·Dedicated to
My
Parents

·First Edition]
1973
© GUJARAT UNIVERSITY
Price Rs. 20-00
Printed by
Tribliavandas Shastri
Shree Ramaband Printing Press,
Kalolia Wade,
Kaakaria Road,
Abmedabad-22.
Published by
Kanchanlal C. Parikh
Ragistrar,
Gujarat Volversity
Navarangpura,
Abmedabad-9.

·FOREWARD It gives me great pleasure, indeed, in publishing Dr. Tapasvi S. Nandi's thesis entitled "The Origin and Development of the Theory of Rasa and Dhyant in Sanskrit Poetics". Dr. Nandi has dealt with the subject in its historical perspective wbich forms an interesting study in probably one of the most important theories advanced by Sanskrit literary criticism. He has shown how the theory of Vyanjana- Rasa-Dhvaai was ably established by the efforts of such alamkarikas as Ābaadavardhana, Abbigavagupta and Madmata. Apandvardhana's views were hy and large found to be acceptable to his followers with rare exceptions, such as Kuntaka, Mahimx, Bhoja, Dhananjaya and Dhanika, etc. The Vaish- Davite alamkarikas such as Rupa Goswamin tried to give a different colouring. I am thankful to Dr. Nandi for agreeing to the publica. tron of this research work which was accepted by this University for the award of the Ph.D. degree. I also wish to express our grateful appreciation of the financial assistance given by the Vaiversity Grants Commission for this publication. I have no doubt that the stadeats, teachers and others Interested in this subject will find this reading & rewarding experience. Gujarat University Abmedabad-9. July 31, 1973. Saur Shrayan 9, 1895 (Saka). K. C. Parikh University Registrar ·PREFACE The present work actually forms the thesis for PhD. prepared under the guidance of Prof. R. C. Parikh of the B. J. Institute of Learning and Research, Ahmedabad. My thanks are due to the Gujarat Voiversity authorities for undertaking the publication of this work, which though written frst, is actually my third work in a book form, the other two being, Sanskrt Natakano Paricaya', and 'Bharatiya Sābityaśāstrapi Vicara Paramparāo', (in Gujarati) both berag the publications undertaken by the Voiversity Book-Production Board, Gujarat Rajya. A fourth book viz the translation of Locana in Gujaratı, with introduction and annotations is also 1. Press, and Gujarat University has taken up its publication and my fifth work, VIL. The Kavyaprakāśa (I-VI) with Gunaratoa's Sāra. dipika is also to be publisbed soon. I am extremely thankful to Dr. Solomon, Head of the Department of Sanskrit, Gujarat University and Dr. J. M. Shukla, Reader in Sanskrit, Gujarat University, for their helpful suggestions, My thanks are also due to Mrs. Harsha Nandi and daugbter Chiamayce for bung helpful in their own way tbroughout the course of the publica. tion of this work. I also thank my sister Sragdharabeo for preparing the word index. Shri Ramanand Press also deserves thanks for the speedy work it carried out. T. S. Nandi Asopalava', 4, Professors' Colony, Navarangpura, Ahmedabad-9. Vijayadasamı, 2029 (V.S.).

·CONTENTS Forenord Preface Introduction Pages $ 7-8 13-30 PART I CH. I Vanj, vitvaõj, dhyan and dhyani in 1-40 the Vedas 1. (Vanj and vi+vanj in the Nigantu and the Nirukta 24, ✓anj and vitvany in the Rkpratisākhya, Astādhyayı of Panini and the Mahabhäsya of Patanjali 25; Different forms of any, vi+q/an), etc, as earlier poets-Ağvagboşa, Bhasa and Kalidasa 28) CH. II Dhyaniin the Grammarians and certain 41-66 parallelism between Sphotavāda and the theory of Dhabi (Patanjali, Bhartyharı, Sphotavada aad Vyanjanavada) CH NII Sabdāvrttis, the nature and scope of 67-136 Abhidha (Šabdartbavyttis; Abbidba 68; Classification of Abhidha 69) Tatpar, avytti 70 (Vakya, its import 71; Vakya, defaltion 72; Grammarlans 74; Vakyartha 76, Mymamsakas 79, Coostitution of a sentence, Differeat siens £0; Ālaqkankas 100) ·10 CH IV Pages Lakşana 101 (Conditions of Laksana 103, Classification of Laksana 105, Laksaņā, not accepted 110) VyanjaDāvpttı 111 (Classification 115, Modern Views 119) Sabdayrttis as seen in different Schools 137-159 of thoughts sach as those represented by the Vaiyakaranas, the Mimāmsakas, etc. (Vaiyakaranas 137, Mimāmsakas 140, Natyäyıkas 144) Sabdavrttis-as in the earlier 160 176 alamkarikas (Bhamaha 160, Dandia 166, Vāmana 168, Udbhata 172, Rudrata 174) Pratıyamansrtha or Implied sense in 177-190 the earlier Alamkarikas (Bbamaha 179, Dandın, 185, Vamana 189, Udbhata 190, Kudrata 190) CH V CH VI PART 11 JCH VII The origin and Development of Rasa 191-228 in Sanskrit Poetics ("Ras& in the Vedas 191, in the Upanisads 200, in the Nirukta 202, and 18 the Bpbad. devata 203) Rasa in Panini (Astadhyayıį and Patañjall (Mababbīşya) and Asvaghoşa etc 210 (Rasa 10 Aſyaghoza 214, Bhisa 218, Kalidasa 222) vi Rasa is Bharata (Vs Sa Cir 400 AD) 229-234 ·Joh. ix Pages Rasa ia the Earlier Authors in 235-247 Sanskrit Poetics (Bhamaha 236; Dandla 238, Vamana 239; Udbhala 239, Rudraia 240; Anandavardhana 243) PART III CH, X Some Observations 248-251 CH. XI 'Rasa and Dhvani' as laid down by 252-277 Anandavardhana (The three dhvanis 252, Alemkaradhvaa, 252, Rasadhvaar 256, obstacles in rasa-- vyanjana 260, Opposite sentiments 263, other topics 266) Classification of Poetry 270 (Dhvaoskavya 270, The Gunibbaravyangya 273, Citrakavya 275) CH. XII The Pūrvapaksa against Vyaõjapā ia 278-306 the Dhvanyaloka (Abhavavadias 278 ; Refutation of the Abbavavada 279, Bhaktivadios refuted 280, Vyanjana as distinguished from other Sabdavrttis 282, Vyanjana, necessity for the Mimämpsakas 290; Laksana and Vyañjana 291; Vyañgaox and Inferoce 294) CH, XII Some Anti-Dhvabi Theorists 307-340 (Mukul Bhatta 307, Kuntaka 309; Dhanas. jaya and Dbanika 317; Mahimabbatta 320; Bhoja 330; etc.) CH. XIV Dhvani in Abhinava gapta 341-356 [The Tradition (Āmpaya) of Dhvanl; Definitions of Dhvanl; Two meaniogs of the term •dhvani' sad its five-fold applicallos 342; The three types of Dhranj 344;

·12 CH. XY Pager Experience of Rass, The possible varieties of dhyani 349; Tbe abbayavadins or ihe opponents of dhvani 347; abbihitaavajavada refuted 348; apvitabhidhënavada refuted 350; Spbotavada silenced 351) Rasadi Dhvani 351 (Bhavadhvaci, Bhāvodaya etc. 352; Rasa. dhvadı 354, The Sabrdaya 355) The nature of Rasa-Experience as explained by 357-411 (Bhatia Lollata 358, Śni šankuka 360) Rasa experieace according to Abhinavagupta 374, (Rasa as Kavyārsba, Sadbaranikarana 375; Sabrdaya, The nature of rasa 376; The Vigboas 382; Abhinava's iaterpretation of the rasa-sūtra 386, Rasa-experience by the Aesthete, the epistemological nature of rasaexperience 388; all rasas of the pature of joy, different philosophical schools represented by different acāryas 392, CH. XVI Some other writers Op rasa 412-449 (Dhananjaya and Dhanika 412; Bhoja, The Rasa-Theory of Bhoja 416; The Rosa-Theory of Ramacandra aod Gunacandra 425; Mammata, Hemacaodra, Vijyapatba and Jagannatha and others 430: Resume 432. Select Bibliography 450-454 Abbreviations 455 456 Index-Author 457-461 Index-Books 462-466 www ·INTRODUCTION One of the great prasthānas of Sanskrit Poetics is what we might call "Dhvadi, particularly rasa-dhvani, prasthaoa'. It is therefore natural that the topics of vyanjada-dhvani and rasa should bave been discussed by many modern scholars. However, as far my knonledge goes, no one bas discussed in detail, the origin and development of these two topics and their interrelation 11 a connected form. It bes been my humble attempt to do this work in the present thesis la Dhvanyaloka, we find the dbvani theory in its fully developed form. At Dby. I 2 we are told (1) that the cartha' or sease which is the soul of foetry, is of two kinds viz vacya or expressed and pratiyamana or implied It is this pratsyamana artha which is regarded as the soul of poetry (Dhv. I. 5) (2), though Athinava would allow this honour to ibat pratiyamana sense alone whicb conveys rasa (3) In Dhy 1 7, we are told (4) that this praliyamada sepse is bot understood merely by the Loowledge of grammar or logic, but it is koown only by those who loow the essence of poetry Thus, Dhy indicates & verbal process 19 poetry which is only grasped by the aesthetics of poetry. So, what one has to find out in great poetry is his vyangyāriba' or the suggested sense, and the word that is capable of sheddiog light on it, When in a poem, this verbal process of vyañjanā predomloantly engages the mind, it is called .dhvanı' or 'dhyapıkávya' by the sūris or sages. Ananda says that the soul of poetry is dhvani (kavyasyātma dbvanih- Dhy. I.1). Hese dhyani is 4 synonym of vyangjārtha. But he alsa says (Dav. 1. 13) and Manmata follows him, that a poem in dich dhvani predominates is called dhvadikavya (Kavya- Visesah s& dbyaniriti satıbhih kathitah) (Dhy, 1. 13). Here dhvani is a charcteristic of a poem which is classified by Mammala as uttana-idamuttamam atljayıni yangye vācyat dhvadirbudhaih ·14 kathitah ( KPI) Tbus in one sepse, dhvadi is a characteristic of a poem in which vangyārtha predominates From Dhy I, se bave to infer that Anandavardhana does not regard himself to be the first to promulgate tots theory As we learn from the introductory portion of the Dhy, this theory was a subject of great controversy amongst the learned critics of sanskrit poetry The very first verse informs us that though the wise have ordained that the soul of poetry is dhvani, still, some say that there is nothiog like dhvani, while others say that it is something secondary in a poem, and still others maintain that the essence of dhyani is some tbrog beyond words (Dhy I 1) (5) Unfortunately however, we do not find any work earlier than Dhv, which treats of dhvani in this fashion So, I bave attempted in this thesis to find out, if possible, the carlier background of this theory The theorists of poetry or writers on poetics in Sanskrit were primarly, as it should be, concerned with the nature and fuoctions of poetry Poetry, however, is an art which uses human speech as its medium Therefore, these writers thought it proper to concern themselves with word and whatever it conveys, 1 e the various meanings, particularly the emotive suggestions in contrast with its direct or scientific meaning in other words, they considered, what is called 10 modern logic, the scientific and the emotive uses of language (Susane Stebbing Introduction of Logic) This has led to the theory of abhidha, laksana and vyanjana in Sanskrit poetics According to Āpand there are three types of dhvadı, viz. vastudhvani, alamkaradhyapı and rasadhvan! But vastu aod alamkara dhvanis can also take the form of abbidba Rasa dovanı, however, is exclusively conveyed by vyanjana Thus vyanjana and rasa become intimately correlated it appears that all the emphasis laid upou vyanjana 18 maloly for the purpose of fasa-conveyance lo this way these two topics viz ·1 vyanjana and rasa become so to say, parts of a single theory. So, lavestigation (or inquiry) in one topic remains locomplete without an investigation in the other topic. So in the second and third parts of my thesis, I have tried to study the origin and development of the concepts of rasa and the various theories advanced for its conveyance by different theorists (Part II & III) In the first part of my thesis, I have started with the references of dhvani and vyanjana 10 the vedic literature including the Upadisads, starting with Rgveda After that I proceed to Nirukta, RK-pratisakhya, Astadhyayı of Pānıdı and Mahabhāsya of Patanjali It may be noted that we fail to come across the words "vyañjana, pratiyamāna as such in the Ry The word dhvanı also does not occur in the Ry We will see, however, that we do come across different forms of the root ndhvan 10 Ry and also of the word dhvani' in Ay But these occur in tbe usual sense of sound and do not have th- techoical sense of dhvan, as seen in Sanskrit Poetics However, we do come across different forms of the root ✓ans, and vi+wang, such as ajyate, ajyase, ajyamanah, vyajyate, vyanjate etc etc A careful study of the different occurrences of Nanj in its various grammatical froms shows that is seems to carry principally the meaning viz (0) apoint' with a view to embellishi, the second stage being ibat of embellishment proper, and (11) 'to shine' Its use with the prefix 'vi is 10 the sense of 'to shine forth' 'to glitter' etc The idea seems to be to enhance the glitter of something by the application of some ingredient, the stages being first anointing and then the consequential embellishmeat and the general m-aning of adding zest to a thing, and this adding zest, by means of revealing the hidden meaning of a thing Moreover, the survey of the occurrences of vitnanj in the vedas shows two connected meanings, viz to briøg out sometbing hidden, by the application of enbancement of something, to brighten, to emtellish, ·16 to decorate, to adon, to display I have similarly studied all such occurrences of any, vitan), pdhvan and dhyan! in the Nighantu and the Nirukta, Panio1 and Patanjall, The Nigbantu does not contain any and vit vanj in any grammatical form There are certain occurrences of vanj in the Nirukta, but this is only by way of explaining the vedic mantras quoted therein, and we fail to come across any new shades of meaning ofber than those already found in the Vedas Nor do we find any occurrences of dhyan or the word dhvadı 15 either the Nigbantu or the Norukta However, at 713, in the Nirukta we have vanjaoamatran' in the sease of more indication Vyanjana here means an indicator This seems to be the earliest occurrence of vyanjana in the scose of 'indication' Similarly, o Ch 1 (Nırukta) Yaska cites the opinion of Gargya who holds that upasargas are not mean ingful by themselves but they serve to suggest or nodicate the relation of nama and aljata with a particular meaning Says Gargya na pirabaddhah upasargah arthan Brabuh nama kbyatayostu karmopasamyogadyotakāh bhavantı Tbus, it seems, Yaska comes very near to the power of dyotana or suggestion We know that 10 the kavyasastra the word dyotana is used as an equivalent of vyanjana Thus these early occurrences of the ans and kitwan, and vyanjana foreshadow the later technical use in Sanskrit Poetics In the Ri-pratisakhya we do not come across anything worthy of note In Panini also there is no mention of vyanjana or splota or dovanı as such We come across "vyanjana' in the technical sense of a consonant But at PJ IL 1 34-vyan janaitupikte-, the explanation given is dadhož upasiktam dadhikam Thus vyanjana is anytbing that is used to enhance the relish of the maig or principal object of cating We come across the same use of the term anjana in the Ntiyasastra, whereia Bharata cites the analogy of şādavidirasa (Na $a Ch VI) This can have an important bearing on the vyanjan Tada ·of the alamkarikas. In Patanjali also, we come across occurrences of different forms of any add utan; and also of sphota and dbvadi But the term dhvani occurs in the sense of sound coly The word vyanjani by itself is missirg even here. At VIII 1.70, in the Mahabhāsya it is observed, 'vyajyate apena iti vyanjanam'. Thus svyanjana' is that which reveals or manifests or brings something into light This sease of prakāsana is pote worthy, especially from the point of view of the vyanjanavada I have also studied the occurrences of vanj and vi+wanj 10 works of early poets such as Asvaghose, Kalidasa and also Bbasa, the supposed author of the thirteen Trivendrum plays Literary criticism follows literature So, I bave tried to note certain important occurrences to these poets, which could have inspired the Sanskrit poetists in the formation of the theory of vyanjana and dhvani For exmple, Bu Ca IV 84 reads : *upapaonamidam vākyam saubardavyñjakam tvayı' -Herein a vakya is said to be "saubärdavyañjaka' ie 'suggestive of friend. ship'. Similarly in Kalıdāsa's Meghaduta (Purva, 29) we bave "saubhagyam te subhaga virabavasthayā vyanjayanti' Tbis is the description of the river Nursiodhyā As Mallinatha explains, the niyakanījikabbava is clearly suggested here. Morcover, Kumārasambhava VII 91 reads tan sandhişu vyañjitavšttıbhedam rasāntaresu pratibaddbarāgam etc This has a clear reference to the concepts of vyanjana and sasa Instances can be multiplied One fact emerg's out of this, and it is that the alami trikas might bave found much in this to draw upon Ānsodavardhana and Mamnata make it clear that the original inspiration for the theory of vyanjani comes from the Spbota-doctrine of the grair marians (6) S), 1 bave tried to iqvestigate this relationship I have based my study on tbe original works such as the Mahābhāsya of Patanjali and the ·18 Vakyapadiya of Bhartrbari, etc as well as the exposition of Sphot8-10 the works of scholars like P, C Chakravarty and Gaurinath Shastri I have tried to draw as many as pine important pojats to justify the statement of Ananda and Mammata that the Sphota doctrine is their original source of inspiration for the dhrani-theory (Ch 11) As vyanjada is one of the sabdayyttis, and as a general discussion on sabdavrttis forms an important part, particularly in later Sanskrit Poetics, I base thought it proper to discuss tbese topics also in detail (Ch 11) In these chs III & IV, I have not only discussed the nature and scope of different sabdavſttrs, but also the recognition of these by different schools of thought such as those represented by the Vaiyakaranas, Mimāmsakas, etc (Cb 1V) in these chapters, I have consulted the original works, yet I am particularly indebted to the works of P C Chakra varty and Prof Devasthalı In Cb V, I have tried to study the exact recognition of different sabdavritis in the works of carly poeticists such as Bhamaba, Dandın, etc It should be noted, however that in the works of these authors, we do not come across any systematic discussion of th: nature and scope of the sabdavrttis, as is seen in the works of later authors on alamkara such as Mammata, Hemacaodra, Visvanatha etc However, we meet with passages which go to show that the authors were familiar with the ideas of functions of word. Bbāmaba bas discussed the nature of word and has tried to refute the Sphotavāda Bhamaha's familiarity with the function other than vyanjana is quite appareat as shown by me 10 the ibesis (Ch V) As his familiarity with vanjao, he inay say that yañjana does not occupy the same place as abbidha in his mind, ie he does not seem to have logwa vyañjada as a separate tytti He, howeser, uses different forms of utv43) with the later meaning of vyadjada at differeat placss As ta Bhimaha, so also la Dandio, we do not come across any Deption of vyanjana as sucb by name However, we come ·across different forms of root vit/anj in the sense of, 'to suggest' We also come across the term 'pratiyate' meaning 'Is implied. We come across clear references to laksanā or gauni, Vāmana very often refers to bhaktı, laksanā, or gaunārtha and upacara, But he also does not mention vyañjana by name. He seems to touch vyanjana only indirectly Io Udbhala there are some direct and indirect references to the different vittis including "avagamapa' (kavyalamkara, Udbhata) The meaning of 'avagamana' is very near to vyanjana In Rudrata, we come across direct and indirect references to abhidha and laksana and also indirect references to vyanjana. Thus we see that in these carly authors from Bhamaha to Rudrata, we do find references in their works which go to Indicate that the idea of vyanjapā was not absent from their minds, though we cannot say that they have clearly visualised it, much less defined it It should be noted however, that the charm that comes out of vyanjada is recogiosed by these earlier authors in different alamlāras such as paryayokta, samāsokti, aprastutaprasamsā, dipaka, aksepa, etc. The exponents of dhvaar school like Anandavardhana, Abbinavagupta, Ruyyaka and Jagannātha say that the earlier writers such as Bhāmaba, Dandio, etc though without clearly definiog dhvani, had subsumed it under various gunas and alamkaras An element of implicit scase can be seen in the treatment of different gunas and alamkāras 10 the earlier authors, but I bave, however, found oo explicit recognition of dhvani as observed by Ananda, Abbioava etc So, my submis- 5100 is that even if an element of implicit sense is seen in different alamkāras and gunas treated by the early pocticasts, and thus even if vyanjana is seen as partiy subsumed under this, it should not be taken as a proof that the theory of vayanjana or dhvani was clearly recognised by Bhamaba, Dandid, etc. (Ch. VI) ·20 After having thus fat studied the problem of the origin and development of the concept of vyanjana-dhvani, I have attempted a study of the origin and development of the concept of rasa in Part II of my thesis which covers Chs VII-IX I have already referred to the probability that the importance attached to vyañjana or dhvant in Sanskrit poetics is more or less due to its belog the sole conveyor of rasa I have studied the occurrence or rasa in the vedas and the upanısads and a th– Nirukta and the Bphaddevata i have also studied the occurrences of rasa in the works of both Pāniol and Patanjali Then, I have studied the occurrences of the word rasa in different senses in the works of carly poets such as Asvaghosa, Bbāsa and Kalidasa, (Ch VII), and then I have noted the view of Bharata (Ch. VIII) After this, I have studied the approach of the early alamkarikas such as Bhimaba, Dandio, etc to the problem of rasa (Ch IX) The method of approach is similar to that a case of dhvani and vyanjana in Part I In the course of my study, I have tried to indicate as maay as pine interesting points with reference to the use of the word rasa in various senses in the Rv We find ibe word rasa in the vedas, not only as sigoifying something liquid but we also find the qualities of joy-giving, tastefulness, exhilaration, being the essence of the vedas, etc attached to rasa Thus rasa in the vedas becomes an object of relish, a joy-giving essence, etc. The Na Śa (Ch 1 17) says that the fact of rasa in Natya is derived from the Ay Abhinava tries to cxplain this 10 a rather obscure way But I have tried to explain this in a different way, It ould be noted however, hat though the nord rasa occurs at several places in the Ay, we have no clear case of the later meaning of patjarasa or kavyatasa in it From another point of view, we may say that several hymns of the Ay taken by themselves are impressive love lyrics, their ritua. listic application notwithstanding The number of such hymos ·21 is about thirty I have tried to suggest that the attempt to correlate nătyarasa or kavyarasa to Ay 1$ aot uo justifiable from this point of view Io the upanısads however, we see that the word rasa occurs also in the sense of essence of the universe and the Taittiriya Up identifies atman with rasa-raso val sah In the Chandogya Up. rasa is a synthetic product of many ingredients in the Nirukta and the Bşhaddevatā I have not found anything useful for my purpose Thus, the different ideas associated with the word rasa 10 the vedas and the upadisads, have implicit in them the idea of aesthetic taste as well and the term rasa might have been used in the sense of aesthetic taste also as may be seen in the Mahābhasya of Patanjali (Ch Vil) In Ch VII, I have tried to study the occurrence of vras, or the word rasa in the works of Pānini and Patanjali In the dhätupātha ras is seen in the sense of to make sound'. liquification', and 'to taste' In Pa V 295- 'rasādıbhyasca," the meaning of rasa according to Pānını is not clear The Mabābbāsya seems to suggest that the meaning here is different and illustrates it by using the expression-rasiko batan', in which the aesthetic sense of rasa is quite clear The Kasika here explains that the matup suffix 13 ordinarily to be used in respect of the qualitjes grasped by seases, but in case of "rasıko natah' or 'rūpini Apsarasām', etc, the idea is to suggest not merely the rasa or rupa apprehended by sense-orgaas, but sentiment or emotion and beauty respectively The Tattva. bodhint on the Siddhantakaumuds makes this all the more clear When it says-rasikam ayatra tu rasa sabdena bhavo eshyate Da tu rasanagrābyo gunah (PP 303, NS Ed '33). From this we have to assume that this aesthetic seose of rasa might have been well established in usage, otherwise Patañjali could not bave used the allustration of 'rasiko natah' Then, I have studied the occurrences of 'rasa' or vras in the works of carly poets such as Ašvagbosa, Bbasa and ·22 Kalidasa I have tried to suggest, quoting illustrations, that it is precisely such clear instances as explained in Ch VII, 10 the works of literary masters that might have been the original source of faspiration for theorists to formulate the rasa theories Cb VIII clearly explains the views of Bharata as seen in ch 16 of the Na Sa , dealing with the concepts of laksana, guna, dosa, and alamkara It is stated (vs 113–114) that the gunas and the alamkaras have to be used in poetry may 10 consonance with the delineation of different rasas Here, it be noted, rast is visualised in connection with poetry, in addition to natya Ch 1X studies the ideas of rasa as seen in the works of early poclicists such as Bhanaha, Dand a etc I bave observed that the earlier alamkarikas such as Bhamaba, Dandin, etc do not totally ignore the fact of rasa But they try to incor porate it under atamkara, a source of charm to poetry Dandin 15 more elaborate in his treatment than Bhamaba Udbhata also seems to be better informed about the concept of rasa and is probably the first to take rasa as svasabdavacya One point is clear that is all these authors the ultimate ‘alamkarya' seems to be 'Kavya' itself, rasa being only an alamkara, a kavyaso bhakaradharma new In Vamana and Rudrata, we notice & trend of lacorporating rasa, bbava etc. under guna, the essential or eternal quality of kavya (aityadbarma) For Rudrats the number of rasas is not just eight or niac Io fact all the bhāvas can be cabanced to the capacity of rasa Apandvardhana with his theory of vyanjana and dhvani has givea & Rew orlentation to the entire theme of rasa Abhinaya elaborates this position Thus far I have traced the two streams of thought, onc pertainiog to sabdavyttis, with particular reference to vyanjana and dhvapi, and the other pertaining to the origin and deve lopment of the concept of rasa and other cognate Ideas In the ·23 Dhy, we find these two currents meeting and merging with cach other and bringing forth an integrated theory of rasa and dhvani, So, in Part Ill of my thesis, comprising chapters X-XVI I bave studied the theory of rasa and dhvani from the point of view of its development. This includes topics such as dhvani and rasa in Anandavardhana', 'classification of poetry, the purvapaksa against vyañjanä ln Anaoda', 'some anti-dhyani theorists', 'dhyani in Abhinavagupta', 'rasa experience as in Loltata, šankuka, etc.' 'rasa experience as in Abbinava,' and *some other wojtess on rasa such as Dhananjaya, Dbanika, Bboja, Natyadarpanakaras, Mammata, Hemacandra, Višvadaiba and Jagannalha. Ch. X gres a brief introduction to part III. *Rasa and Dhvapı in Ādanda' forms the subject of cb XI. This is done in a novel and all-comprising fashion Ādanda does not discard the other elements of poetry as alamkara, guna, etc, mentioned by early authors such as Bhamaba and the like. Another point worth gottog is that we come to understaad how the rasa-theory which originated with rūpikas or with patya became generally a topic fur all varieties of poetry. We have seen that Bhamaha, Dandin and obers clearly emphasise the element of rasa in the mahakavyas and kathas, the two important varieties of prabandha kavya. But Aoanda takes the importance of rasa more comprehensive or universal in all the varieties of poetry of which prabandba is only one. Thus we may say ibat as far as our koowledge goes, it 13 in Ananda that we find the element of rasa becoming the soul of all poetry, a thing whicb Viſvanatha in his famous utterance viz. vakyam rastmakan karyan, makes more explicit. It may be remarked that the concept of rasa was extended even to DOD-literary asts such as painting, sculpture, music and dance. (Sec Vrinudharmottara porana.) Then follows the discussion of the three-fold classification .of poetry as girea by Aoandavardbana. He however refraios ·24 from calling it uttama, madhyama and avara or citra. Io Ch XII I have discussed how Ananda refutes the parvapakşa against vyanjana in the Dhv In doing so, he refutes the abhavavadios first and clearly distinguishes between vyañjana and abhidha, vyanjanā and tatparya, vyanjana and laksana and vyanjana and apumāoa He also refutes the Naryāyilas While starting the exposition of dhvani as expounded la Dhv we raised the question of the earlier writers who did not accept dhvan and against whose view Ananda was trying to establish his theory We noted that we have not been able to discover specific works or authors who hold viens opposed to the dhvací theory Consequently, we relied upon Dhy, and Locana for those views We do, however, find works posterior to Day which carry on their polemics aguast the dhvadi theory. In order to complete the discussion on davant I have also taken up a critical consideration of these works also (Ch Xill) Among these works, se come across the AVM of Mukulabbatta, VJ of Kuntaka, DR of Dbananjaya with Avaloka, VY V of Mahima Bhatta and Sp Pra of Bhoja Mukula seems to incorporate implicit sense under laksana which is only a part of abhidha for him For Luntaka vakroktı is vicitra abbidha He subsumes implicit sense partly under abhidba and partly under lakasnā Kuntaka has also given much importance to rasa I have tried to evaluate his position critically Kuntaka, with his theory of vakroltı or a striking mode of speech differing from and transcending the ordinary every day mode of speaking about a thing, and such that it charms by the skill of the poet, seems to comprehend all the sources of charm in poetry, begiadiog with alapkara and ending with ava and r252. For him, cyen dyotaka and vyanjaka words, on account of their quality of the ability to give meaning. arthapratılıkārtva-are termed 'acaka 1c expressive of mcaniog, metaphorically Thus broadly speaking, Kuatela may be termed an aatarbhavavadia and bhaktivadın to a certaia extent ·25 lo the fourth prakasa of the DR, the authors touch the problem of rasănubhūti or the experience of sentiment ia poetry. Dhaolka's elaborate commentary brings out their views clearly. They accept the fact of rasādı but they fail to accept the proposition that rasadıs are conveyed by vyanjanā. They accept bhavyabhāvaka relation between rasādis and kavya. They are of the opinion that the vyangya or suggestion of the dhvapivādins can be explained with the help of tatparya sakti or purport alone. Visvanālba 10 bis SD tries to refute the tatparyavadios It seems, however, that the controversy lies in name only Mahimabhatta has pointed out as many as ten blemishes in the definition of dhvani as given by Ananda I have tried to evaluate his argument critically and bave shown that some faults as pointed out by him are of a . formal nature while others may be taken as or a fundamental nature and so bearing upon his theory of kavyāgumiti It may be noted that he has this much justification 10 bis vie: that the 10direct thoughts and feelogs arising out of the direct meaning can be psychologically regarded as of an oferential nature. This however, 1$ 10 no sense a logical anumāna or infereace and eren Mabıma Jaughs at those who want kivyaoumit to be tarkanumiti! As for Bhoja, the author of SKĀ. and Sr. Pra Dr De seems to suggest that he (1 c. Bboja) does not accept the dhvani theory of Ananda Dr. Raghvan tries to refute him. He noted that, to the SKĀ. and Sr. Pra there are alamkaras and gunas which embody vyanjana, This however, does not make him a vjadjanavadin, though, as Dr. Raghvan suggests, Bhoja can be taken as an antarbhavavadin A critical review of the opponeots of the dbyani school sbows that they are not opposed to pratiyamloata or implied sease as a source of charm in poetry. The difference, bowever, arlses as to how thls implication is grasped. Ābaada regards ·26 this as one of the functions of words, but this function is not, according to him, fulfilled by either abhidha or laksana He therefore posits a third function of word viz yanjana His opponents see no accessity of adding a third function of hord because the implied seose can be grasped by the infereatial processes of thought, and by meanings yielded through abhidha and laksana So for them, to accept vyanana would lead to what Is called gaurava dosa Thus the question resolves itself into the acceptance or non-acceptance of this additional function of word Modern logicians who discuss the function of language do accept what they call the emotive use of language in addition to its scientific function The various emotive associations that a word has become so to say, prominent in poetic language But if one considers the psychological process of the emotivo function, one has to agree that they are of an inferential type In fact, as Mammata says, those who experience and enjoy rasa hase to be keen in the inference of sthayın-(loke pramadadıbhih sthayyanumane 'bhyasapätavavatām etc' K PIV 28) Thus it is not impossible to reconcile both the opposing views Io the next chapter (te Cb XIV), I have considered the views of Abhioavagupta og dbradi Abbioavagupta follows the Dhy in his theories on dhvant and rasa His two important works on this subject are a commentary on Dhy known as Locada and bis commentary on the Na Sa of Bharata, kaowa as Natyavedavívrti or Abhlnavabharatı The merit of his work lies in clear elaboration and at times subtle explanation and origioal insights to a certain cxtcat He was a great philosopher of the pratyabbijna school As Locana and the Abh are comu s, much of their con. tent is naturally the same as that of Dhy and Na Sa for the same reason, much of their treatment is bound to be pleccmeal In the discussion of the contents of Dhy and Na Śs, I have, as far as possible, confined myself to the works themselves, Here, while considering Abhinaya's couns, I have poled the points which have been clarified, elaborated and ·27 sometimes improved upon by him, ſo the treatment of the e points some repetition has been unavoidable though I have tried to avoid it as far as possible. As coted just now, the treatment of the various topics in these commentaries, particularly in Locana, is piece-meal, and so, in order to give a coherent and critical account, I have brought together passages bearing on the same topic and tried to give a connected account (Ch. XIV). In Ch. xv, I have tried to discuss the views on rasaexperience as explained by Lollara, śankuka, Bhatta Nayaka and Abhinavagupta. The views of the former i e. Lollata, Sankuka and Bhatta Nāyaka, are put forth by me as clearly and precisely on the basis of the presentation of their views by Abbioava. In doing this, I have not only consulted the origlaal sources but I have fully utilised the excellent work of Gnoli, and Dr. K C. Pandey Different Scholars have tried to correlate the views of these acaryas such as Bhalta Lollaza, śrı Sankuka, etc. with different schools of thought. I have tried to show that excepting Abbipavagupta, nothing definite can be stated with reference to the rest. As dirvigbpa samvit and camatkara are central to the concept of rasa io Abbioava's theory I have tried to explain these terms in the light of pratyabhijñä pbilosophy Io Ch. XVI, I have tried tried to record the views of some other writers on rasa. This covers the works of Dhananjaya, and Dhanika, Bhoja and Ramchandra and Gunacandra, and also Mammata, Hemacandra, Viśvadātha and Jagannatha, I have taken up Dhananjaya, Dbadika, Bhoja and the authors of ND together bacause they bave something novel, sometbiog diltercot from the Kashmirian tradition to record, while Mammata, Hemacandra, Viſvanatha and Jagandātha follow the lead of Abhinavagupta. I bave tried to put this in & critical way though of course, as for the views of Bhoja, my thanks are due to the cxcellent work of Dr. Raghvan. Then follows the re'some'.

·28 in the 'resume', I bave tried to correlate the conclusions reached in different chapters and present a connected account of the theory of vyanjana-dhvani-fasa I have tried to make clear how Abhinava has incorporated ia his theory the views of bis opponents I have also shown how the concept of rasa developed from its form of category of aesthetic experience to the stature of the higher spiritual experiences of the bhaktas As mentioned in the beginning of bus statement, dhvadi. vyanjana and rasa are much discussed subjects by modern writers on Sanskrit Poetics It will be therefore, presumptuous on my part to say that I have discovered something absolutely new However I humbly submit that the following points worked out in detail in this thesis are, as far as my knowledge goes, new in treatment and interpretation (1) The sort of detalled discussion of occurrences of vanj, vi+xandhvan and dhvani in the edas, Nirukta, RK Pra, Astadhyayi and Mahabbasya, and the literary works of early poets such as Asvaghosa, Bbasa and Kalidasa 18 attempted for the first time and this, (Chs. I) I bumbly submit, is one part of my coatribution to koowledge (11) I have tried to explain the relationship between the theory of Sphoja and the theory of dhvani, ia (Ch II) by advancing as many as nine importants points (fit) lo Ch V, I have tried to discuss the recognition of different sabda pus in the works of early alamkārikas such as Bhamaha, Dandın, etc (VI) In Ch VI, I have tried to discuss the recognition of pratiyamına sease in the works of Carly poeticists such as Bhamaba, Dandın, etc (V) In Ch VII, I hase tried to point out nine Sateresting poiots with reference to 'rasa' as seen in the Vedas The Investigation, so far as I know, is lo much greater detail as compared to carlier efforts by different scholars ·29 (vl) Then, I have tried to study the occurrences of Wras and rasa in the works of Panini and Patanjali. In the Maba. bhāsya, I feel I have pointed out for the first time, that we come across an expression viz fräsiko natah' which clearly suggests that rasa 10 its aesthetic sense known to Patanjali and must have been in vogue much earlier (Ch VII). was (VII) Then, I have tried to suggest how actual practice in the literary works such as those of Asvaghosa, Bbāsa, etc might have influenced the theorists to formulate their theories of rasa (Ch VIT) (711) In Ch Vili, I have tried to put the views of Bharata in a precise and clear way, and have also suggested that Bharata also thought of rasa with reference to poetry-kavya-as well, and not with reference to nātya alone (1x) la Ch IX, I have attempted an investigation into the treatment of rasa by Bhamaha, Dandin, etc (1) In Chs X-XII, I have tried to put the ideas on rasa and davanı as found in the Dhy of Apandavardhana I have tried to present the whole inatter in a critival and comprehen sive way and have tried to evaluate the arguments for and against vyañjana critically (x1) In a similar way, I have tried to present the Ideas of some anti dhavan: theorists (cb Xill) 10 a critical and compre. bensive way (x11) Chs XIV presents the views of Abhloava on dhyani In a cohereat nay Whatever is found in the form of a pleccmeal treatment is taken up by me and arranged in a connected way so as to crolve a distinct pattern 1 bale also attempted to present as clear and precise an account as possible of the viens of Lollata, Sankuka, Bhatta Nayaka and Abhinavagupta in Ch XV, and tried to see whether these can be correlated to some 'datsana"

·30
(alul) In Ch. XVI, I have tried to present the views of some
other important wrtiers on rasa, such as Dhananjaya, Dhankki
Bhoja, Rāmacandra and Gunacaadra, Mammata, Hemacandra,
Visvanatha and Jagannatha. I have tried to give a critical
account of these authors
All this, I bumbly claima ss my contribution to koowledge.
Foot-Notes
(1) Dhy I 2
o'rtbah sabrdayaslagbyah kavyātmeti vyavasthitaḥ 1
vacyapratiyamgaakhyau tasya bhedavubhau sportau 11
(2) Dhy I 5
kāvyäsyätma sa evärthah tathā cadikaveh pura 1
krauncadvandyaviyogottah sokah slokatvamägatah 11
(3) Locana on Dhy I 5.
tena rasa eva vastutah almā, vastvalamkaradvadi tu sarvatba
rasam prati paryavasyete iti vācyādutkļşlau ..etc
(4) Dhy 1.7-
sabdarthasasanajñānamāpatrenaiva na vedyate i
vedyate sa tu kavyārtbatatvajiaireva kevalamn 11
(5) Dhv. I I.
Kavyasyatma dhvadiniti budharyah samampataparvah
tasyabhavam jagadurapare bbāktamahustamanye 1
kecidyāciq sthitamayisaye tattvamucustadiyam
tena brumah sabdayamanah pritaye tatsvarūpam !
*

·PART 1 CHAPTER I VAN VI+ VANI, V DHVAN AND DHVANI IN THE VEDAS (Cor 1500, BC) In this chapter we will try to study the occurre nces of vañ, vitvañ, vdhvan, dhvani etc in the vedas (Cır 1500 BC) First of all, we will take up Rgveda Rv. I 124.8 issvásă sıásre jya'yasyai yonimaraigápaityasyāh praticáksyeva 1 vyucchánti rasmi'bhih sü'yasyañjyankte samanagā iva vra'h 11 Sayana explains añji vyañj akam tejih yadvā, aðji vyaktam jagat, ankte, anahti, prakasayatı ne anoints brings into light, displays, causes to appear, reveals, Griffith explains it as 'decks' Rv. V. 1.3: yádım ganásya rasana'májigah sucirankte sûcıbhırgobhiragnih i a'ddåbsıņī yujyate vājayántyuttanāmūrdhró adhayajjahu'bbih 11 Sa -ankte-vyznakti, visam jagat. =anoints Griffith is anointed' .

·Rasa and Dlicans Ry. VIII. 29.1 : babhrureko visupih sūnaro yúvāñjyankte hiranyayam Ss-anji, abhivsajyate prahasyate anena ityañjs abharanam abhivyaktıádhanam kupdala mukutadikam svasa- Tiram. ankte abhivyañjayatı =adorns, causes to appear, brings into light, displays, decks; Griffith-'dechs' ankti- Ry. I. 153.2 : prastatiriam dha'ma na práyaktıráyamı mitra varuna suvratih 1 anáktı yadvám vidáthesa Fóta somnám vam suri'rvtşıpāvi'yaks an. lll Sa.-anaktı=vyanjayatı=manifests. displays, brings into light, reveals, Griffith-decks', Rv. IV. 6.3: yata' sujūrot' râtı'nī ghſtácı pradaks nidderátstimuranahi údu svarurnavaja' na'krah pası6 anaktı sú ihitah samékah 11 Sa-anakti - gacchati, yadıa sudhitah svasureva udu utkrstih pisvah pasūt anaktı svara; 5 pasomanakti it opie h=anoints Griffith-' anoints' pre

·Važij, vit Vanj, v dhvan and..
3
Rv. X. 68.2 :
sam gobhirnāgirasó náksamăgo
bhágaivédaryamáņam nināya 1
jáne mitró na dámpati anakti br'haspate
vājáyāśu'mriviajú II
Sā.-anakti = samgamayatı=brings together
=upites;
This seems to be an unusual meaning; may be
metaphorical; Griffith- decks ';
anjate-Rv. I. 92.1 :
eta' u tyā' uşásah ketumakrata pūrve árdhe
rájaso bhānúmañjate !
nışkļavāna' a'yudhaniva dhrspávah práti
gavörusıryanti mätáraḥ 11
Sa.-bhanum, prakāśam añjate= vyaktikurvanti
=displays, causes to appear, brings into
light, menifests, reveals,
Griffith-spread (shining light)
i.e. causes to appear, display, reveal.
Rv l. 151,8 :
yavā'm yajñaſh prathama' góbhirañjata p'tavāna
mánaso ná práyaktışu 1
bháranti vām mánmanā gıródịpyatä mánasā
revádäsäthe
Så.-3ñjate=vyañjayanti yajamänāh
=display, cause to appear.
Griffith-' deck ':

·4 Rasa and Dhrun: Ry. VIII. 72.9: pari tridha'turadhvaram jūrtireti násiyası ! madhva hótaro añjate 11 Sa-anjate =madhya añjate iti=anoint Rv. IX. 10.3: rā'jáno na prasastıbhıh Sómāso gobhiranjate ! ya]ũo ra sapa dhātrbhh II Să -asjate=ajyante=simsbruyanta ityarthah =anoint, adorn, Griffith-deck', Ry. IX. 102.7. samicine abhi mana yahvi' rtisya matárs ? tanvāna yajuatranusagy ádaujate 11 Sā -anjate somam mıs'rayanti tada svayama. bhıgacchatıæmix, (1.e anoint), Griffith-adorn Ry, IX. 8643 : añjite vyañjate sámañjate hratum rihantı madhunabhyañjate ! sindhorucchtasé patayantamuksápar hirapyafavah pasumasu grbhpate 11 S5 -añjate-(gobhih), anoint, Tanjate=vividhamasjanti, samañjate=satnyaganjinti, and madhuna giyena abhya xjate = well anoint, Griffith-' balm' (ie, anoint), anjanti : Ry, 1. 95 6 : ubhé bbadté joşayete na mene pā vo na vas'ra'ıva una tast.hu éx.sk sá diksigām dalsipatirbabhūtañjíntı yam daksinato havlrbhih 11 ·Vanj, vitvañ, vdhvan and.. 5 Sã.-anjinti =årdrikorvanti; tarpayanti (i.e.anoint) Griffith-'balm'. Ry, III, 8.1 : afijánti tvā'madhvaré devayánto vánaspate mádhunā dai'vyena i yadūrdhvásti'şthá drávineha dhattādyádvā kşayo mátúrásyă upásthe it Sa.- añjanti=tvayi gỉtam siñcanti ityarthaḥ (i.e. they anoint) Griffith-'anoint'; Rv. m, 14.3: drivatận ta usasĩ vājayanti agne và tasya pathyabhıráccha 1 oátsimanjántı pūrvyám havi'sbhira' vandhúreva tasthaturduroņé II Så. - aijanti = simcanti=anoint (and adorn) Griffith-adorn'; Rv. V. 3.2 : tvámaryama' bhavasi yátkanı'nām nã'ma svadhavangúhyam bibbarşi I añánti mitrám súdhitam na gobhir yaddámpati sám anasā krnóși 11 Sã.-govikáraih kşırådibhiḥ añjanti='anoint', Griffith-' baim'. Rv. V. 43.7 aajinti yám prathiyanto ni viprā vapa'vantam na'gninā tápantaḥ i pitúrna putrá upási prestha a' dharmo agni'mpiáyannasādi 11 SA.-asjantie anoint; Griffith-deck';

·6
Rasa and Dhoans
Ry. IX. 109,20 :
añánty enam mádhyo rasénendrāya vīşna i'ndum
mádāya 1
Si-añjantı-samyojayanti=(mix, i.e. anoint)
Griffith-balm' ( =anoint),
aidhve.-Rv. X. 100.10 :
ūrjam gāto yávase piso attana şta'sya ya'h
sådane kós'e ardh é i
tanū'revá tinvo asta bhesajámă sarv'atātımádıtım
Vppimahe 11
Sā.-andhve=vyañjayntha=Cause
to appear,
manifest, display:
Griffith-'are balmed.
ajmah-Ry. IX. 45.3 :
Griffith-'balm
angdhi-Rv. X. 156.3:
a'gne sthūrám rayım bhara prthúm
gómantamas'vi'nami
angdhi' kham vartáyr papím 11
Si.-angdhi vrstyudakash sifica=anoint;.
or, atmiyaih tejobbıh vyañjaya prakásaya=reseal,
Griffith.-oil, 1.e anoint;
anajyat.-Rv. X. 31.4:
nityascalunyatsvápatırdámūna yásma a deváh
savita' jaja'na
bhigo vā gobhiraryamémaatjatsó asmai
câ'rūs'chidayadutá sylt 11

·Vañj, vit vanj, Vahvan and
7
Sa -anajyāt=vyaktıkuryat
= to cause to appear, reveal, manifest;
Griffith-may appear to him'.
anajan - Rv. III. 19.5 :
yattvà hótāramanájanmiyédhe nisādáyanto
yajáthāya deva'h |
sal tvám no agne'vitéša bodhyádhi stávamsi
dhehi nastanū'şu. 11
Sa-anajan, optâhutibhiraukșan=anointed;
Griffith-anoint;
ānajo-Rv. 1. 102.1 :
ima'm te dhiya prâ bhare mahó mıhı'masya
stotré dhısánā yátta änajé !
támutsavé ca prasavé ca sāsahı'mı'ndram
deva'sah śávasamadanna'nuo. Il
Sā.-ānaje = aktā samsısţăsıt=anoint;
and adds: añjü vyaktimraksaņagatışu;
Rv. VIII. 63.1 :
sá pūrvyó maha'nām venáb r'tubhırānaje 1
yasya dva'rā mánuspită devésu dhiya anajé. Il
Si -anaje=igacchati;
or, prāpa, anajih prāptıkarmā;
ajyate :
Rv. VIII. 20.8 :
góbhirvinó ajyate sóbharipām ráthe kose
hiragyáye 1
fóbandhavah sujätā'sa h isé bhojó mahă'nto
nah spárase nú il

·8 Rasa and Dhvans Sa-ajyate, vyajyate, Prakatikriyate, = revealed, Griffith-balmed'. Rv. VIII 51 9: yasyāyam vis'y a ryo da sah Sevadhira arih ! tıra'scidaryé rusame pavırayı tubhyetsó ajyate rayih 11 Sā -ajyate=praksipyate (Válakbılyabhāsya), Griffiths' is brought off at Rv. IX. 32.3: Sá -ajyate=sicyate, or snigdhıkrıyate= (anointed), Griffith-anointed', Ry. IX 76.2. Ry X. 118.3 Sä -ajyate-sicyate-ano inted, Griffith-' balms' Sa -ajyate gobhih (= = is anointed), Griffith-balmed', Ry. III. 40 6 girvanah pahí nah satám madhordha'rabhirajyase 1 Indra tvu dātamídyásah Sa - ajyase=sicyase=" (you) are anointed" Griffith - art bedewed', (ie anointed), Ry IX. 66 9. mrjánti tva samagrus óvyo jirā vadhi sváni 1 rebhó yadajyase vane 11 Sá - ajyase=aktah Sikto bhavati,=anoint Griffith-deck thee', ·Vanj, vitvaſīj, v dhvan and.. 9 also at Rv. IX. 85.5 : Sa.-ajyase=sikto bhavası; anointed; Griffith-balmed' with milk; also at Ry. IX. 78.2 : Sa.-ajyase=preryase; Griffith-balmed'. aktah, aktā, aktah, occur at Rv. IV. 3. 10-Sā.-sikto bhavati; 'sprinkled with oil'-Griffith. VI. 4 6 - Sã.- samśıştaḥ; 'decked '-Griffith; VI. 5.6.-Sā. samsıktaḥ, 'decked with brightness' - Griffith. IX. 96-22-S& -siktaḥ; 'decked '- Griffith; aktam-at, Rv. Il. 3.4-Så.-ajyena aktam, bedewed with - Griffith; IV. 27.5,- Sā.- sıktam; 'filled with a shining liquid-Griffith; IX. 74.8,- Så - samprktam; 'shining, milk anointed'- Griffith; X. 177.1;-Sa.-vyaktam; abhivyaktam; adorned with'-Griffith; ajyamānah-o Ry. IX. 97-35-Să.-gobhiḥ sicyamánaḥ -'is purified '-Griffith; X. 31.9-Sa. -- vyajyamānah, vyaktıbhayan =caused to appear, revealed, displayed, Griffith - 'balmed '; -occurs at

·10
Rasa and Divani
ajyamana -occurs at,
Rv X, 31.10, Sa 'nisicyamănaretaskā'
anjat, añjan-at
Rv I. 92 5-añjan, añjantı (Sa )=display,
- deck - Griffith.
In the Yajurveda
anaktu-occors at VI 2,
XXVII. 12;
XXXVII 11,
añjantu - XXIII 8,
anaje - XXXIII. 29,
Ananja - VIII. 30,
ajyate-XXXIII. 82,
aktam - II 16,
anjat-XXIX 1, and 2,
and samañjan-XX. 37,
anaktu'-Yv. VI 2.
agreņırası svāveśa unnetrpanetasya vittadadhi
tva sthāsyatı devastvā avita midhränaktu
supippalabhyastvausadhibhya) i
dyamagreņasprks äntarıhsım madhenā prāḥ
prthivīmuparepadsmh1h 11
znaktu = mraksiyatu, (Uraţi)=anoint,
Yv. XXVII. 12 :
tinīnápadásuro visvíveda desó devesa deváh
patró anaktu madhvi grténa 11
anahtu=anoint, (Unata).

·Vanj, oit vanj, v dhvan and.. 11 Yv. XXXVII. 11 : yama'ya två makha'ya'tvá sú'ryasya tvà tápase devástră sa vită' madhvânaktu 1 frthivyå’h samspi's'aspāhi i arcírası socirası ta po's: 11 madhra anaktu ( Uvata ), -anoint, anaktu = Jimpatu ( Mahıdhara). oñjantu-occurs at, Yv. XXIII. 8: vása vastvāñjantu gāyatrépa ccbándasā rudra'stvasjantu trais'tubhenac chándasādityā'stvarijantu jā'gatena chándasā bhū, bhuvah svartālzsccha. Cifnyavye gávya etádánnamatta devă etádánnamaddhi prajāpate il anjantu=anoint; =snigdham kurvantu sanoint, (Mahidhara) anaje, occurs at Yv. XXXII. 29 and is Rv. I. 102-1, ānanja-at Yv. VIII. 30 : purudasmóvísurūpa indurantármahın a'na'ij dhiraḥı ekapadim dvipadīm tripadīm catuspadimastápadım bhuvana'nu prathantām svā'hå 11 änanj, -añjatervyaktıkarapārthasyaitadrūpam, vyaktikaroti (Uvata ; =brings into light; displays, causes to appear etc.etc ajyate-Yv. XXXIII 82, It is the same as Ry, VIII. 51.9 Uvata observes : ajyate dhátūnīmanekārthatvat añjirdánārthaḥ vikaragavyatyayas'ca anakta dadati rayıh dhanam ·12 Rasa and Dirvani no aktam-at Yv. II, 16 ; va'subhyastvà rudrébhyastva'dityébhyastva sa'mjānātham dyāvāprchiva mitrā' va'ruņau tra vystyávatā vyantuva'yo'ktam rithânä marútám pr'satirgaccha vasa' př'spirbhütva' divam gaccha ta'to vr'ştımā'vaha 1 cakşus'pā' agne'si ca'kşurme pāhi i aktam=drutameva (Uvata ); samañjan-Yv. XX. 37, narāsa'msah pra'tı s'ūro mi'mănasta'nūnı'pātpra'. tiyajāa'sya dhā'ma 1 góbbırvapā 'vänma'dhuni samañga'n hıranyai schandri yajati pra'cetaḥ 11 simanjan=anointing; añjan-Yv. XXIX i and 2; arjan-vyaktıkurvan (Uvața)-revealing; displaying: and añjan=samañjan=anointing grtena (Uvata); In the Samaveda we have, ajyase-I. 195. añjate-l. 564; }I, 1121; 964; 1755; vyañjate-l. 564; sam injite-l. 564; ajyate-II. 770; Il. 1099, II. 16C9; anjanıḥ-II. 1080; II. 1209, ·Vanj, ut Vañj, V dhvan and.. 13 Now, Sv. I. 195 is Rv. III. 40.6 Sv. I. 564 is Rv. IX. 86.43; Sv. II, 1121 is Ry. IX. 10-3; II. 1755 is Rv. 1. 92.1; 11. 770 is Rv. IX. 32-3, Sv. II. 1099 is sam vatsa iva mātſbhirindurhinvano ajyate i devāvırmado matıbhiḥ pariskrutaḥ 11 ajyate='is sent' Griffith. The root may be vaj and not vanj Sv. II. 1609 is Rv. VIII, 51 9 Sv. II, 1080 is; punāno vāre pavamano avyaye vrso acakridadvane devänäm soma pavamana niskſtam gobhiranjāno arşisi 11 arjānaḥ='balmed with' Griffith, ie. anointed; Now we may examine the occurrence in the Av. anakti - Av. V. 27 2. dero deveşu devah pitho anaktı madhså ghrtena =anoints (Whitney); añjale- Av. XVIII. 3.18. is Rv. IX. 86-43; adajmi -- Av. IV. 14.6. aja'manajmi pa'yasă ghrténa divya'm payasa'm soparoa'm bha'ntami téna gemma subſta'sya loka'm sun'tarohanta abhi na kamuttama'm IL anajmi-abhidharayami (Si.); =anoint; Whitney ·14 Rasa and Dhvanı anaktu - Av. V 28-3, tra'yaḥ pósastrıvr'tı s'rayantámana'ktu pūsa' pa'yasă ghriéna! a'nnasya bhūma' fûrusisya bhūma' bhūmy pasūna'm ta' ha' S'rayantām 11 apakta = anoint, (Whitney), anjantu occurs at Av XVIII 3 10 and III. 22.2; Av. III. 22.2 : mitra's'ca va'rupas'céndro rudra's'ca cetatu 1 devā'so vis'va'dhayasasté māñjanta vaʼrcasă 11 añjantu=aſtam aslıstam kurvantu ( Så ), =anoint, (Whitney), Av. XVIII 3. 10.2 is, va'rcasa ma'mpita'rah somyā'so a'sjanta de I' ma'dbună ghrténa ! ca'ksuse ma pratara'm tāra'yanto jara'se ma jara'dastım vardbantu 11 añjantu=anoint; (Whitney), anktam-Av. VI 69-2 and IX 1.19, Av, VI. 69 2. is, a's'vınä säraghéna må ma'dhunănktım s'ubhaspati ya' a'tha bha'rgasvatim vă'camava'dām ja'nām a'nu 1 anktam=abhisucatam (Sa) - anoint (Whitney). Av. IX. 1-19 is the same as above We read herein 'varcasvatim' for 'bhargasvatin'. Conclusion : Thus, the root' Vanj 'seems to carry principally the meaning 11'to anoint and as a consequence thereof, WT ·Važij, vit Vañ, Vahvan and 15 . () 'to shine Its use with the prefix 'vi' is in the sense of 'to shine forth', 'to glitter etc The idea seems to be to enhance the glitter of something by the application of some ingredient.* vi + Waaj: We come across different forms of the root VI+ vrij in the Vedas We will first take up the Rgveda We can make a note of the fact that vit vanj occurs more frequently in what are known as the later mandals of the Rv. We will try to study all these references carefully and will try to find its sense or senses in their various occurrences, vyañjate : Rv I, 64 4: citrairanjibhuvapuse vyañjate va'ksaḥsa ruká'm aldhı yetire s'ubhé ! amsesvesam ní mimộksur rsta'yah sak'm jajare svadha'yā divo na'rab it Vanj'10 *Grassmin, Roth and Bothlingk also have the following senses (1) to anoing to rub the ointment, to embalm, (salben), (it) to cmit, (sputzen), (lul) to shine, to glitter (glanzend ), (iv) to shine forth, (crscheinen) (v) to decorate ( schmücken ), (iv) to embelish, to attire dress ( zürüsta) ·16 Rasa and Dhoant vyañjate=vyaltam kurvantı alamkurvantityarthah (Sa) ie, they bring into light, cause to appear, display, reveal, decorate and anjibhiḥ is explained by Sa as rúpabhiyañjanasamarthash ābharanaih Griffith explains it as='they deck', añjibhıh as 'glittering ornaments'. Ry, VII 79.2: is vyanjate dió antesvaktū'nvis'o na' yukta' usa'so yatante sa'm te ga'vasta'ma a' var'tayanti jyotiryacchantı savitéva bähú !) Sa explains as, 'vyakīkursanti'- ie. cause to appear, reveal etc Griffith -'paint' (ie anoint), Rv. IX. 86.43 is the same as seen above (see anjite). yynsijate=vividhamañjantı (Sa ). and samaſijate simyagañjanti, =anoint, well anoint, Griffith-balm' (ie anoint ). vyajyate-Ri. X 8528, nilalohita'm bhaviti kstys'saktírvyajyate 1 édhante siya jiāta'yah pu'tırbindhéşa badhyate 11 vyajyate- tyajyate (Sa) =drien off (Griffith ) The root 15 vit vaj, not vi+wanj It should be noted that this is the same as Av XIV. 1 26 Whitney obser es that the root is 11+ Vaj ·Vanj, vit van), dhvan and.. 17 Rv. IX. 71.7 is pa'rã vyakto aruşó diva'h kavíry'şa triprsthó' anavista gå' abhí i saha'sranitirya'tip parāya'tī rebho na pūrvíruşa'so ví rajati il Sā.-somah vyaktaḥ vispaştadhārāyuktaḥ yadvā vasativarıbhirvis'eşeņāktah siktaḥ sao. i.e. clearly manifested, displayed or well anointed; Griffith-shines '; vyaktam - Ry. X. 14.9; X. 127.7; Rv. X. 14.9 : a'peta vīta ví ca sarpatá'to'smā etám pita'ro loka'makrant a'hobhiradbhíraktúbhirvyaktam yamo dadātyava sā'namasmai it Sa. explains : vyaktam=samgatam; =accompanied with (1.e. adorned with ); Griffith-adorned with '; Rv. X. 127.7 : úpa mä pépis'atta'mıḥ kşşpa'm vyaktamasthita 1 ûsa puéra yātaya 11 SI. siys : vyaktam vis'eșeqt svabhāsā sarvasyanjikarī spaştırūpam vā i.e. that which well anoints everything with its own fight, or that which is clearly manifested; Griffith (that which ) deces, (i.e. adorns ); R. 2.

·18 Rasa and Dhvani vyakta: Rv. VII. 77.3: devā'nām câ'kṣaḥ subha'ga va'hanti sveta'm na'yanti sud;'sikama'svam! uşa' adars'ı ras’mibhirvyaktā citrā'maghi visvamanu-pra'bhūtā ! Sā. - does not wait to explain. vyakta. But it means, 'clearly manifested'. Griffith-(that which) 'shines apparent' i.e. clearly shines; Rv. VIII. 56.4; is; ta'tro a'pi prā ņīyata pūta'kratāyai vyaktá i a'svānāmíuna' yūthyām 11 There is no Sāyaṇabhāşya on this. We get válakhilyasūktabhāșya which explains it as: vividham gantā; nānāprades'eșu pracalan. Rv. X. 86.5. is, priya' taşta'ni me kapir'vyakta vyadūdușat i s'îro nvasya rāvişam na' suga'm duşkp'te bhuvam vís' vasmādindra úttarah # Sa.-explains vyaktă=vyaktänyajyai, vis'eșeņåktäni i.e. ( well adorned ); Griffith : vyakta=beauteous things (i.e. well adorned ); vyakta h-occurs at Rv. VII. 56-1. Rv. VII. 56-1; is, kilim yyaki, na'r sanida rudra'sya ma'ry: a'dbā sva'śvāḥ 1 as ·Wanj, vit vanj, v dhvan and.. 19 Sa.-' kántiyuktáh' i.e. 'beautiful' lustrous', 'radiant'; Griffith-radiant '; ?.. vyaktam-Rv. X., 85:21; 7 udirşva'tah pá'tvati hyes 'să vis'va'vasum naʼmasă girbhírīļe 1 anyā'miccha pitſşa'dam vyaktāſ sa'sáte bhägó janú șă ta'sya viddhi. // Sā.- explains'as: vyaktām anūdheti paris'gutam vigataajanān và i.e. clearly manifested'. or that whose aſjana is removed Griffith 'fair' (i.e. beautıful ). vyañjata - occurs at Rv. VIII. 7.25, Ry. VIII. 7.25. is, vidyúdhastā abhidyavaḥ síprah sirşa'nhiranya'yīḥ 1 subhrà' vyañjata sriyé si Sa.- vyañjata vyañjayanti vyaklīkurvanti dhārayantstyarthaḥ i.e. 'display'; 'bear'; Griffith-'deck! We have seen as may as thirteen occurrences in which we come across different forms of the root vit Vaaj in the Rv. These thirteen references from the Rv. bear the general sense of opening up something hidden and bringing it to fight, embellishing, decorating, adorning and the like. Thus, we can say that the root vi + Vanj in the Rs, has these tiro connected meanings (1) revealing and (ii) adorning.

·20 Rasa and Dhrani 7 The Yajurveda has, vyaktaḥ-at XIX. 87; and vyaktam-at XXXV. 1: Yv. XIX. 87 is; kumbhó vanisthúrjanitā' sa'cbībbirya'sminna'gre yonyam ga'rbho anta'h ! plas'i'rvyaktaḥ sata'dbăra útso duhé na' kumbbat' svadhā'm pitç bhyah it Uvața explains, vyaktaḥ=spastaḥ i.e. clearly manifested or displayed; Mahidhara has vyaktab spasta . Yv. XXXV. 1. is, apetó yanta pana'yo'samnā devapiya'vah 1 asya' loka'h suta'vataḥ dyubhira'hobhiraktúbhirvyakta'm yamó dadatvavasi'namasmai. 11 The second half is almost identical with Rv. X. 14.9b and Uvața has vyaktam=spaștīkrtam clearly displayed; = manifected; Mahidhara explains similarly, Samaveda has vyasjate-Sv. I. 564; and vyaktáh-Sv, I. 433. Sv. I. 561 is the same as Rv. IX. 86.43; Sv. I. 433 is the same as Rv. VII. 56.1; Atharvaveda bas : vyañjate: Av.XVIII 3-18; is the same as Rv.IX. 68.43; Whitney explains:'they anoint out' (vi); vyajyate- Av. XIV. 1.26. is Rv. X. 85.28;

·Vanj, vit vanj, v dhvan and.. 21 Whitney explains it from root vit waj and not vi + Vaõj vyaktam- Av. XVIII. 1.55 is Ry. X. 14.9; vyaktā - Av. XX 126.5. Thus, we see that the Av, has here practically everything borrowed from Rv. The survey of the occurrences of the root vit Vaaj in the vedas shows two connected meanings, viz., to bring out something hidden by applying or enhancing something, to brighten, to embellish, to decorate, to adorn. Thus, putting together the result of our survey, we get : 21 > (2) to deck; to adorn; as in Rv. I. 64.4; (Sā. & Griffith) Rv. X. 14.9 ( ) Av. XVIII. 1.55 ( Whitney), (is) to maniſest clearly; display, cause to appear as in Rv. I. 64.4; (Sā.); Rv. VII. 79.2. (Sa.); Rv. VII. 77-5. (Sa. ); Ry. IX. 77.7. (St.) (Griffith ); Rv. X. 85-21; ( Så.) Yv. XIX. 87.(Urata and Mabidhara) Yv. XXXV, 1 (Uvaya and Mahidbara); Ry. X. 14.9. (Sa.); Av. XVIII. 1.55 (S5.)

·22 Rasa and Dhvans ( 111 ) to paint (i.e. to anoint), (Griffith), as in Rv, VII. 79 2, (iv) to balm (i.e. anoint):( Griffith); Ry. IX. 86 43 Sv. I. 564, (v) to anoint as in Rv. IX: 86.43 (Så. ) Av. XVIII 3 18 (Sa.) and also Whitney; Rv. X. 86 5 (S.) (ur) to shine forth; Rv. Vil. 77-3. (Griffith) (vi) beautıful; (vyaktă ); Griffith as in Rv, X. 86.5, and also "kantiyuktaḥ' according to Sa. at Rv. VII. 56.1. radiant', Griffith-Rv. VII. 56 1 and also Sv. 1. 433 (Griffith) fair'- Ry. X. 55 21 (Griffith) We may also note the occurrences of the root wahvan, or the word 'dhvanı' in the vedas. We come across, adhvanīt -at Rv. VIII. 6 13. adhvinayat - at Rv. VI. 18.10, dhvanayit-at Rv. 1. 162 15 and dhvani, dhvanayaḥ at Av, V. 20 7, Rv. VIII. 6.13. is; ya'dasya manyara'dhvanidvi' vſtra'm parvasó ruja'n apa'h samudra'mairayat n 7

·Vanj, vt vanj, vdhvan and..
23
Sā.-stanayitnulakşanam sabdam akarot;
Griffith-thundered',
Rv. VI. 18 10 :
agni'raa suşkam va'namindra heti rakso ni'
dhaksyans'a'nirna' bhima'i!
gambbıra'ya rşya'yā yó rorójà'dhvanayad dusita'
dambha'yaccha 11
Sā.-yuddhe garjanalaksanam sabdam karoti.
Rv. l. 162,15 :
ma' tvågni'rdhvanayiddhūma'gandhirmókha
.....etc.
Sa.-' to make noise!.
Griffith-'make thee crackle',
Av. V. 20 7 is,
antareme nabhasī ghoso astu pfthak te dhvanayo
santu sībham
= ' let there be noise '; Whitney;
Thus, the root vdhvan and the word dhyani
carry the sinse of 'to make noise and
noise
respectively.
The occurrences of the root vit vanj in different
forms might have proved to be a remote source of
inspiration for the theory of vyanjana in times to
come.

·22 "Rasa and Dhans T ( 11 ) to paint (i.e. to apoint). (Griffith ); as in Rv. VII. 79-2; (10) to balm (.e. anoint) (Griffith), Rv. IX. 86 43 Sv. I. 564; (d) to anoint as in Rv. IX: 86-43 (Sã.) Av. XVIII 3.18 ( Sa.) and also Whitney; Rv. X. 86.5 (Sa.) (v) to shine forth; Rv. VII. 77-3. (Griffith) (vii) beautiful; (vyaktā ); Griffith as in Rv. X. 86.5; and also "kantiyuktah' according to Sa.at Ry. VII. 56.1. 'radiant', Griffith-Rv. VII. 56-1 and also Sv. I. 433 (Griffith) "fair'-Rv. X. 55.21 (Griffith) We may also note the occurrences of the root Vahvan or the word 'dhyani' in the vedas. We come across, adhvanīt -at, Rv. VIII. 6.13. adhvánayat - at Ry. VI. 18.10, dhvanayit-at Rv. I. 162-15 and dhyani, dhvanayah at Av. V. 20.7. Rv. VII. 6.13. is; ya'dasya manyúra'dhvanidvi' vſtra'm parvasó ruja'nı apa'ḥ samudra'mairayat u ·Nanj, vit vanj, dhvan and .. 25 3 This is a very important occurrence. 'vyanjana' here means "an indicator' This seems to be the earliest occurrence of 'vyañjana' in the sense of indication. In a similar sense, we find another root viz. vdyut In Ch I. Yaska cites the opinion oi Gárgya who holds that upasargas are not meaningful by themselves but they serve to suggest or indicate the relation of nama and akhyata, with a particular meaning Says Gargaya na nirbaddhāhupasargāh arthan nırāhuḥ nāmākhyā ta yostu karmopasar yogadyotakah bhavanti. Thus, it seems, Yaska comes very near to the power of 'dyotana 'or' suggestion 'of words, though, he does not mention it by name We know that in the Kavyas ästra, the word 'dyotana 'is used as an equivalent of 'vyañjana' "Vyarjana' in the sense of indication' in Yaska as noted above is also an important occurrence of vi + vañ. We do not come across the occurrence of Vdhvan or dhyanı in either Nighantu or the Nirukta, Nāñj and vi + vanj in Rkprātis'ākhya, Astādhyāyi of Panini (Cır. 300 BC.) and the Mahābhāsya of Pata "jali (Cır. 150 B.C.) Rk. Prā : In the RK. Pra, it should be noted at the outset, that we do not come across words such as vyañjinā, dhvanı etc. The word vyañjana, in the tecbnical sense of a consonant occurs at several places (4) Astadhyayi of Panini (Cır 300 B.C.). In Págini, we get 'vyañjana' at II 1.34, IV 1v. 26, and II, iv 12 (5) In the last two occurrences, ·24 Rasa and Dlipans nor Vanj and vitvany in the Nigbantu and the Nırukta (Cır 700 BC-300 BC) The Nighantu. The Nighanto has no word lide vyanjana any other from the roots Vanj and 11+ Vars The Nırukta • (Cor 700 BC - 500 BC) In Nirukta, however, we have come across certain occurrences of vary in different forms, wherein it seems to carry the sence of 'to anoint' (1) We have P. P of vit vanj in vyaktavācah'at 11 29 in the sense of distinct speech'-(11+ Van= to manifest clearly) (2) At 7 13 we come across the word 'y ya jan amatram in the sense of 'mere indication' (3) This reads as below athota karmabhırğırdevatah stauti vrtraha purandara iti, fanyapı ele samamananti bhūyamsı tu samamnänat vya “janamatra tu tat tasyabhidha nasya bhavati yatha brahmanaya bubhuisilaya odanam dehi, snatay? analepanım, pipasate paniyam iti (Moreover, a seer praises deities with regard to their activities, as (Indra) the Vrtra-slayer, or the City destroyer, and so on Some made a list of thece also but they are too numerous to be collected together in a list These epithets are mere indications of (a particular aspect of the proper) appella tions, just as 'give food to a Brahmagi who is hungry, or unguents to one who has taken a bath, or water to one who is thirsty' (3) ..

·Varij, vit varij, v dlivait and.. 27 cussing this particular illustration, the anthor says that here also, a particular action (kriya' which has 'mandsa, for its käraka is suggested by the upasarga viz. 'an'. Thus we get 'vyajyate' in the sense of suggestion. We find 'vyajyante' at l. 3.1, 19-20; the author 258 says that without 'kriya' action, the kålas such as bhūta, vartamána etc. are not suggested. vit Vanj occurs in the sense of 'suggestion'-(athávà nântarepa kriyām bhūtabhavisyadvartamanāḥ kalah vyajyante-) (and a.sy, astyādibhiscapi bhūtabhavisyadvartamānāḥ kūlah vyajyante ) (1. 3.1. 19 20 ) 258 Again, at III. 1-67. 14/57- tirgabhibitena bhāvena kālapurusopagrabā abhivyajyante kȚdabhihitena punarna vyajyante. We have 'vyajyante' in the same sense. The author says that the meaning of 'bhāva 'or 'action' is suggested by both tin and kşdanta. But there is some difference in these two. Whatever is suggested by kşdanta is in the form of a 'dravya', while by tin, kāla, puruṣa, and upagraha ( parsmai, and åtmane) are suggested. Moreover, at VIII. 2.48 23/23 have we 408 ağjesaājanam anjanım ca prakās'amm tatbā añjervyañjanam vyañjanam ca prakās'anam-the context is that when wañj is in the sense of prakās'ana, we do not change 'ta' into 'na' in case of a P.P.P. Thus, we get Vañj in the sense of, 'prakāšana '-.

·26 Rasa and, Divani it is seen in the sense of a consonant. At II. i. 34, we have : 'vyasjanairupasikte'. It is explained as: dadhna upasiktam dădhikam'. Anything that is used to enhanec the relish of a principal object of eating is called a vyanjana, e.g. cord, in the case of sice. Thus, vyasjana is that which serves to enhance the relish. We come across the same use of the term vyañjana in the Ná.sk wherein Bharata cites the analogy of sádavādırasa (Ch. VI ). This can have an important bearing on the vyañjanāvāda of the ālamkarikas, wherein, vibhäva, anubhāva, etc. cause to enhance the sthāyın to the capacity of rasa. It should also be noted that Panini does not mention ! dhvani', nor does he refer to sphoțavāda. He mentions one Sphotāyana without referring to the theory of sphoța (VI. i. 121). We also come across the word 'vyakta 'meaning 'distinct', 'clear', in the sūtra I 3.48 (6). The Mahābhāsya of Patañjali (Cir. 150 BC.): In the Mahābhāsya of Patañjali, we come across many occurrences of different forms of the roots añij and vi+ Vafij and also of words such as vyafijana, Sphota, etc. (7). Some of the important occurrences are as below: We find 'vyajyante' at På. Su. VIII. 1.70. line 15, page 381; ihāpi tarhi mandrasādhana kriyāngā vyajyate. The context is that in the illustration, "mandrairindra' haribhiryāhi mayitūromabhiḥ; the word mandra' being not an indicative of 'gatı''or' action, does not get an anudatta svara. While dis- ។ ·Vanj, vit vanj, v dhvan and.. 27 & cussing this particular illustration, the author says that here also, a particular action (krizå' which has mandra' for its kāraka is suggested by the upa sarga Viz. *án'. Thus we get 'vyajyate' in the sense of suggestion.' We find 'vyajyante' at I 3 1. 19-20, the author 258 says that without 'kriya' action, the Lālas such as bhūta, vartamana etc. are not suggested. vit vanj occurs in the sense of 'suggestion'-(athavá nántarepa kriyām bhūtabhavisyadvartamānāḥ kālāb vyajyante) (and a.so, astyādıbhıs'cāpı bhūtabhavisyadvartamānaḥ kālāḥ vyajyante ) (1 3.1. 1920) 258 Again, at III. 1.67. 14/57- tirgabhihitena bhāvena kälapurusopagrahā abhivyajyante krdabhihitena punarna vyajyante. We have vyajyante' in the same sense The author says that the meaning of 'bhava 'or 'action' is suggested by both tin and krdanta But there is some difference in these two. Whatever is suggested by krdanta is in the form of a 'dravya', while by tin, kala, purusa, and upagraha (parsmai, and átmane ) are suggested. Moreover, at VIII 2.48 23/23 we have 408 añjeraõjariam añadım ca prakās'anam tathā añervy. añanam vyañjanam ca prakásanam-the context is that when dan is in the sense of prakāsana, we do not change 'ta' into 'na' in case of a P.PP Thus, we get Vañj in the sense of 'prakāsana'-, $ ·28 Rasd and Dhranı Later on he says that Vanc is also seen in the same sense 'añcitah gacchatı 'means 'prakāśayatı atmânam iti gamyate'. In our popular usage aſcitah gacchati means ' being alert he goes-samāhito bhūtvă gacchati'. The author here uses terms such as iti gamyate'. This brings us very near to the vyasjanāvāda. Thus we see that Wanj, Vañc and vitang are all used in the sense of prabasuna, ie, manifestation, or revealing or bringing something into light, or displaying something etc vyanjana occurs in its technical sense of a consonant. At VIII. 2.48 24/24 however, we get it in the sense of prakaśana, 408 as noted above Thus Vanj and vi+Wany seem to occur in the same senses as in the earlier literature Vi+vanj in the sense of suggestion is also noted as at Mahâbhasya VIII 170 15/381, or Mahābhasya 1. 3 1. 19/20 etc. as noted above 2589 ... Different forms of vi+ Vaaj, dhvani etc. as seen in earlier poets, () Bhasa. (Cır. 300 A D.) () As'vagboşa. (Cir. 100 AD) (111) Kalidasa, (Cor 400 AD.). We have traced the earlier occurrences of the words connected with vyanjang in the vedic litera ture. Now let us tale note of these words in earlier classical literatare eg. the plays or Bhāsa and works of Asvaghosa and Kalidasa, ·Vanj, vit, vanj, v dhvan and.. 29 That criticism follows literature does not quire proof. That practice precedes theory and in s turn is guided by theory is well proved in the story of literature, science, fine arts, etc. So, before e come to Bharata and Bhåmaha, let us take note the usage of vyañjanā, rasa, etc., in earlier classial literature. The date of the plays attributed to hāsa is still a matter of controversy. Bhäsa, howyer, is placed earlier than Kälıdása by scholars ke Keith and others. I shall therefore, take him rst for the sake of convenience of the treatment of ne subject. hasa : ( Cir. 300 A.D ). In the thirtten plays ascribed to Bhāsa, we come crosswords like vyaktam, vyaktıh, suvyaktam, yaktıkstam etc., in the sense of clearly manifesd.' We also come across sūcayatı, sūcayıtayyah, īcayanti etc., in the sense of 'suggesting or indicaing' (8). Some of the more interesting occurrences re as below : In the second act of Ayimăraka the prince is itting all alone, lost in the thoughts of Kurangi. Leanwhile, two maid servants of Kurangi came there rith some message. The dialogue proceeds as follows: Dhātrī-arya ! kım cintyate? Avimärakan-Bhavati, śāstram cintyate Dha - kim nāmaitad ramaniyam śástram yiyikte cintyate ? Avì.-Bhavatı' yogasastram cintyate !

·30 Rasa and Dhvani Dha - (sasmitam)pratigrhitam mangalavacanam! yogasastrameva bhavatu! Avi (atmagatam ) ko nu khalu vákyartbah' any adap;abhilāsıyasadanyathā sambalpa yāmil (prakásam) kimabhipretam bhalatyān! Dha - yogamicchantyavágate svah! anumata argeņa yoga iti nanu nisthitam karyamas mākam rajahule vivikta avakase! tatrãpi ko pi jano'dhibataram yogam cintayannastı! tena saha tatraivaryena susthu yogası dhānam cinty atamıtı ! The passage leaves no doubt that the author is not only fairly conversant with the abhipreta artha' or the implied sense, but also seems to be conversant with the verbal function called yañjana In the Carudatta act II we come across the following dialogue Gaņıka-samvahaka āryah, sukamāra kala Siksitaryena' Samvāhakah-kalett siksıtā ! ājivikednim samyrtta Ganika - nirvedasucakamiva vacanamaryasya ! tatastatah 1 Thus a sentence becomes 'sūcaka or suggestie of a bhāva called nirveda Again in the act Ill we have,- Brahmani ha dhiki (niskranta) Vidusakah esā vacă dahkham raksttvasrubhth sucayitva gata ! bhohl idam!

·Vanj, vit vanj, v dhvan and.. 31 1 Here also, as'ru'or tears, an anubhava, become suggestive of the feeling of grief. Again, In the act I, we have Gaņikā- (prāvārakam gļhitvā sa harşam)- anudāsınam yauvanamasya patavāsagandhah sūcayati ! The fragrance is said to reveal that his yauvana is 'anudāsīna' (not indifferent to the joys of life). In the Pratimānāțaka, act V we have, Råmah.. ...aye imanı khalu pratyagrābhişiktāri věkşamūlāni adūragatām maithilim sūcay. antı! tathā hi......etc. (Act. V.). Here, one fact viz. that Sıtä has not moved much farther, is suggested by yet another fact viz. the roots of trees that are recently sprinkled. But herein, we can read even the process of reasoning on the part of the hero. The word 'dhvanı' occurs in the usual sense of 'sound' only. + As'vaghosa : (Cır. 100 A.D.) Now we turn to Ašvaghosa (9). We come across vyañjana' in the sense of 'embellishinent'adoration' etc., as in Shundarananda XVIII. 11-viz, maitrīstanim vyañjanacārusāsnām saddharmadugdhām pratibhanašſigām ! tavāsmi gām sādhu nipīya třiptaḥ tſşeva gāmuttamavátsavarṇaḥ! Here, the word vyañjana, it may be noted is in the sense of alamkāra. 1 1 ·Rasa and Diivarts 32 1 e Again, at Bu Ca XVI 73, we have vyanjana in the same sense sarvakles'abbividdbānām kleśas'alyasamuddbaraḥ 1 sarvalaksapasampannah sarvavyañjanamandıtah v1 + vanj in the sense of 'to manifest clearly or 'to suggest' occurs at Ba. Ca IV 84 upapannamidam vākyam sauhardavyañjakam tvayı 1 atra ca tranomesyamı yatra ma dusthu manyase II Herein, a vakya is said to be sauhardavyafijaka' suggestive of friendship. The sentence, ie a group of words, suggests the bhān of 'sauharda' It may be noted that this passage is specially interesting and useful from the point of view of our inquiry The occurrence of vyañjana meaning ornament in the verses quoted above is also of some importance for our investigation We know that in Vamana the word alamkāra has two senses, (?) that of saundarya, and (!) that of a figure of speech not unlikely that the word vyanjana had also a sense similar to alamāra ie, beauty or beautifying agent and also the sense of suggestion The first sense of alamkara seems to have gone out of usage but the second sense seems to have prevailed in Sanskrit Poetics It is \Ve come across some occurrences of 'dhvanı in the sense of sound' only This cannot have any reference to the theory of dhvanı of the writers of poetics 79 ·varij, vit vanj, v dhtan and 1 Kalidasa (Cır. 400 A.D.): In Kalıdāsa, we come across vi + vañj in its different grammatical forms ( 10). All the occurrences of vit vañ. in the Kumara., except at II. 11, are in the sense of 'to manifest ', 'to display' 'to bring into light' etc At II. 11, we have 'vyahta' and vyahtetara' having the philosophical cornotation of 'the manifest' and the unmanifest. Kumāra. VII. 91 is more interesting. It runs as below: tau sandhısu vyañjitavrttibhedam rasăntaresu pratıbaddharăgami apasyatāmapsarasām muhurtam prayogamådyam lalıtángahāram II Here, we have 'vyañjita' in the sense of manifested, revealed. There is also the mentioning of pancasandhı, vrtti, and rasa. This suggests an advanced stage of the science of dramatury. In the Megha. 12 (pūrva), we have 'snehavyaktih', 1.e, the manifestation of love Megha. 29 (pūrva ) is very interesting It reads as venībhūta pratanusalila' savatītasya sindhuh påndacchayā tataruhatarubhrams'ıbhırjirņa parnaih saubhagyam te subhaga virahāvasthaya vyañjayanti kārs'yam yena tyajatı vidbinā sa tvayaivopapādyah 11 That the payakanāyıkābhāva is suggested here is clear. Mallınātha explains it fully. 'Vyaījayanti' is explained as 'prakaśayanti'ie. 'suggesting! The Nirvindhyā is said to suggest, by her R. 3. river ·Rasa and Dhvant 34 condition in separation, the good fortune of the cloud, the lover. This may have an important bearing on the formation of the theory of vyañjana of the writers on poetics, wherein something else is suggested with the help of something else. In the Raghu also very often we have vi+n'any in the sense of 'to manifest' Raghu XIII 12 and XIV. 26 are more interesting They read as below XIII 12 velanılaya prasrta bhujanga vahormisisphūr jathunırvis'eşāht suryāms'usamparkasamrddharagairvyajyanta ete mapıbhıh phanasthaiho vyajyante=unniyante (Mallinatha ) - 1e suggested, and XIV 26 is athādhihasnigdhavilocanena mukhena sita s'arapā durena 1 anındayıtri parineturāsıdanabsarary añjitadohadena 11 anaksaravyañjita is explained by Mallınātha as nvāgvyapārım yathā bhavati tatha vyuzitim In Malasika, Vihrama , and Abhi Sa , in a the occurrences, vit vang carries the sense of 'to manifest are 3 Thus, we have seen that in Bhusa, Assaghosa and Kalidasa, we come across certain occurrences of vit vanj in the sense of 'to suggest', that might have paved the way to the formation on the theory of vyanjană at the hands of the writers on poetics 3 TL ·.. Vañj, vit vanj, v dhvan and 35 Foot notes : (1) anjate occurs at Nirukta 12.7 and is the same as Rv. I. 92.1. anjan, at 3.20; (ie. Rv. I. 92.5.); anjanti at 8.18; (i.e, Rv. III 8.1 ); and also, arkte vyakte vyaktatare (Ch. 1); aksiņi kasmāt, arkteh, etc.- in the sense of clearly manifested'. and also, anakti at 8.10; Yaska explains • uşăsănaktà; He says : uşā vyakhyalà. nakteti rậtrināma. anakti bhūtänyavas'yāyena, api vā naktā avyaktavarpā tayoresā bhavati, anakti=anoints, avyaktavarpā = not of distinct colour (1.e. having no clearly manifested colour ). * vit Vasj' is seen in the sense of manifestation; (2) vyaktavācaḥ at 11.29 18 : devīm vācam ajanayanta deváḥ tām sarvarūpah pas'avo vayaati, vyaktavācas'cävyaktavācaḥ ca (3) Translation - Sarup pp 120 Nirukta (7.13)- iti ima devată anukrāntah-sūktabhájaḥ havirbhājaḥ, rgbhâjas'ca bhūyıştâḥ kas'cinnipātabhājaḥ, atha uta abhidhānaiḥ samyujya havis'codayatı indrāya vrtraghne indrāya amhomuce tányapi eke sawămananti, bhūya msi tu samāmnānāt yattu samvijñāta bhūtam syat prādhānyastuti tat samāmane atha uta karmabhıh psih devatāḥ stauti vrtraha purandaraḥ iti. tányapı eke samamanantı, bhūyamsi tu samāmnādāt. vyañjanamätram tu tat tasyābhidhānasya bhavatı yathā brāhmaṇāya bubhukṣitāya odana dehi, sātāya anulepanam. Pipäsate pānīyam iti. (Nirukt=7.13 ) iti.

·Rasa and Dhrani 36 . (4) RK Prā, has, vyafijana' at XVIII (patala) 32 (sūtra), 42, 43, vyanjanam'-I 5, 22, II 8 VI 14, vyanjanasya :-XIV 15, vyanjanāt'-XIV 47, XVIII 44, vyanjanānam -XIV 16 vyañjananı-1 6 23, IV 1, XVIII 33, vyañjane'-VII 1, vyañjanena '-III 17, vyañjanesu-VIII 48 vyanjanasamgamam -XVIII 40 vyrujanasannipatah'-I 37, vyanjanodayım'-VII 33, 'vy ñjanodayat '-VI 46, (5) Pinim (astadhyayſ) II IV 12,- IV IY 26,- (6) 'vyaktavāc-I 3 48-vyaltavscām samuccărancvyaktivacinah -1 251 ,- sphotTynnah-VI 1 123-ayad sphotayanasya (7) In the Mahabliāşya of Patanjalı we have vjazyante- at Pr SU I 348 line 7-8-8-8/page 283 abhivyyscta at V 355 17/415, 'f jana at VIII 21 48 23-23/408 vai jana at pratyahara Sutra 23 26/26 and at I 13 3/11/13/15/22/25 ·. Vanj, vit vanj, dhvan and 35 Foot notes : (1) Azjate occurs at Nirukta 12.7 and is the same as Rv. I. 92.1, anjan, at 3.20; (ie. Rv. I. 92.5.); anjanti at 8 18; (i.e. Rv. III. 8.1); and also, ankte vyakte vyaktatare (Ch. I); aksiņi kasmāt, arkteh, etc.- in the sense of clearly manifested'. and also, anakti at 8.10; Yaska explains . uşāsánaktă; He says : usā vyākhyātā. nakteti rātrināma, anakti bhūtā nyavas'yāyena, api vā naktā avyaktavarnā tayoresā bhavati. anakti=anoints; avyaktavarpā = not of distinct colour (1.e. having no clearly manifested colour), vi+vanj' is seen in the sense of manifestation; (2) vyaktavācaḥ at 11.29 is : devīm vācam ajanayanta devāḥ tām sarvarūpah pas'avo vayanti, vyaktavācas'cāvyaktavācaḥ ca (3) Translation - Sarup p.p 120 Norukta (7.13)- iti imā devatā anukrāntah-sūktabhājaḥ havibhājah, Țgbhājas'ca bhūyıştāḥ kas' cionipatabhājah, atha uta abbidhānaiḥ samyujya havis'codayatı indrāya vrtraghne indrāya amhomuce iti, tànyapı eke samāmanantı, bhūyāmsi tu samāmpānät yattu samvijñānabhūtam syāt piādhânyastuti tat samā mane atha uta karmabhiḥ īsih devatāḥ stauti vſtrahã purandarah itu. tányapi eke samamanantı, bhūyämsi tu samāmpānāt, vyanjanamätram tu tat tasyābhidhānasya bhavatı yathả brāhmaṇāya bubhuksitāya odanam dehi, spătāya anulepanam. Pipāsate pāniyam iti. (Nirukt=7.13 ) ·Rasa and Dhrani 36 (4) RK. Prā. has, vyanjana' at XVIII (patala) 32 (sūtra); 42; 43; vyanjanam-I. 5; 22; II. 8: VI 14; vyañjanasya '-XIV. 15; vyanjanāt'-XIV. 47, XVIII. 44; vyañjanādām -XIV. 16. vyañjanāni-I. 6.23; IV. 1; XVIII. 33; vyañjane'-VII, 1; vyañjanena '-III. 17; vyañjanesu-VIII. 48, vyañjanasamgamam'-XVIII. 40; vya njanasannipātah'-I. 37; vya njanodayam '-VII. 33; vyañjanodayat'-VI. 46; (5) Pārın (astādhyāyi) II. iv. 12;- IV. iv, 26;- (6) vyaktavāc-I. 3.48-vyaktay cām samuccaranevahtis acanaḥ-1. 2.51 ,- sphotiyanah-VI 1, 123-avad sphotayanasya. (7) In the Mahabhässa of Patañjalı we have ; vyajyante - at Pā Sū. I. 348 line 7-8-8-8/page 283. abhivy 3jj eta : at V. 3.55.17/415, aſjana : at VIII. 21 48.23-23408. vyanjana : at pratyähäta sūtra 23 26/26 and at 1 13 3/11/13/15/22/25; 43 x ·Nanj, vzt vanj, v dhvan and 37 I. 1.3. 21/48; I. 1,50. 19/123 1. 1.51. 16-19/128; I. 1.73. 18-21-21/189; 1. 2 30 15/18/19/19/21/23/24/30, 206 7 II. 1.34 35 19/386 III. 2 109 4/117; VI, 1.2. 1/2/4/5/7. VI, 1.3 14/8, VI. 1.131-17/19, VI 1 223 19/20/21/23, 119 VI 1 223 6/9/9/15; 1 20 VI 4.16-3/185, VIL. 173 19/265, VIII 24-4/389 VIII. 248. 24/24, 2 408 409 vyanjanādyartha : at VII 2 115 7/8 314, vyañjananta at 1. 1 29 10 : 91 II. 443 2/2 485 IV. 11, 18/21/21 191 VI. 1 223 17: 8/11/20/21 119 120 VI. 456. 23 203 VIII 2.82 23 . The references are to Dr, Keilhorn's Ed ·38 Rasa and Dhvans (8) In the Syappavasayadattam we have the following: sarpavyakti'-at Svapna V. vyaktam-at Svapna V. 7 vyaktam'-at Svapna VI. 14 In the Pratijaayaugandharayada we have vyaktam" atmahite ksaman (Act I) Introduction. and also, Yaugendha.-ryakt,krtam asāmarthyam etc and, vyaktam' balam. etc and also vyaktam'-(Act II 1), Kāpcukıyaḥ-- suvyaktam '-(Act II ), räjā.' vyaktam '-(Act II), Yau-vyaktam bharatarohako ete (Act IV) The Avim raha has, Kaunayaпah vyaktahimamurth etc ) Act. I) Ayımārakaḥ-vyaktam syayam viņām vådayatı-(Act III) The Carudatte has :- Nayakaḥ sarvathā savyaktam gitam (Act III) and also, Sajjalakah dipaprabhavi altıbstam dçsºyate-(Act II) The Pratimadataha has, Rāmaḥ savyaktam prabhavāmīti etc (111) and also Bharataḥ-bahuninavyäksiptena manasa suvy altam Dāvadbacitam etc (Act III). The Abhisekanataka has, Angadah rakta mutsſjya deham etc. (II 25), and also Rāvanaḥ vyaktamındrajita etc (V 10), and also Rāmah vaktam daivagatım (VI 34) The Datarakva has- Dujadhavan saiz aktam prapta eva kes'avan aod also, etc ·Vanj, vit vaſt, wdhvan and .. 39 Sudars'anah ...ayyaktādıracıntyātmā etc The Datagbatotkaca has Durtarastrah-sayyaktam dibatam etc I. 26 and also,-suryaktan dhanusi etc I 28 The Pancaratara has Bhismah.' suvyaktam bahus'alinah' etc. I 50, and also etc I 26 Bihannala Yena savyaktakarına II 65 The Madhyama has, Bhimah suvyaktam rāksasi jo The Urubhanga has, trtīyah vyaktık'tà dinakarograkaraiḥ =etc I 121 and also As'vatthāma vyaktam niejita eva etc I 58 d The Balacarita has vasudevah vyaktam ghosasamipe etc (9) The Saundarananda has vi+anjat II 38, XIII 41, and XVIII 11, The Bu Ca has vi+Janjat, IV 58, IV 84, IX 64, XII 18, XII 22 XII 40, XVI 73, and XVI 130, and'dhvani at IV 51, V 80, VIII 72, Bu Ca, IX 64, XII 18 XII 22, and XII 40, have vyakta ' and 'avyakta' having a philosophical con notation of the manifest' and 'the unmanifest' Sau II 38 and XIII 41 have vit van) in the sense of to indicate', 'to manifeet clearly' Bu Ca XVI 130 has vitañj in the sense of to the letter as opposed to "artha' or 'spirit (10) In Kālıdasa we have, vitan at Komara -II 11, V 62, VI 23, VI 51, VII 91, VIII. 37, VIII 71, and IX 6, ·40 Rasa and Dhicani Niegba -Vs 12,29 55 (pūrva), and 21 (uttara ) Raghu -I 10, IV 68, V. 16, VI 12, VII 58, XI 41, XIII 12, XIV 26, XVI 23, XVII 40, XIX 30 XIX. 41 , yi+Janj Occurs in the sense of .to manifest Malavika Somewhere after J 9, JJ 10, and IV 1, Vikramo Somewhere after III 7, and V 7, Abhi Saku Somewhere in act V and at VII 8, VII 17, dhvan or'dhyanı' occurs at VS Rtu - 10 (Pravdyarpanam) ) and 21 ( humara -I 56, VIII 24, VIII 71, XI 36 38, XIV 27, 39, 45 Megha -Vs 42, 56 (pūrva )- Vs 3,36 ( uttara ) Ragbu -11 72, IV 73 VI 56, VII 41. and XVI 13, 15 9

·CHAPTER II
Dvani in the Grammarians and certain
parallelisms between Sphotavāda and the
theory of dhvanı'.
We may say, on the authority of Ananda vardhana
(middle of the 9th cen AD De, Sk P p. 101,
Ed '60), that the concept of dhyanı was not unknown
to the early poeticists such as Bhamaha (last quarter
of the 7th cen. A.D to the middle of the 8th cen. A.D.
De p. 49-50 °, Dindin, t 1st half of the 8th cen AD
De p 67) etc. Ananda vardhana observes that Bhamaha
and others subsumed dhani under various heads such
as alamkāra, guna, etc I am going to examine this
position in Ch VI, but one point is clear that in
Bhamaha, Dandın, etc dhvanı has not emerged as
the soul of poetry
Ānandavardhana and his followers clear y mention
that they have derived inspiration for the dhvanıvada
from the Sphotavāda of the grammarians We may
therefore eximine the Sphotavada of the Vaiyaka
ran la and also their concept of Sphotz and dhvini
We will also consider as to how far the writers on
poetics are exactly indebted to the Vaiyākaranaa in
upholding their theory of dhvani and vyañjanā
The grammarians are held in very high esteem
by the poeticists They, for their concept of dhvanı

·Rasa and Dhuoni in poetry, turn to the Vaiyakaranas whom they quote with great respect Anandavardhana in his Dhv says *The expression,' is designated by the learned', brings out the fact that this designation was first devised by the learned and that it had not gained currency in a haphazard fashion. The foremost among the learned are grammarians because grammar lies at the root of all studies They indeed refer to articulate sound units by the term dhvanı or suggester In the same way, since the element of suggestion was common (to both), not only the word and its meaning, but its essential verbal power and also that which is usually referred to by the term poetry, was given the same designation, viz Dhvan by other learned men, whose insight into the fundamental truth about poetry was profound and who were the followers of the principle laid down by the grammarians" (1) (Translation Krishnamoorthy) Mammata (middle of the 11th cen and beginning of the 12th cen AD - De, p 146 ) alsy in his IP speaks to the same effect when he says "This (i e poetry) is the best when the suggested sense eclipses the expressed sense, it IS styled Dhvanı by the learned " And also— 'Idam, ie Poetry The learned grammarians gave the style of Dhram to the word, in as much as it is suggestive of the suggested thing, viz Sphota (The Revealer)' (2) He adds, "Hence, others also following their PW (gave the name of Dhvani ) to the pair of ·43 Vaiij, vt vařilo dhvan and word and sense such as are capable of suggesting a sence other than the direct sence (3). Now, one thing that emerges very clearly out of this is that the term dhvani was first used in a peculiar sense by the grammarians and the poeticists, borrowing it whole sale, applied it to the domain of poetry in their own way. Patañjali : In order to get a clear idea of the concept of dhvani in the grammarians, we will turn to Patañjalı first. in the Paspasâhnika we come across the following discussion (4). "when one says 'gauh' what is Sabda ? Is it the object which has the dewlap, tail, hump, hoof, horns, etc ? "No", he says, “it is called dravya'. "Is it then its gesture, movement, or winking?" "No', he says "It is called kriya or action" "Is it then the whiteness, blueness, brownness, or greyness ? No, it is called 'guna' Is it than the sum total of the qualities like satta which ever exists even when the individuals are broken or destroyed ?" "No", he says, "It is called abiti". 61 Then what is Sabda ? (5). "Sabda is that on the manifestation of which, the correct knowledge of the object which has dewlap, tail, hump, hoof, horns, etc., is produced, or the sound which has a decisive meaning is said to be 'Sabda' in the world Hence, dhvani is Sabda ". +.

