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"Classification of Poetry' (Criticism Oriented)
991 about when the sequentiality is discernible.” (Trans. K.Kris. pp. 41, ibid) The first variety is ‘a-samlaksyakrama dhvani' and the second variety is termed, 'samlaksyakrama-dhvani'.
At the root of both these varieties, lies abhidhā, i.e. the power of direct expression. There is neither any 'bādha' or contradiction of meaning, nor any disregard (tiraskāra) of vācyártha, or its merging (samkramana). Thus the literal sense is neither 'completely lost nor ‘merged in the other meaning. So, here, in both these varieties vyañjanā or suggestion is based on abhidhā i.e. the power of expression.
The two varieties of abhidhā-mūla or 'vivakṣitányaparavācya' are explained in the Locana (on Dhv. II. 2) by resorting to the bahuvrīhi compound in the term, "asamlaksya kramódyota" and it observes that, "one whose function is such-where the sequence is not clearly noticed is said to be 'a-samlaksyakrama' : "samyan na laksayitum śakyah kramah yasya, tādrśah udyotana-vyāpārósya iti bahuvrīhih." The other, viz. "kramena dyotitah samlaksyakramah" is clear in itself.
Continuing the discussion on a-samlaksya-krama-dhvani, Ā. observes at Dhv. II. 3 -tatra,
“rasa-bhāva-tadābhāsatat-praśānty adir akramah, dhvaner ātmā’ngibhāvena
bhāsamāno vyavasthitaḥ.” "Sentiment, emotion, the semblance of sentiment, or mood and their (rise and) cessation etc., are all of “undiscerned sequentiality". It is decided that when we have prominent presence of this variety, we are having the very soul of suggestion.” (Trans. K.Kris. pp. 41, ibid)
Such categories as sentiment and the like are apprehended as it were simultaneously with the expressed literal sense. And when they are apprehended as principal (source of charm) we arrive at the very soul of suggestion. Ā. observes : rasa"dir artho hi saha iva vācyena avabhāsate. sa cangitvena avabhāsamano dhvaner ātmā. (vrtti. on Dhv. II. 3)
This variety of rasā"di-dhvani is imagined to be bereft of any sequentiality. This does not mean that there is no sequence whatsoever between the apprehension of determinants, consequents and ancillary feelings, i.e. the vibhāvā"dis and the actual apprehension of 'rasā"di' i.e. sentiments, emotions etc. - i.e. in short the emotive stuff. But the point is that the sequence being absolutely minute is not noticed at
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