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Vol. XXI, 1997
KUMĀRASAMBHAVA AS CRITICALLY EXAMINED BY....
9
Under Dhv. 3/29, the author discusses the problem of applying the term 'dhvani' to instances of what may be called 'Tutugonçuel - Anandavardhana is of the opinion that when a critic feels that logically a piece of poetry belongs to quit. class (945RIRT facut.) etc., then there he should refrain from placing it under the head of dhvani. The matter of placing a poem either under dhvani or gunibhūta-vyañgya has to be decided on merits and arguments for or against, this or that. The critic should not be prejudiced in favour of dhvani alone, e.g. पत्युः शिरश्चन्द्र. etc., or “एवंवादिनि." etc. Anandavardhana feels that when a critic feels that the suggested sense in conveyed principally, without an artful expression, then it becomes case of dhvani; and not in all places. In these two instances the artful expression seems to be more charming and hence there is quit., and not saft. Thus, we have to be very watchful in evaluating a poem as a case of either dhvani or gunībhūta-vyangya.
Under Dhv. 3/43, the author suggests that the divisions and sub-divisions of dhvani multiply when they get combined with the innumerable varieties of Tít.. The instance quoted is again yaifft. etc. Anandavardhana feels that here the variety of अलक्ष्यक्रम is rendered more beautiful by the variety of अर्थशक्त्यु द्भव - अनुरणन-रूप-व्यङ्ग्य. This verse is used by him to suggest the subtler poetic beauty. (9) Haf441604. (Ku. Sam. 1/49). (10) HT170979pui. (Ku. Saṁ. 3/53). (11) ni ysgai 77. (Ku. Sam. 7/13). Under Dhv. 4/7 the author suggests that even with the help of the expressed sense, not to consider the suggested one here, the poetic theme becomes boundless and the meaning crosses all boundary. The description of condition (379 ), place (art), time (161), etc. adds variety even to a bare expressed sense, which gets boundless. He quotes the above poems to substantiate his argument. When sentient or insentient objects are described, a lot of variety springs up owing to difference in there condition, place, time etc., even at the expressed level in a sentence. Thus poetic theme, only by resorting to Fayralen or natural, simple expression, becomes boundless, e.g. in the above verses which attempt to describe Pārvati in different contexts and conditions ! Even repetition does not create boredom. III : Kuntaka (=K.) in his Vakrokti-jīvita (V. J.), always favours indepth observations keeping the text of the poem before him. At times he supports Anandvardhana's observations. He has taken care of ten illustrations from Ku.
