Sambodhi 2005 Vol 28

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

Page 18

12
TAPASVI NANDI
SAMBODHI
He further observes : (pp. 66, V. J. I. 52)- "atra guno'dāharaṇāni parimitatvāt pradarsitāni, pratipadam punaśchāyā-vaicitryam sahỉdayaīḥ svayam eva anusartavyam anusarana-dik-pradarśanam punaḥ kriyate. yathā-mātrguptamāyurāja-mañjīra-prabhstīnām saukumārya- vaicitrya-samvalita-parispandasyandini kävyäni sambhavanti tatra madhyama-märga-samvalitam svarūpam vicāraniyam. evam sahaja-saukumārya-subhagāni kālidāsa-sarvasenā” dīnām kāvyāni dịśyante tatra sukumāra-mārga-svarūpam carcanīyam.
tathaiva ca vicitra-vakratva-vijrm bhitam harsa-carite prācuryeņa bānabhattasya vibhāvyate, 'bhavabhūti-rājasekhara-viraciteşu bandha-saundaryasubhageşu muktakesu paridrśyate. tasmāt sahrdayaih sarvatra sarvam anusartavyam."
(Trans. K. Kris. pp. 352) (i. e.)—“We have illustrated the excellences here in brief; the individual shades of beauty attached to each word have to be imagined by the connoisseurs themselves. At the most we could offer some guidelines in this regard : The poetic works of authors like Mātrgupta, Māyurāja, and Mañjīra (?) will be pulsating with a blend of the 'elegant and the 'brilliant' qualities of style. One should consider them as representing the 'middling' style. Likewise the works of Kālidāsa, Sarvasena, and so on, will be charming with literary quality of elegant style at its purest. So also in Bhatta Bāna's Harşa-carita we observe a plethora of brilliant artistry; this is true also of the self-contained verses of Bhavabhūti and Rājasekhara which are striking by virtue of their stylistic splendour. Thus connoisseurs could exercise their judgement in each individual case."— .
Under, III. 24 (pp. 180,1) Kuntaka observes : "vibhūsanżntara-sahāyasya punar ullekhatvena vidhīyamānatvāt sahệdaya-hỉdaya-samvāda-sundarī parā praudhir utpadyate. yathā- “nirmoka-muktir iva gaganóragasya līlālalātikām iva trivistapa-vitasya" (Harsa carita, N. S. P. Edn. p. 19) — i.e.
"Such a novel presentation of metaphor associated with other figures of speech certainly contributes to the highest kind of poetic excellence; e.g. “As if it were the slough cast off by the sky-cobra, as if it were the ornamental mark worn on the forehead by the heaven-beau.” [The mixed beauty of Rūpaka and Utpreksā is appreciated here.]. The same illustration is cited to explain the beauty of imagined similarity under V. J. III. 31., and also of mixed (samkara) beauty at V. J. III. 61; (pp. 240).
Again, while dealing with "prakarana-vakratā" at IV. 5, 6, Kuntaka further elaborates it at IV. 7, 8 (pp. 255)- He observes : "asyāh eva prakārā'ntaram