Sambodhi 2005 Vol 28

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

Page 19

Vol. XXVIII, 2005
"POETIC CREATIVITY; ITS MANIFOLD....
13
prakāśayato—"
"prati-prakaranam praudha-pratibhā-bhoga-yojitah, eka evā'bhidheyā"tmā badhyamānaḥ punah punah -7
a-nyūna-nūtano'llekha-rasā'lamkarano'jjvalah, badhnāti vakrato'dbhedabhangīm utpăditā’dbhutām."-8-i.e. (Trans. K. Kris. pp. 545).
“An organic unity which strikingly underlines the various incidents described in different parts of the work, leading to the ultimate end intended, each bound to the other by a relation of mutual assistance." - (IV. 5).
“Reveals the essence of creative originality which is most aesthetic only in the case of a very rare poetic genius who is endowed by nature with the gift of an extraordinary inventive imagination."
He further observes (VJ. IV. 7.8.)-(another type of episodal beauty) “when even one and the same theme is again and again described in different places with a new touch of creative originality, and is made to radiate the glow of sentiments and figures of speech, it manifests a strikingly new mode of artistic beauty."-8
Kuntaka here (pp. 548, Trans. K. Kris.) observes : "The upshot may be indicated as follows :- The different incidental subjects of description in a work, such as moon-rise may occur more than once. But they may be so repeated only in case the plot demands their recurrence. Yet the style of description should be made to vary in each case, being adapted to the harmonious embodiment of different sentiments and figures of speech which are equally beautiful. Such an elegant variation invests even repeated conventional themes with aesthetic appeal. The best example of this is seen in the Harsa Carita, where we find the strikingly new and varied style of the poet, which, by its very abundance of beauty, lends charm to his descriptions of mountain, the close of the night and so on, in more than one context. Readers should enjoy them by reading the original only. Since they are so profuse, it . is impossible to explain them in detail here."
We may add that Anandavardhana also, in the context of Kumāra-sambhava observes how description of Parvati thrice in different contexts renders exceptional charm to the narration–He observes : Dhv. IV. 7- (pp. 282 Edn. K. Kris)
na cā'rthā”nantyam vyangyā'rthā'peksayā eva, yāvad vācyā'rthā'peksayā'pi iti pratipādayitum ucyate