·Rasa and Dhvant When a nord like 'gauh' is pronounced the following concepts appear in the mind of the hearer, the individuality cou, her action, her qualities genus cow, the shape of the con, and also the word made up of 'g' au' and ' sisarga' The hearer wants to made out the exact connotation Indiuidually con, her qualities, etc, are seen by the eyes and the word 'gruh' is heard by the ear. So, it is absurd to take this for the exact connotation But since the relation of Sabda and artha guna and gunì, and kaya and hriyat17 is that of identity according to the grimmarians as there is a rule tadabhinnabhinnasyn tydabhinnatvam, it is quite natural to think so The Mahabhasyakära says that the aptı, gupn, etc not the true connotations of the Sabdi, but the true connotation is Sphota-that, which when manifested, enables the herrer to have a clear anonledge of the object 'cou are Viz The sanskrit grammarins hold that the Sabda is not the sound units that we hear but it is manifested in the mind after the whole word 15 pronounced It may be noted that according to Sinshrit grammarians, Sabdi IS of four phices para passanti madhyamă nd vzhhar Sabda Brahman when minifested at the mulndhiri or the sacral plexus is callcd para vák, when minifested at the naval it is piszint, at the heart madhyama and bharı is that phase which is miniſested out of the vical organs as the articulated sound (6) In ile ninib ahmika, Pitajait discusses the tiparasutra (. 1 70) There 310 (so points to ·45 Vařij, vit vašīj, v dlvan and .. be examined (i). Is 'tatkälasya 'a correct expression or not? And (ii ). - Is this sūtra an apūrvavidhi or a niyamavidhi? While discussing the latter point the author talks about Sphoța and dhvani (7): At the end of some technical discussion (8), it is statedevam tarhi Sphoțah, sabdaḥ dhvanıḥ Sabdagunaḥ.- "If so, Sphoţi is the Sabda and dhvani is the S'abdaguna'. Katham ? how ? bheryāghātavat - Like the beater of a drum. tadyathā bheryāghāto bherimāhatya kaścidviņsati padānı gacchati, kas'cit trims'at, kas'cit catvārims'at. This may be ullustrated as follows One beater of the drum goes twenty steps at the time when the sound by beating the drum lasts, another thirty steps, and another forty steps. Beating is the same. The increase is due to the sound production by beating'. It is observed, 'dhvanıḥ Sphoțasca śabdānām, dhvanistu khalu Jaksayet! alpo mahāms'ca, kesámcit ubhayam 66 tatsvabhāvatah 11 With reference to sabdas there are dhvani and Sphoța. Of them dhvani alone is cognisable to the sense of hearing. It is short, it is long, and it is by nature both (long and short) at the hands of some.

·50 kasa and bhuani sabda, he makes his position vety clear by suggesting that no question of order such as priority and posteriority and that of plurality can be logically raised in relation to Sphota which is essentially one and eternal it is sound, he observes, that passes through successive stages in case of articulation and appears to be either long or short in proportion to the exertion required for the utterance of a word So, it is particularly due to varying modulations of voice, as caused by vocal apparatus, that 'ka' sound seems to be different from 'kha' sound and the lake But Sphota remiins unaffected. Thus the Sun, a fixed body, seems to be quivering when reflected in an agitated pool of water (11) Order and difference pertaining to sound are falsely attributed to Sphota The dual aspects of šabda as observed already imply that sabda has the potency of expressing Itself as well as its meaning that is associated with it by inseparable connection (12) The grammarians muntain that there are two different aspects of words, viz, barya or the popular form and nitya or the permanent form. The former is usailly produced by the exercise of the vocal appartus and serves to give a reflection of internal consciousness, and the latter is what represents the ultimate germ of speech Sphot? is to be identified with this latter aspect of speech The three views regarding the cognition of sound and Sphrta are (s) Sound when produced 18 heard by the auditory organs and becomes the ·Divarda ?? the grammarians 31 the positive lastroinent whereby Sphota is comprehended. (11) After having dssamped the material form through the median of sound, Sphota is capable of Being heard, and (11i) sound acts upon organ concerned and serves to marlıfest Sphota Bhartrhari supports the third view Sound serves as an outer garment of Sphota Though incompre hensible and inconceivable in itself Sphora reveals its existence through the medium of sound Sound and Sphota nte intimately related As to How sound and Sphotz, that are related to each other as the indicative and the indicated, are to be comprehended, Bhartrharı refers to four different Some hold that Sphota is recognised as identical with sound, just as crystal looks red when in contact with a japa kusuma (13) Others say that sound (though not cognisable by itself) is indicative of Sphota Still others maintain that the exact nature of Sphota is too subtle to be determined and it is sound only that comes under comprehension and finally according to some, Sphota is really manifested but is indistinct and unintelligible on account of distance from where it is evolved views While referring to the intellectual process involved in the comprehension of śabdy, Bhartrharı holds that the cogdition ot sabia practically follows írom the last sound together with the impression inade by the preceding ones We may try to understand this, varnoccātaprakriya' or the process of the pronounc ing of sound units ·Rasa and Dhoans 52 view 1s There are three opinions as to the nature of a word, (:) the word is not eternal, ie, it is anitya The words are created and destroyed They have a jātı or 1 class in keeping with other objects This held by the Nyaya Vaiśesika systems (12) Varpas or sound units are nitya or permanent and are the cause of sabda These letters have a relation with meaning and this relation is called šahtı This view is held by the Mimamsa, Vedanta, Samkhya and Yoga schools (si) Third is the opinion of Sphot 11 ada or the abhandatavadı of the grammarians The grimnarians believe in the identity and indıyısıbı lity of the letters On account of the contact of air and the like, the varnas or sound units are manifested as different These manifested letters are known as indi' They suggest the Sphota which is gathered by intim.buddhi ie, final cognition As suggested above, Patañjali has already made this thing clear, when he talks of the four forms of vnb such as para, pasyants etc These are the four stages through which Sphota (nadabindu) receives manifestation Both parā and pas'yinti are too subtle and delicate to be comprehended by the sense organ Para resides in the müladhara or the sacral plexus in the form of a motionless bindo ( 14 ) Pas'yanti comes up to the naval region pushed up by the internal wind Of the four forms, it is madhyzmy that indicates Sphoța All these are more or less mysterious in nature Vaibhari is the popular form and it is what is uttered by the vocal organ and is capable of being heard by others It is again ·Dlvani in the grammarians .. 53 held that náda is simultaneously produced by madhyama and vaikhari but there is a lot of difference between the two (15). The näda, produced by the madhyamā is slightly cognised by us either at the time of counting japa, or when the ears are shut up (16). This näda, manifested by madhyamă is what we precisely know by the name of Spho;d. It stands for Brahman and is eternal, one, without division, etc. According to this view, it is one and the same indivisible Sphota that is represented by varpa. pada and vākya, in the same way as one and the same face appears to be long and round when seen through stune, sword, and looking glass, or as a piece of stone taking reflection from red or blue flowers seems to be either red or blue (17). The difference between 'ka' and 'ga' is not on account of the diversity of Sphoța, but points to the peculiarities of sound that serves to manifest Sphoța (18). The unity and indivisibility of Sphoța are brought about by its comparısion with the sky and consciousness, which though one and not admitting of fractions, are said to have such attributive difference as ghatākāśa, mathākās'a, and jiva, is'vara, etc. respectively. Thus those who take pada and väkya to be similarly indivisible units say as follows : just as letters are devoid of parts, so too no letters are comprehended in padas (19) Strictly speaking, it is not admissible to take words separately by splitting up a sentence. To those who advocate the divisibility of both pada and vākya, it is the last letter that indicates Sphota, and each ·$4 Rasa and Dhuan preceding letter serves to make for a cognition of the intended sense (20). Taking into consideration the difference between madhyamā and varkhari sound can be divided into two viz original or eternal (ie inexhaustible) and artificial (derived) or momentary ( 21 ) The natural sound only, which is generated by madhyama, suggests Sphota. The unnatural (aprakrta dhvani ) sound is so termed because it rises from prākſta dhvani and undergoes an amount of modification in the form of long and short sound Sphota which is essentially one and beyond any modification is not in the least effected by the quick utterance of sound which practically refers to vaikrta dhvanı Another point that should be noted down is that it is Sphota alone, as is evident from its derivative meaning that is really associated with the expressiveness of sound (sphutatyarthósmadıtı Sphotah ) (For the sake of convenience alone we regard word as having meaning A closer examination of both the internal and external facts will show that Sphotı alone is finally the significant element of speech Moreover, Bhartſharı holds that Sphota is practically one and the same but it is only the indicator of Sphota viz Sound that differs (22) How is Sphoti manifested ? The answer is that it is practically from the last letter that the cognition of the entire word is derived together with the impressions produced by preceding letters (23) And, it is evidently an intellectual ·Dhvani on the grammarians 55 operation whịch enables us to retain recollection of the entire structure of a word, even when we hear the last letter alone. Manifested by sound', implies that Sphota, though permanent, is not aloways comprehensible, but comes under our cognition only when the vocal organs are engaged in operation for its manifestation Thus Sphota isregarded as antimabuddhigrāhya'. There șs a rule that s'abda, buddhi and kırma are dviksanasthāyī (ie they continue to stay for two moments) They come into existence in the first moment, exist in the second and die out in the third For example, we may take the word 'ghata '. There are four letters in it vız,‘gh' 'a't' and 'a'. First gh' is created It continues to stay in the second moment In this very moment 'a' is created. In the third moment 'gh' is destroyed but 'a' continues to exist and 'y' comes into existence Noy when 't continues in the next moment, the last'a'comes into existence in the sixth moment the last 'a' also disappears Now, for those who regard letters to be eternil,'utpattı' means abhịvyaktı'. So the whole word ghati, the varnasamghāta-or the collection of let teşs never comes into existence at one and the same moment Then how is the meaning gathered ? The answer is that though the yarga şound unit.is destroyed, it gives rise to some samskara or impression. This samskāra or impression stays on and is united yıth the next letter Thus the assemblage of simskaras unites with the last 'a' and we get the word 'ghatı' This happens în case of yajñadikärya ·Rasa and Diivani 56 (or sacrificial rite) which gives rise to the fruit in form of bearen (svarga ). Sphota is also antimavarn i. grāhya' in this very sense The gist of the above is that eternal and indivisible sphota is manifested in the form of letters through dhvani or sound. So, dhvani is two fold Prákrta or natural und vaikrta or unnatural as already observed The prākrti. dhvani is qualified by the qualities such as 'katva', "hrasvatva', 'adyudattatva ', etc. Even though Sphota is selfmanifested it is as though obstructed by the accumulated vayusamyoga or, contact with air, By removing this obstruction, the prikrtadhvani manifests Sphota. This manifested Sphota is different from the dhvant and so Sphota is said to be one, eternal, all-pervading and manifested by different dhyanis and it gives meaning when it becomes antyabuddhigrahya - 1e, when gathered at the last moment. This prakrtadhvani is the sime 15 varnas sound-units and Sphota is never manifested unless through them. Varlſta dhvamı has a different function It creates vrttıbheda eg. drtvilambitādi in the letters gathered by prābrta dhvani. Thus eren if there is vaikrtadhvanıbheda we have no prährtadhvanıbheda So we get uniformity in formie, ekarūpita of åk: and the like Thus, the term dhyani is used in three different ways: (1) Dhvani is use i for 'sabłyı sabda of the Naiyāyıbas On the basis o this, the alambārikas call vyangyārth to be dhvani, 4 t ·57 Dhvani in the grammarans the sādharmya being pratıyamānatva or utpadyatva (11) According to Vaiyakaranas, Sphota is vyangyasuggested, and prākrtadhvani is the vyañjaka or suggester. Dhvani is thus vyañjaka On the busis of this, the alamkārikas call the vyañjaka sabdárthau' to be dhvani, and (111) the varkrtadhvanis make for the vrttıbheda Hence, vyañjanā vyāpāra is termed as dhvanı So, for the grammarians the reation between Sphota and dhvani is that of vyangya vyañjah 2. We have also noted that the grammarians use dhvani to mean ( 2 ) nära matrı or sound only, and ( 12 ) sabda or word So ghata the dhyanı which is just sound-nad matra-by itself has no relation with the object ghata-1 pot which is seen, touched, etc (sparsaksıma ) Tne sound ghata is something quite different from the object ghata which can be seen touched, etc Still, it should be noted very carefully that the sound ghata indicates something which it is not viz the object ghata This idea of one thing indicating something else which it is not, becomes, so to say, the distinguishing characteristic of dhvanı. So, in all cases of expression where one thing expresses something which it is not, it is, so to say, taken as a case of dhvanı It is this mode of expression, both to be found in ordinary cinversation as well as in literature, that in sinskrit tradition is studied 25 a particalar linguistic mode of expression Therefore, dhvani is that which suggests something other than ·58 Rasa and Dhrant itself, and which is known to be separate from itself, and by this common point of suggestion (vyañjakatvasamyat ) the vyāpara-process is also called dhyanı. According to the vuyakarı as the world is artharūpa ie, of the form of artha or meaning, and is derived from Sphoța, the Sabda Brahma In the like fashion, we derive the ghatartha from the word ghata This dhvani is identified with word in our day to day affairs So kávya is also termed as dhvanıkāvya Every sound is suggestre of the Sabda Brahma, which is Sphot ırūpa The artha of this Sabda Brahma is world Thus, S'abda, through Sphota, suggests ar object The whole process is as follows dhvani sabda-Sabda Brahma-ie, Sphot: and vivartita artha Here we may note that even in the process of gathering the conventional meaning from the word, an element of suggestion or vyañjanā is involved. Vya janā is that process by which something not manifested becomes manifested Dhvani or Sbia first suggests Sphota and as Sphota is eternally connected with the meaning, we derive meaning from dhvani Moreover, it may be noted that vya ījana is that process of manifestation through which something already existing is manifested Vyarjanā does not create new objects Spholavada and Vyañjanāvada We will be abe to make a note of certain muked parallel?sms between the Sphotavādı of the grammariins on the one band and the rationavada on the other The points of comparison are as below ·Dhvant if the grammarians .. 59 (1) As observed earlier, for the grammarans, dhvani is explunged as 'dhvanatiti dhvanih'. Dhvani is so termed because it sounds or rings or reverberztes Sphot1, i e, suggests it. The word ghata, for example, is used for the object-artha.ghata, which is seen, touched etc. This idea of one thing indicating sometbing else which it is not, becomes, so to say, the distinguishing characteristic of dhvani. So all cases of expression, where one thing expresses something which it is not, becomes, so to say, the distinguishing characteristic of dhvani The writers on portics extend this connotation of the word dhvani. Taking the quality of 'dhvanıtva into consideration, thev include all that was related to this in dhvapi Thus, guna, alamkāra, rīts, vfttı, pada, padamsa, varna, vākyārtha, all these become vyañjaka, suggestive of the vyangya. (11) In the philosophy of the grammarians the sound 'ghata' for example, does not give the meaning directly. It does so through Sphoța which in its turn is suggested by the sound ghata. Thus what we prdinarily call meaning is ațrived at by an indirect process. For the alamkārtas also, the process pf vyangyárthagrahana is not direct but indirecţ: We arrive at the suggested sense either through abhydba or through lakşapā.

·60 Rasa and Dlicans (115) The grammarians believe in vákyasphota. They do not accept the separate existence of padas re, individual words, and much less of letters or varnis But common experience of ordinary people misleads many to believe that the meaning is derived from individual Fords or padas and thos through letters or varnas The Mimāmsakas accept this position. It seems, howeser, that here ordinary people, and so also the Mimamsahas, do not seem to pierce the veil of delusion and mistake the nature of condition for the nature of the contents The nature ol condition is the multiplicity of letters, the nature of contents is the unity of word, the vakyasphota Similar is the case with some alambáridas, abhidhi and laksaps form the nature of condition and vyañjana or dhvani is the nature of the contents Those who fail to distinguish between ends and means, seem to confuse abhidhā and laksana with añjana (10) To patst otherwise, for the grammarians the letters may be taken just as what we may call the object of knowledge i e, jisaasya vişasah, while the Ford-shole is jiānasya phalam-the result or the fruit of knowledge For the slamlarik is also, abhidhā and laksiga arejiānasya visiyah, while vyañanā my be then as jñan isya phulam These two are not to be confused 3 ·Dhvani in the grammarians - 61 (v) The grammarians believe in vākyasphoța. So they aroid the contingency faced by the padavādin viz., that of recognising parts evei of letters or vargas. Similarly, those á'amkārik is who want to arrive at vyañgy arthi with the help of lakṣaṇā, will have to go ior a second lakşapă, and a third and a fourth lakşıņā ad infinitum, involving further and further prayojanas. (vi) Sphoța is a distinct entity by itself, not to be identified with dhvani 1.e., the sound of a word. The vyangyártha is also a separate entity, not to be coníused with abhidheyārtha or laksyārtha. (VH) For the grammarians, there is a krama, a sequence, in the process of gathering meaning form a word. From word to Sphota and from Sphota to meaning this is the sequence. In the same way, with the alamkarikas also, there is a sequence, perceptible or imperceptible, between vācyártha and vyangyártha. (vii) It is non-descrimination that makes for the acceptance of letters for the word-whole In the same way, it is non-descrimination that results in our recognising vyañjanà as either abhidhã or bhakti. (ix) For the vaiyakaranas, there is a gradual and clearer revelation of the Sphota. Each sound-unit reveals the whole of Sphoța and ·62 Rasd and bhuarlı not a portion of it The revelation gets clearer and clearer by each succeeding soundunit The Sphota revealation is a gradual process and the mind acquires progressively greater and greater aptitude for receiving further glimpses With the utterance of the last sound unit the process comes to a close By itself, there is neither qualitative nor quantitative difference in the word essence, but there may be difference so its grasping by the mind Thus the degrees of difference are purely subjective and not objective For the alımkarıkıs also, the gathering of vyangyartha is a gradual revelation in the sense that it comes only ifter the abhidhartha or the laksyärtha as the case may be The writers on alamkāra, for their concept of vyanjana are alos partly indebted to other darsanas such as the camkhya, vedanta, and saiva darsanas. Vyañjana for the poeticists manifeststhat which is not yet manifested ie it brings into light that which already exists but is not presented before us The analogy cited is ghatapradıpınyaya (Dhy III)ie, the analozy of the lamp and the jar ·Dhöàn, in the grammanans 63 .. Foot notes: . (1) Dhvanyaloka I रिभि कथित इति विद्वदुपट्टेयमुक्तिं न तु यथाकश्चित् प्रवृत्तेति प्रतिपाद्यते। प्रथमे हि विद्वांसों वैयाकरणा , व्याकरणमूलपात् सर्वविद्यानाम् । ते तेषु श्रूयमाणेषु वर्णेषु ध्वनिरिति व्याहरन्ति । तथैवान्यैस्तन्मतानुसारिमि सूरिमि काव्यतत्वार्थदर्शिमि वाच्यवाचसंमिश्र शब्दात्मा काध्यमिति व्युपदेश्यते व्यजकत्वसाम्यात् ध्वनिरित्युक्त । (2) Mammata KP इदमुत्तममतिशियनि व्यङ्ग्ये वाच्याद्ध्वनियुधै कथित । and also 'इदमिति काव्यम् , बुधै वैयाकरण प्रधानभूतस्फोटरूपव्यायव्यजकस्य शब्दस्य घनिरिति व्यवहार कृत । (3) KP "अतस्तन्मतानुसारिभिरन्यैरपि न्यग्भावितवाच्यव्यङ्गयव्यञ्जन- क्षमस्य शब्दार्थयुगलस्य ।" (4) अथ गौरित्यन क शन्द ? किं यत् तत्सास्नादिलाशूलककुदखुर- विषाण्यर्थरूप स शब्द ! नेत्याह, द्रव्य नाम तत् । .. .... ..तस्मात् ध्वनि शब्द । (5) “कस्तहि शब्द ? येनोच्चरितेन सास्नालाङगूलककुदखुरविषाणिनां संप्रत्ययो भवति स शब्द , अथवा प्रतीतपदार्थको लोके ध्वनि शब्द इत्युच्यते । तद्यथा शब्दं कुरु, मा शब्द कार्षी , शब्दकार्यय माणवक , इति ध्वनि कुर्वन्नेवमुच्यते। तस्मात् धनि शब्द । (6) The Mahabhasya reads as follows चत्वारि वाक् परिमिता पदानि तानि विदुर्ब्राह्मणा ये मनीषिण । गुहा नोणि निहिता नेगयन्ति तुरीय वाचो मनुष्या वदन्ति ।। “ " MBI11 The Vakyapadiya( VP ) also reads वैखर्या मध्यमायाश्च पश्यन्त्याश्चेतदद्भुतम् । अनेकतीर्थमेदायास्त्र्यया वाच परं पदम् ॥ I 144 According to Nages'abhatta, the defin tion येनोधारितेन सास्नालागूलककुदखुरविषाणिनां सम्प्रत्ययो जायते स शब्द ·64 Rasa and Dhvan: 1 -- applies to the Madhyamá Vák, and the definition, प्रतीतपदार्थको ध्वनि शब्द applies to the Varkhari Vak (7) The whole discussion proceeds as follows कि पुनरिद नियमार्थमाहोस्वित् प्रापक्म् । कथ च नियमार्थ स्यात् । कथं वा प्रापकम् । यद्यन अाग्रहणमनुवर्तते ततो नियमार्थम् । भय निरत्त तत प्रापकम् । तपरस्तत्कालस्येति नियमाथमिति चेत् दीर्घग्रहणे स्वरभिन्नाग्रहणम् । तपरस्त कालस्येति नियमार्थमिति चेत् दीर्घग्रहणे स्वरभिन्नाना ग्रहण न प्राप्नोति। (8) केषाम् । उदात्तानुदात्तस्त्ररितानुनासिकानाम् । अस्तु तर्हि प्रापकम् Let it then be an apurvavidhi ? प्रापकमिति चेत् इस्वग्रहणे दीघप्लुतयोस्तु प्रतिषेधो वक्तव्य । विप्रतिषेधात्सिद्धम् । It is decided by the dictum विप्रतिषेधे पर कार्यम् । अण् सर्वान् गृह्णाति इत्येतदस्तु तपरस्त मलस्य इति षा । तपरस्तत्कालस्य इत्येतद्भवति विप्रतिषेधेन । अण् सर्वान् गृह्णाति इत्यस्य अवकाश इस्वा मतपरा अण । तपरस्त कालस्य अवकाश दीर्षास्तपरा । इस्वेषु तपरेषु उभय शप्नोति, तपरस्तत्कालस्य इत्येतद् भवति विप्रतिषेधेन । ययेवम् द्रुतायां तपस्करणे मध्यमविलम्बितयोरुपसख्यान कालभेदात्। दुताया तपरकरणे मध्यमविलम्बितयो उपसख्यान कर्तव्यम् तथा मध्यमाया द्रुतविलम्वितयो तथा विवितायो द्रुतमध्यमयो । किं पुन कारण न सिध्यति । ये हितायां वृत्तौ वर्णात्रिभागाधिकास्ते मध्यमायाम् । ये च मध्यमायां वर्णा विभागाधिकारते विलम्बितायाम् । सिद्ध ववस्थिता वर्णा यक्तुधिराचिरषचनाद् वृत्तय विशिष्यन्ते । पक्ष कश्चित् भाश्वभिधायी भवति-आशु वर्णान् अभिवत्ते, कधि- चिरेण, कच्चिरतरेण । तद्यथा-तमेवाध्यान कश्चिदाशु गच्छति, कश्चिच्चिरेण गच्छति, कश्चिच्चिरतरेण गच्छति । रथिक आशु गछति, आश्विकधिरेण, पदातिश्विरतरेण ।

·Dlivanı in the graminarians 65 विषम उपन्यास । अधिकरणमानाध्या मजति--क्रियाया । तनायुक्त यदधिकरणस्य वृद्धिहासौ स्याताम् । (9) The Mahabhāsya reads the following Rk to this effect चत्वारि चाक् परिमिता पदानि तानि विदु ब्राह्मणा ये मनीषिण । गुहा नीणि निहिता नेगयन्ति तुरीय पाचो मनुष्या पदन्ति ॥ (10) Says Abhinavagupta-"अस्माभिरपि प्रसिध्धेिभ्य शब्दव्यापारेभ्य अभिघातात्पर्यरक्षणारुपेभ्य अतिरिक्तो व्यापारो ध्वनिरित्युफ्त । एव चतुष्कमपि ध्वनि । तद्योगान्च समस्तमपि काव्य ध्वनि । तेन व्यतिरेका व्यतिरेकव्यपदेशोऽपिन न युक्त । वायवाचकममिश्र इति । वान्यवाचक- सहित समिश्र इति मध्यमपदलापी समास । गामश्व पुरुप पशुम् इतिवत्समुन्चयोऽत्र चकारेण विनापि । तेन वान्योऽपि ध्वनि , वाचकोऽपि शब्दो ध्वनि , द्वयोरपि व्यजगत्य वनतीति कृत्वा । समिश्यते विभावानु- भावसवलनयेति व्यग्योऽपि ध्वनि ध्यन्यत इति कृत्वा । शव्दन शब्द शब्दव्यापार । न चासावभिधादिरूप अपि त्वात्मभूत सोऽपि ध्वनन ध्वनि । काव्यमिति व्यपदेश्य च योऽर्थ सोऽपि ध्वनि । उक्तप्रकार- ध्वनिचतुष्टयमयत्वात् । अत एव साधारणहेतुमाह-व्यञ्जकत्यसाम्यात् इति । व्यग्ड्यव्यजकभाव सवेषु पदेषु सामान्यरूप साधारण इत्यर्थ । (Locana, on Dhy I 13 ) (11) प्रतिबिम्बं यथान्यन स्थित तोयक्रियावशात् । तत्प्रवृत्तिमिवान्वेति स धर्म के नादयो VPI 49 (12) प्राह्यत्व प्राहकत्व च द्वे शक्ती तेजसो यथा । तथैव सर्वशब्दाना एते पृथगवस्थिते ॥ .. VPI 55 (13) यथा जबाकुसुमरूपानुषक्तमेव स्फटिकादीना ग्रहण तथा ध्वनिरूपानुपक्त एव स्फोटस्तदविभागेनोपलभ्यते इति केषाचिन्मतम् etc (पुण्यराज under VPI 82) (14) परावाङ्मूलचक्रस्था पश्यन्ती नाभिसस्थिता । हृदिस्था मध्यमा ज्ञेया वैखरी कण्ठदेशगा ॥ (15) युगपदेन मध्यमावैखरी या नाद उत्पद्यते-(मभूषा) R 5

·66
Rasa and Dhcanı
(16) मध्यमा नादस्य कर्णपिधाने जपादौ च सूक्ष्मतरवायुष्यच्या-मञ्जूपा ।
(17) यया च मुखे मणिकृपाणदणव्यञ्जकोपाधिरशात् देयवतुलस्यादिमान तद्वन् ।
(18) व्यन्जकध्वनिगतं करवगत्वादिक स्पोटे भासवे ।
(19) पदे न वर्ण विद्यन्ते वणेपवयवा इव ।
वाक्यात् पदानामानन्स्य प्रविवेको न कश्चन ॥ ...V.P.I. 77.
(20) पदवाक्ययोस्तु सखण्डत्व रक्षेऽन्तिमार्ग यङ्गय स्तोट एक एव । पूर्वपूर्व
वर्णस्तु तात्पर्य ग्राहक । -(मञ्जूषा)
(21) पनिस्तु द्विविध । प्राकृतो वैकृतश्च ।
स्कोटस्य ग्रहणे हेतु प्राकृतो ध्वनिरिष्यते ।
दृक्तिमेदे निमित्तत्व चैकृत प्रतिपद्यते । (V.P.I 77)
(22) स्फोटे व्यञ्जकध्वनिगतकत्वादिभानात् ककारो बुद्ध हत्यौपाधिको
भेदव्यवहारः । (मञ्जूषा)
(32) पूर्वपूर्ववन्युत्पादिताभिव्यक्तिजनितसस्कारपरम्परापरिणकोन्स्यबुद्धिनिमात्य
इत्यर्थ । यट ।

·CHAPTER III
S'abdavrttis; the nature and scope of Abhidhā
give the
S'abdarthavrttis :
According to the sanskrit writers of poetics,
words possess three distinct saktis or functions,
called, (1) the abhidha sakti, (11) the laksaņa saktı,
and (211) the vyañjanā ſakti. The terms vrits and
vyāpāra are also used as synonyms for the term
s'aktı. Thus, by the abhıdhavrttı or the power of
expression, the word is supposed to
conventional meaning or the samhetitărtha, by the
laksaņāyrttı it gives Jaksyārtha, or the secondary
sense, based upon certain conditions, and by the
vyañjanāyrtti, the word gives the vyangyartha or the
suggested sense Accordingly, the word is said to be
vācakā, laksaka and vyañjaka, and the sense is said
to be vācya, Jaksya and vyangya respectively We
also come across the mention of a fourth vrtti called
the tatparya yrttı, but as it is connected with the
sentence 1.e., the correlated meaning of all the words
117 a given Sentence, and not with words talen
individually, the alamkārikas generally do not choose
to include it under the functions of a word
As regards the nature of these sabdavs åpāras,
there is a lot of difference of opinion among thinkers
of different schools The Prammarians and the

·68 Rasa and Ditani philosophers (=dårsanıkas) and even some of the ālamkaribas do not recognise the function called the yaijanāı yapara Even the earlier authors on alamkara such as Bhamaha, Dandin and Vamana etc., almost failed to recognise or even mention vyañjana asa separate vrtti in bārya The tā:kikas (ie logicians) and the Vimansıkıs and some of the later alamkarikas also (eg Mahima and Bhoja) did not accept it (2) There are also others who distinguish between gauni and laksına We will try to consider the nature of the different yrttis separately and discuss the difference of opinion with reſerence to the same Abhida We begin with abhidha or the function of denotation or expression Abhidha is that function by which the word gives the conventional-samhetita or the primary meaning The word here becomes vacaba and the sense is termed as vācyārtha (3) Thus, for example the word ' gauh'by abhıdhavyapāra means, 'sasnādımat-pasuvisesah' or, an entity having a dew lap, horns, etc This conventional or the samhetita artha is gathered directly and hence is called the mukhyārtbr or the principal meaning and the word is brown as mubhya and the abhidhacaktı is also called mukhya sahtı, or the mukhyavyāpāra As to the nature of samketagrahana or gathering of convention, there is a considerable difference of opinion. Tois samketa has been classified in different vars, The Nuyayıbas classify szņketa as 'pārıbhasika', ·Sabdavyttis the nature 69 . naimittika' and 'aupīdhika' When we fix up a name for calling somebody, say, eg, a father calls his son Devadatta, or when we fix up a technical term to refer to a particular meaning in science, eg, say, dhvanı, gupa, etc, in the alambaraśastra, it is termed as 'pârıbhāsıbasamketa Numittika is that which refers to jati, e, asva, manusya etc, and aupādhika is that which refers to the upadhıs or attributes For the Naiyayika, upathi or attribute means that jāti in which so many apara jatıs reside eg pasu consists of as va, go etc (4) For Bhartrhari, samketa is two fold vız ajánika (or natural) and adhunika (or man made) By aja uka is meant the same as naimittika of the Naiyāyihas Thus ajanıka is nitya Adhunikisamketa is of the form of yadakada' (ie hädaritha) and the Sástrahārs make its use (5) Classification of Abhidha Abhidha is said to be three fold viz (1) rudhi, (11) yoga and (112) yogarudhi These are again known as (2) bevala samudāya sahtıh, (12) Levalavayava sahth and ( 112 ) samudayavayavasaktı-samkara (6) Rudhi is said to be there where the word as a whole samudaya-conveys the meaning Here, we gather the meaning with the help of akhandas aktı of the word (7) Here rudhi is formed because the meaning of the components of the word is not at all comprehended separately, or, even if the meaning of the word is gathered separately, it is ultimately not recognised Again, when meaning of the components

·0
of a word becomes important, in order to get the
ull sense of the word as a whole, it becomes the
case of yogátmaka abhidba (8) Yogarūdhi is said to
be in cases where avayasasaktı and samudayasaktı
are both required (9) In the case of ' pankaja', the
etymological meaning is.'that which is born in mad'
This can be applicable to anything born of mud,
other than lotus also. The Naiyāyıbas do not accept
either rūdhi or yoga in this case Appayya Diksita
holds that it is better to accept yogarūdh here (10).
At times it happens that there are more than
one conventional meanings attached to one and the
same word. Here, abhidhartha is decided with the
help of various factors such as context and others
Bhartrharı has mentioned all these factors (11)
Visavanatha also gives a fuller explanation (12)
Thus, we have seen that abhidhā deals with the
directly expressed sense of a word.
Tatparya Vrttı :
Now, we may consider the tatparya vrttt Abhidha
and laksagt are the functions of a word, ie, words
taben separately. The meaning of the sentence whole
is conveyed neither by abhidhā, nor by laksana, but
by a separate poiver of the sentence called Tatparya.
The meaning of the sentence is thus termed as
tatparyartha The tatparyasaktı is that power which
assimilates the sense gathered by abhidha and gives
a new sense (abhinavartha) which is not just an
assimilation of vacyártha (1 e not yogamátra ), but

·Sabdavyttis, the nature . 71 is something unique (apadārthópi val yarthah) The Dhvanıvadıns call it tatpiryavrtti. In this view of the Dhvanıvadıns we can easily read the influence of the ablihitānvayavada of Kumarıla Bhatta It may be noted that even though Kumarıla recognises a separate function for vákyartha, as something different from abhidha, we do not get the clear mentioning of tātparyavrtti in the works on Mimämsä till we come to Mimāmsā--kiustubha of Khandadeva (13th or 14th Cen. A.D.) Vakya, its import While treating the nature of this tātparvyavrtti, we will at the outset, consider the nature of a sentence or vakya and its import Expression of thoughts is the sole purpose of the use of language. Ideas, again, are completely and best expressed through the medium of sentences as such and not by means of individual words Thus, a sentence is rightly called the unit of significant speech An idea becomes definite only when it is Capable of being expressed in the usual form of a sentence Thought, in language, will therefore mean that a man does not think in isolated words but in choerent combination of words, in order to give consistency and relevancy to his very mode of thinking The Naiyāyikas have drawn our attention to this important linguistic fact, when they deal with the nature of logical propositions A logical proposition, as we know, is, to all appearance, a sentence -a combination of words connected together by mutual ·72 Rasa and Dhvant relation. Jagadisa says that the so called verbal cognition (sābdabodha) is derivable only from a sentence, 1.e to say, when a number of significant words (sārthaka ), having expectancy (aļānksa ) and compatibility (yogyata ) with one another, are related so as to constitute a sentence in the logical sense of the term (13) Thus, a logical proposition is an idea or judgement expressed in the form of a sentence. It should be carefully noted, however, that the meaning of a sentence, which follows from a sentence as a whole, should be distinguished from that of its constituent parts Jagadisa notes that śabdabodha is not materially the same as s'abdartha meaning of isolated words The meaning of the sentence is something more than the mere sum total of the significations of component parts. (vilaksano bodhah-S S. Pra.) or the Väkya, Definition : Before dealing with the import of a sentence, we will try to understand the definition of a sentence. Thus, Patañjalı says that action (alhyata ), with the help of all or each of the following viz avyayı or indeclinable, bárika, and visesana oradjective, makes for a sentence (14). A briyavıs'esaņa or an adverb is also included herein (15) Just action, aided by vis'eśına alone, can also make for a sályam (akhyātam savis'esaņam). At times a sentence is of the nature of an action alone-eartın (mbh. 11. 1 1). The grammarians hold that the pada pādamsa aspect of a vakya is ultimately illusory, and they accept the sentence whole and give us the concept of Våbyasphota. ( 16).

·Sabdavyllis, the nature 73 For the Naiyáyihas, a sentence is a collection of words having expectancy (17). Vis'vanātha says that a sentence is a collection of words having compatibility, expectancy and juxta-position or, proximity (16). In the vedas we come across only consolidated sentences, se sentences which are supposed to have been originally undivided into parts The Tārttiriya Samhıtā supports this-Vaz vai paracyavyakſta-. The grammatical method of analysis is a later development in the history of language. This view is strengthened by the definition of Samhita or emphonic combination of letters as we find in the Rk Pratısākhya. Padaprakrtih Samhita It is said that the Samhita or the close combination of letters as 'agnimile' is what represents the original form and the practice of breaking it up, ie into agnim and ile, shows only a grammatical process followed in a much later period The dictum padaprakrtih samhita' gave to great controversy. The padavadıns (=Mimamsakas) and the v akyava dins (Vaiyákaranas) have constructed it in different ways. The padavadıns take padas as real and significant, and the sentence for them is only a combination of such padas (inflected words ) They explain the compound * padaprakstih in such a way so as to prove the prionty or origaility (p uhititva) of the pidis (padanı prakrtiryasyah) The Vabyavādins take the sentence, or better say vakya-sphota, to be the only significant unit of speech They simply reject the notion of the precedence or priority of the padas in fise a ·74 Rasa and Dhranit IS more preference to that of a sentence and thus explain the compound padaprakrtıh as padānam yr prakrtih seyam padaprabrtih It is difficult to say which of the two explanations acceptable (19) Durgācārya has some relevant notes on this. It is emphatically stated that the Mantras, revealed as they were through the holy seers of antiquity, manifested themselves in the compact form of the samhita or combination, and not in that of isolated words The teacher makes the student acquainted first with the Vedas in their Samhita form before he is allowed to proceed in his study on a grammatical line. Again, at the time of performing Vedic rites, the priest cites the Mantras in their consolidated form Grammarians : The grammarians attach much importance to vahya-sphota as the really significant element of speech Thus, Sphotavadıns are the same as vākyavadıns The author of the Sabdabaustubha says that of the eight varieties of Sphota, only valyasphota is accepted to be real and significant (20) Thus, to the Sphotavıdın the sentence is an indivisible unit (akhanda ) and the analytical method of grammer that breaks up a sentence into parts is but an artificial device used for the understanding of unintelligent people (21) Punyaraja also holds that this view is shared even by Pánını and Patañjalı (22). So, "padanyasatyanı vakyameva satyamityarthah "- notes Paayarājr on ·76 Rasa and Dlivans come Vakyartha. As to the nature of the vakyārtha, we across different views (see, Dr Kapıldeva Dwisedt in his arthavijnana or darśana, where he has quoted from Jayanta Bhatta - This is quoted by Bholasankar Vyāsa ), as below (s) The sense of a sentence is jiana (12) As áriya (action ) is the most important element in a sentence the vakyārtha is kriyā, (10) The vākyartha is phala (result, fruit) as we períorm any action with a view to some phala (sv) The vakyārtha is Purusa (Isrıra, for the result of action (phala of briya) is for Him (v) The vibyartha is bhavanā ie vāpāra or activity of the karta or agent with reference to some desired object, such as Svarga or, heaven (vi) The sakyartha is subdabhāvana or vidhi (vu) The sābyartha is niyoga or preranā (vm) The vābyartha is udyoga, (sx) The vakyartha is pratibha, The Naiyayikas hold phala to be the vähyirtha while the Vaisa karanis believe it to be pratibha or intuition The view of the dhvaniva ja is not gathered clearly but as the alamkarıhas follow Vaiyabaranis in general, sve my ho'd them to do the same the here also ·77 Sabdavyttis, the nature So, according to the Vaiyakaranas, the meaning expressed by a stentence is pratibha or intuition which is innite or ingrained in us all (30) This pratibha is inborn and not post natal, neither a sense-born acquisition nor a result from common experience It is termed as samskara or bhāvana, finally seated in our mind and linked together with the continuous currents of knowledge Awing from previous stages of existence Thus, it is termed as purvavasanā also The Vaigākarana has to take recourse to the theory of previous existence in order to explain the concept of pratibha So, what a sentence really signifies is the sense abiding in intelligence (bauddharthasya vacyatvam ) Words may have different meanings as taken individually, but when grouped together in a sentence, we have a single sense that is different from the padārthas or the meanings of isolated words This kind of a sense derived from the whole is called pratibha i e intuition (31) According to intuition, says Punyaraja, the padarthas, unreal in themselves, help in the manifestation of pratibha (32) According to Bhartrharı, the first thing that pratibhá achieves is to bring about an association of the meaning which seems to be otherwise unconnected ( asamsrsta ) It is the objective (11saya ) that is directly conveyed by a sentence (33) This pratibha is directly manifested by the use of words or by the ever blossoming intellect which originates from the experience or memory of by gone bases (34) Pratibhs is the source of all popular usages, and serves as the most reliable ·82 Rasa and Dlicans it is one that retains in itself the action usually denoted by 1 verbal root (56). We find certain sentences in which some words seem to be so predominant by their very nature as to denote the entire meaning by themselves without the help or others The meaning of the sentence gāyako gāyatican be gathered by the single word 'gāyrkah' the the verbal form 'gāyatı' being unnecessary Only 17 such cases a single inflected word is found to stand for the whole sentence, esen independently of the Verbal form Bat, so far as the grammatical conception of the sentence is concerned, one cannot just do away with vyāpāra' ie action. We can easily notice here that a sentence, whether consisting of a single word (ie. either a nāma or an abhyata), or a combination of words must be, as a rule indicatrie of some action, either expressed directly or understood To the Indian grammarian 1 sentence without a verb is an impossibility The Naiyāyikas, however, do not share this view of the grammarians Jagadis'a maintains that sentence is ? combination of mutually expectant and consistant words, but he does not put much emphasis on the inclusion of a verb It is not necessary that the verb should be mentioned explicitly, specially when (hriya ) action is easily understood from the context So, Jagadıśa rejects the notion of the grammarians that there can be no sentence without à verð (57) He bases dis contention on popular usage 'Kuto bharan?', is a combination of words having no verbal form and yet forming a sentence. 2 ·Sabdavrttıs, the nature.. 83 So, it is not correct to say that a sentence without a verb is practically incomprehensible. For, the grammarian, herein, a verb, viz. ägacchatı' is implied and without it neither the sense is complete nor is the proper kāraka, (ie, apádána) determinable We have noticed that Bhartrharı has referred to as many as eight different views on the constitution of a sentence These views, generally speaking, fail under two distinct categories, viz khanda paksa, and bhandapaksa The Sphotavādıs who take the sentence to be an indivisible unit, support the former viz akhandapaksa, Mımāmsakas and the Naiyāyıkas, who take the sentence to be a combination of words, are in favour of the latter, viz khandapaksa We have seen that to the Sphotavadı, Sphota represents the real word (the eternal word), sound being only a quality of it (58). Sphotz is two fold viz external and internal (59) The external Sphota admits of further division into class and individual (60) Those who support the indivisibility of a sentence, are likely to take a sentence as forming cher a class (jātisphota) pertaining to a combination (samghātavartini ), or an individual (vyaktısphota ), that is to say that a sentence is one without any parts (elónavayavah), or an intellectual assimilation (buddhyanusamhrtih) (61) These three definitions according to the Sphotavādın are duly noticed and explained by Bhartrhari. According to Sphotavāda, a sentence that is expressive of sense is one and not dissolvable into parts (62). It represents either vyahtısphota or jātisphota ie, an individual or a ·84 Rasa and Dlicant class in so far as the outward manifestation of Sphota is concerned The formal difference seen in these various types of sentences is said to be simply dae to upādhi viz the operation of vocal organs employed in the production of sound and so on (63) Sphota has its internal aspect or vital side and in that it is not at all verbal but purely intellectual The intellectual assimilation as showing the internal form of a sentence means that a sentence, so far as it is related to the internal world of thought, remains essentially intellectual in its origin before it is materialısed into nudible sound - It is Nada or sound says Bhartrhart, that turns such intellectually assimilated ideas into concrete expression of a sentence (64) For the bhandapakşa, a sentence is either an action, a kind of order or succession, a collection of words the first infected word, ie, pada or inflected words ie pidis having mutual expoctancy with one another We have errlier seen these vieus For those who regard the sentence as a 'brima', the word brama' is used in the following way. Though usually the word 'krima' implies a property of time as paurvāparya' (65)-1 e priority and prosteriority, its particular use in grammer is explained by Bhartpharı and Pupvarāja as below Liery inflected word in a sentence has got some special significance as that of karmatra, kurtitva, etc, which come to our notice in n successive or well marhed order together with similar meanings (vis'eșa) coris eyed by other words (66) For example, if we want to bring out the sense of a ·Sabdavyltıs, the nature 85 sentence like, 'devadatto grāmam gacchatı', in a strictly grammatical method, we are apt to express it in the following way the act of moving which has devadatta' asits agent and the village as its object Here, the idea of 'Larmatva' which adds a special feature to the meaning obtained severally from each inflected word, is called visesa' that becomes comprehensible in a fixed or definite order-(67) This definite order is regarded as the main factor of all sentence Again, it is stated that there can be no sentence made up of words alone, if it happens to be devoid of such an order (68) Thus, a sentence is intrinsically a particular order in which words are combined together in such 1 way as to express the intended sense (69) These definitions of a sentence that are acceptable to the hhapda pubsa, can be classified into tuo classes on the basis provided by the two well known schools of the Mimams: system, viz Bhatta (1e of Kumárıla) and guru (1.e of Prabhakara ) Kumarıla and his followers uphold the abhihitānvayavada 'as against the 'anutabhidhānavada' of Prabhābara and his supporters According to Kumänila, therefore, a sentence should be explained either as a combination of words (samghata ) or as an order (krama) and according to Prabhakara, it is a verbal form (ākhyāta). or the fitur inflected word (adyam padam) or infecte.) words possessing mutual expectancy (sarvapadam sākanisam ) that make for a sentence (70) These two views, then, refer to the meaning expressed by a sentence There is a great difference ·86 Rasa and Dhrani of opinion as to the meaning or the significance of a sentence for the Sphotavadın it is pratıbbá (71) To one who defines vahya as a verbal form, it is action ('kriya') that forms the meaning of a sentence (72) For the abhıhıtānvayavāda it is association ( samsarga ) (73) Samsarga'-'assoc ation' is used here in its literal sense It means that a sentence acquires some special feature, or import (intparyartha ) when it conveys the intended sense (74) It means that when the meanings of different words in a sentence are correlated with one another, there arises invariably some additional significance, distinct from those of the constituents Thus, the sense that evolses out of such anvya or correlation of meaning is something more than a mere sum-total of them (75) Jagadis'a calls it-vilasi obodhah' or special significance that results from the correlation of meanings For the anvitábbidhānau adıns, on the other hand, the merning of 2 sentence is for all purposes the same as is signified by its component parts (76) Thus the import or the tātparyartha of the anvitabhıdánavādın is nothing more than the meaning given by individual words themselves (77). As to what forms the 'nimitta' of the vahyartha there prerall different viens V&caspati Misrn in his Tittivabindu refers to these views and establishes the Bhatta view as the Siddhānta We will try to sce the different sicks in the light of Taltsabında, as follows ·Śabdavyttis, the nature 87 or (1) According to the Spotavadı grammarians the nimitta for the vākyartha is akhapda vakya, the padavarnavibhāga being only the result of Avidyā (78) (11) According to some Mimamsakas and Naiyāyikas the nimitta for the vakyártha is the knowledge of that last letter which 15 accompanied by the samskāras impression of the experience of the meaning of the preceding padas (79) (111) Or, according to some other Mimāmsakas, it is that varnamala or series of letters that is reflected in the mirror of memory, accompanied by the experience or anubhava bbavnni of tattad padapadartha (those words and letters ) (80) (10) Or vahyartha is just the expressed meaning (abhidheyartha) of the words correlated with other words on account of expectancy compatibilty and juxta position Thus anvita padas or correlated words make for the expression of salyartha This is according to Prabhākara (81) (v) The prdārtha, which is accompanied by ábánász yogyatā and sannidhi and expressed by the words used, makes for the vākyārtha Thus first of all the padas give padárthas and then with the help of äkānisi yogyati etc, they gre takzārtha This is the abhihitinvajavada of Kumárıla Vācaspati Misra also accepts this view On this ·88 Rasa and Dhani abhihitánvayanvāda is based the idea of tātparvavrttı (82) Now, the first view is taken up for consideration The Sphotavādın holds that if it be held that the varpas in the vyasta form make for the vākyartha, then the other letters become redundant (83) If it is held that somistavarnas make for the saky ártha, then again, there are two alternate possibilities viz. (a) do you consider this correlation (samuha ) as genuine (tástavba ) or artificial-( aupādhika )?(84) The idea is that whether the varpas-letters are naturally ( vastutah) ( genuinely ) correlated to oneanother or not We hase the experience that thev are correlated and thus as they are thus accompanied by the experience of the hearer, they become related But as varnis are nitya and vibhu, they cannot be correlated to one another and as we have the experience of these letters gathered at different times, the experience also cannot be correlated (85) The Sphotas adı also reſutes the view of those who held the view that pūrva purva samskårayukta antimavarna mabes for the vābyártha The Sphotaradı asks as to what do the varparādins mean by the word 'samsbāra', or 'impression' It is either the smrtıbīja or something like the purification of rice etc, by chaffing etc (86) Certainly, the second alternative is not meant here So here, the samskāna stands for smſtibija But smſti it self being just a vāsanā or impression, which is of the form of power of the soul, the vākyarthapratīti thus becomes the result not of the samshāras but of the power ·Sabdavyltıs, the nature me 89 of the soul Again, the Sphotavadī says that even though we have identical letters in words such as nadı, dīna, sära, rasă etc., we have different meanings. So, letters in their abhanda form only, make for sense Thus, abhandavākya should be accepted by the varnavādı (87) The Sphotavādi cites the illustration of the word 'gauh' and says that the experience of the word gauh suggests that there is ebata-onenessand akhandata-wholeness-in this word For, if we take the different letters to be the objects of our experience it runs contrary to our day to day experience (88) If it is argued by the virnavådın that just as the individual soldiers made for the army, or just as individual trees make for the forest, similarly different varņas make for a pada and thus pada is aupādhika, to this we ask as to what is meant by this.upādhi?! Upādhi' or attribute cin be two-fold, viz. (2) ekajñānivisayată, or becoming the object of one and the same experience or, (12) eläbhidhehyapratyayıhetutá-se, becoming the cause of the experience of one and the same bhava (ehābhidheya ) Now, if by the upādhi is meant (+), then we will have to accept the padajiana even before varpaytāna which goes against the visnivādı, and if by upādhi is meint (12), then, there staretarăs'riyidosah As arthabhiona tā or difference in meaning is the cause of the distinction between one pada and another, and as padabhinnatā is gathered with the help of arthibhinnata, the fault of staretarisrays arises Thus, the vākyartha should be connected only with the abhoạı sphotz This is the view of IS ·96 Rasa and Dhcanı the Sphotavādın, which forms the prima facie viesy in the Tattvabindu. Y > After explaining the first view held by the Sphotas adio in detail Vācaspati goes on refuting it Vācaspati argues in the following way Do the Sphotavādıns establish their vier on the foundation of our (2) normal experience, or (11) on the difference of senses of pada aod vālya ?(89; If the first alternative is accepted, then again two alternatives prop up therein according as (6) you accept válya to be avayavi ie, having avayavas or parts in form of padas or (b) you do not accept any avayavas or parts with reference to the vakyártha. Now (a) cannot be accepted as pada is held to be 'ubhu or all-pervasive even by the objector, and in that case it is not possible to dream of an avavav, vilya which is 'vibhutara' or more pervasie The very notion of vibhutara is illogical(90) Again, the Naiyāyikas tahe s'abda to be the quality of abāsa and quality or guna is avibhājya-se, incapable of ditision, and it cannot be the samaväyıl grant of anything else, it being always 'dravyn' itself Thus, padas cannot be the angas or factors of the vākyártha (91) Now, if you accept the second alternative ie (b), viz. that there is no Wava in a rahya, then it follons thai the sentence as a whole makes for the sense and neither the varnı, nor the pada is important and therefore vra or pada has no independent existence in a language. Well, it is true that only the sentence exists in a language, and that this afhandaspota is manifested by dhrani, but ·Sabdavrttıs, the nature 91 all this is putting aside the reality and is like the face reflected in a jewel, sword, or a mirror. Again, we ask that the first dhavpi reveals the sense, what would be the use of other dhyanis Again, your antimadhvani also fails to reveal the Sphota fully. So, this Sphota and ahbandavākya is a wrongly postulated hypothesis The final dhvanı reveals the sense only if it is aided by the impression of the preceding dhvanıs. So they cannot be held as useless. Just as a jeweller gives his opinion about a particular stone after looking at it repeatedly, in the same way. the hearer decides the våkyartha, with the help of the final dhvan aided by the impression of the preceding dhvanis It is because of this that we, the padavādıns, accept the last letter, aided by the impression of the preceeding letters to be the cause of väkyartha (92) The varnavādın refutes tbe theory of Sphota, for according to him, for vákyarthagrahana, or gathering of the sentence-cence, there 15 necessity postulate the hypothesis of Sphota The vardas themselves, used in the prda, male for arthapratiti or apprehension of meaning When they are 7 particular order (say, sarah), they give particular mon11.4, and when they are in a different order (say, rasih) they give a different meaning Thus, the pada gues a pirticular meaning with the help of brama-sequence-, nyūnātırıktatva, swarı, Tahya, sruts smrti, etc. If different letters of the same pada are pronounced by different people, se do not get the meaning If I say, for example, 'sa 'and you say 'rah', we do not get the idea of 'sarah'. no to 10 ·92 Rasa and Diivani Thus, it is necessary that a pada should be pronounced by one and the same man, at one and the same time. Thus, eka-kartſtva is an important factor in arthānubhava and is the jūāpakahetu of it. So the vākyārtha. joána is the result of yarnasamūha and it is no use postulating the hypothesis of an ana vayava vākya (93). It may be noted that Mandanmis'ra in his Sphotasiddhi finally establishes the Sphoțavāda in an admirable way after refuting the views of Kumārıla and his supporters. We need not go into those details here. Vācaspati then considers the second View held by some Mimảmsakas and some Naiyāyihas. This view is slightly better according to him than the first one, as there is no postulation of any adşsta like Sphota herein. This view tahes letters and words to be the cause of väkyarthapratıtı IVe get some trace of this view in the Nyāyabhāsya of Vātsyāyana. 'According to Vātsyāyana, when letters are spohen, the herrer listens to them. These letters are not correlated in form of words-padas-, and therefore the hearer first of all correlates them and through the agency of words (pada vyavasãyena ) and with the help of memory, he correlates different words also and gathers thereby the våkyartha (94). So, according to this view, we do not hear any sentence fully at a given moment. The speaker speaks letters one by one. As the letters perish immediately (asuvināsitva ) and in a moment (ksaņıkatva), every first letter disappears when the next one is uttered.

·sabdavytłıs, the nature .. 93 Thus, when the whole sentence is completed, the listener hears only the last letter at that moment. But he undoubtedly gathers the whole sentence. The solution to this situation is that even though the preceding letter or letters die out the moment they are uttered, they leave behind them their impression in the minds of the listeners. With the hearing of the last letter this impression comes up in form of memory and produces the vakyárthadhi (95) The abbibitānvayavádın (i.e. the Siddhantin) relates the above view as below : Is it so that the last syllable explains the vākyartha after causing the memory of the correlation of the meaning of itself and the vãkyártha ? Then, we say that when the mental impression exhibits its strength v12-the remembering of padārthas, the padapratyaksa, etc., at this moment, the cause viz. impression, does not exist. At the same time, when a listener remembers the correlation of pada and padārtha, he cannot clarify the position of the final syllable of a pada or vākya. So, the hearing of the last letter accompanied by the memory of the preceding etc., cannot make for the vākyadhi(95). The third view is supposed to b: held by some other Mimiņzikas. According to the commentator of the Tattavabindu, this view is not held by any particular acarya, but both this and the preceding one are just placed as primi facie views by Vācaspati Misra (97). According to some this view is held by the earlier Mimāmsıkı Upavarşa, who is older than ·94 Rasa and Dhrani in or cause Sabara (98) So, according to Upavarsı 'gauh' is constituted of g, a, u, and visarga These varnaradins hold that we gather the meaning of a word or a sentence in the same my in which it is used by the elderly people Now, these elderly people, in their regular affairs, do not use single letters of words, but use sentences to convey meaning But a sentence cannot be without parts (anavayava) So, the sentence is just the correlation of letters (varnasamūha) left memory This sarnamila dhvanimāla IS the and valyārthadhih is the effect The knowledge of padapadartha is held to be instrumentalonls (nimittamatra) while the vabyarthadhih follows genuinely from the varnamālā or ? group of letters or phonemes or syllables (99) The Bhatta Mımāmsakas do not accept this view They find two faults with this, vız, those of gauravadosa 'and' visayabhavadosa '(100) They explain it in the following way, suppose, they say, se take the following eight sentences-siz arbhaka, gūmanaya, arbhaka, gim badhana, s'iso, gamanaya, sºo, gồm badhana, bala, gāmānaya, bala, gam badhana, dimbha gamanya, dimbha, gam badhana' Now, in these eight sentences we can see only seven different words uz gam, Tnaya, badhana, ubhaha, Siso, bāla, and dimbh? According to the sainaiādın (ie the Illrd view), we will have to accept separate power of erch of the eight sentences Trus, tre will hie to accept eight saltis in respect of these eight sentences If we accept the view of the padaı idins, we will have to accept only seven śıktıs with reference ·Sabdavyttts, the nature 95 to seven words. Thus we have to go for unnecessary acceptance of additional śaktis if we accept the varnavāda. Thus, it becomes redundant on account of kalpana-gaurava (101). Another fault that is seen in this view is that of vışıyābhāva. The varnamalā in a vakya can cause vābyārthadhih only when there is first padārthadbíh. Padārthajñána is a must before vākyārthajñāna. It is only when the padārthas are correlated that the vākyārtha flashes upon our mind, Thus, padārthajñána is necessary before their correlation(anvaya ). In this case, how can we take varnimāla as the cause of vākyārthadhiḥ? Again, when we listen to a sentence, we cannot remember the syllables of even five or six words in a sentence, then what to talk of a long sentence full of many words ? (102). Thus, this (viz. the third view) cannot be accepted. The fourth view is the one held by Prabhakara and his followers who are known as anyitábhidhānavādins. For them, the words used in a sentence, on account of expectancy, compatibility and proximity, are first correlated and then they yield the vākyārtha, through the power called abhidhā ( 103). The Bhatta Mimâmsakas or the abhihitānvayavādıns object to this view. Their objections are as below when the anvitábhidhanavādi says that the abhidhå power of a word is able to convey its meaning as well as correlation (anvayas ), is it so that the vākyārtha is gathered through all the padārthas together or not ?. If they (=anvitábhidhänavadins) hold that all the words together do not convey the vākyārtha, then for them only the first word-pada-will convey the vākyārtha.

·96 Rasa and Dranı So, the use of other padas becomes redundant, as the visaksa (intention) of the speaker will be conveyed by just one word alone (104) Or, if it be said that other words also consey sabyartha, then in the sentence, harıh gam badhnati, wherein we get three words, the meaning of the action 'badhnati' will not become clear until it is connected with 'harıh' the agent and 'gam the object The same is the case with the other words. Thus, there arises the contingency of itaretarasraya (The illustration cited by Vacaspati Misra is ukhayām pacet ) (105). The fifth view is held by abhihitanvayavadus or by humarıla and his followers According to them, the padas first convey their meaning separately, and then after getting correlated, they convey the sābyartha Vacaspatimista in hıs Tattsabindu refutes Prabhäkıra, ansitabhidhānau ada and establishes the abhihir invayavada as the Siddhānta The abhıhtın vayavādın says that unless ? contrary evidence arises, usually, for any effect, we consider the immediately preceding factor as the cause of it (106) Whenever there is vakyārthajianı it is preceded by padarthi jyanısmrti, which should be then recognised as its Again, this padárthusmırana alone is not sufficient for bringing about the sentence-sense, but their correlation is also important Thus the smirida of the padarthas in the mind, qualified by ahanks, and sannidhi, miles for the vāky arthadhin ( 107) Again the abhxhitans az avādın holds that the mental impression (manovssana ) by itself does not create the smrti or memory of the objects of experience that Cause wy ·sabdavytiis, the nature .. 97 were known or unknown earlier. It just makes for the remembrance of the padârthas of a given pada samūha qualified by a banksā, yogyată etc. Thus, padarthasmrti goes with (1.e. is sahakrta ) akanksādı and thus only (ie akānbsādı trayasahakrta) makes for the knowledge of the vākyārtha. As for the argument that if padarthajñana is caused by smrti which is different from padas, then, in that case, it will not be capable of causing knowledge of the vākyartha; for, in case if it is held to be capable of this, then we will have to accept this as the seventh pramana over and above the six, held by the Mimamsadars'ana Or the sabda pramana will have to be included in this novel pramana, and this is not noticed by Sabara and others, who have not accepted padartha as a separate pramana because they have already mentioned agamapramana which could have been only a sub-variety of the new padartha pramanı (108), and also that if agamapramana is a sub-variety of padărtha, then, padartha should be mentioned along with the other five pramānas, and this means casting aspersions on the scholarshipvidvatta-and omniscience-sarvajñatva-of Bhagavān Bhasyakára Moreover, if we take padārthajtana as the nimitta of vākyārthajñāna then, we will have to accept either three vſttis or two, such as (1) the first saktı that helps the pada to give its individual meaning, and (11) the second that causes its memory, and (111), the third that correlates, or at least the two that give padarthajñāna and vakyarthajñāna R. 7.

·98 Rasa and Dlivani respectively while in the view of the antitabhidhana. vāda only one sakti is required and thus there is no kalpanāgaurava-or the contingency of imagining many vrttıs (109)(110) Vacaspati gives the following reply The bhihitanyayavadın holds that only one sabti as mentioned by the Prabhākaras can not be connected with the anvaya or correlation For thos, as anvaya or correlation is just one and identical with reference to different padas, we will have to accept the position in which all the padas stand for one another as synonyms!(111) The abhihitányayarádın again asks the following question to the anvitābhidhanavadın Is it so that a pada by its sahti conveys only the meaning as such (prdarthasarupa ) and not the correlation (anaya ) also which makes for the välyärthadhih? Or is it so that it conveys both its meaning and the correlation, both of which help to bring about the sabyarthadhīh'? The knowledge of the correlation of one padartha with another padartha is born of some other pada either known ( spasta ) or unknown (aspasta ), and not by the padas themselves Those who are leurned in the redas also hold this view and according to them, kriya or action, by abhidha cannot convey the karta or agent (112). Thus, the abhihitánvayavādi accepts another sıktı, different from abhidhā, and it is termed as laksinasaktı For them in laukika and vaidic sentences, the vakyarthadhıh is caused by laksına Vācaspatımısra clarifies the stages which the s rota-listener-has to pass through while going from Sakyasravana to ·Sabdavrttıs, the nature 99 vākyarthajñana. It is as follow An individual listens to the sentences, spoken by the elderly people and thereby becomes conscious of activity (pravſtti), inactivity (niyrttı), joy or sorrow (harşı, soka) etc Thus, he records this sentence as the cruse of pravrtti, niittı etc As the elderly person goes on using one word ( pada ) after another, he gathers newer and newer meanings ( anupajata ) and this new (or anupajāta ) meaning dawns upon the mind only after listening to some particular words (visesa pada ) even though the words already pronounced are very well there. Thus the child takes them to be the cause of it (ie knowledge ) This knowledge is only with reference to the padārtha alone and as such it cannot make for the praurtti, niitti, etc But when the whole sentence sense is gathered then only it causes pravrtti, nivſttı etc. This visisti artha or, particular meaning, goes with the whole sentence The vrddhav yavahara results into this The words used in the vrddhavyavaharı have this conveying of the vis istārtha as its object, but by abhidhá they convey only the padartha alone Thus, as in the case of laukika vakyas, so also in the case of vaidika valyas the words convey the sentence-sence through laksanaa lone (113) It becomes quite clear that for the Bhätta Mimamsakas the grasping of the meaning of the sentence, the vākyárthagra haua, is achieved with the help of laksana. Kumárıla himself notes in his vārtika that vakyărtho lahsyamáno hi sirvatraieti nah sthitih. Pártha arathi Misra in his Njāyarıtnimala refutes the anvitábhidhānaváda and establishes that ·100 Rasa and Dhoans even though in a single sentence, we get many padas, still, with the help of akānisadi we gather the correlation between different padas (114) Neither the sentence, nor the words by themsek es make for the vakyārthadhi First of al}, from the padasvarūpa we get padārtha through abhidha and then vaky artha becomes laksıta ie indicated (115) In a sentence there are many words, but when there is vākyårthadhih, all the padarthas are united just as all types of pigeons get together for picking up grains (116). Vācaspati has made it quite clear that the power that correlates the word senses in a sentence is quite different from abhidha and it is laksana But this laksaņā is different from lahşana of the alamkarikas and thus we come across at least four yrttis, viz, abhidhi, laksana, gun and padārthānvayasaktı In order to avoid the gaurava of recognising so many vttis the padarthānvaya salti is also termed as laksana (117) This lahsapá or padārthanı yasaktı is different from laksaņā of the alamkarikas and probably because of this others might bare named it differently as tatparya sakti, Alamkārıkas As seen above, some of the Bhatta Mimamsakas later on, called it tatparya vſtti in order to distinguish it from laksana as such Probably, the Mımāmsalas in Kasmira, folloned this tradition which was mentioned by even Abhinava and Mammaţa Moreover Abhinara and Mammata hase identified gauņi and laksaņa of the Mimamsabas Thus, for them, tātparsa becomes the third vitti and yyarjana is therefore ·Sabdavrtits, the nature 101 termed as the Turiyā Vrttı (118). Abhinava and Mammata also accept this view of the abhihitanvayavāda It becomes clear when we read ityantagranthena upapadıtasya abhinavaguptacaryasammata. paksasya bahuyacanam s'ra mammaţācāryapādaih svasammutatvamuktamıtı tıkakāraih sarvash uktamıtıdık (Balabodhin pp. 27). But lateron, certain dhvanıvadıns rejected this tátparyavrtti, and Vidyanatha, the author of Pratap arudrıya, includes tatparyavrtti in vya fija navrtti and mentions the tatparyartha as identical with the vyangyārtha. The view viz-soyam işoriva dırghadır ghataro abhidha vyāparaḥ etc. (supposedly mentioned by Bhatta Lollata ) considers tātparyavrttı as just a part of abhidhavrttı. Mahima gathers the tātpary artha with the help of inumana or inference. He does not recognise tätparyavrtti in gathering the sense of 'nisedha'or negation, from the sentence, visam bhak saya, macāsya grhe bhunikthah. For him, the nisedh artha does not fall in the province of sābdabodha, but is gathered by the process of anumäna, where the vacyārtha becomes the hetu. Thus, here we have an instance of arth, prahriyā and not sabdi prakriya (119) Laksana : After considering the nature of abhidhā and tātpatya we may consider laksanā or the power of indication, or that function of a word which gives us the secondary meaning. The word that gives the secondary sense is called laksapıba, the sense, lakşyartha, and the function, lakşab&. That words ·102 Rasa and Dhvanı are at times used in a sense other than the primary was recognised by pioneer grammarians such as Patañjalı who admitted a gauni vrttı besides mulhyā vrttı He has explained the conditions that necessitate the recognition of laksana as a process of transference of one s attribute to another The various illustrations of laksins cited by him under the rule Pa. 4-1-148, are as below ma cah hasanti, grågāyām ghosah, yastıh pravesaya etc These Tre so clear and typical that they have been often used by others The Mimāmsakas and Naiyayikas and all the other schools of thought recognise lahsap? Though this yrtti was generally called laksana other names also were current viz gauni vrttih, bhahtıh or upacīra Usually when there is a laksanıka or, sceondıry use of words, we see commentators saying gaupóyam Sabdaprayogah, bhahtah va or, upacaroyam etc., though of course herein we come across different shades of meaning We will consider this in detail later on Laksanā, then, is a secondary function As Mammata says, the power really belongs to tácyartha, though, for all practical purposes, it is supposed to belong to vacaba sabda (120) Thus, if gangajāin ghosah is taken as an instance of laksanā, the laksvärtha of gaugā tata is, really speaking conveyed by the vacyārtha viz gangaprivāha, and not by the word 'ganga' The idea is that the power of the sabda 'ganga becomes exhausted in expressin: gangłpravah Now, where lies the possibility of the word, which has become powerless after giving the abhidhartha, conseying the laksyártha viz. gangataţa ? weitere ·103 Šabdavylles, the nature.. Thus, when yve say that laksıņā is the power of a word, we are slightly inexact and attribute to the word, a function that belongs to its sense. Conditions of Laksana : Lakşapā presupposes three conditions. (121). (1) The vācyārtha must be inapplicable (i.e. mukhyarthabadha ) (22) The laksyārtha must be such as is connected with the vācyārtha-(mukhyārthayoga, or tadyoga ), and ( 112 ) The lakşıņå must have been resorted to either (a) in keeping with usage or rūdhi, or (6) with a definite purpose (prāyojana ). The vācyārtha becomes inapplicable or badhita because of its coming into conflict with the pramānas(122). In gangayām ghoṣaḥ, the mukhyartha viz. gangāpravāha is bādhita, say, by pratyaksa pramāņa and again fails to comply with the second requirement of a vākya vız..yogyatā'. In determining whether a sense is būdhita or not, we take note of the tātparya or purport of the words. Thus, when we say that in gangayam ghoșah the mukhyārtha of gangā is badhita, it is the purport or tenor of the sentence that makes us say so. Otherwise, one could have said that the mukhyartha of ghosz (and not gangā) is bādhita and that lakṣaṇå applies to ghosa and not gangā. Now, the lakṣyārtha must be such as bears some sort of connection-may be even of vaiparıtya or contrariety-with the vācyártha. If this condition is not fulfilled, every sense could be the lakṣyártha. The connection may be any one of the five enumerated ·104 Rasa and Dhcans by Bhartrmitra and others abhidhej ena sambandhat sådráyat samaidynta hl vaiparity at brijayogāllahsanā parcadhā mata 11 (123) Canons of interpretation in Sanskrit, are, on ground of 'gaurava dosa ' against the secondary use of words, where the primary use would gue the same idea (124) Laksana wbich is a secondary function, requires justification Labsaņā is justified on the score of prayojana or rudhi Gangātate ghosah will fail to convey the sense-prayojana-of the preponder ance of satya and pāvanatya or coolness and purity, that is consesed by' gangar im gboşah , which, therefore, is justified The example of labşana based on rudhi is karmaņi Lusalah accordıng to Mammata Visvanatha disagrees (125) Hemacandra does not accept rudhimula laksapā at all(126) It might have been that all instances of laksapa must hase been prayojanamula in the beginn ing The first gentleman who transferred 'kusala' to the realms other than that of darbhagrahana did so on the basis of upacára (ie transfer due to similarity) But constant use has totally Overshadowed the prayojana element in it alăpibyacandra very critically brings out this vier point when he says nirudha Iti bhras opacārprajttayah kumarıla also recognised this fact, and even went to the length of saying that even rūdhilahsapás may to day be employed as prasojanalakşıņās under certain circamstances (127) We have seen that 'tadjogah' is one of the requirements for labsarí This tadyoga may be camipya sambandha, angangibhava sambandha, ·Šabdavytlıs, the nature.. 10$ tatkarmya, sādrs/ya, svāmibhrtya sambandha, tādarthya etc. Based on these sambandhas or relations, laksana is divided into gaunī 1 e., based on sadrs'ya sambandha and suddhā ie based on sådrs yetara sambandha. We will consider the classification of laksanā later on. It may be noted here that according to the Prābhākara Mimāmsakas, and certain alamkārikas such as Hemacandra, gaunī vrtti is recognised as distinct from and independent of laksaņā Thus, a word has, in view of the latter, four vrttis viz abhidha, gauns, laksana and vyañjana Vidy anātha, in his Prataparudrıya refutes the view of the Prabha karas and observes that gauni cannot be a separate function of a word If at all, it can only be a subdivision of laksana, as in both there is mukhy arthabadha and tadyoga If gauņi be accepted as a separate function of a word, he observes, then we would have to accept several functions based on several relations (128). The Naiyayıkas also hold a similar view (129) Classification of laksanā: Mammata seems to classify laksanā in the following way, Laksana prayojanamula rūdhimüla s'uddhā gauņi saropā sadhyavasanā upadana (10) jahat (v) sāropa (=gaur- (gaurevāyam) (=ajahat) laksaņā (ayur (kuntah (gangāyam ghȚtam pravis'antı) ghosah and (vi)- sådhyavasana layurevedam). vāhikah) ·106 Rasa and Dhoani Thus, gaupi laksına is that which is based on sādrs ya sambandha, and s'addha is one which 15 sadrsyetara-sambandhamulā (se the relat ons of härynbarana, tadarthya, tatkarmya, etc ) Suddhs is again four foldas show nabove, while gauciis two fold It should be noted however, that these divisions and subdivisions pertain to prajaona171 laksana alone and not rudhımula Mapibyacandra suggests that rudhi laksana is so well established that we cannot penetrate into its nature (130) Thus, it is of the type of abhidhr (131) The S. D gives ? more detailed classification Upidanalabsaņā is also known as ajihatsvärtha or ajahallaksins Its difinition is, according to Mammata, svasıddhaye para sepah It is 1 subdıvı sion of suddha The example is buntah pravisanti The vacy artha of kuntāḥ cannot be logically constructed with 'pravis anti' So, there is mukhy ārthabadha and we derise the ide of huntin "kuntadhanpah' In this instance, the 1īcy artha is completely comprehanded in the labsy itth. The idea of 'buntah' is completely included in that of 'kuntadharipah' So, it is called upadano labsapā or ajahat-svartha. Laksaņa laisina 1s defined as parārtham svasamarpinim It is also termed as Jahallaksanā. This is another sub-devision of s'uddha in this particular variety, the vacyártha surrenders its meaning and yields place to the lakszärtha In gangayam ghoşah, the word gangay im surrenders its vacy arth? or ·Šabdavyttes," the nature. 107 VIZ gangapravāhz ind mahes room for the lasyārtha viz gangatata This variety is called laksana lahsann becruse gangā here serves as the characteristic (laksana ) both of the vācyārtha and the laksyārtha The sampridiyaprakaśını explains laksanā as laksanam uprlahsızım Manıbyacandra and others explain the word laksanā as laksapena tatadıjñapanena According to Nigesvari it is liksinena svarthasamarpanena upalaksita This „vārthasamarpana is total and not partial (132) These two viz upādāna and laksana are the varieties of suddha only, and not of gauni While dealing with upādāna labsanā Mammatı takes care to refute the views of two different schools The first view refuted is that of Mandana Mısra according to Udyota or that of Mukula bhatta, according to Manihyachandrı According to this view the jātivācaka sabdas like gauh conveys vyaktı by upīdāna laksaņā Abhidhā is exhausted in giving the sense of gotva and therefore govyaktı is indicated by the word gauh, through the process of upadana laksınā For Mammata it is not so According to him govyakti is gathered by avinabhavamula absepa, ie by invariable implica tion Laksanã is not possible for want of either prayojana or rudhi Govyaktı is here āksepagrāhya, i e. gathered by implication The second view refuted is probably the one held by the Mim imsıkıs According to this view, ratribhojına in case of Devadatta who is stout and yet does not take his food by day, is a matter of laksyārtha. Again, tātribhojanı includes the idea of ·103 Rasa and Dhoans diva-abhojana Therefore, it is the case of upādana laksınd But, not so, according to Mammata, who holds that this is a case of arthápatti which should be accepted here as it insokies a lesser amount of gaurava than lalsanā We have seen above that s'uddha is so called as it has no reference to upacara, gaupi on the other hand is based on upacara Upacara is based on resemblance (133). Sāropå and sadhyavasānā are two sub divisions common to both suddha and gauņi Both sāropā and sadbyarasana involve eropa, to a smaller or greater extent In suropa, the aropa is associated with 1 consciousness of discinction between the object superimposed and that superimposed upon and in sādhyavisāna, the iropa is carried to such an extent that all consciousness of distinctness between the two objects is lost owing to the latter being merged into the former Again, if the instances involve the idea of sūdrs'ya, they become the sub divisions of gauni and if they insolve the relations of sõdrsyetarasambandha they become the subvarities of s'uddhā. Thus gaur āhilah and gaurevāyam are instances of gauņi sāropā and gaupi sadhyavasanā, while ayurghrtam and syurevedam are instances of sāropā śuddha and sadhyavasānā s'uddha In short, we have a lesser degree of áropa in saropā then in sādhyavasānā where it is termed as adhyavasána (134) It may be noted, that when based on sādrsya, sūropā becomes the basis of rupabalambărah and sādhyavasans, that of atiśayolti ·109 Śabdavrttıs, the nature.. Mammata and Visvanātha give three different views as to the functioning of laksana in the instancegaurvāhıkah They are as below :(2) According to the first view, gauh in gaurvāhīkah indicates gogatajadyamándyadīgunas As these are found to be common to vāhika also, the word gauh expresses vahikārtha. (22) The second view says that gauh indicates vahıkagatajădyamāndyadıguņas (not gogata gunas as in the first view). These gunas or qualities through avinābhavasambandha suggest vahīka vyaktı. (111) The third view is that gaub indicates vàhika himself as being the substratum of jadyamandyadı common to both. The third view is accepted by Mammata We do not know exactly as to who held the first two views. The third is held by the Mimamsakas as is clear from a citation from Kumarila in support In Kumarıla s Tantravartiha ( 8th cen. AD.) which constitutes the commentary on the last three padas of the 1st adhyaya and also the 2nd and 3rd adhyayas of the Sabarbhasya, we read the following mānantaraviruddhe tu mukhyarthasya parigrahe abhidheya-vinăbhutaprasītırlaksanocyate i lahsyamapiguņairyogat vrtteristă tu gaunata 11 As to the second view, Manikyacandra notes that it is very close to that of Mukula (135). Mammata also mentions certain sādrs’yetarasambandhas such as karyaharanabhava, tadarthya, svasvamibhava, avayavavayaubháva, tatkarmya, etc Mānikyacandra adds māna eg. adhabam as'nāti, dharana (=holding) eg, tuladhrtam candanam tula; idhipatya (= leadership) as in pumanayam gotram ·Rasa and Dhirani 110 (= This person is family) sthànı as in mancah hros antı etc The sambandhas are nomerous (136) As to the classification of laksanā, authors on the alambyras astra differ We have seen Vammata's vien Jagannathi's view is almost similar Vis vanatha gives as many as eighty varities of laksana The Vrttivartikalara (Appayya Diksita) gres a seven fold division of prayojanavatı laksana (137) It may be noted that Mammata also admits the gūdhati? and agūdhatom of the prayojana Laksanā, not accepted There are certain alambarıkas who do not accept labsınā as a separate vitti at all e.g Mubulabhatta, Mahimabhatta and huntaka accept only abhidha They do not accept laksana as a sabda yāpāra Bhatta Muhula suggests this when at the end of Abhidharttımītrka he says ityetadabhidhīvtttam dasadhátr vtecitam He includes the varieties of laksanā under his ten fold scheme of abhidha According to him, he trents of laksu i only because for him the dhani of vyañjanit Tdins is not different from laksana (138) We will consider Vubula's viens in the chapter on dhvaniyirodha (Ch \VIV) For Mahima also, the word has only one s'alte and that is abhidha(139) For Mahima, luksjärcha becomes anumit or inferred through vácjärtha which series as a hetu According to him, in gangāyām ghostly when we derive the meaning of people staying on the Ganges, it 15 anumitigamya or derued through inference Similarly, in gaur ahihi, there is no laksapassapara, but we have anumanı or infererce ·111 Sabdavrttıs, the nature If it is of the similarity of vāhikah and giuh, on the strength of the superimposition of gotva on shik? otherwise, who will superimpose a thing on something totally different (140) Next comes Kuntaka kuntaha does not clearly negate laksıní at any place But when he describes vakroktı as 'vicitrā abhidha' we get 1 glimpse of his approach (141) The Mimāmsikas and the Nyayılas accept lal sina as a separate vrtti From the above discussion it is clear that laksana is 7 derived function of language The primary sense of a word used in severni contexts gets modified or transferred by these An attempt has been made by Sanskrit writers to note down 75 many such contexts as possible, for example, the relation of similarity which gives the varities of gauni, the relations of nearness, causality ownership possession, tātkarmya etc - which are responsible for the derived meanings of words As we have seen, writers like Mukula Bhatta do not consider it necessary to consider laksana because, they think that it is derived from abhidha conditioned by contexts But the grammarians, Mimamsakas and logicians recognise laksana as a seperate function because it is necessary for them, for logical clerity, to distinguish the different meanings conveyed by a word in different contexts Vyanjanāvrtti We now consider the nature of what is termed ns vyañjrnavrtti As noticed already, it is recognised to be the turiyavrtti, the first three being abidhā, ·Rasa and Dhrant 112 tatparya and laksana We have also seen that the tatparya vſtti is called a sabdavrtti only through uprcara ie. metaphorically, and the gauni of the Mimamsakas is included in laksanā, though certain writers on alamkāra, such as Hemacandra mention it as a separate vrttı The Dhvanyāloka says that in poetry there is something which is beyond the expressed sense and it is this that is the true essence of poetry (142) We will see later on in due course, that some modern European writers also have underlined two uses of language, viz the scientific and the emotive and that the latter one has a special role in poetry For the realisation of this implied or the pratıyamana or vya ngyārtha ie, the suggested sense, the writers on alamkara have established a separate srttı or function of a word, and it is termed as the vyañjınavrtti which is not identical with either abhidha or laksaņā With the help of vyañjanā, a word, subordinating itself and its meaning, suggests the vyangyartha which is more important and is termed as 'dhvanı' in a poem (143) Just as an object, already existing beforehand, is manifested by light, in the same way this pratiyamánartha becomes manifested with the help of vyañjanā The pratibha of the reader also plays a major role in gathering this vyangyārtha, observes Hemacandra (144) The sacyartha or labsyārtha, is only an instrument, a nimittz, in the realisation of vyangyārtha The stock example is 'gangayām ghosah'-wherein the idea of coolness and purity is gathered through a separate power called vyañjana ·Sabdavylts, the nature.. 113 Mammaja in his k. p. Il. 9 days ; Yasya pratitira thătum lakṣaṇā samupāsyate ! phale sibukagamyétra vyañjanānnāparā kriya Il and adds:-prayojinipratipipādayışaya yatra laksaņıya Sabdaprayogah tatra nānyatastatpratipattirapi tu tasmädeva s'abdīt. na cātra vyañjana ſtenyo vyāparaḥ 1.e. with reference to this fruit, for conveying the apprehension of which indication is resorted to, (and) which is understood from the (indicative) word alone, (there is no other function than suggestion .. where (as in 1 sentence) a word is used with indication with the desire of conveying the motive, there the apprehension of that motive does not arise from anything else, but from that word alone. And there (1.e. with reference to the motive) there is no other function except vyañjanā. Mammața brings in the topic of vyañjana while concluding the topic of lakşanā. He says that lakṣanå again can be three-fold, viz (one ) based on rūdni and the other two varities based on prayojana which may be gûdha 1.e. concealed or agūdha 1.e. not-concealed. To convey this prayojina, the vyāpāra or the function resorted to, is always vyañjanā. It is not abhidhä in the absence of convention or simaya, and it is not laksanā, in the absence of further prayojana (II. 10). Again, the vy inyyārtha is not identical with the laksyārtha because, the latter one is not the primary the mukhyārtha, nor is incompatibility i.e, bådha, nor any connexion with the fruit (yogiḥ phalena no ), nor any motive herein (na prayojanametasmin), nor does the word sense or there any ·Rasa and Dhvant 114 fail in conveying the motive (na ca s'abdah skhaladgatih ). (K. P. II. 11.) Mammața adds the following explanation: As the word Gadgå indicates the sense viz. the bunk, because it is incomplete with the present context in its primary sense of the stream, like that if it were incompatible with the present context in its indicated sense of the bank also, then it would further indicate the motive. And the bank is not the primary sense of the word Gangā. Also here there is no incompatibility. And there is no connection of the bank, which is the indicated sense of the word Ganga, with properties like coolness, holiness etc, which are to be further indicated by that motite which is supposed to be indicated. Moreover the word Ganga is not unable to convey the motive, as it 1e to convey the sense of the bank, in the absence of the three conditions ( 145 ). Mammața adds that in this there would be anavasthā, the absence of finality which would cause the destruction of the very root (mūlahşayakārını anavastha. K. P. 11. 129) If this prayojana is to be indicated, it would be indicated by yet another motive, and that second motive also will be indicated by a third one, and so on Thus, want of finality or regressus ad infinitum, causing the non-apprehension of the matter in hand, i.e. the first motive, would result. Mammața also rejects the case of the indicated sense being accompanied with or qualified by the motive The object of knowledge is different from knowledge, and the fruit of knowledge is also different from it. The object of direct perception is a blue thing and the like. But the fruit is brownness or ·115 Sabdavyttıs, the nature.. as self consciousness. Thus, with reference to a qualified object, indication is not possible. But properties or qualities such as holiness and the like are realised as residing in the bank and are apprehended by a function other than expression, purport or indication And this function is designated by terms such as vyanjani, dhvanana, dyotana etc., and it should be necessarily admitted having an independent existence (146) Classification : Mammata has classified vyanjana into laksapamūla or that based on laksana and abhidhamula or that based on abhidhã The laksanāmūla is illustrated as in 'Gangayam ghosah'. The abhidhamūla occurs when the function of expression of a word having more than one primary sense, is restricted to one sense by means of conjunction and the like, and the process which produces the apprehension of a sense that is not expressed is suggestion ( 147) Conjuction (or samyogah) disjunction (or viprayogah), associa- (or sāhacarya ), antagonism (or virodhita), motive (arthah), context (or prabarana ), special mark (or lingam ), proximity of another word, (1.e s'abdasyanyasya sannidhih), capability (ie sāmarthyam ), propriety (or aucitya ), place (or des ah), time (or kalah), gender (vyaktıh), accent (svara) and etc are the causes of recollection ie apprehension of a prrticular meaning, when there is no decision or determination regarding the meaning of a word. Mammata also gives proper illustrations for all these cases. He concludes that, when though the power tion ·118 Rasa and Dhvanı VIZ. and Mahima Bhatta do not accept this variety at all There are others who reject the whole of sābdi vyañjanā which, according to them falls within the scope of slesa Still others accept abhidhămūla s'abdi only in certain cases He holds that in the particular illustration vizasávudayamárūdhahbântimán raktamardalah, the earlier authors recognise a case for abhidhanūlā s'abdi vyažījanā ( 152 ) Bat for him, it is a case of pure s'lesa, as both the meanings are gathered by abhidba ( 153 ) Appayya Dīksita does not accept s'abdas'ahtımūla vyañjanā, but he does accept s'abdaśaktımūla dhvani on the grounds that herein its charm is dependent on the use of certain words only (15+). Vis'vanātha obseries that Mahima's view viz, that in the particular illastration durgālanghita vigrahe etc, there is no presence of of any aprakaranıkārtha ie non-contextual meaning whatsoever, is only gajanımılıba on his part ( 155 ) Jagannatha has his own vieir. He holds that both in case of nanārthaka sabdas'aktımūla dhyani and in case of s'les, kāvya, there cannot be uny obstruction in gathering both the meanings (1 e, prākaranıba 1.e contextual and aprākaranıba re non-contextual) simultaneously It is no use saying that while in sles: there is tatparyajñāna with reference to both the senses, while it is not so in case of vyzfijana Jagan natha is of the opinion that in śabdasaktımūla dhyani both the meanings are equally vacya or expressed and that both are gathered through abhidh. It is therefore not wise to accept vyañjana for gathering the other sense-aparārthapratiti (156). Thus he does not seem to agree with the dhyanvadıns in general ·Šabdavyttis, the nature .. 119 in case of the s'abjaśaktimuladhyani. But at places he agrees He believes that in case of words having multiple sense, when rūdha or yaugika words are used, even the aprakaranıbārtha is vācya. But when it is a case of youarüçha or yaugıkarudhat padas having a multiple sense, according to Jagannātha, the non-contextual sense is gathered through vyhrjana (157). The illustration cited is-abulänām s'riyam hộivā....etc. Here, in respect of the first meaning in torm of lightening and the cloud, there is rudhasabda. But in respect of the second meining, there is either rūdhi or yoga. Again the second meaning is not avayavalabhya only, as in the case of yaugika words. This is therefore, a proper instance of vyanjanā. Thus says he, yugārūdhasya s'abdasya yoge rūdhyā niyantrite ! dhıyam yogasprs'otthasya ya sūte vyañjanaiva sā 11 i.e. when yogaśakti in case of yogarūdha sabdas becomes restricted by the rūdhıśaktı, (according to the dictum-rūdhıryogādbalıyası-) the yogārtha is* derived through vyañjaná alone. Modern Views : Modern European thinking as to the function of language in poetry beurs some striking resemblance. We may look into it in the light of Susan Stebbing (Introduction to Logic), and I. A. Richards ( Meaning of Meaning, Principles of literary criticism ) and other authors. Language conveys both information and emotion. When the emotional element is subdued or suppressed ·120 Rasa and Dhvanı as far as possible we have the informative function of language When, however, the main function is to convey emotion and use information even for the purpose of evoking emotion as in rhetoric and poetry we call it the emotive function of language The first is termed the scientific use of language, and the other, the emotive use of language Thus, one important function of language is to communicate information For science, this is the only function, and for this, it evolves ? terminology re a set of technical terms which air at precision, le uniqueness of reference. A scientific statement is, qua scientific, precise The aim of the scientist is to use his verbal symbol so is to achiere uniqueness of reference and thus to use language, in order to cornmunicate information that is exact and precise However, we see in our day to day life, that very often statements are made not merely to communt cate information, but to arouse in the hearer a certain state of mind Literary critics, everywhere, have realised that the poet uses language not munly to express statements that are true or false, but to express what is neither true nor false Thas, when eg Shelley says .Life, like a dome of many coloured glass stains the white ridiance of eternity Untill death tramples it to fragments he is neither talhing non sense, nor making an assertion that must be accepted or rejected as true or false The question of truth or falsity does not arise at all ·Śabdavrttis, the nature 121 use is The poet is using language for an entirely different purpose from the scientist who says, " The Specific heat of air at constant pressure is O 2734" To distinguish between these two l.ses of language, Mr 1. A. Richards has suggeste i the convenient terminology viz-"the scientific use of language", and "the emotive use of language" (Principles of literary criticism Ch XXXIV and also Meaning of Meaning, pp 226-9, 255-60, 271-5). When language is used simply in order to refer to 1 referend, its scientific. When it is used in order tu arouse an emotional attitude in the herrer, to influence him in any way other than giving him information, then its use is emotive The most unmistakıble examples of the emotive rise of language can be found in litera ture, just because it is not the main function of literature to instruct Owen Burleild in his, 'Poetic Diction A Study in Meaning' pp. 13, 14, says “When words are selected and arranged in such a way that their meining either arouses, or is obviously intended to arouse nesthetic imagination, the resalt may be described is poetic diction He adds, the same sjunils and signs may easily be vehicles of poetry at this place and not in that, at this time ind not at that, to this person and not to the other The scientist uses words so as to eliminate this variation of response It may be noted that whit is called logical connection has little relevance to the emotive use of language Wherers, it is the condition of success in scientific linguage * 6 * Susan Stabing introduction to Logic ·122 Rasa and Dhidanı Foot 110 es (1) प्रतीयमान पुनरन्यदेव वसवस्ति वाणीपु महाकविनाम् । यत्तद्विमतापयवातिरिक्त विभाति लावण्यमिवाङ्गनासु ॥ धन्या 1 4 (2) The तदीपिका says व्यञ्जना तु शफिल्क्षणान्तभूता शशक्तिमूला अर्थशक्तिमूला वनुमानादिना अन्यथा सिद्धा। (3) साक्षात्सब्केतित योऽर्थमभिपत्ते स वाचक। KP II and also तत्र सङ्केतितार्थस्य बोधनादप्रिमाभिधा । SD II (4) यतार्थे यन्नामाधुनिकपड्केतवत् तदेव पारिभाषिक्म् , यथा पिनादिभिः पुत्रादौ सब्केतितम् चत्रादि यथा वा शास्रकृभि सिध्यभावादी पक्षतादि । जातिवाच्यतात्तिमा नाम नैमित्तिकम्, यथा गौ गत्यादि, यदुपाध्यवच्छिन्नशकिमन्नाम तदोपाधिकम् , यथा काशपश्चादि-श शप 15) आजानिकश्चाधुनिक सके तो द्विविधो मत । नित्य आजानिकस्तन या शक्तिरिति गीयते। कादाचित्रस्त्वाधुनिक. शास्त्रकारादिमि कृत | VP (6) येयमभिधा त्रिविधा, केवलसमुदायशक्फि केवलावयवशक्ति समुदायावयव शकिसकरश्चेति । RGpp 141 (7) अखण्डशक्तिमात्रणकायप्रतिपादकत्व रूढि । - वृत्तिवार्तिक (अपथ्यीक्षित) (8) अवयवशक्तिमानसापेक्षं पदस्यकार्यप्रतिपादकत्व योग । - ibud (9) अवयवसमुदायोभयशक्तिसापेक्षमेकार्यप्रतिपादकत्व योगहदि । -1brd (10) नैयायिकास्तु - पकजादिशद्वरूपकपदोपादानरूपयान्तरङ्गप्रत्यासत्या नाभि- कमलकुमुदान्वयात्प्रागेव पानिकर्तृत्ववैशिष्टयेनोपस्थितस्य पद्मस्य पद्माश्र- यत्वेनोपस्थितस्य पकजनिकर्तृत्वस्य च नाभिकमलकुमुदायन्वये नाकाक्षा, न च विशिष्टस्य तदन्वयविषयिणी शान्दधी, इति तदन्वयार्य स्वतन्त्र पनत्वपकनिकर्तृत्वोपस्थितये पकजादिपदस्य लक्षणैवाभ्युपगतव्या मसु रूढियोंगो वा । - वृत्तिवार्तिक अपय्यीक्षित-pp 5 (11) सयोगो विप्रयोगश्च साहचर्य विरोधिता। अर्थ प्रकरण लिग शनस्या न्यस्य सनिधि । सामर्थ्यमौचिती देश कालो व्यकि स्वरादय । शब्दार्थस्थानवच्छेदे विशेषस्मृतिहेतवः॥ हेमचन्द adds आदिप्रहणात अभिनयापदेशनिदेशसझेगिताकारा गृह्यन्ते। काव्यानुशासन1 23. Pp 65. - ·Sabdavyttis, the nature 123 (12) सशखचमो हरि इति शवयोगेन हरिशब्दो विष्णुमेवामित्त । अशङ्खचको हरि इति तद्वियोगेन तमेव । भीमार्जुनौ इत्यर्जुन पार्थ । कर्णार्जुनौ इति कर्ण सूतपुत्र । स्थाणु वन्दे इति स्थाणु शिव । सव जानाति देव इति देवो भवान् । कुपितो मकरध्वज इति मकरध्वज काम । देव पुरारि इति पुरारि शिव । मधुनामत्त पिक' इति मधुवसन्त। पातु वो दयितामुख इति मुख सामुरयम् । विभाति गगने चद इति चन्द्र शशी। निशि चित्रभानु इति चिनभानुवति । भाति रथाङ्ग नपुसकव्यक्त्या रथाङ्ग चकम् । स्वरस्तु वेद एव विशेषप्रतीतिकृत् न काव्ये इति तस्य विषय नोदाइतम् | SD (13) वाक्यभावमवासस्य सार्थवस्यावबोधत । सपद्यते शाबोधो न तन्मानस्य योधत ॥श शप्र ३२ (14) आल्यात (साव्ययकारकविशेषण) वाक्यम् । महाभा II 11 (15) सक्रिया विशेषण | mbh II 11 (16) तदस्मान्मन्यामहे पदा यसत्यानि एकमभिन्नस्वभावक वाक्यम्। तदवुध बोधनाय पदविभाग कल्पित इति । वा प टीका पुण्यराज । (17) मिथ साकाक्षशब्दस्य व्यूहो वाक्य चतुर्विधम् । श श प्र १३ (18) वाक्य स्यायोग्यताकाङक्षासत्तियुक्त पदोच्चय ॥ विश्वनाथ सा द I (19) दुर्गाचार्य on निरुत 117 says सहिताया प्रकृतित्व ज्याय । मत्रो ह्यविभाज्यमान पूर्व ऋषेमन्त्रदृश सहितयैवाभिव्यज्यते न पदै । अतश्च सहितामेव पूर्वमध्याय त्यनूचाना ब्राह्मणा अधीयते चाध्येतार । अपि च याझे कर्मणि सहितयैव विनियुज्यन्ते मना न पदै ॥ (20) यद्यपीहाष्टौ पक्षा उक्तास्तथापि वाक्यस्फोटपक्षे तात्पय ग्रन्थकृताम्- शकौस्तुभ । (21) VP I : 240 says उपाया शिक्षमाणाना बालानामपलापना । असत्ये वमनि स्थित्वा तत सत्य समीहते ॥ and पुण्यराज on VP II 57 तस्मा मन्यामहे पदान्यस यानि, एकमभिन्नस्वभावक वाक्यम् । तदबुधबोधनाय पदविभाग कपित ।

·124
Rasa and Dhivans
(22) एवं सूत्रकारस्य भाष्यकारस्य चाखण्डपक्षोऽभिरुचित । पुण्यराज on
VP IT 37
(23) उपाधिमेदेनेव राब्दस्य मेदप्रतिभासो न स्वतो नित्यवात्-पुज्यरान on
VP II 22 and also अभिज यत्वमध्यासम्पत्वमागत' शब्द ।
पुण्यराज VPL 129.
(24) असत्ये वर्मनि स्थित्वा तत सत्य सभीहते । VP II 240
(25) पदे न वर्णा विद्य ते वर्गेष्वयवा इव ।
वाक्यात् पदानाम यन्त प्रविवेको न कश्चन || VP 1 173
(26) यथा पदे विभद्यन्ते प्रकृतिप्रत्ययादय ।
अपोद्धारस्तथा वाक्ये पदानामुपवण्यते ॥ VP II 10
(27) वाक्यास्यापि तथैव निर्विभागत्व प्रतिपादयितुमाह || पुण्यराज
(28) शब्दस्य न विभागोऽस्ति कुतोऽर्थस्य भविष्यति ।
विभागै प्रक्रियाभेदमविद्वान् प्रतिपद्यते॥ VP II 13
(29) ब्राह्मणाओं यथा नास्ति कश्चिद्ब्राह्मणकम्बले ।
देवदत्तादयो वाक्ये त्यैवस्युरनर्थका ॥ VP II [4
(30) तत्राखण्डपक्षे प्रतिभा वाक्याथ । पुण्यराज on VP II I
(31) विच्छेदप्रहणेऽर्थानां प्रतिभाऽ शैव जायते ।
वाक्यार्थ इति तामाहु पदार्थरुपपादितम् || V.P II 145
(32) पौरसत्यैरेवोपाधिभूतैरुपपादितामभिव्यतामिति।-पुण्यरात on VP 145,
(33) उपश्लेषमिवार्थाना सा करोत्यविचारिता।
सार्वरूपमिवापना विषयत्वेन वर्तते । VP II 147
(34) साक्षाच्छन्देन अनितां भावनानुगमेन वा ।
इति कनध्यताया ता न कश्चिदतिवतते || VP II 148
(35) प्रमाणरवेन तां लोक सर्व समनुपश्यति ।। VP HI 149
(36) समारम्मा प्रतीय ते तिरथामपि तादृशात् । VP II 149

·Sabdavyttıs, the nature 125 (37) जन्मान्तराभ्यासहेतुकेयम् । पुण्यराज । (38) स्वरवृत्ति विकुरुते मधौ पुस्कोकिलस्य का । जत्वादय कुठायादिकरणे केन शिक्षिता । I 151, आहारप्रोत्यभिद्वेषप्लवनादिक्रियासु क । जात्यन्वयप्रसिद्धासु प्रयोक्ता मृगपक्षिणाम् ॥ H. 152. (39) प्रतिभायाश्च शब्द एव मूलमित्याह । पुण्यराज and also, भावनानुगतादेतदागमादेव जायते । आसमिधिकर्याभ्यामागमस्तु विशिष्यते ॥ V.P. II 53. (40) स्वभावचरणाभ्यासयोगादृष्टीपपादिता । विशिष्टोपहिता चेति प्रतिभा षइविधा विदु || V.P. I] 54. (41) अयमर्थोऽर्धान्तरसाकाङ्क्ष इति व्यवहारात् । लघुमञ्जुषा pp 497 (42) The sD II says योग्यता पदार्थाना परसपरसम्बन्धे बाधाभाव । पोच्चयस्यैतदभावेऽपि वाक्यत्वे पहिना सिञ्चति इत्याद्यपि वाक्य स्यात् । आकाङ्क्षा प्रतीतिपर्यवसानविरह । स च श्रोतुजिज्ञासारूप । निराकाङ्क्षस्य वाक्यत्वे गौरव पुरूषो हस्ती इत्यादीनामपि चाक्यत्व स्यात् । आत्ति बुध्यविच्छेद । बुद्धिविच्छेदेऽपि वाक्यत्वे इदानीमुच्च रितस्य देवदत्तशब्दस्य दिनान्तरोच्चरितेन गच्छतीति पदेन सङ्गति स्यात् । अनाकाङ्क्षायोग्यतयोरात्मार्थधर्मत्वेऽपि पदोच्चयधर्मत्वमुपचारात् । (43) सुप्तिन्तरयो नेवमतिव्याप्तादिदोषत । श श प्र 13 (44) घट वृत्ति कर्मत्व (45) अकत्वादेक वाक्य साकाश चेद् विभागे स्यात् । मी.मू. II 146 and also एकार्थ पदसमूह वाक्य । शा.भा.मी.सू. II 146 (46) साकाक्षावयव मेदे परानाकाक्षशब्दकम् । कर्मप्रधानं गुणवदेकार्थ वाक्यामध्यते ॥ VP. II 4 (47) मेद संसर्गो वा वाक्यार्थ इति यदुच्यते । एकप्रयोजनवादुपपन्नम् । शा. भा. on MI SIL 1 45 (48) तस्मात्तभ्य प्रतायेताभितत्वात् प्रयोगस्य-मी. स. 1,1. 4. and also अपूर्वस्याख्यातपदप्रतिपाद्यत्वम् शा.मा. and also भाषशब्दा एषापूर्वस्य चोदका । शा भा. .

