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The Dhvanyloka and the Dhvanylokalocana: A Translation of the Fourth Uddyota, Part II Author(s): J. Moussaieff Masson and M. V.

Patwardhan Reviewed work(s): Source: Journal of the American Oriental Society, Vol. 97, No. 4 (Oct. - Dec., 1977), pp. 423440 Published by: American Oriental Society Stable URL: http://www.jstor.org/stable/598627 . Accessed: 21/08/2012 16:10
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THE DHVANYALOKA AND THE DHVANYALOKALOCANA: A TRANSLATION OF THE FOURTH UDDYOTA, PART II*
J. MOUSSAIEFFMASSON AND M. V. PATWARDHAN
OF TORONTO UNIVERSITY POONA

DHVANYALOKALOCANA, CHAPTER IV "I bow down to that gakti of giva by whom he has been rendered devoid of the necessity of resorting to anything else for carrying out the five thingsl he must accomplish." The Vrttikara, in order to establish the logical connection [of this Uddyota] with the preceding Uddyotas, says: "Having thus analyzed." Although the purpose2 [of the exposition of dhvani] was already given earlier, namely to delight the hearts of sensitive readers, and although towards the end of the third Uddyota the same was slightly clarified by saying " [by those who want] to write or to recognise good poetry,"3 nonetheless, he now engages in a further effort to make [the same] even more clear. Since a thing can be understood only if it is put forth in a very lucid manner, therefore the description [of a thing] in a clear way, appears to be different from the former, unclear description, and therefore he has said: "A further purpose." Or else: The difference between the two purposes [namely, creating good poetry and recognising it], is given [here]. By what speciality does the creation of good poetry become a purpose of dhvani, and by what speciality does the recognition of good poetry [become a 1 This refers to the five "functions"such as srsti, etc. They are given in the BP., p. 521. See also SarvadarB.O.R.I. edn., 1951, p. 180. Sanasafigraha, 2 The prayojanas referred to are of this book, not of dhvani in particular, though ultimately the two are
practically the same. Sahrdayamanahpritaye is given in I. 2 as the secondary prayojana of the work, with dhvanisvariupaniriupana as the major prayojana. 3 This refers to III. 45, and the distinction between * Pt. I appeared in JAOS 97.3 (1977), pp. 285-304.

purpose of dhvani]? This is the difference that is now being described.4 Out of these two, what kind of role does dhvani play in the matter of This should first be producing good poetry? explained, because only when good poetry is [first] accomplished, can it be known [as such]. Thus he says: "Through the description." Objection: "To say that endlessness of the poetic imagination arises from the different varieties of dhoani is to [have committed the error of making the cause and the effect] reside in different places." 4 We are puzzled about the distinction between the
two prayojanas (namely satkdvyakarana and satkdvya-

bodha)of which Abhinava speaks here and which he says was in the mind of the Vrttikara when he made use of the expression prayojandntara at the beginning of the fourth chapter. We are not sure in what part of the
fourth Uddyota the praqojana satkdvyabodha has been

dealt with in the sequel. Here Abhinava says: "First, it should be explained how the exposition of dhvani helps the composition of good poetry. For when good poetry has been first composed(nispddita), it can be recognised as such (jieyatvdt) by critical readers." So accordingto Abhinava the main business of the fourth Uddyota is to explain how the employment of one or another of the countless varieties of dhvani leads to the composition of good poetry (satkavyakarana). When good poetry has been composed by the employment of dhvani, it can at once be recognised as good poetry by those who know what dhvani is and how it is the very life-force of poetry. Thus in regard to the two prayojanas stated towards the end of the third Uddyota(in I<arika45), the Vrttikara [and of course, by implication, the Karikakara] want to make clear the distinction between them in the course of Uddyota IV. The actual distinction between the two prayojanashas not been given anywhere in the
fourth Uddyota. good poetry. It is only shown, in great detail, how

the knowledge of dhvani helps the poet in composing


The other prayojana, viz., satkdvyajnina,

the poet, who must learn to use dhvani in his works, and the critic or reader who must learn to recognise it in poetry. 423

follows automatically in the wake of satkavyakarana. This, according to Abhinava, seems to be the antara, distinction, between the two prayojanas.

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Journal of the American Oriental Society 97.4 (1977) In this matter he mentions the employment (anvaya) of atyantatiraskrtavucya. "As the fawneyed girl." The following words have their literal meanings completely negated: "mugdha" ignorant, "madhura" [sweet], "vibhava" [riches], "sarasa" [wet], "kisalayita" [sprouting], "parimala" [fragrance] and "sparsana" [touch].9 These words, "smita, etc.," all suggest other meanings; e.g., unaffected beauty, the fact of being loveable to everybody, unobstructed nature [of the glances], allaying all agony and giving gratification, gentleness, power to leave a permanent impression on the mind, and the covetableness of union at As soon as the any cost (yatna), respectively. 'smile, etc.,' whose literal senses are quite wellknown, become endowed with such [suggested] qualities as are altogether different from those endowed by old Brahma, then at that very moment, the poem (tat, i.e., tatkavyam) of course become novel (apurva). This holds good everywhere [i.e., not only in this example]. "This verse appears." This should be construed with apurvatam [novelty] eva bhdsate that follows [to give the sense: "This verse of course becomes novel"]. In the case of all the [subsequent] examples, the word "asya" [preceding each of them] is to be construed with the word "navatvam" [following them] [to give the sense: "This stanza becomes endowed with novelty or originality"]. The second word "first" suggests a different sense, namely its own literal sense combined with other qualities such as the undeniableness of his eminence, his uniqueness (asddhdranatva), etc. In the same way, the word "lion" also reveals its own sense combined with additional suggested meanings, such as valor, independence, and marvelousness (vismayaniyatbe called upon at will. Dhvani may well be the principal element in poetry, but it cannot be separated from any given poem, as something that exists alone, apart from any given work of literature. It is a useful abstraction, but Ananda treats it almost as if it were a living being I 9 Here are the vdcydrthas,the laksydrthas and the vyangydrthasof these words: mugdha,innocent, natural, unaffected [beauty]; madhura, sweet, pleasing, lovable to all; vibhava, grandeur, abundance of glances, unobstructed nature of the glances; sarasa, wet, soothing, allaying all agony and giving gratification; kisalayita, sprouting, manifestation, gentleness;parimala, fragrance, loveliness, power to produce a permanent impression on the mind; spar ana, touch; prdpti, covetableness of union.

