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MEANING AND EXPRESSION IN POETRY
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realisation of the pangs of separation. This recurrence of harsh sounds like varitṭha dittha also constitutes a figure of words-Sabdalaṁkāra viz. Anuprasa, nevertheless they prove here detrimental to the transmission of the intended meaning. There is no harmony between the sound and the intended meaning. The reason is that the poet of this verse has not really felt the forlorn condition of a lover in his imagination and therefore the verse is not enlivened with the consequent emotion. It is not a genuine expression; it is a false or contrived expression. The poet is acquainted with the conventional paraphernalia of the love-lorn condition-the moonlight getting hot, sandal paste, garland, nocturnal breezes and all cold treatments enhancing the love-fever-he has the art of versification and he can contrive figures of speech. But all these cannot bring him the good name of a poet in spite of all his aspirations, if he is not at the same time capable of feeling precisely the appropriate emotions. The disharmony between the soud effects and the intended meaning in the above example is on account of the fact that the poet has not precisely felt the appropriate emotions. Hence the verbal expression could not be moulded and shaped as the emotion would have it. To make any generalisation like, 'harsh sounds are uncongenial to the sentiment of love' is but to see the half truth for in appropriate contexts even harsh sounds may become congenial to the delineation of the sentiment of love. The following verse uttered by the king in KM, who is mad with love, may be taken as an example :
fa
agefa u gefa ar gorj ang gefa faugfa fangèj | वोल्लम्म वट्टदि पअट्टदि कव्व-बन्धे
झाणे ण तुट्टदि चिरं तरुणी तरट्टी ॥
Here the recurrent harsh sounds are congenial for they show how the lover's normalcy in really breaking under the sharp and poignant grief of separation. The verbal expression here naturally coheres with the desired meaning. It directly springs from the urgency to express and
therefore is not false or contrived.
Jain Education International
KM II-4.
The blemishes in poetry are blemishes because their presence is an ugly notch upon the semantic contour. They delay or obstruct or entirely mar the realisation of the meaning. We may call them by various names such as impropriety or obstruction to the realisation of the rasas and may subdivide them into padadoșa and arthadoșa and rasadosa etc. but in each case they mar the organization and transmission of the intended meaning and so finally tell upon the realisation of the desired mood: In the moment of creation the poet makes, forms
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