·126
Rasa and Dhani
(49) आख्यातशब्द सधातो जाति सधातवर्तिनी ।
एकोऽनवयव शब्द कमो बुध्यनुमहति ।
पदमाद्य पृथक् सब पद साकाक्षमित्यपि ।
वाक्य प्रति मतिर्मिन्ना बहुधा न्यायवादिनाम् ॥ VP II I
(50) आख्यातशब्दो वाक्यमिति ।
आख्यातशब्दे नियत साधन यत्र गम्यते।
तदप्येक समाप्तार्थ वाक्यमित्यभिधीयते || VP II 327
(51) आख्यातशब्दो वाक्यमिति पक्षे क्यिा वाक्यार्थ । पुण्यराज-on VP
11 I
(52) आख्यात साव्ययकारकविशेषण वाक्यम्-वार्तिक 9 on पा 211
(53) अपर माह । आरया। सविशेषणमिति एवं सर्वाणि येतानि किया
faturfi mbh on Vartika 9
(54) यपानेकमपि कनान्तं तिङ्तस्य विशेषकम् ।
तया तिबन्त माहु तिवन्तस्य विशेषकम् ॥ VP 6
(55) नास्पन वाक्यभेद, प्रजनीत्येतत् प्राध्यान्यनैक कियापदमन स्थितमन्यानि
किया तराणि तद्विशेषणान्येव-पुण्यराज, and also बहुष्पपि तिब्वेषु
साकावेकवाक्यता | VP II 450
(56) वाक्य तदपि म यन्ते यत् पद चरितक्रियम्। VP II 326
(57) कियारहित न वाक्य अस्तीति प्राची प्रादो नियुकित्वादश्रद्धेय ।
शशप्र on का 13
(58) स्कोर शन्द, श्यनि शन्दगुण इति । पुण्यराज VPN !
(59) सोटश्च विविध । माय आभ्य तरश्च । पुण्यराम VP II 1
(60) बायोऽपि आतिव्यक्तिमेदेन द्विविध ।
(61) तत्राखण्डपझे जाति सध्यातवर्तिनी, एशेऽनवयय शब्दो बुद्ध्यनुमतिरिति
प्रीणि लक्षणानि (पुण्यराज on VP II 1)
(62) एवं निरशमेव वाक्य वाचकमिस्येव युक्तम् । पुण्यराज on VP II 12
(63) रस्तु प्रतिमाम सोऽसावुपाधिकृत एवेत्यर्थः पुण्यराज on YPII 19

·Śrbdavyttes the nature 127 (64) यदन्त शब्दतत्व तु नादैरेक प्रकाशित । सदाहुरपरे शब्द तस्य वाक्य तथैकता ॥ VP II 30 (65) क्रमो हि धर्म कालस्य तेन वाक्य न विद्यते ! VP II 51 (66) सन्त एवं विशेषा ये पदार्थेषु व्यवस्थिता । ते क्रमादनुगम्यन्ते न वाक्यमभिधायकम् ॥ VP II 50 (67) कर्मत्वमित्यादयो विशेषा सन्त एव पदेभ्य क्रमेण प्रतीतेभ्योऽवगम्यन्त इति क्रम एव वाक्यम् । पुण्यराज on VP II 50 (68) क्रमव्यतिरेकेण शब्दात्मक न वाक्यमभि गायकमस्तीत्युच्यते । (69) क्रम एव वाक्यमिति पदक्रमो वाक्यमुक्तम् । पुण्यराज on VP II 52 (70) अत्रापि सङधात क्रम इत्यभिहितान्वयपक्षे लक्षणद्वयम् पुण्यराज on VP II 1 and आख्यातशब्द पदमाद्य पृथक् सर्वपद साकाक्ष मिस्यन्विताभिधानपक्षे लक्षणत्रयमिति विभाग । (71) तत्र खडपक्षे विष्वपि लक्षणेषु प्रतिभा वाक्यार्थ । पुण्यराज V P II ! (72) आख्यातशब्दो वाक्यमिति अस्मिन् पक्षे क्रिया वाक्यार्थ । पुण्यराज on VPII ] (73) सङ्घातपक्षे क्रमपक्षे च ससर्गो वाक्यार्थः । पुण्यराज onV PIL ! (74) पदाना परस्परान्वये पदार्थवशादाधिक्य ससर्ग स वाफ्यार्थ । पुण्यराज YP II 41 and also सम्बन्धे सति यत्त्वन्यदाधिक्यमुपजायते । वाक्याथमेव त शाहुरनेकपदसध्यम् ॥ VP II 42 (75) पदाना समन्वये तात्पर्य्याथों विशेषवपुरपदार्थोऽपि वाक्यार्थ समुल्लसत्ती त्यभिहितान्वयवादिनाम् मतम् । KP II 7 (76) पदार्थ एव वाक्यार्थ । पुण्यराम and also याच्य एव वाक्यार्थ इत्यन्वितामिधानवादिन KP II7 (77) पूर्वमेते यो वाक्यार्थ स वाच्यान्तगत एवेत्यर्थ । (78) मनवगतमेव वाक्यमनायविद्योपदर्शितालीकादविभागस्य निमित्तमिति केचित् । तत्त्वबिन्दु PP6 (79) पारमार्थिकपूर्वपूर्वपदपदार्यानुभव जनितसस्कारसहितमन्त्यवर्गविज्ञानमित्येके । तत्त्वपिन्दु PP6 ·128 Rasa and Dhitant (80) प्रत्येकवर्णपदपदार्यानुभवभाषितभावनानिचयलापनमस्मृतिदर्पणारूढा वर्ण Hey I PP 7 ibid (81) पदान्येवाकक्षितयोग्यतासन्निहितपदार्यान्तरान्वितस्वार्थाभिधायिनीत्यपरे । PP 7-1brd (82) पदैरेव समभिव्याहारवद्भिरभिहिता' स्वार्था आकाङ्क्षायोग्यताऽऽसत्तिसधी- चीना वाक्यायधीहेतव इत्याचार्या. | PP 8-ibid (82 a) We have seen above the view of the Sphota vadips as explained by Bharthar: We will try to see how Vacaspati Misra tries to refute the above-mentioned 105 of the grammarians In the beginning we will see the arguments put forward by the Sphotavadın, which is the pūrvapalca here For him a banda Sphota is the nimitta for the vakyartha When we tale Spbots to be akbaqda sabda we can not take the pada-valyadı vibhāga which he come across on the ordinary plane (syavaharika-or empirical plane) to be .alhanda sabda' The yarpavadins bold sarpas letters to be nimitta of valyartha But the Sphotavadins may put the following question before the vamavadın (83) सा न तावत्प्रत्येकम् , अनुपलमविरोधात्, वणान्तरोच्चारणनथश्य- प्रपङगात् तत्त्वावन्दु PP 25 (84) नापि मिलिता , तथा भावाभावात् । तथा हि वास्तवो वा समूह एतेषा मानोयते? अनुभवोपाधिशेवा? ibid (85) तत्र सर्वेषामेर वर्णाना नित्यतया विभुतया च वास्तवी सगतिरिति प्रागिनी केपााचदेव पदवाक्यभाव नोपपादयितुमर्ह त । अनुभूयमाना नबनवानुभवानुसारिणी तत्पर्यायग पर्यायती न सम्हभाग्भवात । म सल्वेकदेशकालानवारछन्ना समूहवन्तो भवन्ति भावा भतिप्रसगात् । PP 25 ibid (86) को न खरचय सस्कारोऽभिमत मायुध्मत । कि स्मृतिवीज, अन्यो पा प्रोक्षणादिभ्य इव नोह्यादे । PP.25 1brd ·Se davritis the nature.. 129 (87) तम्मात् स्वसिद्घान्तव्यामोहमपहाय अभ्युपेयतामनुसहारबुद्धेरेकपदवाक्य- गोचरता। PP.35. 1bid. (88) गोत्येिक इदं पदमत्येवपदावमासिनी पोरस्ति लौक्किपरीक्षकाणाम् । PP 49.bid. (89) स खरवयमेको पाफ्यारमा बाक्यार्थीहेतु अनुभवादया व्यवस्थाप्यते अर्थ- धीमेदाद वा अन्यथा अनुपपद्यमानात् । PP.9.bid. (90) न तावत्पूर्वः कल्पः । भवय वन्यूनपरिमाणत्यादययवानाम् । परममहतो च वर्णानां तदनुपपत्तेः । PP.9. ibid. (91) गगनगुगरवे च अद्रव्यतया समवायिकारणत्वामावेनापयवामावाभावा । PP.10 (92) पूर्वपूर्वाभिव्यक्तिकारसचिमोत्तरोत्तराभिव्यक्तिममेश खन्यो भ्यनिः फुटतरं विशिष्ठकोटविज्ञानमापत्ते इति न वैयथ्य द्वितीयादिपनीनाम् । नापि पूपा तदभावे तद भव्यक्तिजनितमस्काभावेनान्यस्य घनेरसहाय- तया व्यक्त्यवभासयाक्यधीहेतुभाषाभावात् । PP.20 ibud (93) सरिसद्धमेतदर्थापत्तरनुमानस्य या नित्तिस्तदेवगोचरपक्ष्याश्यायसाधनीति स्थित नानश्ययक याश्य वाश्यस्य पकमितिा-तत्वमिन्दु-PP 76 (94) याययस्यटेषु बलु यर्गपून्चरत्सु ताक्च्ट्रयण मत धुत पर्णमेश्मने या पदमावेन न प्रतियन्धते प्रतिसन्धाय पद व्यवस्थति पदव्यवसायेन समस्या पदार्थ प्रतिपपते पदसमूहप्रतिसंधानाच पाश्य ययस्यति सम्बोर पदार्यान्गृहीत्या याश्या प्रतिपय । न्यायमच पारस्यायन. भाभ्य, III.2.62. (95) स राल्वयमनयो धर्मः पूर्वपूर्ववर्गपदपदाविज्ञानमनितवासनानिचयसविय- धरणेन्द्रियममधिगतजन्मग्रहणस्मरणरूपसदसर्गनिर्मासप्रत्ययपरिपतीपदया. क्यापीहेतस्पेयते ॥ तत्त्वविन्दु -PP.77. (95) न अन्यागंभूतिः स्मृता नीता पाक्यायोधिनी, PP.76 ibid. (97) एन मतस्य समायनामागोपन्यस्त इति फेरिन् । तरबिन्दु टीका सत्यधिभावना PP.7. (99) एशिदा इति मायानुरवयः -मीमांसामाप्र .1.5 and also गोरियम् क य? गारविसर्जनीमा इति मगगनु। योग- मूवम,4111.17.

·130 Rasi and Dhisani , (99) वृद्मप्रयोगाधीनापधारणो हि शद्वार्थमध । न य पदमात्र व्यवहाराम प्रयुनते वृद्धा , किंतु वाक्यमेव, तञ्चानवयत्र न्यषेधीति स्मृतिसमास्ता वर्णमाला परिशिष्यते । सा च नैमित्ति वाश्यार्थबोधमाधत्त । पारमार्थि यस्तु पदतदथवाधो निमित्तमानणावतिष्ठते वर्गमारव वाक्यामधीहेतु शत। तत्त्वविन्दु-PP.83,84 (100) गौरवाद्विषयाभावात्तद्धेरेव मावत । वाक्याधियमायते स्मृतिस्था नाक्षरावलि । तत्वबिन्दु-PP 8.4 (101) इत्याना वाक्यानो अौ शक्तय कचनीयास्तवेति कल्लनागौरवम् । पदवादिनस्तु सप्तानां सप्तव शकतय इति कल्पनालापाम् । शुक्ला- मिति पदप्रक्षेपणन पदवादिनोऽष्टाना पदना अटो शक्लय इति । तब तु पोटशापरा इति महद्गौरवमापनम् । pp 84 85 ibud (102) आप च त्रिचतुरपञ्चपदवाक्यवर्तिनीपदार्थप्रययव्यवहितापि शेन वग माला स्मयतारि तदभ्यधिकपदति तु वाक्ये सातिदुष्परा । P 89 ibid (103) पदान्याकाशितासभयोग्यतान्तरसगतान् । pp 89 bid स्वार्थानभिदधन्तीह वाक्य वाक्यागाचरम् ॥ (104) तत्रानभिहितस्वार्थान्तरान्वितस्वार्थाभिधाने पदादेकरमादेवोच्चरिना वक्षा प्रतीते वैयमितरेषाम् । pp 93. tbrd. (105) Anvitabhidhanvads may argue as follows If we do not accept the anvitábbidhanai ada, then, in that case, we will have to postulate two abhidhasakus, Viz the one that conveys the sense of individual words and the other that conveys the sense of the whole sentence, after correlating the word-sense Again says he, there is no fault in VIEK Even though every word in a sentence with abhidha power, conveys the correlated meaning, still, the sense of the sentence is not gathered just by the first word alone So, it should be held that a word, by abhidha, conveys its own meaning and correlation and not the meanings of other words The ansitabhidhänavadins again put the following question to the abhihitänavavadins 112 that when we get some knowledge from the words, what our ·Sabdarrths, the nature 131 type of knowledge is it ? The Sustra speaks of four types of knowledge viz pramana samsay? viparyaya ard smrta Nov, arthaprathtl can not be taken as a pramapa, because pramåpa occurs only with reference to that which is already existent Padartha cannot be supposed to be existent before padaśra apa Nor can we take paduthaj nana as either samsaya or viparyaya (=mithy Juana ) As there is no fifth type of jnana we should take padartha) nona as smſta only Thus a pada depends on samskutod bodha and they made for the smrti in form of padarthajnana विधान्तरावगमात् स्मृतिलक्षणयोगत । अभ्यासातिशयात् रूपस्मृतेर्ना योन्यसश्रय ॥ pp_100 तत्वविदु and also नच पचमी विद्या समस्तीति स्मृति परिशिभ्यते । pp 100 brd The k vyapral 752 of Mammata also throws light on the anviabhidhenavada Mammața discusses this theory in the second vllasa and then elaborately in the fifth ullus. Accordingly to Prabhakara then the vicvartha is itscif the valyartha पारया एर याश्यार्थ इयन्विताभिधानवादिन । KP The words in a sentence first express the so many? artha and then the višisturtha These two are two aspects of the simt sense This visita artha is nothing else than the vacyirtha itself (106) एव तायदौसाको न्यायो यदसति बल्यद्गघकोपनिपाते सहकारिणि कार्ये च प्रत्यायन हि कारणम् । सति तद्भावभाषिते तथा चापस्मृति पदत् । -तत्वरिन्दु pp II (107) तामूपामेव (मानसीनां ) सार्पस्मृतीनामाकाक्षायोग्यतामत्तिमहकारिणीमा कारणत्व पाश्याप्रत्यय : यधस्साम | pp 112 tbrd (108) ननुपन न माना तरानुभूतानामयम्पा वाक्यायधीप्रसवसामय उप गम् , उपलम्मे वा सप्तमप्रमाात्रमुग, आगमस्य या तव अन्तर्भाय । तदेय पक्षादिभि सह दुकसतपोगन्यमुनीयम् , न वागमतद्द । -- तpि 120 (109) हिमायुशितिरापिति प्रयुग्ने, प्रयुनते मागरात्र माथिति पसिष्ट शुधिराषित या लौरिश | pp. 121. abrd. .

·132 Rasa and Dhent (Hi1) तथा च तिन शक्तयः = वा । पदाना हि तापदर्थ स्माभिमानमा शक्ति तदर्यरूपाणा अन्योन्यान्वयशक्ति, तदाधान वापरा पदाना• मेवेति । स्मारकरवपक्षे तुरन शादिनदयम् । अन्विताभिधानपझे तु पटाना मेकैच शक्ति तत् कल्पनाराघवात् एतदेव न्याय्यम् । pp. 133 bid (111) सन्मानविषये तस्याविशेषात् सर्वशन्दाना पर्यायताप्रांग IPP. 123 Ibid. (112) अनन्यालभ्य शब्दार्थ इति विषवृद्धा । अत एवं आस्मातादी कर्मायभिधायिता नादिरन्ते । Pp 131 ibd. (113) तथा हि वृद्धाशुभवाश्यश्रवणसमन तर प्रतिनित्तिहर्षशोरमयसम्प्रति पत्ते व्यु रमस्य व्युपि पुस्तद्हेतुभ्ययमनुमीयते । तस्य सास अप्पनेकेषु अनुपातस्स पदबातश्रवणसमनन्तर सभवत तद्हेतुमायमवधारयति । न चैष प्रत्यय पदार्थमात्रगोचर या दभ्य वल्प्यत इति विशिधार्य गोवरोऽभ्युपेयते, तद्विशिष्टायपरता अमिता वृधव्यवहारे पदानाम् तस्मात् लोकानुसारेण वैदिवस्यापि पदस दमस्य विशिष्यत्ययप्रयुकस्य अविशिष्टार्थाभिधाममाण लक्षणया विशिष्यगमवयम् ॥pp 153 1qd (114) सन्निप्यपेक्षयोग्यत्त्वरूपलक्षणराभत । अनन्त्येप्यन्विताना स्यात् सबवाहन मन । न्यायरानमाला, वाक्यार्य प्रकरण pp 78 (115) तस्मान्न वाक्य ने पदानि साक्षात् वाक्याधुद्धि जनयन्ति हिन्तु । पदस्वरूपाभिहित पदार्थ रालयतऽसावि ते सिसमेतत् ॥ Pp 79 bid (116) या युयान शिशव पोना सळे यथाऽमी यगरपति। तथैव सर्वे युगपपदार्या परसरेणान्वयिनो भवन्ति । (117) एष च न दिय पत्ति क्षगा स्मगम वेति भवतु ताई चतुर्थी दृष्टस्यात् । भस्तु वा रक्षा एव ।। सत्त्वबिन्दु Pp 157 (118)SD says तात्ययाख्या इत्तिमाहुः पदार्यान्वयबोधने। तात्पर्याय तदयं च वारय तद्प्रेषक परे ।। ।। 2 and also मभिधाया एकपदाथबोधनविरमाद्वाक्यार्थरूपस्य पदा योन्षयस्य योशिश तात्पर्य नाम वृत्त । तदर्थच तापर्यायं । तदोपर च घाक्यमा पभिहिता अपवादिनां मतम् ! SD and also साधायोग्यासन्निधिशाद् वक्ष्यमापवस्पानमम वय तात्पर्यायों विशेषयपुरपदार्थोऽपि वाश्याय समुम्लसोपभिहिनामवादिन मनम् IAP II (119)विभागादपि परामतहभजनात्य दानाम् । पाच्यादतोऽनुमिमिते प्रावतस्वरूपसा ॥

·Sabdavrllts, The talure 133 विषभक्षणमनुमनुते न हि कश्चिदकाण्ड एव सुहृटि सुधीः । तेमात्रार्थान्तरगतिरार्थी तात्पर्यशकिज्ञाः न पुनः॥ व्यक्तिविवेक-I 67,68 pp. 122, (120) मुख्येन अमुख्य. अर्थ लक्ष्यते स आरोपितः शब्दव्यापारः सान्तरार्थ- निष्ठो लक्षणा । KP. also प्रदीप-शक्यव्यवहितरक्ष्यार्थविषयत्वाच्छन्द आरोपत एव स व्यापार वस्तुतः अर्थनिष्ठ एवेत्यर्थः। तदेतदुक्तम् सान्तरार्थनिष्ठ' इति । also उद्योत-सान्तरार्थनिष्ठ इति साक्षादयनिष्ठः सोतरा परंपरया शब्दनिष्ठ इत्यर्थः । also साहित्यचूडामणि-अन्तरं व्यवधान तत्महितः सान्तर• तत्राय निष्ठं तात्पर्य यस्य । (121) मुख्याथबाधे तयोगे रूढितोऽथ प्रयोजनात् । अन्योऽर्यो लक्ष्यने यत्मा लक्षणाऽपिता किया ॥ K.P. ! (122) See माणिवपचन्द्र-मुख्यास्य अनुपपत्तेरनुप्रयोगाश्च प्रत्यक्षादिप्रमाणेन या साहित्यचूडामणि also observes बाधः प्रमाणपराहतत्वम् । (123) माणिक्य चन्द्र gives the following illustrations (1) अभिधेयेन सवध, गढ्गायां घोष (1। सारश्य-गोर्चाहीक गोरेवायम् । (m) समवाय-साहचर्यम्-कुन्ताःप्रविशन्ति; (iv) वपरीत्य-भद्रमुख. meaning अभद्रमुक (v) क्रियायोग -महति समरे शनुम्नस्त्वम् (शत्रुघ्न a proper name is used with reference to a slayer of enemies ) (124) तन्त्रवातिक notes : अगत्या लक्षणा त ममभिव्याहृतभवेत् । (125) के चत्तु कर्माण कुशलः इतिरूढाबुदाहरन्ति। तेषामयमभिप्राय कुशाल्लातीति व्युत्पत्तिलभ्य कुशमाहिरूपो मुख्योऽर्थः प्रकृतेऽसम्भवन्धिवैवस्वादिसा धय॑सवन्धिन दक्षरूपं अर्थ बोधयति । तदन्ये न मन्यन्ते। कुशमाहिरू- पार्थस्य व्युत्पत्तिलभ्यरवेऽपि दक्षरूपस्यैव मुख्याधरवात् । भन्यहि शब्दाना व्युत्पत्तिनिमित्तमन्यच्च प्रतिनिमितम् । व्युत्पत्तिलभ्यस्य मुख्यार्थवे गौः शेते इत्यत्रापि लक्षणा स्यात् । गमेडों इति गमधातोप्रत्ययेन व्युत्पादितस्य गाशन्दस्य शयनकालेऽपि प्रयोगात् । SD (126) कुशल-द्विरेफ द्विकादयस्तु साक्षसकेतितविषयत्वान्मुख्या एवेति न रूदि- लक्ष्यस्य अर्थम्य हेतुत्वेनास्मामिहफ्ता । (काव्यानुशासन) ! (127 Kumarila-निरूदा लक्षणाः काश्चिन्मामाभिधानवत् । वियन्ते साम्प्रन काश्चित् काश्चिन्नैव स्पशक्तितः ।। 128)-मोगपत्ति क्षणातो भिना इति प्राभाराः। तदयुक्तम् । तस्याः लक्ष- णार्या अन्तर्भावात् । -प्रतापदीय ।

·134 Rasa and Dhrane (129) शालनगाभ्या अतिरिक्तर गोणी वृत्तिरिति मीनासका । सा च तदतिरिक्ता नति नयायिका आहु । -प्रापलीय। (130) माणिक्यचन्द्र notes टिटस्तु या रक्षणा सा ले के प्राचुर्य गतेति न तस्या नयस्यम्। (131) अभधान्यापारनुल्यैायाविति भाव । (132) मा णक्यचन्द्र यन शब्द सवधा स्वमर्थ त्यजन्नय क्षयसि तत पक्षीन तदादिज्ञापनन रक्षणा । (133) --- उपचारो हि नाम अत्यन्तविशवलितयो पदार्ययो सादृश्यातिशय महिम्ना मेदप्रतिस्थगनमारम् । SD सुधामागर explains as - उपचारद सादृदयसम्बन्धन प्रत्ति । सारश्यातिशयम हम्ना भिन्नयोभैदप्रतिस्थगन वा। सम्प्रदायप्रकाशिनी •ays गौर्वाहीक इत्यादिवत् मेदेन प्रतीनयो क्यारो पणमुश्चार। (134) सम्प्रदायप्रकाशिनी explans अ सान निश्चयज्ञानम् । तदिह मत सस्तदेवे यध्यासरूपम् । माणिक्यपद says ननु पूर्वस्या (10 सारोपाया), अपि अमेदोऽस्त स्पस्यामेदात्मकत्वात् , सत्य, तन आसनामानणामेद इह तु अत्यासमतया। (135)-SD explains अन केचिदाहु गासहचारिणो गुणा जाग्यमाद्याइयो लक्ष्यन्त । ते च गोशब्दस्य चादीकार्थाभिधान निमित्त भवन्ति । तदयुतम् । गोशब्दस्याग्रहीतसङ्कन वाहीकार्यमभिधातुमसामथ्यात् गोशब्दार्थमान बोधनाच। अभिधाया विरतत्वात् विरतायाश्च पुनरुत्थानाभावात् । भन्ये पुनर्गौशब्देन वाहीकार्थों नाभिधीयते कि तु स्वार्थसहचारिगुण सानात्येन वाहागगता गुगा एव लक्ष्यन्ते । तदप्य ये न मन्यते । तर गोशब्दाद्वाहीकायों प्रतीयते, न था। भाद्यऽपि गोशदादेव वा । रक्षिताद्वा गुणा दविनाभावद्वारा । तन न प्रथम । वाहीकार्थस्यासोनित वात् । न द्वितीय । भविनामावलम्यस्याथस्य शान्देऽन्वये प्रवेशायभवात्। शादी बाकाक्षा शब्दनैव प्रपूर्यते । न द्वितीय । यदि हि गोशन्दान् वाह कार्यों न प्रनीयेन तदास्य धाहीकशन्दस्य च सामानाधिकरस्य असगत स्यात् । तस्मादेव गोशन्दो मरयया वृत्त्या वाहीवशब्देन सहान्वयमलभमानो अज्ञवादिमाधम्यं पधादाहीकार्य लक्षयति । याहीरस्याऽजवायतिशयबोधन प्रयोजनम् । इय च गुगयोगाद् गौणीत्युच्यत । (136) माणिक्यचन्द्र says सहचरण स्थान ताय पुत्त मान-धार्ण सामीप्य- योगमाधन आधिपत्येभ्यो मन कर राज सुक्तु चन्दन गङ्गा-शकट-अन्न पुरुषेषु अतद्भ वेऽपि तदुपचार । T ·Sihdot ytte the nature 135 (137) जहल्लक्षणा, अहल्लक्षणा, जहदजहल्लक्षणा, सारोपा, साध्यवसाना, शुद्धा 2nd गौणी । इत्येव सप्तविधा फललक्षणा) । (138) लक्षणामार्गावगाहित्य तु धने सहृदयै नूतनतयोरवर्णितस्य विद्यत इति दिशभु मयितुमिदमत्रोक्तम् ( अभिधावृत्तिमातृका )। (139) शब्दस्यकाभिधाशक्तिरर्थस्येव (गता। - व्यक्तिविवेक । (140) गोत्वारापेण चाहीके ततसाम्यमनुमीयते । कोयतस्मिन्नतुच्यत्वे तत्त्व व्यपदिशेयुध । व्य विवेक 1. 46. (141) - वक्रोक्ति प्रसिद्धभिवानव्यतिरेरिणी विचिवाभिधा । चक्रोक्तिजीवित pp 21. (142) ध्वन्यालोक 1.5 प्रतीयमान पुनरन्यदेव वस्त्वस्ति घाणीपु महाक्वीना। यद्विभक्कावयवातिरिक्त विभाति लावण्यमिवामानासु॥ (143) ध्वन्यालोक 1.13 यत्रार्थ शब्दो वा तमयमुपवर्जनीकृतस्वार्थे। व्यक्त काव्यविशेष स धनि रति सूरभि कथित । (144) हेमचन्द्र explains तच्छक युपनितार्थावगमपविचितप्रतिपतृप्रतिभा- सदायार्थद्योतनशकिव्यंजश्त्वम्। का शा I (145) KPI.11- लक्ष्य न मुख्य नाप्यत्र बाधो योग फ्लेन नो । न प्रयोमनमेतस्मिन् , न च शब्द स्खलद्गति ।। यथा गङ्गाशब्द स्रोतसि सयाध इति तर लक्षयनि, तद्वद् यदि तोऽपि सबाघ स्यात्, तदा प्रयोजन लक्ष्ये।ान चतर मुख्योऽर्थ । नाऽप्यत्र राध। न च गळगाश दास्य तरत्य पावन वाद्यैक्षणीय सम्बन्ध ) नापि प्रयोजने ध्ये विचित् प्रयोजनम् । नापि गङ्गाशब्दस्तमिव प्रयोजन प्रतिपादयितुमसमर्थ । (146) प्रयोजनन सहित लक्षणीय न युज्यत । KP II 12 युत इत्याह ज्ञानस्य विषयो ह्यन्य फरम यदुदाहनम् । प्रयभादेनीला विषय पल तु प्रसरता सवित्तिर्वा । विशिष्टे रक्षणा नैवम् । निगदेनैव व्याख्यातम् । विशया स्युस्तु लक्षिते । तगदी ये विशेषा पावन वादयस्त चाभिधानात्यय शाम्यो व्यापारान्तरेण तरच व्यजनधननयोतनादिशब्दवाच्यमवश्यमेषितव्यम् । (147) अनाथस्य शब्दम्य यावर निर्या-तते । योगायरवाच्यायधीकृयातिरजनम् । KP II 14 (143) तस्मादभिधानारपयलभागाव्यतिरिक्त चतुर्थोऽसौ व्यापारो धननयोतन भ्यजनप्र यायनावगमनागिसोदरव्यपदेशनिम्लपितोऽभ्युपास्तव्य । लोपन 14 149) शन्दप्रमाणवेद्योऽर्थो व्यनश्यांतर या । भयस्य व्याये तन् शन्दस्य सहकारिता || KP 1.3 गम्य.. - ·136 Rasa and Dlatan: (150) S.D. 11. पक्वोधव्यक श्वानां अन्यमिययाच्ययो । प्रस्तावदेशकागना हेतोश्चेदिकस्य च Says प्रदीप-अयाताया घकनृवैशिट्यादीनामावश्यमय- मात्रम् । न तु शदव्यऽमनायां सर्वधानुपयोग । अत एव इयालकादिप्रयुकात्, सुरभिमायं भवान भुझते इत्यादितो द्वितीयारलीलार्थप्रतीतिः । न तु गुर्वादि- प्रयुक्तात् । अस्ति शन्दव्यजना काचित् तत्माहाय्येन विनापि इन्यन्यदेतत् । (151) S.D II -~अनेकार्थस्य शन्दम्य वाचकत्वे नियन्धिते । एकनाथेऽन्यधीहेतुव्यंजना साभिधाधया ॥ (152) - मन प्राञ्च-तत्र शब्दशक्तिमूलो व्यजनाव्यागरः एव शरणम् । गत्यन्तराभावात् । वृत्तिवार्तिक-pp 9. (153) वय तुमः अमावुदयमास्टः त्यादौ प्रारणिके अथें प्राकरणिक- वदाकरणिकेऽपि राजकरमण्डलादिशब्दाना परस्परान्वययोग्यपतितद्ग्राह्य- धनदेशादिवारकाना समभिव्याहाररूपभिधानियामक्मस्तीत्यर्थदयस्यापि प्राकरणिकय इव प्राकरणिकाकरणिपत्वे अप्युभयत्राभिधैव व्यापारः, यथोक्तममभिव्याहारस्यापि शब्दान्नरसन्निधिरूपत्वेन प्रकरणवदभिधानिया- मरत्वात् । pp. 10 वृत्तिवार्तिक । (154) ननु एवं प्रस्तुतार्थपर्यालोचनालभ्ययोरेव वस्त्वलाकारयोव्यक्त्युपगमे तत्र अर्थशक्तिमूलक व्यक्तिवेदति पृथगर्थशक्तिमूलध्वनेः शब्दशक्तिमलो न स्यात् , इति चेन्, मैवम् । तपास्वेऽपि प्रस्तुनाप्रस्तुतोभयसाधारणशE- सापेक्षतया प्रस्तुनमानापरपर्यायशदान्त () परिबृत्यसहिष्णुन्वेन ततस्तस्य पृथग व्यवस्थितेः । वृत्तिवार्तिक. pp. 15 (155) दुर्गाठ घन-इत्यादो च द्वितीपार्थो नास्येव इति यदुक्तं महिमभट्टेन, तदनुभवसिद्धमपलपतो गनिमीलिव IS DV.I (156) इत्य च नानायस्थलेऽपि तात्पर्याधियः कारणताया शिथिलीभवन्त्यां अता- त्पर्यार्थ विषयशाब्दबुद्धिसंपादनाय व्यक्तिस्वीकारः अनुचित एव, शक्यव शेषद्वयापते । R.Gpp. 141. (157) एमपि योगा देस्यले रूदेशानेन योगापहरणस्य सफलतन्त्रसिद्धयाय नधिकरणस्य योगालिगितस्य अर्थान्तरस्य व्यक्ति विना प्रतीतिः दुरुपपादा। R.G. 144, ·CHAPTER IV S'ABDAVRTTIS AS SEEN IN THE DIFFERENT SCHOOLS OF THOUGHT SUCH AS THOSE REPRESENTED BY THE VAIYĀKARANAS, THE MIMĀMSAKAS ETC We may now study the S'abdavęttis as known to or recog. dized by the different schools of thought such as those represented by the grammarians, Mimāņsakas etc First, we will take up the views of the grammarians in the Mob of Patanjali, se find mainly the discussion of ibe mukbya and gauna arsha 1 c the discussion of the primary and the secondary sense In the discussion of mukhyartha or the primary sense, we come across terms such as abhidhana and the like in the discussion og gaunartha, we fod ideas which later on seem to crystallise into gauns and Jakşanā vštt Vaiyakaranas In the Mbh, we come across terms such as gauna, mukhya, abhidbytum, abbidhanavat, abbidhjnartha, abhidhaya, abbidhi yamana, abhidheya, etc etc (1) But, we do not meet with either any precise meation of, or any definition as such of abhrdhs, gauni, laksanı, or vyanjana Nevertheless Patanjalı mcations two types of meanings viz, mukhya or the primary Sense, and gauna or the secondary scose While discussing the type of secondary meaning. he mentions at least four different circumstances under which the secondary function tales place (2) Thus, titsthya or the relation of location, taddharmya or the relation of substance and quality or function, simipja or proximity, and sahaanja or being together, are mentioned under po IV 1 48 Thos WC find that Patanjali medriors abhidhana and Ibelle, bich puie R 9-b ·138 Rasa and Dhrani the way for abhidhavrtti Abhidbā is thus scen under the zarze of abhidbana or mukhyartha in the Mbh, and the material for the later vpitis of gaun and laksana is also seca hereca The material for the gauni lies 19 the sadharaya relation as noted above, while that for laksanā, in other relations such as tätsthya, Samipya etc which lead to the secondary sease No strict line of demarcation is laid beta cen gaun and laksanā When we come to a later grammariag of repute viz Bhartrhari, we find material which is the source of the later theory of vyañjans In the Mbh itsell, nothing more definite about vyanjana tban what we have already noticed earlier is to be seen Bhartſbani, the author of VP bas divided s'abdartha into gauna and mukhya, and has shown two-fold upacara (or imposition) with reference to s'abda and artha Those who take one word as capable of expressing several meanings, eg the word 'go' for both 'go-vyaktı' and 'vabila', bave their theory based on the assumption of restricted or accidental meanings (4) A word does not express more than one meaning at a timeyaugapadyamatikramya paryaye vyavatisthate-V P. Tbe other meaniogs that are not mulbyartha, are to be comprebended by either context (or prakarana) or connexion wuh some other words (Is yogāt s'abdāntarena va) (5) Bhartpharı holds that the word 'go' bich denotes 'govjakt' is also applied to vybika on account of his sadbarmya with 'go' (6) Hc observes that It is through usage that the meaning of a word becomes gavna and mukbya-prasiddhibhedat gavpatvam mukhyatyav copa. pady ale-Y P As explained by Punyaraja on VP II. 256, the artba 13 two-fold viz. SY&tupa and babya Svar på 13 that which 19 naturally fixed by its very form susb as 'gotva' of the word "go" The babya is that which is indicated by upacara eg when vahika 13 said to be 'go' Thus far, Bbartbanı gives the basis for abhidh; and gavni ot takşana, almost on the locs of the Mbh ·139 S'abdaviuis as seen in the Different Schools Over and above this, Bhartrharı discusses the problem of determination of the sense of a given word which has convention with reference to more than one sepse, ie a word having multiple senses Thus, he takes up the problem of a word haviog more meanings than one, all of which are mukhyarthas In his view, the particular meaning out of several is determined by factors such as context, time, place, etc ſo this connection, he gives the following verses Vaksāt prakaranadartbadaucityaddes'akalatah s'abdārthah pravibhajyante na rupādeva kevalāt il VPII 316 samyogo viprayogas'ca sabacaryam virodhita 1 artbah prakaranam lingam sabdasvanyasya sapnidhih Samarthyamauciti des'ah kalo vyaktih svarādayah 1 śabdārthasyanavacchede vis esasmrtihetavah ! VPII 317 318 (8) Here, we may ask as to what it is that fixes the particular meaning of the word and debars other multiple senses which it has by convention and usage ? To Bhartrbari this question does not seem to have occurred For him, samsarga or conjuction and the like, link the word to one mukbyartha or the primary sepse But to later thinkers on this subject, it appears necessary to postulate an additional sabdavrttı, over and above abhidha and gaunl, and laksanā In this, we may see the inspiration for the vyanjanavrtti This is corroborated by the fact that writers like Mammala, Visvaogtha and obers mention these very verses (1e V P Il 317, 318) as authority for their theory of aboidhāmala vyanjana Among the later grammarians, Nagesa (18th ceo AD) was the first to recommend the case of vyanjana rently follows the alamkarikas and repeats the same arguments He appa- Nagesa holds that in certain cases, after mukhyartha or mukhyarthabadha, as the case may be, is gathered, a further ·140 Rasa and Dhrant teaping is to be seen This artha 15 either prasıddha, ic known, or aprasıddba se unknown, and is either related to the mukhyadha or is unrelated to it This sort of meaning is dasbed upon the mund through anjanasakt: (9) Thus, Nagesa holds vyanjanā to be abhidbīmula and laksanamula This vyanjanā tests on s'abda, artba, pada, padaikadesa, varna, racana, cetadi When a woman casts a glance of her eye with reference to somebody, her desire is thereby suggested This apprehension is supported by experience anubhavasiddha So, even in cestā, yafijana can be seen (10) Vyanjalatva lies both in padas and anbadi That vyañjanā, bereio arthadı are sugges ted, rests on vaktrbodhavyadivars işlyapada, or the knowledge of the particular speaker, bearer etc. The pratıbbs or the genius of the bearer acts as a sahakanı karana (11) In the absence of pratibha, there is absense of the apprehension of the suggested sepse By pratıbba is meant the navanavonmeşas'aling buddha This navajavoomesa s due to pūrvajanmasamskaras or the impression of the past birth So, for Nages'a, praubba is that factor which accompanied by prakaranapiana a form of the speaker, hesser etc, males for the apprehension of the suggested sease (12) This vyanjana is beld to be connected even with the previous life (13) In case of gato'stamarlah, when we desire different meanings the mulhyartha 15 never contradicted (badbita) So, the other meaning is bot gathered through laksan. So yanada is dot to be 10cluded in laksana (14) The pipatas and Upasargas also are suggestors as are the padas The Sphota is always wyangja or suggested and is described as such as the works oti grammer Bbart;batı also takes Sphota to be vyangya Thos, Nages'a considers vyanjana to be useful even for the grammarians vajakaranaoimapietatsızkirah avas yalah Miraamsakas Now we will cosider the reas of the Mrmaqsakas Jaimim agd S'abara bold that the language of the Sutras most, * ·S'abdaytris as seen in the Different Schools 141 as far as possible be voderstood to convey the same sease as is conveyed by it in common parlance Jaimial says this expressedly in My Su 13 30 When it is said prayogacodadabbavadarthaikatvamavibhagat, 'ayibhagat'means that no difference is seen between language of the scriptures and that of common parlance Thus, both words and sentences in the veda are 10 no way different from tbose in the popular usage (M; Su 1 2 32-avis'ıtsastu vākyarthah) (15) However, the cases of veda and loka are not absolutely parallel The vaidika vakya is apaurvşeya ie Dot of human origin and always true, laukika vakya is pauruseya 1e of human origia and therefore at tides it may not be free from errors because of its human agency A further important point of distinction is that in the case of a laukika vakya, tbe abhipraya or some drsta artba or intension of the particular speaker is more important than the s'abda Thus, sabda becomes only a means of conveying the artha or abhipraya or intention (16) Therefore, in a laukika vakya, sabda in jis vācyārtha is not strictly honoured Sometimes, the vacyärtha is given up in favour of some faksyärtha which suits the abhipraya of the speaker in a much better way (17) In a laukika väkya, at times such devices as adhyābara or implication and viparināma or transference are also restored to (18) In the vardıka vakya, pothiog else but s'abda is pratāna (19) Sabara therefore very often refers to the general rule that faksadā is not admissible in a vidhi-vakya, while it has scope elsewhere (20) Thus, the Mimõmsakas mention both mukhya and gauna arthas They seem to accept mukbya viti and gaunı or laksana We will try to see if there is any distinction drawn between gauni and laksana, Jaimion and S'abara discuss the tho senses viz. mukbya and gauna under Mi Sa III 2 1-2, S'abara holds that 'mul hya' 13 so terned because it is perceived from tbe word and is as at were the face of tbe word while, that sease which is known from the primary signification on the strength of some councc. tion is termed as jagbanja, it being also termed as gauna as ·142 Rasa and Dhrani it is connected with some guna (21) Thus, the Mimamsakas seem to hold at least tao s'abdavrttis viz. mulbyā and gauni They hold that a word, when seen to have two or more mca. Aings, orie Is its mukhyartha #bile the rese are all gathered by the secondary power through the relation such as sadršya, and the iike The word barbih means grass primarily, but is applied to sanctified grass only secondarily through sadrsya The word parvan, in the same way, primarily means 'samudaya' but through samudaya-sambandha it also secondarily means kala (22) Words such as māla, having more than one primary sense are in fact two words and not one (23) It should be Doted that S'abara seems to suggest that in case of a gaunārtha, it is only a meaning that is somehow or other connected with the primary sense that is indicated and not an other senso at rendom. The s'abdartha sambandha is altya and therefore It is laadmissible to apply any word to anything buch it has no power to sigarfy (24) It is also noted that at times, ne come across words that convey two meanings e g kus'ala, pra- Vina etc in such cases, one mcaping is derived through etymology and is termed the yaygıkartha and the otbor one is based on usage and is termed as rūdbartha On account of prasiddhi 1 c. because of its being more current, the rūdbartha is taken as the mullyārtha in such cases The Alimymsalas seem to hold that lalsanā ts resorted to only as a means to avoid aparihakya, when the primary sease is found to be unsuitable to the context This agalo is only as the last resort (25) The Mimamsakas told that the most important princie ple to be borot in mind 15 that beineen the two fuctions of a word viz stuli (or abhidba) aod laksanā, the former is stronger than the fatter (26). S'rutyasambhava or mulbyarthabadba is be first pre requisite of Jalsana. On My Sa. VII.3.34 S'abata lays down that though the direct sense of a word is fourd unsuitable to the context, the vacyártba cannot be cattrely abandoned Thus, even the laksyartba is bound to be s'addartha, It cannot be as'abdartha (27) Thus, the conditoa of "adyoga', comes 19 This is explained again under or connection ·144 Rasa and Dhrani kinds of lakşanā There seems to be no reference to Yanjana as such Naiyayıkas We have seen in our discussion of samketa that Gotama recogarses what is specified as abhidha lateron For him, the padarthas or the meanings of the word consist in vyaktı or individual, akſti or form, aad jatı or class. These are the asp. ects of reality expressed by a word The acceptance of abbidha by Gotama and other Naiyayikas is clearly indicated 10 our dis. CUSSIOD on samketa As to what is expressed by a word is shown in Nya Sutra il 265-vyaktyakıtljatayastupadarthah. This means that in the opinion of Gotama, a word expresses 10dividuality, form and class Now let us ste his vicws regardiog laksana We come adtoss some discussion as to the pature of secondary usage or upacara at Nya su II 2 64 -sabacaranasthan. atadarthyavíttamabadbarana-samspyasadhanadhipatyebhyo bra. hmanamanicakatarajaşaktucandanagangās atakaonapuruseşvara dbbave pı tadupacarah (31-A) Taus Gotama holds that second- Ary usage or upacara operates on the strength of ten relations such as sabacarana (or going together), stbana (or place) etc The Vatsyaya bhasya cites Illustrations to the point Thus, 'yastıkām bbojaya' or feed the stick, means the brahmana with a stick is to be fed This explains the relation of sabacarana (or going together) Sthana or location is illustrated in mancah krosanti', tadarthya or the relation of purpose is illustrated when straw meant for preparing a mat is itself called a tat. Vrtta or behaviour is the relation as seen 10, "ibls king is Yama or hubera' He is so called because he behaves like Yama or Kubera Mana or measure is allustrated when grains are said to be of a particular measure Dharana or the relation of weighing is illustrated wbeo sandal wood held in balance is called tulacapdapa' The relation of sämpya or proximity seen as 10, gangayam gavah of cattle are grazing in the Ganges, Thus the place dear the river is called by the game of river on ·S'abdovptiis as seen in the Different Schools 145 the strength of samipya or proximity Yoga' or combination is yet another relation Thus a black piece of cloth is called black because it is united with black colour Sadhana or means is illustrated when food is said to be prâna or life Actually, food is the sadbana or means or life Adhipatya or being the head is illustrated when a man who is the head of a family is said to be family or house himself ( ayam purusah kulam, ayam gotram etc) Elesewhere also in the Vatsyāyanabbasya we come across dumerous seferences to bbekti and bhakta ariba But we do not come across any reference to vyanjana Word 18 not accepted to be putya and abbivyangya or manifested Vyangya' is seen only in the sense of 'manifested' and not "suggested' We now turn to the new school of Naryayikas as repre sented by Ganges'a (1700 AD), Gadadbara (1 700 AD), Jagadis'a (1700 AD) etc Gadādhara, Jagadıs'a and Mathu. rādātha (1700 AD) are the authors of S aktivada, S'abdasº aktiprakas'ıka and Vyulpattivada respectively wherein they have dealt with the topic of s'abda, s abdartha and s'abdavrttrs In the S'abdas'aktiprakās ikā (s' S' Pra) words are clas sifed as below (1) words with conventional meanings assigced to them (or rudha), (11) words with secondary signification (or laksaka), (111) words having both primary or conventional and derivative meanings jie yogarudba) and (sv) words, possessiog derivative or yaugika artha alone S'abdas’aktıprakās ika 16 reads (rudham ca laksakam cauya yogarudbam ca savelkam taccaturdhā paratrūdhayauglkam, madyate'dhikam 1) R 10 ·Rasa and Dhrani 146 The word 'gangayam' in the illustration 'gangayām ghosah' forms an example of laksana Pankaja is a yogarudba word defined asyaonāma svāvayavavșttılabhyarthena samam svartbasgão. vayabodhakrt tapnāma yogarudham, yatha pankajakſsnasarpa. dharmadi-S', S' Pra 26 ie they are those which combine in themselves twofold signification-conventional as well as derivative The yaugika words are those such as karaka, pacaka etc, that connot the same meaniogs as are gathered by their component parts 10 #bich they may be grammati. cally analysed. Gadadhara in his S'aktivada, discusses the problem of s'akugraba By "s'aktı' he means the mukhya vytti called abhidba He discucces at length the topic of sanketagrahakatva of this mukhyāvetti At places, he touches laksans also, wbich is connected with abbidba. In the begiding of his work, he recognises two functions viz. sanketa and laks&nā with refe rence to padartha --sanketo laksana ca arthe padavſttih (S'aktivada) He does not go for any further relation He has neither mentioned por rejected vyanjant as a vpltı, but bis commentators try to interpret him in such a way as to make him refute vyanjang Thus, Krsnabhatta observes that vyanjana need not be recogaised as distinct from laksana and so also gaudi. Both gaun apd vyañjana can be included in laksana (32) Another commentator of his, Madbava, tries to refute vyanjanavada. The vyañjapavadin figures as an objector here The objection is that, the s'aktivibbaga of Gadadhara is not correct, for vyañjana is a separate vitti When it is said by the heroine that, gaccha gaccbasi cet kaata, etc, the meaning, viz, that if you will go, I will die', is gathered through vyanjang alone, 10 the absence of wbich we fail to gather this sease (33) The Siddhantı (ie, Naijayıka) docs not agree with this lf vyanjant is recognised as a separate yrtti, It must have some definite form If at all it has aay definite form, it is the form of vacya When there is the appreben. sion of the suggested sense, it is always due to abhldhajnada ·S'abdarşıtls as seen in the Different Schools .. 247 Thus even in vyanjana, we cannot proceed without the vacyartha, wbicb is its cause, Thus, vyanjani is not a separate Vitli other than abhidba. The vyanjanavidin accepts something lilc a s'abdivyan. jana, CS vayasthi nigargsangTdangãoja hapni vedansm From this scatence, two senses VIZ. (1) 2 young woman, la company of a young man, removes the torment of the limbs of the body, and (1) Haritaki with Sunthi removes physical pain, are derived for the supporter of vyanjant, it is a case of abhidhimoli vyanjany Bue for the Naiyyikas, the other sense is also gathered through abbidhi and it is futile to go for an abhidhymala vyanjani with reference to the pratiyamidartha (35) Olbers (ic tbe vyanjaojvidios, the porvapaksa), bold that the fact of pratıyamananthi can be gathered in poetry, only through vyañjas, and therefore its acceptance is inevitable (36) For the Nasysyskas, ibis implied seose is gathered not by any vyttiviseșa, but by the faculty of mind Thus, vyangyartha is just a mental apprehension (manasa bodbamätra).-mansasva idrs'abod basvskärat (Madhavi) Jagadis'a, in bis s'abdas'aktiprakas'ıka, karika 24, refers to the illustration Viz mukham vikasıtasmitam etc, whereby suggestiveness has been established by Mammala and others He discusses at length the problem of the recogallion of vyanjana He holds that there is no justification to recogarse something like suggestiveness, so far as the direct or indirect meaning of a work is concerned (37) The so called vyangyatha ie s'aſtya and piyanatva, or saurabha (1 e che smiling face is as fragrant as flowers) is derived by tbe usual mental apprehension, the special beauty of erotic sentiment (camatkara) also being a matter of mental apprehension (mzoasabodha) Thus we have seen that language is used both a the scientific mode and also in the emotive mode Scientific usage becomes the source of our abhidha and the cmotive use accounts for laksana and vyanjana ·Rasa and Dhyani 148 We have thus tried to study the concept of s'abdavſttis in different dars'adas la the bistorical perspective The gram marians and the Mimāņsakas, as seen above, were coacerned more with the scientific use of language and therefore they mention only abhidha and laksana (and also günavada in case of the latter) The Naiyayikas also, for the same reason, see no need of recognising vyanjana The grammariaas, how ever as observed by us, enunciate the doctrine of Sphota They also provide us with clues regarding the development of vyanjapā Coming to the alamkarikas, Ādandavardhana and his followers clearly define the three vșttis viz abbidha, laksana and vyañjana to the discussion of dbvant, they take the grammarians as their authority and we have tried to show above that their claim is not unfounded Foot Notes Patanjalt has a 'gauna and 'mukhya' as below at 1115 एव तर्हि गौणमुख्ययोर्मुख्य कार्यसंप्र यय इति । 14 108 -गौणमुख्ययोर्मुख्य संप्र ययो भवति । तद्यथा गौरनुबन्ध्य भजोड ग्नीषोमीय इति न पाहीकोऽनुवध्यते । 8382-अग्ने स्तु स्तोमसोमा । गौणमुख्ययोर्मुख्य सप्रतिपत्ति तद्यथा गौरनुबन्ध्यो etc अभिधातुम् occurs at 231 -करोतेस्त्पद्यमान क्तोऽनवयवेन सर्व कर्मा भिधत कशब्दात्पुनरुत्पद्यमानया द्वितीयया य कटस्थ कर्म तच्छषयमभिधातुम् न हि कर्मविशेष । अभिधीयमान occurs at 22 24 25/421, सामा याभिधाने हि विशेषानाभिधानम् । 4 सामान्ये भिधीयमाने विशेषोऽनभिहितो भवति । तनावश्य विशेषाधिना विशेषोऽनुप्रयोक्तव्य । etc अथवा विभक्त्यर्थोऽभिधीयते एतचात्र युक्त यद्विभक्त्यर्थोऽभिधीयते तन हि सर्वपश्चात् पद वर्ततेऽस्येति । etc अभिधावत् at 1 1 58 13/153 भनइवाहमुदहारि या रय हरसि शिरसा कुम्भ भगिनि साचोनमभिधायन्तम- द्राक्षीरिति । तस्य यथेष्टमभिसयधो भवति 1 उदाहारि भगिनि या व कुम्भ हरसि शिरसानवाह साचीनमभिधाव तमद्राक्षौरिति । * ·Sabdavrttis as seen in the Different Schools... 149 6346 ..... मभिधानत:-at 1.3.1. 6/2583; प्रथमभावग्रहणं च । ११॥ प्रथमभावग्रहणं च कर्तव्यम् । प्रथम यो भावमाहेति । कुतः पुनः प्राथम्य कि शब्दतः माहोस्विदर्थत. । कि चातः । यदि शदत• सनादीमा धातुसज्ञा न प्राप्नोति । पुत्रीयति वस्त्रीयति इति । अथार्थतः सिद्घा सनादीना धातुसज्ञा स एव तु दोषो भाववचने तदर्थप्रत्ययप्रतिषेध इति । एवं तहिं नैवार्थतो नापि शब्दतः किं तहिं । अभिधानतः । सुमध्यमेऽभिधाने यः प्रथम भावमाह । ..प्रधानतो वा यतो तिः ॥८॥ अथवा गौणमुख्ययोमुख्य कार्यसंप्रत्यय तद्यथा गौरनुबन्ध्योऽजोमीषोमीय इति न वाहीकोऽनुबध्यते । अभिधानलक्षण-3319. 7/146 : अकर्तरि च कारके सज्ञायाम् । (3 3 19) “अतिप्रसङ्ग इति चेदभिधानलक्षणत्वात्प्रत्ययस्य सिद्धम् ॥ ३॥ अतिप्रमात् इति चेत्तन्न । कि कारणम् । अभिधानलक्षणत्वात्प्रत्ययस्य सिद्धऽम् । अभिधानलक्षणा कृत्तद्धितसमासा । अनभिधानान्नमिष्यन्ति । अभिधानवत् and अभिधेयवत् at 1251 15/227 . लपि युक्तपदष्यक्तिवचने । 12 51 ..... अन्यत्राभिधेयव्यक्तिवचनभावाल्लुपियुक्तवदनुदेश ॥१॥ अन्यत्राभिधेयवल्लिज्वचनानि भवन्ति । क्वान्यत्र । लुकि । लवण सूप । लवणा यवागू । लवण शाकमिति । भन्यत्राभिधेयवद्व्यक्तिवचनानि भवन्ति । लुकि । इहनाप्यभिधेयवल्लिङ्गवचनानि प्राप्नुवन्ति । इष्यन्ते चाभिधानवास्युरिति तच्चान्तरेण यत्न न सिध्यतीति लुपि युक्तवदनुदेश । एवमर्थमिदमुच्यते । भस्ति प्रयोजनमेतत् । कि तहीति .. . etc भभिधानार्थ--2.151. 13/395, तद्धिनार्थोत्तरपदसमाहारे च १२॥१॥५१॥ अभिधानार्थ तु in अभिधानार्थ तु समाहारग्रहण कर्तव्यम् । समाहारेणाभिधान तथा स्याद तद्धितार्थेन माभूदिति ।....etc. अभिधाय-5374 46/424 .......

·Rasa and Dhani 150 etc etc कुत्सिते 1 5374 इह कुत्सितक अनुकम्मितक स्वशन्देनोक्तत्वा तस्यायंस्य प्रत्ययो न प्राप्नोति । नैष दोष । कुत्सितस्यानुकम्पायर्या भविष्यत्यनु- कम्पितस्य कुत्सायाम् । अथवा । स्वार्थमभिधाय शन्दो निरपेक्षो द्रव्यमाह समवेतम् । समवेतस्य च वचने रिङ्ग वचन विभक्ति च ॥ अभिधाय तान्विशेषानपेक्षमाणश्च कृत्स्नमात्मानम् । प्रियकुत्सनादिषु पुन प्रवर्ततेऽसो विमक्त्यन्त ॥ अभिधान-1169 1/178, अणुदित्सवर्णस्य चाप्रत्यय । 1.169 अभिधानात्प्रयय सवर्णान्न प्रहाध्यति । यान्हि प्रययः सवर्णप्रहणेन गृहीयान्न तैरर्यस्याभिधान स्यात् । अनभिधानान्न भविष्यति । 1260 6/231 -फल्गुनीप्रेष्ठपदाना च नक्षत्रे । 12601 फगुनोसमीपगत चन्द्रमसि फ्ल्गुनीशब्दो वर्तते । वहवस्तेऽस्तन युक्त बहुवचनम् । यदा तयोरेवाभिधान तदा द्विवचन भविष्यति । 1821 1264 233 सरूपाणामेकशेष एकविभक्तौ । 1264 प्रत्यर्थ शब्दनिवेशान्ननानेकरयाभिधानम् ॥१॥ प्रयर्थ शब्दा अभिनिविशन्ते। किमिद प्रत्यर्थमिति । अर्थमर्थ प्रति प्रत्यर्थम् । प्रत्यर्थ शब्दनिवेशादेतस्मात्कारणा- नैकेन शब्देनानेकस्यास्याभिधान प्रप्नोति । तत्र को दोष । also 11, 12, 15, 16, 17, 18, 21, 22, 22/241 ननु चोरत प्र यर्थ शब्दनिवेशा नैकेनाने कस्याभिधानमिति । यदि चैन शब्देनानेकस्यायस्याभिधान स्यान प्रयर्थ शब्दनिवेश कृत स्यात् । प्र यर्थ शब्दनिवेशादेवनानेकत्याभिधानमिति चेत्तदपिप्रत्ययमेव ॥३०॥ प्रत्यर्थ शन्दनिवेशादेवनाने कस्याभिधानादप्रयर्थमिति चेदेवमुच्यते । यदप्येक्नानेकस्याभिधान भवति तदपि प्रत्यर्थमेव । यावतामभिधान तावता प्रयोगो न्याय्य । यावतामा- नामभिधान न भवति तावता शब्दाना प्रयोग इत्येव पक्षो न्याय्य । यावतामभिधान तावता प्रयोगो न्याग्य इति चदेवेप्यनेक्स्याभिधानम् ॥३१॥ यावतामभिधान तावता प्रयोगो न्याय्य इति चेदेवमुच्यते । एषोऽपि न्याय्य एवं यदा एकेनानेकस्याभिध न भवति । यदि ताकेनानेकस्याप्यभिधान भवति प्लक्षन्यग्रोधौ एरेनोक्तस्वादपरस्य प्रयोगोऽनुश्पन्न । . etc ..etc ... - ·S'abdarritis as seen in the Different Schools... 151 .. . also 1.2.3.5. 79/242..... एकेनोक्तत्वादपरस्य प्रयोगोऽनुपपन्न इति चेनुक्तः प्लझेग न्योपार्थ इति कृया न्योपशब्दः प्रयुज्यते । कथमनुश्ती यापतेदानीमेधोरममेकेनाप्यनेकस्यामिधानं भवतीति । सरूपाणामेकेप्यनेकस्याभिधानं भवति न विरूपाणाम् । किं पुनः कारण सरूपाणामेकेनाप्यनेकस्याभिधान भवति न पुनर्विरूपाणाम् । अभिधानं पुनः स्वाभाविकम् ॥३३॥ स्वाभाविकमभिधानम् । उभयदर्शनाच्च ॥३८॥ उभय राल्वपि दृश्यते । विरूपाणामप्येक नानेकस्याभिधान भवति । तद्यथा । वाषाक्षामा । दावा चिदस्मे पृथिवी नमते इति । विषाणा किन नामेकेनाने- कस्याभिधान स्यारिक पुनः सरूपानाम् । also at 131 6/258 : भूवादयो धातवः । 131. प्रथमभावग्रहण च ॥११॥...etc & see above, अभिधानतः again at, 1.4 51 8/335 कथितेऽभिहिते त्यविधिस्त्वमतिर्गुणकर्मणि लादिविधिः सपरे । कथिते लादिभिरभिहिते स्वविधिरेप भवति । किमिद स्वविधिरिति । ..etc. again, 2117/363-सख्याविशेषो व्यक्ताभिधानमुपसर्जनविशेषण च योगः। अथैतस्मिनेकार्थीभावकृते विशेपे किं स्वाभाविक शब्द्वैराभिधानमाहोस्विद्वाच- निकम् । ......etc again, 3.17 18/12 धातो. कर्मण. समानकर्तृकादिच्छाया वा। 317 अनभिधानाद्वा ॥५॥ अथवानमिधानात्सुबन्तादुत्पत्तिर्न भविष्यति । न हि सुबन्तादुत्पद्यमानेन सनेच्छाया अभिधान स्यात् । अनमिवानात्तत्र उत्पत्तिन भविष्यति ।...etc 2 again 21.36 अर्थ शब्दो यं पुलिङ्ग उत्तरपदार्थप्रसनश्च तत्पुरुषस्तेन 389 पुल्लिागस्यैव समासस्यामिधान स्यात् , स्त्रीनपुसकलिङ्गस्य न स्यात् ।...etc. 21.51, 13/395 तद्धितार्थोत्तरपदसमाहारे च 121.51 ..see अभिधा- मार्थ above, 2.169 24/403 • कर्मधारयप्रकृतिभिर्मस्वायेवाभिधान यथा स्यात् ...etc ·152 Rasa and Dhani 101015 2167 4वमपि यद्यत्र कदाचिकर्मधारयो भवति धर्मधारयप्रकृति- भिर्म वाँयैरमिधान प्राप्नोति । सर्वश्चायमेवमर्यो यत्न कर्मधारयप्रकृतिभिर्मत्वायर- भिधान मा भूदिति । ..etc.........तर फर्मधारयप्रकृतिभिर्मन्वयैिरभिधानमस्तु बहुबोहिणेति बहुमोहिणा भविप्यिति रधुत्वात् ।...etc 22 24 18/421 पदार्थाभिधाने नुप्रयोगानुपपत्तिरभिहितत्वात् ॥४॥ पदार्थ. स्याभिधाने -नुप्रयोगस्यानुपपत्तिः । चित्रगुर्देवदत्त इति । किं कारणम् अभिहित. स्वात् । चियाशब्देनाभिहित सोऽर्थ इति कृत्वा नुप्रयोगो न प्रमोति । 22 24 13,15/424 न दानभिवानादसमानाधिकरणेषु सज्ञाभाव ॥१६॥ भभिधानात् । तच्चावश्यमनभिधानमाश्रयितरवम् । क्रियमाणेऽपि वै परि- गणने यत्राभिधान नास्ति न भवति तत्र यहुनौहि । तद्यथा पच भुक्तयन्तो ऽस्येति । मधेतस्मिन्सत्यनभिधाने यदि वृत्तिपरिगणनं क्रियते वर्तिपरिगणनमपि कर्तव्यम् । तत्कथ कर्तव्यम् ।.. .etc 22.29 23/432 प्रशस्य न्यप्रायत्वान्न्यग्रोधस्य प्लक्षत्वात्स्वशब्देनाभिधान भषिष्यति । again at, 2229 25/433.. अभिधानं स्वाभाविकम् ॥१५॥ स्वाभाविकमभिधानम् ......etc and 23112. 13/442-7 वान्यतरेणानभिधानात् ॥m न वैष दोषः । किं कारणम् । अन्यतरेणानभिधानात् । भन्यतरेणात्रान- भिधानम् । सदिप्रत्ययेनाभिधानमसिप्रययेनानभिधानम् । यतोऽनभिधान तदाश्या सतमो भविष्यति । कुतो न सल्वेतत्सत्यभिधाने चानभिधाने चानभिहिताश्रया सप्तमी भविष्यति न पुनरभिहिताश्रय प्रतिषेध इति । भनभिहिते हि विधानम् ॥९॥ भनभिहिते हि सप्तमी विधीयते । नाभिहिते प्रतिषेध. .......किं पुन. द्रष्य साधन माहोरिषद्गुणः । किं चातः । यदि द्रव्य साधन नेतदन्यद् भवत्य- भिहितात् । भय हि गुणः साधनं भवत्येदन्यदमिहितात् । ..etc 235 14/445 कालापनोरस्यन्तसंयोगे। 235. ...लिभिरभिधान यया स्यात् ।... etc 31.7 18/12 sec above ·153 Sabdavstris as seen in the Different Schools... 31.7. 13/13 11/15-अकर्मणो समानकर्तृकाद्वानभिधानम् ॥॥ इच्छा- यामभिधेयायां सन्विधीयते न चाकर्मणोऽसमानतृकान्दोत्पद्यमानेन सनेच्छाया मभिधान स्यात् । अनभिधानात्तत उत्पत्तिन भविष्यति । .......सर्वस्य पा चेतनावत्वात् ॥१५॥ ...एपमपि इध्यते प्रामो गन्तुमिति परसाधन उत्पद्यमानेन ठेन ग्रामस्थाभिधानं न प्राप्रोति । 3.1.22 9-11/29-एकाग्ज्ञलदिप्रहणे च ॥२॥...."यकाचो हलादिश्चोत्प- धमानेन ययस्याभिधान न भवति न भवति तमोत्पतिetc....यत्र चानेकाचो हलादेषों पद्यमानेन यर्थस्याभिधान भवति भवति तमोत्ततिः ।...etc 3.1.26 22/31 इह ताहि पाचयत्योदनं देवदत्तो यज्ञदत्तेनेत्युभयो. कत्रोलेना- भिधानं प्रामोति । प्रत्ययार्थविशेषणे पुन. सति न दोष. । प्रधानकर्तरि लादयो भवन्तीति प्रधानकर्ता लेनाभिधीयते यश्चात्राप्रधान सिद्धा तत्र कतरीत्येव तृतीया 1...etc. 1-1-3-9 3167 58 किमुच्यते कृताभिहित इति न लेनाप्यभिधान भवति । अशक्य लेनाभिधान आश्रयितुम् ।...यदि च लेनाप्यभिधान स्यान्नेद पक्षान्तर स्यात् । .. तस्मान्नैतच्छक्य वक्तु लेनाप्यभिधान भवतीति । भवति चेदाभिहिते विकरणाभाव इत्येव ।..... etc again at, 3426 13-18/174 . ननु च भुजिप्रत्ययेनानभिहितः कर्तेति कृत्या अनभिहिताश्रयो विधिर्मविष्यति तृतीया । यदि सत्यभिधाने चान- भिधाने च कुनश्चिदमभिधानमिति कृत्वानभिहिताश्रयो विधिभविष्यति तृतीया यवाग्वां द्वितीया प्राप्नोति । कि कारणम् । णमुलानभिहित कर्मेति । etc ..etc pp_175...यदि सत्यभिधाने चानभिधाने त कुतश्चिदनभिधानमिति कृत्वानभिहिताश्रयो विधिर्मविष्यति तृतीया यदुक्तमोदने द्वितीया प्राप्नोतीति स इह दोषो न जायते ।... 4148 6/218- सिद्ध तु स्त्रिया. पुशद्वेनाभिधानात् ॥३॥ सिद्धमेतत् । कथम् । स्त्रिया. पुशद्वेनाभिधानात् । स्त्री पुंशब्देनाकारान्तेनाभि- धीयते । 14-15 अपत्याभिधाने स्त्रीपुल्लिमस्याप्रसिद्धनपुसकत्वात् ।। 4191. 246 ·154 Rasa and Dhani अपत्याभिधाने स्त्रीपुल्लिगस्याप्रसिद्धि । किं कारण । नपुसकरिङ्गत्वात । भपत्य नपुसकलिङ्ग तेन नपुसकलिशस्यैवाभिधाने स्यात्त्रीपुलियस्य न स्यात् । ननु चेद पुरस्तादेव चोदित परिहतं च । उत्पत्तिस्तन चोद्यत इह पुनस्प न्नेनाभिधान चोद्यते । 4193 5/248 उत्पादयितरि चापत्ययुक्ते स्त्रिया युक्त्या भभिधान न प्राप्नोति । 14/249-एवमपि निया युवत्या अभिधान न प्राप्नोति । 25/250-क्रियामाणेऽपि हि सज्ञाकारिग्रहणे यत्र जात्यादिभ्य उत्पद्यमानेन प्रययेनाधस्या भधान भवति भवति तत्रोत्पत्ति ।...etc 4 215/271 रक्तादीनामभिधाने प्रत्ययविधानादुपाध्यानर्थक्यम् ।११ रकादीनामाभिधाने प्रत्यविधानादुपाधिग्रहणमनर्थकम् । न व रागात्पय मानेन प्रययेनार्थस्याभिधान स्यात् । अनभिधानान्तत उत्पतिनं भविष्यति । 4325 13/307 कस्मान्न भवति तत्रास्ते तत्र शेते इति । अभिधा- नत् । तच्चावश्यमनभिधानमाश्रयितव्यम् । क्रियमाणेध्वपि ह्यर्थनिर्देशेषु यत्र जातादिषुत्पद्यमानेन प्रययेनार्थस्याभिधान न भवति तत्र प्रययोत्पत्ति । also at 4 3 155 3-6/325,4476 14/333,5159 24/355 and 814 4/365 in the same sense (2) Pa IV 148 15 पुयोगादाख्यायाम् । सिद्ध तु स्त्रीया पुशद्वेनाभिधानात् ॥३॥ अथवा पुनरस्तु तस्यैद मत्यनेनाभिसर धेन । ननु चोक पुयोगादारयाया तदिधतलुवचन मिति । नैष दोष । नावश्यमयमेवाभिसबधो भवति तस्येदमिति । अयमप्यभिसंबन्धोऽस्ति सोऽयमिति । फथ पुनरतस्मि स इत्येतद् भवति । चतुर्मि प्रकारैरतस्मिन्स इत्येवद् भवति । तात्स्थात् ताद्धयात्सामीप्यासाहचर्यादिति । तारस्थात् तावत् । मया हसन्ति । गिरिदह्यते । ताद्धयात् । जहिं यान्त ब्रह्मदत्त इत्याह । ब्रह्मदत यानि कार्याणि जटियपि तानि क्रियन्त इत्यतो जी ब्रह्मदत्त इत्युच्यते । तरसामीप्यात् । गाया घोष । कृपे गगंकुरम् । त साहचर्यात् । चुन्तान्यवेशय । यष्टी प्रवेशयेति । (3) The न्यायकोश observes शक्तिलक्षणाभ्यामतिरिक्ष गौणी वृति रिति मीमांसका । सा च तदतिरिचा नैति नैयायिका माहुः । (न्याय- सिद्धा-तमञ्जरीप्रकाश) ·155 Sabdarſttis as seen in the Different Schools... (4) एकमाहुरनेकार्थ शब्दमन्ये परोक्षकाः । निमित्तमेदादेकस्य साध्यि तस्य भिद्यते । V.P. II 252 also Punyaraja says तत्रैकशन्ददर्शने शब्दोपचारः प्रसिद्धपप्रसिद्धिनिमित्तकः । (5) अर्थप्रकरणाभ्यां का योगाच्छद्वान्तरेण वा । V.P. (6) यथा सास्नादिमान् पिण्डो गौशद्वेनाभिधीयते । तथा स एष गोशब्दो वाही केऽपि व्यवस्थितः ।। (7) पुष्पराज says : अर्थः शन्दस्य द्विविध. स्वरूप बाह्यश्च । तत्र निमित्ता- ज्जाच्यादे!त्व वाहीकेऽप्यनुपज्यते, शब्दस्तु गोत्वमेवाभिधत्त इति बाह्यार्थोपचारः । (8) Punyaraja holds that verses 317, 318 give someone else's views Maramata and others quote them as representing Bhartrhari's views. (9) मुख्यार्थसबंद्धासम्बद्ध साधारणमुख्यार्थवाधप्रहादिप्रयोज्यप्रसिद्धार्थविषयक- घीजनकत्व व्यजना। (10) अनया कटाक्षेगाभिलाषो व्यजितः इति सर्वजनप्रसिद्धस्तस्या चेष्टा- वृत्तित्वस्य अपि मावश्यकत्वाच्च । (11) अनया चार्थबोधे जननीये वक्तृषोद्धव्यवाच्यादिवैशिष्टयज्ञान प्रतिभा च सहकारि तदीजनकज्ञानजनकमेव वा । (12) वक्तृजादिवैशिष्टयसहकारेण तजनिका बुद्धि प्रतिभा इति फलिताम् । च शक्तिरेतजन्मगृहीतैवार्थबोधिका, व्यसना तु जन्मान्तर गृहीतापि, इत्यपि शक्तेः अस्या मेदकम् । (14) एवं गतोऽस्तमर्क इत्यादेः शिष्येण सन्ध्यावन्दनादेः कर्तव्यत्वाभि- प्रायेण गुरु प्रति प्रयुक्ताद्वक्तात्पर्याभावेऽपि प्रतिवेश्यादीनामभिसरणीयक्रमादि बोधस्य वाच्यार्थप्रतीतिपूर्वकस्य वाच्यार्थवाघज्ञानेऽजायमानस्य लक्षणया उपपाद - यितुमशक्यत्वाच । (15) M.S 1.2 32 अविशिष्टस्तु वाक्यार्थ. | and also, अविशिष्टस्तु लोके प्रयुज्यमानाना वेदे च पदानामर्थः । स यथैव लोके विवक्षितस्तथैव वेदेऽपि भवितुमर्हति । (SB on 12 32 pp.150) (16) MS XI.1.26 लोके कमार्थलक्षणम् | and also SB. on it- यच्च लोकवदिति, लोके कमार्थप्रधानम् । कार्यवशात् सकृदप्युक्तो सकृदाहरति, (13) एय ·156 Rasa and Dhrani असकृदप्युक्त सकृदाहरति नाहरति वा । अथैह शन्दलक्षण कमणि यथा शब्दार्थे प्रवृत्ति । तस्माल्लोक्वदित्यदृष्टान्त । Pp 2114 and also see MS XI 1,62 अाल्लोके विधित प्रतिप्रधान स्यात् । and also SB on it- अल्के प्रदोषस्य सकृदसकृन्दा किया । यदि सत्कृत सर्व प्रकाशयति, सकृत् क्रियते, भय न प्रकाशयति, ततोऽमकृत् । ततश्चास्य प्रयक्षसामयम् । भयेह विधिन उपकारोऽनुपकारो या गम्यते, न प्रत्यक्षेण । SBpp 2129 and also शब्दरक्षण कर्मणि शब्दाभिहित गम्यते, न लोकाभिप्राय । (SB on x5 57 pp 1968) लोके कर्मार्थलक्षण भवति, न शब्दलक्षण यथाऽस्तथा कियते, न यथा शक । वेदे तु शन्द्वेनेवार्थाऽवगम्यते । तथैवानुष्ठेयमिति । SB OD VI 8 27 pp 1516 and also शब्दप्रमाणका वयम् । यच्छन्द माह तदस्माक प्रमाणम् । । लोके तु कार्य दृष्ट्वा चोदितमयोदितमप्य मुष्ठीयत एव । (S B on III 2 36 pp 793) and also शेके फर्मार्थ- लक्षण, शब्दलक्षण पुनर्वेदे । SB on III 1 17 Pp 726) and also लोके अर्थरक्षण सव्यवहारे । येन येनार्य समृष्टेन उक्नोऽनुलो वा स समृग्ये तेव । इह तु वेदे शब्दलक्षण । SB on II 116 Pp 725 etc (17) यथा लोके प्रस्थभुग्देवदत्त इत्युच्यते । यद्यपि सूपशाकादिभिरधिक प्रस्थो भवति, तथापि भुजौ प्रत्यो निर्विश्यते व्यञ्जनान्योदनानि । SB on A8 29pp 2079 (18) लौकिकेषु तु बाययेष्वेव गम्यते । तानि हि विज्ञातेऽयें प्रयुज्यमामा न्यध्याहार्यपानि गौणानि विपरिणतव्यवहिताथानि च प्रयुज्यते । तस्मात्तासा- दृश्यापनावगम्येश्वप्यर्थेषु भवति तत्वरूपो मिथ्याप्रत्यय । यथा मृगतृष्णादिषु । SB on IV 32 pp1247 (19) See 16 above and also • न शब्दप्रमाणकाणामन्तरेण शब्द मवातिर्याया। (SB on VI13 p 1353) शब्दलक्षणे च कर्मणि शन्दो न प्रमाणम् । (SB on X 5 44 pp_1962) (20) नन्वनुवादेऽपि रक्षणा । ननुवादपक्षे लक्षणाया दोष । SBI 4 364 अनुवादे हि रक्षणा म्याग्या न विधौ (SB on Iv4 91 PP 1278) यज्ञ युधशदश्वानुवादपदो न्याय्यो ने विधिाक्षे । गौणो हि स भायुधशद यागादिषु । (SB on IV 18 Pp 1201) (A) क पुनमुंष्य को या गोग न । उच्यते । य शब्दादेवावगम्यते, स प्रथमोऽयों मुरुम । मुपमित्र भवनोति मुख्य इत्युच्यते । यस्तु खल 22 PP ·15T S'abdavrttis as seen in the Diferent Schools प्रतीतादात् केनचिरसंवन्धेन गम्यते, स पश्चाद् भावाजधनमिष भवतीति जघन्य । गुणसम्पन्धाच्च गौण इति । (22) मायमुभयत्र पर्वशन्दो यर्तते । यदि कारवचनस्तत्संवधासमुदाये गम्यते । यदि वा समुदायवचनस्तरसबधाकाले। अन्यतरवचनो नोभयवचन । तत्र समुदायवचने कल्प्यमाने प्रकरणमनुग्रहोत भवति अपि च पृणाते पर्व शब्द पृणोति व दाने प्रसिद्ध । दानानि च समुदाया । तस्मात् समुदाया भोज्या । एव शब्दावयवप्रसिद्धिरनुगृहीता भवति । S B on IX 2 53, Pp 1739) (23) अनेकम्याप्येक शब्दो भवति वाचक । तद्यथा मातेति मातरमपि वदति मातारमपि । माता च परम दैवत समा च पुस्वित्येतरूपबद्धमानो जननीवचनोऽवगम्यते । माता सम क्षिप्रत्येभिरनुबध्यमानो धान्यस्य मातु वांचक । (SB on X14 Pp 1810) (24) शब्दे उन्चरिते नर तावन्मुख्या प्रतिपत्ति । शब्दे कार्यस्यासम- वादथें कार्य विज्ञायते । यथा गामानयेति । इह तु शब्द इव कार्य सभवति, नार्थे । भतोऽन शन्द विज्ञास्याम । पूर्वस्मादेष वाद पापीयान् । कस्मात् । औत्पत्तिकत्वात् । भौपत्तिको हि नामिनाम्नो । यो हि शब्दो यस्मिन्नर्थ औत्पत्तिकेन सबन्धेन प्रसिद्धो न ततोन्य प्रत्याययितु शक्नोति । हि गोशब्देनाश्वोऽभिधातु शक्यते । SB on शब्दमानमिति चेन्नोत्पत्तिकत्वात् । MI SI VIII 24-5pp1542 (25) यदाञ्जस्येन शब्दार्थो नावकल्पते तदा लक्षणायापि कल्प्यमान साधुर्भवति । यथा भनौ तिष्ठति, अवरे तिष्ठति अनिसमीपे तिष्ठत्यवटसमीपे तिष्ठत्तीति भवति सव्यवहार । रक्षणादि लौकिवयेव (S B on pp 488) श्रुत्यसभवे लक्षणयापि व्यवहारो भवति । यथानौ तिष्ठत्यवटे तिष्ठतीति । (SB on pp_1485) and also श्रुत्यसभवे लक्षणापि न्याय्यैव । S B on Pp 1280 असति श्रुत्यर्थे रक्षणार्थी प्राह्य । SB pp. 1551, again, मुख्याभावे गौणो गृह्यते (SB 1437 PP ) सभवति श्रुत्यर्थे लक्षणार्थों ग्राह्य । S,BPp 1560 and also भवति लक्षणयापि शब्दार्थ (SB pp_1230) अगतिश्चैषा यरक्षणापरिग्रह । SB on pP 1545, again, नित्व हि चतुष्ट्रवादीनि साहचर्याच्छकनोति क्षयितुम् । रक्षणा त्याश्रिता भवति । कि क्यिताम् । भगत्याश्रीयते । सत्या गतौ नायितव्या । SBpp 2021 सबन्ध -- ·158 Rasa and Ohrani । (26) श्रुतिश्चलक्षणाया ज्यायसी। SB PP 134, श्रुतिलक्षणाविषये श्रुति ायसी । SB PP, 324 श्रुतिलक्षणाविशये च श्रुतिाया न लक्षणा । SB Pp 565 1244 1262, श्रुतिल्क्षणाविशये च ध्रुतियाग्या । SB on Pp 1210 1222, again अतिश्च क्षणाया गरोयसो SBpp 1260 श्रुतिश्च लक्षणाया बलीयसो SB pp_1278, ध्रुतिलक्षणयोश्व श्रुतिन्याय्या । SB pP 1556, and also ध्रुतिश्व लक्षणानो न्यामा । SB, PP. 2243, (27) स्वार्थे वर्तमान सादृश्य गमयति । स्वार्य महत् कथ गमयेत् (SB on VIII 3 34jand also, न च रक्षणया प्रयोगे शब्दार्थ परिच्छिद्यते । यत्कारण स्वार्थे वर्तमानोऽर्धान्तरं रक्षयति । ग्वार्थ जहन्नेव लक्षयेत् । SB on VIII 334 (28) कथ नु स्वार्थाभिधानेन प्रत्ययव्यवस्थेति चेत् । अधसबन्धात् । सिंह इति निर्माते प्रमाारिता तर प्रायेणेति प्रसयकारीति गम्यते । अर्थ प्रत्यजसामथ्यात् । यो हि मन्यते प्रसत्यशरीति गम्यते । अर्थ ययमामथ्यात् । यो हि मन्यते प्रमह्यकारिण प्रत्याययेयमित + यदि सिंहशन्दमुधारयति सिद्ध त्यस्याभिप्रेतम् । सिंहाथ प्रतीत सबधादितरमर्थ प्रत्याययति । एव स्वार्था- भिधाने तद्गुणसबध प्रतीयते । SB on I4 22 pp_357-360 (29) गुणसयोगाद्यदगोणमिदमभिधान भविष्यति । भवति हि गुणादायभि धानम् । यथा सिंहो देवदत्त , भनिर्माणवक इति । (30) गुणवादस्तु । गौण एष वादो भवति यत्सबधिनि स्तोतव्ये सबभ्य तर स्तूयते ।SBPP 213 (31) (SB on Ill Pp 187) गुगवादस्तु स्पात् । यथा स्तेना प्रच्छमहा एव च मन इति गौण शन्द । Thus stenam manah is gunavada-and also, रूपात, प्रायात् । MS1211. (32) एव च गोगीम्यजनयो पृथगत्तित्य भयुक्त, तयो रक्षणाया मतर्भावसम्भवात् । (33) एतद्विभाजनम गुपपनम्, व्यसनाया अतिरित्तत्वात्etc (34) व्यञ्जना यजन्यशान्दत्वेप्यस्य कार्यतावच्छेदककोटी गौरवात् । माधवो, शक्तिवादटोका, ·S'abdavyttis as seen in the Different Schools 159 (35) तादृशबोधे तात्पर्यज्ञानस्य हेतुत्वे शतयैव ताशोधसंभवे अभिषा मूलव्यन्जनास्वीकारानुपपत्तेः । pp. 2. bid, (36) न च व्यजनावृत्तित्वानुपगमे तत्र तत्र ताशयोधस्य अनुभवसिद्धस्य अनुत्पत्तिरित्यगत्या गृत्तित्वमङ्गीकार्यमिति वाच्यम् । (37) यथाकबिदुपनयवशेन मनसैव विशिष्टधीसम्भवात् । मानोरधिक- सुखप्रमेदपर्यवसित चमत्कारं सत्यपि शाब्दस्यैव मानसस्यापि वोविशेषस्य हेतु तायाः सुवचावात् । व्यञ्जनाख्यपदार्थान्तरस्य स्वरूपसत्ताया अन्वयेबुद्धौ तद्- हेतुत्वस्य च प्रमाणविरहेणासत्वाच्चेति सक्षेपः । शब्दशक्तिप्रकाशिका. का. 24 " ·CHAPTER V S'ABDAVRITIS—as in the earlier alankărikas Last quarter of the 7th Ceo AD-Middle of Bhamaba the 8th Cen AD-De (S P.) P. 49-50, Ed '60 Dandın First balf of the 8th Ceo De ibid, p. 67. Middle of the 8th and Middle of the 9th Cen. Vgmana (Ad.ie, about 800 A D-De ibid, p. 80 Udbhata End of the 8th Cen. A D, and beginnjag of the 9th Cen AD-De bid, p. 73 and Rudrata Middle of the 9th Cen A.D De ibid, p 85. Sabdavrttis in earlier writers on Poetics It should be noted at the outset that the earlier writers on poetics such as Bhamaha, Dandis, etc., do not discuss the problem of S'abdavšttis theoretically like later writers such as Mammata So, we candot expect any defioite mention of this subject in their works However, he meet with passages which go to show that the authors were familiar with the ideas of the functions of a word Bhimaba We begin with Bbāmaba lo Bbāmaha, we come across some direct or indirect references to abhidba as below. In the verse 19 which reads as, «s'abdas'chando'bbidbādārtā, itibasas'rayah katbah loko yukuh kalas'ceti mantavya kavyagaithyamı"..,-he obviously seems to enumerate the different branches of learning which a poet-aspirant should study they are s'abda or grammar, 2 ·161 Sabdayrttis--as in the earlier alamkarikas cbandas or metrics, abbidhoa or lexicography, itibusa or traditions etc Thus, abhidbana is here used 10 the sense of lixicon However, Abhinava quotes from Udbhata's vivarana of Bbamaha as follows sabdas'chandobhidbāoarthabiti abbidhānasya s'abdadbhedam vyakhyātum bhattodbbato babhase-s'abdānāmabhidhādam abbidhavyapärah, mukhyo gunaviltis'ca If this interpretation of Udbhata is correct, we may say that Bbāmaba here refers to abhidba Vrttı by "abhidbānamn'. We have seen that earlier writers use tbe term abbidhaga to refer to abhidbā But this interpretation of Udbhata seems doubtful, if we strictly adhere to the context which purports to enumerate the several branches of learning as noted above However, in the following passages we will find that Bhamaba is familiar with the theory of abbidha At III 21, and III. 25, we come across the mention of the word 'abhidha', but in both the cases, it means 'mere expressing' or 'naming' and not abhidhavyapara. But, while discus sing the fault called 'avacaka'at I 41 , Bhamaha says thatsaksadarūdham vācyerthe Dābhidhānam pratiyate. The line means that an expression which is not conventionally related to the direct meaning is not understood Here, the terms viz "vācya artha' and 'saksādasūdham' show his familiarity with abhidha. The following discussion shows that Bbāmaba koows very well the theories of Sphota and apoha which are mentioned by later wrtiers in connexion with abhidhã Bbāmaha, of course, does not accept the theories of Sphota and açoba 10 this Connexion In the sixth pariccheda Bhāmaha discusses the nature and scope of sabda He also tries to strike some definition In the R 11 ·164 Rasa and Dhrani related to artha which is of the nature of reality, through a relation which is eternal or non-eternal Finally, at VI 20 be concludes that it is difficult to define precisely as to what a nord is because it becom-s manifold on account of the difference in letters which again are manifold on account of their parts (VI 20-varnabhedadidam bhionam varnähsvams'avikalpatah | ke sabdah kifica tadvacya mityabo vartma dustaram || He then proceeds to classify words into a fourfold scheme based on dravya or object, kriya or action, jātı or class and guna or quality (VI 21) From the above discussion it follows that Bhamaba has some definite views as to the Bature and scope of word (VL 13 14) and his views seem to be very near to those of the Mimamsakas it may be noted that from the above discussion, It follows that Bhamah seems to be quite familiar with abhidha As to Bhamaba's familiarity with functions of words other than the direct one, particularly vyanjana, we may say that vyanjada does not occupy the same place as abhidha, in bis mind, 1e he does not seem to have lnown vyafijand as a separate Yrtti He, bonever, uses different forms of vit van) with the later meaning of vyanjanā at different places We will consider these usages At I 73, we come across the word "vyajj ate' as in, bi šabdeop hetvarthaprathapaduktasıddbaye ! ayamartbaataranyāsah sutaram vyajyate yathi || -by the word 'hi' the idea of supporter and the supported or the samarthyasamarthakabhāva is suggested At I. 79, sámásoktı is defined as, yatrokle gamyate ny o'rthah tatsamāpavis'cs&nah sa sanāsoktiruddista samksiptartbataya yatha || ·S'abdaisiaismas in the earlier alamkarikas 165 Hereid, we have a reference to another sease to be gath. cred by implication At III 9 paryāyokta is illustrated and explained Dhamaka says fhat Krsna's reply to S'isupala's cavitation for droner is meant to serve the purpose of avoiding the possibility of taking poisonrasadananivyttaye This is also only implied At III 11 udatta is only illustrated as, udatiim saktimjo rāmo guruvakyāpurodhakah vihayopavanam rajyam yathu vanamupagamat! Here the idea of Rāma's virtue is only implid III 21 defines apahnuti which also carries the same touch as seen above. (It is defined kiñcidadtargatopamā) At V 58, we come across the term "vyajyete' as in -"yatra drstantamatrena vyajyete sadhyasadbane | tamahuh s'uddhadrștantam tanmatrāviskrteryatha 1) Heresd, says Bbāmaba, the sădhya and sadhana are just suggested by the illustration This according to Bhamaba makes for drstauta' which differs from upama At V 60 also, we have *vyajyeran' to the same effect V 60 reads katbamekapadenaiva vyajyeranpasya te gudă iti prayunjate saatah kecidvistarabhiravah ! In V 59 Bbāmaba has given an illustration of pure dệstanta wherein king is said to be Bharata, Diispa, Aila, Pradyumna and Naravabana, thereby implying the qualities of those monarchs 10 that krog la V 60 says Bbāmaha that in order to avoid unnecessary details, people resort to one word as in V. 59 illustrated above Thus hereid, we see a clear reference to the power of suggestion where the qualities of Bharata, Dilipa etc are suggested by their paming In bis discussion of various alamkāras, we see that he takes for granted vyangyartha or implied sense, eg in aprastutaprasams7, dipaka, vyājasluti, aidars'ana etc This point is ·166 S'abdarttis as seen in the Different Schools.. further elaborated in a separate chapter called 'Prattyamjaartha in the earlier alaplātlas' Dandia In the Kavadars'a of Dandia we come across the followjog direct or indirect references to the different sabdavrttis. There is no reference to abbidba as such. We come across some references to gaunavytti or laksana as follows: At L95 Dandia says that words such as nisthy üta, uderna, vanta etc are said to have buen used in a charming way only nben they are found in he secondary sease Says be Disthyūtodirnavantadt gaunavrttivy apas'rayam atısuodaramaryatra gramakaksām vigībate Il At Il. 254, he says temi prayogamātgesu gaunas rttivy apas'rajah atyantasundarah drstāstadudabrtayo yatbal} He says that at times in chetu alsmkāra' the cause is said to te residing at a place far from that of the effect, or, the effect is described as occurring simultaneously with its cause, or the betu is said to operate after the effect tales place These are actually instances where gaunaytir functions At II 100 samparupa prahehka is defio-d as samaaarufa gaunantharopitairgrathuta padaih | parusa lal sa nastavan atravy utprditas'rulih || Thus, the texture of samăgarupa prabelila is nosed with gaungtiharopita padas, ie, words bavicg a secondary sease, As in Bhimaba, so also in Derdin we do not come across any mentioning of vyanand as such by name However, we come across differeat forms of the root, yit/911a sense of 'to sug. gest'. We also meet with the term 'prattyate' in tbe sease of 'to ·S'abdaofilis-as in the earlier alamkarikas 167 implied'. Thus, Dandin seems to know a lot also of what is called implied sense or prattyan na artha At I 76 Dandin defines the guna called udárala as uikarşavan gunah kas'cit yasmipoukte pratiyate | tadudāra vayam tena sapatbı kavyapaddhatsh || Thus udārata occurs in that sentence, wherein after the expressed meaning is gathered-yasminukte-there is an implica. tion of some high quality This is an Indirect reference to vyanjana, At It 14. upamā is described asyathakatharicit sad;s'yam yatrodbhutam pratıyale upama nima sa tasyah prapatico ya pradars'yale | Thus in upamā, there is an experience of similarity either by abadhā, or laksapā or vyañjapā At II 16 vastopamā is said to be pratıyamanaikadharma lo prativastūpama also (11 46) there is 'sāmyapratili' 19 an implied way We will see lateron that so many varieties of upami bave similarity implied 10 them Atil 65 Dandin says that words such as spardhate, jayatı, dvesti, etc are sadrśyasucakāh or suggestive of similarity At III 136 anujñā aksepa is said to occur where through apparent anujna or acceptance something else is implied Says be ityanujaa mukhenaiva kaotasyaksipyate gatih | maranan sūcayantyarva sonujhaksepa ucyate R Thus there is some element of suggestion involved in this So also, in sirvacapaksepa' (II 142) the Näyıkā suggests her own belplessness (svāvastham sucayaniya) At II 180 vyatıreka is defined as, sabdopatte pratite va sadrs’ye vastuposdrayoh| tatra yadbhedalathagana vyatırekah sa kathyate !