Anticipating this objection he says: "Should you ask how." Here is the answer: "For literature." Never mind many varieties, even one variety will accomplish the same purpose, this is the force of the word "api." Here is what is meant: Poetic imagination is a particular vision that a poet has of the thing to be described. And since objects fit to be described are after all strictly limited, they have all been touched upon by Valmiki, the first poet. The poetic vision of all [other writers] with respect to these objects will be similar to Valmiki's, and from this it follows that all poetry will be similar to the poetry composed by him. So the use of the word "poet" would no longer be possible. But because of the variety of striking ways of expressing things5 (uktivaicityra),6 those same topics (artha) become inexhaustible, and thus it is only reasonable to say that the faculty of poetic imagination with respect to them is also endless.7 Objection: "What is the purpose of the endlessness of poetic imagination?" In order to explain this he said: "Literature appears fresh." By this [employment of the different varieties of dhvani], speech, that is, poetic sentences, [ultimately] become novel. This [i.e., novelty of poetic sentences], takes place when there is an endlessness of poetic imagination. And this takes place when there is an endlessness of [poetic] themes. And this takes place through the varieties of dhvani.8 5 This anticipates IV. 7 [p. 543] where the same idea is given. Cf. also Vrtti, pp. 541-562. 6 Read uktivaicitryena and not uktavaicitryena as printed. 7 It is better to take tena on p. 522 as referring to rather than to pratibhanantyedhvanibhedasamdirayena, na. 8 The causal chain is therefore as follows: dhvanibheddarayanagives rise to arthdnantya,which gives rise to kavipratibhanantya,which gives rise finally to kdvyavakyanam navatvam. The logical connection between the two Karikas is not very rigorous. The point is that the varieties of dhvani are the root cause of every other quality [including pratibhd]. Pratibhd is, for the author of the Karikas, simply one aspect of dhvani, not its cause. It is as if Ananda considereddhvani to be nearly autonomous of the author, a kind of spirit of the muse which, when it descends, however lightly on a poem, confers upon it the status of "good poetry" which is synonymous with dhvanikavya. Ananda seems to confuse his own careful understanding of important elements within poetry with objective elements that could simply

MASSONAND PATWARDHAN: Dhvanyaloka and Dhuanyalokalocana, Part II va), etc.10 Having thus illustrated the two subvarieties of avivaksitavacya, he now prepares the ground (&sutrayati) for illustrating the sub-varieties of vivaksitdnyaparavScya also. "Freshness

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also accrues." (Nidrdkaitavin means) "faking sleep," i.e., he was only pretending to be asleep. "Rests her mouth on the face." Because she was not able to forego the exquisite pleasure coming to her from touching his face [with her lips]. Therefore he is spoken of as "dear" (priya). "Wife" means "Newly married [wife]." "Bodhatrdsena" means "out of fear of awakening her husband." Because of that she was held back forcibly. The desire to kiss him, though rising up in her again and again, was with the greatest difficulty restrained by her for a moment only. Hence she remained again and again wavering, in order to ascertain whether he was really sleeping (dbhogena),l but she was unable to entirely refrain from kissing him. He, [on the other hand], thought: If I kiss her in this [hesitant] state she is in, she will be embarassed and will turn her face away. And so he too did not attempt to kiss her either. "And [yet] their hearts." [This word,
"ssdiknlksapratipatti" is a bahuvrihi compound

actually achieved, and [moreover] shyness is directly expressed [and not suggested].13 And she was kissed by him [as well]. Thus although in this [second] verse Srnigdra,(i.e., rati) is nourished (posita, i.e., strengthened), nonetheless, in the case of the love-play (rati, i.e., kimakrida) spoken of in the first stanza, there is no possibility of an end to the continued checking of the eager desire to kiss each other; and hence this [interrupted] love-play, by suggesting that the mind of each is completely fused with the mind of the other, nourishes to an extraordinary degree [i.e., intensifies] the love of both.14 Having thus illustrated the four basic varieties (of dhvani), he (the Karikakara), extends [whatever has been said about these four varieties] to all the varieties of alaksyakrama (i.e., rasabhdvadi) dhvani and thereby to all the subvarieties of the same. "The extensive domain." (Anusartavyah) means: "should be illustrated with suitable examples." "As has been stated earlier." In the following Karika: "Whenthe subvarieties of its (i.e., of rasddidhvani's) accessories[i.e., figures of speech] and its own subdivisions are mutually combined,they become [simply]
innumerable. "16

in which] "sakainksa means "full of desire" and pratipatti means "state," [the compound meaning: "which heart was full of desire"]. The heart was tormented by desire, but it did not have its desire fulfilled. Nevertheless, their hearts achieved the highest bliss of love which consists in each considering the other the all-in-all of his or her life. And although they had not yet plunged into the highest bliss of love by any actual experience of it [i.e., by actually having intercourse], their hearts did of course attain to love's consummation. In the second verse12 however, kissing is
10 Svdrtham dhvanati is very strange, as is svartham vyanakti. How can it be said that something "suggests its own meaning?" We suspect therefore that there is some corruption in the manuscript tradition here. 11 Vicdra in this compound on p. 525 is useless and should be omitted.
12

"This has already been stated." The word ca is used here in the sense of api [also] and is used out of its proper place. This too has been shown when he said: " [The poet makes] unliving things behave as if they were alive, and living creatures as if they were simply dead objects."17 (The there can be a new verse on the exact same theme as long as it uses dhvani.
13 In a sense svagabdaniveditatva applies to both verses, since in the first verse cited, vailaksya means "embarrassment" (a vyabhicaribhava). We suppose that Ananda's

point is that the lover says she might be, though the
verse does not actually say she is. 14 The first word rati [p. 526] we have taken in the sense of love-play, while the second word rati we take in the sense of the sthdyibhava of srigara. But it is not impossible to take ratim saturdm posayati to be a reference to the spectator: "And so sdrngdra(rasa) is completely fulfilled."

It is curious that Ananda should quote this verse to

show that the verse is new because it is an example of rasadhvani, since the Amaru verse is also an example of rasadhvani [and has, in fact, been quoted by Visvanatha in this connection]. One would expect that Ananda

would have given as the older verse an example where


dhvani was missing, though it would seem that his point is that regardless of what kind of verse the older one is,

15 Thus Abhinava sees this as applying to readers, and


not to poets as we take it in our translation of the D. Al. 16 II. 12.
17 See p. 498, D. Al.

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Journal of the American Oriental Society 97.4 (1977) and of poetic speech, which is the result of dhvani, has been stated in a not very clear form (anudbhinnam), [and so] the same thing is described in a different way, [i.e., by means of an analogy] in the [present] Karika. So he says: "In order to This means: "To describe by substantiate." means of an argument [in the form of an analogy]." Although the author of the Vrtti has given the reason for the endless novelty of ideas [in poetry] in general,25 nevertheless, the author of the Karikas has not given it. This is what is meant. Or else "This is being recited (ucyate) as a Safigrahagloka," is what he means.26 This is then the reason why this verse has not been commented upon by the author of the Vrtti. "Subjects seen time of again"27 This phrase (drstapurua) applies to both outward [things] [revealed] by such valid means of cognition as perception (pratyaksa), etc., and to [those things] [revealed] by older poets [in their poems]. Poetry corWhat beauty is there [in responds to spring.
gender as the last word [namely gocara, which is masculine] and the correct form should be: vikatakavigocarah, and not vikatakavigocard. But as the original is a PrSkrit stanza, the rules regarding gender are not strictly observed. 25 We take mdtre to mean "in general." 26 We can put a danda after yadi va ucyate (in which case, the meaning would be "the reason for the endless novelty of ideas in poetry has already been stated in karikas 1-3), or, we can put a comma after yadi va, in which case the meaning would be "Or else, "this is being recited as a sangrahasloka," this is what he means." 27 According to Abhinava, the stanza drstapurvdh, etc., can be looked upon either as a KSrika, or as a SaigraIn the former case, hasloka, with equal justification. the justification is that although the Vrttikara has already explained in detail [in the Vrtti on Karik5 3] how poetry becomes endlessly new because of the introduction into it of the various kinds of dhvani such as rasddi, still the KarikSakra has not done so till now, and hence it is only proper for him to do so with the help of an argument in the form of an analogy. In the latter case, if the stanza is regarded as a Sangrahasloka, it is but proper that it should sum up the immediately preceding discussion in a pointed manner, by means of an analogy. The reason why the Vrttikara has not commented on the stanza, if we regard it as a Karika, is only that the verse is simple and needs no comment. If we regard it as a SaAgrahasloka, then of course the reason Ananda has not commented on it is because he has himself written it. But "ata eva" goes better with the latter explanation.

