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APPENDIX-I
109
(bhāvayitri) faculty in the other partake of the nature of pratibha -- intui * tional apprehension.
As a matter of fact, the two had symbolically met when the poem originally came to be written - when the composer laid down his pen after writing the last word and making final touches, if any. Only at the final moment of the composition the poet can realize what poem he was trying to write, what the kavigatasādharanibhūtasamvit-generalized consciousness of the poetactually was. It must have been the enjoyer, the critic, the sahrdaya in him who must have borne out the creator in him and reassured him of the finality of the outcome. Abhinavagupta seems to suggest as much when he says in the opening stanza of Locana, 'Sarasvatyāstattvam kavisahrdayakhyam vijayate'- victorious is the essence of Speech called kavisahrdaya, for he has so worded his say that the compound kavisahȚdaya also means 'the creatorenjoyer, the poet, who himself is the discerning reader,' over and above referring to the inevitable pair involved in all aesthetic activity - 'the poet, the artist and the discerning enjoyer, the critic.'