·168 Rasa and Dhani Thus vyatıreka has some touch of an implied similarity II 189 mentions vyatıreka ubich has pratiyamunasadfśya At il 234 Dandin holds utpreksā to be suggested by words such as manye, s'anke, dhruvam etc says he manye sanke dhruvam prâyo punamjtjevamadıbhih ufpreksa vyajyate s'abdairivas'abdo'pi tadrsah Thus it seems that Dandin considers utpreksā to be implied only At il 303 udatta 13 explained Dandin says that in the two allustations (at II 301 and II 302) asayamahatmya and abhy. udayagaurava, are respectively suggested-suvyañjita (Purvatras'ayamahatmyamatrabhyudayagauravam suvyañjitamiti proktamudattadvayamapyadah || At II 350 oidars'ana is said to contain suggestion yadı candramsubbih sprsla dhväntarāji parabhavam sadyo rajaviruddhadām sūcayantı durantatām It Thus there is an indirect reference to vyanjana We will see in greater detail later on that as in Bbāmaba, so also in Dandid we can read a lot of pratiyamāna element in the different alakmāras such as dipaka, samasokti, aprastutaprasamsa, vyājastuti etc. Vamapa Vamapa, in his havyalamkarasūtravrtti very often refers to bhakti laksana' or 'gaunartba' and upacara But he also, does not mention vyanjană He, boncver, seems to touch vyanjana only indirectly At Ill, he say that the word 'Lavya' here stands for word and sense embellished by guna and alamkāra But, by 'bhakti'. through secondary usage, it is taken with reference to s'abdarthamātra or 'word and sense' alone (kavyas'abdoyam gunalamkzt2-sarpskytayoh sabdarthayoh varlare bhaktya tu s'abdartham travacano'tta erhyate (D) ·S'abdaortfis--as in the earlier alamkarikas 169 On lui Vamada says that the word 'arocaki' and 'satrnabbyalabari' are metaphorically used (arocalisatrmabyavabaris'abdau gaunathau) Vamaoa holds that 10 vaidarbh: the presence of all the arthagaunas males for the charm (tasyamarthagunasampadásvadya bbayati) Now this totality of arthagunas by themselves, as it resides so the diction called vardarbhs itself is known by the name of vardarobs 1 11 22 says sa'pi vaidatbbi tatsthyat Vamana then adds sapıyamarthagunasampad vaidarbhityukla tätsthyadityupacaratah vyavabaram dars'ayati Thus, it is used secondarily At II 12 Vămapa considers the fault called 'aeyartha" He holds that when some mcading which is not heard of in the particular sentence is somehow inferred, it makes for the fault of 'neyārtha' The term viz panktivibamgamapamabhrt for "Dasaratba' is an instance in point By 'pankuil is meant 'ten' by "vabangamagama is meant 'cakravaka Ratha or chariot is one that bears the name of 'caravaka' on itself Thus 'panktı aod 'vihangamagamabbrt' means 'Dasaratha This makes for the fault of aeyartha Then, it is argued that if you find atyartha in such ilustrations then the word 'rathin angma* for cakra vaka, used by all poets, also will be an illustration of neyartha To this, Vamada says Da tesāma pirudhalakşanatvat Such words as sraibānganama' for Cakravāka are astaoces of Dirudba jaksana 1e what later alamkarikas call laksana bas-d on rudar or convention 11 1 14, Vamana says that whatever has ad obscene sease as the other sease is asls'la and it is a dosa (asabhyutthattaramasabhyasmrtibetus' caslılam) But, he adds at IL 15 tbat secoodary usage does not fall voder ibis He says, da gupta-laksit asarpvrtani Arlli17, he defipes laksta as laksanıktsabhyam laksitam' ie if the obsence sease is gathered secondarily, it is called "lakşttam and it does not make for the fault of as tla' ·170 Rasa and Dhrani Under IV. 311 7. Vāmaga notes that gaungtha, laksanık. artba can also become an alamkara. He says--yatha ca gaunassalara karatva tathā lūksanikasyapıtı dars'ayitumaba -and be quotes sutra IV. 11, 8 sadrójallaksana vakroktih He says: babūnı hi nibaodbanāni laksanājām tatra sadrs'yallal sana vakroktirasavit: Thus he knows a variety of laksanās but chooses only one based on similarity as the germ for valroktı. The illustration cited is 'janmaphūmih'. Vamana says: tadevasabhyarthantaram līksanikenāsabbyeonheaánvitam padaq Jakartam yatha jaomabhūpih iti. Vāmapa adds that bere this word viz-jaomabhūmnih means the female organ only secondarily and pot by the power of expression-taddbi laksanaya guhyartham na svas'aktya ito He quotes ad illustration in wbich 'uamplada' and 'aimlana' ic. open.ng and closing, which are the qualities of eye are superimposed on kamala and hairava, through similarity, and secondarily mean the blossoming and fading of the respective flowers ('sadrsyāt vikasasamkochau lal sayatah'-). He cites some more illustrations to the same effect and adds : ityevamadtsu laksanartho nirūpiate ili laksa näyámea jbauti arthaprati. paruksamatvam rahasyamacaksata atı The secret of laksans ites in an immediate gathering of the sense He says that laksana based on something else than similatity does not make for voltrokii_asadrsyanıbaadhana tu laksana na vakroleh. In at IV, 19, be defines utpreisā, the source of charm is adhyavasana wbich is neither adhyaropa as 10 case of rūpala, por laksana as in case of vakroltı Says he na punaradhyāropo Jalsans va. At v, 1 15, be discusses the topic of words that can or cannot be used in poetry i e, those that are prayogya or aprajoja He says: (v. 1 15) - lalşanas'abdašca, and adds : laksanāšabdas'ca atıprayuktah prayoklayyāh. Jathi dvirepharodara-sabJau bhramara-cabravakaribau laksanāparau. He adds that: anatı-, rayuktāsca na prajojjb jatha dvikah it. Thus ·S'abdaryllis -as in the earlier alamkarilas 171 Vamada here refers to what is termed as rūdbımala la şapt later on As already noticed by us, Vamana daes oot refer to vyanjana directly But at places, he aotes certain illustrations of 'punsrukta' or reptition, which are actually not "punarktadoşa' according to him He says that such words or such repetitions are charged with further sense This is an acceptance of the implied sense But as to how this implied sease is gathered 15 oot made clear by Vamana 1 e in In It mi 13 he cites certain illustrations Thus says he, "dbanurjyadhvanau dhanuhsrutirgradbel Pratipatyai case of dhapuryadhyanau' ie in case of a sound created by a bow-string, the idea of dhanub' or a bow is already gathered by the term 'ya' or bow-string so, the use of dhanuh' should be termed as reduandant But says Vamana it is not so, because the idea of, 'arohana is not gathered in the absence of the word dhapuh-pa hidbanuh śrutimantarena dhanusyaradha pyă dhapur}}ā all sakyam pratipattum In II u 14 he cites further illustration to the same effectkamavatamsasravanakundalasıtahsekharesu karnadiourdesah sappidheh Thus, in karnayatamsa, karna' is meant oply to help the gatheriog of the idea of 'sapnidhi or jurxtaposition In 11 11 15 Vamana says multaharas'abde muktasabdah suddbeh' ic in the word 'muktabara', the idea of mukts or pearls is already expressed by the bara but the mention. ing of inukta is not more repetition as it brings about the apprehension of purity In the same way, (il » 16) "puspa mala' has puspa, only to bring about the sense of utkarsa' or excellence He adds ukrstaban puspādam mala iti When we come across the use of imala with referense to 'rataa' or 'sabda', as in 'rataamala or sabda walk the usage 1$ said to be a secondary one-sa sävadupacaritasya prayogah Dirupapado bi malăsabdah pusparacadāvisesameva abhidhatte iti in the same way the word 'kari' in kaszkalabba' is not reduncapt as it ·172 Rasa and Dhani brings about the apprebension of "ladrupya* or similarity Vamana says Larıl alabhasabde karısabdah kalabhepaiya gatarthah prayujyate, tadrūpyasya pratıpatyartham iti, Thus, this type of seose is derived un certain usages. Bot whether it can lead us to sabdasaktimula vyañjana or not is not made clear by Vamana In the third adhikarana, second adhyaya, he deals with samadba guna with reference to artha He defiacs it as-arth&- dystih samadhih 2 7 Theo, he classifies artha into vyakta and Suksma at III 2 9 artbo vyaktah saksmasca. In III 2 10, he says that the sūksma is also tho-fold-bhavya or that which can be easily grasped and vasaniya or which can be clicited after close application (suksmo bhayvo vasanayasca (III 2 10), and adds-suksmodudba bhavatı bhavyo vásaniyasca sigh ranitupañagamyo bhavyab elugratáprakarşagamyo vasaniy a it He goes on giving illustrations for the same Now both bhavya and v5sabiya are morc subtle as compared to the vyakta or expressed Out of these two Vasanya 15 more subtle Thus, we come across a clear recognition of the implied sepse without however, any reference to any vitti III 1 15 defines kantiguna as-diptarasatvam kantih The allustration be supplies is purely that of sangara rasa But again, as to how these rasas are to be gathered, is not made clear by him in all these cases, we may feel that Vamana comes close to añjaolusapata Udblata: lo Udbhata we come across some indirect or direct refer ences to all the thsee viltis as below At 60 Udbhala defines vyājastuti asisabdasaktısıabbavena vatra ninderagamyatc vastutastu stutih freşthi tysjastutirasau mala | sabdaşaktı here refers to abbidbivy Tpāta ·173 S'abdacfttis-as in the eartier alamkarikas come At I 11 Udbhata defines rūpaka as, Śrutyt sambandhavirabadyatpadena pandántaram, gudavrttipadbanena yujyate rūpakam tu tat 11 Thus, we come across a reference to both abhidha and gunavýttı, as is explained by Pratıbārendurāja (approximately, - the first half of the 10th cen AD De. P 74 ) who says šrutih dirantararthanistbah sabdavyapărah tayī srutya aaupapadyamgnapadantarasambandham sat padāntaramgunavpitih yatraparena padena yujyate tatra tupakata At II 47 Udbhata defines paryayokta whereila we across a reference to both abhidhā and avagamana The defini. tion ruos as paryayoktam yadanyena prakārenabhidhyate Vācyavāca kavrttıbhyim sunyenāvagamatmanā !! Vacakavrttı is abhidba and avagamana may be vyanjana. The commentators viz Pratibarendurāja, the author of Laghu. vptti and the Vivrtıkāra, identified as Rājānaka Tilaka by the editor, explain the defjortion of paryāyokta as follows Pratıbārendurājy explains -vācakasya abhidayakasya svasabdasya vyttih Vyaparo vacyarthapratyāyanam vacyasya tvabhı. dheyasya vyapāro vacyantarena sahakanksāsannidhiyos mahatmyatsamsargagamanam yogyatā evamvidhasca yo vacyavācaka. yorvyaparatamanrarenāpı prakarıntarena arthasāmartbyatmadā avagamasvabhāvena yadavagamyatetat paryāyena svakan. thanabhibitamapi sāntarena sabdavyaparenavagamyamadatvāt paryāyoktam vastų Vyvrtikāra also explains as vācakavrttırabhıdbā, vacyavrttih akānsasaonidhiyogyatayasat samsargagamapam tabhyam vidā arthasamarthyātmanā avagamasvabbavena ya pratipadyate tat paryayenanyena rupena abbidhanam iti parāyoktam ayagama. vyāpārena katbamabhidbāgamiti cet paryayoktatvamaprastutaprasamsavyakhyāne vaksyāmah ·174 Rasa and Dhrni Thus according to the commentors, Udbhata here seems to refer to vacakavrtti, ie abhidhā, Vācyavrtti or tatparya and avaga mana te possibly vyanjana Rudrata SO OD In Rudraia, we do not come across any direct reference to abhidha However, at VI 3, he difines "asamartha', a fault, as "padamidamasamartham syādvācalamarthasya oa ca valtum | tam sakaoti tirobitatatsamarthyam nimittena il "asamartha' occurs when a particular word, which is normally expressive of a particular sense, becomes sacapable of doing account of its power of expression being eclipsed by some other factors Herein, we may read an ind rect reference to abhidhā In Vi 5 and 6, in the same context, Rudraia describes another variety of asamartha whore in a particular meaning, thougă normal to a particular word and yet not usually read from it, is read, eg whan in the sense of 'going' VI 6 says that - sabdapravyttibetau satyamapyasamartbameva rudbibalat yaogikamarthavıs'esam padam yatba vārdhan jalabbrt 11 ie "asamartha' also happops when ordinarily a word is capable of conveying a sense on the strength of etymology but is rendere incapable to convey it on account of rudhi or usage eg jalabhrt cannot be used for varidhi The maxim 115, rūdbiryogadbaliyası seems to be known to Rudrala also and he thus laons & varity of abhidhartha In VI.11, he defines apratita, a fault, as, yuktsā vakti tamartham ca ca rūdham yatra yadabhidhënataya dvedha tadaprytitam sams'ayavadasams'azam ca padam 11 Thus, Rudraia meations abhidhiaataya fudbamartham ie a meaning fixed by the poner of abhidhi VI 12 gives an ·S'abdarliis-as in the earties alamkarilas 175 illustration of apratita involving doubt og himaha etc VI. 13. gives an illustration of apratutadosa baving no doubt asams' ayam-eg as'vayosiomukhārcisman for vadavādala Rudraia says that here this particular word is used for the normally used yaugıla or rūdba words. Here again we come across a reference to yaugika and rūdba s'abdas, which may lead to abhidha (padamaparamapratitam yadyavgikarūdhas'abdaparyāyazh kalpitamarthe tasminjathas'vayosiomukbārcışman || 1v 13 ) At VII 1, also Rudrata seems to refer to abhıdbartha very clearly when he says artbah punarabhsdbāvā pravastate Jasya vacakah s'abdah tasya bhavant dravyam gunah karya jātirits bhedā) }} We do not come across any reference to gunavšta or lak. sana in Rudrata except at VII. 58 and here too indirectly, when he illustrates viparita anumana The anumāna is said to be vsparita because the sadhya is described as following the sadh akas! The illustration cited 15 : vacanamupacaragarbham dūšādudgamapamasanam sakalamı idamadya wayı tatha te yathāsí ounam pilje kupitaj Heren 'vacana' is said to be 'upacāragarbba' Thus, Ibere is an indirect mention of 'upacara' At VII 38, Rudraja defines bhava as : yasya vikarah prabhavannapratibaddbena hetuna yepa! gamayati tadabhiprāyam tatpratibandbam ca bhavosauf The illustration is grāmatarudam tarunyā navavanjulamanjarisanathakaram pas'yantyā bhavatı muhuritarām malıdā mukbacchāya !! Namisadbu explains that the bhāva of the lady is manifested here This is a case of an implied sense.

·178 Rese and Dhani vyakhyātumbbaltodbhato babhāşe-sabdādāmablidhanamabhidhavyāpāro mukhyo gunayttisca iti. Vámano'pi sadrs's yallaksana yakroklih jtiDanakspris Iti, tajstavad dbyadidigunmilita yathalıkbitapātbakaistu svarūpavivekam kartumasaknuvadbblh tatsvarūpaviseko na krtah, pratyutopalabhyate, abbagnanānikelavat yatbās'rota tadgrantbodgrahanamatrena it. (Locana) Ruyyata, in the beginning of his work alamkarasarvasva says, iha bi tavad bhamabodbhataprabbrtayas'cirantanalapkarakarah pratiyamāgamartham vacyopaskaritayalamkarapaksabr- Kriptamp manyante, tathāhi paryāyokta prastutapras'aqasāsamasoktyāksepavyājastutyupameyopamānanvayadau vastumatram gamyamaoam vācyo paskārakatveda, "svasidhaye parakseph parartham svasamarpanam" yathayogam dvivdhayā bhangyā pratipaditam taib rudraleDapı bbavalankāro dudhaivoktah, rupakadipakapaboutituly ayogutadāvupamalamkaro vacyopa kiritvenoktah. Tasavatpreyaur gasviprabbştau tu rasabbávadırvadyas'obhabetutvenoktā) urpreksă tu svayameva pratiyamānā kathrtā, taditthamp trividhamapı pratsyamānamalamkaratasā prakbyapıtameva, vamadega tu sadrs'yanıbaadhanayā laksanaya sakrokty alamkaratyam bruvatā kas'cid dhvanıbhedoʻlamkaratayaivoktah So atso, Jaganpatha in his Rasagangadhara (pp. 555) says : adam tu bodhyam, dhvanılārātpracoairbbamahodbhatapra. bbrlibhih svagrantbesu kutrāp: dhvanigunibhātavyangyadıs'abda na prayuktāh iti elavataiva tardbyang adayo na svikriyante ityadhunilanām vācoyuktıraz uktaiva, yatah samasoktivy Ijastutyaprastutapras'aqsadyalamkaranirūpane kiyanto'pi gunle bbutavyadgyabbedasta)capi ditūpitäh .aparas'ca sarop vykasyaprapancahparyāyokiakuksau diksiptah na hyaqubhavasıddhostbo balenapyapabootum s'akyate dhyabyadipadalh param vyavabato pa kştah tena da byetāvatāngssikaro bhavatı ·Pranyamānartha or implied sense in the .. 179 But here, we might demur The presence of vyanjanā or suggested sense can be traced in all poetry beginning from the Rv It is, however, quite a different thing to discover 10 poets and critics any conscious understanding of vyanjana So, the discussion that follows, of the alamkäras and gunas in which vyañjanā seems to be subsumed, should not be taken as proof that the idea of vyanjana or dhvaat had dawoed upon the minds of Bhāmaha, Dandıo etc They might or might not have had the understanding of vyanjana distinct function of a word as a Bhāpaba We will begin with Bhānaha la II 85 Bhamaha's geaeral outlook towards all the alamkāras becomes evident when be says, saisā sarvaiva vakroktih, anayārtho vibhavyate | yatoo 'syām kavigā kāryah, ko'lamkāco'nayā vida || Thus for Bbāmaha, atıs'ayoktı or vakrokti lics at the root of all the alamkāras, ie it is implied in all the alapkāras fo one way or the other. At 1 30 also, Bhāmaha asserts that this vakrokti should be present in all poetry. wberber #be a mahākavya or just a stanza Says Bbāmha adibaddbam punargatha s'lokamatradi tatpuoah | yuktam vakrasvabbavoktya sarvanevaitadissate !! Thus vakroktiis omnipresent for Bhamaha In 1 34, BbJmaba is even prepared to reject the so called vardarbha kavya, ir st is bereſt of the element of yakrokti 1 34—apvştartham avakrolti prasangam Fju komalam bblooam geyamivedam tu kevalam s'rutipes alama ! Bbamaba very clearly affirms the use of only 'sakra' word and sense la poetry when he says at I 36 thatna otantadlm strena jiyate ciruta giram vakrabhidheyas'abdoktırıştā vacımalampkitih .

·180 Rasa and Dhrani Thus Nord and sense, charged with the element of yakrats alone make for poetry Parallelisme between Bhamaha and Dandın It will be interesting to note racidentally, that Dandın also, like Dhamaha, holds that atis'ay oktı is at the root of all olber figures of sense II 214 defines ats'ayokti as, vivalsa ya vis esasya lokasimālivartini asavatis ayoktih syadalamkarottama yatha || Thus atıs'ayokti, the best of alarpláras, consists of a statement which tends to describe the matter in hand in an upcommon way II 215 cites en illustration in which ladies who are secretly going to meet their lovers, are described as non-descerable in the moonlight on account of their putting on garlands of mathka fowers and silk garments and having their bodies besmeared with sendal paste [ 216 says that in the above illustration there is an implied hyperbolic description of the excellence of the moon-light-capdrātapasya bubulyam uktamutkarsavattaya In II 217, there is an element of doubt implied This doubt, however, is not genuine but abarya (Dandid says IJ 216b sas'mayatıs'ay Tdioam vyakıyaz lincianidars'sate,) At II 219 the three worlds are described as enormously big enough to contain the glory of a King which is boundless The idea of the praise of a king is only implied At 11 220 Dandin says that this figure is the essence of all other figures of speech and that this sort of an expression is praised by all the masters of speech-says he, alaplatántaranımapychamábuh parasanam, vāggs'amabitāmultimimāmatıs'ay Thyayın !

·Pratiyamanartha or implied sense in the... 181 ID Thus both Bhämaha and Dandin seem to have an identical attitude towards alamkāras in the sense that both of them to have been struck pot by the mere outward form of any alamkāra as such, but by something else that lies at the root of all the alamkāras This element, they term as vakrokti or atıs'ayoklı, We will find the element of avagamapa or pratiyamāpatā ie. mphed sense some of the figures described by tbem It may be noted here incidentally, that 11 JS 10 ibus element of implied sepse sbat the charm or camatkara of the particular alamkasa ljes Bhämaha's Treatment of the Arthalamkāras Now, we proceed wib Bhāmaha's treatment of the figures of sense, Bhāmaba begins with rupaka Rupaka occurs when in consideration of the similarity in qualities, the upameya is identified with the upamana (II 22) Tbus, it is clear that the idea of similarity is implied in ropaka, that is to say, upamā is implied D Tõpaka At II 24 Bbamaba describes ekades asuvarti supaka and it is already clear tbat this involves some implied element II 25 describes Dipaka AS Ihree-fold The ele epl of upamā 15 implied in all the valenes of dipaka es illustrated by Bhāmaba (II, 27, 28, 29) as follows samänavastubyāsega prativastupamocyate! yatbevocabhrdbage'pi gunasamyapralniah !! (Kavyalamkara II 34) Thus, these is prativastupamā when, even in the abscose of words such as Jatha, va, etc which are directly expressive of upama, we have the apprehension of the similarity of qualities. So, 10 ibis figure also, the idea of similarity seems 1o be implied only At 11 68 aksepa is defined as, -pratisedba ini eşlasya jo vis'esabbidhitsaya ! aksepa žti tam santah sapsanti dvividham yatba | ·182 Rasa and Dhyani Aksepa occurs when tbere is an apparent denial only with a view to convey some furiber sepse-vis'esābhidhitsaya. Thus, the additional sense is implied only II 75 defines vyatireka as, upamā pavato'rtbasya yadyıs'esanidars'anam vyatirekam tamicchantt vis esāpadadad; atba || Thus vyatıreka has also an element of similarity implied in it In the same way in vibbāvana, karanantarakalpana is always implied (If 77, 78) II 80 defines samasokti as, yatrokte gamyate’nyo'rtbastatsamaqavis'esanaih | sã sa masoktiruddistä samaksiptartbatayā yatha 11 Samsokti occurs when on the narration of a particular sense, another sense having similar qualities is implied There is a clear recognition of an implied seose here After defining atrayelt at II 81, Bhamaba, as noted carlier, wants it to remain present in all the alamkaras The poets should be vigilant in bringing forth this element in Lavya as such Anytbing bereft of this element of atıs'aya is only Vārta or a bare statement of fact and is no poetry Thus Bhamaba rejects hetu, sakyma, and les'a as they bave no element of vakrokti 10 ihem II 86-betus'ca suksmo les o iba nalamkärataya matah samudayābhidbānasja vakroktyanabhidhipatah II 91 defines utpreksă as, avivaksitas māyā kinciccofamayā saba atadgunakriyayogadutpreisātıs'ayānvita il Thus utpreksı bas po sananya 1 e idea of similarity as its purport, 1e, utpreksa centres round sambhavana or proba. blity, and not mere similarity or sadrs'ya But, it has agaro some element of upama, ie similarity is only implied in utpreksa the upameya is said to possess such quality or action that normally does not go with it Thus, it has an element of atifaya Implied in it At 11 50 also Bbamaha cicarly recognises ·Prantyamanartha or implied sense in the 183 an element of alıs'aya involved in both upama and vipreksā. Says heyas'cātıs'ayavānartbah katham so'sambhavo matah | istam câtıs'ayārthatvam upamotpteksayoryatha il In the third chapter, Bbamaha begins his treatment with the alam karas such as preyas, rasavat and arjasvi We will discuss the case of these alaqkātas when we deal with the treatment of rasa in earlier alamkarikas 12 a separate chapter later on. Bbamaha defides paryayokta at iti 8 -as, paryayokiam yadanyena prakarenādhidhtyate, and illustrates it at III 9 Bbāmaba bodds (III 9) tbat the idea of avoiding the possible intake of poison is impled 11 Krsna's speech who words it differently Thus paryayokra has an element of implied sense. Bhamaha does not define the figure called udarta (Ill. 11-12), but it follows very clearly that the idea of Isayamabattva or vibhutimabattva is only implled Bhimaba has a totally novel codnotation of slesa (III 14) which occurs when there is realisation of identity of the upamcya with the vpamana through a guna or quality, kriya or action or, proper noup 1 e, dāmgā It differs from the rūpata is thus respect that in rapaka there is a clear meation of both the upameya and the upamane :D different terms (III 15). Thus, an element of similarity is implied in śleșa also. III 21 defides apabputi as, apahoutırabhışta ca klacidantargatopams! bbplārthapabpavadasyah Ariyate cabhidha yatha || Thus it was upana which is implied IU, 23 defiacs viścsokti as, ckades&sya vigane ya funzntarasamstbltih višeşaprathadgyasau vis'eşoktirmata yathu ji The added sense, VIL, that of karanjgtarakalpana is always implied ·184 Rasa and Dhrani In the same way tolyayogita (11127) has an clement of similarity implied in it It occurs when it order to suggest some similarity qualities, in case of two objects, one of which is smaller 10 status, both are barrated as being conrected through an identical action III 27-nyūnasyāpi visºstena gunasāmyavivaksasya | tulyakaryakriyājogāt ityuktā tulyayogită 11 III 29 defines aprāstutaprasapsă, wherein there is mention of a matter not in band implying the matter in hand III 29-adhikärādapetasya vastuno'nyasya ya stutih! aprastutapras amseti sa caivan katby ate yatba || Vyājastuti (III 31) has apparent ceasure and implied praise. It is defined as duradhikagunastotravyapades'ena tulyatām kincidvidhitsoryā niodā vyājastutirasau yatha || Nidars'aca has also implied similarly, because in it, without the use of yatha, 'va, etc, through action only, some idea is expressed III 34 defiacs pidarsada as, -Kriyayaiva vis' istasya fadartbasyopadars'anat 1 jneyā Didars'adā Dāma yathevavatıbbırvida | In upameyopamā (111 37), the idea of the elimination of any tbird smlar object, ie trtiyasadss'avyavaccbeda is implied lo saboktı also (III 39) there is implied similarity Sasamdeha is defined at Ii 43 as, upamāpena tattvam ca bhedam ca vadatah punah | sasamdebam vacah stutyai sasamdebam viduryatha || Thus, the idea of the praise of upameya is implied only. TII. 45 dcfipes ananvaya yatra tepalva tasya syadupamadopameyata asadys'javivaksātah tamiyaburananvayam Adanvaya occurs a ben a thing is compared with one's own self, in order to suggest that it is beyond comparison, ·Prariyamanartha or Implied sense in the 185 that is to say, it is uorivailed The idea of asadrs'yavivaksā is implied only III 47 defines utpreksāvayava having in itself the use of double-meading words and an element of both utpreksa and rupaka. The idea of similarity between upameya and upamana is necessarily implied III 53-54-define bbavikatva which is a guna with relereace to a whole composition in which past and future events look as if they are present, and which rests oa a macaging that is charming, elevated and uncommon and a narrative that 18 capable of beiog effectively staged and wherein the expression is not involved The definition ruas as JI), 53-54-bhāvikatvamit prabuh prabandhavişayam gunam! pratyaksā iva drašyante yatrārtha bhūtabhāvinah cifrodattadbhutārtbatyam katbāyāh svabbiostata 11 s'abdabākulata ceti tasya belum pracaksate it Thus, bbavika is by itself of the nature of implied only as it rests on a whole composition Daddin Is sasa Dandıo defines madbura guna at 1 51-52 as a statement which is gifted with rasa or scatimeat sod also when there with reference to the object of vastu described. Dandin says that such a composition, padasaluh, as bas words that look similar when heard also are capable of convey. ing rasa. 1. S1-52-madburarp rasavadvacı vastudyapi rasasthitsh yoba mxdyadh obimanto matbuneva madhuvratah | yaya kapacits'rutya yat saminamanubbūyate radrapa ki pedasa!ıl} sznuPSSI sasayaba In the Ulustration vis. (1 53) eşa ran yed: lakşmi pripisyun brabmanapriyah tada pradbytı dharmasya lolesmipoutsavo'bhavat x ·186 Rasa and Dhrani It nourishes the emotion with reference to a religious king. Thus mädhurya has a lot of implied sense. In I, 62, after explaining madhurya guna in s'abda or word, Dandin proceeds to explain it with refereace to artha as iodi. cated by the words. Vastunyapi rasasthitih. Dandın says that though all the alamkaras make for rasa in sense, it is agrā. myatā or the absence of vulgarity ie. the arthagata madhurya, which carries this burden to a greater extent. Dandin says (1.62): kamam sarvopyalamkāro rasamarth cnisincati 1 tathāpyagramyataivainam bharap vabatı bhūyasa 1 Dandın further says I. 63-64 that such statements as, kanye kamayamānam mäq na tvam kāmayase katham-are vulgar and make for the detriment of rasa Says he, att grāmyoyamarthātmā vairasyāya prakalpatel He observes that if the same statement is modified as, kamam kandarpacandalo mayı vāmākşi pirdayah tvaynirmatsaro distyetyagramyortho rasavah !! It becomes charged with rasa and is free from vulgar sense. This madhurya is full of implied sense. Dandın defides udāra guna at I. 76. as, utkarşavan gunah kas'cid yasmingukte pratiyate tadudārāhvayam tena sapatba kavyabapdhatih 11 Thus, udara guna consists of a statement which is expressed for the implication of some lofty quality; and poetry is highly dependent on it. The illustration cited is, (I. 77). artbınām kļpanā destib tvomukhe patlig sakrt | tadavastha punardeva nadyasya mukhamikșate Dandin adds (I. 78) that in the illustration cited as above, the excess of generosity is clearly indicated_iti tyagasya vaky smia utkarsah sadhu lakşyate, 1 79 explains another variety of udara which consists of significant adjectives such as Islamabhuja, kridasara, bemärgada, ·Pratiyamanārtha or implied sense in the 187 etc Hese also, the idea of opulence is implied 1 79-slaghyairvis'esanairyuktam udāram kais'cldisyate yatba lilambhujakndasarohemāngadadayah || I 85 defides kānti guna as, kadtam sarvajagatkāptam laukihartbānatikramāt tacca vastabbidhadesu Yananasvapi drs'yate | Kanta occurs when there is an absence of hyperbole ie. when things are described in a normally charming fashion and is seen both in conveying facts or in the description of objects, and is liked by all Thus, kanti guna has a natural mode of expression and thereby imphes a world of ideas as is illustrated at I 86-87 as, grhani nama tanyeva taporas'ırbhavād;s'ah | sambhavayadı yadyeva pavanaih padapānasubhih !! and also anayorapavadyāngi stanayorjrmbhamānayoh 1 avakas'o na paryāptah tava bābulatāntare il Io the first illustration, the praise-worthiness of the house is implied and in the second, feeling or love with reference to the heroine is implied Ja samadbi guna, according to Dandin (1 93), there is superimposition of somebody else's quality on something else This is a clear 18stance of laksana based on similarity which is implied 1 93 says, anyadharmastato' nyalra lokasītāpurodbing sannyagadbiyate yatra as samadbih smrto yatba || I 94 is given as an illustration in pointkumudiat Braglantı kamalapyvomisanti ca iti petraknyadbyasallabdha tadvaciat śrtih 11 Dandın then adds that words such as plstbyuta, udgimna, vaata etc convey a charming sease wben used metapbonically.

·188 Rasa and Dhani If they are used in the direct sense, tbey turn out to be vulgar Thus even here, we have a touch of an implied seose 1 95 says Disthyütodgirnayastad, gavnavrttivy apas'rayam atisundaramanyatra grāmakaksām vigabate ji This saroadki guna, says Dandio is the quibt essence of poetry and is resorted to by all poets I 99-taderat kavyasarvast ars samadhirnāma yo gunah / kavisartbah samagro pi 18megamapugaccbats 11 Thus, in his treatment of gubas Dandio scems to cover implied sease lo his treatment of the figures of sease re arthalamkaras also, he seems to have incorporated implied sease We have already noted earlier bis general attitude towards alamkaras We will not discuss all the alamkāras such as rupaka, dipaka, apabnuti, vyājastuti, aprastutaprasamsa, fulyasogita, paryayoktam, aksepa, etc, which have implied element as explained earlier when we dealt with Bhamaba But, Dandın has given a good many varieties of upama and almost all of them contain an implied sease Dandın defines upama at II 14 as, yathakathañcil sadrs'yan yatrodbbūtam pratiyate upama nama sā (asyāh prapanco yam pradars'yate 11 Thus, upama occurs when similarity is gathered in anyway yathakathancit-ie 10 a directly expressed fashion or an implied way Most of the sarieties of upaux as explaiocd by Dandin bave implied similarity Thus, vastūpamā (II 16) has the common quality implied only (pratiyamanaikadbaſma) Viparyasopama has upamāna in place of upameya and vice versa. Thus i toplies the superiority of the upameya (11.17) Anyonyopamı (II 19) is the same as vpanejopam, having the idea of třtiyasadrasa -vyavacheda-or climjoation of a third possible similar object-as implied oply Niyamopamā (119) has the idea of restriction implied a ben the face is described as similar to the lotus alone ·Pratiyamanartha or implied sense in the 189 It 23 gives In atrs ayopamā also (II 22}, in the absence of any upamavācaka, the similarity is only implied utpreksitopama and bas ao element of utpreksa imphed in it Adbbutopamă (II 24) which is the same as what later alam Karikas recognie as yadyartbatıs ayoktı has implied similarity Mobopama (Il 25) bas moha or bhrānti implied Sarns ayopama (IT 26) is the same as sasamdeha of tbe later alamkarikas baving implied similarity Nirnayopama (Il 27) 18 wbat Visvanatba recognises as nis'cayalamkara baviog implied comparison II 30 gives diodopama which has the same quality of implied sease Similat is the case with pras am opama (Il 31), acıkbyasopamā (II 32) virodhopará (11 33 pratised bopama (II 34) calupamā (II 35) rattvalbyānopama (11 36) asadba ranopama (11 37) asambhavitopama (11 39) babupama (II 40), vikriyopama (11 41) etc etc Prativastupama (II 46) 1s-astukın cidupanyassa nyasanat tatsadharmanah samyapratitirastiti prativastupama yatha || There is implied comparson between the statements Tulsayogopamā (II 48) also has the same charın of implied sense Thus we see that in Dandia also, there is recogauion of pratiyamaga or implied sease Vamapa For Vamapa the position is all the more clear for be recogQises upama as the basis of all the alamkaras and all the rest are formed by him as upamaprapanca His kaatiguda is defined as diptarasatvam-se one in which rasas are aroused This clearly bears the stamp of an 10plied sense His samadby is defped as artbadſstih se a perception of the sease (III 27) Vimana goes on classifying artba as vyabia and sukşma[111 29) and the latter again as dbávya or that which is elicited castly and visansya or that which is clicited only after coocentration ·190 Rasa and Dhvani (III. 2.10). The illustrations of both these varieties contain an Implied sense. Udbhata Udbhata in his K.SS. practically follows the same pattern as laid down by Bhamaha and seems to incorporate the elment of implied sense in the same way as seen in Bhāmaha Pratibārendurāja (first half of the 10 cen. A.D. De, P. 74. ibid) wants us to believe that Udbhata has knowingly incorporated dhvani under alamkaras when he says: -kais'cit sabşdayash dhyanirdāma vyanjakatvabhedatma kavya. dharmo'bhihitah 1 sa kasmadıba nopadislah ? ucyate, cşvevālamkāresvantarbbavat il Radrata Rudrata also can be safely imagined to have touched the element of implied sense with reference to all the alamkaras such as tupaka, dipaka, paryayokta etc. He defines and illustrates the two-fold bbava also in VII. 38-41, which contains an implied sense. He has an elaborate treatment of rasa but is silent about any theoretical discussion of rasa-realisation, ·PART II CHAPTER VII THE ORIGIN AND DEVELOPMEOT OF RASA IN SANSKRIT POETICS (I) Rasa in (i) The Vedas (ii) The Nirakta and (iii) Bịhaddevatā Rasa' in the Vedas Rasa is a word of frequent occurrence o Vedic and clas. sical sanskrit literature (1). It is well-known that rasa is derived from the gras which occurs 10 the pinioiya dhatupatba and is explained as having the senses of 'to make sound' to taste' and to be oily; (ras sabde (banydi), and rasa isvadanasac. banayoh (curadi).) The root yras bas tous three different meanings. la the first sense it is associated with the river res. according to Yaska (Nírukta, 11.25-rasi nadi bbavati, rasich šabda. karmanah). The kord rast is used as a game of a particular river or sometimes a river in general. Onc may say that here too the word may be connected to the sease of being liquid. Rasa in the sense of something liquid is associated with many tbiogs like juice or the sap of plants of the milk of the cow or the virile semea of the body cta la fact we fiad lexicons giving all these various meanings, Amark for example says: rupam sabdo gandbarasaspars'accavişaya ami. (line 291, and also smagtradau vięc virje gune rige drie rasah. (line 2789) ·192 Rasa and Dhant and also the six fold tastes (line 295) Hemacandra adds the following seases grhe, dhātau ie humours of the body, pārade 1 e mercury, premni, bhave, atmaps, and also 10 the sense of sukha Thus the word rasa has a very interesting semantic history We are here interested in finding out how the physical sense of the word gets transmuted into the experience of aestherc pleasure or the flavour of a sentiment or emotion [to the Vedic samaitās, as we shall see below, we find not only the physical sense of something liquid but also the liquid (drava) or the sap that is 10 plants, animals etc, and also the juice that can be pressed out or extracted in the later sense of the word kavyarasa or paiyarasa, we do not find any clear reference But 10 ope context, we do find associated with things literary) Let us therefore, take a summary view of the different meanings of 1952, first 12 the redic samphitas 10 In the Ry the word occurs for about fifty-one times Rasa occurs for about eleven times The Yv bas Dineteen and (wo occurrences of the words rasa and rasa respectively The Av bas about thirty eight occurrences (1). In the later sam. hitas some of the mantras are repeated from the Ry Rass is used for a river, at times a particular river, or a flow in general At Ry. VIII 492 Valakbilya sukta) we have rasab cxplained by the commentator as Jalanı'. Waters are termed as the casas of mountains Here, ne see that the waters of the springs that flow fron the mountains are regarded as the sap of the mountains which is extracted from them by Indra and becomes water Tbe mantra runs as sataotleva pra jigati dhuşuyt bantı vxtra'ni dásuşe ) giretiva pra rasa' plovire datrını pusubhojasah Thus, we bave the double sease of the extracted sap and water ·The Origin and Development of Rasa in... 193 AtYy, 9. 3-we have apāņ rasah and also apām rasasya yo rasah These are explained by both Uvata and Mabıdhara as vayu and prajapati respectively. We may add that here the word rasa seems to carry the sease of essence of soul and consequently the presidiog deity. The mantra reads as below: apă'm rasamudvayasam sū'rye såntam sams'hitan | apām rásasya yo rasastám vo ghnämyuttamámupayāma grhrósíndrāya tvä jústam grhnamyesá te ysaurindrāya tva juştatamam ! The same sense is repeated at Yv 19 44, 20 22 and 31.17. Then, thirdly, se bave rasa in the sense of the rasa of berbs. This may be io form of an extracted juice as lo casc of some, or may be just sap sa the some plant In the IX mandala of the Rv., it is mostly to be seen in these senses eg at Rv. IX 66-- tám gobhisvr'sanom rásasp madaya devavštaye ! sułám bbarðya sám spja }} (rasa is extracted juice), ; and also RV, IX, 23. 5. -so'mo arșati dharnasírdadhana indriyam rasám | suy'ro abhis'astipa'b !) 'rasa' means 'sap'. Fourthly we have rasa is the sense of the tastes. Rv. 1. 187. 4, 5 bare frasah' explained by Sayana as the six tastes such as, sweet, sour, etc. Rasah i e, tastes lateron become ip the dars'adas the sense-quality of taste. Ry. I, 187, 4 is tava tyo pito rasa rajomsya au vi'şthitäh. I divul va'ta iva s'ata'hi So also Yv. 39.4 kas ras& ia the same sease and is crplalaed by Meardhara as 'svadutvata, Yv, 39.6-is, R. 13.

·194 Rasa and Dhani mábasah ka mama kulim Vacaḥ satyamas jya / pas ai dám fupáma opasya ra so yásah śnh s rayatamna yı sva'ba Fiftbly, we have rasa with reference to the animals such as a cow borse etc With reference to the cow it means milk as at Ry I 37 5 which runs as pra saqsa gosvaghnyam krilam yacchardho marutam jambbe rasasya yavrdhe rasasyagoksirarupasya (Sayana) At Rv VII 104 10'We have rasa with reference to food, horses cows and body Now what exactly is the meaning of resa in all these cases is not made clear by Sayana, but it may mcan essence The mantra runs as yo no rasan d psati pitvo agoe yo as'vanam yo gavau yastanu nam Tipu h stenah steyaks ddabhrametu nj sa hyyatām tanya ta na call Rasa of the serpants obviously means poison as at Av Y 132 and 3 At V 13 2 is, yát te ápodakam visarp tát te eta svagrabham! ghna mi té madhyamamuttamam fasamuta vamám bhıyása nes ada du tell Av IV 27 3 bas rasa of the horse It is explained as speed of the horse by the commentator Th s also may be the sense lo Ry VII 104 1D as quoted above Sıthly, we bave rasa of ibe buman body as seen in Ry VII 104 10 above Rv I 105 2 has rasa in the sense of virale semen It runs as árthamıdva u artbına a jāya yuvate patim tuaja te yr snyam payah parida ya rasam dube vittám me asya rodası 11 We also come across occurrences in which 'rasa appears as an independent cotity cg rasah, used to plural, means tastes ·The Ongın and Development of Rasa in 195 as explained by Sayana (Ry I 187 4 and 5, see above) la the Yajurveda also, one occurrence is noteworthy Yv 189 reads as below Grk ca me sunr tā ca me payas'ca me rasas'ca me ghrtam ca me madhu ca me sågdbis'ca we såpıtıs'ca me krsis ca me ja tram ca me au dbbidyam ca me yajñena kalpantam In the above quoted modtra, several things are asked for through sacrifice The occurrence of rasah between 'payah and 'gytam may sigoify the juice of something edible or drink able Here, it may be noted bowever, ibat rasa is mentioned by itself and not as of something It may also be noted that ft figures along with utj suprta, and payas, wherein urja may mean strength or vigour either of speech or body Sunrta may mean the sweet and true specch and payas may mean any fluid or juice or vita) spirit, power etc In this context sasa may also be taken 10 a similar connotation as the best or finest or prime part of anytbing, essence, etc It might also mean taste or charm, pleasure delight Av x 8 44 bas "raseda trpiah' This is a mystic hymn and rasa may mean the essence of the universe The mantra runs asakamo dbi te amir tah svayambhu rásega trpto na ku tas' cano pah táme váyıdvan na bibbaya mrtyórátma nam dhi ramajáram yuvadam Here it may be noted that the sense of satisfaction or fulllment or even ecstasy is associated with rasa rasa as causiog fulfilment or joy The esgbth interesting use of rasa 15 seen at Rv IX 67 31 and 32 which run as below yáh pavabadicadkyetyr sibhih sámbbrtam rásam! sárvam sa putamas'nats svadttám matarısvana il qad also pāvanaf tyo adhyetyr sibbih sámbbrtam sásam tasmai Sarasvati duhe ksiram sarpitádhudakám kl ·196 Rasa and Dhrani Sayana explains rasam as vedarasabhūtam saram sūktasamgham in the first quotation, and as vedasaram suktasamgban in the next one. This is applied to the pavamzot sūktas which are studied by the rsts. It is possible bere to see a meaning similar to the later meaning ja kāvgarasa i.e. essence causing joy. Lastly, it will be interesting to note which feelings are associated with rasa. Usually we come across the qualities of exhilaration, joy-giviog, taste, flavour etc. Rv. IX. 66 as quoted above speaks of the quality of exhilaration caused by rasa-madāya' Rv IX 97 14 has, rasa'yyah payasa pinvamānā iráyandesi madhumatamamsu'm pavamanah santanímesi kịnyánnídrāya soma parisicyámādah 11 rasayyah is asyadyah s.c. tasteful, baving flavour etc. The same context associates rasa as causiug joy, exhitaration, ecstasy or intoxication. Thus rasa is said to be 'madirah at Ry IX 96, 21-as below. pavasvendo pávamädo máhobbih kánikradatpári va'rãnyarsa | krt'lañcamvora' yıs'a payámāca indram te raso mnadiro mamattu tt CTbus in the Vedas, we get rasa not only in the physical sense but we find the qualities of joy-giving, tastefulness cxhilaration, being the essence of the vedas, being the essence of the universe, etc. also attached to rasa Thus rasa in the vedas becomes an object of relish, a joy-giving essence. These Seoses make it very easy for the aesthetes to utilise the word for the aesthetic flavour of sentiments and emotions as found - in literature.]

·197 The Origin and Desclopment of Rasa in in Here we may refer to that famous verse of the Na sa (Ch 1 vs 17) whose purpose is to show relationship of the natyayeda with the other vedas and thereby give it vedic prestige Taken in this light one may not bother oneself with finding any real basis for the statement The verse runs as below jagraha pathyan rgvedad sämabhyo gitameia ca 1 ajurvedadabbinayan Tasavatharvanadap: (NS I 17) It is however, possible to find some connection with th vedas without streaching the meaning too far eg the mator of the Ry are essentially pathya re recitable This accords to Abhinavaguptapada is due to the trisvara character (1 udatta anudatta and svarita) of the ngvedic mantras Ti point has been elaborated by Bharata in the chapters vagabhinaya (CH XVI GOS Ed) The relation of with the samans of the samaveda Is obvious Yv is Abhinava says adhvaryakarmapradhana 10 the Yv activities of the adhvaryu such movement towards right etc are predominant Essentially the movements of different parts of the body bave a particular sigolficanc the different filual activities So the abhinayas are re to the Yv As to the relation of the rasas with the hy of the Av do not find any obvious relationsbip text of the abhinavabbāratı on this point, wh ch is quoti below is not quite clear It runs as atharvanavede tu sai maranadıkarmasu natasyeva tasyartvijah prastudavaisunad bhavanām prajás atrprabbștınavadbanagrahanadına lohito: dernepathyasya tesu tesu ca karmasu vis ista prayatnapuru: padybänd vastambba tmanah sattvasya sambbavat tato t anāmagrabanam vacikastvabhinayah purvamevoktah: ābyavibhavānām dhștipramodadivyabhıcātinām ca parar satám samaharanam praldhānamiti vibhavadisāmagriraç makacarvanāsambhavah iti tatastadgrahanamuktamiti (A Na sa I 17 GOS Ed II) as we ·198 Rasa and Dhrani The idea seems to be that priests in the various rituals of Av. such as those of śātikarma, māranakarma etc put on costumes consisting of red turban and such other things. Through anubhavas they express certain fechings. There is a sort of mental avastambha or resoluteness brought about by special efforts, and therefore there is the exbibition of such a sattva or mental disposition. According to Abhinava, this seems to be the connection of rasas with Av. One may imagine a scene in which one of such magical ritual is performed wben everybody would be tense with emotion perlain. ing to a particular act Abbinava seems to have taken some such performance of the atharvana ritual as a source of emotional ecstasy in rasa. We bave seen before that though the word rasa occurs at several places in the Av., we have no clear case of the later meaning of natjarasa or kavgarasa. From another point of view, however, we may say that several hymns of the Av. taken by themselves are Impressive love lyrics. The number of such bymns is about thirty three. [Av. I. 34; II. 3; VI. 8; 111 25, VI. 8,9, 82, 89, 102, 130, 131, 132, 139 VII. 36 (37), 37 (38), 38 (39) etc.] A few lines from these may be quoted below: eg. Av. VI. 8: yátha vpksám li'bujā samantam parisassajé eva' pa'ri sva jasva ma'm yatba kamı'ny'aso yatha máng. a'paga' ásah 11 and also, yatha suparnah prapatan paksáu nibaatı bhabhyam evi' nihanmı te mano yátba ma'm kamínya'so yatha moda'paga ásah 11 and also yátbāmé dya'vaprthivi' sadyah paryėti sa'ryah | eva' pa'ryemi te mádo jatba má’o kamsayaso yathu máno'paga aśab 11 * ·199 me Origin and Development of Rasa in.. (1) As the creeper embraces the tree on all sides, thus o thou embrace me, so that thou, woman, shalt love me, so hat thou shalt not be averse to me! (2) As the eagle when he flies forth presses his wings against the earth, thus do I fasten down thy mind, so that thou, woman, shalt love me, so that thou shalt not be averse to me. (3) As the Sua day by day goes about this heaven and earth, thus do I go about thy mind, so that thou, woman shalt love me, so that thou shalt not be averse to me. (Translation- Maurice Bloomfield-Hymns of the Av. SBE. Vol. XLII.) Av. VI 131 is a charm to arouse the passionate love of a man e. g. Av. VI. 131.3. is, yad dba'vası trıyojanam pancāyojana'mas' vigam | tatastvárn punara'yasi putra'nam na asah pita il “If thou dost run three leagues away (or even) five leagues, the distance coursed by a horseman, from there thou shall again return, shall be the father of our sons !" (Translation-Bloomfiled) The same note of a passionate woman's looging is heard also in AV. VI. 132. We quote the first mantra that runs as: yam devā'h smarámásincaonapsvantah s'ós'ucānam saba'. dhya' 1 tán te tatami váyunasya Charmana II "Love's consuming longiog, together with yearning, which the gods have poured into the waters, that do I kindle for thee by the law of Varuna." (Translation-Bloomfield) Av. VII. 36 is a love-charm spoken by a bridal couple, It runs as : akşyaá nau mådhusamkās'e ánikam nau sa mārjanan antah kruşva ma'm hrdi' mána fonau saha'sati !!

·200 Rasa and Dhrani "The eyes of us tno sbinc like boney, our foreheads gleam hike ointment. Place me withio thy heart; may one wind be in common to us both ! (Translation-Bloomfield). And aslo, AY VII. 37. abbi' tra manujatena dádhāmi ma'ma vā'sasa 1 yátháso ir ama ke'valo pánya'sām kartáyās cana' 11 "I envelope thee 10 my garment that was produced by Manu (the first man), that thou shalt be mine alone, shalt not even discourse of other women!" (Tanslation-Bloomfield). Instances can be multiplied. It should be noted that scholars are in agreement when they say that the hymns, their ritualistic application apart, should be taken as 10dividual places viewed 10 this light, and away from the ritualistic backgrourd, the above quoted lastarces can serve as beautiful love lyrics. They become the passionate expressions of love, 1 c. singārarasa primarily in its vpralapbha aspect (¢g Av. VI. 8) There are a few hymns in the Ry, such as the dialogues of Putaratas and Urvasi, Yama and Yamr, etc. which contain such passionate expressions. But comparatively speaking the Av bas more of them. Other bbavas or feelings such as those of bhaya, utsaha, sola also can be found in several other hymns of the Av. One may say, therefore, that the attempt to relate the later kavya and natya rasas to Ay, is not un justified. Rasa' in the Upanisads. We come across several occurrences of the word rasa or the different forms of the 1001 Vras in the Upanışads. Primanly they are to be seen in two or threc different seases. The meaning of a liquid seems to be common to all. In the objects of five sense-organs, that w bich is gathered by the tongue is called 'rasa'] We come across this sense ia the Praspopapisad (4.8) abich says : casas'ca rasayitavyam, re. when there is taste, it is to be tasted.:] So also in the Brb.

·50TOO 201 The Origin and Development of Rasa in .. Up.sa yatba saindhavagbanónantaro'-babyah kitsno rasagbasa eva. (4 5 13)- just as a piece of saindhava salt has nothing like the internal or the external, but the whole of it is full of taste' In the above-mentioned occurrences rasa IS seen in the sense of taste la the Pras'nopadisad (14.) esa hi dışta. rasayitā, the word rasayita is in the sense of one who tastes There are many more occurrences to this effect. In the Mundaka Upanisad,-atas'ca sarva osadhayo rasas'ca (219), we have rasa in the sense of sap' Then still further, rasa is seen in the sense of the juices of the trees out of which honey is formed, as in the Cbandogya Upadisad (691) yatha somya madhu madhkſto dististbanti Danatyayānām vrksanām rasan samavabāramekatām rasam gamayatı it Then, we come across more and more occurrences in the sense of 'essence of things eg in the Taittırıyopanısad (1 12)3 esa bhutānām prthivi rasah, prthivyā āpo rasah apsāmosadhayo rasah osadhibām puruso rasah purusasya vagrasah Vaca rgrasah rcah sāga rasah samno udgiho rasah !! Now, it may be noted that along with the sense of 'essence', there seems to be other subtle shades of meanings also with reference to rasa in the above quotation It should be noted that here, the number of rasas is eight This 15 rendered clear in the sentence that follows-sa esa rasanam out of rasatamah paramah parardhyo stamo yadudgitbah, 1 e these, the udgıtha is the highesth and the eighth rasa Thus the eighth rasa is the 'parama', the highest and is udgitha Very often 'aum' in the upadisads suggests this udgıtha, the rasa of saman.) We may also take note of the following from the Taittiriya Upanisad "gsadva idamagra asit tato vā sadajāyata i tadatmānam svayamakuruta tasmättatsukylamucyate !!

·202 Rasa and Dhani iti yadvai sukſtam raso var sah rasam hyevāyam labdhva spandi bhavatı (27) 1 e Verily in the begiotag was this asat (te jagat) From It, verily was sat born. It made itself the atman So it is termed sukrta Verily, it is suktta Verily it is rasa On the attainment of rasa, this, verily, becomes joyous In this quotation, sukſta is rasa, and that rasa is a joygiving factor becomes clear But with all this one cannot say that rasa occurs in the same sepse in the Upadisads as 10 Bharata To a certain extent the use of rasa at one place in the Jaiminiya Upadisad seems to come close to the sense as seen in Bharata We will later on observe that rasa in Bharata bas 10 its meaning the shades of the qualities of taste esscoce etc, as seen in the Upanisads. We also see, as in the Chandogya Upadişad that rasa is the combined taste of several 10gradients like honey, which is a 'samavahara', a combination or a collection of the juices of many trees Possibly the cight rasas 10 the Chandogya might have inspired the theorists to 10agine eight Datyarasas also Fipally, it may be observed that the above quoted utterance of the Taittırıya Upanisad, 10 which rasa is said to be the soul and by its attaioment is said to attain highest joy, may be taken as an original inspiration for the later theorists ono Rasx' to the Nirakta i In the Nutukta of Yaska (circa 700-500 BC), we como across as many as thirteen occurrcaces in different forms of root vras, or the word rasa, appearing either independently or in a compound We also come across rasa in the sease of the name of a particular river or & river in general In all de occurremes, y'res, or the fund rasa seems to carry the same sense as that of 'to make sound', or juice' ctc (2) ·203 The Origin and Development of Rasa in... 'Rasa' in the Brhaddevti: In the Brhaddevats of S'aunaka we have 'rasa' ocruntios either Independently or in a compound (3). In all the occurrences the usual senses of Quid, juice, sap or sease-quality are to be scen, Rasa occurs in the sense of a river, FOOT NOTES (1) "Rasa' occurs in the Ry. as below : According to According to Sayana Griffith Rv.I. 23.23 : रसेन जलसारेण 'essence' गोधीररूपस्य rain पृथिव्याः सारभूत हविः Juice रसम् पुरुषस्य सारभूत वीर्य bliss of love रसाः पइ रसाः स्वादम्लादि juices रसानाम् स्वाद्वम्लादीना पाणी savours of juices रसम् (सोमस्य) Juice रसवत सारवत् (पय.) sweat-flavoured रसनीय प्रशस्यो रसवान् रसात्मको वा (इन्दुः सोम) Juice pleasant रसाः सोमरसाः libations Rv.VIL.104.10:रसम् सारम् 'essence' RY.VIII.1.26: रसिमः रसवत् savoury 3.1. ! रसिनः रसवतः savoury juice रसात्मकोऽमृतमयः Juice भात्मीय द्रव Rv.IX.66 : रसम् (सोम) juicc 16.1 रसम् (सोमस्य) 235 sap (सोमस्य) रसम् Ry.IX.39.5: (सोमरसाः) juice 37.5 : रसस्य 71.5: रसम् 105.2: 187.4: 187.5 : Rv.V.43.4: 44.13: Rv.V.44.21: रस: 63.8 : essence 3.20 रसः 53.3: रसम् ·204 Rasa and Dhaye " " " 6117 6118 626 6313 6424 6515 678 6715 6731 6732 रसम् रसम् रसम् रसम् " " " रसम् रसम् रस' essencc essence रस (सोमस्य) (सोमस्य) (सोमस्य) (सोमस्य) (सोममय) (सोमस्य) वेदरसभूत सार स्वरसम्घ वेदसार सवतसध (सोमस्य) (रसात्मक सोम) (रसात्मक सोम) सोमम् रसरूप सोम (स्वाश पोत्या) रसरूप (सोम) (सोमस्य) भारमीय रसम् (भात्मीयेन) रसेन भास्वाद्य juice juice रस " " " 749 761 775 795 845 851 8610 9621 971 9712 9714 रसस्य . रस " juice रस रसम् रसेन रसाध्य " abounding in sweet flavours essence रसेन Juice (गव्येन) " 9757 10911 10920 1133 1135 1135 Ry X,92 99 765 रसम् रसेन रसम् रसा रसिन Juices of juicy- रस रसवत (स्वभूत) (स्वरसेन) (सोमस्य) sap moisture रसेन रसम् sap ·205 The Origin and Development of Rasa in... RV.IV.43.6 रसया सारभूता भूमिः 'R'asa occars in the Rv. as below: Rv.I.112.12 rasa रसा नदी भवति रसतः रसाम् शद्वकर्मणः (निरू. ११-२५) इति यास्कः, नदी wave (रसने) Rv.V.41.15 रसा Rasa 53.9 नदीनामैतत् river Rv.VIII.49.2 रसाः जलानि water-brooks 72.13 river रसा रस आज पयसि RY.IX.41.6 रसा नदी rasa Rv.x.75.6 rasa (नदी) रसया 1081 रसाया: शद्वायमानायाः अतरिक्षे rasa नद्या:- 1082 rasa नद्याः- रसायाः 121.4 रसया रसो जल, तव्दती रसा rasa नदी- Rasa occurs in the S'ukla yajurveda as below : Yv. 121 रसेन पिष्टारव्यरसेन (acc. to Uvata and Mahrdhara) II.32. रसाय रसभूताय, वसन्ताय IX.3 रस: रसः सारः IX.3 रसम् भपां रसम्, सारम् XI.51 अपां सारः XVIII.9 रस: तत्रत्य. सार: XIX.35 रसिन XIX.75 रसिम् सार XIX.79 रसम्- XIX 83 रसम्- XIX 94 (अपां) रसेन XX.22 रससे रसेन (म जेन) XX 27 (सोमरसः) रसवतः सोमस्य रसेन ·206 Rasa and Dhrani रसम् XXV9 रसेन बोयण XXV 12 रसया नया XXXI 17 रसात अभ्य समूत.- XXXIII 21 रसा नदी- XXXVII5 रस (सोम) XXXIX.4 (भन्नस्य) रस सार - The Samaveda has rasa at, Sv.L239 रसिन 526 558 561 रसस्य II.162 रसा 240 रसा 241 360 रसम् 371 रसेन 381 428 रसम् 578 रस 627 रस रसम् 649 रसम् 650 रस 693 रसम् 743 749 771 रसिन 807 रसाय्य 1188 The Atharvaveda has rasa as below Acc. to Sayana Acc.to Whitney Av.I 5.2 सारभूतः मश SAVoor 648 रसिन ·207 The Origin and Development of Rasa in... 26.5 29.1 - Av. III.135 रसः sap sap of herbs Av IV 2.5 रसाम् 1.28.3 रसस्य अमृगादिरूपस्य शरीरगतस्य'sap' Av. II.4.5 रसभ्यः औषधिसारभूतकाष्ठेभ्यः juices 26.4 रसम् उदक च बलवर रसमैव sap रसम् धान्य रसग sap of grain सारभूते-मन्योदके sap of what is earthly (भपा रसः) Whitney (pp 109) says the description 10 pada (almost makes us fancy some kind of mineral water to be had in view.) 28.4 क्षीराज्यदिरूप. 31.10 रसेन भौणधीना रसेन नदी rasa (The ocean is the atmospheric one and rasa, the beavenly river) (भपा) भमृतात्मकः sap Juices of the waters 152 रसा. उदकाना 173 रसस्य sap (See Av 1 283) 27.2 रसम् वृष्टायुदक रक्षणम 27.3 रसम् दव (लक्षणम) sap of herbs 35.3 रसेन (स्वकीयेन) (or औरन 1 अन्न) Sap AY. V.13 2 रसम् (poison of the serpant) Juice 13.3 रसम् Av. VI.161 रसः (तैलात्मकः) juice essence 78.1 रसेन दधिमधुधृतादिना 124.1 उदकानः पिन्दुः स्वकीयेन रसः Av.VI194.1 रसेन (भपा) sap AY.VIII 4.10 रसम् taste (शरीरसार) 4.5 रस' - sap " रसेन ·208 Raja and Dhanr . " " nich in sap - AY IX.45 रस भपा भौषदीना sap Av LX.82 सम् मश औषधोना sap AvX.418 रस (POISOD) sap 546 रसेन 62 रसेन 622 रसेन 844 रसेन (some ystic sensc) " Av XII 64 sap AY XIV 258 रस sap AVXVIII148 रसवान् (सोम बहुरसोपेत) full of sap XVIII 224 रसस्य दहसबन्धिन रसस्य, रूधिरादे - Sap 423 रसवान् 481 रसाय sap Av XIX 314 रसा (Plu) savours (connected with food) 315 रसम् AV Xx512 रसा sap of herbs (2) in the Nirukta of Yaska we have, rasateh -from Vras (to make sound) at 621,911,1125, rasadharanam holding of juices at 711. rasam -juice at 953,1129 tascharanai -from extracting juice at 316,115 rasa names of a river at 1125 rasah -yulces' at 427,619,723 rasadanam drawing of juices' at711, rasan -Juices'

·The Origin and Development of Rasa in...
209
at 2.14; 4.27.; 11.23
rasanam :-of juices-at 10.10;
rasani :-roaring' di 11.25
rasanudanam :-o release the juices; 7.10.
rasanupradanena :- by giving juice' at 10:34,
*rasena' :-with juice. 6.15.; 12.1,
(3) in the Bșhaddevală we have.
rasa :-1,68.; 2.33.; 7.127.
rasadana :-2.6.
rasapäranlydsin :-8.24.
(rasa is a river.)
R. 24.

·RASA IN PĀNINI (Astādbyāyı), PĀTAÑJALI (Mahābhāsya), AND ASVAGHOSA, etc. Rasa' to Pâniai (circa 30 BC (Kertb)] and Patanjali (circa 150 BC (Keith))-- With Nirukta and Brbaddevatā, ne end the discussion on the meanings of rasa in vedic literature CWith Panını begins our discussion of the meanings of rasa is what we now call classical Sanskrit There is one reference to ras& in Pa V 295-rasadıbhyasca' We cannot be sure as to the senses which Pantdi might have in mind when he used the word rasadi In the dbātupātba also, Vras is explained as having the seases of '(rasa) sabde' and asvadansachanayoh' ie 'to make sound', and 'to taste, to liquify or to make something oily' respectively In Patañjalt we have several occurrences of the ras and also the word rasa, either occurriog independently or in a com. pound We also come across words such as 'rasavacıtva', *rasavacin' 'rasad', and 'rasika' Excepting only one occur. rence that we shall take up 10 detail as below, in all other cases the usual senses of 'to make sound', or 'to taste' etc and also that of a 'sense quality' or juice is seen (4) 3 While commenting on Pā V 295 as quoted above, the Mababbāsyakara referring to the previous sutra ne pa v 294 tadasya'-styasmiopiti matup' -asks the question as to why this sutra (1 e Pa V 2 95) is added, 1a as much as complete sense is covered by the previous sütra A possible answer is that this sutra Is mentioned in order to exclude the use of other But this is not accepted by the Bbāsyakara. Accordiog to bim, there ere examples of the use of other matup suffixes ·Rasa in Panini, Patanjali and Absaghoşa, etc , 211 matvarthiya suffises in 'rasiko natah', 'urvaši vai rūpiai apsarasam', 'spars'ıko vayuriti The passage from the Mbh is quoted as follows rasadıbhyas'ca. 5 2 95 kimarthamidamucyate na tadasyastyasmiaaityeva matupsiddhahi tasadıbhyah punarvacanamanyadlyyttyartham x rasadıbhyah punarvacanam krſyate'nyesām matvarthiyanam prattsedhartbam matubeoa satha tyadye'nye matvarthiyah prapnuvantı te mā bhuvannitı pastadasti prayojabam, dosyante byanye rasa. dibhyo matvartbiyah rasiko patah urvašs vai rūpinyapsarasam sparsiko vijurti (Mbh on Pa V 2 95 PP 394 Edu Keilforn) Kasika explains this by saying that the matup suffix is to be used in the qualities grasped by senses But 10 the case of fupigi, tapika etc the idea is to suggest not merely Tupa grasped by the eye but beauty Similarly, in rasiko natah, the meaning is not that faca possesses juice tasted by the tongue, but he possesse, an emotion or sentiment -bhavayogah The passage from the Käsika runs as belows -fasadıbbyasca pratipadikebbyo matup pratyao bhavati, tadasyasty asmuonityetasmia visaje rasavan, rupavao kimartha mucyate, na purvasutrena mafupsiddhah ? rasadıbhyah pudar. vacanamanyanıvrly artham anye matvarthiya ma bhuvanniti katbam rupinj kanya Juplko dārakah? prayikametadvacanman, itikarano vivaksartho'nuvartate athavā gunadityatra pathyate, tega ye rasanendriyagrabya gunastesāmatra pāthah ina ma bhut-tupidi tupika iti sobhayogah gamyate rasiko nata iryatra bhavayogah rasa, rupa, gandba, sparssisabda, sneha gunāt, ekacah, gunagrahanam rasadınan vis'esanam, fasadib This point is made more explicit by the Tattvabodbins on the Sıddbaata kaumudi The author, Joãaendrasarasvati says abyamattvarthiyeti-katham tarb: Tupin, kanya, rasiko gatah iti atrabuh rasadigane gunāt iti patfiyate tena gunavacıbhya cva aayamatvarthryasya nişedhahrupini ilyatra tu rūpas abdena ·212 Rasa and Dhyani saundaryam grbyate, tacca na gunah tasikam tyatra tu rasasabdena btayo grbyate da tu rasadagrābyo guna iti (pp 302Ede. 1933 NS) From the above discussion he cannot say whether Mabā bbasyakara wants to confine the use of anatup suffix to the sepse quality of taste only This is bowever the distinction made by Käs'ıka and later commentariºs But this much as certain that the Mabābhāsyakāra uses the word 'rasa' in "rasiko narah' in the sense of bbava i e sentiment or emotion So, we may say that it is in the Mababhasya that we meet for the first time the use of word rasa in the sense of natyarasa' also Other references in the Mbh on Pa 111 1 26 show fam. larity of the Mahabbäsyakāra mith dramatic performance or something akla to that This would suggest that the word rasa 18 the aesthetic sense must have become current before Patanjall How long before, we do not have at present the means to indicate 'RASA IN Ašvaghosa (Cir. 100 A.P.) (Keith) Bhasa (Cir. 200 AD.) (Keith) Kālidas (Cir. 400 AD.) (Keith). From our search for the use of the word rasa in the aestbetic sense, we conclude that in the early vedic literature as such, there is no clear indication of it, though there are certain usages as he noted above, which associate rasa wib literary works where the meaning is of flavour as such and the joy incidental to it. But when, we come to Panini and Patanjall, particularly the latter, we hase & very clear use of the word rasa in the deshtetic sense Whether this specific use of the word rasa was known to Paniai or not, he cannot defortely say But if the soferpretation given by Patanjali also represents the view of Padin, we can say that Panini ·Rasa in Panini, Patanjali and Alvagkoşa, etc, 213 also had in his mind the aesthetic sease of rasa to be distlaguished from the sense of 'sense quality of rasa We can, therefore, assume that this specific aeshtetic sense of the word rasa must have become current ia the literary world of Patanjali and of later times 3 Earlier Poets mean Let us now see from the works of earlier poets like As vaghosa, Bhasa and Kalidasa, whether there is any material for the formation of rasa theory ia the famous sūtra to be found in the Na Sa of Bharata By our study, we just to rodrcate how works of great poets might ve guided Bharata in the formation of the theory As the data of Na,Sā, falls between second Cen AD to still later times after christ, the authors under consideration can be said to fall 10 a period of fluidity regarding the formation of the theory We can not say of the authors that they follow theory in the same vein as done by Hars'a, the author of Ratnavali, Priyndars'ıka etc. By our study we mean just to indicate bow works of grear poets lying before Bbarata might have guided him in the formation of the theory The works before Bharata may be decessarily those of A'svaghosa, Kalıdāsa etc It is almost accepted fact that literary theory draws upon literary practice just as grammar does upon linguistic usage. That the definitions of mabakávya and the like as found in poeticists such as Bbamaba, Dandin etc were formulated fo View of the master-pieces of Ašvaghoşa, Kalidasa etc is an accepted fact, On the same analogy we may say that probably the formation of the famous rasasūtra 10 Bharata also might have been guided by the same fact as that of the careful observation and study of the actual practice of the literary giants who might have preceded him Io view of this we may try to study the works of Asvaghoşa, (Cır 100 AD), Bbasa (Cir 200 AD) and Kalidasa (Ctr 400 A.D). We will try to find out if there is any mentioning or clear usage of the ·214 Rasa and Dhrani so called vibbava, anubhava, sattvika and vabhicarios etc which make for the actoal rasa realisation in their particular piece and wbich might bave thus been useful in the formation of a theory of rasa both in data and kavya Asvaghosa In the Bu Ca of Assegbosa at III 7, we have the descript100 of king S'uddhodana bidding faren ell to his son Sarvarth asıddba who was starting for his first excursion The verse reads as below atho Darendrah sutamagatas'ruh sirasyupagbraya ciram tiriksya 1 geccbatı capagpayalı sma vici snebanna caldam manat mumoca 1) (Bu Ca III 7) The SD bas discussed vatsala fase speha or vatsalata is the stbayi putra re son and the like arc the alambana vibhava the cesta vidyt saurya etc of the son are the uddipanas alingana (embrace) angaspars & (touching the fimbs) strasācumbana (Lisstog ite lead) stc are the gigbhav as adistas a la imagining ibe calamity) harşa (joy) etc arc the sanctis We have practically all this in the stanza quoted above Ba. Ca 111 13 22 describe the feelings of women cager to see the prince The abhisarın called svega (impaticnce) is to be seen 10 these terses Bu Ca I 25 describes the anubht as that accompany gararasa in the following words ta bbrobbil prekedtagbaya,sb351airladıtaisgatai calruršksepikas ceşta bbitabhuit ivängapat 11 Bu Ca IV 54 61 describe the s ate of the prace who did not respond to the gestures of the beautiful ladies find herein the delineation of sama and the realisation of sagt: tasa Tbe verse reads as below ·Rasa in Panim, Patanjali and Afvaghoșa, etc., 215 rasa evabākşipyamaQo'pi sa tu dhairyāvșteadriyah martavyamiti sodvego na jabarsa na vivyatbe il (Bu. Ca. IV, 54) His friend Udayı finds him thus lost in contemplation and in order to deviate him from it, starts addressing the princeitt dhyanaparamp drstva visayebhyo gatasppham udayı niti-śāstrajăastamuváca subfttaya it (Ba. Ca IV.62). The feeling of nirveda finds beautiful expression in the words of Buddha who says : jara vyādbis'ca mutyus'ca yadi da syādıda trayam mamāpı hi manojñesu visayesu ratibhavet 1 (Bu. Ca. IV.86) Bu, Ca. V, 29. describes the aqubbavas of vatsala as below: iti tasya vaco ors'amya raja karinevxbbihato drumascacala kamalapratime'palau gthitva vacanam cedamuvaca baspakantbah 11 Bu. Ca. V. 45 describes the uddipapa and alambana vibbavas of spogara as follows : tøta uttamamuttamañganastam ols'rtüryairupałasthurladrakalpam bimavacchirasiva capdragovre dravincadratmajamapsaroganaughah !) Bu. Ca. VII. 1-10 describe tbe effects on buman beings, beasts, etc. when the prince makes an entry into the forest. We come across a beauiful delineation of the stbayidhiva vismaya giving rise to adbduta rasa, Bu, Ca. VII. 7. says, kaccidvasanamayamaşlamah syat syadas'vinoranyatarasºcyuto vã Uccerutuccairfti taire Yacastaddars'apadvistayaji TUQQAm I?

·216 Rasa and Dhyani Bu. Ca, VIII, 21.22 provide all the required factors that make for Karunarasa. vilambakes'yo malınāmpbara niradjanairbaşpabateksanairmukhihi striyo na rejumrjaya vipakta diviva tara rajaajksayarudsh 1 21 and also, araktatamrais'caranarratūpuraih akundalaitarjavakaodharaırmukbaih! svabhavapidairjagbanairamekbalai- -sabatayoktrairmusilaitiva stanaih 11 (22) avega born of calamity is beautifully lllustrated in Bu. Ca. VIII. 20 es below at prabarsadatha s'okamürcchitah kumarasamdars'apalolalocanahi grbadvinıs'cakramutas'rayā striyab s'aratpayodadiva vidyutas calāh il The sattvik abbavas such as stambba, vaivarnya etc. that go with the karuna casa are to be seea to the following : batatviso'ayah s'nthilāmsababavah striyo vişadena yicetana iya 1 na cakražurnāśru jaburda gas'vasurpa celurāsurlikbita iva stbitah II (Bu. Ca VIII. 25) The anubbavas of karunarasa, such as dalvaninda (ceasure of fate) bbūpāta (falling on the carth), kraddita (weeping) etc. are seen in yasodbaravilapa in Bu. Ca. VIII. 31-42. Bu, Ca, vill. 31 15—tatastu rosapravitaktalocada visādasambandbikaşayagadgadam! uyaca nis'yasacalatpayodbara vigadhas'okasrudharā yas'odhara 11 So also, Bu, Ca. VIII. 70,-utzba devi patis'okamurcchita. ruroda dadhyau vilalapa cusakt! svabbavadbitapi bi si satı s'oca. dbţtim da sasmara cakara no hriyan 11 ·Rasa in Panini, Patanjali and Asiaghoșa, etc, 2 Falling on the earth due to grief is described in Bu C VIII. 73, and the wailings on the part of koog Suddhodana a described in Ca Vill 75 80 Jadata (Stupourt), tl sättvika fiods cxpression 10 Bu Ca VIII 81- Iti tanayaviyogajaladuhkhah ksitisadrs'am sahajam vibaya dharryam das aratha iva ratusas'okavas yo babu vilalapa prpo visamjiakaſpah !) Krodha, the sthāyıbbáva of faudra and the adubbava that accompany it are described in XIII 28-30 Bu Ca XIII 30 18,-mabibhịto dbarmaparās'ca năga madāmugervigbnamampjamānabi māram prati krodhavivyttanetrā Dihs as'vasuh caiva jajimbhire ca ! The material for babhatsasasa is supplied in tbe descrip tion of bell 10 Bu Ca XIV Bu Ca XIV-14 says kecuttikspatrayodamstrartbhaksyante darunath svabhih / keçid duştarrayastundairvāyasairayasainiva if so also in the Vth Canto wherein the cbarms of ladies are described as being infective, Bu Ca V 61-reads, vivpłasyapută vyfddbagātri prapaladvaktrajala prakasa guhya apara madaghurnsteva sisye ga dabbase vikstam apuh poposa it smuçara finds beautiful expression in Sav IV 36- atbopyanas'yapavisesakayam mayyesyası ivan tvantam fatastvami nipida; izjami bbdjadsazena dubhjsadenirdsaulesanede 11 The Yabbıçatin called vilarka tiads beautiful expression So Sau IV 42 ·218 Rasa and Dhrant tam gauravam būddbagalam cakarsa bharyanuragah poparacakarsa so'ois'cayaonāpı yayau pa tastbau turamstarangesviva rajahamsah ! The aaubhāvas of karuna are found in Sau, VI. 4, sa khedasamsvinnalalatakega mišvasanışpıtavis'esakena i cialacalāksena mukhena tasthau bhartaramanjatra visankamăna 11 and also VI 5-tatas'cirasthadaparis'ramena sthitaiva paryankatale papata tiryakca sisse pravibirnabara sapīduka kardhavila pbapāda 11 avega, is seen in the verses that follow Vilapa or wailings are seen in verses 12-19. So also the anubhāvas of ksobha, krandana etc are seen in Sao, VI 24-25. Sau VI 34 describes vividly all the anubhavas that go with Karunarasa as below ruroda mamlau virurala jaglau babhrama tastbau vilalapa dadhyap cakara rosam vicakara mäyām cakarta vktraam vicakarşa vastram il Thus in Ašvaghosa we come across the actual description of different vibhavadis that give rise to different rasas and thus providing enough material for the theorists to draw their OWO conclusions, Bbāsa Io Bbasa's Svapnayasayadattam, ne bave the vyabbicaria called smti illustrated ia V. 5 and 6 wbich read as below : swarāmyavantyadhipateh sutajah prasthanakale svaja dan smarantyab bāspam prasyttam nazaniotalagdam spebadmamaivorasi patayantyāh Svapna V. 5) ·Rasa in Panini, Patanjali and Ahaghoşa, etc, 219 and also-babus'o'pyupades'esu yayā māmiksamanaya ! hastena srastakonena krtamākāsavāditam !! and also in the following Raja -śrutisukbanigade katham bu devyah stapaj ugale jaghanasthale ca supta i vihagaganarajovikirnadanda pratibhayamabhusttāsyaranyavāsan it api ca, asagdbası gbosavatı yā tapasvipya na smarass, sronisamüdvabasapārs'vanipiditáni khedastabāntarasukhanyvpaguhitoi ! uddis'ya mãm ca virahe parldevitáni vadyāptaresu kalbitni ca sasmitáni 2 (Svappa VI 1-2) and also in Avmaraka II I, which runs as, adyšpı bastıkaras'ıkaras'ıtalangim balam bhayakulavilolayısıdapetrâm svapnesu nityamupalabhy a punasvibodhe Jatisamrah pratbamajatimiva smarám! 1) All these instances cvoke vipralamba srngāra We may be able to read the material for karuna 10 the speech of Das'aratha in Pralina 11, for whom Rama is lost for ever Raja-bhratah' suoratra ! kvame }}estho ramah nahs nabs yuklamabbibitam maya , kva te jestbo ramsh prizasuta, sutah si kva dubita, videbidam bhartumuattsagabbaktigurojade : kva va saumitmām balapuiſkamasandamaranam kimapahuh Lim ic salalanesolārnavalaran 1 The vibbava, apubbäva etc of bisa are seen in the speecb of Vasantaka in siapna V, where he starts telling a story to Udayana ·220 Rasa and Dhyani Vidüşakah-bhodu, andam kabaissam atthi naaram barabadattam nāma tabii kila råa kampıllo nama, Raja -kimiti kimit Viduşakah -(punastadeva patbatı) Raja.murkha! rāja brahmadattahh pagaram kampilyam ityabhıdhiyatām. Viduşakah-kim raa bambadatto naa ram kjmpillam Raja evametat Viduşakah-tena hi muhuttaam padivalledu bhavam, jāva otibagaam Karlssam tāā babamadatto naaram kampillam (itt bahus'astadeva pathiva ) fdáním sunodu bhavaq Raudca with kroddba as its stbaylo and the enemy es alaqabana, the activity of the enemy its uddspana, etc is seen in the following passage from the Madhyama Vyayoga Bhimah - atha ko'yam bbimo nama vis'vakartă sivah krsnah sakrah saktidharo yamah etesu kathyatam bhadra kena te sadrs'ah pita il Ghatotkacah -sarvaih Bhimah -dbiganşta metat Ghatokacak -katham katham aortamityāba ksipasi me gurum, bhavatvima stbulaq vrksamutpatya prabardmt (utpatya praharati) kathamanenāpi da sakyate hantum kıq nu khalu karişye bhavatu, drstam etadgırıkutamutpāly a praharāmi etc etc or as in Dutagbatolkaca wherein we bave, Ghatotkacah -(sarosam) ki data iti mām pradbarsayası malavadbhoh na dato ham. alam vo vyavasãyeda praharadhvam samabatah Jyacchedāddurbalo nähamabbimanyuriha sthitah di mahanesa katsorako'yam me maporathah api ca, daşosto fr ustimauddyama tişthatyesa ghalotacah 1 uftsthatu puman kascidgadtumicchedyamalayam 11 etc etc, ·Rasa in Panint, Patanjali and Ašvaghoşa, etc, 221 Virorasa, with garva as its vyabbicárin is beautifully illustrated in Dutavākya I 24, wherein Duryodhana says, -bho data pa jāpati bhavao rajyavyavabaram räjyam Dama drpālmajaih sabrdayıb jitvā rspüo bbujyate talloke na tu yacyale na tu punardınāya va deyate i kanksā cennrpatstvamāptumacirāt kurvaatu te sabasam svarram vā pravisantu santamatibbırjustam samāyāsramam II (Datavakya I 24) or in the following Duryodhanah:-a kasya vijñāpyam madvacanadevam sa vaktavyah, kım vyartbam babu bhāsase, pa khalu te părusya sadhya vayam, kopāngarbası kimcideva vacanamyud dham yada dāsyası i Diryamyesa biraptaram Drpasatacchatravalıbbırvrta stystbatvam saha pandavaih pravtivaco dasyami te sāyakabit (Dutaghatotkaca 1 15 ) Dbarmovra can be read in the following Šalyah -bbo angaraja vañcitah khalu bhavan Karnah kena Salyak -saksens Karnah -na khalu sakrah khalu mayā vaicitah anekayjnābutstarpito dvijath kiritiman dadayasamghamardanah suradvipasphalanakarkaśāngulir- Daya kılārtbeh kbalu pakasasabah (Kørnebbāra 1 23). and also, Salyah s-arigarāja na dātavyan Karah -salyaraja alamalan varayłtum, pasya, siksa ksayam gacchati kalaparyayāt subaddbamulah dipatanti padapāh ) jalam jalastbanagataq ca svşyatı butam ca daftam ca talbaiva tistbau 11 (22) lasmat ghyatim. (mikrtya dadali) (Kamnabbare 1) ·222 Rasa and Dhyani Bhayanaka is illustrated in the following. Damodarahetā mattecakorasāvanayanāh prodbhidoakaprastapāh kāntāh prasphuritādbarostatucayo vist&stakesasrajah sambhrātā galitottariyavasanästrāsākulavyabrtah trastā māmaonyānti pappagapatim drstvaiya gopāógaogh ]] (Balacarita. IV. 1) Bibbatsa is evoked in Urubhanga I 11, as below: gbrdbrā madhūkamukulonnatapingalaksä daityendrakunjaranata okusatiksnatundāh 1 bbantyambare vitatalambavikirnapaksă māmsaih pravalaracitā iva talavratāh 11 Thus we come across illustrations in the plays of Bhasa, that might have been a source of rospiration to the theorists Kālidása In Kalidasa also we observe the same. We come across the delineation of differeat bhāras, anubhāvas etc that are associated in theory with particular rasas. We find them here also in the same context Thus, avabitthā, the vyabbicacia of smgära finds expression in Kum Sa VI 84 as, evam vadını devatsau pārsve pituradhomkhi ! lilakamalapatränl ganayīmāsa pārvati || The vyabbicārın called mati is seen in Sākudtala I 21- asaysajam ksatraparigrabaksama yadaryamasyāmabhilast me manah ! satım bı sandehapadesu vastusu pramānamantahkarānapravittayah ! Svapna' is the vyabhicario that goes with vipralambha ſprigara, it finds its expression lo Megha (uttara, 49)- mämākasapranibitabhujan nirdayas'leşahetoh labdbayaste kathamapı maya syappasandars'anesu 1 pas'yantiam na khalu babus'o as sthalidevatanan muktāsthulastarukisalayesvas'rules'āḥ påtants 11 ·Rasa in Panini, Patanjali and Ahaghoşa, etc, 223 All the perapherpelia of yıpralambha stugāra is supplied in Megha (uttara 47). tvāmālikhya pranayakupitām dhaturägarh silāyāmātmānam te caranapatitam yavadicchāmi kartum asrazstavanmuburupacitairdrsuralupyate me krūrastasminaapi na sabate samgamam pau krtāntah 11 Herein, the heroine is the alambadavibhava, tatpranayakopa is the vddipadavibhava, the deaire to fall at the feet is the anubhava, cansure of destiny is the vyabhicärin and ratı or love is the sthayiz The uddipanayıbhava for sānta is met with a sakuplala I 7 divara s'ukagarblakarmukhabharastah etc Unmadatis'aya, a vyabbicārio of vipralambha is seen in Vikramo-IV in the versa viz - sarvaksıtıbbftam dātha etc and also in tarangabhrubhanga, etc., aod also 10-tanvi meghajalaradrapallavatayă etc Vitarka is seen in (Vibramo IV) fissthetkopavas'at prabhāvapihita etc Instances can be multiplied as he find the vibhavadis of karuda in ajavilapa and rativilāca, of smeara 10 Ku Sam vasantavatnana etc Vira finds expression at Raghu III 51, tatah prabasyapabhayah purandaram punarbabbáse tvragasya rakstā grbana sastram yadi sarga esa te da khalvadurjitya raghum kyti bhavan !! or dharmayıra as 18 Razbu 1 57, kimapyabinsyah taya cennatóban yas'ahs'arıre bbava me dayalıh I ckaatavıdhvamsışu madridhādām pindeşvanastha khalu bhanukou 11 ·224 Rasa and Dhrani Thus, it is precisely such clear instances in the works of literary masters that might have been the original source of lospiration for the theorists to formulate their principles of literary criticism We will now try to study the occurrences of the word 'rasa' In Asvaghosa, Bhasa, aad Kalidasa and we will try to see if there is a clear reference to the asthetic sense of rasa to any occurrence In the Bu Ca of Asyagbosa, we come across to occurrences of tasa and one of rasa(5) None of it carries the technical sense of patyarasa or kavyarasa Rasa at Bu Ca V 5 means the carth' However, Bu Ca V 62 is noteworthy Be. Ca y 62, us Its sattyakulānutupam vividbam sa pramada jadah s'ayānah sarasah sadrs'am babhara Tupam pavaa varjitarugnapuskarasya ll 'sarasah' obviously meaas 'charged with sragrarasa In the Sau, we have fivc occurrences of rasa (6) Sau V 24 bas, sraddbdbanan $reşthataman dhadebbyah ! prajhrasah trptikaro resebhyah !! Rasa in prajuarasa does not carry any technical sense but rasa in 'rasebbyah' ie among all the rasas, way refer to the rasas such as as śpigara, vita, etc or tastes in general Sau xl. 2 has anistapaiskramyarasah 1e oue wbo was not interested in inaction, and also virasah, 'without interest Sau IX 49 has rasad' in the sense of marking noise'. Sau XVI 93 has 'rasan' in the sense of 'taste Thus in Abvaghoşa, we do not come across "r358' jo tbc tecbocal sense of biryarasa or Dityarasa, excepting perhaps at Bu Ca y 62, as above ·Rasa in Panini, Patanjali and Anaghoşa, ele, 225 In the Trivendrum plays ascribed to Bhasa, we have four occurrences of rasa (7) But podc of it is seen in its technical sense In Kalıdāda, we come across several references of the word rasa 8 and some of them are definately referring to the technical sense of a natyarasa or kavyarasa These are as below Kum Sa VII 91 reads as below tau samdhusu vyanjitavšttibbedam rasāataresu pratibaddharagam apasyatām apsarasām muhartam prayogamadyam lalitāngabäram it *samdbi' refers to the pancasamdhis "vytli' refers to kais'ıkı, and the like and rasaotareşu' refers to various būtyarasas Kum Sa V 82 is also noteworthy It has 'bhavaikrasam manaa' obviously in the sense of sugararasa The Malavikāgoumitram bas the following occurrence of rasa' in its technical sense Ma I, 4 reads as below: devānamıdanāmapanta munayah krāntam kratum caksuşam, rudrenedamumakrtavyafıkare syānge vibhaktam dvidba | traigunyodbbavamatra lokacaritam sāpārasam drsyate, Dātyam bhiddarcerjapasya babudhapyekam samaradhadom 1) Ma II 8 is, angalrantardibita vacanash sacitah samyagarthah, padanyāso layamanugatastapmayatvam rasesu } sākbayoulrmrdurabbinayastadvikalpãouyrttau, bhãyo bhāvam qudati visayadragabandhah sa eva (1 Ma IV. is tāmäsritya srutipathagatāmasayabaddhamülah samprāptapām Dayapavisayam rūdharagaprayalah hastasparsairnukulita iva vyaktatotoodgamatvät kuryātkastam manasijatarumām rasajňam phalaśyas 11 R 15 ·226 Rasa and Divant in these occurrcoces 'rasa' carries the technical scose of Datyarasa, Io the Vikramorvasiya we bave rasa in its technical sease, at, 18. : asyah sargavidbau prajapatirabhuocsadro po kaatſpradah ( Spigaraikarasah svayam nu madadah maso nu puspakarh 11 vedībbyajadah katban au visayvyāvsttakautībalah 1 birmatum prabhavenmanoharamimaq rupa purang mualh 13 III. 18. munioa bharatena yah prayogab bhavatışvaşt&rasāfrayo niyuktahi lalitabhrsayara lanadya bharta marulaq drastumadah salokapalah 11 and, Act. III-dvitiyah-tasmid punah sarasvatıkrtakabandhe Jaksmusyayamvare tesu tegu rasăptaresu tanmay), asit! Thus in Kalidasa, we come across OCCDIChces of 'rasa' in tbe aesthhtic sense, Foot-Notes All the references are to the Edn. of Dr, Keilbord. (1) In Patanjalı we have Vras-Pa. So. 2,485 line No. 16, 17, 17, 17, 20, pp. 500. ras-Pa. So. 13 10, Line 8.8, Page 268; 41269.; 2.4 85; 17,18/19/22.499.; 5 6.7.8.9.11.18 24/500.; 2.2.3 4.5. 6.8.10/502. rasa-1.4.110, 18/356.; 39/357.; 4.3.155.; 9. 15/325. rasa-1.2.64,5/246; 4.1.3. 7/198. ras8-1.2,64, 3.4/246.; 4.1.3. 4.6/198,; 5.1.9. 24/366. rasavacıtva-Pa.Su 4.4.24 line 18, page 330. 18/19 Tasavacin- 4.4.24. 330 397. fasadl. (88) 5.2.95, 19/21; 394 : 5.2.107. 5/5/6 Tasika 5.2.95 2017 394.