Prakrit outside,19 that are means):18 "Things, like that are made to appear as not actually if they were like that." The word "as if" shows that [these things] do not come to rest in that particular form or character20 in which they exist in the world, [but each good poet transforms whatever subject he touchesl, and so they become This is what varied (vicitrarapa). exceptionally is meant. "The heart." This means, [in the heart of the sensitive critic]that is the supreme touchstone for the gold in the form of all ideas [presented in poetry].21 "Enters." It [i.e., the great poet's utterance] lodges [those things] in an unshakeable manner in the heart of everybody who is sensitive. This is what is meant. And so they are very different from well-known themes, and thus they become They only special, [i.e., new] themes. become this way when they are firmly lodged in the heart [of the sensitive critic] and not otherThat literary utterance wise.22 "All conquering." is even greater than the Prajapatis, whose capacity is limited. Thanks to this [poetic speech]23 the subject to be described, which is within the purview of the poet, becomes vikata, i.e., without The endlessness of poetic limit.24 imagination 18 This is not really the correct reference, since Ananda is speaking of the endlessness of poetic themes. The correct reference would have been: apdre kdvyasamsdre, etc. 19 Bahis refers to the things which are found outside, i.e., in the real world. It is not, of course, part of the Prakrit verse. 20 We understand ekataratra [p. 527] to mean ekasminn eva ripe. If we have understood the idea correctly, Abhinava is saying that one poet presents something in one way at one time, and in another way at another time, or even that each poet presents the same thing in a form and character different from that in which the thing exists in the real world. 21 See Raghavamsa, I. 10, for the same idea, except that "fire" is used there instead of "touchstone." 22 Abhinava here emphasises, as he does often, the reader. Cf. his introductory stanza to the Locana, kavisahrdaydkhyam [p. 1], and his comments in Udd. II, p. 260. 23 Tat, in tatprasadat on p. 527, we take to mean kavivanl. 24 The more obvious way to understand vikata is as qualifying kavi, in which case the compound becomes a tatpurusa, instead of a bahuvrihi: vikatdndm kavindm gocardh, (i.e., gocaribhi2td) oikatakavigocard, though strictly speaking the tatprrusa compound must have the same

MASSONAND PATWARDHAN: Dhvanyaloka and Dhvanyalokalocana, Part II these two verses] when the emotional ideas are directly expressed in so many words by the phrases "sexual longing," "embarassment," "longing of those in love." These same examples have been explained in detail earlier, and there is thus no point in repeating [here] their explanation.28 There is indeed freshness [in these examples] even though [the themes] have been touched upon by older writers thanks to the employment of these varieties of dhvani. This is all the present discussion intends to convey, no more. "My son was [formerly]able to kill an elephant and make his companion a widow, with a single arrow. But this cursed daughter-in-lawof mine has made him carry about a whole quiver full of arrows." This meaning is quite obvious (uttana). The construction is: "The meaning of this stanza can by no means be said to be shop-worn." The word "final" (atyanta) [in the expression sitatyantaviyoga], since it shows that they have no hope of meeting, indicates that this is (karuna and) not vipralambha(Srngara).29 The mutual destruction of the Vrsnis, the end of the Pandavas by experiencing undeserved troubles on their great journey [north, to death], and Krsna's destruction by a hunter, show that everybody's end was pathetic. "dantarasa is meant to be predominant." Although it has been said: "And in dharma, and in artha, and in kama and in moksa," nevertheless the four "ands" amount to this, that although the essence of dharma, artha and kama [as described in the Mahabharata] can be found elsewhere, [i.e., in works other than the Mahabharata], nonetheless, the fact they they ultimately come to a pathetic end is to be found here only. But the paramount importance (sarata) of the nature of moksa (mokse yad rfpam tasya) can be seen only here [in the Mahdbharata].30 "The more the course." (Tantryamana means) that which people attend to and care for, i.e., what is sought by them (sampadyamczna) with effort. This refers to dharma, artha, and kama, and the means leading to them [all of
28 Place a danda after kim punaruktya

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which are unreal and insubstantial] though people consider them to be real [and substantial]. Yatha yatha means as they [the goals of human life and the means leading to them] past through the stages of acquisition, preservation and [finalAsaravat means like an ly] their destruction. insubstantial magic show. Viparyeti means: on the contrary they turn out to be the opposite [of what we had hoped for],31 so there is no question of their being regarded as real and abiding. Tatha tatha means so they, [the goals and their means] [reveal themselves to be the opposite of what we had hoped for.] Towards it means towards the course of the world. "Detachment grows." This suggests the sthayi(bhava) of Santarasa, i.e., nirveda ["world-weariness"], which arises from knowledge of the truth (tattoajiana).32 And its (namely Santarasa's)33 supreme importance is suggested (ukta) by the authors saying that all the other goals of human life are insubstantial. Objection: "In the Mahabharata, Srngaira, vira, etc., are charming as well." Anticipating this doubt he says: "It is no contradiction." Although these other rasas are subsidiary (aigabhlta), yet people who are exclusively interested in pleasure and who are overcome byworldly desires, think of them as charming, just as [foolish people] think of this body as the cognising Self, although it is merely an instrument (ayatana) for the enjoyment [of pleasures] by the conscious Self. "Do not exclusively fix." There is no harm [in fixing one's thoughts on virtues] helpful to one's devotion to the highest God. The construction is this: "Don't have your minds attached to wordly goods, and exclusively interested [even] in wordly virtues." "And further." This means: "In the text of the Mahabhdrata, right after the Anukramani." Objection: "Surely Vasudeva is used in the sense of Remove the danda after sampadyateon p. 530, and a put comma instead. 32 Accordingto what Abhinava says, tattvajinana would have to be regarded as a vibhdva(i.e., an uddipanavibhava)of ganta. This is precisely the opposite of what he says in the A. Bh. [p. 106, Raghavan's text in the Number
of Rasas, 2nd ed.]: ki.m ca nirvedo ndma sarvatrdnupddeyatdpratyayo vairdgyalaksanah, sa ca tattvajndnasya pratyutopayogi, where it is nirveda that must be regarded
31

on p. 528. 29 This is a fundamental distinction that goes back to

the Ng, VI. under verse 50, p. 310 [G.O.S., 1st ed.]. The point is that in vipralambha there is some hope of
being reunited (sapeksabhava), but in karuna there is

none (nirapek$abhdva).Cf. Locana, p. 85 and p. 196. 30 This verse is found at I. 56. 33 of the critical ed. of
the M.Bh.

as the of sdnta, with tattvajFnana as an uddipanavibhdva sthdyibhava. It is a strange contradiction for which there seems to be no plausibleexplanation. 33 Tasya would seem to mean sdntarasasya [which is how the Balapriya takes it].

