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VAISHALI INSTITUTE RESEARCH BULLETIN NO. 2
the Artha also has suffered a variation no less than the words have. The difference between the poetic and the non-poetic handling of the Artha is that in one case it is used as a means of evoking some mood w the other it merely conveys some concepts.
Rājasekhara points out to two categories of the Arthas. One is Vicarita Sustha', that which is well thought out and whose nature is not flexible; another 'Avicarita ramaniya which is imaginatively arrived at, therefore need not be well thought out, but it is appealing. In poetry we find the latter type. Here the same reality may undergo several variations in the contexts of different imaginative activities for it is in the imaginative activity that this type is shaped. It is therefore plausible to hold that subject has no fixed character in poetry; its character rather depends upon the poet's particular imaginative grasp of it. But it is not tenable that the Arthas have no share in the production of the poetic charm. The imaginative activity expresses itself in the metamorphosis of the Arthas as well and the poet's way of expression is extraordinary because it is the expression of this metamorphosis. The maxim about poetic expression, "what oft was thought, but never so well expressed” needs soine modification, assuming of course that the word expressed refers to the external verbal expression. In poetry we cannot have anything well expressed unless it is also well perceived in the imagination. Poet's expression is unique and striking for his imaginative perception of the Arthas also is unique and striking If however we refer 'expressed' to the inner imaginative expression, the maxim will be acceptable without any amendment, for the poet's imaginative perception and expression are one and the same activity. The poet in his creative moment makes, forms and this making, this forming is expressing. It is the inner fundamental expression and the verbal expression is sheer externalisation of this inner expression. All true poetic expressions are fundamentally inner and purely spiritual. They cannot suffer any physical division into the expressor and the expressed. They are each one organic whole. (d) Semantic Synthesis
I. Esemplastic power of imagination.
The poet's creative imagination is an esemplastsc power--the power that unites discordant elements and weaves them into an organic 1. विदग्धभणितिभंगिनिवेद्यं वस्तुनो रूपम् न नियतस्वभावम् इति अवन्तिसुन्दरी ।
---- वस्तुस्वभावोऽत्रकवरतन्त्रो गुणागुणावुक्तिवशेन काव्ये । . उपपन्नम् इति यायावरीयः ।
Kávyam IX 2. Such an assumption is not at all incompatible in case of Pope
who is the author of the quote.
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