·Rasa in Panint, Patanjali and Alvaghoça, etc., 227 (2) The Bu Ca, bas, 'rasa' at II. 8.; III. 51; V. 52 (sarasah) and 'rasa' at V. 5, (3) The Sau, bas rasa at V. 24.-prajñārasah, rasebhyah; IX. 48-'rasa' XI. 2.-rasa, XI. 49-rasaa wakiag sound) XVI. 93-rasena, (4) The trivendrum plays ascribed to Bhasa have, rasanā-pra, yau, II, PP, 84, Edo. Prof. Déodbar) bbayarasam-Avi. I. 2; (pp. 110); adhikarasah-Avi, V. 4. (pp. 168) gunarasajñasya-Ca. 1. 2. (pp. 197); kridärasesu-Ca. III. 1. (pp. 223) (5) Kalidasa bas, rasam-Ragbu I. 18; sannarasa Raghu IV. 18; rasad- IV, 66; rasaval- VIII, 68; rasakhandana varjitam.-Ragbu. IX. 36; abalaikarasah- Raghu IX, 43; rasantarani X 17; ckarasap kridarasam-Kum, Sa I. 29. rasat 111, 37. rasatmakasya V. 22. bbnyaskarasam manah- Kun. Sa. V. 82; VII. 91, jatarüparasa- VIII. 36; malasekasarasaihe VIII, 38; dhatufasa- VIIL 58; prabhārasam- Vill. 70, 39 91 9 . 11 9 95 ·228 Rasa and Dhuc 19 apangarasaprasange Ku, Sam, IX, 1; rasera- IX. 41; and XI. Tarasa virasam- XVI, 12; sara-am- Rto, Sc. 1. 2. (grismavarnadam)- The S'akuntala bas, -sadaya sundari grbyate raso'sya-III. laksārasah-Sa, IV. 4. (bhavancsu) rasadhikesu-S'ā. VII, 20, The Vikramo has Śmgaraikarasah-I. 1, astarasas'rayah-11,18; rasaddle II, 22; rasäntaresu Act III-dyitiyah speaks, Malaika-bas, năngrasam-I, 4; rasesu- II, 8, rasajam-IV. 1 Megha has, tasabhyantarah-I. 28 (-parvamegha) sarasakadal -II, 36 (ottaramegha) ·CHAPTER VIII RASA' in Bharata ( Nă Sa Cír 400 A.D.) CThe earliest techpical discussion of rasa is to be found in the Na S'a, attributed to, Bharata (Cır. 400 A.D.) ]In fact Na St is also our earliest authority on such topics of sapskrit poetics as alamkara, guna, dosa, etc I now, therefore, present here a discussion on rasa as fouod ia tirs work. The textual criticism of this work on dramaturgy is not yet fully carried out This much, however, is clear that it contaios several strata belonging probably to different ages and probably also to different schools of thought The major part of this work is in versc There are, however, a few prose passages also It is likely that the prose portion containing the famous rasasutra may be an early discussion on the subj-ct However that may be, I take the whole portion, prose and verse, as one uait for the discussion bere. The anuvagsya āryās and s'lokas quoted in support of the maja text in prose and verse, clarify wbat is said in the body of the text. Having described in the first five adhyayas of the Na $a. the mythical origin of the science of dramaturgy, its first production, the construction of the different types of theatre buildings, the ceremonial worship of tbe theatre, the different aspects of pūrvaranga, the difference between abhinaya, Artta and the different varities of aſtia etc, Bharata comes to some of the main themes relevant to the art of dramaturgy. In the sixth adhyaya, the sages ask Bharata five questions. of these the first and the foremost are -> rasa ir pashyante 951;€ Dāt)ayicaksan21h ! tasafiam kena vai teşarp eladakbyatamarbası II (VI. 2) and. obavascansa katban prokuh kim va te obyvayastyapi VI. 3a-b) ·230 Rasa and Dhrani Thus, the understanding of the rasas and the bhavas occupy pominant place in the Na Sä. The eight rasas and the sthayıp, sancario and sattvikabbavas are enumerated in verses 16 23 of the VI the Chapter. Lateroa, after having enumerated abhinayas, Yrttis, praviltis, siddbis, four types of musical tones, four types of musical instruments, five types of singing zad three types of theatre building, the author proceeds to explain the subject of rasa in prose Here comes the famous rasa-sutra viz "vibhāvāaubhavavyabhıcārisamyogadrasaDispattih"-) In this sutra, the meaning of the word 'nis pattih' derived from the root nispad bas caused a great controversy It may be expressed in Englisb, follow. 10g Monier Williams, as something which comes about, or arises out of, or results from something else This Sutra is translated by Raneiro Gooi as follows Out of the union or determinants (vibhava), the consequeats (anubhava), and the transitory mental states (vyabhicātın), the birth of rasa takes place." He translates, 'Dispatlin', by birth, wbich may be regarded as a colourless word not tending to any particular view regarding the psychological progress of this birth. This sutra is followed by an explanation in prose supported by traditional verses Here, an attempt is made to explain three points (1) How rasa comes about ? (11) What is rasa ? and (111) What feeling accompanies it? The first point is explalocd on the analogy of a beverage in a beverage there is one principal ingrediant which combined with other casteful iogradients becomes in an fotegrated forra & rasa hike şādava and others Similarly, when the permanent mental states like fall of love, bhaya or fear, are combined with various bbavas, specified in the satra as vibbāvas, aqubbavas and vyabhicājips, they become rasas The second point, as to wby these are called rasas is also expladed on the same analogy viz that these also, like the material beverages, are capable of being tasted The third point, Viz etc, ·Rasa in Bharata 231 the feeling which accompanies the taste, is that of pleasure. Thus, all the three points involved in the sutra are explained on the analogy of material rasas. J This analogy is made clearer in the traditional verses quoted after this. Just as experts in taste, wbile cating the cooked things combined with many dravyas and 'vyañjanas enjoy it, similarly the wise or the connesseurs enjoy with mind-mapasā-the permanent mental states which are combined with the abbinayas of bbävas. It is for this reason that these are called patyarasas. In these verses, two more points are added by way of clariĝcation. One is that it requires an expert or a condoesseur to be able to disccro and enjoy the taste properly, both in matters of food aod driok as well as in the enjoyment of the taste in poetry and art. The second point is that it is with the mind that taste in poctry and art is perceived and enjoyed, as distract from the physical sease of taste in the mouth. As to why the sthayibhāvas alone attain the state of rasa is explained in the VIl Chapter. Here also, the explanation proceeds by way of analogy. Evcpthough, men have similar characteristics, have similar bodies, yat, there are some who by their poble family. character, learning, artistic profclency, atrajo to the state of kingbood, while other persons of inferior talent become their followers. Similarly, vibhavas, anubhavas, and vyabbicarías become subordinate to sthayibhuvas. This means that in the psychological theories of the ancieots, the cight or nine permanent moods, sthayidhuvas, viz. rati or love, basa or laughter, šoka or grief, etc, were taken to be perpetual moods of living creatures in contrast to the fleeting woods such as nirveda, gliol, etc. Thus, from these two passages, we gather thatCrasa is a matter of tasting of permanent moods with mind by men who have proficiency in such tasting. The stbayibhavas attain to this mental tastefuldess, rasatya, oot by themselves but when connected with tbe vibbsvas, spubbyvas and the vyabbicorios.

·232 Rasa and Dhvani This connexion is of & gencratite nature The knowlegde of the relation of feeliags emotions and sentimcats with events and circumstances of hfe becomes sa to say traasformed in poetry and drame into what are called vibhāvas and asubhavas It is this connexion which is the stuff of what becomes rasa Now let us see what the Na Śa means by the term "vibhava anubhavas and vyabbicarbhāva The meaning of the term 'vibhava is given as below -atha vibbava it kasmat ucyate vibbayo yanathah, vibbavah karabiam dimittam heturiti paryāyan vibhavyante bena vaganga sattvabhinaya itato vibbavah satba vibbavttam Vignatamityabartbaataram-(Na Sa VI pp 346) (GOS Ed) Vibhava is primarily taken in the sense of knowledge (vijñada) It is however a piece of knowledge which reveals something else also Therefore, in relation to that something else which it reveals, it is also called karana Dimitta and hetu, ic there are other words for vibhava It is by means of vibhava tbat Vācika, angika and sattvika abhinayas are so to say, understood or grasped specifically Thus vibbavitam is said to mean vijñātam 3 Thus rather not quite clear exposi tion la prose is clarified in the verse quoted as authority VIZ. bahayo stha vibhavyapie vagangabhinayasrayab) Apena yasmattenaya vibbaya iti sampjñitah !! (Na $a VII 4) Because (many meanings coming from vacika and Sngika abhinayas are made clear or capable of being grasped or understood, it is called vibhava Thus vibhava 15 rcally a type of knowing which is responsible for other meanings culmiaatrag in the perception of mental states 3 Anubhava is explained as follows -sovbhava sti kasmat ucyate anubhavyasteaeda vagangasattva kyto bbinaya itz (Na Sa VII, pp 347) ·Rasa in Bharata 233 cara CApubbava is the expression of these mental states by means of vācıka and ängika abbinayas The anubhavas may be identified with bodily expressions, including vocal expressions which sbow the mental states produced by the vibbayes 3 The sloka 15 -Vāgangabhipayeneha yatastvartho'nubhavyate i sākhăngopāngasamyuktastvanubhavastatah smrtah (Na sa VII 5) Vyabbicārin or traosilory state is explained as, Vi abhi ityetāvupasargau iti gatyartho dhatuh vividbamabhimukbyena raseșu carantiti vyabhıcârinah văgangasattvopetab prayoge rasannayanti iti vyabbicärinah (Na Sa VII pp 355) -Je lys' and 'abhi' are prefixes, and the root is 'cara' meeting "to go', 'to move' Here the word vyabbicarinah weaps, those mental states, wbich in a variety of ways move towards the principal sentiments That is, they are the mental states wbich play the part of accessaries which reinforce the permanent moods The rasa theory of Bharate may be interpreted to the following way The vibhāvas are statements and presentations which give rise to emotions and sentiments. The expressions of the sentiments and emotions thus born was anubhavas The feeting emotions caused and expressed in a similar way arc tbe vyabblcărios These upite into a unitary whole like the honey gathered from different plants. When this unitary whole becomes tasted by one who can taste it with disccroment, it is the state of rasa, It may be zoted that theory of rasa is based upon the psychological analysis of the human mind in agcrent times The results have been put into a formula which has become traditional. It has eight (or Dine) permanent states of mind, se stbayıbhāvas, birty-three transitory states ie vyabhucarins, and the eight sattvikabhyvas This group of forty-aide ·234 Rasa and Dhrani mental states is the material out of wluch eight or aine rasas are formed These are, scdgara (love), basya (laughter) karuna (tragic), vira (btoic), randra (funoas), bhaydáka (terrific), bzbbatsa (odlous), and adbhuta (marvellous), the Datyarasas, and to which lateron is added the santa rasa (quietistic) The Na Sa being essentially a work on dramaturgy, enumerates, the differeat vibbayas anubhavas and sancarias that constitute these resas, in the sixth and screath adhyāyas All this material in the Na Sa has more or less become traditional in the later works on Sanskrit dramaturgy and poetics > It may also be noted that in the 16th adhyaya of the Na Să, dealing with the concepts laksana, guna, dosa, and alamkatam, it is stated (vs. 113–114) that the gunas and tbe alamkaras have to be used in poetry, in consonance with the delineation of different rasas Here, it may be noted, rasa is visualised in connection with poetry i e kavya in addition to drama or natya ·CHAPTER IX RASA' in the earlier anthors in Sanskrit Poetics (i) Bhicaba (ii) Dandia (W) Vámara (iv) Udbhata (v) Radrata The comparatively simple rasa theory of the Na Sa. becomes the sbuject-matter of fine analysis and recondite discussion in the later writers The different dars'a pika views have entered into this discussion and made it complicated These different views have been given by Abbinavaguptapadacarya la his commentary on the rassasatra before he gives his owa subtle theory The same subject bas been touched by bio in bis commentary on Dhvanyaloka Before we come to this later development, it will be appropriate to study the treatment of rasa as given by writers on poetics earlier than Anandavardbana and Abhinavagupta In the carlier alappkarikas such as Bhamaha, Dandin etc we do not come across ady adequate discussion on tasa-realisation It seems, these carlier writers on poetics bad their own notion of kavya or poetry as word agd sease taken together in general All that rendered charm to poetry was terracd 'alamkara' in the wider sense of ihe top, Bhāmaha called it yakroktı' in general (II 85) (1) Dandia also takes the term alamkāra in a wider sease and applies it to anything that may reader charm to poetry. (II 1) (2) Vāmīda, at I 1 2, takes the term alamkāra in a wider sease and defides it as 'saundarya' or 'charm' 1a gcoeral (3) Thus, whatever is a source of charm 10 poetry, is broadly termed alamkāra by the earlier writers on poetics These writers must not bave been udaware of the theory of ·Rasa and bhumi 238 characterises a muktaka, wbile rasa is a characteristic of a mabākavya. Rasa as an alamkara, as observed above, would find place even in a muktaka. Dandin Dandın also, from the theoretical point of view, seems to bold an identical position with reference to the topic of rasa. He also tries to incorporate rasa, bhava, etc, under such figures as rasavat, preyas, etc. (10). But, as compared to Bbāmaba, Dandia seems to have given more importance to rasa. This 13 seen in his treatment of ibe figures such as tasavat, preyas, etc. (11) Dandia treats of these figures at 11, 280 291. He talks of sprigara at II, 281, of raudra at II 282, and of yra at II 284. karuna is illustrated at 11. 286. Bibhatsa, adbhuta and bhayānaka arc illustrated in II. 288, 289, and 291, respectively. Abhinava in bis Abh. (272. Vol. I Na Śa. G.OS. Ed. II) while explaio. ing the causal view of rasa held by Lollata, says that earlier writers such as Dandın also beld a similar view. (12) The commentators try to read a fully worked out rasa theory in Dandin. (13) But as to the theoretic position of rasa in kavya, Dandın says at II 287. that thus, karunya which is enhanced, is taken as alamkara (14) Thus, even for Dandia, rasa is only an alamkara io poetry. (15). Preyas is defined as, 'prijatarakbyana' at II. 275 Preyas is felicitous expression and tasavat bappens where rasa abounds. Orjasvi is wbere pride dominates or that which has appropriate excellence (16) From the Illustrations cited by Dandin, it becomes clear that for him, preyas occurs in case of the suggestion of some bhavas. (17). In the same way, Orjasvi exbibits the bhava of 'gatva' or pride. Both preyas and arjasvi cxbibit a bhava as a kavyasobbakaradharma', ic. alamkara which serves to render charm poetry. Rasavat, on the other hand, as seco above, cxbibits fully developed rasas ta form of an alamkata. (18) * ·Rasa in the earlier authors in Sanskrit Poetics 239 Dandin, like Bhamaba, while describing the characteristics of a mahākavya says that a mahakavya should be full of rasa and bhavas (rasabbávanirantaram), and should also have well-defined sandhls. He also, like Bbāmaba, refers to other works for a description of drama. Vamaga Vāmada does not treat these alemkäras. He, however, bas tried to lacorporate rasa in his owa way to the arthaguna called kaati, wbich is defined at III. 2,15. (19). It should be Doted that Vamana seems to make an advance over his predecessors in subsuming rasa under gunas, 'which, for bim, forms the essential of poetry-pitya dbamah-as compared to alamkaras which are accedental or impermancat-i.c. Anitya, a distinction which does not seem to have been made by Bbamaha and Dandin, Udbhata Udbhaga treats of the topic as below. In the fourth varga of bis Kavyalamkara, be wentions these figures in the first kariki. He defines preyasvat as, "Poetry which is composed so as to contain the indications of bbavas like rati, by means of anubhavas and the like, is said to contain preyas" The suggestion of these bbāvas such as rati and others, would lead us to rasavat. So, Vlytikāra says that here, rati or love is to be taken only with reference to God, king, etc. In case of rati or love with reference to the beloved, it is rasavat. (20). Rasavat is defined at IV. 3 as that in which the development of sentiments such as śộngära and the like, is clearly shown, and which are included (the indicators such as), a verbal statement of the sentiments, the stbayio, the sancarios, vibbavas and abhinaya (21), Ūsjasvi (IV. 5) is, "the delinea. tion of sentiments (rašas) and fecling (bbāvas), which burt the sense of propriety in their depiction, or wbich are expressed in passion, anger, etc., (22). This is eptirely a novel explanation of ūrjasvl, oot to be seen either in Bbāmaba, or ·Rasa and Dhani 240 in Dandin Again, the use of the terms such as, 'kamakrodbadikaranat' probably suggests that 'rasa' according to Udbhala is caused by factors such as kama or sex desire, krodba or anger etc Abbioava, as seen above tried to read the causal View of Lollata 10 Dandın Herc also, probably we may read the same with greater confidence Samăbita is defined at IV 7 as, "the description of the quelling of sentiments (rasa), fe-bags (bhava), or their semblances (abbāsas), quite unmixed with accessories (such as anubhava) (23) Thus it appears that Udbhata treats of rasa as a part of alamkara But he has made a greater advance in discussing rasa eventhough as an alamkara as can be seen in the definitions of preyasvat and the like. He mentions terms such as anubhava and refers to the 'svas'abdavăcyatva' of rasa, Thus, probably he is the first amongst the earlier writers to have incorporated Bharata's theory He also adds one more aspect of rasa theory viz. that whether rasa can be syas abdavacya i e expressed by its own dame or not For him, rasa can be expressed by its own proper name, a position, generally controverted by authors like Ādandavardhana, Abbidayagupta and others Udbbata also mentions säntarasa Radrata When we come to Rudrata we find a still greate radvance Io the incorporation of ideas pertaining to 'rasa The first point to be noted is that he does not include rasavat, preyas, Ürjasvi etc. in the enumeration of alarakāras He however, in I 4 characterises kavya by the word 'sarasam Whether this is for Rudrata a general characteristic of kavya or merely as 18 Bhamah and Dandlo a characteristic of a mahakvya is not quite clear because the kavya to which he refers is one which a mabakav is supposed to compose In the later adbyayas viz XII to XVI, we find the subject of rasa discussed ·Rasa' in the earlier authors in Sanskrit Poetics 241 along with the discussions on the Duyakas, sāyikas etc fact, this section incorporates the relevant material of the Na sa His justification for bringing in this topic of rasa is as follows He says that poetry should rocorporate rasas because those who have an aesthetic bent of mind are frigh teped by the dry teachings of the sõstras They can learn wisdom about the four ideals of life from poetry which is full of rasas (XII 12) (24) Namisadhu says that rasas are not considered while dealing with the figures of sense, because poetry has word and sense for its body and vakrokti, vastava etc as literary embellishments, while rasas are like beauty, the natural quality (sabajõh gunāh), and therefore are excluded (25) Thus as noted earlier, rasas are treated by Rudrala with reference to (kávyāphala or) the object of poetry as derived by the COndoesseurs He than directly proceeds with the coumeration of rasas, viz śmigara vira, karuna, bibhatsa, bhayapaka, adbhuta, basya, raudra, sõdia and preyan (XIII 3) At XII 4, he says that sasas are so fermed because they are relished as such-rasapadrasatvamesali Namisudbu says that the acāryas such as Bharata have called singaradı to be rasas, because the stbayubbavas are so relished Thus, it seems that Rudrata here treats of rasa-dispatti as seen in Bharata and tries to correlate it with the sahrdaya who relishes rasa as a kavyaphala Then he gives two varieties of snigara vez sambhoga and vipralambha and proceeds with the different types of näyakas and his companions From verses II. 6 onwards, he describes the different types of nanlas TE- Xilith adhyāya is devoted to a description of stat2 and the Xiyth to the vipralambba In the 17th 2017 he describes vira, bibbatsa, bhayaptaka, adbira, Em, faudra, s'atta and preyăn Then he gives a verse accent ržtis that are appropriate to different rasas The last za is devoted to the different types of prabandtas R 16 ·242 Rasa and Dhrend It should be noted that, as seen above in the light of the remarks of Namisadhu, Rudrata is faclined to take rasa as 'sahaja guna' or batural quality of laya or poetry, as against alapkure which is an external ordamcat. Vatana was the first to say that gunas are the permanent qualities of kavya, as against alapkāra, which is aritza dharma' or Impermanent quality. Vamana incorporated rasa voder 2801) guna sbich formed one of the essentials as compared to mere alapköra, which forms the external element in lava, Tbus we see that the tendency to make fas& as something essential as compared to mere alapkara (in its narrower connotation), first originated in Vamana, and then was carried on further in Rudraia. Moreover, Rudrata talks of prey as as a separate rasa at XV. 17. Rati or love with reference to a friend gives rise to this rasa Thus, what ia Dhamada, Dandia and Vabhaya appears as alanlara called prezas, appears in Rudra12 A, an independent tass. Rudrata, in the last chapter of his work treats of the sanious types of prabandhas or literary compositions. He says that the four objects of life should be treated in pra. bandhas pled with asasasamyal tan abhidadhyat rasasammis'rqo prabandhero) Theo be refers to the varieties of prabandbas fa poetry. (1z. (mahs) kavya, Qatbi, Jkbytyita, etc. These are of iRo lindt-() imagined by the poet or () based upon tradition. They may be (mahat) long, or short. (XV1-2). He describes the longer variety in verse 5. Those are the great prosos la bich all the four objects of life are depicted at leogth, and la s bich all the risks are also depicted, while the smaller poems are those in which only one of the objects of life is depicted. As to rasti, all of them are pot expected in them, while one rase is completely depicited (XVI. 5 6). It may be karunarası or vipralambha (i.e. pravila kem) or frithamotrigin. (XVI, 34).

·Rasa' in the earlier authors in Sanskrit Poetics 243 We have seen above that in the alamkarikas carlier than doandavardhana, rasa is depicted as one of the alakaras or gunas, which, so to say, in their view, is a prominent characteristic of poetry These authors, however, are not unfamilier with the oatyarasas, discussed ia the Na Sa As we have seen, they bring them in while defining the mabakavyas and by implication also in kathās and akhyayıkās Thus, it would appear that for these authors, rasas and bbavas bave their proper place in the prabandha kavyas, great or small We may note here the well-known lines about the muktakas of Amaru, wbereja it is said that each verse of his is equal to a hundred prabandhas, implying thereby that one verse of Amaru has as much rasa as can be found in hundred prabandhas Anandavardhana With Ādandavardbada, we enter into a new era of sanskrit poctics He seems to have fully realised the importance of rasa both in drama agd poetry, aod tries to give tasa a prominent place while incorporating it in his general scheme of vyanjana For bim, the soul of poetry is dhvanı or the suggested sense which is derived through the function of word called vyanjana This dhvanl or the principally suggested sease, is three-fold according to Ananda, viz vastudhvani, or the suggestion of a matter of fact or idea, alamkaradbyadi, or the suggestion of a poetic figure and rasadbyanı or the suggestion of sentiment This rasadhvadi is victually regarded as the bigbest type of divanı by Ananda For bit, rasa 18 Qever svaśabdavācya 1e expressed through its own proper Dame, but is always suggested through vibbava, anubbava aod vyabbicātias Thus Ananda seems to have achieved a great porot while harmonising the concepts of rasa as seen in dramaturgy and that of vyañjadă 10 poetry Abioava has elaborated the point in bis Abh as well as Locada ·244 Rasa and Dhrani Thus we' bave seen that the earlier alamarikas such as Bhamaha, Dandla etc do pot totally ignore the fact of rasa But they try to 14corporate it under alamkara, a source of charm to poetry Dandın is more elaborate in bis treatment Udbhaia also seems to be better informed about the concept of rasa and its position in kavya He is probably the first to take rasa as svasabda vācya ne expressed by its own name But one point is clear that for all of them the ultimate alamkarya' is kavya itself and rasa, bhava, etc, are only alamkaras, un thewıder sense of the term as kavyas'obhakara dharma In Vamana and Rudrats we noticed a new trend to incorporate rasa, bhava, etc under guna, the essential or eternal quality of kavya (Altyadhatma) Rudrara also speaks of several rasas, in fact any bbūva for him can be rasa Anandavardhana with his theory of divaai aad vyanjana gives # new orientation to the whole theme Abhinavagupta, as we will see later on, elaborates the position taken by Ananda and himself, in his Locana and Abh We will consider his views on rasa realisation later on Foot notes 1 भामह ।। 85 सैपा सर्वच वक्रोक्तिरनयार्थो विभाष्यवे । यस्मोऽस्यां कविना कार्य कोऽरस्कारोऽनया विना ॥ 2 <foz7 III काव्यशोभाकरान् धमान् मरवारान् प्रचक्षते । 3 9195 I 1-2: सौन्दर्यमरहकार । 4 भामह HHI 6 रसवदर्शितस्पष्टशगारादिरस यथा । देवी समागमधमंमस्करिण्यतिरोहित ॥ Bbamaha does not choose to go into any detailed treat ment of Rasa At I 21 he says that the Mahakavya should be युक्त लोकस्वभावेन रसश्च सकले. पृथक् । At ' 3, he says स्वादु काय सोन्मिश्र शास्त्रमप्युपयुज्यते ।

·Rasa' in the earlier authors in Sanskrit Poetics 245 III.5 .. or 5. भामह : प्रेयो गृहागत कृष्णमवादीब्दिदुरो यथा । भय या मम गोविन्द जाता त्वयि गृहागते । कालेनैषा भवेप्रोतिस्तवैवागमनात्पुनः ॥ This has been quoted by Dandip also. Appayya Diksita takes it as an example of ananvaya dhvadi. 6. Bhamaha. IIIT: उर्जस्वि वर्णेन यथा पार्याय पुनरागतः । न्दिः संदधाति किं कर्णः शल्येत्यहिरपाकृतः ॥ 7. भामह. III 10. समाहित राजमित्रे यथा क्षत्रिययोषिता । रामप्रसत्य यान्तोनां पुरोऽदृश्यत नारदः ॥ 8.S, D.X 86, समाधिः सुकरे कार्य दैवावस्यन्तरागमात् । 9. At 11. 85 : Bhamaha uses the term vibbavyate'. Abhinava trles to explain it in a technical sease of 'vibbavana'. 10 Dandin speaks of Rasa elsewhere also. He defines madh. urya ( I. 51) as, माधुर्य रसवद्वाचि वस्तुन्यपि रसस्थितिः । 1. the establishment of rasa in word and in object. 'At II.292 he explains 'madhurya' as agramyata' absetice vulgarity'. ( 1 292 is • वाक्यस्याग्राम्यतायोनेाधुर्य दर्शितो रस । इह त्वष्टरसायत्ता रसवत्ता स्मृता गिराम् ॥ तरुण वाचस्पति explains as - एव शृङ्गारादिभिः अष्टभिः रसैः पूर्वदर्शितेन च अग्राम्यतोरूपेण रसेन नवधा रसत्वम् इति रसवदलद्वारम् उपसहरति वाक्यस्यति । This is not very clear. हृदयगमा probably explains it in a clearer way when it says माधुर्यगुणे प्रदर्शित. शद्वार्थयोः भप्राम्यतया जातः रसः वाक्यस्य भवति । अलङ्कारतया निर्दिष्ट रसवत्वं अष्टरसायत्तमेव । Dandin does not seem to take rasa in any technical sense, but only in the general sense of kavyarasa' alone, iti all those occurreaces. Hemacandra says the same whes be says & श्रुतिवर्णानुप्रासाभ्यां वागत अप्राभ्याभिधेयतया तु वस्तुरस । माणिक्यचंद्र also agrees to this He says (MS 180. आनन्दाश्रम ed.) श्रुतिवर्णानुप्रासाभ्या यानमः अमान्यतया तु वस्तुरसः । इस्थ रसो द्वैधा। At 111. 149. again fiu TA. is explained by Tarunavacaspati as है ८ ·246 Rasa and Dhrani - साधुत्वम् only At I 62 also 'rasa' does not carry any technical connotation I 62 reads- काम सर्वोप्यलद्वार रसमय निषिधति । तथाप्यप्राम्य तेवन मार वहति भूयसा ॥ 11 Dandin also expects like Bhamaba, the Mahakavya to depict, without exception, rasa and bhava (see I 81 अल्व्कृत असक्षिप्त रसभावनिरन्तरम् ।) तरुणवाचस्पति and हृदयगमा take rasa' and •bhava' here in their technical sense But we may take thrs, with Dr De in the general sense of kavyarasa' 12 अभिनव भा (m 272, Vol I Ns)-चिरन्तनाना चायमेव पक्ष । सथा हि दण्डिना स्थार काररक्षणेऽभ्यधायि । रति गुङ्गारतां गता रूपबाहुल्य योगेन । इति (काव्याद” ॥ 281 ) अधिस्वररा को” कोपो रौद्रात्मतां गत (1283) इत्यादि च। 13 तरुण. says at II 281 तदिद रसवत् । रूपबाहुल्ययोगेम विभावानुभाव- व्यभिचारियोगेम इत्यर्थ । The हृदयगमा adds -स्याभिधान एष स्थायी भाव मृतेत्यादिना वागारम्भानुभावेन अनुमीयमानै हपतिस्मृतिवितर्कप्रमृतिमि व्यभिचारिभि सेसृज्यमान करुणानन्तरो शृङ्गाराख्या लभते । तेन अन्वितमेतत् रसवत् । रंगाचार्य हो also follows arm He says that herein, वासवदत्ता Is the "विभाव' her sweet words, smile etc are the anubhavas and हर्ष, विस्मय व etc are the vyabhicanbhavas The स्थायिभाव called tfa is enhanced to the state of शगाररस 14 दण्डिन् If 287 इति कारुण्यमुदिक्तमलकारतया स्थितम् । 15 Dr De observes ( PP 212 Sanskrit Poetics)-“But the Rasa in these figures is subordinate to the expressed figure itself to which it &$ & incans of embellishment भलकारतयास्मृतम्, in other words, the rasa developed not for its own sake, but as increasing the beauty of expression " fail to agree with this By 'मलकारतया स्मृतम्' what Dandia meads is that here karuna fasa becomes the alamkara of kavya The term alarkare is to be taken, as noted above, 10 its wider sense of a काभ्यशोभाकरधर्म. For, otherwise, we fail to ScrYCS h ·Rasa' in the earlier authors in Sanskrit Poetics 247 trace any other & 10 these illustrations, to which the particular rasa can be subordinated Again, Dandia calls rasavat to be that which 13 rasapes ala' 10 that which causes delight due to rasa ([[ 275) 16 दण्डिन् 11 275 प्रेय प्रियतराण्यान ग्सबद्रपेशलम् । उर्जस्वि रूढाहकार युक्तोत्कर्ष च तदत्रयम् ॥ 17 तरुण says देवगुरूपिनादिविषय प्रोतिप्रकाश प्रेय । 18 Some modern commentators such as Redd: seem to overread things when they observe that rasavat, preyas and urjasvi arc grouped together because all of them form the varrettes of what is called असलक्ष्यक्रमध्वनि (प्रयाणा असेलक्ष्यक्रम रूपैकधमत्वात् एकत्र निर्देश) It is doubtful whether Dandis could be held to be conscious of the classification of Dhvani as above 19 चामन III 1115 दीप्तरसव कान्ति । 20 विकृतिकार-रतिरिह देवगुरूनुपादिविषया गृह्यते । कान्ताविषयाचा तु रते सूचने रसदवलकारो वक्ष्यते । 21 उद्भट IV in रसबद्दर्शितस्पष्टशृङ्गारादिरसादयम् । स्वशब्दस्थायिसन्चारिधिभावाभिनयास्पदम् ॥ 22 IV6 भनौचित्यप्रवृत्ताना कामक्रोधादिकारणात् । भावाना व रसाना चकन्ध बर्जस्वि कथ्यते ॥ 23 उद्भट IV 7 रसभावतदामासवृत्ते प्रशमबन्धनम् । भस्यानुभावनि शून्यरूप यत्तत्समाहितम् ॥ 24 मनु काव्येम क्रियते सरसानामगमश्चतुर्वगे । लघु मृदु च नौरसेभ्यस्वे हि त्रस्यन्ति शास्त्रेभ्य ॥ रुद्रट XII 25 ममिसाधु on रुद्रट X11 2- अर्थात्कारमध्य एवं रमा अपि कि मोक्ता उच्यते-काव्यस्य हि शन्दायौ शरीरम् । तस्य च बकोक्तिवास्तवादयः कटककुण्डलादय इस कृत्रिमा अलहारा । रसास्तु सौन्दर्यादय इव सहजा गुणा इति भिन्नरतत्प्रकरणारम्भ ।

·PART III CHAPTER X Some Observations. Thus far we have traced the two streams of thought, one, pertaiosog to śabdavrttis, with particular reference to vyanjana and dhvanı, and the other pertaining to the origin and development of the concepts of rasa and other cognate ideas. In Dhvanyaloka we find these two currents meeting and merging with each other and bridging forth an integrated theory of rasa and dhyant So, let us study this integrated theory of Ābaadavardhana in detai We come to discuss the theory of vyanjana or dhvani as propounded in the Dhvanyaloka As I said in the beginning, the 10spiration for the investigation came from the following verse kavyasyatmā dhvadiriti budhaih yah samāmpataparvah tasyabhavam jagadurapare bhaktamabustamanye) kecidvācāma sthitamavisaye tattvamucustadıyam tasmadbrūmah sabrdayamapahprstaye tatsvarupam 11 This verse makes us understand that dhyant was accepted as the soul of poetry by earlier teachers It was this very dhvant that was called to be bhakta or secondary sease by other teachers. There were some who said that eventhough dhvadı was experienced, it was beyond cxpression 10 words There were some, bon ever, who definitely negatived it. It was to remove this state of doubt and negation of dhvani that Ananda undertook to write this work In our search of these earlier theorists, we have not succeeded 10 discosering any teachers of poetics who had a clear theory of vyanjana before then There might have been critics jo old times as there are in the present days who might ·Some Obseryotions 249 OUIS bave said that though they experience the soul of poetry, it was incapable of being expressed in words As we have not been able sa fiodlag the carlier theorists of dhvani, similarly we have not found any theorists who have pegatived it. We have, however, found theories about the two functions of the word, viz the primary and secondary 10 bbākta and we have found the seeds of laksana and vyanjana In these It seems that Abbinavagupta also had undertaken such an investigation and has practically come to a conclusion similar to In fact be says that there have been no books in which this theory is embodied Says be-avicchiadena pravabena taire. taduktam vidāpi Visislapustakesu vinivesanādityabhiprāyah (Lacana on Dhy I Considering, however, Ananda's arguments and illustrations to prove the independent verbal function of vyanjana, we cannot deny the possibility that there might bave been a tradition amongst the teachers of poetics which embodies affirmation and denial of vyanjanā These teachers tight have been bis contemporaries or pear predecessors Ananda quotes the following verse with the totraduction viz-tatha ca anyena krta evātra s lokah - yasmianasti na vastu kincana manahprablādi sālapkrti vyutpanngiracitam ga caiva vacanair, vakroktisunyam ca yat kävyum tad dovadına samanvitamiti pritya prasamsariado no vidmóbhidadbatı kim sumatina prstah svarūpam dhvaneh 11 Abbinavagupta explains anyena' by the words-granthakrtsamenakālabbavida manorathadāmā kavina if Abhinavagupta is rigát ia tars rdeacification, we may conclude that amoogst the contemporaries of Ananda, the theory of dhvadı must have been propounded, denied, and stoutly defended. But, as to teachers earlier than this, of dovadı, we have no independent corroborative evidence, ·250 Rasa and Dhrani Let us now consider Ananda's views We find that Ananda by three progressive stages comes to regard rasa as the atman or soul of poetry The first stage is found in the second karikā of the first udyota of the Day Hereid he says arthah sabrdayas'lagbyah kavyatma yo vyava. sthitah' ie the meaning that is commended by the aesthetes. sabrdaya-is the soul of poetry Vācya in poetry is disposed of by saying that it is explained by many poeticists in the form of various figures of speech like simile and others (karika 1 3) The idea of pratiyamāna in the poetry of great poets is explained on the analogy of beauty in the fair-sex (Dhy I 4), which is something over and above the beauty of several parts of the body He seems to suggest that beauty is something which comes out of the whole So does pratiyamanartha or implict sense in a poem This is the second stage in wbuch the importance of the pratryanada is established This is followed by a discussion in the Vitti establishing the difference between vacya and prattyamāca This discussion, As we note from the vitti, pertains to what is techaically known as vastuvyangya The second variety of vyangya that he refers to is alapkara-dhvanı The third variety of pratiyamīna 18 what be calls órasædilaksanah' ic rasa, bhava, etc About this variety it is said that it is absolutely defferent from the vacya Tbis third variety of pratiyamana, viz rasa is presented as the soul of poetry in the following karika Kavyasyalma sa evartbah tatba cadikaveh pura krauncadvandvaviyogottbaḥ sokah slokatvamagatan 11 (Dhy I 5) This is third stage Tous in the karikas 2-4 and the vptil thereon, we find the philosophy of Ādanda, regarding the soul of poetry, in a nut shell Meaning is the soul of poetry In the meaning it is pratiyamana, which is important And in the three varieties of pratiyamāna, prattyawada rasa is the soul of poetry This rasa is explained in the vitti thereon ·Some Observations 251 as kavyasya sa eva artbah sarabhutah-, thus carrying forward the traditional meaning of rasa as essence in poetry. This implict sense is something quite different from the direct meaning of words. This polnt he proves by giving Illustrations. If, for instance, the explicit sepse is of a positive nature, the implict sease is of a negative nature; or if the explicit sease is of a negative nature, the implict sense is of a positive nature, or if the explicit sense is either of a positive or negative nature, the implied is neither positive nor negative in nature. In some cases the subject-matter of the implicit sense is different from the explicit with reference to different people. These are illustrated by the verses such as, 'bhama dhammia' etc., 'atta ettha nimajjax', etc., "vacca maha vvia ekke', etc. and 'de a paria' etc. 1 ·CHAPTER XI •RASA AND DHVANI AS LAID DOWN BY ANANDA VARDHANA The Three dhvanis ? Ananda takes up the three main types of implict sepse, Viz yastudhyadi alamkaradhvadı and rasadhvapı 1c the cases 10 wbich some bear factor idea is implied, or alamkara is suggested or rasa is evoked He has illustrated vastudbyanı in the verses such as bhama dhamma etc as discussed above (see ch X) Here it may be noted that Ananda clarifies the point that vastu and alamkara can be expressed both by direct meaning i e vacyártha or vyangyārtha se suggestion In the case of rasadhvani however, there is a complete break with abbidh, Alam karadhva 1 In order to explaio alamkaradhvani Ananda introduces the idea of policibility between the expressed seose and the implict sepse That there is a sequence between the expressed meaning and the implicit meaning the latter following the former is not questioned in poetry, however the fact of the degrees of policibility is a matter of importance Where the sequence is so quick that it does not atttact the attention of the reader or heater as in råsadhvaar It is regarded by Ananda as the mode of dhvani par excellence There are other cases however in which the sequence between the expressed sense and the implicit sense is clearly observed as in some of the illustrations of vastudhvanı These are the well known divisions of samlakşyakrama and asamtaksyakrama of dbyant ·Rasa and Dhvani' as laid down by Ananda ardhana 253 It appears that ibe sequence of krama is a necessary item 15 alappkaradhvani, eg in the verseungatah prollasddbarah Laligurumalımasah 1 payodbarabharastadvyāh kam na cakare bhilasınam In this particular serse, the expressed meaning with refer- Oct to the monsoon season comes first Then, on the strength of double meaning words, the implicit with reference to a young lady also shines forth. The sequence between the two senses is apparently noticable The result is upamadhvani. Ananda cxplains and illustrates alamkaradhvani when he discusses the nature and scope of samaksyakramavyangsa or that in which the sequence between the expressed sense and the roplicit sense 18 policeable (l! 20) This particular variety of dbyanis subdivided into that which is based on esther s'abda ie word ($abdašaktyuttha) or an artba i e meaning (artbasaktyuttha) The sabdaśaktyutiba samaksyahrama 15 again subdivided into two VIZ vastudhvani, as explained alrcady, and alapkáradhvant. Ananda makes it clear at the outset that alankáradbvani occurs only when an alamkāra is implied on the strength of the power of a word Thus, when in a poem, alamkara alone, and pot vastumatra or idea, is implied on the strength of ſabdafakti, it is sald to be shvapı based on sabdasaklı (Says Ananda II, 21 - aksipta evalapkārah sabdasaktyā prakasate : yasmingamuktah sabdeda šabdesakiyudbhavo bi sa} }} yasmadalamkāro, na vastmatram yaswin kavye sabdasaktyä prakāšate sa sabda-saktyudobavo dovaptrityasmakam vivaksitam) He holds that if, an alamkara, even when it is implied, becomes expressed by some other word, then also it falls out of the provibce of dhyani (sa cakşipta lampkāro yatra punah sabdântarenabbilitasyarūpah tatra na sabdasaktyubdhaváguranagarūpavyangyadhvadivyavabarah) This is illustrated 10 the verse viz dęstyā kesaya etc In this particular verse, ·254 Rasa and Dhrani 10 the word salesam turas the table and the verse lastead of becoming an Illustration of dbyadi, patets out into an alapkara called s'leşa But, says Ananda, if on the strength of implication another alaqkara is suggested, it becomes an illustration of dhvant as laatractare kusumasamayayugamupasar berandajpmbbata grişma. bhidbadah phullamallikadhavalaitahaso mahakalah or the verse unpatah prollasaddharah etc. or in case of dattanandah prajānām etc Roanda says that in these illustrations, we have to imagine on the strength of implicat on, the relation of upamāna aad upameya between the two vakyārthas and thus to these illustr&11005, upamadhvani is based on slesa. Ādapda, then proceeds to ]ustrate different alamkaradhyanis such as virodhadhvani, vyafirekadbvani etc These are instances of alamkaradhranı based on nord (sabdasaktyudbbava) At IL. 25 Ābanda points out the variety of alapkāradhyanı based on arthasaktı Says be, artbasakteralamkaro yatrapyanyah pratiyate ! anusvanopamnavyangyah sa prakātoparo dhyaneh 11 Thus when an implied alamkāra, wbich is other than the expressed alamkara is suggested on the strength of meaning, it is termed as arthasaktyudbhava-aqusyanarūpavyangya (Vacya. famkarav yatıriktoyatanyotamkarórthasāmartbyat pratiyamano. vabhasate sórtbasaktyubhayo DāmāmUSVIDerupavyadgonyo dhvanihon II 25) Ananda bolds tbat all the alamkaras such as rūpaka and the like that can be directly expressed, can take the form of the implied also (II, 26) He says that such implied alamkaras are exhibited variously by alamkarikas such as Udbbata and the like Thus in samdeha, there is an implied element of upama, rūpaka and atayokti Thus, it is not difficult to fidicate the fact that some alamkara is implied by some other alamkara (röpakadirala karayasgo yo yacyatam śrztah sa sarvo gamyomagtvam bibhrat bhumno pradarsitah II 26) ·*Rosa and Dhiani' as laid down by Anandavardhana 255 anyatra vacyatvenap rasddiho yo rapakadiralamkarah so'nyatra pratiyamagataya bahulyena pradaršitastatrabhavabdhirbhattodbhatadıbbih. tatha ca saqdebadisupapărupakatiśayoktinam prakasamapalvas pradassitamityejamkaradtafasyalapkārāptare vyangyatvam na yatnapratipadyam. But Ananda adds (II. 27) that even when we come across some other implied alamkāras as seen above, we do not call them to be dhvani till the expressed sense is not subordinated to the implied, But when the expressed becomes subservient to the implied, then only it becomes the province of dhvadi. Ananda then goes on illustratiog such cases, In praptaściresa kasmāt etc. we have rupakadbyaoi, So also ia lavazyakantiparıpuritadivi. mukhe'smin smere'dhuna etc. upamadhvani is seen in vitana ramai eic, or in tam isna etc, Akşepadhyads is seen as 10-sa vakuumakbilan sakto etc. He also illustrates two cases of arthautaranyasadhvadı as based on both sabdasaku and artbasaktı, Vyafisckadhvani utpreksadhvani etc. are also illustrated and explained. Ananda, winds up the discussion with the remark that (1128)- evamalamkaradhvanimārgam vyutpadya tasya prayojadavattám sthapayiludidapucyate --sanırıkaranam yesām vacyatve na vyavastbitam 1 télamkarab para cobāyām yānti dhvanyangatām gatah it Thus, the alapkāras that have no sound position in the body of a poem when they are only expressed, attaja to beauty when implied. He also adds that these implied alamkaras become dhvani only when purport is principally to ibat effect-vyangyatvépyalapkārānām prādhanyavivaksāyāmeva satyam dhvanavaptah patah. Aaanda, then says that these alamkaras become principally implied in two ways. They become so cither on the strength ·258 Rasa and Dhrani Thos rasa is the subject of vyanjadā par excelleace. Ādandavardbapa treats this third variety of rasadidhvaol voder the subdivision called asamlalsyakramadhvani He holds that the vivaksitany aparayācya dhyapı ic abhidhamuladbvant is subdruided into thD aneues such as asamlaksyalrama and saqlaksyakrama 1e one in which the sequence is either perceptible or dot perceptible The esamlahsyakrama or that 10 which no sequence is perceptible includes ta itself the varieties of rasadhvadi, bhavadhvam, tadabbasadhvani, bhavasandhi, bhavudaya bhavasabalarā ctc (1? 3) There are subdivided into innumerabe sub-varieties But all these are just termed as one ie asamisksyakramadhvadı (3) If it is principally suggested, it becomes dhvant But when rasa, bhäva etc become subservient to the expressed sense, it becomes the province of the alamkāsas such as rasayat and the lile (115) 1e gunibhutavy angya Ābanda is of the opiDion that the asamlalszalramadhvanı is to be found with reference to varna ie syllable, pada je word, vakya 1 e sentence, samgbatana se diction and prabandha 1e the whole composition Abbinava explains that it is to be seen with reference to a fraction of word (padalades :) or two words (pada dvitaya) etc also The varnal or syllables also suggest tasa and the like Ananda explains this by saying that letters such as s,s.r, yukta varnas, , etc do not promote smgārasasa, wbile ibey are conduce to bibratsa and the hike (III 34). The suggestion of rasa througb pada or a word is illustrated 1n—uikampion bhay apariskbalitāmsukānta etc Herein, the word "le makes for the suggestion of karuna rasa (ti smaryamanan tediyagi saundaryamidanım sābiayasokavesavibhāvalam prāptawiti Abhinava) Suggestion through a fraction of a word 35 seen as ta, vridayogāddatavadadaya sapodhane etc Inbhāgah' in the word 'cakitabarinibatinetratribbagah' is suggestive Suggestion based on the whole sentence is seen as in krtakalupitai li bäsfumbhobbih etc, ·Rasa and Dhvanı' as laid down by Anandarardhana 259 This is an illustration of vipralambha śmgāca At times tbis suggested sense of the type of rasa is mixed with some alamkara also, as in smaranavanadiporenodbah punargorusetubhih' etc Ananda mentions three types of samghatana or diction viz asamasz madhyamasam să and dirghasamisa He adds that this threefold samshatang rests on gunas such as madburya and the like and suggested rasas, aad the propriety of the speaker and the subject-matter is the regula ting factor in its case (III 6-gunānāsnitya tisthantı madburyadsa vyanaktı să rasão tanniyame hetuh aucityam vaktſvācyayoh 11) He points out further that in case of karuna and viprayoga, asamāsa samgbatana ne diction involving no compounds is favourable Io raudra however, it can be either madhyamasamasa or dirghasamisa He observes that in all the types of diction the prasadaguna is, a müst Samghatana may very with reference to the form of literature such as muktaka, and the like The whole composition also becomes suggestive of rasa as illustrated by the Ramayana or the Mahabharata The theme should be historical or imagined as the case may be But it should be properly boautified with the propriety of vibhava, anubhava and san ātı (!!! 10) If the theme is bistorical the poet should let go situations as are not inducive to rasa and should also make innovations to evoke tasa (111 111 He should go ia for samdhis and samdhyangas not according to che instructions of the science of poetry or drama alone, but according to their ability to evoke rasa (III 12) The poet should delineate the differeot rasas at proper places 10 parts of the composition, in such a way as to promote the main rasa (II 13) He should use alarpkaras aptly (af 14) These five factors govern the suggestiveness of rasa with reference to a whole composition He duely illustrates all this A whole composition thus not only by itself suggests but successively by degrees also, through instances of rasa, ·260 Rasa and bhrant samaksyakramadhvani contained in it, (oa kevalam praban dbena saksadvyangyo raso yava paramparyenapiti darsa. yitomopakramate-Locada on NL 15) This is illustrated as in the speech of Pancajapya in Madhumaibagasijaya, or as in Visamabānalila when kamadeva meets his friends Abbicava explaids fully how these speeches of Pancajanya, Yaulana etc ultimately help the evocation of the principal rasa It is also found illustrated 10 the famous grdhragomājusamvāda in the Mahabharata (Abbigaya says sa cabhiprayo vyaltab santarasa eva parinlsthitatam praptah Locana III 15) Ādanda says that the rasadı dhvadi is also suggested by sup turi vacana, sambandha, Lararakasaku krt, taddhita, and samasa (III 16) Nipata, upasarga Lala etc also suggest it All this is duels illustrated by him Obstacles ja rasavyaõjapă oandvardhana tben proceeds to mention certain factors that tend to obstruct the realisation of rasa He says that a good poet should take pains to avoid such factors as may obstruct the rasa brag realised in a big composition or even in a single stanza (ili 17) The factors that may cause obstruction in rasa realisation are as below (9) sketching the setting and the lile of a sentiment that is of a nature quite contrary to the one in hand. (11) gog a very lengthy description of something eventhougb lt be connected with the main staternent, (111) abruptly cuttiag off the deliacation of the sentimeot or 11s uptimelv evocation, (iv) frequent delineation of a sentimett even if it is fully roused, and (v) impropriety with reſercace to bobaviour (virodbırasasambandhiubbivadiparirahah vistarcbiduitas api rastupozyasya sarnanan 118 *** ·262 Rasa and Dhani Ananda says that is the instances cited above there is a clear breach of propriety kód It can not be saved by pointing out that the hero is eclipsed by ill fate (Dacaivamyidbe vìşayc daivavyāmobitatvara katbāpurusasya paribaro, yato rasabandha eva kavch ptadbanyena svapraviti dibandhanap yuklam Il 19 Obv) Ādanda says tbat ibe poets should be solely devoted to the suggestion of sentiment and the like We have taken pains for all this and not merely for the establishment of dhvanı alone! (rasadorupavyangyalutpatyamevassim yuktamıtı yatoosmābbrarabdho ba dhyapıpratıpadanamatrābbinies-pa) (iv) The fourth difficulty arises when rasa that is already fully aroused is repeatedly described as such Ra a after being fully aroused by its constituents and after being relisbed, tends to fade away fa the fashion of a fadrag filoner if evoked repeatedly (v) Vyayabatanaucitya occurs eg when a heroine directly mentions her desires to the I cro and not 17directly through proper gestures and the like Or, it happens wben vplis such cg hatsiki and the like, as laid dowa 10 Bharata are described not with reference to their proper conditions Āganda cites some parikara verses to support his state ments and observes that whatever is laid down by him is in harmony with the opinion of great poets such as Valaki and the like He further elaborates th topic and gives instruction as to delineate factors as are consected with sentiments of the opposite type He says vivaksite rase labdhapratisthe tu virodbinami badhyabam argabbāvamp ya praptinācuktsacchala N 111 20 se After the inteoded sentiment has been established on sound footing ibere will be no defect ia including cven bind rances provided that these cone eber as louls (badhya) or ancillaries a ·"Rasar and Dhvani as lad down by Anandavardhana 263 Anaada is of the opin100 that after the intended task is fully realised, the hindrances can be deltaeated 10 a two fold way as said above The badhyatva i e serving as toils of the hindrances is said to be there when they are positively overcome by the rateadedi sentiment and not otherwise Thus deligeated they only tend to cohance the rotended seatment or, these factors cease to be bindrances when they are subordioated. Thay can be subordinated either in a natural way or in an imagined way In case of natural subordination, there 18 ao case for hinderance eg In the description of disease. with reference to vipralambba sigara But if one descubes throgs that are not natural ancillaries eg death with reference to love in separation it will create hindrance Ananda is of the opinion that even if a poet thinks that death can be possibly described to case of love in separation, he should not do so For, if the substratum of the sentimeat is lost, seatimeat itself will be totally blasted And you are got up to promote karunia here If the poetry is centred round karuna casa, such description is unobjectionable Or, at times description of death, 10 case of sprigara is unobjectionable, if there is a chance for at immediate reunion la case of a prolonged reunion, the evocation of proper sentiment is retarded The poet should avoid this Ādaoda illustrates the case of badbyatvena ukuu e narration as foils of the biodrances in the verse viz kvakaryam sasalakşmanah elc, or as in case of the advsce given by the other sage, when Pupdarika 18 lost in love for Malăsveta The Datural subordipation is illustrated as 10, buranım aratim alasabrdayatan etc, superimposed subordination is seen as fo, pānduksādam vadanam, etc, or as 10 kopāt komalalola etc. Opposite Sentiments Zoanda thea proceeds to explain bow opposite sentiments are to be delineated 10 & whole composition He is of the opinion that eventhough it is accepted bat the whole work of poefic compositions should abound ·264 Rasa and Dhani different sentiments, the poet, desirous of acbieving the greataess of his works, should dellaeate only one sentiment as the principal one (prasıddbepi prabandbīdām nādārasadibandhane i eko raso ngıkartavy ah tesāmutkarsamiccata || III 21. Apanda is of the opinion that eventhough different rasas are fully aroused, one of them can be principal, if it is delincated right from tha begining of the work and is being referred to again and again (Ill 22) (prabandhesu prathamataram prastutah saa puoahpunasanu samdblyamāpatvena sthāyi jo rasastasya sakalabaodhavyāpino rasantarairantaralavartıbbih samaveso yat sa nadgitamupabaoti) Dhv OD 111 22 Just as there can be priacipal action or plot of a compost tion even if it gets mixed with other sub-plots, 19 the same way there can be one prracipal seatiment (11123) Ananda is of the opinion that not only sentiments such as vira and smgara or srñeāra and basya, or randra and sogara, or vira and adbhuta or spngāra and adbhuta can be correlated as principal and subordinate, but also opposite type of sentiments such as omgära and bibhatsa, vira and bhayānaka, santa and ravdra or santa and smngāra also can be correlated as such, if wben one sentiment is principal, the other one is not fully aroused (avirodh virodhi vā raso'ngini tasaotare : pariposam na detavyastaths syādavicodbita) | III 24, Thus, a rasa cot of the opposite type as in case o sråeara and hasya, need Dot be fully aroused as compared to the main sentiment Even if they are equally developed, there is no contradiction, egin, ekato ruia etc, or as in kanthätccbrtva etc Or, the vyebhicaribbsvas with reference to a rasa opposite to the main sentiment, should dot be described at length, And in case they are described at length, should there be an ·* Rasa and Dhani' as laid down by Anandavardhana 265 mediate reversion to the vyabbicãribhavas of the priacipal sentiment Or, even when a subordinate sentiment 15 treated fully, it should be, at all events, kept only as a subordinate by constant attention, such other escapes should also be imagjoed In case, the subordinate sentiment is of the opposte type, at should be slightly less developed as cordpared to the maig sentiment eg in case of sākta aad srngara Ananda then proceeds to lay down the specific means of overcoming opposition between two oppoiste sentiments He says viruddhaikāscayo yastu virodhi sthayıao bhavet sa vibhindāsrayah kāryastasya posepyadosata 1) (11125) re if an opporste sentiment is delineated with reference to the same substratum as that of the principal ope, the opposite sentiment should be given a different substratum and thus even if the opposite sentiment is fully treated, there will dot be any contradiction, eg in case of vira and bhayanaka If vira is defined with reference to the hero, bhayanaka should be delineated with reference to the enemy The opposition between sentiments arises 10 a two-fold way e. as already seen above, sentiments such as vīra and bhayānaka cannot reside in the same substratum The opposition between sentunents may arise when certain sentimeots come side by side Now 10 such cases, some other sentiments should intervene in betgeen (lll 26), eg in Nīgaoapda santa and śmgara are delincated with adbhuta intervening between the two Thus, the contradiction betacen lo sentiments in and the same sentence also can be remedied (111 27), eg in bhurenudigdban navapärijala etc ODC Ādaoda says that these instruchions should be carefully observed more in case of szta which is the most delicate type-sukumătatamo byasau (ill 28) If the poet is slightly ·266 Rasur and Dhrane Degligent in the delineation or rasa, it is immediately noticed and therefore he should be all attentive in this task (UT 29). Other Topics Haviog thus disposed of the main topic of rasadhvanı, Ananda bas to find place for other traditional topics of poetics This be has to do under bis scheme of vyanjana For example, he trcats the topic of vrithis such as parusa upanagarilka etc as given by Udbhata, Rudrala, etc, and riris such as gaudi and vardarbbı as given by Dandin, etc in the following way Ananda holds that the main task of a great poct lies in a proper marshalling of all the contents and the expressions in the direction of the sentiments and the likevācyaoin vacakānam ca yadaucttyena yogagami ras divisay enairat karma mukhyam mabākaveh II (Dhv III 32) This observation, says Ananda is corroborated by the fact that even Bharata has laid down vrttis with reference to artha such as kaistks and the like and with refercoce to sabda such as vpapagarika and the like, with the same purpose, tbat 1s, rasa in view Says he etacca rasadıtatparyena kavyapibandbadam bharatadavapı suprasıddbameveti pratipadayitumabarasadyaaugunatvens vyavabaro'rthasabdayoh! aucityavan yasta etā víttayo dvividbah stbitah 1 (Dhv 33). Ananda vardhana further adds that vyavabaro bi vittunityucyate-ic modes of employment are themselves given the designation of mode' The mode of employing senge in conformity to sentiment as well as to the coasiderations of propriety underlies the various (dramanc) modes such kaistki and the like Similarly that #hich relates to sounds coderlies the modes such as upapagarika and the like.

·Rasa and Dhvani' as laid down by Anandavardhana 267 like Thus mode, properly employed with the sole intention of conveying sentiments and the like, will ſend cbarn to dramatic as well as poetic works Sentiments and the like constitute life-essence of both these modes Plots and the like serve only as the body Says he, -vyavabāro bi vrtunityvcyate tatra Tasāzuguna aucityavān Vācyasrayo, yo vyavabarasta etāh kaiskjadayah bi rasaditatparyena sannjvesitäh kamapi dātyasza kavyasya ca obayāmāvahánu rasaday obr dvayorapi tayorjivabbutäh tvrtiadi tu sarırabhutameva Ādanda clearly states (III 48) that once this theory of poetry is fully uoderstood, even the so called 'modes' relatog to the nature of soubds as well as to the nature of meanings will become intelligible He adds that when this theory of poetry involving a descrimination of the suggested-suggester relationship us grasped, other categorjes like literary modes like karsiks and upanagarika will become quite intelligible. Otherwise modes will remain only 10credible like unseen objects, and will not come within the range of personal experience-says he, sabdatattvāstaysh kascidarıhatattvayujo'parah ! Vrttayopi prakāsapte mate'smid kavyalaksane (Dby III 48) asnio vyangyavyañjakabbavavivecanamaje kavyalaksane poate sati yah kascitprasidoba upagāganıkādzāb sabdatattvasrayā vpttayo yascārthatattvasambaddbāh kaistkyādayastáh samyag Titipadavim avataranti anyalba tu jāsāldadrstāstbadania vrtuldāmastaddbeyatyameva syā nānubbavasıddharvam Ananda also incorporates the topic of alapkāra, guna and dosa in his scheme of vyanjanā la his opinion, figures like metaphor and the like, become truly significant (se will be real ordaments) when they art employed in fostances of smgāta which is the soul of sugaestion, with great descrimjetion ·Rasa and Dhani 270 two important vareties of prabandha kavya But Ananda makes the importance of rasa more comprehensive or universal 10 all the varieties of poetry of which prabandha is only one, as seen above Thus we may say that as far as our koawledge goes, it is in Ananda that we find the element of rasa becoming the soul of all poetry, a thing which was made explicit by Visvanatha in his famous utterance vakyarp rasätmakam kävyam VIZ Classification of Poetry Anandavardbada, after having shown the nature and scope of vyanjana in a comprehensive way, paturally comes to regard it as the principal element in poetry However there are literary compositions 10 prose and verse, in which vyanjana may be subordinate to the expressed sense or may not be apparent at all in conveying the charm of the literary piece Such compositions however, cannot be alto ether brown out of sealm of poetry So, Ananda bas recourse to a sort of classification of poetry, on the principal of vyanjana He does this in the following way Dávanıkavya - The class of poetry in ubich the suggested element is principal and in which the expressed word subordinates its sense and the expressed sease subordinates itself and suggest the implicit sense is termed dhvani Ananda says, yatrarthah sabdo và tamarthamupasarjanikītasvartbau | vyanktah kavyaviseşah sa dovadırıtı süribbih katbitah 11 (Dhy 1 13) He adds that the kind of poetry wherein both meaning ic specific meanlng and word ie specific word, go to suggest only the said (1 e implicit) meaning, is signified by the name dhvaoi or suggestive poetryyatrartho vacyavušesah vacakaviseşah sabdo va tamartham vyanktah, sa kavyavistso dbyabiritt) ·"Rasa and Dhvam as laid down by Anandavardhana 271 Abbigavagupta adds that the dual io vyanktah' is not for nothing It goes to imply that when it is said that a word 1$ suegestive of a particular implicit sease, it 15 always a particular word accompanied by its particular sepse or else ans word will suggest any sense In the same way, when a meaning suggests the implicit sense, it is not divorced from the word-element Thus in fact both word and meaning operate simultaneously in all types of suggestion But at times the word element is more important in bringing about the result viz the suggestion of the implied sepse, or at times the meaning aspect is more important Thus on coastderation of the greater importance of either this element or that so broging about the required effect, it is so called that either word or meaning becomes suggestive Thus Bhalla Nayaka is off the mark when he Criticises the dual in vantah'-Abhinava sais- -vyanktah iti duvacanenedamaha-yadapyavivaksitavacyc sabda eva vyanjakat tatbapyarthasyaps sabakartica na trutyatı, abyasha ajñātarihóps sabdastadvyañjakah syat vivaksit50yaparavacie ca sabdasyapi bhavatyeva viststasabdabhidheyataya vina (asyārthasyavyani jakalvadui karvaira sabdarthayorubhayor apı dhyanapam vīpatah tena bhatiannyalena dvivacapam d@silam tadgajanimilikayaiva (Licana On (13) Ananda Bustrates avivaksitavacya or that with uomcata expressed sease, in which word element is more important 10 lhe suggestion of tbe implicit sense, in tbe vesse suvarnapuspām pitbivim cinyaptı purşastrayah 1 sūrasca klavidyasca yasca jogtl sevitum ? Abbidaya says that bereid word is primanly suggestive and meansas es but an accessory to Il-sabdótra pradbopataya vyanjakah artbastu tatsahakaritajeti catváro vyapirih Ordinarily, the implicit sense would be derived from the explicit sense of a nork There are, hon ever, cases in hiçb the cxpiteit sease is not at all intended by ibe poet so that ·Rasa and Dhrani 272 the implicit sense cannot be derived from it eg 10 the verse suvarnapuspam pythivim etc, the poet not intend to convey the explicit sense in such a way to make possible the derivation of the implicit sense through it He only uses the word suvarnapusām prthivim etc because by the use of these words the wants to imply the sense that it is persons who are brase, learned and who are good servants that can acquire wealth, It is to bring to relief the idea of great wealth that the poet uses the word suvarnaouspām. So, this is a case in wbich the explicit sense is not at 8]intended Yet, the implicit sense is intended by the use of these usual words It is with reference to such cases that Ābanda says that sabda conveys implicit sense Vivaksitanyaparavacya or that with meant but further extending expressed seose is illustrated by the verse, sikharını kva nu gama kiyaccıram kimabhidhanamasävalarottapah1 tarunt jena tavadharapātalam das'ati bimbaphalam Sukasavakah 11 In this particular instance, the expressed sense is primarily suggestive of the implicit sense viz the praise of the Dayika and the personal feeling of the Dayaka Abbipava says that here there are oply three fuoctioas viz abhidha, tātparya and dhvanana, and laksang is absent here Even if somehow or other on account of the unusual question on the part of the questioner Takşanā is admitted in this instance, the prayojana or intention remains only implied and rests only in the fourth stage He holds that in the variety of dhyant called asam lak syakramavyangya or that in which sequence is not poticeable, there is no scope for laksanā at all-asamlaksyakramavyangye to takşanā samuomeşamatramapi Disti-(Locana on I 13) Thus, in it only the meaniog becomes primarily suggestive Ananda bas subdivided the vivakştabbidheya dhvans into two viz asamlaksyakrama and samlakṣyakrama (Dhy 11 2) ·*Rosa and Dhvani' as laid down by Anandavardhana 273 These are based on abbidbā, ie on the expressed seose primarily Asamlaksyakrama is of the type of rasādidhvapı Sam- Jaksyakramadhvani is again two fold, viz (1) that which is based on word and (u) that which is based on sense Samlaksya based on word is illustrated as un, atlantare kusumasamayayugamupasamharap etc (51) the same based on sense IS alustrated evam vadını devargau etc He says, "atra hi lulakamalapatragananatupesarjanskrtasvarupam sabdavyāpāram vipaivasthaparam yabbicarbhavalaksanam prakasayatı in seen The Gunibhūta vyangya Another variety of poetry is when the artistic excellence of the expressed sense is greater than that of the suggested, ibough the latter is also present along with the former This is termed as gunibhulavyangya or poetry in which the suggested sepse is subordinated to the expressed (prakaro'nyo gunzbhulavyangyah kavyasya dys yate! yatra vyangyanvaye vacyacarutvam syāt prakarsavat (1) Dhy In 35 It is illustrated as in "avanyasiodbuh aparā eve', etc or as In, 'anuragavats samdbya', etc In the alamkāras such as rasavat and the like, the rasa, bbava etc. are subordinated to the expressed seose as in case of a king who is subordinated to his servant when the servant is marrying -vivahanapravịttabhtyanuyayırajayat (111 35 Dhy) Implied alamkaras are subordinated as 10 case of dipaka and the Iike Anada is of the option that 19 all poetic compositioks that look delighted by reason of their fund and elegant words, only this vanety of poetry should be recognised by the intelligent critics (III 36 Dav), as ia lakşmi dubida etc. The whole host of figures is seen mostly to put on & ACW charm wheo brought into R 18 ·274 Rasg nd Dhrani touch with the implicit séase (vyargyāps'ougame satı-Dhv. UI 37) Ananda supports bimself by the famous quotation from Bhamaba viz saişă Sarvaiya vakroktib etc. (11 85. Bbamaha) All the Egures such as rūpala and the like fal} under this variety Tbc guojbhutavyargja may have thus implict sease subordinated to the expressed seose, and be implicat seose itself may be of tbe form of alamkara, or vastu or rasadı as the case may be (gunibhutavyaneyasya ca prakaräntarenapi vyangyartbougamalaksanena visajatvamastyeva) Thus, this second vartety, which is the essence of dhvani dhvanipisyaada Tupah is to be recogdised by thcultured Ādanda observes that there can be no poetry without a touch of the charm of implicit This is the great secret of poetry and the learned should make a Dote or it (tadayam dhvaninışyandarupo dvitiyop: mahakavıvısayo tiramansyo lalşaniyah sabrdayath sarvatba pastyeva sabrday ahrdaya barinah kavyasya sa prakaro yatra na prattyamaparthasamspars'ena saubhagyam tadıdam kavyarabasyam paramiti süribbih vibbayaDsyam Dby III 37) on Ananda is of the opinion that even in the presence of figures and the like, it is this clement viz. the shade of the implicit sease, which is a great source of charm as 18 basbfulness in case of womed (IN 38 Dby) The realtsatton of second mcaging with the belp of kaku or change in Ibe estent is also to be put voder this variety. (Dhy III 39) Apanda has already called this variety a$ dhyaninigyanda He categorically declares that this variety also can be termed as dbval, when viened from the standpoint of the mala purport of rasa-says he piekare'yen ruhteydet tramparam 1 dhatte rasaditatparyaparyaloc&paya punah 11 (Dhv III 40) T ·Rasa and Dhvani' as laid down by Anandavardhana 275 of This is illustrated as in, patyuh sirah candrakalam, etc, as in, prayaccbata Dicaih, etc, or as in, durăradha radha, etc Citrakavya Finally, Ananda describes the third variety of poetry called citra He holds that the two varieties mentioned Above bave implicit sepse either as the principal sense or the subordinate one But anything else than those two IS citra Thus citra (Dhy III 42 43) has no touch of abc implied sease and is two-fold with reference to word and sense In fact there can be no poetry without the touch of tbe implied But wben a poet, having no intention with reference to rasa, bhāva, etc, goes on productog figures of word and sepse, then that poetry is said to be bereſt of rasādi Thus, 10 such instances, the apprehension of rasādi when the poet does not mean it, is very pale and therefore the poetry is said to be pirasa' (vivaksopărudha eva hi kāvie sabdanāmarthah vacjasamartbyavasena ca kavivivakşavirabe'p! tatbāvidhc vìşaye rasādiprattıbbavapit paridusbalā bhavatitynena'p prakarena Dirasatvam parıkalpya cifrayısayo vyavastbapyate) It may be noted here that Ananda does not call these varieties by the terms uttarna', 'madhyama' and 'adhama' Ādanda ia the earlier part established the full sigorficance of vyanjans 10 its three-fold form viz, vastudhvani, alamkiradhvant and rasadhvani However, it is rasadhvani which he particularly empbasises. He asks the poets not to falter in rasadhvani. The touch of rasa so vitalises the old familiar throgs that they seem to have freshness of new life, just as the trecs do by the touch of Spring (Dhy IV. 4). He obserses that though several varieties of the vyangya-vyanjakabbava arc possible, the poct should be intent upon one of them ja particular ViZ that related to the delincation of scotinent and the like (Dhy JV 5) Abhinava in his locada also seems ·276 Rasa and Dhrarti to drive la the same direction when be observes that rasa. dhvani alone is principally the soul of poetry and that Vastudhvanı and alamkaradhvani ultimately merge into it Ādanda is of the opinion that through dhyani and gunibhutavy angya an infinite variety opens to be poetic genius (Dhv IV 1) The sentiments and the like, whose course is very wide, should be followed along the said instructions The limited range of poetry tbus becomes boundless (Dhy IV 3) The expressed is also of infinite variety with reference to the consideration of place, time, etc (Dhy IV 7) But it shioes forth only when associated with rasa (Dhy 19.8) Ananda says that the theme of poetry will remain inexhaust ble as nature herself, if it is charged with rasa Foot-notes 1. Brabmanasramananyaya, 1 e ibe analogy of one who was formerly a brahmin and has now turned & sramana After turning a śramana be ceases to be a brahma and the 11xe. But, on account of bus former status, be is known as a brahmana sramana In the same way, alamkāradhvadi is so termed because it is supposed to have a former status of an expressed alarkara 2 Abhlgava says that this experience of sentiments and the like is of tbe nature of supreme joy In the minds of all the individuals, there are certain permanent impressions such as ratı, basa, etc cograwed and bora of the experience of When one looks at some dramatic performance, or reads a poem, one experieaces the vibhava, anubhava, etc. and the permanent fixed emotions are soused to tbe status of rasa or a sentiment and the cultured man experiences supreme joy This rasa then, is of the form of relish and is recognised as the soul of postry. (See Locana on Dhy. I 4) (Yastu syappe'pi pa svasabdavacyo na laukika vyavabatapatitah kintu sabdasamarpyaminat,dayasamvadasundarayıbba vdoubbay. asamucitapragvinivistaratyadıvysanānuragasukumarasvasaquidseveryday life ·*Rasa and Dhani' as laid down by Anandavardhana 277 aandacarvanavyapararasaoryarupo rasah sa kavyavyāparaskagocato rasadhvadırıtı, sa ca dhyagireveti, sa eva mukhyatayätmeti-Locana on Dhy I 5) 3 Ananda uses the word dhyaai to codicale vyanjana 10 general as well as to indicate a poem in which vyanjana predominates 1e becomes the main source of charm Abhinavagupta, and later on Mammata and others, confine the of dhvadı to those poems in which implicit sense predominates and do not use it for vyanjana in general The fact of the vndofcibility of the sequence of the expressed and implicit sense is interpreted in another way by saying that both are as if grapsed simultaneously use ·CHAPTER XII THE PURVAPAKSA AGAINST VYAÑJANĀ IN THE DHYANYALOKA As already noted by us, the Dhyanyaloka in the very first verse of the first udyofa takes note of some of the views which negativate the theory of vyanjana Furtheron in the third udyota also, Ādanda tries to establish rasa or dhvani as the soul of poetry and rejects the suggestion of the relation of quality and qualified (le gunagunibhava) between rasa or sentiment and it vetta or subject matter in a poem The relation can only be of the type of the suggested and the suggestor ie vyangyavyanjakabhava Ananda goes on to prove this and distinguishes carefully between vyanjana and abhidha, vyañjana and lakşagā, vyanjana and tatparya and vyanjana and &numana or inference To do this, he refutes the views of Mimamsakas, Vaiyakranas and Naiyayikas Let us consider these arguments The Abhayavādos First of all, Ananda takes up the alamkarikas who either deny vyanjana or try to subsume it under other poetic categories Ābanda puts the views of the parvapakça as below Some people are of the opinion that poetry is constituted of word and sense Sources of charin with reference to both word and seose such as sabdalamkaras and arthalamkaras or figures of word and sense are well-known So also are the gunas or qualities such as madhurya, prasada etc styles like vardarbby gaudi, etc., yrtuls or modes like upaongarika, paruşa, etc., are also recognised sources of charm fa poetry So, wbat could this dhvani or suggestion be, which is different from the said sources of charm in poetry ? Riti or ·The Purya paksa against Vyohjano .. 279 Others bofd that suggestion does not exist indeed, for a species of poetry opposed to all well-known canons wil Decessarlly cease to be poetry Poetry can not be defibed only as that which is made up of such word and sease as will delight the mind of the critic This definition will not hold good to a procedure which deflects from all well-knowo canons mea. tloned Thus, even if the designation of poety were brought foto currency to convey dhvani, it could not be universally accepted. There are again those who hold that it is impossible to think that suggestion or dhvani can be something unknown before Since it is not distinct from a source of charm, it naturally comes under the cause of charm already noted Just by coining a novel designation for one of them only, something of note will have been declared at the most Moreover, since the ways of speech are endless, even if there should be an fasigaificant clemeoi left unexplained by the earlier writers, persons should not close there eyes under self-assumed illusion of being 'cultured critics' and dance about with joy saying that they have discovered suggestion' therein So many great critics have been expounding figurative elements of speech. But they see notbing 10 it to boast about Suggestion can be one more alamkāra or guns, if you like Ādanda here quotes a verse in support of the above view wbicb runs as, yasminpasti da vastu etc Abbioava says that it is composed by some Maqoratha Kavi This, we have already noted Some others hold that suggested sense is something only Indicated je bhakta Still oibers take it as sometbiog indescribable (1) While explainiog the theory of vyanjana as given in Dhy, 1, 13 (viz yatrartbah s'abdo va etc.), Ādanda refutes the Opposing YICAS Refutation of the Abhayavada Āgenda's mals argument in the refutation of the abbiva vadi is that while the gunas and alsokoras etc test on the ·280 Rasa and Dhrani relation of the expressed and the expressor, dhvani or sugges. tion is based on the relation of the suggested and the suggestor ie vyangyavyanjakabhava Thus, dhvani or suggestion can not be subsumed under It He quotes a verse vyangyavyañjakasappbandbanibandhanataya dhvanch 1 vacyavacakacărutvahetvaptahpātita kutah ! (Dhy L.) Ananda also clarifies that the alamkāras such as samasokis and the like do possess a touch of the implict sense. But dhvanl or suggestion capaot be subsumed under these alamkāras because in them the expressed sepse is the principal source of charm and the implicit sepse is only subordigale to it Thus, in the verse-upodharāgena violatārakam etc, which is an illustration of samasokti the expressed sease with reference to moon and night is more charming and the implicit sepse with reference to the hero and the heroine is subservient to it So, Avanda observes tbat when the suggested sense is not the procipal source of charm, and when it only follows Le subserves the expressed sense, as 1a samasokti and the like, 1 is said to be the province of alamkaras and the like Or, when the suggested is just observed and where it is not held to be pracipal, it is not said to be dhvani But only when word and sense have the suggested as their purport, it is said to be the province of dhyapl (2 Bhaktivāding refuted argumcats ag&tast the bhaktivadias Ananda's maja proceed as below : Dhyadi cannot be sodentical with bhakti or secondary scose on account of difference in form-rūpabbeda, and bhakti cannot be the laksana or definition of dbvani as both the fallacies of too wide ve, ativyāpti and too narrow 10 avyapti WNA replt in that case At the most it might serve as a pointer-upalaksana to some of the species of dhyani suggestion or ·The Purva pakşa against Vyanjana... 281 or (bhaktyā bibbarti paikatyam rūpabhedadayam dhvanih ativyapterathāvyapterna cāsau faksyate taya 11 (Dhv. I, 14) (., kasyacid dhvanıbhedasya sa tu syadupalaksanami (Dhv. 1. 19. a) The difference in nature or form between dhyani and bhakti 1.e. between suggestion and indication is that while suggestion lies in the implication of a meaning other than the expressed and in a way in which the suggested sense forms the purport and is pracipal, bhakti is mere metaphorical expression. (3) Bhaktı or secondary sense can not be the laksana definition of dhvani or suggestion on account of the faults of ativyapti and avyāpti. The fault of ativyapti or too wide occurs because bhakti exists even 10 the absence of shvapi in case of verses such as, parimlaoan piaa...etc. or cumbijjai sa ahuttam etc. Words such as lavanya' and the like do not fall in ibe province of dbvedi Ananda is of the opinion that if one gives up the primary expressive power of a word and understands a sense (secondarily conveyed by it) through its indicative power, it is because of a purpose. In conveytog this purpose, the word does bot move falteringly at all (as it moves falteringly when indicating a meanjog secondarily). (mukbyām vltim parityajya gunavrtyarthadassavami yaduddis'ya phalan, tatra sabdo bar skhaldgatın) ! Dhy, 1. 17) Gunavšttt or indication is based on vacakatva or the primary power of expression of words. Thus, it not be definition of suggestion or dhvani wbich is solely based on suggestivity. Thus, suggestion ic. dhvani is One thing and indication quite agotber-tasmadanyo dhvanih -aaya ca gunavpitih. Avyaptıdosa or the fallacy of too aarrow definition also walks ta if one tries to define obvaoi or suggestion as can 2 ·282 Rasa and Dhran! Indication For, indication. does not cover instances of suggestion like, 'that with meant but furtber extcoding expressed sepse 10 vivaksitányaparavácya dbyadı Thos, Indication or bhakti cappot be the definition of suggestion or dhvadl Ādanda is of the opinion that at the most indication or bhaktı might serve as a pointer to some of the species of suggestion or dhvani ie it may be an upalaksana of dhvani Finally Ananda makes a reply to those who took dhvant or suggestion as indescribable Ananda says that even those, who declare that the nature of suggestion is only witbro the experience of cultured critics and that it is inexpressible, betray only their lack of discerament The definition of dhvadı or suggestion has been already propounded (Dhy I 13) and so also the definitions of its several varieties will be set forth in the sequel Iospite of all these, if it should be thought of as inexpressible or anirvacabiya then this would be true of every thing in the world If, on the other hand, they are only giving expression to the all surpassing nature of suggestion or dvads by means of bis exaggesebod, then they also might be regarded as stating the truth itself (4) Thus, Ādanda first refutes the of the opponents and clears the way for his theory Vyañjana as distinguished from other sardavrttıs Ādandavardbana brilliantly distinguishes beta cca the nature and scope of vyanjana on one hand and that of abhıdba, laksana, tatparya and also apumāna on the otber The objector seems to hold that there is the relation of quality and substance between rasa ie the implied sense 10 general and the vacya or the expressed sense (gunagunjvyavabaro rasadinimitivttadıbhih saba yukto, Da tu divas ar[rkvyayabaraḥ rasidimayam hi vācyam pratibhasate, da tu rasadı bhih prthagbhūtam iti) (Dhy III 33) One can perceive the views ·283 The Purvapakça against Vyanjana .. expressed only as full of sentiment but never the expressed as an entity separate from sentiment Ananda does not seem to accept this position lo his opinion, the expressed is not full of sentiment in the same way as is the body full of wbiteness and the like Moreover, all do not seem to perceive rasa along with the expressed as 1whiteness and the like perceived along with the body It can not be argued tbat the presence of sentiment the expressed can be discernible only to the cultured, as is the preciousness of a jewel being discernible only to some For in that case, the sentiments would have to be discerned as sometbing not differnt from the determinants ie vibbava, consequents ne anubhavas etc, as is preciousness in case of diamonds -(naivam, yato yatba jātyatvena praubbāsamaac ratne ratnasvarūpănatırıktatvameva tasya lakṣyate, tatha rasadinamapi vibhāvānubhāvaditupavācyavyatırıktatvameva lakşyate ) (Dhv III 33) On the otherband, it is well-known that vibhāva, anubbava etc are not identical with rasa The apprehension of determigants and the like is only an invariable condition of the apprebension of sentiments and the like Thus, as there is the possibility of cause-effect relation between the two, sequence becomes inevitable It is however, not aoticeable on account of quickness Thus, the position stards that sentiments and the like, with unnoticeable sequeoce, are suggested The objector holds that the word itself arded by context and the like, produces a simultaneous apprehension of the expressed and the suggested, and therefore the problem of sequence does not arise at all, and that the apprehension of the expressed sense is not inevitable for gathering the suggested scose, as ja case of song and the like. To this, Ānanda has the following reply That the word is suggestive of a particular sense only wben aided by context and the like is doceptable to us also But this suggestiscoCSS is sometimes due to their specific nature itself and sometimes due to the denotative power of words -kiptu tady; anyskaivam teşin ·284 Rasa and Dhrani kadacit svarupayıs'esapibandhanan kadacıdvacakasaktioibandbanam) (Dhy NI33) la costances where suggestiveness is due only to the specific nature of sounds and where apprehension of expressed meanings does not play any part at all, it would be tantamount to sayiog that suggestiveness is pot governed by the decotative power of words at all But if suggestiveness is to be governed at all by the express110 poner of words, the conclusion becomes irresistable that the apprehension of suggested sense can only be later in time than the apprehension of the expressed sense If that temporal sequence is so brisk as to escape notice, ubat is to be done ? (tatra yesām vācakesaktiabandbanan tesám yad: vacyatpratitimanterenaiva svatupapratity & Dispannam tadbhavenna tarbi vacakasaktınıbandhanam atba tannibandhanam taonyamenaiva vacyavacakabhavapratityuttarakalatvan vyangyapratiteh prāprameva. sa tu kramo yadı Jaghavanna Jakşyate takip kriyate (Dhv III, 33) Ananda further argues that of in truth, the apprehension of sentiments were possible just by words aided by context and the like, tben every reader acquainted with the context, including those wbo are quite ignorant of the connotation of words, should have had the apprehension of sentiment by merely hearing a poem If the apprehension of the expressed and the suggested were simultaneous, there would be no use at all of the apprehension of the expressed On the contrary, if there should be any use for the apprebension of the expressed It is possible that the two caboot coexist-(sababbave ca vacyapratiterapupajogah upayoge vă pa sahabhavah (Dhv. III 33) It is true that ia tusic, se have suggestiveness due to the perception of the specific nature of sound alone But even there, we do bave, lovariably, temporal sequence beta ceo the apprehension of the pature of sounds and that of suggested seaticants But this temporal sequence ia the two funcioas of sounds cannot be noticed when sentiments are suggested, ·The Purvapaksa against Vyanjana 285. because sentiments are desther opposed to the expressed sense nor appear as similar to the other sense, they are incapable or being conveyed by anything else, and all their accessaries work together with lightening-quickpess -(yesāmapi svarūpavis'. esapratrpattigimitar vyaříjakatyam yatha gitādıs'abdanam, teşāmapi svarūpapratitervangyapratites ca diyamabhavi Iramah tattu s'abdasya kriyapaurvapariam asaayasādhyatalpbalaghatanāsvas'ubhavinis' vacyepavirodhrayabhidhayantaravilaksane rasadau na pratsyate (Dhy III 33) But 10 some contexts, the sequence is noticeable also, eg in case of resonance-like suggestion (anurananarupavyangya. pratitisu-Dhy III 33) In this type of suggestion, there will be apprehension of two senses viz (1) the expressed seose, and (11) the sense suggested by the poner of sense, but quite distract from the other expressed sease As nobody can concel ibe cause effect relation between the apprebensions of the two sepses, the temporal sequence between them is obvious eg the prakrta gathas such as bbama dhamma etc (atyantavilaksane ye pratiti tayorasakyapihnavo gimittapimittibbava iti sphulameva tatra paurvaparyam Dhy III 33 ) In the instances such as bbama dhammia etc 16 19 impos sible to affirm that the apprehension of ihe one 19 sdentical with that of the other Even in ostances of sesonance like suggestion based on the power of word fue sabdasakusoulspuranapasūpavyangyadhvani), such as gavo vah pavanaoam etc also, whereid He bave the apprehension of the two seases from the same words, similitude, bets een the two scases will be found suggested Slace Re do not have any nord openly expressing similitude, He will bave to agrec, that it 23 suggested only by tbe power of sound. Thus it is clear that there is sequence between the apprehensions of the expressed scose and that of the suggested figure even here Similar is the case with padaprabasasabdajaltım alapuranarupanjangya 10 in the Sariety of resonance-Itke suggestion based on the posar of sound, vit that which sbines out in induldua) words ·286 Rasa and Dhyan on Aganda holds that in suggestion based on uomeaat expressed sepse ie avivaksitavācyadhvans, the suggested sense comes only after the apprehension that the conventional meaning is inapplicable (in the context), and therefore, the temporal sequence is present as a rule It is therefore clear, that even the apprehensions of the expressive word and the expressed sense 19volves a cause effect relation and a temporal sequence It may be noticeable or otherwise -(tasmadabbidhāaabbidheyapratityoriva vacy avyanzy apratityornimittanimittibhavandiyamabbavi kramah sa tultya kv&cullaksyate kvaciada lasyate) Ananda after having established that the two apprehensions Viz, those of tbe expressed and of the suggested seases as not simultaneous but as the latter follosing the former, now proceeds to establish the distraction betxeen the expressed (vācyartha) and the suggested (vangyartha) different groupds The purvapaksa is given as below First objection of the pūrva paksa is that artha or meaning can neither suggest (vyanjaka) por be suggested (vyangya). because tbe existence of the suggested sease is dependent upon the existence of the suggestive word, and the existence of the suggestive word is dependent upon the existence of the suggested scose, and therefore, it is a case of arguing 10 circle, The answer to this would be that the suggested seose 13 already established earlier by independent meaning and hence this fallacy does not arise (5) This position is not accepted by the parvapaksa According to it there is nothing like suggested sense of a word Whatever is expressed immediately or in sequence is really the expressed sense of the word ic. abhidha. Thus, vyanjana is in no way estabisſhed Hence, it is futile to speak of a relation called "vyasigyavyañjakabbava'. lo cases where one meading leads to another the first is only a means-upayamatra-to the second This, however, 10 DO ·The Pārvapakça against Vyatjana .. 287 way proves the existence of vyanjanā as something other than abbidha This happens as in case of word sease and sentencesense (6) The name of the school of this objector is not mentioned by Ananda Abhinavagupta, however, says that this objection is based upon the Mimãmsaka and Vaiyakarana theories, which he explains as follows (7) upāyamatramilyadena sadbāranoktya bhattam prabhakaram vaiyakaranam ca pūrvapaksam sūcayati bbattamate hi, vākyärthamitaye tesām pravrttau rāntartyakami pake jvāleva kastbanām padārthapratipadadam etc! (Locana, on Dhv II 33) The slokavārtika says the burning fuel has preparation of food as its goal, itself being only a means to this end Tbe fuel cannot do it to the absence of fire Thus, fire is pāntariyaka hetu or the immediate cause in the act of food preparation So, fuel is the betu or cause of Gre and fire brings about paka le food preparation Ultimately fuel has paka' for its end (hetu) Similarly, the words intend to give meaning But for that meaning sabdāriba (word-sease) becomes the nantarıyakabetu i e the comediate cause The prabhakaras have a different spalogy They cite the agalogy of an arrow that, wbep discharged by a powerful man, cuts through the armour, pierces the vitals and takes away the breath Thus, the arrow has 'pranapabarana' ic 'taking the life as its object, but garrapaghata ie cutting the vitals is the means In the same way, 10 going from a pada or word to a vakyarths 1e sentence sepse, padartha se word. sense serves as a means only, The Vaiyakaranas also share this view The only difference is that wbile the prabhakaras hold sakti in the 'Karyanvita', and therefore they do not stand is Deed of separate tatparya. vitti, and the intermediate padarthas are takea to be tattuka ·288 Rasa and Dhvani or real, the Vaiyakaranas consider the padartha as unrealatattvika-10 the sense 10 which the vedantins bold gbata, pata etc to be atattvika i e unreal, due to avidya or nescience Thus, for the Vaiyakaranas, intermediate padarthas are unreal, the Sphota or S'abdabrahma is the only reality The arguments of the Siddhantin are based on the assumption of the characteristics of distinctness (bheda) as such Those things can be said to be distinct which are different 10 nature (10 svarupabheda), and different in scope (i e Visayabheda) This dictum is applied to the expres sed sease ie vacyartha and the implied sease ie the vyangyartha If the vyangyartha (implicit sense) can be proved to be different from vácyārtha (expressed sense) both in svarüpa and visaya (i e nature and scope), they should be accepted as distinct from each other Tbis is the siddhantias argument in a nut shell He elaborates it as follows In case of a word giving another meaning after conveying the primary meaning, will the objector accept any difference between these two functions or not? Does the objector recog nise these two functions Viz expression of the primary meaning and implication of the suggested sense as identical ? The view that these two are identical can not be accepted There is difference in the scope as well as nature of these two (1 e vişayabheda and svartpabheda), og the scope of the function of expression in & word is confined to the primary sense, and the scope of the function of implication involves a sense other than the primary sense The objector can not say no to the fact that the expressed seose (vacyartha) is its own sense of the word, wbile the implict sease (vyangyartha) Is, 'one belonging to the other The espressed (vacyartha) is directly related to the word The apprehension of the Implied scose (vyangyartb3) can be remotely related to the word through the medlum of the expressed sense (vacyantha) If the implict sease (angyartha) is also considered as directly related to the word, and not as indirectly related ·The Purvapakşa against Vyatjana... 289 tbsough the medium of the expressed sense (vacyartha), then, lo that case, it should not be recognised as apotber sense at all. Thus the difference in the scope of these two functions becomes clear by itself. The difference in nature, too, is equally obvious. The two fuactions can never be identical, for we fiad suggestiveeven in sounds of music etc. and even in gestures, which are not even sounds. ness Again, the analogy of word-import and sentence-purport also does not quite apply to tbe expressed and the suggested senses. In the opinion of certain philosophers, the very concept of word-import is unreal Even those who take it to be real, will have to agree that the analogy of pot and its material cause (le gbata, tadupādābakāranagyaya) will explain better the relation between sentence-purport and word-import. Just as the material causes of pot cannot be separately recognised after the pot is made, so also, word and its sense are not recognised as distinct, Once the sentence. scncc is gathered, But this priociple does not hold good with reference to the expressed and the suggested senses. When the suggested sense is gathered, the expressed is not driven away. The apprehension of the suggested is 1oseparably occasioned by the gathering of the expressed sense Thus, the apalogy of the pot and lamp is more applicable. So, the remarks in the first udyota viz. that just as the purport of a sentence...... etc.' at Dhy. I. 10-alms only at pointing out that there is some similarity between the two in the fact that both are means to some other end. The analogy ends at this, and need not be pursued in greater details (10) The objector now advances a fresh argument as below: Now, in this case there arises the controgency of there beios two sepses simultaneously following from one and the same sentence. In that case, il ceases to be sentenc eitsell' To this, R. 19 ·Rasa and Dhrani 290 Ananda's reply is that this fault cannot be there as the two senses are related as principal and subordinate Either of the tuo senses can be pripcipal or subordinate as the case may be (11) Ādanda observes that when the vyangyartha or the suggested sepse is subordinate, and the vacattba is principal, according to the maxim-yatparab sabdah sa sabdarthah ic & word means only that for which it is ultimately used, and It is said to be case of the s'abda or word being 'yacyaparaka'. When the vvangyartba or the suegested sense is principal the word is said to be syy angyaparaka' Now, in the first instance, wbes the vyangya or, suggested sense is subordinate, the word is not "vang; aparaka', but tbe vyangyartha or the suggested sense is madhyavartı ic intermediatory So, it will have to be recognised as something different from vacy artba or the expressed scose (12) Vyañjanā, necessity for the Mimamsakas After having established the distinctaess of vacyartha or the expressed sense and vyangyartha or the implict sense, 10 of abbidba and vyanjana Ādanda gives other arguments showing how it is necessary for the Mimamsakas to accept vyanjana, in order to male their distinction between Jaukika and 181dıka vakyas (10 between sentences in ordinary speech and those in the vedas) logical Ananda observes that the adherent of the Mimpse school of pbilosophy will have to accept perforce the conclu sion that words have also incidental power of the nature of suggestiveness For the Mimagsakas, the relation between word and meaning is eternal This is true both of the popular word and the icdic hord For this reason, both the popular and vedic word would be equally eternally correct But this is pot agreed to by the Mimaqsakas For the popular speech 13 fallible, while the vedic is not The reason lles la the fact ·The Pūrvapaksa against Vyañjana... 291 that the human speech is motivated by several considerations I.e. It is 'sopadhika'. Thus the Mimāmsakas have to accept the #sopadhikasambandha' ie, the element of intention in the popular speech in addition to direct relation between word and meaalag. The suggestion of this latention is vyanjada. So the Mimamsakas caupot escape this contingency. (13) This however does not mean that every sentence falls under the category of vyanjada. In cases where intention is Identical with the directly expressed sense, there is no need to bring in vyanjada. We have to bring in vyañjana only when the inteded seose in the form of vastu, alamkāra and rasa cannot be expressed by the direct seose. (14) Laksaņā-Vyanjana After having thus disposed of the question of the identity of abhidha and vyañjana, we now take up laksana. The pūrvapaksa bolds that vyañjazā is not different from laksana because both are dependent upon word aod sense. To this, Āganda's answer is that both differ from cach other on account of the dlfference in nature and scope i.e. because of svarūpabheda and visayabheda The rūpabheda or difference in aature or from consists in the fact that gudavrtti or indication is reputed to be not principal (i c. mukya), while vyañjakatva ſ.c. suggestivity is principal or mukhya. (15) There is another difference in respect of their natures, Indication (gunarftur} is practically abhidha or expression itsell, with the difference that it is a subordioate verbal function; suggestioa (vyañjana) on the other hand is something far retpoved from expression. (16) Again, when another meaning is gathered through indication (gunavịtti), the first sepse merges itself with the second and becomes one with it, eg. ia 'gangayan gboşal' a hamlet on ·292 Rasa and Dhral the Ganges'. But when the other sease in derived through suggestion, the first sease retalas its individuality while conveying the other, 10 tbc fashion of a lamp 'Lalakamala. patrani ganayamgsa parvati-le Parvati counted the petals of ber play-lotus, etc -&re Ulustrations to the point If the Dame 'indication' (laksana) Aere to be given to those instance also where one sense conveys another sepse witbcut losing its ona importance, then it would be tentamount to saying that radication (laksana) itself is the primary verbal function. For, usually, every sentcoce possesses the poner to convey a purport over and above the expressed senses of 10dividual words (17) It may be asked by the objector, that, when a word conveys another sense, what is the precise verbal function involved ?" The Locada elaborates this argument as follows the function of a word is two-fold, Citber principal or subordinate Now, 10 tbe instances cited by the siddbantin, if be calls it to be principal function, it is nothing else but abhidha and if he calls it a subordinate one, it is gunaytli or secondary sense There is no third alternative So, when vyanjana operates, how all it be called by the Siddhaotin, mukhya or amukhya ? (principal or subordinate) The reply is that even in case of vyanjana (suggestion) the function involved is the principal one, but owing to differeace ia conditions, it cannot be called abhidba Abbidba depends on convention Vyanjang depends on context and the like Surgestion takes into consideration the importance of a particular word also, and therefore the word-element 15 also important (18) Again, the difference in scope (vişayabbeda) is also quite clear The scope of suggestion is three-fold viz. (1) septiments and the like, (u) specific figures of speech, and (t) suggested or these three, the apprehension of sentiments and the like can never take place through lalşana or indication ideas ·The Pürrapaksa against Vyatjant... 293 Same is the case with the suggested figures also. And, so far as the suggested idea is concerned, only that is suggested thereia, which is intended to be conveyed by the poet by a process other than abbidba or expression. All this cannot be Included in the scope of lakşanā, since we ceo sce several cxamples of laksana based merely on convention or usage s.c. rūdhi If at all there is any touch of beauty instanced ia laksana orodication, it is entirely due to the element of suggestions or vyanjana, savolved in Hence, laksana (indication) and vyañjanã (suggestion) are widely different from each ather. Suggestion, 10 fact, is not only different from abbidba or expression and laksang or indication, but it also based upon each of them Thus it is impossible to regard suggestiveness (vyañjakatva) which is assisted by both these, to be wholly identical with either. As at derives assistance from laksanā, it cannot be identical with abbidha and As it gets assistance sometimes from abbidbā (expression) it cannot be ideotical with laksang (indication) alone. As it partakes ibe characteristics of both, it cannot be comprehended by either. The objector may raise the following point, viz. that there may be no element of laksana (indication) In suggestion with meant but further extending expressed sease. But what difference is there between suggestion with vomcant expressed sense and laksana? (19). The reply is that there is no scope for any fault even bere Suggestion with upmcant expressed sense (laksanamalaka dhyadi; might walk in the foot-steps of lakşını (indication) but it does not assume the form of Jakşamas indication) itself. It is possible to have an instance of indication (laksana) which is devoid of suggestiveness. But we never come across suggestiveness devoid of ibe beauty of suggestion. Whenever he come across lastances of indica. tion (laksans) that become a source of apprehcosion of the suggcited content full of beauty, at fod that it is all entirely doc to its touck of suggestiveness la case of expression ·294 Rasa and Dhani (abhidba) So, 10 both the divisions of suggestion with uoncant expressed sease, we sec that indication (fakşaga) 15 tioged with a shade of suggestiveness This certainly will not appear identical wità laksana (indication), but quite separate from it and brings deligbt to the minds of the cultured (20) Ananda furtber tells of resources of vyanjang other than words Sounds without meaning also suggest emotions just as notes of music Gestures without sounds, also can convey meanlog and emotions Thus, Ananda establishes the three-fold division of the verbal function, viz abhidha, laksana and vyañjada (21) Ādanda 10 conclusion also makes a note of the fact that he bas based his theory of vyanjana on the ity of those who are masters of the principles of sabdabrahaa He cefers to the Vaiyakaranas upon whose Spbota theory he draws (22) Having shown the distractness of the three functions of word vız abbidba lakṣana and vyanjana Ananda rakes up the arguments of those who regard vyanjana as inference Vyañjanā and Inference The logicians argue as below In fact this suggestiveness is none other than implication, and Implication is the same as the state of an inferential process The apprehension of the suggested idea is thus identical with the inferential knowledge of the probandum (paksa) So, to put it otherwise the relation of the suggester and the suggested is none other than the relation of lingalingi re probans-probandum There is also another reason which sobstantiates this conclusion The Siddhanti has explained that words possess suggestiveness directed to the speaker's intention, and this etcment of the speaker's intention 15 only inſerable (23) 품 ·The Purvapaks against Vyanjana 295 Āñaada replies that any way, the Nāıyāyika accepts the fact that over and above the meanings given by abhidha and Jaksanā, there is a third process which gives its own peculiar meaning However, this process cannot be regarded as inference, because there is no proper inference at all An inference depends upon the relation of liggalingibbava which is absent in töis process in a logical inference, there is no doubt about the sadhya which is proved by means of hetu, eg when fire is inferred on the basis of ketu ne smoke, DO doubt remains about the inference of the predicate 1e sadhya Such a logical sadhyasadhana relation does not exist 10 the case of the implied sense or vyangyāriba No logical relation between sadhya and sadhana is meant 10 vyargyártba le suggested sease Hence though vyangyārtha or suggested sense 75 grasped indirectly, the mental process is not that of logical unference Hence vyangyártha is to be regarded as the function of word as such IS How vyamakatva is different from lingatva or how vyangy a pratiti and lingapratiti are dissimilar and pon identical, is explained by Ananda as follows The objector has really made a clever use of the words of Siddhantin in substantiating bus position He has remarked that the speaker's intention 18 certatply implied and added that such implication is the same as the state of joferential probans (1¢ lipgatva) But 10 fact the true meaning of the stateracat as below The scope of words is two-fold, (') inferable and (11) expressive of which, the iaferable is always of the nature of the speaker's Intention This ratention of the speaker, once again, is twofold-(1) desire to utter words for their own sake and (1) desise to convey meaolags through words Betweca these, the first type of the speaker's intention does pot play any part 10 verdal discourse It only serves to distraguish an animal from a Qon animal But the second type of speaker's latentoa plays the part of approximate cause id verabal discourses, though it is rendered rather remoie dus to several other ·296 Rasa and Dhrani laterveplog factors between the utterance of the word and the apprehension of its meaning Both these types of speaker's Intention are iaferable from words (24) But the expressive scope of words is related to meaning Itself which happens to be the aim of the speaker's Intention to convey meanings It is also tho fold (1) The expressed and (11) the suggested (25) The speaker may use words lo a view to convey bis meaning directly by means of them (and tben we get the vacyartha), or he may use words which do do not directly convey bus meanings, with a view to achieving some purpose (and thus we get the vyangyártha) Both these aspects are far from appearing as probandum of any roference based on words On the other hand, the relationship between word and such expressive content is something other than inference, whether it be a conventional or unconventional relationship It is only the aspect of intention on the part of a speaker to employ words or meaningful words that is 10 ferable and oot the meaning itself conveyed by his words If it were true that the meaning itself could form the probandum of an inferesce having words for its probass, there sbould be no scope for doubts at all, whether any meaning is right or otherwise, c.8, when the probandum viz. fire, is inferred from the probads, viz smoke, there is indeed no room for any doubt about the existence of fire (26) Ādanda then goes on to explain that the vyangyartba &s it is conveyed by the power of the expressed itself (vacyasamarthyakşıptataya), it too, is related to the word, just as the expressed meaning is related to the word Directaess or fadirectness is not the differentiating condition of a relation. ship (saksādasākşadbbqvo bi sambandbasya aprayojakah) That suggestiveness is related to expression has been already shown The conclusion is thus indisputable that words will bave the state of an inferential probans only while implying the intention of the speaker and that the meanings themselves 17 ·The Pîrvapakgo against Vyanjana 297 which are sigoified by the words are due to the verbal power of expression and not inference (27) Now, we may take instances of uncanings which are suggested by a word These may be of the nature of latcation and may not be as well Can we say that all such meaolags are conveyed by the power of expression alone in words ? or Should we postulate some other function? It has been already shows that the power of expression alone cappot explain the suggested meaning Hence we will have to admit another function and that function itself is called suggestiveness by us The nature of suggestiveness is not co extensive with the nature of an iafereatial probaas, since the former exists in objects like light where the latter is absent (28) Just as the expressed content of words is not identical with the probadum of an infercoce, so also suggested content is not identical with it (29) On the contrary, that which becomes the object of an inferred probandum as shown above, does not constitute what is expressed but constitutes only an adventstious attribute of what is expressed (30) If the expressed acadrag too were to be gathered by inference, there could be 20 scope for any difference of opinlon regarding it in the world, which we do come across in our daily life It is true doubtless, that at times, one does not resort to pference and other instruments of knowledge while deciding the truth of even 80 expressed meading Though it falls within the scope of other instruments of knowledge, its being simultaacously an object of the verbal power of expres sion does not suier in the least The same is the case with the suggested meaning also (31) Agalo, as a matter of fact, the question of logical truth and falsity in regard to suggested scose in poetry, is entirely fucile Therefore, it is nidiculous to indulge in discussions regarding different instruments of koowledge applicable thereio (32) So It is impossible to identify the apprehension of the suggested meaniag with thapprcbension of the saferred probandum in every case ·298 Rasa and Dhyant Thus Ananda establishes the theory of vyanjana and shows how vyanjana is different from abhidha, tatparya, laksana and anumana Foot note (1) बुधै काव्यतसविद्भि, काव्यस्यात्मा धनिरिति संज्ञित परम्पाया य समाम्नातपूर्व सम्यक् भा समन्तात् म्नात प्रकटित तस्य सहृदय जनमन' प्रकाशमानस्याप्यभावम ये जगदु । तदभाववादोना चामो विकल्पमा सम्भवन्ति । तत्र केचिदाचक्षरिन् । शब्दार्यशरीरे तावत्काव्यम् । तत्र च शब्दगताश्चा- स्वहेतवोऽनुप्रासादय प्रसिदधा एव। अर्थगताश्चोपमादय । वर्णमघटनास्व ये माधुर्यादयस्तेऽपि प्रतोयन्ते । तदनतिरिक्तवृत्तयो वृत्तयोऽपि या कैदियदुपना- गरिकाद्या प्रकाशिता ता अपि गता श्रवणगोचरम् । रीतयश्च वैदर्भाप्रमृतय । तव्यतिरिक्त कोऽय ध्वनि मेति । अन्ये ब्रूयु -नास्त्येव ध्वनि । प्रसिद्धप्रस्थानव्यतिरेकिंण काव्यप्रकारस्य काव्यवहाने सहृदयहृदयाहादि शद्वार्थमयत्वमेव काव्यलक्षणम् । न चोरते प्रस्थानव्यतिरेकिणो मार्गस्य तत्सम्भवति । न च तत्समयान्त पातिन सहद- यान् काश्चात् परिकल्प्य तत् प्रसिदभ्या पनी काव्यव्यपदेश प्रवर्तितोऽपि सकल विद्वन्मनोग्राहितामवलम्बते । पुनरपरे तस्याभायमन्यथा । कथयेयु -न सम्भवत्येव ध्वनिनामापूर्व कश्चित् । कामनीयकमनतिवर्तमानस्य तस्योक्तेष्वेव चारूत्वहेतुष्वन्तर्भावात् । तेषामन्यतमस्येव वा अपूर्वसमाख्यामानकरणे यत्किञ्चन कथन स्यात् । किं च वाग्विकलानामाननयात् सम्भवत्यपि वा कस्मिश्चित् काव्यलक्षण विधायिभि प्रसिधैरप्रदर्शिते प्रकारलेशे ध्वनिर्धनिरिति यदेतदलोकसहृदयत्व. भावनामुकुलितलोचने त्यते तत्र हेतु न विद्म । सहनशी हि महात्ममिल्द्वार प्रकारा प्रकाशिता प्रकाश्यन्ते च । न च तेषामेषा दशा श्रयते । तस्मात्प्रवादमान नि । न स्वस्य क्षोदक्षम तत्त्व किञ्चिदपि प्रकाशयितु शाश्यम् । तथा चान्येन कृत एवात्र इलोक । यस्मिन्नस्ति न वस्तु विचन मन प्रहलादि सालास्कृतः व्युत्पन्नेरचित म चैव ववनकोक्तिशून्य च यत् । काव्यं तद्पनिना समचितमिति प्रीत्या प्रशस मो नो विद्मोऽभिदधाति किं सुमतिना पृष्ट स्वरूप ध्वने । भाक्तमाहुस्तमन्ये । अन्ये तु ध्वनिसहित काव्यारमान गुणवृत्तिरित्याहु । -- ·The Puryapaksa against Vjafijana .. 298 यद्यपि ध्वनिशसकीर्तनेन साध्यलक्षणविधायिभि. गुणवृत्तिरल्यो या न कश्चित् प्रकार. प्रकाशित तथापि ममुस्त्यवृत्त्या काव्येषु व्यवहार दर्शयता ध्वनिमार्यो मनास्पृष्टोऽपि न लक्षित इति परिकल्प्य एवमुक्तम्-भातमाहुस्त- मन्ये इति । केचित्पुन क्षणकरणशालीनवुद्धयो ध्वनेस्तत्व मिरामगोचरं सहृदयमन संवेद्यमेव समारव्यातवन्त । तेनैवविधासु विमतिपु स्थितासु सहृदयमन प्रती- तमेव तत्स्वरूप बम । तस्य हि स्वने स्वरूप सकलकविकाव्योपनिषद्भुतमतिरमणीयमणीयसीभिरपि चिरन्तनकाव्यलक्षणविधायिनां बुद्धिभिरनुन्मीलितपूर्वम् । अथ च रामायण महा- भारतप्रभृतिमि रक्ष्ये सर्वत्र प्रसिद्धव्यवहार लक्षयता सहृदयानामानन्दो मसि लभता प्रतिष्ठामिति प्रकाश्यते । Dhy II (2) Adhinava puts them as, (1) तत्र समयाक्षेपणेन शद्वोऽर्थप्रतिपादक इति वा वायव्यतिरिक्त नास्त्येव व्यापम, (i) सदपि वा तदभिधावृत्याक्षिप्त शद्वागतार्थबलादाकृष्ट- स्वात् भाक्तम्, (ii) तदमाक्षिामपि या न वक्तु शक्य कुमारीष्विव मर्तृसुखम- तद्विरसुइति श्य एवैते प्रधानविप्रतिपतिप्रकारा । (3) लोचन 01 Dhy !! reads तत्राभावविकल्पस्य श्य प्रकारा- पाद्वार्थगुणार कारागामेष शद्वार्यशोभाकारित्वाल्लोकशास्त्रातिरिक्तमु दरशद्वार्थरूपस्य काव्यस्य न शोभाहेतु कश्चिदन्योऽस्ति योऽस्वाभिनं गणित इत्येक प्रकार । यो वा न गणित स शोमाकार्येव न भवतीति द्वितीय । अथ शोभाकारी भवति तदस्मदुधन एष गुणे पाऽद्वारे वान्तर्भवति, नामान्तरकरणे तु कियदिद पाण्डित्य, तथापि किञ्चिद्विशेषलेशमाधिस्य नामान्तरकरणमुपमाविरितिप्रका राणामसप्यत्वात् । तथापि गुगाल कारव्यतिरिक्तवाभाष १५ । तापमाण चकि कृतम् । भन्यस्यापि वैचित्र्यस्य शश्योत्प्रेक्षत्वात् । चिरन्नहि भरत- मुनिप्रभृतिभिर्यमहोरमे शरार्यालद्वारत्वेन इष्टे । तारादरमदर्शन स्वन्येरालका रके कृतम् । तद्यथा कर्मपयण रयर कुम्भारागुदाहरण भुत्या स्वय नगर. बारादिशदा उत्प्रेश्यन्ते । तावता क मारमनि बहुमान । एक प्रतsविपि तृतीय प्रकार । एवमेक विधा विकल्प , अन्ये च द्वौ इति पर विका इति तात्पपाय । (4) व्यापत्य पाप्राप्यान्य पाध्यमात्रानुयायिन । समायोफ्यादयस्तर वाच्यारावाला फु। " ·300 Rasa and Depan! ध्यायस्य प्रतिमामात्रे वाच्यार्यानुगमेऽपि वा । न ध्वनियंत्र वा तस्य प्राधान्य न प्रतीयते । तत्परावेव शद्वार्था यत्र व्यऽग्य प्रति स्थितौ । वने स एव विषयो मन्तव्य सरोज्झितः ॥ (Dhy I) (5) अयमुक्तप्रकारो ध्वनिभाया नैव विभति, भिन्नरूपत्वात् । वाच्य- व्यतिरिक्तस्यार्थस्य वाचकाभ्या तात्पर्णन प्रकाशन या व्यग्यप्राधान्ये स ध्वनि । उपवारमात्र तु भक्ति । (Dhy I 14) . (5) येऽपि सहृदयहृदयसवेशमनाख्येमेव ध्वनेरात्मानमाम्नासियुस्तेऽपि न परीक्ष्यवादिन । यत उक्तया नीत्या वक्ष्यमाणया च ध्वने सामान्यविशेष लक्षणे प्रतिपादितऽपि यद्यनाल्ये व तत् सर्वेषामेव वस्तुना त प्रसक्तम् । यदि पुनर्वनेरतिशयोक्त्यानया काव्यान्तरातिशयाय ते स्वरूपमाख्यायते तत्तेऽपि युक्ताभिधायिन एष । (Dhv I 19) (6) तदेव व्यञ्जकमुखेन ध्वनिप्रकारेषु निरूपतेषु इश्चियात् किमिदं व्यन्जकत्व नाम ' व्यङ्ग्य प्रकाशनम् न हि व्यचकत्व व्यङ्ग्यत्व चार्यस्य । व्यञ्जसिद्ध्यधीन व्यङ्ग्य व व्यायापेक्षया च व्यजकत्वसिद्धिरित्यन्योन्यस. यादव्यवस्थानम् । Dhv III 33 (7) तस्मात् तसर्यविषयो योऽर्थ स तावन्मुख्यतया वाच्य । या तन्वरा तथाविध विषये वारयानरपतीति सा तत्प्रतोतेरुपायमान पदार्थप्रतोतिरिष वाक्यार्थप्रतीते Dhv III 33 (8) वया III 33 ननु वाच्यव्यतिरिक्तस्य व्ययस्य सिद्धि प्रागेव प्रतिपादिता तत्मियधोना च व्यासपिरितिः क पर्यनुयोगावसर । सत्यमेवैतत्, प्रागुवायुतिभिर्वाच्यव्यतिरिक्तस्य वस्तुन सिद्धि कृा, स त्वों घ्यायतयैव कस्माद्व्यादिश्यते । यत्र च प्राधान्येनावस्थान तत्र वाच्यतयैवासो व्यपदेष्टु युक्त , तत्परवान् वाक्यस्य । अतश्च तत्प्रकाशिनो वाक्यस्य वावश्व एव व्यापार । किं तस्य व्यापारान्तरक नया ' तस्मात् तात्पर्य विषयो योऽर्थ स ताव मुख्यतया वाच्य । यात्वन्तरा तथाषिधे विषये पाच्यान्तरप्रनीति सा तत्प्रतीतेपायमात्रम् पदार्थप्रतीतिरिव वाश्यार्थप्रतीते । On this, the Locana reads -कश्चिदिति । मीमांसकादि सात्वति । मस्वसौ द्वितीयोऽयं तस्य यदि व्यङ्ग्य इति नाम कृतम्, वाच्य इत्यपि कस्मान्न क्रियते । व्याध इति वाच्याभिमतस्यापि कस्मान्न क्रियते । भवगम्य- मानस्वेन हि शद्वार्थत्व तदेव पायध्वम् । मभिधा हि यत्पर्यना तवाभिधा ·The Puryapakya against Vyanjaria .. 301 यकस्वमुचितम्, तत्वपंयन्तता च प्रधानमते तस्मिन्नथें इति मूर्धाभिषिक भ्यनेर्यद्रुप निरुपितं तत्रवामिधान्यापारेण भवितु सुस्तम् । तदाह-यत्र चेति । तत्प्रकाशिन इति । तद्व्यश्याभिमतं प्रकाशयत्यवस्य तद् वाक्यं तस्यति । उपायमात्रमित्यनेन साधारणोक्तया भाई प्राभाकर वैध्याकरण च पूर्वपक्षं सूचयति । भामते हि वाक्या मितये तेयो प्रवृत्तौ नान्तरोयकम् । पाके ज्वालेद काष्ठानां पदार्थप्रतिपादनम् ॥ इति शद्वावातः पदाथैः तात्पर्येण योऽर्थ बायाद्यते स एष वाक्यार्थः । स एव पाच्य इति । प्रभाकरदर्शनेऽपि दीर्घदोधो व्यापारो निमित्तिनि वाक्याय पदार्थानां तु निमित्तभावः पारमार्थिक एव । वैयाकरणानां तु सोऽपारमार्थिकः इति विशेषः । एतच्च भस्मामिः प्रयमोद्योत एवं वितत्य निर्मातमिति न पुन- रायस्यते प्रथयोजनैव तु श्यिते । तदेतन्मतत्रय पूर्वपक्षे योग्यम् । (10) ध्वन्यालोक On III 33, যম থঃ ৰামসিবখালীখনসেবাসমনি নগ্ন বং स्वार्धाभिधायित्वं यच्च तदर्थान्तरावगमहेतुत्वं तयोरविशेषो विशेषो पा ? न सावदविशेषः मस्मात्तौ द्वौ व्यापारी भिन्नविषयौ भिन्नरूपौ च प्रतीयते एव । तथा दि। चारवलक्षणो व्यापारः शब्दस्य स्वार्थविषय. गमकावलक्षणस्वर्या- न्तरविषयः । न च स्वपरव्यवहारो वास्यव्यङ्ग्ययोरपतु शक्य. । एक्स्य सम्बन्धित्वेन प्रतीतः। अपरस्य सम्बन्धिसम्बन्धित्वेन । वारयोर्यः साक्षात् शब्दस्य सम्बन्धी, तदितरस्त्वभिधेयसामाक्षित सबन्धिसबन्धी । यदि च स्वसेबन्धित्वं साक्षात्तस्य स्यातदार्थान्तरव्यवहार एव न स्यात् । तस्माद्विषयमे- दस्तावत्तयोापारयोः सुप्रसिद्धः । रूपमेदोऽपि प्रसिद्ध एय । न हि यथाभिधानशयितः सेवावगमनशक्तिः । भवारकस्यापि गीतशवादे रसादिलक्षणार्यावगमदर्शनात् । भशद्वस्यापि पेष्टादर. विशेषप्रकाशन प्रसिद्धेः । तथा हि. कीडायोगान्नतवदनया इत्यादि लोके चेष्टाविशेषः सुक्रयिनार्यप्रकाशहेतुः प्रदर्शित एव । तस्माद्विन्नविषयावादिनापरवाच्च स्यार्थाभिधायित्वमान्तरावगप्रहेनत्य पशप्दस्त गत्तयोः स्पः एव मेः । विशेषचन्न तहाँदानोमवगमनीयस्यामिधेय. सामाक्षियस्यान्तरस्य वारयादेन म्पपदेश्यता शम्यापारमोचरस्तुतस्या- स्माभिरिप्या एय; ततु ध्यायस्येनैव न यारयायेन । प्रसिपाभिधानान्तरस. सन्धयोग्ययेन च तस्यान्तरस्य प्रत्रोतः सद्वान्तरेण सायाभिषादिना पदि- ·302 Rasa and Dhag . पोकरण तत्र प्रकाशनोस्तिरेव युका । न च पदार्यवाक्यान्यायो वाच्यव्यङ्ग्य- योः । यतः पदार्यपप्रतीतिरसत्यैवेति वैश्चिद्विद्धि मास्थितम् । वैरप्यसत्यत्व मस्या नाभ्युपेयते तैः वाक्यार्थपदार्ययोघंटतदुशदानगरणन्यायोऽभ्युपगन्तव्य , यया हि घटे निष्पन्ने तदुपादानकारणानां न पृथगुपलम्मस्तथैव वाक्ये तदर्थे वा प्रतीवे पदतदानाम् । तेषा विभक्ततयोपलम्मे वावयार्थबुद्धिरेव दूरीभवेत् । न त्वेष पास्यव्यङ्ग्ययोाय , न हि व्याये प्रतीयमाने वाच्यवृद्धि दरीमवति, वाच्याव- भासापिनाभावेन तस्य प्रवाशनात् । तस्मात् घटप्रदोपन्यायस्तयो, यथैव हि प्रदीपद्वारेण घटप्रीतावुत्पन्नाया न प्रदीपप्रकाशो निवर्तते तद्व्यायप्रद्योती धाच्यावभास । यत्तु प्रथमोद्योते यथापदार्थद्वारेण इत्यायुक्त तदुपरायमानात् साम्यविवक्षया । (11) ध्वन्या III 33.-मन्वेव युगपदपयो गत्व वाश्यस्य प्राप्त तदभावे तु तस्य वाक्यतव विघटते, तस्या एकथरक्षणत्वात् नैष दोष , गुणप्रधानभावेन तयो व्यवस्थानात् । • तस्मात् स्थितमेतत्-व्यायपरत्वेऽपि काव्यस्य न ध्यग्यस्याभिधेयत्व अपि तु व्यङ्ग्य वमेव । (12) ध्वन्या 11 33 किं च व्यङ्ग्यस्य प्रधायेन अविवक्षाया वान्य- त्व तावद् भवद्धि न अभ्युरगन्तव्य मतत्परत्वात् शद्वस्य । तदस्ति टावद्- व्यङ्ग्य शद्वाना कश्चिद् विषय इति । यत्रापि तस्य प्राधान्य तत्रापि किमिति तस्य स्वरूपमपन्यते । (13) धन्या II 33 स च नथाविध औपाधिको धर्म शदानामौ- त्यत्तिकशद्वार्थसंवधवादिना वाक्यतत्त्वविदा पौरूषेयापौरूषेययोवांस्ययोविशेषम- भिद्धता नियमेनाभ्युरगन्तव्य', तदभ्युपगमे हि तस्य शब्दार्थसम्बन्धनित्यत्वे सत्यौरूषेयपौरुषेययोर्वाक्ययोरर्यप्रतिपादने निविशेषत्वं स्यात् । तदभ्युपगमे तु पौरुषेयाणां वाक्याना पुरूषेच्छानुविधानसमारोपितोपाधिकव्यापारान्तराणा सत्यपि स्वाभिधेयसम्बन्धापरित्यागे मिप्यार्थतापि भवेत् । दृश्यते हि भाषानामपरित्यक्त- स्वभावानामपि सामान्यान्तरसम्पादितोपाधिश्व्यापारान्तराणा विरुद्धकियत्वम् । हि-हिममयूखप्रभृतीनों निर्वापितसकलजीवरोक शीतलत्वमुबहतामेय प्रियाविरहदहनदत्यमानमानसैजनैरालोक्यमानाना सता सन्तापकारित्व प्रसिद्धमेव । तस्मात् पौरुषेयाणा वाक्यानां सत्यपि नैसर्गिके अर्थसम्बन्धे मिथ्यार्यत्व समर्थ- यितुमिच्छता वाचश्वव्यतिरिक किचिएपमौपाधिक व्यकमेवाभिधानीयम् । तत्र व्यवाहते नान्यत् । भ्यङ्ग्यप्राशनं हि व्यजत्वम् । पौरुषेयाणि च वाक्यानि तथा । .