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Journal of the American Oriental Society 97.4 (1977) is well-known in the world since beginningless time, therefore, in not saying directly [that moksa and rasa are the subjects of supreme importance in the Mahabharata], the intention of the revered Vyasa and others must have been just that, [i.e., they did not use direct words because this is not the practice in assemblies of the wise]. For otherwise in regard to the relations of actions and the senses conveyed by the various case-endings,38 etc., and while explaining the
38 This line, anyatha hi kriydkaraksambhandddau, etc., involves a rather complex point. Here is what Abhinava means: Vyasa has made use of countless sentences in the M.Bh. in describing the main events in the story, the various episodes and incidents introduced from time to time, and in discourses on various wordly and philosophical topics. He has also commencedthe M.Bh. with the verse ndrdyanam namaskrtya,etc., which is a sentence. Now a sentence is nothing but a combination of an

the son of Vasudeva, and not in the sense of the highest Lord, the Atman, the supreme God." Anticipating this doubt he says: "By designations such as vusudeva." "At the end of many births, the wise man reachesme, [thinkingthat] Vasudeva is everything."34 [In] this and other [passages like it], the final meaning (tdtparya) [of the word Vdsudeva] has been established to be the whole [truth, the highest Brahman], which is the content (abhidheya) of that designation (i.e., Visudeva). "This matter has been decided." In discussing (the Siutra of Panini): "rsyandhakavrsnikurubhyagca,"35it has been said that words, [i.e., names of inviduals] are really eternal, but are assigned conventional meanings [in the form of particular individuals] only by accident. "Looking at the Mahabharata as a Sdstra." The designation of purusartha [in general] is appropriate [for the subject matter of the Mahabhdrata], in the sense of "that which is sought after by men," there being no question of aesthetic pleasure.36 But the designation of rasa [in general] is appropriate [for the subject matter of the Mahabharata] from the point of view of aesthetic delight. This is what is meant. This has been dealt with in detail by Anandavardhana in his book the Tattvuloka.37 Since it is not the main subject here, we have not gone into the problem. He now explains the reason for saying "far greater beauty." "It is well-known." The word "ca" is used in the sense of "since." As this matter
34

action (kriya) with various efficient causal factors or relations (karakas, such as kartf, karma, karana, etc.).
A sentence is the relation between an action and its various contributory factors (kriydkdrakasambhandadau vakye); and this action and its various causal factors are displayed in a sentence according to well-known and generally accepted rules and conventions of syntax, which are as old as time [i.e., beginingless]. And VySsa and other sages (like Valmiki) have strictly adhered to these well-known and generally accepted rules of sentencestructure [or syntax]. In explaining the various syntactical relations in the sentences in the M.Bh. and other works, and in explaining the meaning of the stanza

Gitd VII. 19. The rest of the verse is: iti sa mahdtma

ndrdyanamnamaskrtya,etc., we take it for granted that


in constructing these sentences, Vyasa has strictly followed the generally accepted principles, and we proceed on this assumption at the time of reading the sentences in the M.Bh. and understanding their sense; and we have

sudurlabhah. 35 See Kdaikavrttion P.nini IV. 1. 114. Tattvalokaof Anandavardhana in the Locana; this one, and another on p. 67 of the first Uddyota. Unfortunately this work is lost to us. It would have been unique, for nowhere has the relationshipbetween gastra and kavya been discussed in Indian philosophy. One wonders whether his idea of the Mahabhdrataas both a gdstra and a kavya did not inspire the book, and if this was not one of the most important topics discussed therein. Note that here as elsewhere,Ananda is interested in things which seem to
have passed unnoticed before among his fellow Indians.
36 Understand sati after asvddayogdbhave. 37 There are two referencesto the

the satisfaction of having understoodexactly what Vyasa intended to convey. Thus, if we take it for granted that Vyasa and others have followed the well-known and
generally accepted (lokaprasiddha) laws of sentencestructure [as laid down by grammarians], we must also take it for granted that Vyasa has also foliowed the wellknown principle, generally accepted in circles of refined critics and scholars (vidagdhavidvatparisatsu), namely that a matter close to the heart, [i.e., a matter of primary

If Abhinava really did comment on the Yogavasi.tha [Pandey, p. 29], and if Ananda is really quoted therein [see above], then it is possible that the Yogavasi.tha was inspired by Ananda's lost Tattvaloka.

importance], should be conveyed by suggestion and not by direct expression[and that comparatively unimportant matters should be expressed directly]. If Vyasa in the matter and others have followed laukikaprasiddhi of sentence-structure, then we can safely assume that they must have followed vidaghdavidvatparifatprasiddhi

MASSON AND PATWARDHAN: Dhvanyaloka and Dhvanydlokalocana,

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meaning of the words in a stanza like "Paying my hommage to Narayana, etc.," [the first verse of the Mahabhdrata], what evidence is there to show that Vyasa had the same intention [as the one which is in conformity with convention (lokaprasiddhi)] ? This is what he means. The words "cultured and learned" correspond to the method of poetry (kdvyanaya) and the method of philosophy (?astranaya) respectively. After having incidentally (prasahgatah) described [the true meaning] of the Mahabhirata, (Ananda) now sums up the [actual subject in hand, namely,] what was already said, that a poet should be exclusively concerned with [poetry] that contains rasa, etc. "Therefore this is established." "And so." Because this is the case, therefore this, namely the direct description, [through abhidhd], of some idea in perfect accord with the suggested sentiment, which is seen in literature, becomes reaOtherwise [i.e., in the absence of a sonable. suggested sentiment or some form of dhuani]39 it would not be reasonable [justified]. But it is not unreasonable, because of the apprehension of beauty [in such cases]. The source of this perception of beauty is the use of a [literal] sense that is appropriate (anuguna) to the rasa [in question]. This is the meaning. "Even in the absence of any The word antara [which figure of speech." usually means "another"] means [here] "a parOr else the word ticular" [figure of speech]. "alainkdrntara" can be understood as used with reference to any figure of speech other than the figure rasavat,40 which is to be found in the example
in the matter of conveying abhimatataravastu (i.e., a by suggestion [and a apraddnavastu

