Vaishali Institute Research Bulletin 2

Author(s): G C Chaudhary
Publisher: Research Institute of Prakrit Jainology & Ahimsa Mujjaffarpur

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VAISHALI INSTITUTE RESEARCH BULLETIN NO. 2
whole. They promote and sustain each other. Whoever slights the meaning and prefers verbal mansions fails to create genuine poetry. Anandavardhana forbids yamaka in serious poetry for a predilection for it is very likely to lead the poet stray from his meaning. In building verbal mansions the poet is not pre-occupied with expressing himself. He is rather occupied with some sort of poetic gymnastics. Meaning in such cases is only an ancillary to the verbal pattern that the poet wants to weave. Citrakavya suffers as poetry for the meaning here has only the ancillary status. In stead of composite semantic texture we have a semantic hollowness in citraka vya. The passage that Rajasekhara quotes as an example of an excessive partiality for 'padaracana' on the part of the poet suffers from semantic hollowness.1 Bhojarāja in Sarasvati kanthabharana quoting this same passage as an example of 'padaracana' points out that words have forcibly been dragged in for the rhythm and alliteration. Meaning element is sheer pretence for building up the verbal mansion. In such cases the meaning and the verbal expression donot mutually promote and sustain each other. Urgency on the part of the poet to express himself-his unque vision-is the prerequisite of every genuine poetry. Whenever such urgency is lacking the link between the verbal expression and the meaning is bound to be thin. Such expressions are false expressions-sheer shadow of poetry, for they do not originally rise from the poet's urgency to communicate his imaginative perception, there is no perception to be communicatedit is sheer fondness for composing poetry that is the incentive here. The jester in KM is driven to versifying by such an incentive. He presumes to describe the forlorn condition of a lover since he caught sight of some beautiful girl. He does it in the following verse: परं जोन्हा उण्हा गरल सरिसो चन्दण रसो खरवखारो हारो रअणिपत्रणा देहतवणा । मुणाली बाणाली जलइ-अ जलद्दा तणुलदा रिट्ठा जं दिट्ठा कमलवअणा सा सुणअणा ||
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KM (2-11)
Each line has a perfect finish with respect to versification. It is exceptionally rich in internal rhymings. But it fails to produce the desired. effects on account of the recurrent harsh sounds which here mar the
1. लोलल्लांगूलवलयित वकुलानोक हस्कन्धगोलै
2.
लांगूलैर्नदद्भिः प्रतिरसित जरत्कन्दरामन्दिरेषु । @usqgusfqustanracam: mfqè âa àar भालंख्योत्तालतल्ल स्फुटित पुटकिनी बान्धवो गन्धवाहाः ॥ SKA (2-69).