·303 The Pārvapakşa against Vyanjana... प्राध्यान्येन पुरुषाभिप्रायमेव प्रकाशयन्ति । स च व्यत्म्य एव मत्वमिधेयः, तेन सहाभिधानस्य वाच्यवाचकरवलक्षणसम्बन्धाभावात् । (14) वन्या III. 33. नन्वनेन न्यायेन सर्वेषामेव लौकिकाना वाक्या- नो ध्वनिव्यवहारः प्रसकः । सर्वेषामप्यनेन न्यायेन व्यञ्जकत्वात् । सत्यमेतत्; किन्तु वपत्रभिप्रायप्रकाशनेन यद् व्यक्त्वं तत् सर्वषामेव लौक्किानां वाक्या- नामविशिष्टम् । तस्तु वाचकत्वान्न भिद्यते व्यग्य हि तत्र नान्तरीयकतया व्यवस्थितम् । न तु विवक्षितत्वेन । यत्र तु विवक्षितत्वेन व्यग्यस्य स्थितिः तत्र व्यजकत्व पनिव्यवहारस्य प्रयोजकम् । यत्त्वभिप्रायविशेषरूप व्यग्य शब्दा- र्याभ्यां प्रकाशते तद्भवति विवक्षित तात्पर्येण प्रकाश्यमान सत् । किन्तु तदेव केवलपरिमितविषयस्य ध्वनिव्यवहारस्य न प्रयोजकमन्यापकत्वात् । तथा दर्शित- भेदत्रयरूपं तात्पर्येण द्योत्यमानमभिप्रायरूपमनभिप्रायरूपं च सर्वमेव न ध्वनिष्यपहा- रस्य प्रयोजक इति यथोक्तव्यजकत्वविशेषे ध्वनिलक्षणे नातिव्यप्तिन चाव्याप्ति । तस्माद्वाश्यतत्त्वविदा मतेन तावद् व्यञ्जकावलक्षण: शाब्दो व्यापारो न विरोधी प्रत्युतानुगुण एव लक्षते । (15) ध्वन्या UII. 33 रूपमेदस्तावदयम्-यदमुख्यतया व्यापारो गुणवृतिः प्रसिद्धा । व्यञ्जकत्व तु मुख्यतयैव शब्दस्य व्यपार । न हि अर्थात् व्यङ्ग्यत्रयप्रतीतिर्या तस्या अमुख्यत्व भनागपि रक्ष्यते । (16) ध्वन्या III 33 भय चान्यः स्वरूपमेदः यद् गुण पृत्तिरमुख्यरवेन व्यवस्थितं पाचकत्वमेवोच्यते । ध्यजकत्व तु वाचकरवादत्यन्त विभिन्नमेव । एतच्च प्रतिपादितम् । (17) धन्या II 33 अयं चापरो रूपमेदो यद्गुणवृत्तौ यदार्थोऽर्थान्तर- मुररक्षयति तदोपरक्षणीयार्यात्ममा परिणत एवासौ सम्पद्यते। यथा गाया घोषः इत्यादौ । व्यन्जकत्वमार्गे तु पदार्थ: पदाथांन्तरं द्योतयति तदा स्वरूप प्रकाशयन्ने- पासावान्यस्य प्रकाशकः प्रतीयते प्रदोपयत् । यथा लीलाक्मलपनाणि गणयामास पार्वती इत्यादौ । यदि च यत्र अतिरस्कृतस्वप्रतीतिरोऽन्तर रक्षयति तन लक्षणाव्यवहारः क्रियते तदेव सति लक्षणेष मुष्यः शब्दव्यापार. इति प्राप्तम् । यस्मात् प्रायेण याक्यानो धाच्यव्यतिरिक्तात्पर्यविषयावमासित्यम् । (18) लोचन on ध्वन्या III. 33. कीदृश इति मुल्यो या न वा प्रा- रान्तराभावात् । मुख्यत्वे वाचकवमन्यया गुणवृत्तिः, गुणो निमित्तं सारस्यादि, तद्वारिका वृत्तिः शदस्य व्यापारो गुणपत्तिरिति भावः । मुख्य एषासौ व्यापारः सामभेदारच वाचकवात् व्यतिरिच्यत इत्यभिप्रायेगाह-उच्यत इति ।

·306 Rasa and Dhren! रूपम् । यदि हि लिशितया सन्न 'शद्वानों व्यापार: स्यात् तच्छायें सम्पर- मियादिविवादा एव न प्रपर्तेरन्, पूमादिलिज्ञानुमितानुमेयान्तरवत् दन्या 11. (27) तस्माद्वश्वमिप्रायस एवं व्यय लियतया रामानों व्यापारः । तदिषयीकृते तु प्रतिपाद्यतया ।-यन्या 11.33. (28) न च व्याव लिहत्वसमेत मालोकादिष्वन्यथा स्यात् । वन्या 11.33 (29) तस्मात् प्रतिपाद्यो विषयः शद्वानां म रिसवेन सम्बन्धो वाच्य- यत् । ध्वन्या 11 33 (30 हिलिवेन तेशं सम्बन्धी दर्शितो विषय , स न वाच्यत्वेन प्रतीयते, अपितूराषित्वेन । ध्वन्या III 33 (31)यथा च दाच्यविषये प्रमाणान्तरानुगमेन सम्झनोती क्वचित् क्रिय- माणाया तस्य प्रमाणान्तरविषयत्वे सत्यपि न शदन्यापारविषयताहानिस्तद व्यायस्यापि प्वन्या If 33 (32) काम्यविषये च व्यायप्रतीविना सत्यासम्यनिरूपणस्य प्रयोजनक- स्वमेध इति तत्र प्रमाणान्तरल्यापारपरीक्षोपहासायैव सम्ययते । तस्माहिलाठी- तिरेव सर्वत्र व्यर यप्रतीतिरिति म शक्यते वक्तुम् । ध्वन्या. III 33 ·CHAPTER XIII SOME ANTI-DHVANI THEORISTS While starting the exposition of dhvani as expounded in Dhy we raised the question of the earlier writers, wbo did not accept dhvani and agaiast whose views Ananda was trying to establish his theory We noted that we have not been able to discover specific works of authors who hold views opposed to the dhvani theory Coosequently, we relied upon Dhy and Locana for the opposiog views (Ch 24) We do, however, find works posterior to Dhy which carry on their polemics against the dhvani theory In order to complete the discussion on dhvaai we now take up these views Among these works, we come across Abbidbavritimatka (AVM) of Mukul Bhatta (circa 9th 10th Cen AD), Valrokti. javita (VI) of Kuntaka (circa middle of 10th-11 tbe cen AD Das'arūpaka (DR) of Dhananjaya (last quarter of 10th Ceo) with Avaloka of Dhanika, Vyaktiviveka of Mabimabbatta (circa 11th AD-121b AD) and S'migaraprakasa (Sc Pra) of Bhoja-(Circa 11th AD) Refore we start with Mukula Bhatta, it should be noted that Bhatta Nayaka's name also should be mentioned first as he is said to have composed his Hşdayadarpana with an object of dhyanidhyamsa, Pratibarenduraja also mentions Ubdhata as one who did not accopt dhvadi and koowatogly incorporated the same under various figures of speech One Manoratba Kavi, a contemporary of Anaoda, is also mentioned by Abbinava He (ie Macoratba) wrote the famous verse viz yasmjopasti na vastu etc to redicule dhvaas Makala Bhatta Wc begia with those alagtakas who seem to include the suggested sense under lakṣani lo this context, we may meation the games of Mokula Bh2113 agd Kuotaka ·Rasa and Dhranı 308 or Mokula Bhatt8, like the older grammarians aod the Minīsakas, satisfied himself with only two mcdes of expres. SIOD, VIZ. abhidba and laksana All implicit sease is put under laksanā by him la bis Abhidbavettimālska (AVA), Mukula incorporates all the examples of the implicit scose under laksana He discusses the nature of abbidbā 10 bis AVM He also treates of laksana tberein Laksana is treated only as a subdivision of abhidha and virtually be believes only in one sabdavrtti viz. abhidha (1) He seems to incor. porate the implicit sense vader laksana wbich is only a part of abbidha He considers laksanā to be three-fold on the basis of valta le speaker, vakya 10 sentence, and vacya 10 the meaning context On the basis of these ibree factors, suddha laksanā and upacāra laksana both become three-fold Thus we arrive at six sub-divisions of laksana (2) The illustrations cited are as below Vaktsnibandbana laksana is that in abich the laksyartha Is gathered with reference to the type of the speaker The illustration is dystim he prativesini etc. The speaker is & wacton woman and the laksāyartha is gathered with reference Mukula holds that the future 'ratagopapa' is the lahsyartha bere (For dhyanivadlo, however, it is an example of vyañjanā, based on valtsvalststya or peculiarity of the speaker, and bereia c derive through yañjada some 'vastu' or idea from another vastu' or idea) Valyanibandhana laksans is based on a particular type of a sentence The illustration is, prāptasrih eşa kasmāt etc, Here, the natural movement of the ocean is taken ro be due to something else Here the superimposition is due to a particular valyārtba or the meaning of a sentence Thus, the upacara' is 'gauna' or subordinate The superimposition of Visnu on the ling is the labsyartba (3) (For the dhvapivadio, this is "rūpakalamkāradhvaal ic suggestion of the figure called ropaka ) to her ·309 Some anti-dhvani Theorists The vacyanibandhana laksanā occurs when the laksyartha is gathered on the perusal of the vacyārtba or the expressed sense This is illustrated as in durvārā madanešavo dist dist etc Herein the vakyartha or the expressed sense of the sentence is that as agoi ie fire is superimposed on vasanta ie spring, Kāmadeva or the god of love etc, they become unbreakable On perusal of this expressed sense, vipralambha śrogāra is gathered through aksepa or implication Thus, it is a case of upada nalaksana with Mukula (4) Thus, Mukula seems to IDC rporate rasadhvadt under laksanā He says laksanāmārgavagahitvam tu dhvaneh nutapatayopavarnitasya vidyata iti disam unmilayıtüm idamatroktam (AVM PP 22) Kuntaka Kuntaka accepts only one mode of verbal expression viz abhidba The inplied meaning which poems convey are for him so many different twists of abhidha So, he, lastead of postulating the new mode of vyanjana, would explain every. throg by abhidha and the several twists to which it can be subjected For Kuntaka, dyolaka and vyañjaka words, on account of the quality of the ability to give meaning (arthaprattıkārına) may be termed as vacaka, metaphorically Thus the dyotya and vyangya arthas ie suggested meaning in general, also are vacya or expressed on account of their quality of being gathered by us He accepts only abbidha but he does not reject either laksanā or vyanjana as they are but the extension of abbidhi only (5) Kuntaka tries to incorporate some of the implicit sease under upacaravakrată He subsumes some other implicit sense under some other variety of vakrat, He does not seem to include the whole of vyanjanı 10 laksan. However, Vidyadbara, the author of Ekavalı bolds that Kuntaka lncorporates all dhyanı under bhaiti or laksan (6) Dr Harichandra SIstri (halidisaet 1 Art Poetique de l'Iode PP 96-97) suggests that bhakti stands for vakrokti and that Kuntaka therefore, is a bhaktivadio Di Kanc does not agree with this ·312 Rasa and Dhen Vrttis of the ancients (ie Udbhata) are the same as varn&- vloyāsavakratá He says (V.J II 5) "varnacchāyanusarena gunamargānuvartiosi Výttivaicitryayukteti saiva prolta cirantapalh || yamaka is also a variety of the same He says 'sacekam dama kopjas; ah prakarah panidrsjate 1 sa tu sobbantarabbávat iba Dati pratanyate II VJ I 7) Padapurvārdbavakratā bas several varieties, such as Tudbivaicttrayalrata, paryāyavakrata, upacaravakrala, Visesanavakratā, samvplivakrala, všttivakratā, lågayaicitryavakrata, and kriyavaicitryasakrata Radhivacitryavakratā is defined as (V J IL89) yatra rudherasa pbbavyadbarmadhyaropagarbbato 1 sadharmātisayaropagarbhatvam va pratiyate || lokottaratıraskāraslaghyotkarsābbidhitsaya I vacyasya socyate kapı ridbivajcitryavakrata || There are two varieties or rudhivalcitrya Examples of the first variety are the word 'Kamalain' 18 'talā pantı etc., and ramah' in 'saigdhasyamala' etc Examples of the second variety of rudbivalcitrya (1e vidyamanadharmaus'ayayacyadhyaropagarbhatva) are, tatah prabasyaha etc. (Raghu III 51) and ramo'sau bhurancşu etc. (quoted in A P IV) From the allustrations quoted as above we can see that the lakșanámula arthsntarasamkramlayacya vanety of dhvani seems to have been covered 10 rūdhı varcitrya Paryayavakrata (VIII 11,12) is defined as “abhidhcyantaratamastasyatisayaposakah! ramyaccbayantarasparsattalankatumisvarah 11 svajam vist s&nenapi svaccha, otkarzapes'alah” 11 paryayastena yalcitryam ll An example is pabbiyoktum adtatva 15jase etc., wherein the word 'annah' cannot be replaced by 'iodrasya' without killing the charm. By ibis -arlety, pary aj adhranl or ·Some anti-dhvani Theorists 313 what is technically termed as sabdašaktimülaka anuranana rūpavyangya padadhvani seems to have been covered (130). Kuntaka bimself says this very clearly. Then follows upacaravakrata defined as . (VI.11.13-14): yatra dūrāntarenyasmāt sāmānyamupacaryate ! leśedāpi bbavatkāmcid yaktumvorištavyttitam ! yanmala sarasollekha rapakadiralam krtıb 1 upacarapradhādāsau vakratā kāciducyate it Examples of this are, spigdbaśyāmala etc., gacchantinām ramanavasatım etc., and gaganam ca mattypeham etc. The first and the last are cited in the Dhv. as examples of arthantarasamkramitavacya and atyapłatıraskrtavacya varieties of dhvani, As already noted earlier, probably this inspires the author of Alamkarasarvasva to say that. upacaravakratādıbhih samasto dhvaniprapancah svikrtah. Vises&navakrata and samyrtivakrată are defined as : (V.J.11.15.16) višesanasya mahatmyat kriyayah katakasya va ! yatraollasati lavanyam sa vis'eganavakrata 11 yattu samvriyate vastu vaicitryasya vivaksaya i sarvapämadibbin kaiścitsokta sam vrtıvakrata il The examples are suciśntala etc., and divaryatāmali kimapyayam batuh (Kuwara. Sam. V. 83). This also partially covers what is technically termed as artbăntarasamkramitayacyadhvani, Vritivacitryavakrata focludes vakrats with reference to kit, taddbita, samāsa, ckasesa and saodanta This covers all dhvan derived by krt, taddhita etc. (Dby.III. 16) (14). Dby.111.16 also refers to dhvani based on aipata, kala, upasarga, linga etc (15). This is covered by Kuptaka's other varieties of padaparardhavakrata such as karakavakralı, vacada, opasarga, pratyaya, nipätavakrata, puruşavakrata, etc.

·314 Rasa and Dhani In the third unmesa the author comes to the discussion of vakyavaıcıtryavakrata in connection with this he speaks of vastuvakrata at Ill I (16) The vastu may be 'sabara' or 'abarya' (1e kavisaktivyut pattiparipakapraudha) The example for both these is asyah sargavidbau etc Tbis variety includes some vastudhvani &$ the delineation is with reference to "vastu that may be not vācya or expressed only, but also vyangya i e suggested (17) Kuntaka 8 vakyavakrată covers alamkaradhvant as well as the normal figures of speech He recogorses the pratıyamgoa variely of rupaka, vyatireka etc, where these figures are implicit The illustration is lavanyakaotiparipurltadınmukhe sm10 etc Rupakadhvani of Ābanda is also hereby covered (18) He also gives instructions here as to how sentiment and ober objects can be used in a poem to yield charming results And how to lend charm to poetry by pourishing appropriate rasas bhavas etc The verse tişther kopavasat etc is cited as an example of vipralambha and the lamentations of Vatsaraja (10 Tapasavatsaraja Act II) as examples of karuna In the 4th unmeşa he gives the treatment of pralaranava krata and prabandbavakrata Prakaranavakrata is illustrated by several verses from the Ragbu (V), with the remark-kuberapa prati samantasambhavadaya jayadhyavaszyah kamapı sabrdaya bladakanitán pratipadyate The introduction of the curse of Durvasa is also an jostance to the point Yet another illustration in prakaranavkrata is the mrgayaprakarana or the cpisode of hupting 10 Raghu (IX) The episode introduced with the words tatah pravisat: rajjuhastah puruşah (Mudra raksasa (VI) is also an instance to the point Prahandbavakrala is defined asitiytta nyathavșttarasasam padapekşaya ! rasãotarenramyena yatra dirvabanam bhavet 11 ·Some anti-dhvani Theorists 31$ kalbamurterāmalonmilitas'nyah 1 vipayanandapispatyai să prabandbasya vakratā 11 The Ramayana and the Mahābhārata are the examples Thus prabandhavakrată covers prabaodhadovanı (19) Another variety of prabandbavakrată is, "trailokyabhinavollekhanāyakotkarsaposinä 1 itibasaikadeseva prabandhasya sapapadam | tadutcarakatbavartivirasatvajinasayā 1 kurvita yatra sokavih sa vicitrasya vakratã An example us Kitātărjuanya He says that great poets show their imagination even in givjpg games to their works eg. Abhijnādas'akuntala, Mudrāralşasa, etc etc. It is genrus that makes all the difference, though the plot may be the same (20) Again, at IV 26, Kustaka reads--In all the compositions of poets, which are composed in differcot ways and which speak of the path of truth, tbere is a sort of vakrat (uncommon to others). (21) Compositions based on the same source acquire individuality due to vakrat: Thus, Kuptaka covers prabandhadhvagr by prabandhavakrata Kuataka's approach to the fact of rasa is also poteworthy, For bit, rasa is the bigbest factor 10 the poetic art wbich is of the form of vakroku Vakrokti is related 10 rasa in the same way in wbich it is related to dhvadi Thus, just as for the dhvaarvadia dhyani is the soul of kavya and rasadhvani is the highest form of dhvaol; 18 the same way, vakroklı is tbc soul of kavya and rase is the most important aspect of vakrokit, Kuptaka seems to pay great importance to the fact of He wants poetry to be tadvidabladalarışı ie such as would delight the critic. (22) At 1.5, in his VJ,, while dealing nath kavyaprayojana be refers to rasa (23) Again, wbile talking about sukumara marga, he says that a sabrdaya or tadvid is 'rasadiparamartbama' (ras dipar:07 tribajhamanahsapradasundarah L.26 V.) and while dealiog with saubbagyaguna, the critics are described as "Bassima' is. 'Irdraceias. (24) 1252 ·316 Rasa and Dhrani He also secmis to take resa as the soul of kayza He declares it categorically that prabandhavakratā is that highest form of vakrokti (25) These prabandhas or compositions on which the fame of great poets rests, are full of rasadisantararasodgăragarbbasandarbhaoirbbarāh' (V.JIV II) They do not depend upon katbāmatra or story elemeat or content alon" (26) Thus, for Kuntala rasa is the soul of a prabandba or a composition and is one of the aspects of valroktu. Kuntala thus seems to cover rasadhvaai of the asaqlaksya variety Rasa for Kuntaka 15 Dot vācya or expressed While dealing with the problem of the alamkaras such as rasavat, preyas, etc. he laughts at Udbhata's theory of rasa becoming "svasabdavacya' or being expressed by its own proper Dame (27) While considering the nature of kavyavastu or poetic context, Kuntaka takes rasa to be very important Thus, at VJ IILII (vštti) be says that 'rasanirbharata' or the condition of being drenched in râs& is the principal aspects of poetic context He devides kavyavastu-poctic context as two-fold, cetana or sentrent and jada or fosentient, and takes the first one as principal and for that rasapariposa or the enbancement of sentiment is toevitable (28) Then he gives many examples of vipralambba and karuna rasas and leaves other rasas to the readers (29) For him, the description of jada or sosentient object becomes interesting on account of its ability to evoke sasa (30) In the same way and for the same purpose ic to cvoke rasa, the description of the unimportant sentiment object such as birds and the like is also welcome (31) He adds that (V S III 10 VII) kavyavastu or poetic context is two fold on account of its being 'ssabbávapradhana' or 'rasapradhana" and that both should be embellished on account of both of them being 'sahajasaukumăryasarasa' or full of rasa on account of natural beauty (32) While discussing different margas also huntaka refers to The Sukumara mirga is charmleg (V J1 26) on account rasa ·317 Some anti-dhvanı Theorists of its being favourable to the mental aptitude of those who know the highest object called rasa (33) The vicitramārga is also 'sarasākuta' ne accomplished by rasapirbbarābhiprāya (34) The madhyama marga being a combination of these two, must be necessarily charged with rasa-'rasapusta' Thus we see that with his theory of vakroktı or a striking mode of speech differing from and transcending the ordinary everyday mode of speaking about a thing, and such that charms by the skill of the poet, Kuntaka seems to cover up all the sources of charm in poetry, beginning with alamkara and ending with dhvani and rasa As already noted earlier, even dyotaka and vyañjaka words, on account of their quality of the ability to give meaning, -arthapratitikātitva-are termed vacaka' ie expressive of meaning, metaphorically Thus, broadly speaking, Kuotaka may be termed as antarbhavavādin and a bbaktivādia to a certain extent an Dhanañjaya and Dbapika We will now consider the views of Dhananjaya and Dbanika, (Circa 10th Century AD) the authors of Dastupaka aod Avaloka on it, respectively These are also well-known anti-dhvani theorists who try to explain the fact of suggested sense through tätpraya or purport In the fourth prakāsa of the DR the authors touch the problem of rasānubhūti or the experience of sentiment in poetry Dhabika's elaborate commentary brings out their views clearly. They accept the fact of rasādı but they fail to accept the proposition that rasādıs are convyed by vyanjanā They hold that the vyangya or suggestion of the dhvanivadins can be explained with the belp of tatparya s'akti or purport alone In order to get the suggested sense through tätparya s'aktı or purport, we will see how Dhaoika expands the limits of fātparyārtba or purpòrt-sense The line of argument proceeds as below The lavkika vakyas or sentences 10 day to day usage ·318 Rasa and Dhyani or IS such as 'gāmabbyāja', where the kryā or action is clearly beard of, and sentences such as 'dvaram dvaram' 11 which the kriya or action is not heard of, but is gathered through prakarana or context, only kriya or action can be considered as the vākyartha or the sense of a sentence. In the same way, even in kavya or poetry, rasa wbich is the ultimate purpose of kavya or poetry, forms the vākyartha' Thus rasa becomes the ultimate vakyārtha re kavyavakartha and therefore, is at umes expressed 10 clear terms such as 'prityai navodha priya,' at times brought about by the particular vibbava, anubhāva and vyabbicārios etc It should not be argued that as ratyadı and the like, is an apadartha (1 e not the direct meaning of a pada or word), it cannot therefore be gathered by vakyārtha or sentence-sease For, ultimately, our tatparya sakti or purport rests in the final kriyā or action- karyaparya. vasayitvat taparyas'a ktch'-re the action of enjoy mcat Now, all sentences, pauruseya i e used in human speech and apauruseya je divne, alike, have some action in their motive If it is not so, any sentence would be as useless as the uttering of a mad man' With reference to the words in poetry, it can be said with the help of positive and negative concomittance, that they aim only at the generation of its own unique joy. Kavya or poetry sets about to acbieve this end only There cannot be any other end in view, except this So then, in a kavya, the vibbūva, anubhava etc. staod for the padarbas (1 € Ford sense) and the ratyādi brought about by them is the vakyartha (or purport) Thus, a kavyavakya is formed It should not be argued that as in case of song and the like, there is so vacyavacakabbave or the relation of expressor and the expressed here (la a song, the meaningless potes make for the experience of joy ) Because here, in the field of kavya, the experience of a particular rasa is felt by those alone who are conversant with vibhiva, anubbaya etc Now 10 the realisation of such a rasa, which is the vacyártba of a kavyavákya, only abbidha and tatparya sakti are quite sufficient and therefore, It is gratuitous to postulate the theory of vyanjana ·Some anti-dhrani Thoerists 319 Thus, the tatparyavadio comes to the conclusion that #batever is supposed to be conveyed by vyanjada is really conveyed by abhidbi and fatparya Surely, in case of anyoktisk wherein the purport is bot expressed io clear terms, dhvani cannot be resorted to, The dbvapivadın cannot say that in case of sentences such as 'vişam bhunkşva' etc, the purport lies in the principal suggested sepse, viz. do not take food at his place", gathered by vyanjana, and not by tatparya For, a this case, the vacyártba or the expressed sease is not at all over till the last imit of the full purport 15 reached If at all there us apy further sease left to be gathered later oo, 10 that case, the vacyārtha or the expressed seose is not to be taken as complete in itself it becomes complete ie visranta-only whea the ultimate sepse meant to be brought out by the speaker is gathered by the bearer Thus, on the acceptance of the fact of tatparya, it is redundeat to assume dkvapı or vyanjada A limit 10 the sense gathered from a sentence can not be put A particular sentence can not be restricted to a particular sense only Tatparya or purport rests in the ultimate action So far as the so called desired is not gathered, the expressed sense or vacyartha can not be said to be over Tatparya 15 not to be measured on scales-tatparyam da tuladbrtam-50 as to limit its extent, and is not to be determined as just this much and not that much ! The purvapaksa (1 e. dhyadivādin) may argue as follows The sentences viz borama dharmika etc, gives only the sense 'bhramanakriya'. There is no word giving the sense of probibi tion and therefore, after giving the meaning in form of an injunction, the vacyărtha or she expressed sense finds its completion. Then, on account of the peculiarity of the speaker Viz the wantoa girl, the sense of negation flasbes fortb op the miod of the cultured critic Thus, vyangyārtba i e the suggested sepse, flashing fyrıb only after the expressed sense is completely gatbered-vacyavisrādti-will have to be accepted sense ·320 Rasa and Dhani But, the tatparyvadio explains away the negative suggested seose from the positive expressed seose in bhrama dhārmika etc, with the help of tatparya alone, because the vacyartha or the expressed sease can be said to have been completed only after the intention of the Speaker is fully conveyed If the intention of the speaker is not fully conveyed, the expressed should be taken as incomplete only Thus, if the sense of negation is not conveyed then for the speaker, viz the particular wantoo girl the expressed sense remains incomplete The sentences of human speech-(pauruseya)-arc spoken with some idea in mind, ie with a desire to convey something-(vivaksā),-and therefore, the full meaning of the speaker, 10 bis 1otention should be termed as "tätparya' 1n poetry Till this 18 not gathered, the sense cannot be said to be complete If the sentence is said to convey the full sense, then in that case, bow and why sbould it give another sease ? Aad, in case if it goes for 11, it is clear that the sentence sense is not complete Finally, Dhabika cxplains that the rasadi and the kávya are related by way of bhavyabhāvaka' relation and not by "vyangyayyanjakabhava' (35) Mahimabhatta Mabimabhatta points out the following ten blemisbes in the definition of dhvani as given in Dhy I 13, which has been noticed previously For the sake of understanding the polemic of Mahima, I repeat it as under yaträrtbab sabdo va tamarthamupasarjanikțlasvārthau ! vyanktah kávyaviſesah sa dhyanıriti sarıbbib kathitah 11 (Dhy I 13) The blemishes as pointed out by Mablma are enumerated as below 0 arthasya 'si$ta$92 (ui) sabdah ·Some anti dhvani Theorists 321 (ili) (sabdah) savisesanah (1v) vyaktih (V) dbvagih (vi) 'va' sabda (vu) dvivacanam' in vyanktah' (v111) tadah pumstvam (1x) the term "Kavyavisesah' and (*) vacanam ca kathagakartuh ie 'suribbih The first fault according to Mahima is that the particular adjective vizupasarjapikitasva is redundant with reference to 'artha' An adjective is one that is shown to be variable Now, "upasarjanikrasva or 'renderog odes own self subordinate is an adjective wbich does not possess variability For the expressed sense, being an indicator of the suggested sepse is necessarily and always subordinate Says he : uktam gunikțiatmatvam yadarthasya visesanan gamakatvāna tattasya yuktamavyabbicaratah !! (Vy V 17 The purport of Mahima's argument seems to be as below. Adjectives are generally used to indicate a variable quality, eg lotuses may be white, blue or red But that adjective which merely repeats the nature of the thing invariably connected, is logically speaking redundant This is exactly the case in qualifying 'artba' by the adjective 'upasar japikrlasva, because it is always so It may be noted that the first fault as indicated by Mahima seems to be of the type of avácyavacanal or mentioning of something wben it is not absolutely required The second blemish in the definition of dhvani as given by Ādanda consists in the mentioning of the word 'sabdah A word bas no other function save expressiog its own meading R 21 ·322 Rasa and Dhyani Thus, it cannot suggest any other sense -fabdah pudarapupadeyah eya tasya syabbidhadamantarena vyāpāräntarānupapatterupapadayişyamănatvát (Vy VI) Thus, it seems that the second fault pertains to making sabda the conveyor of the implicit sense, because the sole function of the word is to express its own meaning The second fault reiterates the position of Mahima viz that the word has one continuous meaning and there is no room for anything else like vyaktı The Third fault lies in qualifying sabda by the adjective "upasarjanıkrartha in the opinion of Mabima, sabda is always subservient to its meaning just as a jar is subservicot to water thał 11 is meant to contain Sabda can be said to be principal, if at all, when there is verbatim repetition in & quotalion So it will bring in asambhava dosa' if word is qualified by the adjective, 'upasarjan kptasvartha Here therefore, there is the fault of "asambhava because the word being always subserviedt to meaning, there can be Do contingency in wbich its meaning would be subservient to 11, which would happen if its meaning to be subordinated to itself in order to convey vy&rgyártha or the suggested seose Even if Ihe two faults previously sbown arc repudiated, Mabıma says that it would be still open to the fault of 'pugarufta' or repetition --(vyabhicarasambhavayorapi va yat svarthayotupasarjapıktatvavacanam tat punaruktam tayorartha Diarabbivy aktyarthamupattayossā marthyadeva tadavagateri fyuktam. (Vy V 1) It may be noted here that the blemish as pointed out bere is merely of a formal nature Further, in continuation of the third fault discussed as above, Mabimā tries to find the fault of avyapti in this definition, because the dbval which is suggested in such figures as dipaka would be out of the perview, la as much ·Some oni-dheant Theorists 323 as these figures are varieties of abbidbs and because abhidba' is not mentioned in the definition, tbcrefore they remain len out if it is contended that the mention of abbidh, is included in the mention of jabda and artba, then the mention of sabda also would be sedundans, because it is implied by mentioning Astha The founh fault mensloped by Mabım. rclers to vyakti or vyanjada itself He holds that it is wrong 10 say that word and sense 'suggest' further scasc The fourth fault thus refers to the very doctrice of vyanjan) According to him, the word has only onc sense and whatever else co out of 14 15 a matter of inferential process In this philosophy of word, word is a means to an end, -sadhyasadhanabht18-and th: end is what the hearer 15 supposed to do or not to do The underslanding of this sadhya becomes possible through the process of inference So, for him, whatever follows the direct meaning of the word is a matter of inference -sarva CVA hi sābdo vyavahtrah sidhyasidhasabhavagarbhataya prayenanumjaarapo'bhyupaganlavyah, tasya parapravitiorvptrini. bandhapalvat tajosca sampratyayasampratyayatmanoranyathukartumasakyajvatab na hi yuktimanavagacchan Kascidvi. pascıdvacanamaträt sampratyayabhagbhavali) (Vy VI) Hawag thus subsituted inference for vyanjana, he comes upon a two-fold division of meaning viz. 'yscyártba' and anumeyanha' Says he-artbópi divdho vicónumeyasca tatra fabdavyaparayayo yacyab sa eva mukhya vdyate (Vy yi) With refercace to the second, one may jocidentially point out that Mabuda really gives up bis case by calling it artha' Says he arthópi dvividhah Vācyonumeyasca tatra sabda vy1pīravişayo vacyah eva mukhya vcyate. (Vy V 1.) Having thus establisbed to his satisfaction anumeyārtba, he explains how vyangya or suggested vastu, alapkāra and rasa are cases of adumtya vastu, alamkāra and rasa respectively He adds that while the first two can be directly expressed Also, the tbird 13 sa ·324 Rasa and Dhyani manonly inferred -(sa ca trividhah vastumātiamalamkararasă. dayascetl tatradyau vacpāvapi sambhavatah anyastvagumeya eveli) (Vy VT) Here, Mablmā bas to face a great difficully According to the accepted definition of valid anumāna, his inferential processes 10 pocíry do not confirm to the cannon of (logical) Inference His opponents naturally show that what follows the direct meaning of words in a poem is not inference in any logical sense Mabima's answer to this is as follows The meapiog that comes to the mind as a sequence of direct meaning of a word is 'anumeya' This later festation of meating is supposed to be due to three causes They may be described in the accepted datsanika terminology as korakahetu, and jñapakahetu, under which also comes the tbud vız enumoa hetu or linga The illustration of the first is curds resulting from mult, the second, the appearance of a jar by a lamp 10 a dark room, while the third is the inference of fire on a mountain by the appearance of smoke Now, the meaning following from the direct sense is not discovered by the first two, but by the third, and therefore, it is a process of anumana or inference As to the validity lo some cases of Laowledge, he quotes a passage which says that even an illusory knowledge niay become valid in a particular context He quotes in his support from pramāna vārtika II 5 574 Says he, taduktan-bbrSotirapi sambandhatah prama sti mapłpradipaprabbayoh manlbuddyabhidbavatoh I mithyajalogviseşe'pi viseso'rtbakriytm prati 11 it ca (Vy VI) Between two people approaching two lights, the one produced by a jewel, the other by a lamp. (without being conscious or wdar they really are, buty with the idea ibat it is a jewel, there exists a difference in respect of casual efficiency, but not a differeace of mistaken cognition' (Translation pp 36 ·Some antı dhiani Theorists 325 The esthetic Experience according to Abhinavagupta -Ranciro Gnoli-SERIE ORIENTALE ROMA, XI 1956) The purport of the verse is that the two persoas see two Jigbts of which the one is that of a lamp and the otber is that of & jewel Both of them do not know whose light it 1s-but they run with a belief that it is a jewel Here the ingorance of both is equal, yet the one who gets at a jewel has his purpose fulfilled Thus, eventhough the larga xoay be illusory, the in'erence may be valid if the purpose is served Mahımā, bowever, before he goes into these arguments turns round his opponents and says that it is absurd to seck logical validity 10 what he calls kāyvãounit and he waxes eloquent on the poetic charm of ittedātra gamy agamakayoh sacetasām satyāsatyatvavicaro dirupayogo eva kivy avısaye ca vacyavyangyapratytidām satyasastya Ivavicaro nirupayaga eva itt tatra pradiānäataraparıkşopaha- Sayaiva sampady ate it (Vy VI) la modern terminology, one might say that the inferential process in poetry is more of a psychological nature than of a logical type Having proved to bis satisfaction that the relation betweca a word's immediate meaning and the meaning that follows, is pot of the nature of vyangyayyafijaka but of the nature of inference, he explains all the fine points worked out by Aainda in the terminology of inference In fact he gives the same lustrations and practically follows the same mode of argument The fifth fault arises as below Divabi's said to be there when the vacya or expressed sense is said to be suggesdve. But in that case ao inſerred sense, even if it is suggested, does not become dovasi, for there is abseace of expressed seose 19 at Thus in 'dbvabi' there is gathering of the implicit sense through vācba or expressed alone But if this is the ·Rasa and Dhran 3:6 connotation of dbyanı, then it briogs in the fault of the defiai. tion being 'too narrow In the illustrations such as, 'evam vadini' etc, there 15 first the suggestion of a bbaya called lajjā' or 'avabıtthā' Through that suggested bhāva, love of Parvati is suggested This is a case of suggestion based on suggestion Now 'dhvadi' as explaised earlier has its scope limited to suggestion based on expressed seose only (Mahima shows how ‘artha' can mean the expressed sense alone) (kim ca jatra vacy asjärtbasya vyanjakatsam sa ced dhvapistachi tadapumitasya vyañjakatve dvanitvam na syat, tasya vacyatvablāvāt tata-ca, “evam vadını devarsau' ityadau dhvanitvamistam pa syad ityavyāptulalsanadosah) (Vy VT) Mabıma bolds that if the word 'arthah' in Dhy I 13 means both vacya and vangya 1e expressed and suggested sense, then also ativyāptidosa or the fault of too wide' follows He holds charm only with reference to implicit scose that follows inmediately without any vyavadbaca cr intermediary, or a vyavadhana je intermediary only in form of a vyabhicartbbava or an alamkāra. 1 st is else than 1bis, it is without charm But the definition of dhvani embraces such instances also Mahima says "zadyartha iti vāció rtho bhimato’yyaptureva sai yena vamvadinitzadavartbasyarthotaradgatih 11 al hobhau tarhyativyaptırdvitravastusjavasāyini ! prahelikadırūpépt kāvje dhvadyatmatā jataḥ || (Vy V121 22) In this, bis fifth argument, Mabimā shons to faults viz avyaptı and ativyaptı, the first, by confining the meaning or 'arthato vacyārtba alone, and the second by including vyangyartba also Sixth fault lies in tbe mention of 'va' Vā' suggests either option (vikalpa) or collection (ie samuccaya) It cannot mean option, for earlier fabda' is explained as act to be suggestie And even if it is accepted to mean option, then it capoot be construed with the dual in form of vyankiah' if it means ·Some anil dhrani Theorists 327 .. collection then suggestivity will sest only on both sabda and artba taken together only Thus, such cases of dhvani resting on only 'sabda' or only “artba' will be excluded and avyaptı. doşa will follow : -{kimcātra vasabdo vikalpārtho vă syāt samuccayartho vā na tavadvikalpartbah paksāntarasambhavasya vyutpaditatvat sambhave vāsya dvivacananupapattih, tayoh samuccayabbavat samuccayarthatve'p yatra sabdacthayorekarkasya vyanja. katvam tatra dhvanitvam istam na syāt (Vy VI) The seventh fault follows from the sixth and touches the use of dual in 'yyanktah' Here, Mahimabhalla takes ibe substance of his argument from the discussion between Bhatta- Dayaka and Abbigavagupta as given in the latter s work-Locana', Adhigaya says that objections of Bhattatayaka are due to carelessness because in the act of suggestion the word does it as related to meaning and meaning does it as related to word, and therefore, the dual is justified Mabimā simply rejects tots defence of Abhinava (37) Eighth fault results from the use of the pronominal stem Here it refers to pratiyanādam vastu (Dhv 15) It is used in masculige instead of Deuter, which would be grammatically correct (kimca tamıtı tadah pustvena nirdesocupapanoah Vy VI) It may be noted that this argument is merely verbal and does not refer to the substance In the Dipth blemish, the objection is against 'kavyavisesah' Mabimă says that accordiag to Dhvanikara, a poem becomes a poem only if there is dhvani, and if there is do dhvagi there is 20 poem Therefore it is pojotless to use tbe word kavyavisesah' Takrog this verse (1 e. Dhv 1 13) 19 conjunction with 'kavyasyātmā sa evartbab' etc (Dhy I 5), Mahima argues further that where there is Do rasa there 18 no poetry and therefore, to specify a composition as peculiar poetry is useless Thus, it is useless to circutascribe the sphere of dhvani by qualifytog the term kavya by 'visega', 18 as much ·328 Rasa and Dhyani as it gives rise to the false notion that there are other specie mens of karya besides wbat can be properly subsumed under dhvadi - (apı ca kavyavisesa it kāyyasya visistatvamanupapappam kavyamătrasya dhvani vyapadesavisesanatveoa islatvāt, tasya rasatmakatvopagamat tadabbave Casya ka yataiva pa syat kimuta visesah itt anārambbaniyameva etat preksavatām syat vaiphalyat (Vy VI) There can be no varyiog degrees of charm in aesthetic realisation which can be made the basis of this differeotiation implied by the expression-kävyavisesa}}', for, in each case the final blissful experience is interminate puts character and does not admit of any determinate analysis leading to comparison inter se (38) It might be argued that there are nine different sentiments (rasa) and, the distraction implied might have refercoce to any particular rasa amongst them But such a course of argument would lead to the exclusion of poetic compositions from the category of dhvanıkavya that do not suggest that particular sentiment (39) One might however contend that there are other varieties of suggested sense besides rasadhvani which is Taised to the status of the soul of literary art, VIZ vastu. dhvanı, and alamlaradhvanj Thus, when rasadhvant would be characterised by the suggested vastu and alamkara, severally or jointly, then add then only would it be regarded as a specimen of dhvanikavya But this defence too would be of no avail, for when a piece of poem manifests exclusively & particular emotion without suggesting either vastu or alamkara the designation of dhvani would oot be applicable-a ridiculous So, the qualifying word "visesah' is Idefensible (40) positions indeed! Tenth fault is avācyavacapadosa as seen in 'Surbolh katbitsh' The specific peption of the nominative viz saribblh, ·Some anti dhvani Theorists 329 eva of the particular form Kathitah' ts peedless and therefore un justifible. (kimca surbhih kathita'iu kathanakriyakarlrourdesah paksadvaye'pyavacya kartſmātravivaksāyām kriyāyāh kartravyabhicart kartrvisesavivaksāyamanantaroktakramena yjāparavisesasambandhadeva tadvisesāvagatisıddberityavācyavacana dosah ) The tenth fault-avācyavacanadosa-is mentioning something which need not be mentioned JF merely the agents of *Kathitah' are implied in general, they are already implied in the very use of the word 'katbuah' If some particular authors are implied, these are already referred to formerly Thus the mention of sütibbih is redundant Mabimā, having thus refuted dhvani to his satisfaction, and being indusposed to bother himself with minor items, improves upon the definition of dhyanı as follows vacyastadanumito vã yatrartho'rthantaram prakásayati sambanbhatah kutascit sa kayyanumitirityukta il (Vy. V I 25) And adds, etacca apumapasyaiya laksanam nanj asya yadoktam trurūpallingāt parāthanumanamıtı kevajam samnabhedah. (Vy.VI) The ten faults shown by Mahima are not all of equal importance As we have noted, some of these are mere verbal and some are mere quibbles His main argument seerns to be that the word artha' should be limited to the first direct meaning-vacyartha-of the word Therefore, whatever else follows this vācyártha in the mind of the sahrdaya should be regarded as anumeya He has this much justification in his view that the todirect thoughts and feelings arising out of the direct mcading can be psychologically regarded as of an inferential ·330 Rasa and Dhrani Dature This honeyer, IS ID no sense a logical anumāda or inference la fact, Mabimā, as we have noted, laughs at those who while having kavyaoumiti' think of the tarkika anumiti He, like Atanda tries to elaborate this põrat, and show how the several categories of poetics can be subsumed under this In fact 10 this part of the treatment of the subject, be practically takes the analogy of Ananda's vyanjada eg Mahımā has bus asaqallsyakrama and samlaksykrama so also vastu anumiti, alamkrāranumiti and rasadı anumiti The illustrations that he uses are mostly taken from Dhv Thus kavyaoumiu takes the form of vyanjana for Mabimā etc Bhoja Now, in order to understand Bhoja's position, Ict us consider briefly his SKĀ, and the published fragments of Sr Pra, as well as Dr Raghavan s learned and critical thesis on Sr Pra Dr De seems to say that Bboja does not accept the dhvani theory of Anacda in toto, though he does quote many of the karlas of Dhy and appropriates some of its other matter (41) Dr Raghavan in his Bhojas Sir Pra tries to refute at length Dr Des views on this point We have, while tracing the earlier indications of vyanjana pointed out that the idea of vyanjanā us to be found in some of tbe alamkaras discussed by Bhamaba and Dandin (Vide Ch pp ) We can concur with the opinion that 10 SKĀ aod Sr Pra there are alamkaras and gunas which embody vyanjana This however, does not necessarily make bio a Vyai janavadis, though we may concede that as Di Raghvan says, Bboja may be called an antarbhayavadin. We have seen that both Dhaõjaya and Dhanika, in DR and its Avaloka, telute the theory of vyanjana and substitute the tatpary a vytti JD its place to do for vyanjaca Bhoja, ·Some anti-dhiani Theorists 331 Munja's successor, seems to follow the tradition of bis learned assembly in not giving importance to vyanjanā. In this respect we can agree with Dr. De when he says, thar Bhoja's scbool, ".....stands in many respects apart from the kasmirian school of Apaodvardhana", but we candot agrec with him when he says..., "and appears to have beco entirely untouched by the implications of the Dhvani theory". As to the use of Ananda's kātikas and some of its matter of Bhoja, we may point out that even the greatest opponent of Ananda viz. Mahimabhatta also does the same But thereby he does not become a vyanjaoavadio. In contrast to this we may say that Hemacandra, the author of Kāyyādušasana (Crica. 11th Cep. A D.), who lived in the time of Siddharāja and Kumārapala &ccepts the views of the kashmirian authors Abhinava and Mammata, and is an ardent vyanjanavádın (see K5. Śa I so. 20-25) However, it may be added that a discordant note is struck by Ramacandra and Gunacandra, the disciples of Hemacandra, who is theis Näiyadarpana (III, 109 so 163) tske rasa to be 'spastanubhavanıšcevah' and add that the term 'spaşca' qualifying anubhyva' means well determined. For, only the well determined object serves as a mark or lingam.- Spastah iti spastaḥ samsan orrajtah. asamdigdhani hi lingam bbayari. Thus the authors seem to Jean more towards Sri. S'ankula. Mammata who follows Ananda in his theory or vyanjana, after refuting the views of anumQaradia and the like, takes up the view of ad aitavadins Advaitavadins as they are, they assume an akbandabuddhi. 1.e, the sease of the whole as responsible for the elucidation of meaning. Even they, boxever, have to accept the division of pada, padartba etc. And so, la the illustrations discussed to this context, they cannot escape vyanjini, if they have to arrive at the implied sease la those verses.(42) ·332 Rasa and Dhyani Visvadătha, the author of S D (circa 1300-50 AD) discusses the vichs of those who try to incorporate vyanjana in the means of koowledge called 'arthāpatti Visvanatba is of the opinion that as in case of aoumāna, so also in case of artbapattı the basis is vyaptijñāna or the knowledge of vyaptı Now vs angya or the suggested sense caa pot be said to rest on vyāptı Now vyangya or the suggested seose can not be said to rest on vyapti on account of vyabhicāra and samdcha So, It can not be gathered by artbapatti (43) Visvanalba further adds that the suggested sepse is not even 'sacanabuddhigradhya' i c. gathered by sigas and symbols (sucana) Even this depends on an earlier popular samketa When it is already understood between the two parties concerned that the raising of the forefingure means a particular Qumber, then only that particular gesture suggests that number Thus, even this sūcanabuddbi is in a way a sort of loose anumana and the suggested sense cannot be gathered by it (44) He also adds that the vyangtartha cataot be gathered by sporti' Others bold that the suggested sense can be gathered by stufti or memory because the knowledge of rasadl is caused by sanskara or impressions But in this case there will be *ativyaptı 10 'pratyabhima' se recogaition also, for pratyabhijna is also born of sam karas but is not of the form of smrti (45) The above review of the opponents of dhvani school sbows that ih-y are not opposed to pratiyamănată or implied sense as a source of cbam in poetry The difference Arises as to how this implication is grasped Ananda regards this as one of the functions of word but this function is not, according to him, fulblled by either abbidbā or laksana. He therefore, posits a third fuoclion of word viz vyanjana His opponents see no necessity of adding a bird function of word because the implied sense can be grasped by infereotial processes of thougbis, by meanings yielded through abdidha and lakşına.

·Some anti-dhyani Theonists 333 So for them, to accept vyañjana would lead to what is called gaurava dosa. Thus, the question resolves itself 10to the acceptance or non-acceptance of this additional function of word. Modern logicians who discuss the function of language do accept, what they call the emotive use of language in addition to its scientific function. The various emotive association a word has, become, so to say, prominant in poetic language. But if one considers the psychological processes of the emotive function, one has to agree that they are of an inferential type. In fact, as Mammata says, those who experience and enjoy ras2 have to be keen in the inference of stbäyın-(toke pramadadıbbib sthāyyapumāne'bhyāsapa tavavatāro...".etc K P.IV 28) Thus it is not impossible to reconcile both the opposing views Foot-potes (1) इत्येतदभिधारतं दशपात्र विवेचितम् । अ५ मा. का. ३२ (अभिधातिमातृका) (2) वक्तुर्वाक्यस्य पाच्यस्य रूपेमेदापधारणात् । रक्षणा त्रिप्रकारेषा विवेतन्या मनीषिभिः ॥ स. मा (का. ६) (3) आकम्प्यमानस्यापि समुदस्य कम्पनार्थत्वेनाप्यवसित तथ्यवसान- गर्भगीणोपचार । वृ मा. (PP 13). (4) इत्यत्र हि स्मरशरप्रमृतीना पञ्यानामध्यारोपितवहिभावानामसहत्व वाक्यार्थीभूतम् । मत. तस्य वान्यता । तात्पर्शलोचनसामरिच विप्रलम्भरामा- रस्य भाक्षेप इत्युपादानामिका लक्षणा ।-अ, यू. मा. PP 14. (5) व. जी. 1 8 (वृत्ति)- यो चायक स शब्द, यो वाच्य च अभिधेयः सोऽर्थ इति । ननु व द्योतकम्यजवावपि शब्दौ सम्भवतः । त्दसंग्रहान्नाव्याप्तिः । यस्मादर्थप्रतीति. कारिखसामान्यादुपचारात्तावपि पाचकावेष । एवं होत्यव्यायमोरर्थयो प्रत्येयन्य- सामान्यादुपयाराद् धान्यत्वमेव । तस्मात् वाच्यत्व वाचावं च शदायोलों के सुप्रसिद्ध यद्यपि रक्षण, तथाप्यस्मिन् अलौकिके काव्यमार्गे काव्यवर्मिनि, भयमे- सयो क्ष्यमाणलक्षणः परमार्थ, फिमप्यपूर्व तत्त्व इत्यर्थ ।

·334 Rasa and Dhani । (6) एतेन यत्र कुन्नकेन मकाचनमावि तो ध्वनिस्तदपि प्रत्याख्यातम् । -एकापली, इदानी यदप्यन्यरस्य भक्त्यन्तर्भूतत्वमुक्त तदपि दर्शयितुमाह धक्रोकोत्यादि । PP 51 (BSS Ed) See also Jayaratha (PP 8) (7) यत्रदूरान्तरेऽन्यस्मात् सामान्यमुपवर्यते । लेशेनापि भवेत् काचिद्वस्तुमुद्रिक्तवस्तुताम् ॥ यन्मूला सरसोलेखा पकादिरहकृति । उपचारप्रधानासो एकता काचिदुच्यते ॥V I Il ka. 13 14. (8) यथा मूत वस्तु दर्शनस्पर्शनसवेद्यस्नेहनगुणयोगात् (स्निग्धमि)न्युच्यते तथैव कान्तिरमूप्युिपचारात् स्निग्धेत्युक्ता । V JII 13 (9) अत एव च प्रत्ययान्तरे अस्मिन्नुमचारे न वक्रताव्यवहार , यथा गौवाहीक इति । V JI 13 (10) शास्त्रादिप्रसिद्धशद्वार्थोपनिवन्धव्या तरेकि-V JI (11) शब्दार्थो सहितौ वक्र विव्यापारशालिनि । बन्धे व्यवस्थिती काय तद्विदाहादकारिणि ॥V JI7 (12) उमावेसावलङ्कायो तयो पुनररकृति । यकोक्तिरेव वदग्ध्यभोमणितिरुच्यत । V.JI 10 and also उभी द्वावयेतो शद्वायौ मलङ्कायों अलङ्करणीयो केनापि शोभाति- शयकारिणा करणेन योजनीयौ । किं तत् तयोर थलङ्करणमित्यभिधीयते, तयो पुनरलकृति । तयोदित्वसख्या विशिष्टयोरप्पलकृति पुनरेव, यथा द्वाप- प्याडकियेते। काऽसौ पोतिरेव । पकाविन प्रसिद्धाभिधान व्यतिरेकिणो विचित्र वाभिधा । कोशी, वैदग्थ्यमनोभ'गति । वैदग्ध विदग्धभाष , कवि कर्मकौशल तस्य भहो विच्छिसि , तया भणिति । विचित्रवाभिधा पक्रोक्ति- रित्युच्यते । तदिदमत्र तात्पर्यम् । यत् शब्दार्थो केनापि व्यतिरिक्तेनाररणेन योज्यते । वक्त चित्र्ययोगितयाभिधान मेवानयोरलङ्कार । तस्यैव शोभातिशय कारित्वात् । एतरच वकताम्पाख्यानावसर एव उदाहरिष्यते ॥v JI 10 (13) एप एष शब्दशकिमलानुरणरूपव्यायस्य पवनविषय vy In 12 (त्ति) (14) वन्या III 16 -सुरतिपयनसम्बन्धस्तथा कारकशक्तिभि । कृत् वक्तिसमासैश्च धोत्योऽलस्यकम क्यचित् ॥

·Some anti-dhvani Theorists 335 - (15) ध्वन्या III. 16 -च शद्वात निपातोपसर्गकालादिभिः प्रयुक्तः भभिव्यज्यमानो दृश्यते । (16) व. जी (V. J.) III 1 -उदारस्वपरिस्पन्दसन्दरत्वेन वर्णनम् । वस्तुनो वशद्वैकगोचरत्वेन वक्रता ।। (17) V. J. III (वृत्ति)- पस्तुनो वर्णनीयतया प्रस्तावितस्य पदार्थस्य यदेवविधत्वेन वर्णन सा तस्य वक्ता वकृत्वविच्छित्तिः । विविधत्वेन इत्याह-उदारस्वपरिपन्दसुन्दरत्वेन । उदारः सोत्कर्षः सर्वातिशायो य. स्वपरिस्पन्दः स्वभावमहिमा तस्य सुन्दरत्व सौकुमार्यातियस्तेन, भत्यन्तरमणीय स्वाभाविकधर्मयुक्तत्वेन, वर्णन प्रतिपादनम् । कथम् वक्रशब्दकगोचरत्वेन । वक्रो योऽसौ नानाविधवक्ताविशिष्टः शब्दः कश्चिदेव वाचविशेषे विवक्षितार्थसमर्पणसमर्थः, तस्यैकस्य देवलस्य गोचर- त्वेन प्रतिपाद्यतया विषयत्वेन । वाच्यत्वेनेति नोवत, व्यायत्वेनापि प्रति- पादमसम्भवात् ॥ (18) ध्वन्या. 11. 17-इत्येवविध विषयेऽनुरणनरूपरूपकाश्रयेण काव्य- चारूत्वव्यवस्थानात् रूपकध्वनिरिति व्यपदेशो न्याग्यः । (19) व जी on I. 21 -प्रबन्धे वकभायो यथा-कुत्रचिन्महाकविविरचिते रामकथोपनिबन्धे नाटकादौ पञ्चविधवक्तासामग्रीसमुदायसुन्दर सहृदयहृदयहारि- महापुरुषवर्णनभुपको प्रतिमासते । परमार्थतस्तु विधिनिषेधात्मकधर्मोपदेशः पर्यव- स्यति, रामवद्वर्तितव्य न रावणवदिति (20) कपोन्मेषसमानेऽपि वपुषीव निजैर्गुणै, । प्रबन्धा प्राणिन इस प्रमासन्ते पृथक् पृथक् ) इत्यन्तलोक । (५२) on IV254. जी. (21) नूतनोपायनिष्यन्दनयवामोपदेशिम म् । महाकविप्रवन्धाना सपा- मस्ति वक्रता V.J, IV. 26. (22) व जी. I. 10.-see foot-note No. 10. (23) व. जो 1.5 -चतुवर्णफ्लास्वादमप्यतिक्रम्य तद्विदाम् । काव्यामृतरसेनान्तश्चमत्कारो वितन्यते ॥ (24) 4. जो I.6 -सर्वसपत्परिस्पन्दसम्पाय सरसात्मनाम् ।...... सरसात्मनाम् आईचेतसाम्...... । (25) प. जी. 1.6 अन्तलोंक:- प्रबन्धेषु कवीन्द्राणां कीर्तिकन्देषु किं पुनः । 126) प. श्री. IV. 11-निरन्तररसोद्गारगर्भसन्दर्भनिर्भराः । गिरं वीनो जीवन्ति न कथामात्रमाश्रिताः ।

·336 Rasaana umoni (27) व जी IIL ! -तदिदमुक्त भवति यत् वशन्दै. मभिधीयमाना श्रुतिपयमवनरन्तेदचोनाना चर्वणवम कारं कुर्वन्तीत्यनेन न्यायेन घृतापूपप्रमृत्य पदार्थो स्वशन्दैरभिधीयमाना तदारवादसपद सम्पादयन्तीत्येव सर्वस्य कस्य चिदुपभोगसुखार्थिनस्तैस्दारचरितैरयत्नेनैव तदभिधानमानादेव रोक्यराज्य सपसौख्यसमृद्धि प्रतिपयते इति नमस्तभ्य । (28) V J III 7(कृति)-मुख्य यत्प्रधान चेतनसुरासुरादिसम्बन्धी- स्वरूप तदेवविध सत्कवीना वर्णनास्पद भवति स्वव्यापारगोचरता प्रतिपद्यते । कीदृशम्-अक्लिष्टरत्यादिपरिपापमनोहरम्-अपिलष्ट क्दर्थनाविरहित प्रत्यप्रता मनोहरो यो रत्यादि स्थायिभाष तस्य परिपोष मारप्रभृतिरसत्वापादन स्था य्येव तु रसो भवेत् इति न्यायात् । (29) एव विप्रलम्भङ्गारफर यो सौकुमायात् उदाहरणप्रदर्शन विहितम् । रसान्तराणामपि स्वयमुत्प्रेक्षणीयम् । V JIIT (30) जडानामचेतनाना सलिस्तरुकुसुमसमयप्रभृतोनामेवविध रसोद्दीपन सामर्थ्यविनिए धनष धुरै वर्णनीयतामवगाहते । V I III 7 (31) रसोद्दीपनसामध्यविनिवन्धनव-धुरम् । चेतना अमुख्यामा अडामा चापि भूयसा ॥ v J IIL.8. (32) ६ जी III 10 (वृत्ति)-तदेवविध स्वभावप्राध्यान्येन रस- प्राधा येन द्विप्रकार सहजसौकुमार्यसरर्स स्वरूपं वर्णनाविषयवस्तुनः शरीरमलङ्का- यंतामेवाहति । (33) रसादिपरमार्थज्ञमन संवादसुन्दर । V JI 26 स्वभावसरसाकूतो भावानां यत्र वध्यते । केनापि कमनीयेन वैचित्र्येणोपवृहित । and also विचित्रमेव स्वरूपान्तरेण प्रतिपादयति । स्वभाव इत्यादिदी । यत यस्मिन् भावाना स्वभावः स्वपरिस्पन्द सरसाक्त रसनिर्भराभिप्राय पदार्थाना निवध्यते निवेश्यते (35) भवरोक of धनिक on दश IV. यथा लौकिकवाक्येषु श्रूयमाणक्रियेषु गामम्याजेत्यादिपु मध्यमाणकियेषु च द्वार द्वारमित्यादिषु स्वशन्दोपादानात् प्रचारणादिवशात् बुद्धिसनिवेशिनो क्येिक (34) व जी 1 41 etc etc 1 ·Some antı dhrani Theorists 337 कारकोपस्थिता वाक्यार्थस्तथा काव्येष्वपि स्वशब्दोपादानात् क्वचित्, प्रीत्यै नवोढा प्रियेत्येमवमादौ, क्वचित् च प्रकरणादिवशात (नियताविहित-NS) नियत. विहितविभावाद्यविनाभावाद् वा साक्षाद्भावकचेतसि विपरिवर्तमानो रत्यादि स्थायी स्वस्वविभावानुभावव्यभिचारिभिस्तत्तच्छब्दोरनीत सस्कारपरंपरया (पर)- पर प्रौढीमानीयमानोरत्यादिवाक्यार्थ । मचाऽपदार्थस्य वाश्याय नास्तीति पाच्यम् । कार्यपर्यवसायित्वात् ता पर्यशश्ते । तथा हि पौरुषेय अपौरुषेय वाक्य सर्व कार्यपरम् । भतत्परत्वेऽनुपादेयत्वादुन्मत्तादिवाश्यपत् । काव्यशब्दाना चान्वयव्यतिरेकाभ्या निरतिशयमुख स्वादव्यतिरेकेण प्रतिपाद्यप्रतिपादकयो प्रवृतिविषययो प्रयोजनान्तरानुघलाद् (स्वानन्दो) स्वादोद्भतिरेव कार्यत्वेनाव धार्यते । तदुभूतिनिमित्तत्व च विभावादिसमृध्नस्य स्थायिन एवावगम्यत । अतो वाक्यस्याऽभिधानशक्तिस्तेन रसेनाऽऽकृष्यमाणा तत्तत् (स्वार्या) स्वादा- पेक्षितावान्तरविभाषादिप्रतिपादनद्वारा स्वपर्यवसायितामानोयते । तर विभाषा- दय पदार्थस्थानीयास्तत् संस्थ्ये रत्यादि चाक्यार्थ । तदेतत् काव्यवाक्यम् । (यदीय) यदीयो ताविमौ पदार्थवाश्यायौँ । न चैव सति गीतादिवत् सुखजन फरवेऽपि वाच्यवाचकभावानुपयोग । विशिष्टविभावादिसामनोविदुषमेव तथाविध रस्यादिभावनावतामेव स्वादोद्भुते । तदनेन मतिप्रसोऽपि निरस्त । ईशि च वाक्यार्थनिरूपणे परिकलिताभिधादिशक्तिवशेनैव समस्तवाक्या बगते शक्यन्तरपरिकल्पन प्रयास यथोऽवोचाम काव्यनिर्णये। तात्पर्यानतिरेकाच्च व्यजकत्वस्य म ध्वनि । किमुक्त स्थादश्रुतार्यतात्पर्येऽन्योक्तिरूपिणि । १m विष भक्षय (पूर्वो यश्चेव) वाक्ये यच्चैव परसुतादिषु । (प्रसयते) प्रयुज्यते प्रधानत्वात् स्वभि व केन वार्यते ॥२॥ ध्वनिश्चेत् स्वार्य विश्रान्त वाक्यमन्तिराश्रयम् । तत्वस्व स्वविधान्तौ तान् म विश्रान्स्यसभषात् ॥३॥ एतावत्येव विधान्तिस्तात्परस्येति किं कृतम् । यायकार्यप्रसारिरवात् तात्पर्य न तुलाधृतम् ॥४॥ भ्रमधार्मिक विधधमिति अमिता (स्पदे) सद । निर्यावृत्ति इय वाक्य निषेधमुपसर्पति ॥५॥ प्रतिपायस्य विश्रान्तिरपेक्षापूरणाद् यद । पपनुविपक्षित (प्रस) प्राप्ते अविधानितने वा कथम् ॥६॥ पौरपेयस्य वाययस्य (विषक्षा परत त) विवक्षा परतन्त्रता । वभिप्रेतात्मन काव्यस्य युज्यते ॥ R.22 ·338 kers and Dhyant इति । मतो न रसादीमा काध्येन सह ध्यायव्ययकमाघ । किनहि भाव्यभावकसम्बन्धः, काव्य हि भावकम् । भाव्या रखादय । The NS Ed reading are bracletted ( ) It contalos numerous mistakes. A revised text, with the corrections made by MM Kuppuswami Sbastrs is given here as quoted by Dr Raghvan, Sr Pra (pp 181-182) (36) अर्थस्य विशिष्टरव शब्द सविशेषण तद पुरत्वम् । द्विवचनवाशदी व्यकिध्वनि म काव्यवैशिष्टयम् ।। वचन च क्यनक्तुं कथिता ध्वनिलमणीति दश दोषा । ये त्वन्ये तद्भेदप्रमेदरक्षणगता म त गणिता ॥ व्य वि I (37) भभिन observes- व्यक इति द्विवचनेनेदमाह-यदप्यविवक्षितवाच्ये शन्द एष व्यजक तथापि अर्थत्यापि सहकारिता म जुन्यति, भन्यथा अज्ञातार्थोऽपि शब्द तद् व्यजक स्यात् । विवक्षितान्यपरवाच्ये तु शब्दस्यापि सहकारित्व भवत्येव, विशिष्टशब्दाभिधेयतया विना तस्यास्याम्य असत्यादिति सर्वत्र शम्दार्थयोरम योरपि ध्वनन च्यापारः । सेन यद् भानायकेन द्विवचन दूषित तद्गजनिमी लिकया एव । -लोचन on Div I 18 See also, Mahima- भत्र केचिन्विद्वन्मानिनो द्विचनसमर्थनामनोरथाक्षित्पचित्ततया वाच्यवाय कयो विस्मृतसुप्रसिद्धप्रतीतिकमभावा त्योरेककालिका शब्दस्योउ नयनिरस्ता- मपि व्यजकता पयत तनिय धानां ध्वभिमेदयोरविवक्षितवाच्यविवक्षिताय परवाच्ययो वननम्यापार प्रति पर्यायेण भन्योन्यसहकारिता तदपेक्षा चानयो प्रधानेतरतामुपकल्प्य सहकारितया व्यक्तिक्रिया प्रयुभयोरपि कृतकर्तृत्वात् तदपेशो म्यक इति द्विवचननिर्देश , प्राध्या यापेक्षश्च यत्रार्थ शन्दो वेतिविकल्प्य इति मन्यमाना व्यक्त' इति द्विवचनेनेदमाह-मर्थ शब्दो वेति विकल्पाभिधान तु प्राधान्यभिप्रायेग इति यदाहु , तद् भ्रन्तिमूल न तत्त्वमित्यलमवस्तु निर्वधनेन । व्य वि I (38) मपि च काव्यविशेष इति काव्यस्य विशिषवमनुपपनम् 1 काव्य मात्रस्य ध्वनिम्यपदेशविशेषत्वेन इयत्वात् , तस्य रसात्मकत्वापगमात् । यत स एवाह काव्यस्यात्मा स एशर्थ तथा चादिकवे पुरा । मौचदन्दवियोगोत्य ·Some antı dhiant Theorists 339 शोक रोकत्वमागत ॥ न च तस्य विशेष सम्भवति निरतिशयसुखास्वाद- लक्षणत्वात् । यदाहु- पाध्यदय धृवामानात तत संपरिते रसे । तदास्वादपर कामो हृष्यायन्तर्मुख. क्षणम् ॥ ततो निर्विघयस्यास्य स्वरूपावस्थितो निज । व्यज्यतेऽहादनिष्यन्द येन तृष्यन्ति योगिन ॥ तदभावे चास्य काव्यदेव न स्यात् । किमुत विशेष एति भनारम्मयो- यमेवैतत् प्रेक्षावता स्यात् वैफल्यात् । व्य वि I (39) न च रसाना वैशिष्टये तदमन काव्यस्य विशिष्टत्वमिति युक्त वक्तु अव्याप्ते । एव हि प्रतिनियतरसात्मन एव तस्य ध्वनित्व स्यात् , मान्यस्य अन्यरसारमन , वैशिष्ट्याभावात् । इध्यते च तत्रापात्यव्याप्तिलक्षणदोष । व्य वि I (40) न च रसात्मन काव्यस्य वस्तुमात्रादिभि विशेष शश्य आधातुम्, तेषा विभ वादिरूपतया रसाभिव्यक्तिहेतुत्वोरगमात् । न च व्यजकाना वैचित्र्ये व्यङ्गयस्य विशेषोऽभ्युपगन्तु युक्त शावत्यादिनामिव गोत्वस्य । ततोऽस्य विशिष्टतोपगमे वा यत्र तयो उभयोरेकैकस्य वा व्यङ्ग्यता तत्रैव ध्वनिव्यपदेश स्यात् न तु केवलरसात्मनि काव्ये वैशिष्ट्रयाभावात् । (य tष I) (41) Dr De Sanskrit Poetics 11. pp, 229) says • It will be convenient in this connection to take up the school of opiplon represented by the writer on poetics in the Agaipurāna and by Bhoja, which staads in many respects apart from kashmirian school of Āqandavardhana and which appears to have been entirely untouched by the implications of the Dhvani theory' on pp 261 he says • He ie (Bhoja) even appropriates karikas from the Dhvapyaloka, although he does not accept the theory (42) अविशिष्टमपर्यायानेक्शवप्रतिष्टितम् । एक वेदान्तनिपातास्तमखण्ड प्रपेदिरे ॥K P II वाल्योधिनी " also बादरायण मनवयवमेव वाच्यमनाविद्योपदर्शितालोकपदवर्णविभागमस्या निमित्तम् । and also -अखण्डवुद्धिनिमायो वाक्यार्थ एवं वाक्यमेव वाच्य ·340 Rasa and Durant च वारकम् इति येऽप्याहु तैरप्पविद्यापथपतित पदपदार्थकल्पना कर्तध्येवेति तत्यक्षे मध्यवश्यमुक्तोदाहरणादौ विध्यादि न्याय एव । K P v, see also -परिनिश्चित निरूपभ्राशब्रह्मणा विपश्चिता मतमानियेष प्रत्तोऽय पनिव्यवहार इति है यह किं विरोधाविरोधी वित्येव । ध्वन्या see also Adhigava on this quoted carher, (43) एतेनापत्तिवेयत्वमपि व्यायानामपास्तम् भांपत्तेरपि पूर्वसिद्ध व्याप्तिच्छाया उपजीव्येव प्रवृते यथा यो जीवति स कुत्राप्यवतिष्टते अति चात्र गोष्ठयामविद्यमानव इत्यादौ । S D. V. (44) कि च, वनविक्रयादौ तर्जनोतोल्नेन दशसंख्यादिवत् सूचन- बुद्धिवेद्योऽप्यय न भवति । सूचनबुधैरपि संकेतादिलौहिकप्रमाणमापेक्षवानुमान प्रकारतानीकारात् । SD v (45) यच्च सस्कारजन्यत्वात् रसादिबुद्धिः स्मृति इति केचित् । तत्रापि प्रयभिज्ञाया भनेकानिक्तया हेतोरामासता । sp v.

