders and different numbers also. Precisely for this, we have the use of R: (Plural) in the line : YRITT 975$ siffa. etc. The outcome is that to illustrate some niceity of grammar Vāmana has drawn from Ku. Sam. here.
Thus, Vāmana has borrowed from Ku. Sam. at four places to bring home different aspects of literary criticism.
II : Anandavardhana trying to explain some subtle points of criticism draws up the following verses as illustrations from the Ku. Sam. : (1) j Hostal:. etc. (Ku. Sam. 1/2) Dhvanyāloka (= Dhv.) 1/6. The Locana on Dhv.1/6 has this verse. Abhinavagupta explains that through this verse, all the deserving qualities of Himalaya are illustrated. This also brings to light the genius of the poet. For the cultured readers, the poet's genius is not a matter of reasoning but it shines of its own through exuberence of sentiment - Thal. To explain how the genius of great poets is exhibited by their works, this verse is quoted. (2) waaiffa daut. (Ku. Sam. 6/84); at Dhv. 2/22. Under Dhv. 2/22 dhvani of the variety of 37efyrary.ca is explained. Here without the help of any other expression, the meaning on its own suggests some other fact. In the illustration, viz. daiff. the sense of its own, suggests some other sense. Thus, this verse is quoted to illustrate a particular variety of dhvani. (3) Frateful (Ku. Sam. 3/52). (4) ufaurid. (Ku. Sam. 3/66). (5) Berta fofer (Ku. Sam. 3/67). In the Locana on Dhv 2/22, these verses are quoted. They stand to suggest that through the determinants and consequents following the ancillory and basic emotions, rasa i.e. aesthetic pleasure, is derived in a way where sequence is not perceived. e.g. fiafute fag, etc. The daughter of the mountain was seen, followed by the deities of the forest and awakening the valour of these by the quality of beautiful form. In this verse a complete description of the nature of the determinants, both of the alambana and the uddīpana type, is given. In the verse afmetc. etc, also, the same use of determinants is pointed out by the