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VAISHALI INSTITUTE RESEARCH BULLETIN NO. 2
indistinguishable from the moon-shine shrouding them and so which only can be inferred from the humming of the black bees upon their flowers, the semantic gaps between the white flowers of the Saptacchada, the moon light and the humming of the bees have been successfully bridged up: the three units have been woven together by imagination to form one composite image which is unique in its compositeness. It is their mutual coherence that brings about Camatkara and gives to the expression the character of poetry. The verse,
निःशेषच्युतचन्दनं स्तनतटं निम॒ष्टरागोऽधरो नेत्रे दूरमनञ्जने पुलकिता तन्वी तवेयं तनुः । मिथ्यावादिनि दूति वान्धवजनस्याज्ञातपीड़ागमे । वापी स्नातुमितो गताऽसि न पुनस्तस्याधमस्यान्तिके ॥'
Kávya P (1-2) is superior to
स्वच्छन्दोच्छलदच्छकच्छकुहरच्छातेतराम्बुच्छटामूर्छन्मोह-महर्षि-हर्ष-विहितस्नानाह्निकालाय वः । भिद्यादुद्यदु दारदर्दुरदरीदीर्घादरिद्रद्रुमद्रोहोद्रेक-महोमि-भेदुरमदामन्दाकिनी मन्दताम् ॥
_Kavya P (1-4) for in the former a great semantic gap between the denotated and the suggested meanings has been bridged up successfully; the lady's sandalpaint being effaced etc. may result either from a dip in the pool or from amorous dalliance with the lover-it is the successful fusion of the two that has brought about the poetic charm in the verse. But in the latter there is no semantic synthesis at all, on the contrary, there is a semantic blur. The little bit of meaning that the verse has, breaks into pieces and loses itself in the mazes of empty sounds. It is not only putting the cart before the horse but it is smashing the horse with the cart.
Verbal music is not uncongenial to poetry but it should be subservient to the semantic synthesis. There is verbal music in the des. cription of Karpūramañjari in the swing :
रणन्तमणिणेउरं झणझणन्तहारच्छडं कणक्कणिदकिंकिणी मुहरमेहलाडम्बरं । विलोलवलयावलीजणिद मञ्जु सिञ्जारवं ण कस्स मणमोहणं ससिमुहीए हिन्दोलणं ॥
"KM. (2-32) 1. Given as an illustration of highest type of poetry Vyangya
kavya'. 2. Given as an illustration of very inferior sort of poetry which
is sheer verbal jugglery 'citrakaya'-'Sab.dacitra'. It is the essence of the poet's vision. He sees various semantic units simultaneously cohering to form images.
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