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28
Thell DJ
TAPASVI NANDI
SAMBODHI suggested sense' alone. But whatever is the purport of a beautiful poetic expression, whatever may be labelled as 'aesthetic' in poetry at any levelexpressed, indicated and also suggested-is 'dhvani' 'principal purport of a beautiful poetic expression.'
Then Bhoja explains this dhvani' in 'kavya' as "saubhāgyam eva gunasampadi vallabhasya lāvanyam eva vapuși svadate'nganāyaḥ śộngāra eva hrdi. mānavato janasya.”
Among the treasure of gunas only 'saubhāgya' is tasted, (both) in case of a vallabha i.e. beloved person (as well as in the person of a kāvya-purusa). Now 'saubhagya' as seen in Kuntaka above is everything in poetry. It is this, that and everything. It is pratibhā, it is pratibhā's launching pad, it is suggested. meaning, + + + + --- Among the wealth of gunas of a lover 'saubhāgya' is the most praise-worthy. In case of a lady "lāvanya' is the quality which is tasted by the aesthetics.
Abhinavagupta in his Locana mentions “lāvanya-candrikā” -“na ca avayavānām eva nirdoșatā vā bhūsaņāyogo vā lāvanyam.
prthan-nirvarnyamāņa-kāņādi-dosa-śūnya sariravayavayoginyām api alamkrtāyām api lāvanya-śūnyā iyam' iti, a-tathābhūtāyā api kasyāñcil, 'lāvanyāmrta-candrikā iyam' iti sahrdayānām vyavahārāt.'
(pp. 24, Edn. Dr. Nandi, ibid; Locana on Dhv. I. 4). Bhoja also equates this 'dhvanireva kāvye' with 'anganāyāḥ lāvanyam', which for Anandavardhan and Abhinavagupta was not a physical quality but something over and above mere physicality, a quality emerging from the total personality of a lady. Beauty is thus abstract, though revealed by physical and other features alike.
Bhoja further gives one more explanation. He says—and this is by implicationthat as is the quality of 'śngāra'-“raso'bhimano' hamkāra śộngāra iti giyate”- the highest quality of an aesthete, so is this ‘dhvani' in kāvya. It is not just the 'dhvani' of Anandavardhan and it is not the charm of vyañjanā alone, a name (=vyañjanā) Bhoja is never enthusiastic to mention. But this quality is that which emerges from 'total poetry. This can be equated with Kuntaka's saubhāgya.'
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