Sambodhi 2005 Vol 28

Author(s): Jitendra B Shah, K M Patel
Publisher: L D Indology Ahmedabad

Page 17

Vol. XXVIII, 2005
"POETIC CREATIVITY; ITS MANIFOLD....
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aspect of the Divine that is in focus in all art and critics in their own way try to make us understand the "beautiful” in a given art-form. Virtually all thought-currents tend to explain this beautiful' aspect and eventhough there may be difference in terminology, the essence is the same-"ekam sad viprāh bahudhā vadanti."
We will support our observations with some illustrations from various types of literary forms. First, with narrative/descriptive art to begin with. The picturesque descriptions of "unmattāh mātariśvānah" in Bāna, nobody of developped sensitivity can miss. Anandavardhana (Dhv. IV. 4) observes, “Even trite subjects in poetry will put on a new freshness if they get into touch with sentiment just as the same trees appear quite new with the advent of spring.” (Trans. K. Kris. pp. 271 Dhv.). He further observes, "tathā hi vivakṣitā'nyapara-vācyasyaiva sabda-śakty-udbhavā'nu-rananarūpa-vyangya-prakarana-samāśrayena navatvam. yathā, 'dharani-dhāraṇāya adhunā tvam sesah."—ity ādau.”-i.e. “The following illustrates how novelty is achieved by a commonplace theme due to the influence of resonance-like suggestion based upon the power of word under the class of suggestion with intended but further-extending expressed content :
1. "Now you alone are left with (also, the primeval serpent) for bearing the burden of the earth."-(Trans. K. Kris. pp. 271). This expression is more beautiful as compared to an older expression having almost identical meaning.
While discussing the beauty of vicitra-mārga (V. J. I. 43) Kuntaka takes an illustration from Bāna (pp. 57. Edn. K.Kris.) such as—“katamah pravijțmbhita-virahavyathah sūnyatām nīto deśaḥ.”—“which of the states is rendered empty and striken with pangs of separation from you ?" (pp. 342, V. J. Trans. K. Kris.).
“In these, the intended ideas are where have you come from ?"......streaked as they are with a shade of the figure of speech viz. "vicarious reference", and partaking of its beauty, these bare ideas have become singularly delightful to men of taste” (Trans. K. Kris. pp. 343). Thus Kuntaka finds the beauty of Aprastuta-praśamsā in this expression. Again, under I. 52 (V. J. p. 52), Kuntaka observes : (while glorifying the "middling" i.e. madhyama-mārga).
“atrā’rocakinah kecic-chāyā-vaicitrya-rañjake, vidagdha-nepathya-vidhau bhujangā iva sādarāh."
i.e. "It is this style which fascinates a class of fastidious poets who are fond of mixed variety in their art, like men-about-town, who are fond of fashionable dress.” (Trans. K. Kris. pp. 351).