he will give. Objection: "The suggested sense is the presence (sannidhana) of the ocean in the palm of the hand which is apprehended from the seeing of the [divine] fish and the [divine] tortoise and from this suggested sense there arises the realisation of the sage's greatness. Hence it cannot be said that the literal sense, by being in conformity with the rasa, nourishes the beauty [of the poem].41" Anticipating this objection he says: "For in this example." Objection: "The suggested sense, namely seeing the whole ocean, might thus well help to develop the adbhuta(rasa). But why do you give this example to illustrate that it is the literal sense that is helpful? Anticipating this he says: "For the vision." "For a stale thing." This refers to [something] whose nature is exceedingly obvious because it has been constantly "ground," i.e., because it has been described and presented over and over again.42 Now he shows that this pervades much of literature. "To use a novel idea." [The verse means:] On the road, that side which accidentally came into contact with your body as you went past her while walking towards her, O handsome [or lucky] one, that side even now [sweats, trembles, etc.]." "The aesthetic experience." The aesthetic enjoyment of love that they feel for one another. Now he reinforces, by means of contrast, (vyatireka), the fact that this [literal] sense supports [nourishes] the rasa. "She having touched you." At the beginning of this Uddyota there is a verse that begins: "the path of dhuani and of gunino separate existence apart from adbhutarasa,it is as good as non-existent. (2) Even in the absence of any other figure of speech, apart from rasavat, which actually
exists in the stanza. In both cases the figure rasavat arises because of the subordination of adbhuta to munivisayakaratibhdva. 41 The idea is that the vision of the fish and the tortoise is not possible unless he also holds in his hand the entire ocean, which is therefore the vyahgyartha. 42 The objector's point is that so far it has been shown how in the present stanza the vyaAgyartha, namely holding the entire ocean in one's hand, is rasdnuguna, whereas the present context is that the vdcyartha should be rasdnugunga. The response is that the vacydrtka is rasdnuguna because it is aksun.na, "new." The vyangydrtha in fact has often been repeated, but the vacyartha here is a novel idea. Note that it was stated that even if the vdcydrtbia is stale, the vyangyartha can be new, and in

pradhdnavastu)

by direct expression]. 39 Anyathd means: if no form of dhvani is used, the


simple introduction of a vdcya sense will convey no

particular charm. It is only its relation to a suggested


sense which provides any vacydrtha with a real point, a true beauty. 40 Rasavahalankdra is defined under II. 5 as any

subordinationof the suggested sense such as rasa, bhdva, etc., to any other principal element, and thus it is really the same as gunibhitavyangya. Abhinava is explaining
the phrase alaikdrdntaravirahe [in the Vrtti] in two

different ways: (1) Even in the absence of any specific


figure of speech. Under this interpretation, although the figure rasavat may be present [due to the subordination of ahbhutarasa to munivi$ayakaratibhdva], still as it forms part and parcel of the adbhutarasa itself and has

fact, Abhinava, says that one should use a new vyangdrtha,


not one already used.

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Journal of the American Oriental Society 97.4 (1977) "Moneybecomes physically tired from all the moving about from hand to hand46of generous people, and
sleeps soundly as it were, in the houses of misers."47

bhutavyangya that has already been shown, etc." From this verse, the portion, namely, that through the use of dhvani, the quality of poetic imagination of poets becomes endless, has so far been explained, and so he winds it up by saying: "And so it has been." He [now] explains that part [of the Karika] that reads "and of gunibhiuta" by saying "gunbibhita, etc." [The word tribhedavyahgydpeksayd is a tatpurusa compound that means] "by the subordination (apeksd), i.e., the subordination to the literal sense, of the threefold suggested sense which consists in vastu, alankdra, and rasa." In this connection, there are [many] sub-varieties of dhuani, and all of them can be subordinated [to the literal sense], and so lead to endlessness. Therefore he says: "But they have not been illustrated." "Critics can find." [I shall now provide the examples that Ananda does not give] in this matter of (gunibhiAn illustration where freshness tavyargya). (navatva) is achieved by the subordination of a suggested situation, even though [on the whole] the [meaning] touches [i.e., repeats] an older meaning is my own verse:43 "Is it proper that you have not even considered which has come giving a rest for one second to money44 to refuge to [you], the unique strong man [capable] of protectingthose who are overcomeby fear?"45 In this verse the suggested idea of the generosity of the person addressed, namely "you are constantly dispensing wealth," embellishes the literal sense, and in this way achieves freshness in spite of the fact that it repeats an idea from an earlier poet. Here is the older (Prakrit) verse: 43 Cf., for the idea in this verse, st. 579 of the Vajjalagga [p. 356, Patwardhan, op. cit.]. Here is Patwardhan's translation: "They by themselves do not give money to anybody; they prevent others from giving. Shall we then say that riches residing with [in the possession of] misers are as it were sleeping undisturbed?" 44 Vigrdmakatha means that the king would not allow he would not allow them to rest with him for even a moment]. 45 Abhinava's point is that the suggested idea of the generosity of the king embellishes the literal sense by rationalising it and thereby becomes subordinate to it. This is always the case in that kind of vydjastuti where the literal sense is a censure, eventually ending in a suggested compliment.
the riches even a moment's talk about wanting to rest [i.e.,

An example of a suggested figure of speech beautifying the literal sense [and thus achieving] novelty is my verse:
"When your hair was as dark as a hive of bees drunk on the spring, this led to an increase in passion. But how is it that now when your hair shines like white ashes on the ground of a crematorium, this does not lead to dispassion in the slightest ? "48 46 Karaparampard is rather odd, since the point is not that the generous give to each other, but rather to the poor. 47 The correct reading of this verse is as follows: cd -ana-kara-paramparasamcdirana-khea-nissaha-sarrac atthd kivinagharatthd satthuvatthd suvanti vva De, on p. 238 of his "Text of the K5vy5lokalocana" [reprinted in "Problems of Sanskrit Poetics"], has the following to say on this verse: "There are two gdthd verses in the present text (Bhaavihala and Caiana), one of which is ascribed to Abhinava himself in one of the MSS, the sense and construction of which do not seem very clear from the obviously corrupt text. The first verse is baffling and obscure as to sense and metre in all the MSS. The next verse is clearer and its chayd may be put tentatively thus: Thydgi [sic] janakarapara'mpardsamcaranak'sayanihsahasar1rdh Arthalh krpanaghrasthdh sarthad vyastfh sravantiva "Riches, enfeebled of body through decay caused by passing to and fro through a succession of hands of bountiful folk, melt away, as it were, separated from their company and lodging in poor men's houses." "This reading, which was first suggested through a discussion of this point with Dr. Barnett, may not be faultless and is perhaps capable of being improved upon; but in the main it may be accepted in the absence of anything better, and there is nothing in it incompatible with the context." But De is wrong, since his translation would give the opposite of the needed meaning. The idea is that money will not melt away if it is lodged in the house, not of a "poor" man, but of a "miser." 48 Read kila and ete na. It is not clear for whom this stanza is meant. Does Abhinava mean that "even in your old age, you are still given to passion?" Or does he mean that "I, your lover, am still given to passion upon seeing you?" Or does he refer to people in general? It is difficult to say. We do