·CHAPTER XIV DHYANI IN ABHINAVAGUPTA on Abhinavagupta follows the Dhvanyaloka in his theories on dhvani and rasa His two important works on this subject are a coramentary on Dhy known as Locaga and a commentary the Na Sa of Bharata, known as Natyavedavivrti or Abhinavabbāratt (A bh) The ment of his work lies in clear elaboration and at times subtle explanation and original insights to a certain extent He was a great pbilosopber of pratyabhina school, and has implicity taken certain ideas peculiar to that school for granted in bus discussions So bis works on tbe pratiyabhijna school of thought, viz Tantraloka, and Isvarapratyabbināvivitivimarsidi incidentally throw some light on some aspects of bis theory of poetry As the Locana and the A bb are commentaries, much of their content is naturally the same as that of Dhv and Na Sa. For these reasons, much of their treatment is bound to be prece-meal in the discussion of the contents of Dhy and Na.sa, I have, as far as possible, confined myself to the works themselves, Here while considering Abhldava's comms , I will note the points which have been clarised, elaborated and sometimes improved upon by him In the treatment of these points some repetition would be unavoidable though I have tried to avoid it as far as possible As doted just now, the treatment of various topics sa these comm s, particularly in Locana, 15 piecemeal, aod so, la order to give a coberant account, I have brought togetber the pieces bearing on the same topic and tried to give a connected accouot Let us now first consider the Locada.

·342 Rasa and Dhion The Tradition (Amnayā) of Dhyani Abhinava holds that the theory of dbyans was laid down by so many intelligant people He, however, fails to mention any concrete name of an alamkārıka who must have called dhvani to be the soul of poetry. He records an unwritten tradition of the dhvapivadips in the words -avicchindeoa pravahena tairetaduktaip vida'pi visitsapustakesu viovesanādity. sabhiprayah (Locapa on Dhv I 1) Thus, it seems that Abhi. nava seems to have failed in discoverlay the names and the works of the original propouoders of dhradivada Definitions of Dhyani Abhinava accepts the definition of dhyanı as given in the Dav I 13 Hc tries to explain the duel za svyariktah' By tars, according to him, what is incant is that in both the varieties of sabdasaktımula and arthasaktımula of dhvani, both word and meaning (tabda and arıba), have a role to perform Thus, Bhattanayaka was wrong in criticising the duel ending in "vyanktah' Says be vyanktah iti dvivacadebedamaba-yadapyavivak. șitavācye sabda eve vyañjalah tathāpyarthasyāpı sahakanta na trulyait, adyatha anātārtho ps sabdastadvyanjakah syat vivaksitānyaparavacyc ca sabdasya'pi bhavatyeva Visista abdábhidheyatayā vidā fasyarthasyavyanjakatvaditi sarvatra Sabdartbajorubhayorapi dhvapadam vyāpārah tena bhatta Dāyakena dvivacanam duşitam tadgajanimilıkayaiva artbah sabdo vă stt vikalpābbidhanam pradhanyabhiprājena (Locana on Dhy I 13) Two meanings of the term dbyani and its five-fold application Abbinava derives the word dhvant ia two different ways giving two different meanings Ooe is dhvinatiti dhvanih i e. that which sounds, reverberates or implies is divaai, the ·Dhan in Abhinavagupta 343 second is-dhyanyate in dhvanih-le tbat which is sounded, reverberated, or implied 15 dhvant The first refers to sabda which implics some meaning, and also to meaning (vacyārtba) which implies further meaning and also to the process 1 e. sabdana or dhvanana of a word which implies something The second derivation explains dhyapı as something wbich is implied This, we might say, is dhyani proper In addition, a poem, which consists of all these four, is also known as dhvani Thus be explaias dbvadi in such a way as to cover all the five accepts Says be sa 10 artho va sabdo va vyāparo va artbo`pi vacyo vā dhvanatiti, sabdo-pyevao vyangyo va dhvanyate iti vyāpāro va sabdarthayordhvanagamiti karikayā tu pradbānyena samudāya eva kāvjarūpo mukhyataya dhyamiriti pratipadutām Further ob, he explains this point in greater detail He elaborately discusses the Sphotavāda of the varyakaranas and tries to correlate it with the theory of dhyani asmabhirapi prasiddhebhyah sabdavyāpārebhyo'bhidhatat. paryalaksanārupebhyotrikto vyāpārah dhvanurityuktah evap catuskamapı dhvadih tadyogácca samastatlapi kavyain dovanih (Locana on I 13 Dov) He adds -tena vācyopi dhvanih, vacakopi sabdo dhyanıb, dvayorap: vyanjakavam dhyanatiti krtva sammistyate vibhāvānubhavasamvalanayetı sabdanam sabdah sabdavyāpärah, na cāsavabıdbādırupab, apitvatnabbūtab, so'p: dbvagapam dhyadih kavyaojiti vyapadesyasca yo'rtbah so'pidhvanih. Uktaprakaradhvanicatuslayamayatvāt ata cya sadhāranabetumaha-vyanjakalvasāmyadıtı vyangyavyanjakabhavah sarvesu paksesu sädbarana ityarthah This double derivation of dhvadı makes it necessary to kecp the the meanings apart to avoid confusion The one suggests an agent or the process of suggestion, tbe other, what is suggested There are three mall types of dhyanis accepted by both Āganda and Abhinava, siz vastudhvani, alapkara. dhvant and fasadbval. All the three must come under He says ·344 Rasa and Dhrani dhvanyate' derivation The other derivatios ViZ dhvadi' (and dhvanada) appear to have been given in confirmity of the vaiyakaranas for whom sabda or word is 'dhyani' which reverberates Sphora The three types of Dhvadı Abhivada accepts the general three fold classification of dhvani as given by Ananda However, he adds some further explanation For bim, the pratiyamāna or implied sense described as two-fold, (1) laulika or the one that is met with also in ordinary discourse and (11) kavyavyāparaikagocara or one which is met with only 10 poetry This means that the first is possible 10 poetry as well as ordinary discourse, while the second is possible only in poetry 1$ The first viz laukika dhyant in poctry is of two types, (1) that which suggests vastu or some matter-1 e vastudhvani aod, (11) which suggests a figure of speech ie alamkaradhvadı This lauklka dbvaquin its two varieties can equally be expressed directly by its own words as one might ask the mendicant pot to go to the place of reodesvous because the dog is killed by a lion Alamkaradhvani is so termed on the analogy of brahamana sramang The variety of dhvant which is pocsible 10 poetry is rasadhvan: Only this fasadhvani is dhvani in the opiplon of Abhinava This alone it being pr dominant, is the soul of poetry Rasadhvaos, says Abhinava can never be expressed by its own name He holds that this alone is primarily the soul of poetry, and that both vastudbyani and alamkradhvan! fipally terminate into rasadhyap Says be sa ca dhvanireveti, sa eva mukhyataya atmeti vastyalamkāradhvanjo rasadhvapi pary&o{atva mevett vaya meva vakşyāgastatra talte tyastim tavat (Locana on Dhy 1. 4) Says he pratiyamaoamatre'pt prakritate intya EVA rasadhvaninıtı mantaryam itibasabalat prakrastavyttigrantha ·Dhyant in Abhinavagupta 345 balacca tena sasa era vastuta ātma, vastvalamkaradbyasi tu sarvathā rasam prati paryavasyete iti vacyāduikpstau tavitaybhlprāyena dovanih kavyasyātmetisāmăayenoktah Experience of Rasa Abbioava has elaborately discussed the nature of the experience of rasa 10 his Abd Here, however, he gives a brief account of it Rasa is recogoised to be of the form of svasamvid Abbioava holds that the experience of sentiments and emotions etc. is of the nature of Supreme Joy In the miads of all the individuals, there are certain perma. gent impressions such as ratı, basa, etc engraned and born of the experience of everyday life When one looks at some dramatic performance, or reads a poem, one experiences the vibhava, anubhāva etc and the permanent fixed emotions are ToUsed to the status of rasa and the cultured man experiences supreme joy This rasa, then, is of the form of relish and is recognised as the soul of poetry We will deal with Abbi. pava's views on rasa-realisation 1 greater details later on We, may, however, pote his words yastu svapne'p na svasabdavācyo na laukika-vyavbärapatitah kintu sabdasamarpyam. anabrdayasamvadasundaravibhavasamucitaprāgvioivista -vyāpärarasanıyarūpo rasah sa kāvyavyāpātikagocaro rasadhvanırıtı, (Locada od Dhy I 4) The possible varieties of dbyani Abhinava has also tried to give tbe possibe vaneties of dhvapi under Dhy II 31, and Dhv III 43 in a mathematical way on the basic of varieties given 10 Day At Dhy I1. 31 he gives thirtyfive basic varieties of dhyani It cao be explained as below ·*346 Rasa and Dhyani Dhvani avivaksitavacya (1 c. fakşanāmāla) vivaksitanyaparavācya (1.e. abhidhamula) arthantara- atyantats- $&mlaksyakrama and samlaksy akrama samkramita raskyta manifold and therefore S'abdašaktimula-and termed as one arthašaktimula 1.e rasadı - dhvani) svatahsamkaviprau- kavioibabbavi dhoktisiddha ddha-yak tſpraudbo. Vastu alamkara kisiddha from vastu or from vastu or alamkara alamkāra (12 varieties of artha aktyudbhava) 4+12=16) padagata vakyagata = 32 varieties + 3 varieties of asamlaksya with reference to varna. samghatapa, and prabandha. = 35 Varieties, All these when multiplied by the subvarieties of gunībbutsvyangya, alamkara aod dhvani through the relation of samstşti sad samkara, tend to be 7420. Abhinava tries to illustrate some of them. It has becs pointed out by modem writers that Abhinava's calculation of the qumber of dhyanis is pot correct. It should be 9940 and not 7420.

·Dhvani in Abhinavagupta 347 The abhāvavádios or the opponents of dhvani Abhinava also treats the views of some dhvatabhāva. vadinsie those who do not accept vyanjadā and dhvaai He tries to classify them, and then in his own way tries to refute the views of the advocates of abhibitánvayavāda, envitabbidhānavāda, etc In this matter also, Abhinava has given us lore detailed and elaborate discussion He says that the abhayavādins are virtually of five classes though apparently Ādanda bas counted only three The first variety of abhāvan dins are subdivided Into three as below-tatrābhavayıkalpasya trayah prakarahsabdatthagunilamkiradāmeva sabdarthasobhakaritvallolasastratirikrasundarasabdartharupasya kavyasya da sobhaberuh has cidaayo si yo'smabhiroa gantta ityelah prakārab yo va da ganitah so sobbakäryeva da bhavatılı dviyyah stha sobbakari bhavatı (arhyagmadulta eva gene valamkare vãotarbhavate namāntarakarane (u kıyadıdam pandilyam athapyuklesu gunalamkxresu và nẵntarbhava, tathap kicdviscsalesamasitya namäntarakaranainupam avicchituprakargkamasamkhyarvat tathapi gundlam karavyatıiktarvābhavah eva tāvanmatreza ca kim kftam ? adyasyāpt vajcitrasy a sakyotprekşyatvat cirantan. arbi bharata muniprabbítıbbiryamalopame cva sabdaribalarpkaratveneste tatprapancadis pradarsanam tvanyayralamkara karih kplam tadyatha karmanyan' yalra kumbhaksrad udaba ranam srutva svayam Asgarakārādi sabda utpreisante 15vats ka ilmanı bahumanah evam prakſlepili iliyah psaXtrab evamekastridhi vikalpan, Anyau ca dvaviti panca vikalnih ift tarparyartbab (Locana on Dhy 11) Thus Abbioava classifies these opponents of dbvans as below (a) bose who hold that dosani does not exist at all or Dustyeva dhyanih, (b) ibose who say that dhvabi is only bhakti or secondary sense-ie bbaksireva dhyanth and (c) those who maintain that dhyani is undescribable ie 00111acyo chranih The first variety is subdivided into three types Thus in all we have five varieties of abhivaladins ·348 Rasa and Dhrani nam one Abhinava then points out that the theory of the absence of dhvadi is a matter of past, while the bhaktavada is a continuous tradition bhaktavādastvaviccbinoah pustakesvityabbiprayent bbāktamabuntı Dityaprayartamānapeksayabhidha. He does not mention any specific name of those abhāvavadios However, as noted earlier he mentions Manorathakayı who ridicules dhyanı Abhinava tries to correlate bhaktavāda with the carlier poeticists such as Bhamaba, Udbhara, Vāmana, etc He says. darsayatets-bhattodbhatavamanadină (Locana on Dhy. I. 1) He goes on to establish vyanjadā apd davanı aod tries to sileace the abbibilgovayavada, anvitābhidbanavada, etc. 10 the following way! Abhih tanyayavada refuted The argument of the abhibugovayavada proceeds as below: The catpari al ftti, la case of bhama dhammia etc has not ended 10 form of the intended sease The words such as dypta, dharmika, tad, etc caonot be rcorelated and therefore there is mukhyarthabadba or cootradiction in bº primary sense. Thus, there is scope for viparita laksanā baviog vrodba or contradiction for its "oimitta' This viparita laksana makes for the sense of negation in this particular illustration viz bhama dbammia etc, This sense of negation is derived thus only on the strength of word (sabdaśaktimula eva) and therefore, there can not be any sense other than the expressed (nanu tatparyasaktiraparyayasitā vivaksaj dịptadliarmı. katadadipadārthananvayarūpamukbyārthabadhabaleovirodha. Dimittayā viparitalaksanaya vakyārthibhūtapised hapratstimabbibitanvayadría Larotiti sabdaszktimula sorthah, evamancoktamitt bi vya ahărat tann icyatırıktonjo'rtha 111 Locana, Div 1 +) Abhinava, in the refutation of the above view explains the nature and scope of abhidha, tatparya and laksana He holds that in the particular illustration viz bbama dbamia cya ·Dhyani in Abhinayagupta 349 etc as there is no mulhyarthabidha or contradiction in the primary sepse, correlation is not impossible so there is no scope for laksana at all (ata eva mukhyarthabadbo patra sankya iti pa viparıtalaksanayi avasarah) Abbinava considers the point whether the suggested sense cap be gathered in the third stage, viz laksana For bim suggestion comes at the fousth stage He bolds that in instances such as gangāyām ghosah or simho batuh, the sense of cooloess, purity etc, with reference to the hamlet, or the sense of the heroic quality of the batu, is gathered by vianjana, the fourth power and can not be gathered by anumada or inference on account of the faults of anal intikatva and the like, or by rernembrance, as it is only with reference to experieoced objects, or by abhidhs in the absence of convention or by tatparya as it is over with correlation only, or by laksana 10 the absence of 'skbaladgatitval or faultering movement of words, or Jaksitalaksana #bich involves the contingencies of anantya ve endlessness and yyabbicara ie discrepancy Thus, the suggested sepse is gathered only by suggestion, the fourth power of word. (yattvidam gbosssyalipavitrafyasstalatvasevyatvadıkarp prayojanamasabdzotaravacyam pramadintarapratipannam balorva parakrarostisayasalıtvam tatra sabdasya na tavanna vy parah, tatba bl-tatasmipyattaddharmatvinumaamanaikāptikam, Simhasabdavicyatvarp ca batorasiddham atha jatra satrai vamosabdaprayogastatra tatra addharmayoga taguminam, tasyapı vysprigrabakale maulikom prabangotarain vyam, na cysti na ca smilinizam, anasubbate tadayogal, niyamapra tipalter aktureladusakşılamityadhyayasayabhava prasingacca ftyasti vadatra sabdasyaiva aparah syypärasea oidhidhams samay:bhavat na tatpar atma tasyavas apraintiveva parekstyxt. na lakasmi ukixdesa hetok skbalada3lif17bhxv tatrapı hs skhaldgatstic punarmulhyartbabsoha niliam prasojananit. 38021asibs sjöt ata eva kenacillaksitalak Debt Dima 81 ·350 Rasa and Dmanı krtam tadvyasadamatram tasmādabhidbātātparyalaksanavyatırıktašcaturtho'sąu vyāpäro dhyapanadyotanavyañjanapratyayanavagamapadisodaravyapadesagiripito'bhyapagantaryah- Locana on Dhv 1 4) Abhinava us of the opinion that difference in the functions of word is gathered on the strength of the difference in the accessories Abhidba rests OD contention, tatparya on corre lation, faksana on the contradition of the primary senro mukhyātthabadha, and the like Vyananā or suggestion is different from these, as it rests on the meaning gathered through these and also on the jatelligence of the bearer It subordinates the first three and is termed as the soul of poetry (tena samay Tpeksā vacy vagamanasaktırabhidbāsaktih tadaoyathādupapattı. sahayavabodhanasaktıstatparyasaktih mukhyarthabadhādısal - karyapeksārthapratībba5a8&saktirlaksanā saluh tacchaktitrayo pajanitāribavazamamula jātatatpratıbbāsapavitritapratıpatr pratibbasabāyārtbadyotanasakurdhvanapavyāpārah, sa ca prāgspitam vyāpäratrayam byahhurian pradhanabbūtah kavyatmety asayena Dişedba pramul hataya prayojanavisa yopi nisedha visaya ityuktam (Locana-Dhy 4) Anvitabhidhenavada related Abhinava also silences the anvitabbidbātavada Hc argues in the following way The upholder of aovitabbidbāravada, on the strength of the maxim Viz yatparah sabdah sa sabdartbah, believes in abbidba alone which operates like an arrow shot by a great hero, and gets at the suggested idea also Abhinava holds that when the objector expects abbidha to go furher and further, he cannot take the whole process as one and identical, on account of the difference in subject matter If the subjectmatter is not one but many, tbed on account of the difference fo accessories it is bound to be non identical For when the subject matter is identical, with reference to word, buddhi se understandiog and karma or action, the fact of intermitant operation is discarded If the subject matter is different, our position viz that the functions are different, stands ca ·Dhvani in Abhinavagupta 351 (yópyaavitabhidbūdavids 'yatparah sabdah sa sabdarthah' iti brdaye grhytva saravadabbidbavyāpārameva dirghadırgbams. cchati, tasya yadı dirgho vyapacastadekosaviti kutah > bhinna. višayatvāt athaockosau tadyışayasabakaribhedadasajatiya eva yuklah. sajātise c& karye viramya vyāpärah sabdakarmabu. dbyadınan padarthavidbbih disiddbah, asajatiye cismanpaya cva) (Locapa on Div. I. 4) Sphotavāda silenced Abhinava also tries to meet with the upholders of Spbota He holds that those who accept the non-divisible Sphota, or aon divisible seatcoce, also bave got to accept, on cmp rical ground, the existence of individual words i,e padas and the Hike Thus, even for them vyanjana should be acceptable on cmpirical ground When one crosses the bounds of empirical ground, one may accept the maxim-sarve servārthavacakah, and may do away with the difference of abbidba, lakşada cic And this position at transendental level is not unknown to our authorie Anandavardhana who also composed Tattvaloka, a work on pbilosophy (yepyavbbalian Spbotam valyasp tadartham cubuh, tassapyavıdyn padapatitaih sarveyamanusaranlya prakriya, tadulurpatve tu saryam parameswargdvayap brahmetyasta. cchtstrakarena na da viditam tattvalokam granddam viracayatetyisijm) (Locan Döv. 1, 4) Rasādi Dāvani Now we will consider the topic of rasadı dhaal as irtuted IR the Lococa (op Dhv. II 1-4). In thie udyota II, katikas 1-4, the subjects of rasa, bhīva, rasabhava, bbsvabbusa, bhavasıplı etc., is treated Abbigava, 1a Locana on these kinkas elaborately explains and illustrates these topics He says a poem lives by its rasa. Even then, some particular element of it beppeos to cbarn more and there fore gets projected in some poems'. These give rise ta bhuvadhrani, bijvodaya, bb vasaoti, tice(adapi ca rasensin ·354 Rasa and Dhvani Abhinava theo says that thus these bhavadhvanis are just the drippings (oisyanda) of rasadhvani and on account of the special source of charm they are separately cognised. (evam rasadhvanerevām bhavadhyapıprabhşlayo Disyandā āsvāde pradbādam prayojakamevāmsam vibbajye Ppthagvyavasthapyate (Locana on Dhv. II 3) Rasadhvani Rasadhvani occurs there only when for the connoesseur, tasting is brought about by the relish of stbāyın combined with vibbava, anubhava and vyabbicărin -rasad hvadistu sa eva yo'tra mukhyataya vibh qanubhava-vyabbicārisampyojanoditastbayıpratıpattikasya pratipattuh sthayyamsacarvanāprayuktah evasvădaprakarşah-Locana on Dhy Il 3) This is illustrated as 10 kpccbrenoruyugam vyafitya etc Abbigava holds that when this rasa is principally suggested, it becomes the province of asamlaksy akramadhsadi Whoa rasadi is sugsested in a subservient way, it is rasadı alamkara Says he tatrabhi vyaktih pradhanataya bhavatvanyathava pradhanatve dhvadih, anyatha rasadyalamkārah (Locana on Dhy II 4) Like Ananda, be also maintains that the alarkaras such as upamā, utprekşa etc indirectly, through the body in form of word and sense, embellish rasa, the soul Rase is the ulti mate alamkarya Just as a dead body cannot be decorated, in the same way, poetry without rasa cannot be embellished etaduktam bhavat:-upabaya jadyapi vacyartho'lamkriyate tatbspı tasya tadevalamkarana yadvyangyárthabhivyanjanasamarthyadhanamiti vastuto dhyaayalmaivalamkaryah katakake. yaradıbhirap sarirasamavazibbiscetapa atmaiya tattaccittavttiviſesaucity asucanätmatayalamkryate-(Locana on Dhy 11 5) Here, it may be pointed out that the later writers like Mammata, Homacandra etc absorb all these ideas regarding bhavadhyadi, rus3bb5sa etc in their works We may say that the ideas of Dhy regarding vyanjang and fasa art, to say, ·Dhvani in Abhinavagupta 355 given completcoess by Locana and the A bh on the rasasutra of the Na Sa The later writers draw upou all the three as One source The Sabrdaya This rasa-realisation is experienced only by "sahrdaya' and not by all ordinary people He explaias the term "sabrdaya' as follows yesăm kavyaqüstlasādhyāsayasadyrsadidhure manomukure varnaqiyatanmayıbhavanayogyata te svabſdaya. samvadabhājah sahrdayāh-(Locana, on Dhy 11), yathoktam- (Na Śa ) (VII 10- yo'rtho kpdayasamvadı tasya bhāvo rasodbhavah sarıram vyāpyale tena suskam kastha mivāgnida || ie-The faculty of self-identification with the events represented the determinants, consequents, etc) demands that the mirror of the mind should be made completely clear, by means of repeated acquaintance with the practice of poctry The possessed of heart, those who possess the consent of their own hearts, are those who have this faculty For it has been said the tasting of that which fiods the consent of the heart arouses the tasa The body is pervaded by it, as dry wood by fire" The mind and the heart must be mirrorlike (*Visada-vimala), ready to receive all the images which are reflected in them vimalamukurakalpibhutanijabrdayah (A bh p 37) In the Tantraloka III 200, Abbinava says tatha bi madhure gite sparse vā candadadike madhyasthyavigame yasau hsdaye spandamanata anandasakuh saivoktā yalah sabrdayo janah ! \Vhen the cars are filled with the sound of sweet song or the pastrils with the scast of sandal wood, etc the state of ladıfference (apo participation, impersonality, etc), disappears ·356 Rasa and Dhrani and the heart is invaded by a state of vibration (spanda mapata) Sache state is precisely the so-called beatitude, thaoks to which mas is, 'gifted with beart' According to the Saiva pbilosophy of Kashmir, heart is CODScoopspess itself, thought, beatitude, etc (Gnolly) la his A bh (p 280) he defines the adhikara 'as-adhili catre vimalapratibhanasalıbrdayah-14 The qualified person is 10 this case any person whose heart possesses a mirror-like power of 10tuition (pratıbbāna) Elsewbere (A bh Vol II P 339) Abhinava says that poctic sensibility is the faculty of catering into Identity with the heart of the poet (kavbrdaya tadatmypattıyogrta) Abhinava bas tried to record his news on rasa realisation in the locana on Dhy II, 4 He has also recorded and refuted the views of Lollata, Sankuka etc However, we will discuss this in the following chapters wherein we will consider the relevant portion of bis Abb on the tasa-sutra of Bharata in Na Sa Vì Ch It may be noted in the end that like Ābanda, Abbinava also holds that rasa, bhava, etc are always suggested and can acver be directly expressed Says be rasabhavatadabbasata prasamāk punarda kadacidabhidhsyante, atha cosvadyamāpats. pränatayā bbīoti tatra dhvanapavyāpāradre Disti Laipapan taram Locada on (Dhy I 4) ·CHAPTER XV THE NATURE OF RASA-EXPERIENCE AS EXPLAINED BY (1) Bhatt Lollata-Cır 815 AD Desk Poetics P 36, Edn. '60- Second and third quarter of the digth cen AD-Pandey-Abhinavagupta p 128, 3rd Edo (1935) 750-800 AD Kane, History of Sk Poetics (11) Shri Sankaka-91 AD, De Sk. Poetics p. 36, ed ;-850 A D-Pandey, Abhinavagupta, P 128, Ed. '35 840 AD identified with poet Sankuka. Kane (111) Bhatta Nāyaka-End of 9ıb and beginning of 10th Cen AD De-P 41, 883-902 AD-Pandey P 130 900-925 AD Kane, p 43 (iv) Abhinavagopta-1015 A D De, 950-'60 to 1015 AD KC Pandey (Abb p 8), 980_1030 A D Kage, p 43 We noted ra the earlier chapter the ra5asastra and 18 prose explanations given in the Naša This forms the first stage in the development of rasa theory. The second stage is found 10 the relation established between vyanjana and res& as 12 the Dhy The third stage can be seen in the relevant portion of Locana and the Abb of Abbigavagupta We now study this third stage We may start the discussion by stating again the sasa. sotra of ibe Na śa VIL "vibhavaqubljvavyabbic Irisamyoga. drasanışpartik' It appears from the works of Abhinava that this sotra was much discussed and debated upod and was variously explained eg by Lollare, si Sankuka, etc. [Tbe ·358 Rasa and Dhvanr names of the other commentators are Udbhata and Kirtidbara, sec Sangitaranakara of Sargadeva (1 P. 19) Uofortunately, the works of those authors are not yet discovered We have, therefore, to rely upon references in Abbinavagupta's works for their views Eventhough, Abhinava has tried to be as objective as possible in presenting their views, He cannot say that these are given in their completeness Much therefore ia their viens remains obscure With this proviso 10 miod, we will now take up the VICH'S of these writers in the order as given by Abbipava For the sake of classification, we may note thatche malo points of controversy refer to, (1) the absence of the mention of 'sthayıbhava' 10 the sutra, (11) the meaning of the term 'samyoga', and (111) the meaning of the term 'nispatih', and the psychological and epistemological problems ansiog out of these Abbioava has adopted the method in vogue amongst the later darsanikas It is to present the views which are fartbest from the opinion of the author and get them refuted by the later critic This in turn is refuted by another one, and so on tull we reach the last but one which is refuted by Abbioavagupta himself before stating his own position (1) View We will now first take up Bhaita Lollara (2) Bhatta Lollata adds the term 'stbayın' in the sutra to make the meaning clear He explains the ütra to mean that tbe relation of sthayın or the permanent mental state with vibhavadis ie determinants consequents, etc, causes rasa Lollata accepts the normal happening in ordinary life As lo ordinary bfe the permanent mental states such as delight or ratt and the like are caused due to some factors, and this delight which is caused is expressed through its own actions or effects and is nourished by some accompanying factors, ia the same way it 50 happens ja poetry also.) Abbigaya says ·The Nature of Raso-experience, 359 that this view of Lollata seems also to be the view of Dandia who says, "kopo raudrātmatām gatah', or 'ratib' śpigaratam gata', etc re fanget when heightened becomes the furious', or delight becomes love etc Thus, for Lollata, as in normal life a particular feeltag caused by certain factors, expressed through certain effects and enriched through ancillary factors reaches its own height, 10 the same way, 10 poetry or drama rasa is the product of this union More precisely, ube determioants are the cause of the birth of the mental state (csttavšttı) that is the permanent mental state (stbayıbbava). in using the term consequents Bharata does not mean the consequents arising from the rasa (since these obviously cannot be considered as causes of the rasa) but only the consequants arising from the mental states Eventhough the transitory meatal states, 10 so far as they are mental movements, cannot accompany simultaneously the permanent mental state, Bharata in this sutra means that the perinantat mental state remanas aevertheless in a state of latent disposition (vāsanā) Rasa, therefore, according to Lollata is simply pertpanent mental state inteosified (upacita) by the determi. nants, the consequents, etc The permanent menta) state by stself is in a dormant state agupacitah The actor, in Thus according to Lollata, the spogararass, for example is the one between the original Rama and Sita and we may add, the poet, by what Lollaja calls anusan. dhāna' are able to present this rasa Dr Pandey interprets this word 'anusandhana' in th: technical sense of 'yojada' current the saiva Agama(3) (Indian Aesthetics p 39-40 Ed. '59) With this interpretation of apusandbaoa Dr Pandey puts a new about Bhatta Lollala's theory. For him, rasa is concerned #ib tbe artist and is an object itself. According to Dr. Pandey, Bhatia Lollata does not have the spectator or the seader in his mind (Indian Aesthetics р 40-Ed "59 sce foot-note Hemacapdra and later wiiters aod commentators take pratiti View Do 3) Bot Mammala, ·360 Rasa and Dhyani also to be a part of the View of Bhatta Lollata and thus tako cognisance of the spectator also in sasa experience Dr Pandey, however, says that Mammaça has amended the text of Abhroavagupta slightly by adding the word 'pratiya. māno' (see p 40-101d) Bat, if we however presume that Lollata s view is not fully quoted by Abbioava, and also assume that Mammața, Hemacaodra, etc probably had the original text of Lollaţa's commentary on the Na Śa before tbem, it may not be decessary to regard the pratiyemănata amendation on the part of Mammata Whatever it may be, the utpatti and the pratiti view of Lollata has been traditionally accepted So ,Lollata with his theory of utpattiparipusti-pratiti, just transforms the fact of ordinary life to the realm of poetry He may, therefore, be called in modern terminology, a realist (4) as an Sri Sankaka Sri Sankuka opposes this view of Bhatta Lollata on sevetal grounds His first argument pertains to the text of the sutra itself Sankuka holds that if thc sthayins generated by the vibhavas, suggested by the anubhavas aod nourished by vyabbicarins become rasa, tben Bharata sbould have first mentioned and defined the staying But this he has not done On the contrary be first mentions and defines sąsa 10 the sixth chapter of the Na Sa, and then deals with the bhavas in the seventh adhyaya Moreover, if tasa is just the nourished or fotensified (upacita) stage of the permanent mental state, it would be useless, after baviog given the cause of the generation of the stbãyibhava, to give again, in a separate sätra, the cause of rasa, which is merely da intensi fied stbayio This would make the satra reduodant (5) Sankuka next takes up anothet aspect of Lollata's Ibeory for refutation Lollaţa said that rasa is an intensified form of the stbayibhāva If the differest stages Sankuka asgues ·The Nature of Rasa experience 361 of the permanent mental state were to be taken into considera 1100, such stages would be innumerable and therefore we would have to recognise rafpite stages of rasa This would contradict the text of Bharata which recognises the six varieties of basya and the ten stages of sengata But his most impor. tant argument against Lollata s upacitivada is that sentiments such as sorrow anger, etc are intense to start with and gradually they tend to be less and less Thus the upacitivăda contradicts this fact of experience So, Sankuka interprets the satra thustasmat hetubbir yıbbavakhyaih, kāryatscānubhavatmabhih sabacarırūpäisca vyabhicaraih prayatnarjitataya kytrimarraps tathanabhimanyamīdaitapukartsthatvena lingabalataḥ praliya panah sthayı bhavo muthyarāmādıgatashayyanukaragarupah apukaranarupatvādeva ca pământarena vyapadişto rasah -(A bb p 272 Na Sa Vol I Ed 1956) (6) We may analyse Sri Sankuka s above søterpretation as follows the kājana (cause), karya (effect) and the sabacans (accompanying mental states) of the real world become in poctty, drama, etc vibbava, anubbava and vyabhicărıbhava respectively In his seventh adhyāya Bharata explains vibhava as 'vijägartbah' (p 346 ibid), ie that which brings about koowledge Anubhāva is that whicb coables one to experience, se the four fold abbioaya (p 367-1bid) The vyabhicarios are the fleeting emotioos(7) which accompany the main perma Dent mental state These three are achieved by the artist through effort and therefore they are artificial la actual life these are natural But eveatbough they are achieved by effect and are aruficial, yet by the art of the imitator of the poet, they are pot taken as such by the spectator or reader of course the imitator(8) wbo cxbibits these three For the spectator they become the looga ic the characteristic mark which enables aim to appreband soferantially the pecmancas septal state as being inberent ia the totator bbva bere is understood in the form of imitation of the It is The stbaya ·362 Rasa and Dhrani permanent mental state of the original Rama and the like Such a perception of sthāyıbhava is called rasa for the only reason that it is in form of imitation (9) This theory of Sankuka is known to tradition as anuki-agumitivada The vibhavas are ascertained by the power of poetic speech The sigoificance of anubbava is grasped through training The vyabbıcārias are grasped through the artificial cvocation of one's own experience. But the sthāyın cannot be ascertained even by poetic speech The words such as rati, bāsa, etc, merely name these sthayıps These words ie rati, hāsa etc do not evoke in the mind the sentiments as would be done by the verbal representation 1e vacika abhinaya (9) Verbal representation-vācika abbinaya-1s not merely speech, but something artistically accomplished by it Wbat is obtained in the mind by vācika abhinaya 1 e known or grasped, is called 'avagamana'-communication by Sri Sankuka This power of avagamana or communication and evocation, is other than mere verbal function It is something achieved by the actor's art Precisely for this reason, Bharata does not mention the term sthayin, not even in a different grammatical case (A bb p 275, ibid) It would serve no purpose Thus, the natural sthayın is not tasa So, concludes Sankuka, that the rati or delight imitated by the actor is śrgāra, the sentiment of love It is quite proper to say that sprigara is of the nature of imitated rati and is born of it Here, a question would arise--bow an unreal loowledge can achieve the purpose of the real knowledge ? ie how the knowledge of the imitated feeling that is upreal, can give rise to the experience of a real feeling? Io answer to this question, refereace is made to manipradıpaprabhjayaya. (A bb p 275, ibid) (10) Sri Sankuka also raises the question as to the nature of {bis rasa experience He has before him the following categories, valid knowledge, the invalid knowledge, doubt and ·363 The Nature of Rasa experience Thus 81milarity None of these holds good when one witnesses a play. What actually one sees on the stage is that the actor is happy. This is valid knowledge But one does not see it in this way The actor who is personifying Rāma is not Rama what appears is false But one does not see in it this way. Simllarily, one does not doubt whether the actor is or is not Rama Nor one has the knowledge of the actor's similarity with Rama So, none of the logical modes of knowledge holds good of this experience and yet there is a real experience (sphurannanubhavah) So, in what way this throbbing experience be understood ? Here, Sri Sankuka adds a new mode of cogaition which he calls (citraturaganyāya' or the mode of perceiviog the painted horse Just as one reacts to a painted horse Dot in any one of the recognised logical category, so does a drama, or a piece of poetry In modern terminology, we would say this the creation of imagi- But the point to be noted here is that in the opinion of Sankuka, the experience of the creation of imagination 19 real 10 its own right eventhough, it may not fall under any recogorsed logical category In other words, the reality of aesthetic experience is established by Sri Sankuka one 10 gation Sti Sankuka's laterpretation of the rasa-sutra may be put in the following way [Bharata bas intentionally omitted the mention of stbayın in the rasa-sutra The mere mention of it would have served no purpose Rasa 15 the imitation of stbayios as postrayed in the art of the actor The psychological process 10 the mind of the spectator wbo experiences rasa resembles the oferential mode Theo $t1 Sankuka raises the important question as to the pature of this rasa experience It does not fall under any of the recognised logical categories and yet is it as real as anyone of these modes of cogoition To explain this, be introduces the ,citratureganyaya' One reacts to the presentation on the stage as one reacts to the we call the painted horse to be a horse, 10 the same way the character of Rama in poetry of Just as painted horse ·364 Rasa and Dhyani drama is called Rāma Thus Šn Sankuka tries to explain poetic experience with the help of imitation and inference The vibbavadis for bim are not the karakahetus but the jñapakabetus (11) Lollata took both the experiences of day-to-day life and the world of poetry as belonging to the same plane Sankuka puts both of them on a different plane 3 Abhinavagupta gives the refutation of the views of Sri Sankuka through his teacher Bbaita Tota (12) The first point that is taken up for refutation is the anukytı or imitation part of sankuka's theory When art is regarded as imitation, logically the question of its origin arises. Bhatta Tota takes up the peoposition-ratyapukarah srngarah for refutation He puts forth four alternatives . for whom rasa is imitation ?-(1) It is for the spectator ? Does the spectator apprehend rasa as imitation of something ? Or, (11) It Is for the actor » Does the actor imitate somebody? or (111) Is it merely the opinion of the critics and commentators ? or (iv) bas Bharatamuni said that rasa is an imitation > Bhatta Tota bases his argument on the assumption that there must be something similar between the original and the imitation He shows that there is absolutely no similarity between the mental state of rati and what one secs in the actor These two are totally different to show their extreme difference Bhatta Tota uses the philosophical arguments of what constitutes difference These are, (1) syarapabheda or the difference in nature, (11) perception by diferent senses and (111) difference of substrata These are applied as below (1) The body of the actor, the constumes, bis borripilation, his faltering words, the raising of bis arms. the waving of them, etc his frowns, bis expressive glances, etc are physical, rati, krodba, etc are mental Thus they differ 10 nature (11) The body of the actor, bis costumes, etc. are seco by the physical sense of the eye, while sali, krodba, etc are perceived ·365 The Nature of Rasa Experience... by the internal sence-antahkarana Tbus, these are perceived by different senses (11) The substratum of the body, costume, etc and the substratum of rati, krodha, etc are different Thus they differ in substrata also Thus there is total difference between the original and its supposed imitation The purport of Bbaita Tota's argument seems to be this What the imitator shows-his body, his costumes and bus gestures, are physical These cannot imitate ratı or delight which is purely a mental state So, it would be absurd to say that smgāra is the imitation of rati In the above argument of Bhatta Tota, the body, costumes, otc are taken as sprigara and then the absurdity of these as imitation of the mental state of rati is shown The protogenist of śrı šankuka corrects this misuoderstanding or misstatment Hls contention is that it is the mental state of the actor made known by the above items as the imitation of rati, wbich is called spagare To this, the answer of Bhauta Tota is that what is thus apprehended is the meatal state of the actor, 1c. the ratt of the actor, and it is not apprehended as an imitation. Now, it is not his natural mental state that the actor represents by gestures etc, but that of the original persons, That is why the vibhavadis are called artifical (krtrima) - This Is the Dext position which Bhatta Tota attacks If these vibhavādış are understood as artifical by the spectator, how would they make the spectator comprebend it as ratı ?. To this the answer would be that what the spectator comprehends Is 'ratyanukara'. This is done through ao inferential process So Bhatta Tota now argues to show the absurdity of inferring the imitation of rati Ope can inſer ratt from these causes But one cannot pfer something which is not the effect of these causes viz 'ratyanukara'. Similarity here it would not do. One cannot infer from mist whicb resembles smoke, a japaflower which resembles fire ·366 Rasa and Dhranı Further, the theory of imitation (anukara) cannot be supported on the observation of similitude The actor who is not really angry appears to be so This is in a way true But in fact tbe actor appears similar to one who is angry by raising his eye-brows and the like But this much similarity does not constitute imitation of the original Even if for the sake of argument we take ibis to be apukāra or imitation, it goes against what the spectator perceives Bhatia Tota says as such He says that the impression of the spectator is not that of similarity Such a preception would be without any emotion (bhavasunya-p 275 ibid) While the spectator feels emotion when he sees the performance of the actor Next to this, Bhatta Tota tries to refute the opinion of Sri Sankuka that 20 the cogation of rasa, there is neither valid knowledge, nor javalıd knowledge, etc When the spec tator perceuses Rama in the actor how can it be said that it is not valid knowledge ? Similarly, after the show is over and one knows the actor in his proper person, one s previous kaowledge that the actor was Rāma proves false So it would be viparyaya ne invalid also If it is Then, to say that through the power of poetry vibhavadis are ascertained, is absurd No actor who speaks-seyam mamangesu etc -ever feels that Sita is his somebody meant for the spectators, it would be easier for them to connect it with the original stbayıp Thus Tota refutes the view that tasa, for the spectator, is an imitation of stbayro After this, he takes up the second alternative Viz imitation in the case of the actor or nata No actor when he acts, does it with consciousness that, 'I am imitating Rama or his mental state' Even theo, if anukara or imitation is insisted upon, the following difficulties would arise Here the most abvious argument is that whom does the actor imitate. The original Rāma cao pot serve as his model because ·The Natnre of Rasa experience 367 anukarana There is another meaning also of apukarna', and that is doing something after it has been done by some. body else (pascatkaranam) This would hold good in the case of everybody 10 life It is not something special for the actor or pata Thus anukarana or imitation in any of the two senses, is not possible for the actor The followers of imitation theory would not accept this interpretation of their view They would rather say that while depicting Rāma they are imitatiog tbe sorrow of some excellent person But here, the old difficulty would arise With what would they imitate the sorrow of that excellent character? The actor has not before him the mental state of sorrow of the excellent character If be imitates his sorrow by imitating the anubhāvas such as tears and the like, of the excellent person, then the old difficulty of varlakşanya' or total difference between the pbysica} apvbhava and the mental state of sorrow would arise if in answer to this, it is said that the actor imitates only the abubhāvas of the excellent character, then that excellent character will bave to be particularised Without such particularisation, one cannot understand whose anubhavas are Joitaled If to defend beir position it is said that the actor imitates a person who weeps as be weeps, then the personality of the actor enters into it and tben it will not be imitation but his own stayin Having thus refuted the theory of apukarya-apukart bbava (p. 275, ibid), Bhatt Tota bas to explain agukara 10 as much as gālya has been defined as bhavanuksrtana (Na sa I 107), and Jolavittanukarana-il 112), by Bharala in the first adbyaya Abbigavegupla has discussed this point(p 35-37 ibid), quotid3 the authority of the Kavyakautuła of his Upadhyaya Bhatta Tota who interpreted anukjitada as meaning "abuvyavasāya' se te-orientation Refercoce to ibis is made here also (P 276, ibid). Wbat ibe actor does is explaloed in the followidz way. The ·370 Rasa and Dhrani Bhatta Nayaka says that the same objections would apply if se accept the theory that rasa is simply generated. Thus he makes short-sbift of atpattivada He also briefly refers to the abhiyyatıvada Abbivyaku means menifesting something which cxists potentially Here, the manifestation would naturally depend upon the means of manifestation Now if we assume ibat rasa exists potentially and is later napiſested by means of vibhavadis, this would result in many degrees of rasa-manifestation And this IS surely not what happens in rasa-experience This general argument can be applied both with reference to oneself and to someone else, 8$ before Thus Bhatta Nayaka rejects abbivyaktivada also (p 276, ibid) le Now before we consider the views of Bhatia Nayaka we may refer to the brief presentation of rasa theory from the Samkhya point of view, Samkby adrsa, p 276 (ibid) According to this view, the nature of rasa consists of bappiness (sukba) and misery (duhkba). We may say, this has reference to the sativaguna and the rajuguna The aggregate of objects which have potentiality of creating happiness and misery is external And, in this aggregate, the vibbavas perform the role of dala vpadana-or material substratum, while the aqubbavys and vyabbicanins are refining agents The sthāyids or the permanent mental states caused by the appropriate aggregates are internal and base the nature of happiness and misery Abbioava does not take the trouble to refute these yehs tut simply says that those who say that such propositions of Bharata viz. as 'sthāyıbhavan rasatram upanesyamah' are to be taken metaphorically (upacāra), and not literalls, knowingly contradict the text Argumeots of 'such people need not be taken seriously This is rather laconic and he cannot clearly vaderstand why the sāmlbya yjess are not properly considered In the views of Bhatia Nayaka, we have some terms whicb remind us of the samábya terminology and some sänkbya ·The Nature of Rasa experience.. 371 theory also Whether he has sometbing to do with the above samkbya views, we cannot say Let us Bow consider Bhatta Nayaka's theory, His explanation of rasa is given in the A bh. as below (p. 278, ibid) "bhallapāyakastváha raso na pratiyate, potpadyate, Dabhivya jyate svagatalvena bi pratitau karunc duhkbitvam syar. na ca sa pratıcır yukta sitäderavibhāvatvāt, svakantāsturtya. samvedanat, devatādau sadharanikarnayogyatvāt, samudrollapghanader asadharanyat na ca tadvato rāmasya smpty rapupalsbohatvat tasmár kavye dosābbavagunialam karamayatvalajakşanena, Datye caturvidhabhigayarupena nividanijamohasamkatatānivaranakarinā ubhavadisadbaranikarnātmanābbidhato dvitsyenāmsepa bhavakatvavyāparena bhavyamano rasónu bbavasmfty adivilaksanepa rajastamonuvedhavaicitryabalad Optivistaravikasātmana saltvadre kaprakāśānanda mag aarjasamavidvisräntilakşanena parabrabmāsvādasavidbena bhogena paran bhujyata its etc. (16) lo the sumkhya view the buddbi or the citta consists of three qualities sativa, rajas aod tamas This tamas la relation to buddhi is also called moha or stupour As long as tbis stupous predomostes, one is unable to perceive foeness, por one can bave a clear understanding of anyidiog The function of art is to narrow down or remove the narrowness caused by this quality of tamas A poem does ibis by its characteristic viz. the absence of defects (dosa) and the presence of guna and alamkara (1 e excellence and figures of speech) Drama does this by its four fold abbingja ie representation When this thick veil on the mind is thus removed, the power of revela. tron bhavakatva wbich is the next step after the first denotative power abbidhs of tbc word, operales This operation consists of generalisiog tbe vibb3sdis of the poem or the dramas It is cois power which makes one aware of rasa The tasa is cojoyed by what is technically known as bhoza-enjoyment Tbus 'bhoga' is tecbolcally understted in the Simkh a philosophy as afz»ng out of the Union of purosa and prakyil, in buddhi, the finest ·372 Rasa and Dhyanı evolute of praktı, the former as being reflected in the latter Here, it would mean that the puruşa reflected in buddhi enjoys the rasa-buddh: This bhoga is regarded as different from direct experience (anubhava), memory (smrti), etc On account of the persistance of rajas and tamas to buddhi, 10 assumes variety This variety gives it the characteristic of drti, vistara and vikasa (1 e fludity dilatation, and expansion respectively) This bhoga reposes (vistānti) in ones owa samvit-consciousness, which becomes pervaded by enlightenment-prakāsa and joi-1 e ananda on account of the predominance of sattva On this account it becomes like the enjoyment or taste of parabrahma The purpose of Bhatta Nāyaka seems to be tins-Words in poetry do not rest with merely giving the depotation Ttey have the capacity to give a generalised sense ie they genera lise the vibhavadis This means that rasa which is the resultant of vibhavādis is also grasped the by generalised way To put it in another way, the stbayıbhavas arcused with reference to an imaginary particular person, time, place, etc, become generalised by the generalisation of the vibbaras so that their limitation disappears and so the percipient can become aware of them as a part of his own Coesiousness Because the consciousness is fully awakened by the power of poetic speech rasa is enjoyed Thus one may say that the function of the poetic speech reaches the last stage of bhoga also We will see later on that many of these Ideas are appropriated in Abhinava's philosophy of rasa also But for the present, we are coocerned with what Abhinata refutes 10 Bhatta Nayaka s theory His main objection is against introducing the new term of bhoga in rasa philosophy as agajost pralfti or apprehension ard such other forms of koowledge If Bhatta Nayaka means rasane ie tasting by bhoga, it is also a form of koowledge-prat patti Because of its mong being different, a separate dame may be gren to it, as case of drasana or perception, anumatı or inference, sruti or in ·The Nature of Rasa-experience . 373 verbal koowledge, upamıtı or knowledge through similitude, and pratıbbāna or intuition etc, etc Abhinavagupta's second objection is agaiost the rejection of both utpatti and abbivyaktı with reference to rasa It is said that rasa, wbich is a fact of experience, is not caused or brought into being, then it must be existing for ever. And, if ils manifestation is also rejected, then it will have to be accepted that rasa does not exist for there is no third alternative. A thing which is not apprehended in any way, cannot be the subject of discourse, 1 e, it cannot be asserted that rasa exists. The third point of attack is the recognition of the three mental states of druti fluidity, vistara or dilatation and vikasa or expansion Abhinava holds that if it is asserted by Bhatta Nāyaka that by 'pratiti' or apprehension 18 meant the power of generatrog enjoyment and that it coasists of the nature of druti se, fluidsy, wytasa , e dilatation, etc we accept it. But then, why only three states as mentioned above? There will be as many pratitis or apprehensions of the Oature of tasting as there are rasas And they will be all generatiog bhoga In fact there will be obnite permutations and combinations of the three gunas viz sativa, rajas and tamas, on the principal of predominance and subordination, then why accept only three? Abhinavagupta would accept 'bbayana', if it is understood in the following sense, viz to make anything the subject matter of cognition in the form of tastiog, conststiog of chewing caused by vibhāvadis. Abhinava accepts the opinion of Bhatta Nayaka expressed in the verse. bhavazamyojaa vyangyaparasamvittigocarah asvadaosimănubhalo rasah kavyartba ucyate }} because it makes the meanlog of a poem rasa, which is manifested by vibb vadis ·374 Rasa and Dhvani Here ends the refutation of the views of Bhatta Lollata, Śrs Sankuka and Bhatta Nayaka in Abbidavabbārati. Ia at, the theory of Lollata, that rasa is caused by the vibbavadis and that it is only an intensified state of stbāyın has been refuted through the mouth of śrs Sankuka Sri Sankula's view that rasa is an imitation of stbāyin is rejected through Bhatta Tota. His inference theory is ridiculed by comparing it with the type of pseudo-unference in which one might infer from mist resembling smoke, a red japă flower resembling fire Hts analogy of citraturaga is also discardçd The main point of objection in Bhatta Nayaka's theory is tus bringing in bhoga, a category different from all kinds of pratitis or apprehensions All these thinkers, horever, have something important to contribute to the development of the theory of rasa The relation of the poet's world with realty enables one to grasp the inherent emotion in the person's event and things of the world This may be sald to be Lollajas contribution. The semblance of the poet's world with reality and the infcrential process psychologically involved in the deducing of emotions from the imitated world are elements in aesthetic perception, empbasiscd by Śrr Sankuka Bhatta Nayaka contributes the important element of 'sadhāranjkarana' which is an inevitable precondition in all aesthetic experience. His three forms of rasa-pratitos viz druti, vistara, etc are impor. tant to understand the states of mod behind specific rasaexperience We shall see ibat Abhinayagupta bas drawn upon some of these ideas ia the formation of bis rasa theory RASA EXPERIENCE ACCORDING TO ABHINAVA- GUPTA (1015-A D De, 950-60 AD-1015 AD. K C. Pandey; Abb p. 8, 980-1030 AD-Kane P 43) In this chapter, we will now try to understand and discuss Abbinavagupta's ideas which go to form his theory of rasa The first thing that he asserts 15 kävyiriho rasah ·The Nature of Rasa experience 375 (278.A bh -Na S'a second Ed GOS), and quotes as his authority kavyārthan bhavayanti (Nă S'a VII P 342 ibid) In the A bb on this in adhyāya seven, it is explained that ariba here does not mean the direct sense (Da tvarthasabdo'bhidhe. yavācı), but what is principally sought after And what 15 principally sought after is rasa kasa as Kavyártba He says that 10 a poem the meedlog of a word and that of a sentence ultimately ends 10 rasas Therclore, op account of their Uncommondess and predominance the meaning of poem is rasas-kávyasyārtbah rasah (P 343, ibid) (17) This crophasis on sasa as the meaning of a poem us to kecp out such terms as bhoga and tbe like Sadhāranikarana hacca Nayaka had shown that the sādhāranikaranavya para i the process of generalissag or universalising is an important function of poetic speech Abhinava finds & analogy for this process in the purva mimimsa two illustrations from sruti to show this ratrimăsata', they lay by night, and 'tāmagnau pradát --be gave it to fire ) He gives In these two sentences, the meaning is limited by person, number and teasc Now when someone with a purpose and qualifications to understand and interested in doing sometbing related to this bears these sentences, be derives apotber meaning which removes the limitations of person, oumber and tense and bas tbe general idea of sittiog by Dight or offering somcibing to the fire And because he is interested in doing such thing, be will voderstand she meaning such as "I $211 sit for the night', 'I will sacrifice this for the Gre' etc Now this process consistins jo transference of meaning 15 called by different darsapss by different games such as praubba or latuition, bbjvans of propulsion, vidhi or command, aiyoga some ·376 Rasa and Dmanı of order etc The same sort of transference of meaning takes place in a qualified person from the poetic speech This is the basis of sadharanskarana] The idea seems to be that in a person with a pragmatic outlook, bearing, and we may add, seeing something 10 wbich he is interested, becomes generalised ie the origioa) limitations of time, person, etc are eliminated This may be applied to a person who is interested in poetry, and has the capacity to understand and appreciate poctry. When such a person reads a poem, the person, the number and the tense etc in the poctic speech become, so to say, eliminated for him, after the first stage of understanding it In a direct way is over The object presents itself to a sabrdaya to unlimited form The Sabrdaya This means that the sadbaran,karana vyapara is possible for a sahydaya alonc So, the first prerequisite to appreciate poetry or to esjoy the joy of aesthetic feelieg is saldayars Cosequently, it is but natural that Abbinava sbould lay so much emphasis on sabrdaya He defines the adbıkarın or the qualified person as follows adbikatı cātra vimalapratibhaasalibrdayah (A bb p 280 ibid) ie the qualified person here, is one whose heart possesses a mirror-like power of intuition. All do not have this intrinsic capacity to taste & poema Indı. viduals possessed of aesthetic sensibility are called possessed of heart They are those who have the concord of heart (sahrdaya, brdayasampvadabbak)] He defines the sabrdaya 10 tbe Locaps as follows yesām kāryāausilanabhyasavasad visadıbbate mano. mukure vardadiyatanwayıbhavanayogyatı te svabrdayasampra. dabbajah sabrdayah, yathoktam (Na Śa VII 10)- yórtho brdayasamvadi tasya bbavo rasodbhavah 1 sariram vyāpyate tena suskam kāstbamivagoida 11 The nature of Rasa Cabhinava starts his discussion on rasa by describing how the process of sadharanikarana takes place and how fasa- ·The Nature of Rasa-experience... 377 experience arises id a sabrdaya by taking tbrec illustrations from Kalidasa -Ode from Sankuntala-yiz. grivabhangabhira mam mubuh etc. (1.7) and the otbes two from Kumāra Sam, víz. umāpi, etc. (Ill. 62), aod harasta kiácit ... etc. III 67. The first is an sl]ustration of bhayā oaka sasa, and the other two of śmgāra. This is how the process takes place, First, one becomes aware of the usual sense of the sentence víz. grivābhangabhiraman etc. After this, another apprehension takes place. This is of the nature of mental visualisation. In this second stage of mantal visualisation, the tense, person, etc. become eliminated. The young-one of the deer which is visualised in this apprehension loses its particularity and therefore, the idea that some particular deer is frighteacd becomes unreal. Consequently, feat as such, unlimited, freed from time and space, appears, so to say, before mind. Thus far, we may add, that the poetic speech is in the analogy of the illustratlons quoted before. But from here goes a step furtber. The fear, uptouched by time and space, is a fear which does not frighten the first person of observer (bbrioham), nor does it refer to & ibird person, por bas 11 8 reference to an enemy, friend or a neutral person. This means that the fear bas reference to no pesson as such And because no one is involved, there is neither tbc seose of unbappiness nor happiness, and consequently, tbere is no reaction to avoid or take it (hanopadana). These latter, as we shall see, are the vigboas or obstacles which come in the way of aesthetic experience. So, this experience 13 different from experiences in which these reactions take place in ordinary life. Therefore, hers, the seatment of fear is grasped by an apprcheosion, ſrce from such obstacles. Consequepily, as it here, this sentimcat of fear itself eaters the beast (såkşadwa) and revolves before our eyes. This is bhayanaka rasa. We may add that the same procedure will apply to the experience of stngira from th: other two illustrations. In such an expericoce of rasa, one's own self is not scry much suppressed, nor it is alloned particularly to emerge. This ·378 Rasa and Dhyani holds good about any other person, who witnesses the soka, aad we may add, reads a poem Therefore, the cognitios of sadbaranya or the generality is not limited to any person, It is extended (vitata) like the cogation of vyapture universal pervasion, acquired by competent person, from the relation of smoke and fire, or like the loonledge of the relation between trembling and fear After thus describing the process of generalisation and pointing to the Universally cognisable nature of this generality, Abbigaya tells us ibat it is the assemblage of actor and such other things that belp the process of visualisation In this assemblage, the generality becomes very much nourished, because the limiting factor of time, space, Inower, etc and those given by the poem totally disappear on account of mutual elimination Therefore, all the competent persons in an audience are capable of apprehending it in one compactbess (ekaghanata), and this helps in the nourishment of rasa This bappens because there is concord of vāsanā ie latent dispositions amongst persons whose miads are full of saried Vasanas ie 1onate dispositions (p 279 ibid) The avighnīsamvit or voimpeded consciousess, brought about in this way is camatkara These are the technical terms of the pratyabhijña philosopby. which we shall try to upderstand later It may be regarded as cognitive determination (adbya. vasaya) or the mental power of putting ideas togetber and forming whole, this latter may be translated as imagination samkalpa) This visualisation may be regarded as remembrance (smộtı) also but it is not to be taken in the sease in hich th- dilecticians take it The sense is similar to "accetasa smparanı günamabodhapūrvam' etc (Abh: SI V 2) This memory s pot dependent on Dy previous experience So, *batever term ose sigbt spply, this is apprehension (pratni) of the pature of testing in whicb rati or delight, parti. cularly the crotic delight as such, appears This apprehension ·The Nature of Rasa Experience.. 379 of delight is not condittoned by any other particularity. For this reason, it is not the experience of common place delight (laukika ratih). But for that, it is not false (mithyā); nor it is indescribable (anirvacya) It is also not similar to the common place apprehension of delight (laukika tulya), gor is it of the nature of superimposition of the popular experience (tadaropaditulya) However, from another point of view, this apprehension of rail or delight as such, may be regarded as a state of intensification of stbayıbbava or the permanent mental state (upacayavastb'stu) (18), because there is no restriction of time, space and person It may be regarded as imitation (apukára), because it is done following the original state of mind And, if we follow the vijnādavada in which all percepts are mental, we may regard this experience as a collection of mental clements, whlch are of course the vibba. vadis Here we see how Abbinava interprets and appropriates the theories of former acaryas Taken as one may, from all points of view, it is the mental state (bhava) wbich, grasped by the apprehension from which all obstacles have been eliminated, and of the nature of tasting is rasa. (P. 280 ibid) Such a consciousness, samvitt), freed from obstacles, is called among people as camatkara, nirvesa (Immersion), rasada (lasting), asvadana (sampliog), bhoga (cnjoymeat), samapattı (accomplishment), laya (lysis), visránti (rest), etc (19) Abhinava says lokc sakalavishavinismukta samvittiseva canatkaranirvefarasanasvadanabhogasamapatulayavisranty adiabdairabhidhuyatc. (ibid P 280) We might say, the above in a way gives a complete view of Abbinava's theory of rasa. In this the priociple of sadha. tankarna or generalisation is talen from Bhalla Nayaka as far as we know though, of course, Abhinava trues to see root in the Parramimamsa Abhinaya's own contribuijon may bussid to lie la his concept of rasa as an entity grasped by nirvishrs $3muit of unimpeded consciousness, Naturally therefore, he devotes good space to the discussion of these als ·382 Rasa and Dhyani This discussion, over and above giving us the knowledge of the mental stuff which is to be tasted as rasa, has another sigaificance The stbayıds or the permanent mental states beiog Vasapās or latent dispositions are to be found in all being For this reason, wbto an aesthete or sahedaye witnesses a play or reads a poem, he finds his own mental disposition coming into his consciousness, As Abhipava says lateron, this is the reason why an aesthete even though be is not concerned 10 a worldly sense with what he reads and witnesses, finds himself a part of tbe total experience (p. 285 Ibid yasyām svātox'pi tadvasadāvattvadanupravistah) The Vighnas Abhinava says, - (tatbābi-laukikengnumāoena samskrtah pramadadida (dina) tālastbyepa pratipadjate. apa tu Erdayasamvadatmalasatisdayatrabalatparnibhavisyadrasāsvadanluribhavena mrtyadisopānamapärubyaiva tapmayıbbyrocitacarvrna. prānataya na ca 4 carvanä prád mpāvātarad yenadhan sm. Hih sjät na cātra laukikapratyaksādipramanavy pacah. kiotvalaukikavibhavadisamyogabalopapataneyam carvana ia ca pratyaksngumanagamapamuoadılaukikapramanajannaraty adyavabo dhataha tatha Jogipratyaksajapitalatastbaparasamvitumins. tsakalavalşayıkoparāgasunya suddhaparayogigatasvatmagandai. kagbapanubhavācca visişjate eteşām yathayogamarjanadivighaa. ntarodayattisthyena sphulatvavişayāvesavaivasyakrta saundaryavirabat atra tu svātmaikagatatvanijamāsambhavat (0x Visaya- Vesavaivasyam) svasupravesatparagatatvaniyamgbhavat (na tăiasthyasphutatvam) tadvibhavadisadbaranyavasasampprabu. ddbocitanijaratyādivāsanāvesavasacca vigboantaradioam sambhava ityavocama babusah (Abb. Vol. I p. 284-285) Da We might say in a general way, that those things which come in the way of the cogoitive chewiog of the permanent and transitory mental states are the vigibnas or obstacles Abhinaya weolions seven such obstacles (21) ·The Nature of Rasa-experience 383 The first is called sambhavanaviraharūpā pratipattāvayogyata the second, svagataparagatatvadıyamena desakālādivisesavesah, the third, nijasukbadivivasıbhāvah, the fourth, pratityupāyavar. kalyam, the fifth, spbutatvábhavah, the sixth, apradhaqata, and the seventh, samsayayogah The first may be called improbability When the matter of a poem or a drama or a piece of art appears improbable, one's mind cannot rest on it and consequently, we may add, one is unable to reach the state of rasa-experience For this reason, the subject matter or a poem or a drama must appear as probable The second may be called the intrusion of the space-time particularly This would arise whep a reader or a spectator takes the subject-matter as either referring to himself or to someone else Such personal factors would bring in the obstruction of ibe particularity of space and time This, we may add, results in obstructing sadbaranikarana or generalisation The third may be called helplessness, due to arising of personal considerations of happiness and the like This also would be due to the bridging in of the element of personality This would cloud the samvit-or Consciousness and make the grasping of sadharanikarana or generalisation impossible The fourth may be called the lack of means of apprehension A works of art which is defective in its presentation cannot create apprehen. Sion of its meaning in the mind of the reader and the spectator We may explain this as below A poem, which does not use correct language, would not be properly vnderstood or a singer who does not indicate the vădi and samvadı etc would not be properly understood The fifth may be called lack of clanly (sphulatya) A poem may use correct language and yet it would lack clarity In a poem or drama, or a work of art, one expect one's apprehension to be like visualisation (party akşocitapratyayasakāöksalva) Abhinava quoted the apfbority of Nyasabbásya and says that all cogoition bas for its end direct perception or visualisation This applies to the aesthetic cognition also Abbraava says that, this is wby abbinaya or ·- 348 Rasa and Dhyant representation and the like, are required for a play in short, each art has its own technique of making its contents as if visualised The sixth obstacle may be called the lack of emphasis on the principal element in the rasapispatti, for the experierce of rasa, these agents viz vbhavādis are mentioned. But none of these by themselves, can be the principal objact of delineation The uddpana vibhāvas and anubhāvas are sosentient and therefore, they cannot be principal The vyabbtcards or the transitory mental states, eventbough of the nature of consciousness, are always dependent So, they also cannot be principal. For these reasons, stbāyias alone can be the principal In a poem or a drama, in which the delineation lacks this quality of making the sthāyias or permanent mental states a principal matter of delineation, would create an obstacle in the experience of rasa We have seen before, why the stayins or the permanent mental states are the voiversal dispositions of lving creatures and why the vyabbycarins are only the transitory mental states Even amongst the sthāyins, Abhinava would choose four, viz, rati or delight, krodha or anger, utsaba or heroism and nirveda, born out of philosophical knowledge Even these would be subservient to one another According to the variety of the drama one of these would be principal and the rest subservient We may here point out a very important element 10 Abbinava's theory of art Rasa being the final aim of a poem or any otber piece of ast, one cannot bave a proper aesthetic experience if the principal rasa is not brought into relief by making others subservient "Therefore, this is a vigoma The seventh may be called the obstacle of doubt A poet who does not provide a proper combination of vibhavadis would create doubt lato the calod of the reader as to which rasa IS conveyed The vibhava, aqubhuva and vyabbicarlos or the determinants, consequents and the transitory states respectively, by themselves cannot lead to a ·386 Rasa and Dhani to remove these obstacles-tatra vighnapasztalah yıbhavaprabhr. tayah (p 280. ibid) This may be interpreted in a simple way. A poem, or a drama, or any other work of art, consists of the vibhavadis So, if the creation of a poem or a play or any other art is done in a proper way, these obstacles would pot arise and it would lead to the aesthetic experience Abhinava's interpretation of rasa-sūtra Abbipava says (tatra lokvyavabāre karyakāranasahacarat. makalısgadassadestbayyatmaparacıttaviltyapumāpabbyāsapatayadadhuna tairevodyanakataksaviksanadıbbırlaukıkım kāra atvadibbuvamatikrolairvibhavanubhavasamupradjakatvamattaprānaih, ata evälaukarkavibhavadivyapades'abbagbhih pracyakára. nadirupasamskaropajivanakhyāpandya vibbavadıdāmadheyavyapadesyairbbavadbyāyepi vaksyamānasvarüpabhedairgunapradhandtatparyen a sawajikadhıyı samiyagyogam sambandbamalkāgrs amasaditavadbhiralaukikapirvighnasamvedanatmakaca Tvanagocaratām Dito'rtbascarvyamanataikasāro pa tu siddhasva bhavah tatkalika eva na tu carvanātırıktakalavalambi sthāyıvıla (yıla)ksana eva rasah (A bh Vol I, P 284) This may be elaborated as below Cafter all this preliminary discussion, Abhio ava comes to the interpretation of the rasa-satra First he explajos the particular significance of vibbaya, anubhava and vyabbicarı. bhava One may say, these are congoitive elements In the common place experience, one is able to infer a permascot mental state of any other person by the observation of the concomitant relation between the permanent mental states and the collocation of its cause, effect and accessories The quickness of inference which comes out of practice goes beyond the necessity of the causal stage (atıkranta), in enabling to perceive the stbayios or the permanent mental states, by the presentation of a gardes or the casting of glancts and the like, 10 poetry or dracca These cognitive processes are no longer causative elements of the sthayins or the permanent mental states For ·The Nature of Rasa-experience. 387 this reason, the kirana (cause), thc karya (effect) and sabakari (the accessory), are termed as vibhavas, anubhavas and vyabhi. ctrlas respectively These three, in order of priacipal and subordinate, have to reach a proper unlou (samyag yoga), or relation (sambandha), or one-pointedaess (aikagrya), 10 the mjad of the audience This is, what is called, "vibbavadubbavayyabhic risamyoga" From such a sampyoga of these, comes a meaning which is the subject of the cognitive chewing (sama. vedana), from which the obstacles have been removed and which males this coguitive-chewiog an extra ordipary experience, The meaning thus grasped Is rasa It is of the essence of cognitive chewing, and not something whose existence has been accomplished before (sidhhasvabhava) it is immediate (Tatkalika eva), and not something which exists 10 time other than the cognitive chewing Thus fasa 19 something differeat from natural stbayın or the permanent mental state J Sri Sankuka said that because rasa is the imitation of stha yras or the permaneat montal state, the word sthaya was not mentioned in the satra But It is the stbayla or the permanent mental state, known by the vibhavadis, wbich is rasa, because it is so tasted To this, Abhinava replies that in that case even such a popular experience would be rasa, because when one tastes a mental state which really does not exist in the actor, why one should not taste it when it is actually there Therefore, inferential cogoition of sthāyia or permanent mental state is not rasa If sthayin were mentioned in the sūtra as inferred from the vibhāvādis such a contingency would arise For this reason the word sthāyın is not mentioned in the sutra However, we find such references in the Na Sa 'stbayi rasibhūtah,' etc Abhinaya would say that there is a propriety in this, because the 'sthayi' material which was known in the world by the causes etc, 18 Dow useful for cognitive cbewing by recourse to vibhavadis Abhinava also objects to the inference theory, by saying that there would be no taste (rasata) in' the foference of as ·388 Rasa and Dhiani common place mental states Therefore, the taste of rasa, whose nature is that of extra ordinary camatkāra is different from common place cogoltions like memory and inference Rasa Experience by the Aesthete After thus explaining the rasasutra in an abstract way, Abhinava describes how aa aesthete experiences rasa His mind is cultivated in the process of common place (lauktka) soference. This means that a mental state would immediately arise in his mind with its corresponding affection So, he docs not, therefore, perceive a handsome young lady in a poem or on the stage with indifference (tātastbyena), but he does it with the sprouting of the taste of rasa which is going to be fuller later on He is able to do this by the force of his sabrdajatva which is of the nature of concord of the heart (hrdayasamvada) He has this experience, without climbing (22) the steps of inference, memory, and the like, because the essence of such an experieace is cogantive chewing and this cognitive chewing corresponds to the sense of identification with what is perceived (P 284, ibid) What is meant is that the spectator's mind becomes identified with what he perceives and this gives rise to the appropriate cbarvana or cognitive chewiog In Abbinavagupta's theory, this carvana or cognitive chew. ing is a condition precedent to rasa experience, and because it is of the nature of cognition, he has to distinguish this carvana or cognitive chewing from other forms of cognition The epistemological nature of rasa-experience This carvana or cognitive chewing cannot be of the nature of remembrance, because it was not known before through some other pramānas or means of knonledge It cannot be identified with the other laukika or common place means of knowledge such as sense-perception (pratyaksa) and the like This carvana 18 brought about by the force of collocation of ·The Nature of Rasa Experience 389 cxtra-ordioary vibhavas or determinants and the like There fore, this carvan is to be distinguished from the knowledge of ratı or delight and the like, born from ordinary worldly pramūnas or tears of knowledge like direct perception (pratyakşa), inference (apumāna), scriptural authority (agama), Spalogy (upamāpa) etc It is also to be distinguished from the indifferent consciousness generated by the extra-sensory perce. ption of a yogin, and also from the experlence of the uniform compect joy of the atman of the higher yogin, because it is void of the colouring of the sense object The reason of thts distinction la cach case is given thus In the case of the knowledge of rati or delight, and the like acquired through worldly means of knowledge, there is always the contingency of personally acquiring or abandoning the thing hãoopādada) And this is an obstacle lo rasa experience la the case of an ordinary yogia, on account of indifference (tātasthya), there is baziness of experience, while in carvans or cogaitive chewing, there is clear visualisation (asphutatvena) In the experience of the higher yogin, there is lack of beauty (saundaryavıraba), because all the colouring of the sense objects is absent la the case of cognitive chewing or carvadā, there is so vaivasya or helplessness before the objects of sense, because the cogation is not necessarily taken in relation to one self There is no indiffence because in a way, one's self is there in the experience, and there is no necessary reference to somebody else And therefore, there is no consequent jealousy. In carvană or cognitive chewing there is yāsada or latest disposition of one's own ratt or delight and }ike, awakened by the force of the generalised determinants and the like So, there is no risc of obstacles in rasa-experience For this reason, the vibhavadis or the determinants and toe teke, are not the efficient causes of rase, because fa that case, even when they are not there, there will be the existence of rasa, just as a jar might exist cventhough the potter and the like do not exist They are not also the causes ·1 390 Rasa and Dhyani 1 of cognition, sod therefore, do not come under the category of means of knowledge i e-pramanas The pramūnas or the mcaos of knowledge collghten only what exists previously But rasa does not exist previous to the vibbayadis and therefore, is not a prameya 1e something to be known Naturally then, the question arises, -what are these vibhavadis? This usage of the vibbavadis is useful for the vaderstandiog of carvanathe cognitive chewing-, and for this very iCason, it is an unusual usage-alaukika vyavahara If it is asked, "where do you find such a thing at any other place in the world, we may say that it is a tribute to our proving that it is extraordinary as far as the worldly matters go But if an analogous example is required, we would say that we do not find the taste of a drink in its logradients taken separately Here, we may point out that when the rasa experience is called something other than laukika 1 e common place in the world, 1t 19 here opposed to the experience in poetry, drama, in short, 10 art Abbinava bas been trying all along that aesthetic experience canaot be compared or evaluated with the other experiences of worldly matter But when rasa 13 lifted out of the usual categories of koow ledge, logic would say that it is an unknowable (aprameya) colity Abhinava would accept this position, because for him the very life of rasa lies in its rasyata ie 10 its being tasted and this experience is not of the nature of praneya (se a knowablc entity) and the like This would contradict the thesis of the Sutra which says that rasa is a 'nışpattı', which is neither generation not knowledge Herc, Abhinava makes a fine distinction The reference of Aispatti' in the sūtra is not to rasa as such but to 'rasana' or the process of cognitive chewing or tastiog whose object is rasa In this way, the llfe of rasa is solely dependent upon rasada And therefore, on account of tbc 'dışpatti' of rasada or cogaitive chewing, rasa may also be called as caused This rasang or cognitive chewing is neither due to the means of knowledge (pramina- ·The Nature of Rasa-Experience... 391 1S vyapara), aor to causal process (käraka vyāpāra) But then, this does not make it a false experiente (apramānikah), because it is proved by its very consciousness (svasamvedanasiddhatvat) Therefore, rasa-experience is sui generis Abbinaya, after having distinguished fasada or cognitive chewiag from other forms of cogaition, does not deny to it knowableness as such In fact he says that rasanā 19 of the nature of koowledge (bodha) It is only diffe. rent from other forms of knowledge ususlly recognised The difference lies in its means, viz. the vibhavadis, being different from other means of knowledge in common practice (laukikavailaksanyāt) So, the purport of the sutra, according to Abhinava that rasa is an extraordinary entity wbich is the object of rasana or cogative chewing, and that this rasarā is born of the collocation of vibhavadis Abbinava summarises (P 285 ibid) this fengthy discussion thus The make-up of the actor hides the identity of the actor We also do not think that he 15 Rama, eventhough that thought is forcibly brought before us by the poem The reason for this is the intense previous impressions which do not allow us to think of hia to be Rāga The result of this state of mind is that the spectator' gives up the time and the space both of the actor and of Rada We see on the stage horripitation and the like These make us cogaise rati or delight as such But this cognition is freed from the restraint of time and space. In this cogaition, one's self also eaters because one possesses the latent dispositions (vasana) of rati or delight, and the like. And so, one's cognition of rasa is not of an indifferent person But one does not cogaise rati or delight as an effect of a determinate cause-niyatakātanataya-for oneself Therefore, there is no possibility of one's becoming attached (abhtsvanga) or making an effort to obtaia Оде does not cogoise ratı or delight as of somebody else benifitting from it as a result of defisite cause And so, one does ·392 Rasa and Dhyoni not feel any pain or çomity etc (duhkhadyesadyudaya) So, tbe generallsed rati or delight, when it is cognised is one more ment of consciousness or its chain (samtao ayytti) 18 stoegra Abhinava again repeats that the idea of generality is due to vibhavadis We may say this is Abhinava's attempt to explain the participation of one s self in an aesthetic experience All rasas-of the nature of joy An important point in Abhinava s theory remains to be discussed He accepts the theory of anandarūpata sarva rasanam (p 282 ibid) This point he has discussed while discussing the sixth vighna or obstacle All the sthayis or permanent mental states by themselves in worldly experience are not of the nature of happiness In rasa-experlence, they give joy because they become the matter of cognitive chewiog 10 ones own consciousness freed from obstacles Such a consciousness is of the nature of one uniform compact light and its essence is joy or ananda Therefore, even sorrow or anger and the like when they become the part of such a consciousness give joy The theory that dirvighaa samvit &S such is accompanied by joy or has joy as its constituent is a tenet of the pratyabhijáa school Different philosophical schools represented by different acaryas The fact of rasa is particularly accepted by almost all the writers on sanskrit poetics Here its development has taken a psychological and epistemological direction The explanation given in the Nă să of the rarasutra was enough for the actor and his director, the datyacārya When however the 10terpretation of the rasasutra was taken up by the pundits well versed in the sæstras it became more and more sophisticated We have seen above that in the interpretation of rasa doctrine there is an attempt to explain the psychological ·394 Rasa and Dhani mmāmsaka It is however doubtful, whether we can, on this cvidence, take him to be a mimāņsaka It is well-known that the mimamsa rules of interpretation are used by the followers of differeot schools In the utpattivada and the pratitivada of Lollata, if both utpatti and pratit refer to the spectator as Mammata and others have assumed, we can find in it the mimamsa view of svatahprāmānyavāda, wherein the occurrence of knowledge is accompanied by its varacity That is, the occurrence of the knowledge of Rama is accompanied by the knowledge that this is Rama Dr Pandey and Guoli have shown that Lollata commented upon the Spanda Kanka, and therefore was presumably a follower of the Kashmir Saivism According to Di Pandey, Lollala uses the term apusandhgoa in the Saiva sense of yojana In fact, one reference in the Abb which says that parispauda is not the only vyāpära of atman, according to Lollata, suggests that it is at least one vyapara of atman This would make him the follower of the pratyabhijna school of Kashmir Saivism In the presentation of Sankuka's views in the Abb, we find him cmphasing the imitation theory of rasa and assum jog a sort of oferential process 10 its cognition, Dr Pandey thinks that he adopts the technique of pracya nyaya (P 50 lodian Aesthetics) Is this however, sufficient to call him a Naiyayika? There is nothing in the Nyaya philosophy to suggest the imitation view And, no Naiy ayıka worth his salt would call the psychological process of indirect knowledge a real oference So his views should be taken as his reflections on the nature and mode of rasa In the theory of Bhaita Nayaka, there are no doubt some Samkhya concepts such as those of the three gudas, and that of bhoga But he also refers to the "Sagodamaya atja samvit, and para mabrahmäsvada' ( P277 ibid) However in Abh TS ·The Nature of Rasa-experience .. 395 (P. 5) Bbatia Nayaka's views would make him a māyāyadı vedantin, (see also Dr. Paodey who supports this. P. 72-73 lodias Acsthetics). It would seem bowever, that here too, we have not cnough references to identify his schools of philosophy. As to Abhinavagupta, we know that he was a follower of the pratyabhijaa deršana. Fortunately, some of the important works on Pratyabbijna darsaga are discovered and edited in Kashmir series of texts and studies In these philosophical works, we find some basic concepts of the school which also hold good for his theory of rasa. As we noted above, terms like 'sapp vit', 'mirvighaa samvie', 'camatkara' and 'Inanda bave a peculiar sigo cance, which we can clearly understand only in the light of their meanings in the discussion of Pratyabhijni philosophy. Eventhough, we cannot go here into the de. tails of this philosophy, a very brief account would be necessary for a proper understanding of these terms (24) The pralyabhija school is modist 10 jts metaphysics The one single sub. stance which manifests itself as the cosmos of living and non- Jovog objects us 'citi' for 'caitanya' It can therefore be called spiritual monist The ultimate citi' or 'castanya' is called in this school as "Siva' All the phenomena of the universe are the self-manifestation or self-reflection of Siva This school differs from other schools of vedanta, particularly from that of Sankara, in regarding this power of self-manifestation of Sıva as real This Śtya caitanya is concerved not as something static, but frought with dynamic coergy, This view of ultimate reality is explained through several concepts, and some of these are "spanda', phuratta', 'imarsa", 'camtkāra,' iccha' etc Abbipava bimself has explained briefly but lucıdly these terms in his work namned Tantrasāra We cannot do better than summrise what he has said in the upod. ghata or introduction of this work He says that Dature of all existants is light-prakasa This prakās'a is one and universal. It is not divided by time and ·396 Rasa and Dhrani space (desa, kala), because time and space themsekes are of the nature of prakása. This prakasa is then identified with samvit-sa eva ca samvit (p 2) Saovit is explaiaed as-artbaprakāsarupa ( arthaprakasarupa hi samvit) This means that the nature of samvit is to enlighten objects ( artha ) But this prakasa is also, enlighteoment itself It is not dependent upon anything else (paratantryam), for its cnlighteoment Thus, this prakāsa is one and svatantra, ie self-dependent, and because it is not limited by space, time and form it is all pervading (vyapaka ), eternal (altya), and formless, eventhough it has all the forms in it potentially Thus tbis monism of prakasa and samt is modism of Consciousness After this are mentioned the various faktus or powers of this samvit Its dependence (svatantryam ) 15 its power of apanda (ananda saktıh ) Its camatkära is its power of will (Icchasakei) Its nature of enlighteoment is its power of cogation (jñanasakt:h) Its capacity to assume all forms is its power of acting (kriyasaktıh) Eventhough, it can be described as joined with these powers, in reality, it is Siva containing within Himself, iccba, jana, add krijā, ie will, knowledge and activity It is light and it reposes 10 its own joy (P 5-6, Tantrasara -hashmir Series of Texts and studie-No XVII Ed 1918 ) Then, Abhinava describes bow this Sıva 10 its full inde pendence shows itself as anu (25) From this brief account, we find that samvitshose nature is to enlighten or present objects is the ultimate reality When it is completely independeat, it is joy itself (ananda) As desire it is camatkāra. Thus the three are identical Το be reposing in this is to be Siva, or ananda se joy In this school, everzifrog that is or exists is Sıva 18 reality And therefore, wherever the miad goes, there is the state of Śiva - ·The Nature of Rasa experience 397 "yatra yatra mano yati băbye vă bhyantare'pi va ! tatra tatra sivavastha vyāpakatvat kva yasyatı 11 Vijnanabhairava V 116, p 99-Kashmlr Sanskrit Granthavalih Vol 6, Ed 1918 The essential thiog is that one's samvitti or consciousness must repose unobstructedly in its true nature i e 10 Siva This Is joy itself in this school the possibility of samvit koowing itself or reposing in itself is the source of all joy-sensual, artistic or spiritual The following verse from Vijdanabhairava is takea as authority by Abhinava and other writers of this school for this view * jagdbipānakrtollasarasãaandavijrmbhanal ! bhavayed bharitāvastham mahapandastato bhavet 11 ( Sloka72, P 60 ) Abbioava has explained this view in detail in his Isvarapratyabbijnavıvrtivimarsini (P 117-179, Voi II Ed, 1941, Kasmir Series of Texts and Studies Camarkrli is explained as camat- Krtishi bhunjanasya yā kriya i e The mental activity of one who enjoys se the mental activity of enjoying is camatkrfi It is also bhogasamāpattımaya ănandah 'This is joy, ananda, which consists in being identical with enjoyment This is further clarified thus the enlightenment of one s own camplete nature assumes the form of parāmarsa i e, thought or consiousness It is called ananda Svarupasya svātmanah paripurnanijasvaru paprakásanam eva paramarsanayatā dadhad ananda iti ucyate p 177 (ibid) This view is applied to the mundane experiences of men It is also shown how and when one has joy add when one has not The illustration of a hungry man 18 cited Because he is empty, he is in need of something else His mind has become vivasa ( belpless ) by the desire of food which is something different from himself in this condi. trou there is no one solid consciousness of one's self (exagha navšttı) and therefore, be is as if without pay We have seen that vivasată or belplessness is a sort of vigana or obstacle ·398 Rasa and Dhyani When, however, his belly is full, his incompleteness in the form of his emptiness is destroyed And so, 10 that condition of satisfaction, he has joy which lies in the cognition of oneself, But this joy is incomplete, because hunger exists in potential form-samskärarüpatayā-and therefore, he has still to desire the objects of the satisfaction of bis epitite Abbinava says that all the worldly joy is of this nature When one gets something desired, one is afraid of its future loss and so one always remains disturbed and therefore incomplete But even in this mundane existance, whatever little joy is there, is the result of experiencing one's own-self le having a momentory touch or contact with Sıva Abbigava supports bus view by a quotation from Sri Bhatta Narāyana who says that whatever joy is seen in this universe is a drop of the Ocean of joy wbicb 15 Divinity itself Abhinava, by fine analysis isolates the aesthetic element of joy even in matters of food and drink He says that while drinking sweet juice, there is a cognitive element viz 'idamietham'-"It is like this'-, which is distinct from gluttonous elements And in this way, onc reposes 10 oneself as a koower and while doing so, one thinks principally of the kooner element 1e pranātrbbaga Thus, a person distinguishing in thought the knower-element of copsicousness is called bhufijāda 1e one who enjoys in proper sease What Abhinava empba sises 1, the aesthetic element in the experience of such gross things as eating and drinking This acsthetic element, accor ding to bis philosophy, is the respose in oneself as cogniser We may put this in a simpler way and say that the thought VIZ 'I cojoy' is the source of aesthetic joy Having thus made distinct the acsthetic element even in gross matters, he shows the aesthetic elements 10 poetry and drama (P 178-9 jbid) Rasas like smgăra which are subjectmatters of drama and poetry are, he says, distinct from sensual joys Here, by the removal of obstacles like, caroing and abandoning-hanopādīca-one tastes bappiness by ·The Nature of Rosa-experience... 399 completely overcoming the sense of otherness (anyathabhavam) ie, when one enjoys tbe sentiments depicted in poetry and drama, one does not think of anything else. This is in a way a precondition of aesthetic enjoyment. This experience because it is free from all obstacles-nirvigbnatvat-is rasadā (or tasting), carvana (sampling), dirvrti (bliss), pratiti (appre. bension), and pramáltvavis'ranti or repose in the state of being a knower. In this experience, there is another part of enlightenment or knowledge which reposes in the objects of knowledge. But one has to be oblivious of this part and concentrate on the knower-element in order to enjoy rasa. Such a capacity makes one a sahțdaya. For further discussion be here refers to his Abh. This makes it clear that the element of joy in experiences of gross things and of art has the same Source When this element becomes supreme, and when the mind is freed from all other desires of objects, it is said to be enjoying the supreme divine bliss This divine experience 18-"I am S'iva". Abhinava, at the end of this discussion shows the difference between the enjoyment of gross elements and aesthatic elements as follows madhuradi rasasvade tu Visayaspars'. avyavadhanam (p. 179; 1 e, in the enjoyment of sweet drinks there is the obstruction in form of the contact with an outside object, 1 e. here one can get joy only through an external object. This is its limitation. To the enjoyment of poetry and drama, one's experience is freed from such obstacles, But the potentiality of such obstacles remains latent and capable of gettiog into conciousness-tato'pi kavyanātyadau tadvyavadbabas'ünyata tadvyayadbanasamskärānuvedhastu.- But in poetry and drama, those who are careful of obviating the part of obstacles in experience can bave the bigbest bliss, i e. those who are real sabrdayas can get the highest blisstatrapi tu tathoditavyavadhanāms'atiraskriyas vadhana-bşdayāḥ labhasta eva paramagandam. Tbos Abhidaya, Jika a true ·Rasa and Dhani 400 aesthete, sees the possibility of the experience of highest joy in poetry and art In this philosophy, highest joy (paramananda), nirviſti (bliss), and camatkāra are of the nature of pargmars'a te thougbtor Consciousness But this parāmars'a has to be completely free and independent of anything other than itself, and it must have one compact cogoitive chewing This parāmars'a becomes paramādanda on account of its solid state of cognitive cbewing apupacaritasya savedanatupata nantarıyatvena avasthitasya svatantrasya rasanaikaghanataya parāmars'ah paramānanda pityrtıb camatkāra ucyate The above discussion taken from the I P V.V gives a sort of philosophical background to the aesthetics of Abhinavagupta (26) It is something which is not divorced from our empı rical experience of joy Both the aesthetic joy and the spiritual јюу are cognate of this joy, or, we may put it as some writers of this school do, that whatever little Joy we have in our mundane experience is cognate of this Divine joy The degrees in these experiences of joy are caused by the degrees of the soul s dependence on something other than ftself When the soul is completely independent and does not rely upon or repose in anything else, it is the highest joy (pratyabhija In the view of this philosophy, everything is S'iva The limited individual human soul is S'iva itself As long as the individual human soul anu) does not recognise itself as Sıva 11 15 limited and consequently unhappy So, one may say, that the moments of such recognition in the life of a soul are the moments of joy. Poetry and drama and art, everything that is beautiful and sublime in pature and anything wbich makes one sensitive of the inner vibration (spanda) or the inner tbrobing spburatta afford a peep into this world of Bliss and Joy ·The Nature of Raja experience 401 Foot-notes as (1) See an example the Tattabodhavidbāyid of Abhayadevasürı on the Sanmatitarka of Sidhhasenadivākara. Ed Pundit Sukblalzi and Pundit Bechardas, Gujarat Vidya. peeth, Ahmedabad (2) We are here particularly concerned with the A bh. on Na Sa (VI, VII) The portion of the comm dealing with the rasasutra was very corrupt and tberefore obscure up the first edition (GOS) Luckily this portion has been almost quoted verbatim in the viveka on Ka Śā of Hemacandra With the help of this viveka as critically edited by Prof R Parkb, Gaolt bas tried to give a satisfactory text of this portion of Abh The second edition of the GOS has much improved upon the text of the first edition There are, however, many obscure places to all these texts ocluding Viveka We here also draw upon the second edition of the Ka Sa (Prof Parikb) for Viveka In this chapter, I have tried to translate the techoical terms and the relevant portions from the A bh, with tbe help of Gool's invaluable work (3) He says we have stated above that Bhatta Lollata was both a literary man and a pbilosopher He knew Saiva philosophy It is therefore, reasonable to support that the word 'apusandbana', which he uses bere, bas the only meaning that was recognised in the contemporary philosophical circle That the word 'apusandkāda' was synonymous with "yojana" and got "abbitāda" as "āropa' is evident from the following verses of Utpalacārya ia the Isvara Pratyabhijña Kärika and Abbigava's commentary on it kadacıtkavabbase yap orvābbāsadıyojada ] samskarat kalpana prokta sa'pi bhinnavablasini 11 IPV Vol 1-256 RS 26 R ·402 Rasa and Dhrani -kadăcitkah kadacıdbhavah ejäätadesalalakarah avabbase yasya debadeh svalaksanarūpasya, tatra y, pūrvabbasena baladisar[rabbasena yojana yoham balah sa evadya yuva ity anusaodhadam in (4) Bhatia Lollaia flourished in Kashmira in the IXth or Xth century He wrote a commentary, now lost, on the Natyasastra of Bbarata Ksemaraja (spaadanırnaya, p 34) and AG (Abhinavagupta) (MVV, V 778) quote a Bhaita Lollane who wrote commentary (ptt) to the Spandakarika of Vasugupta In my opinion, it seems probable that these two Bhatta Lolla as are one and the same person, Bbatta Lollata, would, in this case, bave lived in the reign of Avantivarman (856-83 A D, Vasugupta lived under Avantivarman) or in the reign of his successor, Sanlaravarman This change also involves a change the dates of Sankuka (CS Infra p 32, 4), who could then be identified no longer with the poet Sankuka, who was a contemporary of Ajitapida (early 18th ceatury) '-R Gnoli p 30 See also KC Pandey-Comparative Aesthetics Vol I Indian Aesthetics (Ed 1959), P 38-39-40 says _"we have discussed the date of Bhatta Lollata in an earlier work (Abb. 126-9) He was a contemporary of Bhatta Kallaia, the author or publisher of the Spanda Kārika He com neoted not only on Bharata's Natya Sastra but also on the Spanda Kanka He therefore, inherited both the drama turgic and the philosophical traditions from his predecessors la interpreting him he have to keep this fact in mind and also "Thus, we find that Bhatta Lollata was not concerned with the Spectator $ point of view of rasa lo his commentary, as we learn it from Abhinava's prescotation of bis view, there was no reference to the spactator The word "pralıyamadah', implying the spactator, bas been introduced by Mammala, with very slight amcadation of the text of Abbinava, which we have already given above Mannata's amendation runs as follows:

