Sambodhi 2005 Vol 28

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

Page 22

16
TAPASVI NANDI
drama and even in drama there is versified expression. In "rāmo'smi sarvam sahe," or, "rāmeņa priya-jīvitena tu kṛtam," or in "nyakkāro hyayam eva..." or, in "dvayam gatam samprati śocanīyatām....", or "te locane pratidiśam..." or "vyāpārayāmas vilocanāņi...." etc. we have charms of vācya and vyangya intermingled as explained by great critics. But even in a verse composition we have a graceful mixture of drama as seen in, "tava-prasādād kusumāyudho'pi san...." etc. There is pictorial beauty as in, "revām drakṣyasy upalaviṣame...." or "valmīkā'grāt prabhavati dhanuḥ khandam akhanḍalasya....barheṇe'va sphurita-rucina gopa-veśasya visnoḥ...." or there is sheer sonorous beauty as in, "hiranya-garbhā'nga bhuvam munim hariḥ," or "sață cchațăbhinna-ghanena bibhrata," or "vapreṇa paryanta caroḍu-cakra sumeruvapro'nvaham anvakāri." Sheer grace of poetic expression is seen as in "cira-paricitās te te bhāvāḥ" or, "iyam gehe lakṣmi" or "lulita-lulitair angakais tāmyatīti," and also strength and vigour as in "pratyagro'nmeṣa-jihmā kṣaṇam anabhimukhi (Mudrā. III. 21), or "kodanda-jya-kina'nkair agaṇita-ripubhiḥ..." (Veni II. 26), etc. There is gentle narration as in, “avanti-puryām dvija-sārthavāho....yuvā daridraḥ..." We have exquisite beauty in "viddyullekha-kanaka-ruciram shrīvitānam mamā'bhram." etc. There is poetry in prose as in "prathamam megharājir dṛśyate paścād vidyullatā", or "drdham khalu lagna, durmocanīya iva pratibhāti, etc. and also, "yadi param a sahyas tu virahaḥ"-deva! upasthitaḥ..." etc. Or, in lines from Shakespeare such as, "not on thy sole but on thy soul, O harsh jew !" and "Ides of march have come !" Aye yet not gone!" "You too Brutus ! Then fall Caesar!"
SAMBODHI
There is no end to poetic creativity. It flows like the Divine Gangā and we offer a hundred thousand salutations to it. "aho' ho Gange'yam bhavatu praṇipātaḥ śatamukhaḥ !"- "na ca teṣām avadhiḥ..."
We may conclude with a note that all poetic creativity is directed to what the Indian critics call rasa-experience i.e. art-experience i.e. ananda'nubhuti or aesthetic experience par excellence. Abhinavagupta-following Bharata, and followed by one and all including Kuntaka, Mahimā, Dhananjaya, Bhoja, Hemacandra, Śāradātanaya, Sāgaranandin, down to the great Jagannatha,-holds that "rasa" is 'kävyä'rtha' and here it should be noted that "artha-sabdo'tra na abhidheya-vācī api tu prayojanavācī." This means that all poetic art is rasa-oriented, 'rasa' being its supreme end. We know that here 'rasa' is not just a sentiment, an enhanced bhāva,-sthāyin or otherwise, though of course it includes it, but is more than that. It is an experience which has involvement of the total personality of the connoisseur including his emotive, connative and intellectual aspects.' It is an experience "sui generis," and "peri passu" with artpresentation. It begins and ends with the projection of art. As it touches the intellectual