MASSONAND PATWARDHAN: Dhvanydloka and Dhvanyalokalocana, In this verse,49 the literal sense is beautified by the suggested figures of speech dksepa and vibhavand, and thus freshness is achieved in spite of not know of other cases in Sanskrit literature where an old person's sexual passion is mentioned. of this verse, as well as of the one that The vdcydrtha follows is that passion never ceases, which is meant to be a sarcastic remark, directed against people who are not interested in moksa. Abhinava's reason in citing his verse is to show that the vacya sense has been beautified (upaskrta)by several suggested figures. Abhinava mentions two figures, suggested in this verse. One is vibhdvand (which Mammata defines as
kriyaydh pratisedhe 'pi phalavyaktir vibhdaand, "the

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the fact that [this verse] is associated with an idea from an older verse. Here is the older verse: "Hunger, thirst, lust, jealousy and a great fear of death, these five increase in old age even in the case of the wise." An that ting that example of a subordinated suggested rasa beautifies the literal sense, thereby contributo the freshness of the poem, is my verse reads:

appearance of a result in the absence of a cause"). In the verse, it is suggested that since the woman's hair is white, love should not be thought of. The figure dkaepa yd, "to deny somethingactually intendedto be conveyed") is more difficult to see. All we can think of is that there
is a vaksyamdnavisayanisedha, namely that the author (Mammata, nisedho vaktum istasya yo visesdbhidhitsa-

"No, this is not old age on his head, surely this is the snake of death, who, blinded with rage, is vomiting the foam of his poison, his hood expanded, spitting. Man sees him, but still his heart thinks itself happy. How strange that he does not seek the way to Siva [also, the means of achieving his soul's well-being]."49 In this verse, the literal sense is beautified by the suggested [and subordinated] wonder (adbhuta) which, because it is helpful (angatva) to the apprehension of an imaginative experience of tranquility, creates beauty and is therefore new, in spite of the existence of the following older verse:50 "Since even a man whose body is worn out with old age does not give up his passion, this must surely be because he has the firm belief in his heart that there is no such thing as death."51 "Even in the presence," gives a clarification of the background [of the third quarter] of the Karika. Considering the first three quarters of the verse to be clear, he says the following in order to explain the fourth quarter: "as long as." When the gift of imagination is present, then by the method already mentioned, it becomes multiplied, but not when it is not present at all. "If this is." This refers to the gift of imagination, which becomes endless [due to the use of dhvani]. "No subject for the poet." For everything has been touched by [some] older poet. So what is left to describe, such that a poet might have some scope for his [own] descriptive power? Objection: "It may be that there is nothing new left to 50 After purdiaglokeon p. 537, what follows is a verse, and should be read as such. 51 This verse is also an example of rasadhvani(namely adntarasa).What distinguishes it from the later verse by Abhinava, and, by implication, makes it inferior, is that in Abhinava's verse there is adbhutarasa which further beautifies the vacydrtha,while there is no adbhutarasain the olderverse.

would like to say how improper it is for the old woman to be thinking of love at her age, but refrains. However, this is not very convincing. 49 Read givopdyam. givopdyam can mean both: "a means [of reaching] giva," or, "a means of attaining salvation." According to Abhinava, adbhutais suggested here, but it is gunibhita. We must not take the words "batabata" in their usual sense of conveying vismaya, for then this stanza will illustrate the major dosa of rasa namely svaiabdavdcyatva. Better to understand them as meaning "alas, what a pity," though on the level of the suggested adbhutathey convey the sense of "how strange." of this stanza is the stoical We think that the udcydrtha indifference of people, expressed by the words sudhirah
khalu janah. What is suggested is adbhutarasa consisting

in the indifferenceof people to their spiritual well-being in the face of impending death. We think sdntarasa is suggested by the impropriety of people's indifference. This impropriety can be looked upon as a vyangyavasta. Note the figureof speech in this verse, apahnuti. About the literary value of Abhinava's verses, we are in disagreement. Professor Patwardhan feels that the of Abhinava'sstanzas are decidedmetre and workmanship ly superiorto those of the older stanzas. Dr. Massonfeels that the older verses are more virile than Abhinava's verses, which strike him as too self-consciousand overly written. He has the impressionthat Abhinava might have written these verses expressly for the occasionof illustrating his thesis.

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Journal of the American Oriental Society 97.4 (1977) be a double abstract noun formation, which is prohibited by grammarians]. "In order to demonstrate." One should add: incidentally, i.e., though not strictly connected with the matter in hand (prasanigatah). Or else one can explain [this digression] as follows: The literal sense is itself useful to the different kinds of suggested sense. If this literal sense is endless, then through the force of this, the suggested sense is also endless. From this point of view, it [namely what is being said in Karika 7] is contextual [and not incidental]. When he says: "The purely denoted sense," the meaning is that even without the benefit of that function [namely suggestiveness] that takes for its province the suggested sense, there is endlessness, quite on its own, and that the literal sense, endless on its own, later reveals the endlessly diverse suggested sense.55 One should not think that in such cases there is no suggested sense at all, because one could not even call a work a poem at all if it did not have [some connection] with a suggested sense, which is [after all] the very soul [of poetry]. And therefore in the examples [that will be given to illustrate the endlessness of the literal sense], there is, in fact (eva), the existence of rasadhvani. He explains the word adi ["etc."] [in the Karika] with the word svulaksanya. This means the real nature [of something]. For instance the property, viz., colour or touch existing in a particular substance in a particular degree of intensity, and at a particular point of time, becomes the specific individuality of that thing. "Therecan be no end to them, nor do they seem to be in any way repetitive-the flirtatious ways of loveable women, and the subject matter of great poets." The two "cas" in this verse suggest great wonder. "In any way." Even if one ponders deeply, one cannot discover any repetition-this is the real "Loveable women." A lucky man meaning. who, like Krsna, is loved by many women, and who is able to make love to those women in a manner charming because of the liberties that the women allow him to take with them, does not see any repetition in their flirtatious ways during intercourse.56 This very thing [namely 55 Place a da..da after the word bhavati, which we must understand after svariipamdtrenaiva. 56 Tadd on p. 539, means "at the time of actually making love." The point, and it seems to us very good,

describe; still, the beauty of composition [style] for which the words ukti, paripdka,52 gumpha, ghatand,53 etc., are all synonyms, can be ever new. By using this [new style] there will be scope for the activity (salirambha) of poets in the matter of composing new poems." With this objection in mind he says: "As for beauty." There are two kinds of meaning; that where the suggested sense is subordinated [to the literal sense] and that where the suggested sense is predominant. "Endear itself," (nediyah). The meaning is that it does not enter into close contact with the heart. He now states the reason for this: "For in that case." "Skilful" refers to the apt use of compounds. "Softness" refers to a lack of harshness. "So also even where." Even though a poem composed by a writer on a theme already used by an earlier poet is marked by a new style, it will have [according to the view of the opponent] to be regarded as poetry composed by the later poet. Therefore [to avoid this undesirable contingency] it must be accepted that [for a composition to be regarded as poetry] there must be novelty of ideas [arising from the use of one or another form of dhvani]. The word kavyatva [used in the vrtti] means "the state of being poetry" and the word kadya means "fit to be recited" (kavaniya) [being derived from the root ku to utter or recite, by adding the potential participle suffix ya].54 It should not be suspected that in forming the word kdvyatva, the abstract noun suffix tva (bhavapratyaya) has been added to the [already existing abstract noun kavya, made from the word kavi, in the sense of the state of being a poet, in which case there would
52