·The Nature of Rasa experience 403 "aukhyayā větya rămadavanukarye, tadrāpatādusandhänāt partakepi pratiyamano rasah" KPIV For Lollata's view, see also Locada "tathshi purvavastbayam ya sthayı sa eva vyabbicarisampa. tādina praptapariposo'nukaryagata eva rasah nātye tu prayujyamanatvát tarya rasa itu kecit' (Locana op 11 4 Dhv) See also Mammalas presentation of Lollata's view "vibbavairlalanodyanadıbbıralambanoddipapakaranah rat yadıko bhavo janitah anubbavash kalaksabbujaksepaprabbirti. bhih karyaih pratitiyogyah kýtah, Vyabbicarıbhirnirvedadıbluh sabakarıbarrupacita mukhyayā Pittya ramadavaaukarye, tadrupata usandbāokanartake pi pratiyamgoo rasa itu bhattalollataprabdırtayah (K P IV) (5) This portion of the A bh 18 rather laconic But fortunately this has been given a more amplified form 10 the Viveka of Heracandra I have followed it here (6) This portion constişting of the above quotation and what follows in the Abh on the next page (p 273 GOS Ed '56) 15 giver 12 a more logical form in the viveka of Hemacandra The same trend of argument is found in the KP, of Mamuata in a concise form (1) See Ch Vill of the thesis (8) Compare with Aristotle s mimesis (9) How does the spectator who witnesses the sentiments of the actor feel those sentiments himself? The Viveka gives the following explanation vastustundaryabalat kasayaphala carvanā parapurusadatsadaprabhava Duknapresekakalana kalpaya etc (p 91-92, Ed 64 Prof RC Parikh) The first explanation is that it is beauty of what is presented-vastusaundaryabala that evokes rasa 10 the spectatot The second is at agalogy Whea ode perceives some ·204 Rasa and Dhyani VIZ Other person chewing a fruit with astringent flavour, salıva is produced in one's mouth This pbysiological action has its counterpart in the nature of emotion also Eventhough one may have no cause of laughter or sorrow if one sees someone laughing or weeping, one automatically feels like laughing or Weeping These two 'vastusavadaryabala' and kasāyaphalacervanā' are not found in the text of Abh Whether they are later additions or they formed part of the original text of Sankuka, we cannot say (10) Abhinaya is the art which uses natural modes of speech, movements of body, etc for the effective communica. tion of ideas, feeltogs, emotions, sentiments, etc In fact its success lies in endowing these with the semblance of reality which the mere speech or movement of the body fail to do So here, what cannot be communicated by mere words is commidicated or evoked by uttering words in an artistic appropriate way (11) Sec above (12) "Sankula flourished in Kashmir after Bhalla Lollata It is doubtful whether he should be identified with the poet Sankuka, author of a poem called Bhavanabhyudaya, who, acrordingly to Kalhana (R T. IV, 705) lived under the reign of Ajitapada (about 830 AD) In this case, his predecessor, Bhatta Lollaia can no longer be identified with the commen. tator, of the same name, on the Spaadakarika, and so his period should be put back to the end of the 8th century and the beginning of the 9th Sankuka wrote a commentary to Bharata, now lost, which is frequently quoted by AG On Sankuka sec Dc, SP, p 38, Pandey, AGP 128 -Gnoli, P 32 K. C. Pandey-Abbioavagupta p 128 Ed 1935-says “From frequent references to and criticism of Siri Sankuka's interpretation of the Bharata Sutra by Abhinava ia bis commentary also from the fact that he points out (pp. 67,75,104) as ·The Nature of Rasa experience .. 405 1 differences between his original of the Bharata Sutra and that of Srs Sankuka, (A bh 216 217) it is apparent that the latter also commented upon Bbirata Satra That he belonged to Kashmir and was a contemporary of King Ajitapida (850), we have already stated in the foregoing pages It may be noted that this theory of imitation reminds one of the "mimesis" ie imitation of Aristotle. As for Sankuka's views as noted in the Locana, read following "anse (u-anukartars yah sthāyyavabhasobhinayadı. Samagryadikrto bhilliviva haritaladini asvavabhasa), sa eva lokattatay.svādaparasamjåayă pratitya rasyamano rasa iti patjadrasā nāțyara āh" (Locana on Dhy II 4) See also Mammata (K P IV) Kavyanusamdhanabalacchiksabhyasadırvartitasvakaryapra katanena Datenaiva prakāsitaih karanakaryasabakaribhih kytrimarap tatba nabhimany amanairvibhāvādısabdavyapadesyath 'samyogāt' gamyagamakabhavarūpat, anumiyamanopi vastusaundaryabaladrasaniyatvedībyanumiyamgaavilaksanah stbāyitvena sambhīvyamăno raty dirbhave rasa 111 shri Sankukah Gaoli remarks (pp 39)—Sankuka's mistake consists 10 asserting that aesthetic experience is an experience of a discursive kind (savikalpa, It is an imitation), and at the same time sayrog that it differs from every other kind of discursive cognition The doctonige which he professes is thus vitiated by an intrinsic contradiction The whoic of Bbatta Tota's confucation, reproduced by Abhinava, reduces in the last analysis 10 a close and often scolastic examination of this contradiction са (13) Hearicandra explacas - @zam bharak prasiddhat ratilaksanat karanad rat; aqukaranam dāma karanäntaram tatprabhavasced anubbāvāh syuh tathaiva ca visesavida yadı jiāyeran tada ratyanukaranalaksanasya vastvaatarasyānumānam sananjasain syāt na caivam, tat katham iva ratyapukarana- ·406 Rasa and Dharani pratitih aviscsavidāca tathavldbinubhavadarsane ratirevadumiyate tac ca mithyājānam eveti As for Bhaita Tauta or Tots sce "The expression 'my masters' observes HC (Hemacandra) alludes to Bhatta Tota (or Tauta), who was the direct master of AG and, therefore, lived in Kashmir durog the second half of the 10th Century Bhatta Tota wrote a work of poetry, the Kavyakautuka, on which AG wrote a commentary (vivarana) which has not yet been found the confutation of sankuka, given in the following pages, goes back therefore, to Bhatta Tota"-(Gool p 38) (14) See also Locana on Day II 4 kavyepica tasmat stbitametat abhivyajyante rasah pratityaiva ca rasyaata iti See also Mammata (K P IV) na tatastbyena patmagatatvena rasah pratiyate, dotpadyate pabhivyajyate api tu kavye natye cabhidhato dvitiyena vibhavadisadbaranikaranātmanā bbavakatvavyāpārena bhavyawadah sthayı, sattvodcekaprakāsăpandamayasamvidyistaOfi$&- tativena bhogena bhujyate The expression saltvodreka is reproduced almost verbatim by Mammata It has been commented upon in several ways Vidyacakravartis ( KP Trivendrum Sanskrit Series) explains as below sattvodrekad yau prakas pandau tapmayyām sarpvidi samadhiyšttırūpāyam yā yogidāp visrantir vigalıtasakslas rama nistarangenavasthitib tatsadçsena Manikyacandra (p 74) comments sattvodrekena prakasah prakato ya Spandas tanmayi ya samvit tasyam vibrantih, sa satattvam paramartho yasya sa tatha Abbınava says in the Locaga (P 183) rajastamovalcitryaduviddhasattvamayanijacitsvabbavadirvotivisraollaksanah Visvanatba says: sattvodrekad akbandasvaprakaságandaciomayah vedyantarasparśasanyo brabmāsvādasahodarah II lokottaracamatkūrapranah kascit pramatpbhih! svakaravad abhippatvedeyam #svadyate rassh || OD ·The Nature of Rasa experience... 407 "Rasa is tasted by the qualıfied persons (ie qui rationem artis intelligunt) It is tasted by virtue of the emergence of Sattya It is made up of a full Intelligence, Beatitude and self-luminosity It is youd of contact with any other knowable tbiog, twin brother to the tastiog of brabuan It us animated by a camatkara of a non-ordinary nature It is tasted as if it were our very berag, ia iadivisibility" (Trans. Geoli pp 55)-Gaol further adds" cf the translation of A K Coomaraswamy The Transformation of Nature 10 Art, Harvard, 1934, pp 48 Coomaraswamy translated camarkara with lightrog-flash' According to Visvanatha, saltva is nothing but the mind or toner sease (manah) devoid of any contact with rajah and tamah (pp 55) Gnoli writes (p 50)-Bbatta Nayaka flourisbed in Kasmir after Ādandavardhana (wbo was a contemporary of King Avantıyasma, 856-883 AD), the autbor of the Dhvanya loka Bhatra Nayaka is, therefore, to be placed round about 900 AD Jt 13 dot, probably, mistaken to identify bim with brabpana Nayaka, who lived during the reign of Sankaravarman (883-902 AD), and wbo 18 mentioned by Kalbana (RTV 159) In the IP VV,Iu, p 96, AG quotes a stanza of Saiva lospiration, wbich he attributes to Bhatta Nayaka, to which be gives the title of mimamsakā. granih (the same title is given by AG, elsewhere, to Kumarila, mimämpsakapravara) Another stanza of Bhalja Nayaka (taken from a stotra) 13 quoted by Kşemarāja (Spandadirnaya p 18) I am loclined to think that these two BbattaNayakas were one and the same person The poetic work of Bhatta Nayaka is the Hşdayadarpana, which has not yet cotne to ligbt Tbe openiog stanza of this work, which contains an invocation to Şiva, bas been preserved in the A 66, I p 5 The staozas from Bbatta Nayaka, which recur a few lines later, are taken, without any doubt, from this work The fragments of the poetic work of Bhatça Nayaka have been collected by T. P Chiotamani, JORM, Vol 1, pp 267-276 ·408 Rasa and Dhyanı On the poetic doctrine of Bhaita Nayaka and the confutation of dhyanı, of T. R, Chintamani, J.B.U., Vol 17, part 2, pp. 267-276 Bhatta Nayaka's theory is also stated with few variations in the Dhy. A. L. pp. 180 ff. On Bhatta Nayaka 10 general, see Kane, SD.V. pp. 212-215, Paodey, A. G, PP 128-130. On Bhalla Nayaka, Pandey writes (Indian Aesthetics Ed. '59 p 72)- Intellectual Background of Bhatta Nayaka- Bhata Nayaka was an immediate predecessor, or an older contemporary, of Abhinava : for, he was king sänkuka Varman's contemporary (883-902 AD). He therefore, lived in the same literary atmosphere as that in wbich Abhipava lived By his time the two important factors in the evolution of the form, which the aesthetic theory assumed in tbe bands of Abhinava, had come into being (1) Ananda Vardhana had propounded the theory of Dhvani, the power of language to convev the spiritual meaning (Dhvani) and (2) Śaiva metaphysics also had been well systematised by Utpala in his detailed commentary, the vivști, on his own Isvara Pratyabhujna Kārıka. But Bhatta Näyaka did not come under the influence of esther. He was an avowed opponent of the spiritual meaning theory and wrote a work, the Hşdayadarpana, with the expressed object of demolishing it. And be seems to have simply ignored the Saiva pbilosophy He followed the vedanta school and based his theory upon the same school of philosophy. ...He had vedantic tendencies. For, in the course of his commentary on the very first verse of Bharata's Natyasastra, he refers to the vedantic conception of the phenomenal world. He points out its similarity with the dramatic presentation. According to him, the activities of Rama, Ravana, etc. (10 stage presentation) shine wonderfully, though they are actually non existent. They are mere creations of imagination and therefort att without any fixed form and are capable of millions of imaginative additions They are different from ·The Nature of Rasa experience 409 does objects of dream, illusion, etc, and therefore, are capable of fully captivating the heart They are products of actors, who to the course of production do not abaadon their essential Dature, exactly as Brahman does got give up his essential nature when the creates the phenomenal world But in spite of all this they are capable of giving rise to aesthetic expericoce and thus serve a human purpose Just so this phenomeoal world, which is nothing but mere name and form, which really do not exist, serves the bighest human purpose, through reflection and contemplation He also makes use of the vedaotic conception of Avanda, es predominance of pure Sattva, free from a)) admixture of Rajas and Tamas He represents the aesthetic experience to be kia to the raystic realisation of Brahman He bowever, 20 thoroughly stick to vedapric technique in bis exposition of the aesthetic tbeory We shall briefly give an account of vedantic and allied conceptions, utilised by Bharia Nayaka 10 proper costext The passage from Bhatia Nayaka, suggestiog bis vedantic leaning may be quoted as below (A bh Vol IP 5) bhalladayakastu brabmanā paramātmada yadudabrtama vidyayıracitapissarabhedagrahe yadudabaranzkrtam yandālyam tad vaksyāmı, yathābi kalpada mätrasāram tata evītavasti tajkarupam kşanena kalpapăsabarasarasabam svappadivilaks anamapı sustbutarām brdayargrabanıdānamatyaktasvalambana brahmakalpanaloparacıtam ramarāvanadicestiam kuto'pyabbu tādbbatavſtyā bhats, tath bhisamabamapi ca pumarthopaya tameti tatba tadsgeva visvamidamasatyatāmatupaprapancat makamata stavanamadanádivasena para mapumaratha prapakamiti (15) Viveka ( 96, Ed '64, Prof Parikh) has the following additional proposition 'paragatalyena tu pratitav tātasthya meva bhavet"-If the apprehension of jasa is taken with reference to someone other than himself, one would be indifferent to 31 This proposition might have formed part ca ·CHAPTER XVI SOME OTHER WRITERS ON RASA (1) Dhananjaya and Dhanika (C. 10th AD) (11) Bboja (11th AD) and others Dhananjaya and Dhanika Dhananjaya and Dhanika the authors of DR with its Avaloka occupy an important place in the history of Sanskrit poetics and dramaturgy, Chronologically they come after Ādanda and are almost contemporaries of Abhinava As against the Kashmirian writers on poetics Dhananjaya and Dhanika along with Bhoja, the successor of Munja represent the Malva school of writers We must therefore consider 10 what aspects these authors differ from Ānanda and Abhinava As to the vicus of the latter they may or may not have been known to these writers Dhananjaya defines rasa as follows vibhavairanubhavaisca saltvikairvyabhicarıbhıb 1 adjamāpal svadyatvam sthayıbhavo rasah smrtah 11 (DR IV 1) This definition is in a way explanatory of the famous sutra of the Na Sa which is taken as authority for all the discussions on the subject We saw while discussing the views of Bhalla Lollaia, Sri Sankuka and others that the absence of mention of sthayibhava 10 the rasa sutra is one of the main topics of discussion We also saw that in the opinions of Sri Sankuka and Abhinava, the mention of sthayıbbıva 19 not only unnecessary but would have also ruined the defation because in their view sthāyıbhāvas as such never becomes the objects of rasa Dhananjaya however is definite in bis view that it is the stbayıbhava which becomes the object of rasa This is an important differcace ·Some other writers on Rasa 413 A miaor difference is to be found in the addition of sättvikabbavas as onc of the agents bridging about rasa. This 15 in fact an addition 10 the rasa-sutra stsell Though the sättvika can be taken as impled in anubhavas, its separate mention is justified by Dhananjaya and Dhanika in the follo. wing way Eventhough the sattvika bhāvas are also aqubbavas, yet they are different from them as they originate from sattva 1e mind alone Says Dhanafjaya (DR IV 4 650.)- prihagbhava bhavanfyanye nubhavatve' pi sättvikah (-4b sattvadeva samutpattestacca tadbbavabhavadam 15-5a Dhanika says paragatadunkbaharşadıbhavanäyāmatyantanukulantahkaranatyam sativam yadaha sativam ana manah prabhavam tacca samahitamanastvādutpadyate Another important point of difference lies in the modus operendt of rasa experience We have already seen that Dha nanjaya aod Dhaora do not accept the vyangya-vyanjakabhāva but are satisfied with bhavya-bhavaka relation This, we have already noted, is the view propounded by Bhatta Nayaka also, who mentions bhavakatva and bhojakatva vyäparas (Na Sa Vol III GOS Edo P 276-7) Yet another important topic to be fouod in Dhananjaya is that of ibe four cittabhomis or four states of mind from which arise the different rasas These are as follows svadah kavyartbasambhedatmānandasamudbhavah, vikasayistaraksobbayiksepaih sa catprvidbah DR IV 43 Dhanika explains it elaborately as below He says that the stbayıbhava correlated with vibhavādis is kavyattha On the strength of this the heart of sāmājika is harmonised with that of Rama, and the like The ego centered limited cogoi. 11on of I is obliterated The joy caused due to tbis 18 the kavyanaoda This joy is basically the same with reference to all the rasas but different casas comme solo force by different ·414 Racc and Dhani vibhavadis On account of this difference in vibbavadus, the mental states-cittabhomis-are also divided into yıkasa, vistara, krobha and viksepa Rasas are also classifed on the basis of these cittabhamis Says he kavyarthena vibbavadisamspstastbayyatmakena bhavakacetasah sambhede nyonyasamvalane pratyastamitasvaparavibhāge sati prabalatarasvabandodbhutih svādah tasya ca sămāoyatmapaika tvépi pratioiy atavibbavadikaranajanjena sambhedabhedena caturdba cittabhumayo bhavanti - ( Avaloka on D R IV 44 ) Vikasa is with reference to srogāra and basya, vistara with Vira and adbhuta, ksabha with bibbatsa and bhayanaka and viksepa with raudra and Laruna Says Dhananjaya, srågaravīrabibhatsaraudresu wanasah kramati hasyadbhutabhayotkarsakarunadam ta eva bs in (DR IV 44) We have already seen that Bhatta Nayaka mentions three cittabhumis If Bhatta Nayaka can be accepted as a predecessor of Dhananjaya, we may say that he follows Bhafta Nayaka in this respect There is another important point in which Dhananjaya differs, viz the number of rasas In the Na Sa itself ac find,' astao pätye ſasăh smrtan -(Nă sa VI 15) Lateron he find santarasa also as the Dinth rasa This portion dealiog with the topic of santarasa is, in VICw of modern critics, an Interpolation though he find that Abhinava, Mammala, Hema. candra etc all accept nige rasas Dhanaijaya and Dhanika however, forcibly controvert this latter view Their arguments as to why sastarasa cadsot be a Datyarasa att interesting, They are as below Dhananjaya enumerates stbaybhavas in DR IV 35, as, ratyütsahajupsah krodho hasah smayo bhayam sokah samamapi kericprabuh puşturnatycșu naitasya li Dbanika adds that as sama is of the form of cessation of all activity it cannot be represented on the stage Thug santa ·Some other writers on Rasa 415 has no place 10 a dramatic represenatation. In Nagaoanda fove for Malayavatı is described throughout and the attainment of the state of vidyadhara is narrated la the end. If sama is the sthayıbhava un Nāgānanda it will aot be in harmony with the above. The same anukarya cannot be the substance of two opposite types of things viz. apurăga and virāga. Thus in Nāgapanda sama is not the sthāyın but vštaba is the stbayın that goes with dayāvjra Dayavira is not opposed to śrågära which is subservient to it or phala in form of sovereignty (cakravarıttva) Thus there only eight rasas in dātya. Says Dhanika sarvatha nätakādāvabhinayātment sthāyitvamasm. abbihsamasya atsidhyate...etc ..atóstäveva sthāyıdah. Avaloka on DR IV.35.) Dhananjaya furtber adds that Dirveda bas its nature not identical with that of jbe sthāyın So how can it be relisbed ? Iis enhancement will only make for lack of relish So there are only eight sthäyras 10 drama Says he, nirvedādıratadsūpyadastbayı svadate karbam vairasyāyaiva tatpogah tenāstau sthāyıno matāhil (DR IV 36) As to the nature of rasa experience and as to the seat of rasa in the contotsseur they do agree with Anaoda and Abhigava The concomittant of rasa experience is joy la fact Dhanika says vaksyamănasuabhavairvibhāvanubhavavyabbicānisattvikaih kavyopättarrabbinayopadar sitairvā srotſpreksakanāmanfarviparivartamāno ratyādırvaksyamāgalaksanah stbayi svādagocaratām arbharagandasamvidātmatāmāoryamālo rasaḥ (DR. Avalola IV. 1.) As rasa is consected with cognition and joy, it rests only 20 tbe rasika or the CODDoisseur. Says Dhabika, teda rasikah sämājikah kavyam tu tatbāvidanandasamyidunwilapahetubhxveba rasayadāyurgbęłamity divyapadeśavat. (Avaloka on DR, I, i.)

·416 Rasa and Dhyani Bhoja Bboja succeeded Munja whose court pundits were Dhananjaya and Dhanika SKĀ and Sr Pra are the two works op poetics attributed to Bhoja S.K Ā is published Sr Pra, is published in parts only But we get a critical evaluation of the contents of this work in the learned thesis of Dr V. Raghavao The Rasa-Theory of Bhoja OD Sr Pra Bhoja has dealt with the topics of rasa in his two voluminous works the SKĀ and the Sr Pra The former has been published severel times and the publication of the latter is undertaken by HOS though it is not yet out Dc V Ragbavan has, however, published an exhaustive treatise He has also given at the end of chapters full quotations of the relevant portions of the text Here, I draw upon NS Ed of the SKĀ and for S's Pra I rely upon the passages quoted by Dr V Raghavan Bhoja's theory of rasa appears in some aspect to be peculiar to himself, or we may say to the literary men of his court I will bere mainly discuss bis views as far as they bear upon the interpretation of the rasa-sutra of the Na Sa Dr Ragbavan has exhaustively and very abiy analysed the different shreds of the complicated fabric of d scussion on rasa He seems to Bhoja scems to have recognised three stages or kotis of rasa viz the parā, madhyam) and the uttata koti have derived a plea for this arrangment from Dandin For Bhoja, as for Dandia, rasa 1$ also an alamkāra in the wide sense of kavyosobhakara dharma Bhoja includes rasas under alaqkafas and cites Dandio wbo says prejab priyatarakhyānam rasayadrasapesalam | arjasvi rūdhabamkāram yul totkarsam ca tat trayam || ·Some other writers on Rasa 417 "Yuktotkarşam' is taken by Bhoja in aa Uostal sease and he bases his three kotis of rasa on this Says hc tatra ‘ürjasvi rudbāhamkaram' ityapena atmavis'cşanistbasya utkrstadpstajanmanah anckajanmanubhavasamskārāsaditadra- Ghimpah samagratmasampadudayātıs'ayahetoh alam (sbam)- karavisesasya up samgrabadabamkārt (da) bhlmāpasmgtra dyaparanāmao rasasja utaamayavikīracūpena abhimaninām manası jagratah purvām kolla upavarnaya!) rasavad rasapesalam ityanena vibhavanubhavavyabhicartsamjogadrasa nispattiriti ratyadirapena anehadbävirbhavatah abhivardhara Dasya paraprakarşagimidah s mgārasya madhyadisvasthamavasthapayatı "preyah prijatarakhyādam ilyanena samastabhāvamürdhabhışıktaya rateh paraprakarsādhigamat bhavanapathatık. ramac Shavarüpattmullanghya premarupena parinatiya upt. daou bhavataranžmapi parapralatsādhigame rasarapena paripatirti jaapajan ahamkarasya uttarām kouim upalaksaya!! (Śr Pra Vol 11. p 365-70 Ch XI) For Bhoja, the rasas and the rasa theory dealt with by other slanktrikas fall vader the madhyamavastha It should be noted, however, that for him rasas in the madhyamavastha are really bbavas only but are sccondarily called rasas As Doted carlier, be bas derived his cluc from Dandin s dictum as quoted above sis preyah priyataral hyfoam etc For him, the process which would result in rasa is the process or development and intensificalion of scaliments and emotions So, for Bboy3, 1853 is the ullgrşı or prakasza of emoison This is similar to the upacaya theory of Lollata For the cxplanation of tasa-saura gren by Bhoją, we have to rely on th- passage in the Sky Pra (See Dr Raghgiaa s Sr Pra. p 316) (Sr Pra p 381-385) He explains the rasa sa ra with reference to what be calls the madhyardiastas, in the following way Bhoje first explains the term 'víbhava' fia its iso aspe.us Viz. alamband and uddipana lle seit latdam putab sibhn I RS 27 ·Rasa and Dhani 418 wise, nubbavavyabhıcārisamyogat rasadispattih ? ucyate-yatha indusanaidheh gandakah syandate, yatharkasanpidhch Suryakanto jvalatı, yatba karpurasanpidheh sphatiko viliyate, tatha tebbyastebhvah alambapavibhavebhyah tada karapariaatendriyabuddhyupādbıyogino bhimādimanasah te te ratikrodhas'okadayo bbavah samutpadyapte - "There is abhimāta in the mind, wben objects confront it, the abhimana takes the shapes of objects and according as the objects are pleasant or otherthe bhavas, rati, krodha, soka, etc are born 'The process is respectively similar to the candrakanta stone fowing out in the presence of tbe moon (ratı), the sūryakanta blazing forth on the sight of the Sun (krodha), and the spbatıka melting in the proximity of karpura (s'oka)-This explains alambana-vibhava' (Trans Raghavan p 487) Then, he explains the uddipana vibhava as follows atba indudaye yatha samudrah Ksubhyatı, yatha apathyasevaya vyadhurabhivardhate, yatbānaryasadnidheh sadburadhilam duhkhakaroti, tatha tebhyastebhyah uddipanavibbavebbyah tattadanubhavasamakārayoginah manash tattadbhava (a) bhuvddhaye te te vikara upajāyante «Just as the sea becomes boisterous at moon-rise, just as disease increases by bad diet, just as a rogue creates more mischief when he gets to his aid one more of bis own class, so also uddipana-vibhāvas create trouble first (ksobha), then 1ocrease the suffering more and more The uddipanas arc thus kşobhakas, abbivardhakas and pratikulas, agitating, inflaand adverse This explains uddipana-vibhava- (Raghavan p 487-8) From these stbīyıbhāvas thus created and kindled respectively from rasa by alambana and uddipana vibbavas, arist anubhavas and vyabhicărios They are essentially of the form of bbavas, though differtiog a name and form Thay are abhyantara or laternal and babya or external How are these vibbivadis correlated and act upon the stbaylos to produce rasa ? Bhoja explains this in the words. ming ·Some other writers on Rasa 419 atha yathā iksubhyo rasah, sarsapebhyastailam, dhatubbyo biranyām, asmabbyo loham, dadboo davanjtam, kasthato' goib, tebbyastebhyah yantragolmanthasamyogebhyah oispatanti, tatha evebbyah vibhavānubhāvavyabbicārisamyogebhyah ratikrodhasokadıbbyah, te te rasah Dispadyante 1e As juice is created from sugarcane, oil is pressed out of sarsapa, gold from metal, iron from stone butter from curds, fire from faggots, by the costrumentality of machines, fire or churping, similarly, from rati, krodha, etc, with the help of particular vibhavādıs, are produced particular rasas So, rasas are intensified stbayins through the contact of the sthayins with vibhavadis This upacaya takes place in the following way yathā lavana (rasa) āmladayah svasamyogigah mrdvika dinapi atmarupatām nayantah upacıyante, tatba ratyadını vibhavadınapyārmarupatām nayant upacayante (Sr Pra Vol II P 385 These three viz. vibhava, anubhavā and vyabhicarios differ in nature but they become identical and get merged 21 the one flood of rasa-rasatā, rasenaiva samanyam bhavan ibid p385 So, it seems, Bhoja also, like Dandin aod Lollata, adopts the causal view But here an important point is to be borne in mind The causal theory adopted by Bhoja is sām khya theory of satkāryavāda, according to which, effects pre-exist to an uomagtfest form in the cause The activity is conceraed only with makiog manifest what was usmanifest Similarly, according to this theory, rasas pre-exist in vibhāvādis and their combination with sthayios briog them out, makes them mapı fest Bhoja's prakarsa is similar to Lollata's upacaya Many such rasas combine to produce rasa-samkara, even es many tastes go to make up drinks Says Bhoj? atha yaba oşadhirascbhyah madhunişpattih, yatha madhurădibhyah sadavote pattih, gudādıbhyah asavotpattih, tatba tabhyah tebbyah rasa. sāmībyebhyah rasavisesībbiniryptih ·Rasa and Dhyani 420 Then he talks of the jatibhedas of rasas such as bhava, rasa, tadabbasa etc., and also of the stages or avasthās such as utpada 1 e. birth, abhivsddhi ic. nourishment and sthairya 1.e. firmness. Says he : atba yatha ekasyāpyagneh bhaumadivyaudaryadayo jāti. bhedah dahalokapākādayo arthakriyab sandrsyapte, tathaikas, yapi rasasya bhāvarasatadābhāsādayo jātıbhedah utkanthabhi. sangapirvętyadayah arthakriyāh utpadābhivęddhisthairyadayo avasthah, samupalabhyante : Another novel feature of this theory is that Bhoja tries to obliterate the distinction between sthayıbhāvas, anubbāvas and vyabbicārins. For Bboja, all the 49 bhavas can become rasa on attaining prakarsa by vibbālādis :- ratyadınāmekonapan. casato'pi'vibhāvānubhavavyabhicārisamyogat paraprakarsādhi. game rasavyapadeşarhata I (Sr. Pra, Vol. II. p 381) These are called rasas only secondarily i e, through upacara They are of three forms, prakrsta, bhavarüpa and abhasa : sa śrrgārah, so 'bhimanah sa rasah, tatbā etc, ratyadayo jayante ........tadupādhiścāyamupajāyamano rasah tridha vikb. yayate prakrsio bhavarüpah, abhāsatasca 1 (ibid p. 356) Now we come to the other kotls viz. para and the uttara. These seem to be his own original thinking on the matter, though they are not so original as they appear at the first sight. Says Bhoja : etena rūdbahamkaratä rasasya pūrva kotih. rats adınānekonapañcaśatopi vibhavanubhavavybbicarısamyogat paraprakarsādhigame rasavyapadeśārhatā rašasyaiva madhyamı. vastba. preyah priyatarakhyāoamiti upalaksanena yathi ratel premarūpena pariaatih tatha bhavāptarānāmapı paramaparıpāke premarūpena parinatau rasaikāyanamiti rasasya parama kästba iti pratisthitam bhavati. P. 351, Śr. Pra, Vol. II. In the very first karika of the fifth ch, of his S, K. Ā. Bhoja puts forth his new theory of rasa in the words . raso "bbimado' bankāraḥ śrngāra iu giyate | yo'rtbah tasyanvayāt kayyam kamadıyatvamašaute ! (S.K.A.V. 1) ·Some other writers on Rasa 421 In the Śr Pra (Vol I P 1-3 Mas Ed ) he says, atmasthitam gunavisesamahamkrtasya smgäramaburiha Jivitamātmayoneh| tasyātmasaktırasan yatayā rasatvam yuktasya yena rasiko' yamıtı pravādah ti In a person, says Bhoja, in whose consciousness Ego has become manifest, there is a particular quality of such Ego- COUSCIOUsness This is the very life of Eros who takes birth from such a self. This quality of Eros is known as smgāra This quality ie, spăgăra is tasted in the self by the self This tasting is rasa sui generis A person in wbom this self-tasting has become manifest or developed is called rasika Thus, by this verse, Bhoja explains the meaning of the word ahamkara used in the first kārika of bis SKĀV, Let us try to understand the implications of this statement We take as our basis the samkhya psychology, which Bhoja seems to follow or have in mind and which teaches that the man in the world is a particular correlation of purusa and praxşti According to its another dogma purusa is merely the subjøct of knowledge. It is completely unchanging and inactive Purusa can not be said to do anything It is consciousness itself and so to say enlightens the transformation that takes place in prakrti In such a relation, therefore, what we ordinarily call mental transformations are to be understood as the transformation of pralyti ubich is material in nature but which is continuously being illuminated by the caitany In the evolution of prakſti from its state of equilibrium of sattva, rajas and tamas, the first evolute is known as mahat This seems to godicate the vastness of reality as such From this evolves what 25 £201Q as buddhi wbish should be poder. stood as cogcition as such This is to say that the vastaess of reality first evolves the specific quality of cogostion, Buddhi gises burib to abakre which we may interpret as Ego or Individuality This evolute of individuality further evolves of the purusa ·422 Rasa and Dhvani into what are known as panca tanmatrās ie the subtle elements which become gross 18 different kinds of matter and the motor organ and the sensoria organs and an inner organ called antahkarana or manas, which seems to be the active agent between the buddhi and the remainiog fifteen clements. We send oot go in the study of the further evolutes of prakrti. What we are concerned with here is the fact of individualisea buddhi and Ego which is called 'abhimanohamkārah' by Is'varakrsna (Sa Kā 24) rasa It is the self-enjoyment of this Ego which in the opinion of Bhoja is rase or taste par excellence in other words, when such a state of consciousness is reached it is called rasa Bboja seems to take this as his basic principle ja tbe discussion of With this fact he joins up another fact and that is the nature of Eros or kāma as such This is supposed to be selforigloating (atmayoni, compare Aparakosa, atmabhuh) This is the fundamental fact of love or rati, which is usually Identified with the sex-passion Sex-passion is somethrog which joins the two opposites The relation of purusa and prakrti, in a way, is visualised in a similar union, though not identical, Eros seems to become manifest in this way Because the manifestation of Eros is known by the term srigara, Bhoja is tempted to equate the three abhimana, ahamkara and smgära as indicating the consciousness of taste or enjoyment How far Bhoja is justified in equating the three is another matter If we here can take the tādtrika or the sakta view of ultimate union of prakrti aad puruşi' or sive and saktı, we can find justification for Bboja's view of defining rasa as Angara, abhimana and abaqlara He, bowever to be consistant with bis utkarsa theory, interprets spăgāra as sīgam riyale-etc This view of Bhoja Is, in way, a substitute for tot nitvigboa samyit of the kashmirian sākta alamkarikas In the discussion of Abbipava. gupta, however, we find bírvigbad samvit comiog as a final ·Some other writers on Rasa 423 state in tasa-consciousness Bhoja starts with abbimida, ahamkara And sogara as the prime condition of rasa Tbus for Bhoje, a person whose Ego has developed to the capacity of this tastiog-rasa--15 rasika proper. It is only such a person for whom rasa has meaning SKĀ. and śr, Pre, however, do not in a systematic way develop these ideas So many different items have been brought ia, so that it is very difficult to discoves a consistant theory, as for example we do 10 case of Dhy Bhoja's attempt 10 derive all the cight or alac rasas from this basic émigra has led to much conſusion, Smára is by tradition the principal rasa amoast eight or nige other rasas Ils preponderance 12 fiterature is immense, It, therefore, in a popular way can be called rasa par excellence But this is not the sense in which Bkoja uses the sord śrngåra in his SA À V 1, and its further explanation ya the Sp Pra Here smoara is the primary fact of the Ego experiencing itsell Lien when *c identify Ego and Eros, Šmrigare in the usual sense canoot be identified with it It 1$ $ much a derivative as the other rasas hile vira, adbhuta, karung, etc Bhoji seems to have been misled into confusing these positions, unless ye take the old platonic idea of Eros or the Modern Freudian idea of Libido as the source of all emotions Anyway, Bboys has the unique distraction of putting a new dynemic idea into the dlalettics of rasa As Dr. Raghvan nas polated out, Broje bases bis specul otions on rasa on bis concept of rasika He tries to explaid Ibc current usage of the term 'rasa' as follows rass), Asya astiti rasitah Rass is thus a quality of an indisidual which makes a maa rasits, Rasika, fot Baojs, is aot merely the COORDISTEST of the enjsyer of poetry slone It means the cultured min fo general He ass in blm the excellent quality of rasa and this distinguishes him fron the other viz. the nitass, This quality of rasa i ideatical with all raskas Bbapa says that this tasa of the rasta u pothing else but the [go-Abemakin taltra ·424 Rasa and Dhvani itself This rasa abankare is in the poet, charater, actor and spectator It is endowed 10 & person on account of meritorious deeds to past life Says be atmasthitam gudavisesam etc (see obove) Rasa is cittasamvada But all men do not have cittasam vada in all rasas So, Bharata and following him Abhinava classify characters into uttama madhyama and adhama dbrodatta, dhiroddhata, dbiralalita and dhirasanta etc Bhoja also therefore, tries to find out one characterising rasa for each of the four types of beroes such as dhirodatta, dbirod. dhata etc This classification becomes intelligible only when we accept a scheme of four different rasas as domortiog the characters as their distinguishing marks and as their perma nent moods So, Bhoja speaks of udatta uddbata preyas and santa as the rasas of the four types of beroes Bhoja has also criticised Bharatas scheme of four prakrti rasas producing the other four rasas This schore, Bhoja him self accepts with modifications But Blioja unnecessarily criticises Bharata by confusing his idea of abhimaga-ssngara with Bharata s idea of the usual sigara Bhoja s new smrgāra is not the old sgära or rati prakarsa This he makes amply clear by his classification of smgara Into dharma-smgara, artha smgāra, kama smgara and moksasmgära, and by this he means the activities or purusartha of men in these directions Here, by kama smgāra is meant the usual sgära of rati-prakarsa Says he vibbavãoubhāvavyabhıcárisamyogat (v1) prakarşamāpadya maaḥ pradhanah {bha) vo ratirnama kamaśmgarakhyan labhate P733 Vol IV Ch 32 Śr Pra This kama-smgåtg also is subdivided by Bhoja 1oto dharma, artha, kama and mokşa (1) It should be noted, however, that for Bhoja activity towards moksa is moksa-strigara in which Bhoja treats the pure type of jnanam trga of the sadyasin or that ·Some other writers on Rasa 425 of a karmayogio or he also speaks of grhastha-pumuksu and his activities The last is the dhira-praśānta and his wife marned according to vedic sites is the heroide in this case Io his uttara koti he talks of all rasas merging into one rasa-the preman rasa rasam tvíba premānamevamaganti, sarvesāmeva bi ratyādı prakarsānām ratipriyo ranapriyo'marsapriyah parihasapriyah premonyeva paryavasādāt, (Sr Pra Vol II P 352-7 ch XI ) The bhūmā of rati, hāsa, etc 19 not rasa, but sprigāra alone is rasa Says he - tatkatbamucyate, ratyādıbhumāni punarvitatba rasoktih" iti ? ucyate-na ratyadibhuma rasah, kım tarhı ? smgarh, smgāro bi dāma visistestadrslaçestabbivyanjakānim almagynasampadām utkarşabijam buddbisukhecch dve saprayatnasamskaradyatrs'ayahetuh ātmanohankaravisesah sacetasa rasyamado rasa ityucyate, yadastitve rasiko'nyathabbave arrasa itt, (Sr Pra, Vol II) 352-7 Ch Xi) la this last part we see that rasa, far from remaining merely a matter of poetic taste, becomes a sort of the realisa. tion of the essence of the self in form of premaa Here I may incidentally point out that in the later works of varsnavite weiters such as Ujvalanilawani sigara rasa does not remain merely a matter of human love but rises to the status of Divige love, the love of the Gopi's for Srikrna We also find a similar but curious treatment of the subject in the work called Hamsavilasa of Mithu Kavi of Gujarat The Rasa theory of Ramachandra and Gapachandra The ipluence of DR, and that of SKĀ and Sr Pra the Horks of Malva, is evident in Hemacapdra and his disciples Raacaadra aad Gunecandra ja Gujarat Hemamadra is cognised of the new ideas put forth by Bhoja and his works But he prefers to follow the tradition of Anandavardhana and Abhinava gupta and subsumes some of the items under old terms Thus socha-tasa with ardrata as its stbayin is subsumed uader rats.

·426 Rasa and Dhvani The love for a friend is rati, love for a brother as in case of Laksmanas love for Räna 15 dharmav ra, that of children for their parents is bhaya la the same way, says Hemacandra that laulyarasa with gardhata as its sthầyın can be subsumed uoder either hasa or rati Similar is the case with bhakti As the ND is more independent in bolding certain views, we will take it up first Rāmacardra and Gunacandra, the pupils of Hemacandra, however, are more independeot of tradition of their guru in this recpect They seem to follow Bhoja in recognising some of the sancarias as sthāyias developing into independent rasas They hold that over and above the pide rasas there can be many more such as laulya rasa with gardba as its stbayin, sneha with ardratā as its sthayın, vyasanarasa with asaktı with its sthāyın etc They also recognise additional vyabhicarios such as ksut, tīnā, maitri, mudita, sraddba, daya, upeksa, rati, santosa, ksama, mārdava, arjava, daksinya, etc They also hold that even the sthāyins and anubhavas become vyabhicarins This is seen 10 Bhoja also who says-nanu astau sthāyıdah aslau sättvikāh, trayastrı. msad vyabhioārinah itu bruvate na tat sadhu, yatómsmany. atamasya etaireva parasparam Dirvariyamanatvät kascit kadacit sthayı, kadacittu vyabhıcāri ato'vasthāvasāt sarve'pyamı vyabhicarinah, sarve'pi ca sthāyinah sattvikī api sarva eva, manahprabhavatvāt , anupahatam bi manah sattvamityucyate (Sr Pra Vol II p 352-7. Ch XI) Bhoja also speaks of many other rasas such as anandarasa with prabarsa as its sthayin and also vira, auddhatya, Sydtaatrya, sadhvasa, vilasa, anuraga and sangama tasas He also speaks of twenty more rasas such as rått, utkarsa, dbrti, utka aba, vismaye, mati, vitarka, ciata, capalata, hasa, utsaha, stambha, gadgada, unmada, vridā, avahittbā, bhaya and sanka etc ( $r Pra P 400) It should be noted that the inclusion of vira in the list given as above is something curious, for vira rasa is recogaised by all the slamkatikas and there is nothing DeW in it, ·Some other writers on Rasa 427 The tendency to recognise pide traditional rasas is not altogether new Even Abhinava quotes the views of others who accepted rasas such as speha, laulya, etc with ārdrata and gardha etc as their sthāyins respectively Let us examine the definition of rasa as given in the ND. The ND says sthayıbhavah s totkarsah vibbavavyabbicanıbbih spastāqubhāvanisceyah sukhaduhkhatmako rasah || The first thing that we note is the mention, in this defi02 tion, of the term sthāyıbhāvah This is 18 accordance with the practice of Dhananjaya and Bhoja The second point to be noted is that in the rasa-sutra of Bharata, all the three 2 e vibhāva, anubhava and vyabbicarın, combine to give rasa, while here, a futtle different analysis is given The effect of rasa is brought about by vibbavas and the vyabhicărios ie these are taken as the causes of rasa But the determination of rasa is explained as due to clear and distinct anubhāvas This determination or ris'caya comes about in an inferential process dependent upon concomitants This remiads us of the Natyāyika view of Sri Sankuka (agumiti. anukrti). The third important point of difference lies in recognising the dual oature of rasa, le causiog sukha or dubla Thc meaning is that some rasas give pleasure while others give pain In all these matters Hemacagdra follows the traditional view of Āganda and Abhinava The ideas underlying this defiattion are explained by the Authors in their commentary, They take up the position of realists fake Bhoja. For them, as noted 10 the katika itsell, stbayıbbava, ben intensified, 1$ itself rasa This really happens with the original persons The love for Sta cap only reside in Rama, and vice-varsa They enjoy the senti. ment of mutual rati in reality Their love cannot be expericaced by anyone else ·428 Rasa and Dhvani Then how are we to explain the rasa in the readers and the spectators? The authors say that it is a well-known fact that people do recognise other peoples' sentiments This cognition is not of course, direct, because sentiments of others are beyond direct perception They are, therefore, only inferred This inferential cogaition is dependent upon concomittance But how 10 a poem or a stage-play cao se bring the origical characters #hose feelings we can saſer > The actor gives a semblance of the vibhāvas etc of the original characters, while during this act, eventhough the actor has got the original feeling in him, yet by his anubhavas he creates the possibility of the inference of feelings in the minds of the spectators It is for this reason that the authors say that rasa is determined by spastanubhava 1e clear gestures etc. The idea seems to be sometbing like this The actor with the help of the vibhāvas and vyabhrcarins, is enabled to work out the proper anubhavas a hich give rasa to bis spectators The authors make this point clear in the part of the vytti which discusses the rasa sūtra : yadapyucyate vibhāvanuubba. varvyabbicarısamyogadrasanispattinti tatrapy anubhava vyabhicarnas ca stryadıvarnanijānukaryāpeksayaiva dęstayah etc, (P. 143 GOS Ed) The terms anubhivas and vyabhıcārins in the sutra, according to their interpretation, refer to the described or represented women etc From these comes rasa by direct perception of one's own experience and by indirect inference of other's experience This is in conformity with the otber exporents of the sutra who naturally take the anu. bhavas and vyabbicānas as those of described or represented củaractors The difference lies ia takrog sabbqvas as belonging to the ongioal person Probably here they follow Bhoja. The authors say that rasa in its distinctness can only reside in the original characters, because vibhavadis are real only to them and for this reason, the vyabhicarins and anubhavas born out of tasa are distinct only 10 their case But for others ie, -spectators etc, the vibhāvādıs are not real (kevalar mukhya- ·430 Rasa and Dhrane He says dayanti sumanasah perusah harsadims cadhigacchantı tatba Da ābhavabhinajavyan}itan vāgangasattvopelan sthāyabhāvanasvadayantı sumanasah preksakah ca barsādimscadhigacchaptı tasmaqdaiyarasā aty abhivjakbyātāh ( GOS Ed Na S'a VI), Thus, according to this view, it is held that the rasas, presu. mably all, are pleasant But those, horever, who think that all the rasas are not pleasant, interpret the passage differently Abbinavagupta says anye tvadıs'abdena s'okadraamatra samgrahah (Abh oa Na S'a GOS Ed p 290) Abhinasa's 090 View is as said abose, that all rasas are pleasept He rejects the other opinion by saying -53 ca na yuktah sātājikādām harsikaphalam nātyam, na s'okadıpbalam with emphasis -asmaomate tu samvedanames aoandaghanamāsvadyate catra la dubkhas'anla Levalam tasyaisa citratalarane ratis'okadivasanavyāparastadudbodbane cabbinayadivyaparah (p 293 bid) Dr Raghvan notes the sukha-dubkhatmakata view of one Rudrabbatta given in bis Rasalahka He also refers to Haripala's VIỆN regarding the painful nature of vipralambba. (JOR Madras Vol XI P 113-14,107) Thus we see that Ramacandra and Gunacandra do not follow tradition of their guru 10 many respects We will now tale up some other authors, such as (1) Mampata (11th-12th AD) (u) Hemacandra (1088 AD-1172 AD) (ni) Vasvanatha (1300-1350 AD) (av) Jagannatha (1620-1660 AD) and others Mammia, the great sydcretist of Sanskrit Poctics bas tried to syatdesise most of the vieus of earlier acaryas In his mancala, he characterises the poetic creation as pleasant on account of aide rasas But in the definition of poetry, he does not mentios rasa as such This, honeser, is implied un s'abdarthao', because in the three varieties of artha, the vyangy ártha for him si the meaning of poety par excellence In the varieties of vyangyariha it is fasavyangya which is the most important He summarises the discussions of Abb. in ·Some other writers on Rasa 431 He says one elaborate sentance In this matter, Mammata implicitly follows Ādanda and Abhinava So does Hemacandra in his Kavyānus'asana In fact he bas quoted the whole passage bearing on rasa from A bh At the end of this he says that he also follows Abhigava in this matter-etanmatameva casmabhirupajivitamiti (Viveka p 103) Visvanatha similarly follows Ādanada and Abbioava in this matter But he gives prominence to rasa in his defiantion of kavya Viz vakyam rasatmakamp kavyam (SDI) He bas, however, clarified one point as to how rasa becomes abhivyakta vyakto dadhyādinyāyena rupantaraparınato vyaktıkta eva rasah na tu dipena ghata iva purvasiddbo vyajyata taduktam locanakaraih-'rasah pratiyanta iti tvodanam pacatitivad vyavabarah ti (SD III 1) Pundit Jagagnatha in his RG bas discussed many of the problems of Sanskrit Poetics 10 an independent way The sum and substance of his ideas on rasa, however, are not different from those of Āzanda, Abhinava and Manmata He, however, like the earlier theorists of rasa such as Bhatta Lollata, Sri Sankuka, Bhatta Nayaka, etc, who give the explanation of rasa-experience according to their philosopbical dogma, gives his vedantic twist to the explanation of rasa.. experience According to vedantic view, the nature of the ätman is 'sat', 'cit' and 'ananda' This 'cit' in our ordinary Jife is darkened by a cloud (avarana), may be of māyā The poet s speech through its vibhāvādisāmagti breaks up this covering-āvaran8-and when this happens, the essential consti tuant of the soul, viz qoanda, becomes self-revealed This is the reason according to him why all rasa experiences have as their condition ananda-bliss And it is for this reason that, according to Jagannatha, rasānanda is regarded as similar to brabmananda, of course, it is not brahmananda as such We may say following Jagandātba that poetry by temporarily removing the coverage of the consciousness gives for the time being a glimpse of the bliss of the soul ·432 Rasa and Dhyani Resume It is my purpose bere to put together the main ideas arising out of the discussions in the different chapters of this thesis I have tried to trace the semantic histroy of dhvani, vyanjana and rasa, As to dhvani we saw that the meaning that is attached to it in works of poetics is not found, as far as my inquiry goes, 10 esther early vedic literature or later. It is found 10 its usual sense of sound or making sound In this sease it is used as a synonym for sabda in the works of the vayakaranas, particularly 10 connection with Sphota This usage of the grammariaas seems to have been taken up by the poeticists in their works But as dbvant suggests Sphota, simi. larly in a peem word and its meaning suggest something else and are on that analogy called dhyani When and by whom such a usage was made curret is not known Anyway, by the time of Anandavardhana it seems to have been an established usage because his work is called Dhvanyāloka which, as we have seen, is devoted to the discussion of dhvani and vyañjana It may be noted here that in some of the modern regional languages such as Gujarati, the word dhvani is used in the sense of purport or suggestion Coming to vyanjana or vyañjana we find that we do not find these verbal nouns used in the vedas But any and vit Vanj are frequently used The meaning that we gather from this is interesting An) has the sense of anointing The survey of the occurrences of vit/anj in the vedas shows two connected meanings viz, to bring out something biddea by applying some other thing, to brighten, to adorn, to decorate, to embellish, to manifest fo this sease vynjana becomes something like alamkarana It has the sense almost of adding beauty or exhibiting it The Nigbantu and the Nirukia, as in case of the yedas, do not have any word like vyanjana The Nighantu has not ·Some other writers on Rasa 433 even Vany of yitvanj in any form The Nurukta contains Occurrences of vanj 10 the sense of 'to anoint' In Nirukta we come across 'vyañjana' in the sense of indicator' In Ch 1, Yaska cites the opinion of Gargya who bolds that upasargas, though not meaningful by themselves, are yet suggestive of (dyotakāh) the relation of nāma and akhyāta Yaska does not mention 'dyotana' by name, but he seems to come very close to dyotana' here, which, however, is equivalent to "vyanjana' of the later alamkarikas In the Rk-pratıs'akhya we come across "vyanjana' only in the technical sense of a consonant As to why consonants are called vyanjana is not explained But we may presume that they are so called because the consonants are indicated or made manifest by their relevant souad units In Panini's Astādhyays, we find 'vyanjana' used 10 special sense in addition to the technical sense of a consonant In Pa II 1.34, we have, 'vyanjadarrupasıkte', wherein "vyañjava is something which serves to enhance the relish of the main item of food This usage extends the meaning of the word vyanjana to ingredients which add to the flavour of the origi pal substance or bring out its original taste to a greater advan tage. When Bbarata (Na S'X VI) while describing the pature of rasa gave the analogy of şādavadirasa and show the impor. tance of vyanjana, he might have had a his miad this idea viz. that of ingredients enhancing or exhibiting the taste of the original substance. This has an important beariogon the relation of vyanjana and rasa For Bharata vibbava, aqubbava and vyabhicârın are ingredients which enhance or make maoifest the taste of the sthayins How far this analogical application of vyañjada to rasa 15 responsible for the later relation of vyanjana and rasa 15 difficult to say in the Mabābbāsya of Patanjali, we come across many occurrence of Wañj and vi+Janj and also words such as RS 28 ·Rasa and Dhyani 434 vyanjana We find vitvany in the sense of suggestion as in Mbh Pa VIII 1 70 lige 151 page 381 (Mbb Ed heilborn)- 1bäpi mandrasadbana kriyanga vyajyate At Mbh Pa VIII 2 48 line 23 23{page 408 (Mbh Ed Keilhorn) we bave vyanjana in the sepse of 'prakasaga Thus we learn from the earlier literature that vyañjana has the sense of decoration, decorator, indication indicator, consonant sounds suegesting or giving the oner meaning and ingredients enhancing or exhibiting to advantage the original taste of substance From the study of the works of classical writers prior to Bhamaba and Dandin such as Bbasa, Asvaghosa and Kaldasa, we find that the meanings of the earlier literature continue But in these works we also find the later sense of suggested meaning or suggestion or something other then directly expre ssed or cleary grasped eg Bu Ca IV 84 bas "upapanna idam vakyan saubardavyanjakam tvayı, wberein a vakya is said to be suggestive of sauharda or the feeling of fnendship, or Megha (purva) 29 has-saubbagyam te subhaga vicabavasthaya vyanjayantı, wberein Nırvindbya suggests, by her state, the good luck of the cloud In Saundarananda XVIII 11-we have vyanjana in the sense of alamkara We know that in Vamana the word alamkara has two sepses viz that of saundarya and a figure of speech It is not unliLely that the word vya ijapa also had a sense similar to alamkara i e beauty or beautifying agent and also the sense of suggestion The first sense of alamkara seems to have gone out of usage but the second sease seems to have prevailed in sanskrit poetics Thus vyanjana 10 the sease used in sanskrit poetics seems to be current la the work of carly class cal writers Thus with the catlier poets vya janı seems to bave been accepted as suggestion in poetry This naturally makes for th recognit on of vya iyan as one of the functions of a word Tt ·Some other writers on Rasa 435 topic of the functions of words bas to be studied through the discussions in the works of grammarians and other philosophical schools From these discussions the following points emerge Firstly as regards the relation between Sphota and dhvani, we can make the following, observations (1) In the view of grammarans dhvani is explained as 'dhvanatiti dhvansh'. Dbyani is so termed because it sounds, or rings or reverberates Sphora The word ghata, for example, is used for the object gbata which is seen, touched, etc while the utterance of ghata is sound by itself This means that what is touched and seen is expressed through sound which is the function of hearing Thus dhvanı came to have the meaning of suggesting one thing by another This import of dhvani was taken up in poetics as suggestion-yyañjana in all its varied forms All the different items that had the capacity to suggest something were regarded as vyañjakas eg sabda, artha, pada, padāmsa varna and also guna, alainkārd, riti, yrtti, vakyaracana, prabandha as a whole etc (2) In the philosophy of the giammarians the sound 'ghara' for example, does not give the meaning directly It does 50 through Spha 11 which 10 its turn is suggested by the sound ghaia, Thus what we ordinarily call meaning is arrived at by an indirect process for the alamkarikas also, the process of vyangyārthagrabana is not direct but indirect We arrive at the suggested sease erther through abbidhi or through lakşa01 (3) The grammarians believe in vakyaspboia Tbey do not accept the separate existence of padas ic individual words, and much less of letters or varnas But common experience of ordinary people misleads many to believe that the meaning is derived from individual words or padas and thus through letters or varnas The Mimāmsakas accept this position. It seems, however, that here ordioary people, and so also the Mımāmsakas, do not seem to pierce th: vcil of delusion and they mistake the nature of condition for the nature of the ·436 Rasa and Dhrani contents The nature of the condition is the multiplicity of letters, the nature of contents is the unity of word-the vakyasphota Simliar is the case with some alamkankas Abhidha and laksanā form the nature of condition and vyanjanā or dhvani Is the nature of the contents Those who fail to distinguish between ends and means, seem to confuse abhidha and laksana with vyañjaa (4) To put it otherwise, for the grammarians, the letters may be taken just as what we may call the object of koowledge 1e jiānasya visayah while the word-whole is jñanasya phalamthe result or the fruit of knowledge For the alamkärikas also, abbidha and laksana are Jnanasya visayah, while vyanjana may be taken as jänasya pbalam These two arc not to be confused (5) The grammarians believe in vakyaspbota So they avoid the contingency faced by the padavadia viz that of recognising parts even of letters or varnas Similarly those alapkārikas who want to arrive at the vyangyārtba with the help of laksana, will have to go for a second laksana, and a third and a fourth laksanā ad infinitum, lovolving further prayojanas (6) Sphota is a distinct entity by itself, not to be fodentfied with dhyanı ie sound of a word The 'vyangya' is also a separate entity, not to be confused with abbidbeyasiba or laksyārtba (7) For the grammarians, there is a krama or sequence la the process of gathering meaning from nord From word to Sphola and from Spbota to meaning-this is the sequence in the same way with the alamkarikas also, there is a sequence perceptible or imperceptible, between vacyártha and vyadgyartha Ādaodavardbana, Abhinavaguptapada and Mammaia etc, while discussiog this topic refer to the budhas, the wise med 2 ·Some other writers on Rasa 437 who have taught this doctrine These budhas are Vaiyakaranas And they are, as we have seen, justified in making this remark The second line of inquiry leads us into the consideration of sabdarthavrttis in other schools of thought such as those represented by the Vaiyakaranas, Mimāmsakas, etc The points that emerge are as follows The vaiyakarana view, particularly as represented by Patanjali and Bhartrhart is as follows In Patanjalı, we find the discussion of mukhyārtha and gaunärtha. But we do not come across any definition as such of abbidha, gauni, laksana or vyanjana While discussing the gaunartha or secondary sense, be mentions four different circumstances in which secondary function takes place Tātastbya or the relation of location, tāddbarmya, or the relation of substance and quality, or function, sāmipya or the relation of proximity and sahacarya or being togetber are mentioned under Pa, IV. 1 48 We come across the term abhidboa paving way for abbidba vrtti In sadharmya relation as mentioned above, we find the material for gauns Yrtti and for lakşanā we find material in other relations as mentioned above. No strict line of demarcation is lard between gaunt and laksana When we come to Bhartrhari, we find material which is the source of vyanjana in the later alamkarikas In the Mbh, nothing more definite for vyanjanā is noticed than already noted by Us earlier. Bhartpharı not only meations gauna and mukhya artha but also discusses the problem of determination of the sease of a given word which has convention (sasketa) with reference to more than one senses, ie a word having multiple scoses In his view, the particular meaning out of several is determined by factors such as context, time, place, etc (V PII 317-318) It is important to note that Jater alamkarikas like Abhinava, Mammata, etc quote these very verses wbilc explaining the abbidhamala fabdi vyanjana Now, the particular sense being fired, others come to our mind, ·438 Rasa and Dhre according to the alamkankas with the help of vyañjan Bhartharı does not concern himself with the gathering of th extra sense He only discusses how a particular word, out the many conventional senses, is limited to convey only o sense at a time But it is exactly here that the alamkarik begin where the grammarian has ended Thus the origin inspiration for vyanjana 15 supplied by the grammarian Among the later grammarians, Nagesa was the first: recommend the case of vyanjana clearly As for the Mimamsakas, we find in Jajmjn) and Saba clear references to abbidha and laksana We also come acro: some varieties of laksana and dharma laksana is also terme günavada (Mt Su 1 2 10 ) Gunavada is also found to I used in a wider connotation of upacara or secondary applic: tion in general Later Mimamsakas such as humarila an others mention the tătparya vitti also But, there seerns to ! no reference to vyanjana as such As for the Naryāyıkas the acceptance of abhidha ! Gotama and others is clearly 2ndıcated in the discussion samketagrahana (Nya Su 1 265) We also come across reference to the pature of secondary usage or upacara in Nyi Su 11 2 64 The Vatsyayanabbasya illustrateg different varietie and also refers elsewhere to bhalti and bhakta artha But do not come across apy reference to vyanjana as such Later Naiyāyikas such as Gadjdbara and Jagadisa are no inclined favourably towards vyañjana which is just a menti cognition or mādasa bodha for them They accept words be radha laksaka jogarudha and yaugika (Sa Sa Pra 16 The relevance of noting dillerent views on sabdarthavrtti 30 different schools of thought is that our earliest writers o ·Some other writers on Rasa 439 He, Bhāmaha seems to be quite familiar with abhidba But as to his familiarity with functions of word other than the direct one, particularly vyanjana, we may say that vyañjană does not find the same place as abhidba in bis mind ie he does not seem to bave recognised vyanjana as a separate vytti bowever, uses yitvan) with the later meaning of vyanjana at different places Similar is the case with Dandia who also mentions gaunavrtti in clear terms Vamana refers to laksana but we miss any clear reference to vyanjana 10 his writing It is 10 Udbhata that we come across a clear mention of 'avagamapa' vrttı as distinct from vacyavacakavrtti (TV 47) when he defines paryāyokia This avagamana vitti cal. vyanjana In Rudraia, we come acros only an indirect recognition of vyanjana when he defines and illustrates bhavalamkara (VIII, 38-39) Thus, it seems that the import of vyanjana was not unknown to the early poeticists, though they had not clearly recognised it Anaodavardhapa, Abbīpava, Ruyyaka and Jagannatha observe that the fact of dhvani, though not clearly so named, was not unknown to the early poeticists such as Bhamaba, Dandin, etc who tried to subsume it voder different categories But I have tried to show that we do fiad an element of implicit sense in the treatment of various topics such as guna, alamkāra, etc by these authors, but it does not go to prove that they knew dhvani theory clearly and subsumed it kaowingly under various heads This may be the basis for the belief of Ananda, Abhinaya etc who observe that Bhamaba, Dandia etc knew dhvadı and subsumed it under different poetic categories The extent works of Bhamaba, Dandın, etc however do not give proof of the fact that they recognised consciously and subsumed dbvad, under various heads Thus it is only 10 the Dhvanyaloka that find the first sastric discussion of sabdartbayyttis giving a definite WC ·440 Rasa and Dhani as one status to vyanjana of the three sabdarthavrttis Io the discussion of the varieties of dhvani, Anandavardhana gives mainly three viz vastudhvani, alamkara dhyani and rasadhvani Io poetry, however, vastu and alamkara can be also conveyed by abhidha and laksana Its only rasa which is exclusively conyeyed by vyanjana It therefore seems that the clear recognition of rasa as the very essence of poetry necessitated the discussion as to how rasa, which is not conveyed directly, is conveyed The process of vyanjana appeared to be the most satisfying process for the suggestion of rasa Thus the fact of rasa and the function of vyanjana become interrelated, and hence the theory of vyanjana and rasa bas to be viewed as one For the proper understanding of this inter relation, an inquiry into the origin and development of the concept of rasa becomes desirable (3) In the vedas we find rasa not only in the physical sense of something liquid, but also in the sense of sap in the plants, animals, etc, and also the juice that can be pressed out or extracted, taste etc In one context, Ry LX 67 31 and 32 se may be able to find some reference to a meaning similar to kavyarasa There are the paymoi suktas to be studied by the psis Feeling of ecstasy or fulfilment is attached to rasa at Av X 8 44 Qualities as those of exhilaration, joy-giving, taste, ivaour etc. are also associated with rasa which thus becomes an objects of relish, a joy-giving csscoce These meanings make it very casy for the connoisseurs to utilise the word for the aesthetic flavour of sentiments and emotions as found in literature In the Na Sa (I. 17) rasa is associated with Av Rasa occurs very often la thc AV but there is no clear case of Jater meaning of kavyarasa or Datyarasa in it Abbingsa tries to explain this connection in his owo way But I have suggested that probably a better link can be sought in the bre-chacus, which are as many as 33, aod which can be safely taken as beautiful love lyrics, their ritualistic application notwithstanding ·Some other writers on Rasa 441 The Taittiriya Up. contains the famous utterance in which rasa is said to be the soul of the universe and which, on attainment, results in bigbest joy. This also can be taken as an original inspiration for later theorists In the Nigbantu, Nirukta, and Brbaddevată, we have potbrog sew to take a note of with reference to rasa. Panini's use (V. 295) of rasa is not very clear But the Mbh supplies some interestiog data Oa Pa V 295, Patanjali has the followiog discussion He tries to justify tbis sutra when precea ding sutra to the same effect is already there A possible answer suggested is that this sutra is mentioned in order to exclude the use of other matup suffixes Patanjali illustrates other matvarthiya suffixes as la 'rasiko gatah', 'urvast vai rūpink apsarasām' etc Kasika and Tattvabodhin on the Siddhantakaumudi make it clear that here 'rasa' in 'rasiko gaiah' and 'Tüpa' in 'ropini do not stand for sense qualities to be perceived by the correspondlog seose of taste and sight, but for acsthetic taste and beauty respectively Thus it is in the Mbb of Patanjali that we first find a clear mention of rasa 1a 'rasiko garah' in the later sense of the Na Sa Naturally the usage must have been much older for Patanjali to give it as an illustration Rasa' is the early classical poets such as Bhasa, Asvaghosa and Kalidasa, has the sense of taste. The authors lived before 500 A D and the Na sa. of Bbarata wbich is placed between 300-500 AD may be regarded as familiar with these poets or with such other works Whatever it may be, in the Na Śã we find the theory of rasa crystallised into a sutra This naturally presupposes previous discussions on the subject Whether the discussion on the nature of rasa started in the schools of dramaturgy or earlier palasutras mentioned by Panini, we have no Deaos of giving a definite opinion AS 10 case of vyañjadā, the earlier poeticists such as Bhamaba, Dandio, etc seem to be aware of rasa and bring it under alamkara guna and It 15 19 ·442 Rasa and Dhrani only in Dhy, that like vyanjabā rasa gets full recognition and is taken as the very essence or soul of poetry Thus 10 Dhy we fiod a full exposition of the theory of rasa, particularly the nature of conveying rasa. We saw that according to Ananda, rasa can be conveyed only through vyanjana In the Natyavedavivíti and the Locana by Abhi. navaguptapadácarya, we find other theories of the process of rasa realisation such as those represented by Bhatta Lollata, Şri, Sankuka, Bhaita Nayaka, etc It seems that Ananda bad all these theories before him in their embrionic form and he tried to establish that it is only vyanjana that can convey rasa Abbioava elaborated this poiat by giving in the purva-paksa the views of different thinkers and refuting them and finally establishing the vyañjana process as the exclusive process for rasa realisation However, there were still others who tried to disagree from Ananda Dhananjaya, like Bbatta Nayaka seems to maintain bhavyabhavaka relation with reference to rasa and kavya, white Kuntaka bas vicitrā abbidha, rasa being a form of yakroktı 1a tbe wider sense of the term and Mabımā tries to revive the anumitivada In Bhoja we find a different trend He has a novel approach and tries to correlate rasa-abhimanaahamkara-sugata, with the samkhya trend of thought in its background (see also Bhojavịttı on Patanjala sutra I 6 P 6, and II 6 P 18- ed Ägandasrama series ) Ramacandra and Gunacandra also strike a different note though the traditional views of Ananda and Abbigava ultimately gaia ground and are firmly reestablished in the hands of Mammala, Hemacandra, Visvanatha and Jagannatha The mental process wbich enables one to experience rasa can not be really separated from the experience itself as said above It may be analytically separated for the purpose of discussion But in fact it is one usitary whole It is for tbis Icason that we have to consider the theory of the process of rasa and the experience of rasa as It is for this very ODC ·Some other writers on Rasa 443 18 reason that the view that one bolds about tbe process of rasa affects the theory regarding the nature of the experience of rasa and vice-versa The consideration of this aspect is essential for the understanding of the cature of rasa We have there fore to consider the different views on rasa experience from this point of view also (As noted earlies in the earlier vedic literature rasa is something liquid It is favour in the mouth, sense of taste etc On the other side, it is the juicy extract of something, the essence of a thing In the Tarttırıya Upanisad we find that the atman wbich is the supreme reanty of the universe is also the essence of the universe--raso vai sah-) In sanskrit literature on one side we find the different meanings of rasa given 10 Amarakosa and other laxicons continue On the other side, however we find that might from the time of Palanjali and probably even earlier, the term rasa in use for noc material favour or taste ie in its aesthetic sense In 'rasiko patah' as doted earlier, we find the word rasa used in this sease. When the word rasa is used in early poetry, it appears in this sense of literary or artistic flavour. In the period of the Na Sa and even in earlier ages the nature of rasa seems to bave been a subject of great and varied discussion The Na Sā has crystalsed it 10 form of sutra Viz. “ybhavanubbavavyabbicãrisamyogadrasanispattih' (Na Sa Ch 6) The explanation given in the Na Sa shows that resultent of many things, technically of vibbava, anubbāva and vyabdicaribbãva It is explained on the analogy of sadavādırasa It is accompanied by a feeling of joy But any resultant of various logredients 18 not rasa the Na Sa The sentiments and the emotious, the stbayıbbävas and the vyabhıcanıs, sättvikabhāvas and their expressions anubhavas that are past and parcel of the human miod are experienced rasa 15 A 12 A5 rasa To put it in another way, one may say that raga is a taste of seatments abd emotions as they coze out from the cognitive ·446 Rasa and Dhrani he belonged to the school of Kashmir Saivism We have tried to suggest that exceptiog the case of Abbinavagupta who was a philosopher of the Pratyabhrza Scbool of Kashmir Saivism, bothing definite can be said of other Icaryas As dirvighina samvit and camatkára play the central role in Abbipava's philosophy of rasa, their techoical meanings have to be understood from a cosideration of them in the pratybhijaa school Abhinavagupta has said in the verses preceding his discussion that his is an attempt not to find fault with the teaching of the previous acaryas but to put them 10 clearer and purer form This is not merely an expression of modesty on his part If we analyse the different threads in the web of Abhinava s final stateacat, we will see ia then the opinion of the previous Ivaryas put ia & more acceptable posttion The sabrdaya who only has the capacity to aperceive rasa 's well informed about the relation of things and events, and the septiments, cmolions and feeling that they arouse in life This ingredient in rasa preception comes from, we may say, Lolaita The clement in rasa preception of the swiftness with which a sabrdaya, witnessing a drama or reading a poem, infers from the spactacle, the appropriate emotions, comes from Sri Sankuka Sri Sankuka also by invoking the citraturaganyaya frees the presentation 10 a poem of drama from the limitations of reality which would necessitate the judgement about the truth or falsehood or the doubtfulness or similarity of the poetic fact with life In other sords, Śs Sankuka takes poetic creation out of the field of gross reality The universality la the perception of ras& comes from the sadharanskarana of Bhajta Nayala 1a rasa perception onc s pot troubled by the intrution of the egoustic impulses of myness, thyness or hisoess This makes it possible for the sabrdaya to see a sthayibhava in its unversality, free from these obstrusions This makes for the heighteoing of pure CONSCIOUSD ss saltvodreka-bich is joy itself ·Some other writers on Rasa Abbinava weaves in his theory all these ideas frecing them from logica) blemishes. Abbibava accepts from Bhatia Nayaka his sadbaranikarana vyāpīra, but not his idea of bhogi. la his view vibbavīdis are adequate for the manifestation-vyaktıof rasa. The contemplation of the vibhavadis is compared to chewing. Thus contemplative chewing yields rasa. But the activity of chewiog and the experience of rasa are, so to say, pari passu, Jagaonatha accepts this view but substitutes vedantic terminology. He calls it .bhagnavaranı cit' and equates rasa with the experience of the highest reality, quoting 'raso, vai sah'. а We bave already seen that though Dhananjaya and Dhanika do not accept the theory of vyanjang, yet they regard the experience of all rases as joyful Bhoja also segards tbe experience of all the resas as joyful But Ramacandra and Gunscandra, and later on Siddhicandra in his commentary on K. P. called Kavyaprakasakhandana, follow dilferent tradition They take the realistic view that the sentiments, emotions and feel. Iogs, not pleasant in life, cannot be pleasent, because they are conveyed through poetry. We do not know whether Lollata who is a realist held this view But it is quite consistant for those who do not distinguish betacen the nature of the experience, in ordinary life, of sentiments, emotions and feelings from their cognition to poetry and art, to hold such a view, Most of the theorists in Sanskrit poetics have adopted the view of lokottarais in poetic experience. In fact it is by the suppression of the conctive side of the ego tbst the sasa cipel. cace becomes possible. Bboje however regards ahamkira and Abhimana as central to fasa. As already noted in his view a niyala, according to the type of his abhimins or ahankara, is able to ciferience the relevant rasa, cs. dhiralalita enjoys koma šrogira, dhiroddhais enjoys anba imgsra, dharma ing112 ·448 Rasa and Dhyani is enjoyed by a grhastha with bis wedded wife, etc (ś Pra, Cbs 18, 19, 20) In Bhoja's philosophy there are three stages of rasa viz parā, or (af), madhyamă and uttara For bim the traditional understanding of rasas comes in the madhyama kott Hes highest stage of uttara koti is the experience of preman rasa We have seen that Bharata regards eight only as the pâtya. rasas But we find the ninth rasa viz sānta, even in the Na sa, whether as a later addition or the view of a different school we are unable to say In any case, the experience of sänta rasa carries a man beyond the aesthetic stage as such lo it he comes back to life, where however, the ego and its passion are calmed down This is the life of an unworldly man If the suppression of egoistic passions is the condition of rasa, santa is also rasa But because it is a part of his life, it does not reach the aesthetic or imaginative stage The rașika of Bhoja who has the highest preman-fasa is in a way similar to this but different in as much as his view goes beyond the aesthetic sāota rasa to the state of preman-great love This imperceptibly carries us in to Bhakti rasa It is both imaginative and aesthetic in its nature as well as real for the Bhakta There is so much genuine poetry in the songs of the Bhakta which is a reality as far as Bhaktas are concerned The work of Rapaghosvámi viz Bhaktırasamtasiadbu and Ujjvaladılamamı illustrate this development Hansavılāsa, the Sanskrit work of the Gujarati poet Mittu (18 th Cen) also illustrates this development in a new way We thus find in the rasa theorists an attempt to grapple with the type of experience which in poetry and art, using the material of life, yet takes them beyond life's egoistic limitations and io certain cases makes their very life free from such fimi. tations Thus rasa is a spiritual experience and we find it illustrated 10 the history of Indian culture, wherein poetry, art and religion move together ·449 Some other writers on Rasa Foot-notes (1) Editions (1) A Barooah, Calcutta 1884 (2) by Vireśvara, Sastri, Benaras 1888 (chs iv and v) (3) by Jivanand Vidhyasagar with Com. of Ratnesvara (on chs 1-113), Calcutta 1894, (4) by Kedarnath Durgaprasad and Vasudev L Paasikar, Nırpaya Sagar Press, with Comm of Ratnesvara on chs 1-111), and of Jagaddhara (on 1v), Bombay 1925, 1934 Our references are to this (2) This classification seems to be based upon the different types of marriage (3) It may be noted here that Goolt in his learned introduction mentions only rasa as dhvani proper ·SELECT BIBLIOGRAPHY Atharvaveda with Sayapaś Comm. V. J. Series (End. 1961) Atbarvaveda W.D Whitpey Vol. I & II (Motilal Banarasidas. Edn. 1962) A grammatical word-index to the four Vedas (VVRI S V. Series Vol. 18, 19 Edn. 1963) A grammatical word-ndex to Arbarvaveda (Saunaka and Paippalada) VVRI S.V. Series Vol. 17 Edo, 1963) A grammatical word-index to Taittiriya Samhita (VVRI.S.V. Series Vs 20, Edo. 1963) Astādbyāyı of Pānını (Edo. Sušacaodravasu-1891) Abhijñāna sakuntalam-(Eda N. S. Press) Alamkārasarvasva-Ruyyaka (Edn. N, S. Press, Bombay) with Ananda Mimāmā-Prot R.C. Parikh (Edn. 1963. Oriental lostitute, Baroda) (N. S. Edition). Abhidbavitimatīkā-A word index to Nighantu and the Nirukta Sarupa (BO.R I.) Abhinavagupta-K, C. Pandey (Vol. I.) The Bhasya of Uvata on Yajurveda, The Bhäsva of Mabidbara on Yejurveda. Buddbacarıta (Edo. Cowell 1893) Bhojas Spreara Prakāśa-V. Raghvan. (Pudaryasu, 1963) Bharatiya Sahitya Sāstra (G. T. Deshpande (Hindi Edn ). 1960 Bhojavrtti on Patanjalasutra. Chandogva Upadisad-(EdVaidic Samsothana Mandala, Poona 1958-Astādaśah Upanisadah Citramimamsa (N S Press Second Edn. 1907). Dhvant.3mpradāja aur usare Sıddbanta-Bholasbanker Vya (Hind Dhvanyaloka with Locana (Edo NS Press-1911 -Kavya nala 2: Dasaraoska with Avaloka (9th Edo. NS Press Bombay, 192 Ekavalı-Vid.jdbara (with Tarata K.P. Trivedi Edn 1903) ·451 Select Bibliography The bymos of the Rgveda by ATH Griffith Vol I & II (The Chowkhamba Sanskrit Studies Vol XXXIV, V, Edo 1963) History of Sanskrit Poetics De Edo, 1960 History of Sanskrit Poetics, P V Kane-3rd Edo. 1951) History of Sanskrit Literature-Keith Hamsavılasa of Kavi Matthu (GOS Edo) (1937) The hymns of the Sāmaveda by R.TH Griffith (The Chowahmba Sanskrit Series Vol XXVIII Edo 1963) Introduction to Logic-Susade Stebbing Indian Aesthetics-KP Pandey Vol 1) Isvarapratyabhinavimarsini Isvarpratyabhijñāvivștivimarsini Jaiminjvopanısad Jayarathas* Vimarsini Edo 1893 Trivendrum Sk Series with Com of Samudrabaadba Edo 1926 (Second Edo) Kumārsambhava (Edn NS Press Kusumanjali-(Edn Bibliotheca lodica, 1895) Kavyālamkāra of Rudrata (Edn NS Press, Bombay with Namı Sadhus comm, 1909) Kavyaprakāsa of Mammala (Bombay Sk Series with Bala- Bodbioi of Jbalkikara Edo 1917) Kāvyānusāsana of Hemacandra (with Alamkaracudamanı and Viveka Ilnd Edn-RC Parikh and Dr Kulkarni 1965) Kuvalayāpaoda (N S Press, Edo Second 1913) Kävyaprakasakbandına Edn Prof Parikb (Singhi Jaina Granthamala Edn 1953) Kavyalamkara of Bbanaba (Edo Chokhamba Sk Series - Vikram Samvat 1985) Kavyalankarasutrāni-, Vamana) Eda Benares Sanskrit Series- 1908) Kavyadarsa of Dand o (Edo. BORI-Rangacarya Reddi) havyalamārasārasamgraba of Udbhara (Edn Bornbay Sansknt Series and Prakrit Series No LXXIX 1935) Linguistic Speculation of the Hindus-P C. Chakrawartı ·Rasa and Dhrani 452 Lectures of Patanjali's Bbāsya-by P. S. Subramanyasastrı (Annamalai, 1944) Lagumanjusi. Mabābhasya of Patanjalı (Edo. Kelborn Vol I, II, III BSS-1906) Meghaduta-(Eddition N. S Press) Madhav on Saktivada of Gadadhara. Malavikagoimitram-Edo. NS Press) Manjusā of Nage abhatta (Edo ) Multävalt- Mundakopanısad Mimamsa or the Vaky asāstra of Ancient lodia-Prof. Devasthalı Meaning of Measing-Ogden and Richard The Nighantu and the Nurukta (L Sarup Edn. The Nighantu and the Nirukta (L. Sarupa-Motilal Benarasidasa Edn. 1962) The Natyasastra ascribed to Bharata Muni (Traaslation, Manomoban Ghosh) Bibliotheca Indica A collection of Oriental Works. 1951) Natyasāstra (Vol 1.) GOS. Eda 1956 Second) Natyadarpana (GOS. No. XLVIII. 1959) Natyasastra (Vol I-IV) GO.S. Edo. 1934) Nyayamanjars (Edn. Viziapararam SL Series 1895) Nyayabhasya (Edn. 1250, Chawkhamba Sk, Series). Nyayakosa-Jhalkıkar, Nyayaratoamala of Partbasărathi Nisra, Plays ascribed to Bhasa (Bhāsanatakacakram) (Puona Oriental Series Edn. Prof C R. Deodhar 1951) Predeepa on K. P. (Edn. nith Prabha-Kavyamila 54. N. S. Press, Bombay 1951) Pradeepa on K.P. (Poona) Parva Mimarpsasutras (Edo. Tran Ganganatha Jha, 1910) Prajnopenisad Philosophy of Word and Meaning-Gaurinath sastri Purva Mipass-Dr. Ganganatbe Jba Principles of Literary Criticism-I A Richards 1 ·Select Bibliography 453 ) Philosophy of Sanskrit Grammar-Chakravarti Prataparudriya of Vidyabatha Punyaraja, Heidrāja on V.P. Rgveda Samhita-(With Comm of Sayana-Tilak Maharastra Vidyapith Vaidika Samsodhana Mandala, Eda 1946) Rkpratisakhya Raghuvamsa (End NS Press Rasagangadhara (with Nagaji's Comm NS Press Bombay, 6th End 1947) Rasa and Dhvani-Shankaran Sukla Yajurveda Samhita (with Comms of Uvara and Mabi. dhara Ed 1929 NS Press) Samaveda (N S Press Sayanabbaşya of Rgveda Saundarananda (Edo Haraprasada sastrı Bibliotheca Indica 1910) Sabarbh'sya on Jaimizi Sutras (Edn Slokavārtika of Kumārıla Bhatta (Edn Chowkhamba Sk Series 1898-9 _Tans Jha 1900 BI) Saktivada (Edn Sarabodhins on KP- Sabdasaktiprakasika of Jagadish (Edo Sarasvatikanthabharana (N. S Press Edo with Ratgesvara's Comm Ed 1925) Sahitya Darpana of Visvanatha (Edn P V Kane, 1951) The Sanskrit Drama-Keitb, 1954 Sanskrit Poetics (Krishna Cartanya 1965) Samkhyakärikā (Benares Sk Series Edo 1883) Some Concepts pf Alamkarasastra-Raghavan Sāártyacudamani ou KP Sanketa of Mānikyacandra on KP Sudbasagara on KP (Kashi, 1994 (Vi sam ) ) Sampradayaprakasini op KP Sabdakausidba Sabityadarpana-(N S. Ed 1922) )

·454
Rasa and Dhani
Theory of Rasa 1a Sanskrit Drama-H, R Mlosbra, (Vindhyacala
Prakasada' 1964)
Tattvabindu of Vacaspati Miashra
Taittırıya Upanışad
Tantravartika oo Kumária Bhajta.
Tattvavıbbavana, a tka on Tattvabindu
Ujjavalapjlamant (with Comm of Jyva Gosvami-N S, Press,
Edo 1913)
Udyota on K P. (Poona)
Vikramorvasiya (Edp NS Press
)
Vākyapadiya (Edo. with Com of Punjarāja BSS 1907)
Vakrokti Jovita of Kuntaka (end Eda De Calcutta Oriental
Series, 1928)
Vyaktiweka of Mabıma (Edo Triveadrum SK. Series 1909)
Valsesika Sutra (Benaras Sanskrit Series, 1885)
Vittivārtika (Kavyamata)
Vuxnabbaijaya
Vaayakaranabhusangsara-Kondabbatta.

·ABBREVIATIONS Abhi Sa -Abhijana Sankuntala A bh-Abbinayabbarats AVM -Abhidhāvșttımātrka Av-Atharvaveda BORI Bhandarkar Oriental Research lastitute Bu Ca -Buddha Carita Dhy Davanyaloka DR Dasarupaka of Dhagadjaya GOS Gaekwads Oriental Series KP-Kavyaprakasa of Mammata Kumara-Sam -Kumārasambhava Malavika -Malavikagormitram Mbb-Mahabhasya of Patanjali Megha Meghadata Mi Su Mimamsa Sutras Na Śa-Natyasāstra Pa Panios Pa Su Pantai Sucra Pratijña -Pratigayagandharāyaria Pratima Pratimapataka RY-Rgveda RK-Pra Rápraušakhya Ragbu -Raghuvamsa Sau -Saundarananda Sa -Sāyana SB-Sábarabbasya on Mimătpsā Sutras SKA -Sarasvatt Lanchabharana of Bhoja Śr Pra -Ssangára Psakāsa of Bhoja Svapna -Svapaavasavadattam Sy Sanaveda Vikramo -Vikramorvastya VP-Vákyapadiya

·456
Rasa and Dhyari
VI-Vakroktijinta of Kuntaka.
Vy v Vyaktiviyeka of Mahima.
Yv-Yajurveda
म् वेदान्तस्त्र
वे
न्या सू.-न्यायसूत्र
मी सू मोमासा सूत्र
सा द-साहित्यदर्पण of विश्वनाथ
दुर्ग-दुगाचार्य on निरूक्त
श श प्र-शब्दशक्तिप्रकाशिका
वै
सू-वैशेषिक सूत्र
शाबर माशावरभाष्य
व्य वि.-व्यक्तिविवेक
व जी-दक्रोक्तिजीवित

·Kalidasa 28, 33-4, 212-3, 222, 224-7, 434, 441.
INDEX
AUTHORS
3 Apayyadıksıta, 70, 110, 117-8, 122, 245
Abhayadevasuri, 401
Abbinavagupta 100, 101, 116, 177, 197–8, 235, 240, 244-5,
248, 256, 258, 260, 271-2, 275-7, 279, 287, 299,
307, 315, 325, 327, 331 338 340-52, 353-7, 360,
371-6, 378-9, 381-2, 384-94, 396-400, 401-6, 408,
410-5, 425, 427, 429-31, 436-7, 439, 442, 444-7
Amarasimba 79
Asvaghoşa 28, 31, 34, 210, 212-4, 224, 434, 441.
a Āpandavardhana 41-2 148, 177, 235, 240, 242-3, 248-50,
252-58, 260-84, 286, 290-1, 294-6, 298, 307, 314,
321 330-2 339, 343, 347, 351, 358, 364, 407-8
411-12, 415, 425, 427, 429-432 436, 438-40,442,
444
Isvarakršna 422
Utpalacārya 401, 410-11
Udbhata 160-1, 177, 190, 235, 232-40, 242, 244, 246-7,
266, 307, 312, 316, 348, 439
Uvata 11-2, 172 4, 205
Aristotle 403.
* Ovan Barfield 121
$ Kalbana 404, 407
Kane, Dr. 309, 357, 374, 393, 408, 445.
Katyāyada 81.
Ksemarāja 402, 407,

·458 Rasa and Dhyani Kirtidbara 358. Keith 210, 212 Keilhorn, Dr. 37, 39, 211, 226, 434, Kuntaka 110-11, 308-11, 315-7, 442. Kuppuswāmı, ſastri M.M. 338 Kumarswami A K. 407. Kumarla Bha113 71, 85, 96, 99, 104, 109, 143, 438. Krsnabbatta 146. Krşnamoorth 42 37 Gadadhara 245-6, 438. Gārgja 433. Gunacandra 331, 425-6, 442, 447. Gotama 14+ Goviada 393 Govind Thallura 117 Gnoli 401, 401-7, 410. Griffith 1-9, 13, 16-9, 21, 203, Chipiiman) TP. 407. 31 Jagadisa 72, 82, 145, 147, 438. Jagannaiba, Pandita 110, 119, 171, 430-1, 439, 442, 447. Jayaratba 334. Jaimidi 140-1, 143, 438. Jogaeadrasarasvati 211, Jhalakıkar 393, 445. De 41-2, 160, 173, 177, 190, 246, 330-1, 374, 393, 404, 417, S45. 7 Tarunavacaspati 245-7. Dandia 41, 68, 160, 166-8, 177, 179-81, 185–9, 213, 235, 238-40, 242, 244-7, 269, 330, 359, 416, 434, 438 9.

·459' Index (Authors) Dhananjaya 307, 317, 330, 412-6, 429, 442, 444, 447. Dhanika 307, 317, 320, 330, 336, 412-6, 447 a Namisadhu 175-6, 241, 247. Nagesabhaita 63, 107, 139–40, 438 a Patañjal 25-6, 36, 43-4, 46, 72, 74, 102, 137, 148, 210, 212, 226, 410, 443, 437 Parikb, Prof R. C 401, 403, 409-10. Pandey, Dr. KC 357, 359 60,374, 393-4, 402, 404, 408, 410, 445 Panini 25, 36, 74, 154, 210, 212, 433, 441. Parthasarathimista 99 Punyarāja 123-7, 138, 155 Pratshārendurāja 173, 307, Prabhakara 85, 87, 95-6, 105 Badarāyana 339 Becharadās, Pandit 401 Bothlingk 15 Bloomfield, Mourice 199, 200 27 Bhalla Tota 36-8, 374, 405-6, 411, 444 Bhauianayaka 271, 307, 341-2, 357, 369-75, 379, 394-5, 407-12, 414, 431, 442, 444-5, 446-7. Bballabārāyada 398 Bbatta Lollata 131, 238, 240, 356-61, 364, 369, 379, 393-4, 401-4, 412 417, 419, 431, 442, 444 446-7 Bhaltenduraja 411. Bharata 26, 29, 202, 213, 229, 233, 236, 241, 256, 266, 241 359, 361, 363, 402, 404, 408, 411, 424, 429, 433, 441, 448 Bhartrhari 46, 51, 69-70, 75, 83–4, 128, 138-9, 135, 437-8. Bhāmaba 29, 41, 68 160-6, 177, 179-83, 213, 234, 236-9, 242, 244 6, 269, 274, 330, 348, 434, 438-9, 441. Bbāsa 28-9, 34, 212-3, 218, 224-5, 227, 434, 441 Bhoja 68, 307, 330-1, 339, 412, 416, 418-24, 427, 429, 442, 447-8 ·-460 Rasa and Dhyan! Mandapamišra 92, 107. Matburanath 145. Mammata 42, 63, 100-2, 107, 109-10, 114-6, 139, 147, 160, 176, 277, 331, 355, 359, 394, 402-3, 405-6, 414, 430-1 436-7, 442. Mallingth 33, 34. Mahidhara 202, 205. Mahimbhatta 68, 101, 106, 110, 118, 307, 320, 321-7, 329-31, 338, 442. Manikyacandra 104, 106-7, 109, 133, 134, 245, 406. Mitthukavt 425, 448. Mukulabhatta 107, 109-11, 307-9. Monier Williams 230. u Yaska 25, 202, 208, 433 Rangacarya Reddy 246-7. Raghvan, Dr. V. 330, 338, 416-8, 423, 430. Raneiro Gnoli 230. Ramacandra 261, 331, 425-6, 430, 442, 447. Rudrabhatta 430 Rudrata 160, 174-7, 190, 235, 240, 242, 244, 247, 266, 434, 439. Royyaka, 177, 178, 310, 439. Rupagosvamt 448. Rotb 15. Laksmanagupta 411. a Vacaspatimiśra 86-7, 90, 92-3, 98, 100, 110, 118, 128. Vätsyāyana 92. Vamana 68, 163, 168-72, 177, 235, 239, 242, 244, 247, 348, 434, 439. Vidhyadhara 309, Višvaaatha 70, 109-10, 117, 123, 139, 270, 332, 406-7; 430-1,

·461
Index (Authors)
Whitney 14, 16, 21-3, 206-7.
Śarikuka, Sri, 356-7, 360-5, 368-9, 374, 387, 393-4, 402,
404-5, 412, 417, 431, 442, 444-5, 446.
Sambhupatha 411.
Śabara 97, 140-1, 143, 438.
Śarngadeva 358
& Sarup 35.
Sāyana 1-9, 17 19, 20-3, 195, 203, 206
Siddhasenadivakara 447
Siddhicandra 447
Susana Stebbing 119, 121.
& Haricandra 309, 359, 403
Harsa 213
Hemacandra 105, 112, 122, 135, 192, 354, 401, 410, 414,
442

·INDEX
BOOKS
e Agaipurāna 339
Atharvaveda 14, 16, 20-3, 198-200, 206-8, 440
Abhimaašakuntala 34, 40, 228, 398.
Abhidhāpasakuplala 34, 40, 228, 398
Abhidhavſtim trka 135, 308-9 333
Abhinavabhrali 246, 311, 315, 355 6 762, 374-6, 386,
403 407, 409-11
Abhis-ka 38
Amarkost 422 433
Alankarasarvasva 178, 313
Avaloka 307, 317, 330, 336, 414-5
Avim rakı 38, 219
Asiydhyāy: 25, 26 210, 433
& Indian Aesthet cs 402, 408, 410
Introduction to Logic 121
$ Issarapsatyabhijana Karika 401
Isvarapratyabhimăvivt tivimarsini 410.
Ujjvalant'amanı 418
Udyota 109
h Urubhanga 39, 222
RE Rkprstisakhya 25, 433
Rgveda 1-9, 15-23, 193-7, 202-5, 440
Rlusamkira 40.
Fkavalı 30

·463 Index (Books) $ Comparative Aesthetics 402. Karnabhara 221. Kavyakautuka 406. Kivaprakasa 63, 114, 116–7, 122, 127, 131-3, 135, 312, 333, 339-40, 403, 405-6, 410, 447. Kavyaprakasakhandana 447. Kavyamimimsa 331, Kavyadarśa 166. Kavyanusasana 122, 133, 135, 401, 431. Kavyalanlara 181. Kavyalamkarasatravetti 168. Kagika 441, Kirātárjudiya 315. Kumarasambhava 33, 3)-40, 225, 227, 313. Cārudnia 30, 38 3 Chandogyopanisid 201-2 a Tativabodhavidbayo 401, Tartvavibhāvao7 129. Tattvabindu 96, 127, 129, 130-2. Tativavodhios 441 Taitvaloka 351, Tarkadspikā 122, Tantravārtika 109, 133, Taatrasāra 396. Taittirisopantsid 201, 201, 241, 443. & Dasarūpaka 307, 330, 412-5, 425 Dutaghatotkaca 39, 221 Dotavākya 30, 221, 27 Dhvanyaloka 62, 112, 122, 135, 235, 248, 250, 256, 262, 265, 266, 268, 270, 272-85, 289;-300-7, 313, 326-7, 334–5, 338-9, 310-45, 347-7, 350–57, 405-6, 423, 432, 439, 447. fa ·464 Rasa and Dhrani 7 Nāgānanda 265 Njiyadarpana 331, 426-7, 429. Natyavedavtal 341, 442, Naty&sstra 197, 213, 229-30, 232-4, 239, 241, 243, 341, 355-7, 361, 367, 375-6, 380, 392, 401-2, 408, 411-3, 416, 430, 433, 440-1, 443-5, 448 Nighantu 24, 25, 441. Nurulta 24-5, 35, 191, 202, 208, 433, 441. Nyakosa 154 Nyayaratnamala 99 Nyayasutra 438 Pancarstra 39 Paspasaboia 43 Poetic Diction 121 Pratiparudssya 101, 105, 133, 134. Pratijntyaugandhariyana 38 Pratimanataka 31, 38 Pradeepa 133, 136, 393 Prasnopanişad 201 Principles of literary criticism 121 Priyadarsila 213. g Balacarita 39, 222 Bulabodblot 101 Buddhacarita 32, 39, 214-7, 224, 227, 434 Broaddevacă 191, 209, 210, 441. * Bhaktirasimptasiadhu 448. # Madbyamavyayoga 39, 220 Mishabbiļya 25, 28, 35, 63, 65, 123, 137-8, 210, 433. Malayskagamitra 34, 40, 225, 228 Mundskoranized 201 Modratakşasa 315. Meghd3ta 33, 40, 227, 228, 134 ·465 Yajurveda 10-2, 20-1, 192-5, 197, (śukla) 205. Yogasutrabbāşya 129. 7 Raghuvansa 34, 40, 223, 227, 312, Ratnavali 213, 261. Rasakallka 430. Rasagangadhara 122, 136, 178, 431. Rajatarangins 407. Laghumaðjuşā 121. Locana 65, 135, 178, 243-4, 260, 261-2, 276-7, 287, 292, 299, 300, 303, 307, 338, 341-5, 347-57, 408, 411, 442, 7 Vakroktijivita 135, 307, 310, 316, 333-6, 338-9. Vakyapadiya 46, 63, 65, 122-3, 127, 129, 138-9, 155, 437. Vatsyanabbaşya 438. Vartika 81. Vikramorvastya 39, 40, 223, 228. Viveka, 409, 410, Vettivartika 122, 136. Ventsahara 261. Vyaktiviveka 135, 307, 321-30, 338-9. Vyasabbaya 410. Saktivaua 145, 146. Sabdaksustubba 122. Sabdaśaktiprakašika 145-7, 159. Sabarabhiya 109, 125, 155. Śroggraprakasika 307, 330, 416-7, 419-21, 423-6, 448. ở Sapmatitar: 40i. Sarasvatſkantbabbarana 330, 416, 420-1, 424, 425. Sangeetaratoakara 358. Sunskyt Poeties 246, 339, 357, 404.

·466
Samaveda 12-3, 22, 206.
Sāhityacūdamani 133.
Sāhityadarpana 106, 117, 122-3, 125, 132-4, 136, 156-8.
332, 340, 408, 431,
Sankhyakanka 422.
Siddhanta Kaumuni 441.
Saundarananda 31, 39, 217-8, 224, 227, 434.
Svapoavasavadatta 218-9.
Sudbāsagara 134,
& Hansavilasa 425.
Hymns of the Atharvaveda 192.
History of Sanskrt Poetics 393,
Hrdayadarpana 307, 407, 408.