Paripaka refers to the fact that words in a poem are

not interchangeable,and that to substitute synonyms for the wordsactually used is to destroy the poem. Curiously enough, this most important subject has not been discussed either by Ananda or by Abhinava. RajaSekharain his Kavyamimaimsd deals with it in great detail, and with many interesting insights, and quotations from lost sources [see p. 20 of the KM ed.]. Note Vamana I. 2. 21, and I. 3. 15. Vidyanatha further elaborates, and gives
his famous comparison: drdkdscpdka and ndrikelapaka

[see also Vamana, III. 2.15]. See De, H.S.P., II. p. 240-2.
53 Ghatana means the same as samghatand, on which

see the D. Al. pp. 309-328. 54 This phrase kavanlyamkdvyamhas already occurred in Uddyota I of the Locana, p 22. See, for the whole stanza, Hemacandra, p. 3. Cf. Locana, pp. 289-280. On kavi, see P50ini V. I. 124.

MASSONAND PATWARDHAN: Dhvanyaloka and Dhvanydlokalocana, Part II the absence of repetitiousness] is called "belovedness." As has been said: "That which at every moment attains novelty, that alone is the form [and essence] of loveliness."57 "Lovable women." This particular flirtatiousness of lovely women which has been continuously flowing since the beginning of creation, and will flow on continuously to the end of the world, is always seen to be ever new. For that [flirtatiousness] has not been taught by someone else (anyatah) the way the ceremonial establishment of the [sacred] fire is, so that, by being similar [to what one was taught] it would be a mere repetition [of that].58 Rather, it is constantly new because it is the flowering of the bud of love that has sprung up in them naturally. In the same way, the subject matter of poetry is the outflow of the gift of poetic imagination that does not depend on any outside instruction. "The themes of poetry" The real meaning of the word "tdvat" is this: "at a later time, through the [magic] touch of the suggested sense, [the litteral sense] may well attain a great variegation, but even on its very own, it is variegated."59 "And their causes," i.e., of garlands, seasons, etc. "Depending on the superficial nature." "By resorting only to the similarity that exists between what one has experienced on one's own and what others have experienced, by resorting to that alone, devoid of any particularities." "They cannot directly (na hi tais)." Taih refers to poets. This [i.e., statement beginning with na hi taih etc.] has been made in order to show that direct vision [or direct firsthand knowledge] as in the case of Yogins, is absolutely impossible in the case of poets. Even when poets are able to know directly [some specific individuality or particularity of a thing], still the words that they use to describe that thing present it not a specific form, but in a generic is that in love-making, every act, though repeated time and again, never seems dull or repetitious.
57 This is

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manner, as is clear from arguments such as the one contained in the following stanza:60 "Words express conventional meaning. The apprehension of the conventional meaning (sah, i.e., is intended for facilitating worldly samketitdrthagrahah) dealings. Hence specific individuality (svalak$anam) is not the sense expressed by a word. Consequently (tena)the conventionof wordsis not fixed with reference
to that (tatra, i.e., tasmin svalak$aQe, specific indi-

viduality)."61 "We would further question." "How can people who think along strictly logical lines accept the repetitiousness of themes,62 when this repetitiveness [according to them] is not at all experienced [in the case of great poets] ? This is what he means. He now clarifies this by saying: "But it is not like that." "For style." If speciality of linguistic expression were to consist merely in the use of other [synonymous] words, [and if it had nothing to do with novelty of thought], then if the self-same ideas are fully [i.e., faithfully, avikalam] presented by means of still other synonymous words, there ought not to arise the notion of repetiousness [whereas in fact this notion does arise]. Therefore what is meant is that the particularity [or speciality] of style (ukti)63 arises only from the use of particular words of particular ideas. expressive Grihyaviuesa means: "as being non-different from, [i.e., identical with] the particularities which are actually perceived by us through valid means of knowledge such as direct perception, etc." Here is the [essential] meaning:64 Theoretically, the convention (samaya) [regarding words and their meanings] this is from the Pramandavdrttika, I. 92 [of his own ed.].
61 Read na, not nah. 62 Read paunaruktyam. Read prdmd.nikair (with De, p. 257), not prdkaranikair, 60 According to Gnoli (p. xxxii, the Aesthetic Ex. etc.),

58 The point is that one does not learn about sexual flirtatiousness from other people, the way one learns how to prepare the sacred fire. Since one has to learn this ritual from another person, one is after all only repeating what has been already taught, and so there is punarukti. Remove the da.da after gacchet and put a comma. 59 Read vicitratetifor vicitreti.

iisupalavadha, IV. 17.

which does not, in spite of Tripathi's attempts [see p. 1382], yield any plausible meaning. Pramanikawould be a person who thinks along logical lines. Perhaps, however, prdkaranikacould mean a person who is concerned with the prakaraoa, the subject under discussion, which here is the tattva of kdvya.
63 Read pratipadakenaivokter, on p. 543. 64 The tendyamarthah must be a mistake. Tena must

form part of the explanation of the compound grdhyavigeqdbhedena,and should thus be read immediately then be a separate sentence.
following tasya yo abhedhah (tena). Ayam arthah will

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Journal of the American Oriental Society 97.4 (1977) stated by the Vrttikara that variety of expression is not the result of mere synonymity. The other kind of variety of expression (uktivaicitrya), [namely that which consists in the use of synonymous words accompanied by a novelty in the ideas conveyed by them], on the contrary, supports our position [that variety of ideas contributes to novelty of the sense of poetry] and so he says: "Moreover." (Punar). This means "again" [and should not be connected with ukti].66 For simile of course becomes diversified by the use of such varied expressions [that convey the idea of similarity, e.g.,] nibha, pratima, chala, pratibimba, praticchdya, tulya, sadrSa, dbhdsa, etc. For in reality all of these expressions [which look like synonyms] have different [shades] of meaning.67 The word "nibha" [for instance] means: "an invariable appearance as similar." The word "pratima" means: "attempting to rival." This is true in all cases. The mistake of thinking that [these and other words] are pure synonyms is due to the mischief (daurdtmya) that results from reading commentaries on poems that are [only] useful for beginners.68 In this manner, there is endlessness of meaning and of figures of speech because of variation in modes of expression. That this is also possible in another way, he now shows by saying: "And style." [The compound pratiniyatabhdsdgocardrthavaicitryanibandhanam is a bahuurihi compound which means] "the infinite variety of poetical ideas and of poetical figures of speech [based on those ideas] which is due to the sense conveyed by words in a particular language." The connection is: "variety of style is the subject which achieves that, (i.e., aparam kdvyarthdinam dnantyam) which is the object." Under the guise of giving an adjective of the object [viz., "infinite variety of poetical ideas"] he has shown the cause [of that infinite variety]. 66 The reason Abhinava explains punar with bhiyah is to show that it is a separate word, and does not form a compound with the following word ukti, so as to give rise to the word punarukti[repetition]. 67 Abhinava's point, and it is an important one, is that there are no true synonyms. In the case of Sanskrit, of course, there are words that can truly be said to by synonyms with no differencein shades of meaning. But Abhinava is not referringto these. He means words that do have different shades of meaning, and which every carefulwriterwill take pains to use appropriately. 68 Read etc. bdlopayogikdvya

may relate to the generic class characteristics of things (slmdnya), or to the particular individual as qualified by that general class characteristic (tadvati, i.e., jdtivikisfdydm vyaktau), or this convention may be a matter of negation (apoha). What is the use of this controversy ?65 Who, after all, can dispute that what we [really] apprehend from a sentence is a particularity [and not a For in all cases, whether one's generality]? position in regard to sentence-sense is that of the anvitabhidhdnavdda (i.e., the view of the prdbhdkaramimdmsakas) or the opposite of that (i.e., abhihitanvayavuda, the view of the bhdffamimadnsakas), or that of samsarga or bheda, one cannot deny that a particularity [and not generality] is conveyed by a sentence. It has already been 65 Abhinava's point is this: there are different views propoundedby different systems of philosophy regarding the exact meaning expressed by words. Padandam samdnye samayah refers to the view of the Mimamrsakas, who hold that all words in the language express only the jati [general class-characteristic] and not individuals (vyakti). Hence they are called kevalajdtivadindh. Padandm tadvati(i.e., jativigistydam vyaktau) samayah refers to the view of the ancient Naiyayikas according to whom words express not pure jdti, but jdti as qualifying vyakti. Hence they are called jdtivisgitavyaktivddinah. Paddnam apohe samayah refers to the view of the Difinnga-Dharmakirti Buddhists, according to whom words do not express any positive thing, but only atadvydvrtti[negativistic notion about the meaningof words]. Abhinava does not however refer here to the kevalavyaktivdda of the navyanaiydyikas, and to the atyaddivdda of the vaiydkaranas, which together with the three views mentioned by him, form the five views prevailing in the matter of padasamaya[conventional meaning of words]. Whatever theoretical position we may take regardingthe conventional meanings of words, when we descend from the theoretical plane to the practical plane and consider the meanings of words as functional parts of a sentence, there cannot be any differenceof views among disputants on this point, that neither a general class characteristic, nor a negativistic idea, but a particularity(visesa) is the sense conveyed by words. Since in this way, in a sentence, words never convey generalities(sdmdnya), but only particularities(vigeSa), the view of the opponent [expressedin the Vrtti on p. 541], that only generalities are conveyed by words and not particularities,and that since these generalities have been already exploited and exhausted by earlierpoets like Valmiki, there is no scope left for later poets to demonstrate originality or novelty of ideas, stands refuted.

MASSONAND PATWARDHAN: Dhvanyaloka and Dhvanyalokalocana, Part II "Man spends his time in crying out Krsna, Krsna [also: "mine, mine"] and yet the blessed Janardana never enters his mind." For the person who constantly mouths the word "madhumathana" (i.e., Visnu) how is it that the god does not come into his mind ? This is a beautiful In the Saindhava language the contradiction. words mahu mahu [also] mean "mine, mine." [Availing himself of this speciality of that language] the poet has [ingeniously] shown, as by a lightning flash, how the initial contradiction can be made to turn into a semblance of contradiction. Karika VIII is: "In literaturewe often see the use of directly expressed ideas [or objects] diversified by circumstances etc. But this gains in beauty through the use of rasa." The rest of the text [in the Vrtti] has been inserted into the middle of the Karika. The words beginning with "tad" and ending with gaktinam [are part of the Vrtti], and have been inserted between the two Karikas as an intermediate comment. In the Vrtti on Karika X, merely repeating the matter of the first three quarters, he explains [only] the meaning of the fourth quarter because that alone constitutes a novel idea.69 Of the second Karika [X], he explains the fourth quarter by saying: "Just as." The words samzvdadh, etc., belong to the first half70 of Karika XI, and the words "naikarupatayd etc." to the second. "Are we to accept this, [namely, what is said in the second half of Karika XI] as if it were the order of a king?" In order to answer this he says: "Should this be questioned." The answer is given in the following Karika [XII]: "Similaritymeans resemblancewith something else. It can be like a reflection, like a painted likeness, or like a physical similarity between two people"71
69

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This Karika has been split up and explained in the Vrtti. [In the sentence "it can be like a reflection"] Ananda has further shown that the word Sdrindm should be understood with each sentence.72 "Of the original object" (Saririnah), which is important (pradhdnabhata) in as much as it has already come to possess its own real and tangible form (pratilabdhasvarupataya). The Karika [reads]:
"Concerning these, the first has no separate soul of

its own [apart from that of the original]. The second has, but it is of a low order. But the third has a wellestablished essence [of its own]. The poet should not abandon [a poetic theme] that resembles another [poetic theme] [if the resemblance is in the last mentioned wayl."

We should reverse the order of lines 3 and 4 of the

Locana on p. 545. Read therefore: tad ityadi saktinam ity antam kdrikayor madhyopaskdrah. atra tu pddatrayasyartham anidya caturthapdddrtho 'piirvatayabhidhiyate. 70 On p. 546, understand prathamam before ardham in

"That does not have a separate soul of its own" means that it takes its soul, its essence, from a poem written by an earlier writer.73 The form, thanks to which the poem seems beautiful (bhdti), is in fact one that has already been touched by an earlier poet. For it is just like a reflection, which, though seemingly beautiful, derives its beauty from being a reflection. Ananda now explains what this [first variety, namely reflection] is like by saying: "it is devoid of a real personality." For by this [first variety] nothing new has been invented. A reflection is just like that also. Having thus explained the first kind [of similarity] he now explains the second variety. "The next." This refers to the second variety. The word (anyasdmya in the vrtti is a bahuvrihi compound that means) "which bears a similarity to something else." "Reality is of a low order." When we look at an imitation of something, such as a picture, or a clay statue etc., we immediately think about the original (anukcrya). We do not think about the colors (sinduira), etc., [out of which the picture is made], and even this imitation [reading so 'pi]74 does not therefore lead to beauty. "In order to confirm this," shows that the third form need not be abandoned. "A poetic subject, though it may follow one already existing, as long as it possesses its own reality, shines
purvopanibadhakavuyd, pirvopanibandhakavydd. 74 We should perhaps read so' pi and understand it to be a reference to anukdra. Otherwise it can be taken as referring to alekhyadkra appearing in Kdrikd XII. Sd can be taken to refer to sinduradibuddhih.
72 Understand vrtlikdrena after iti darSilam on p. 546. 73 Read not

the first line. 71 It is rather puzzlingwhy Abhinava gives the KSrikas here whereas he never did so in the first three Uddyotas. Probably the text for the fourth Uddyota, (as Sivaprasad Bhattacharya already noted), is less certain.

436

Journal of the American Oriental Society 97.4 (1977) "Anytheme whatsoeverwill be beautiful even though it resembles a previously existing one as long as the thought arises in the minds of people that: "this is ineffably quivering [with beauty]." It can be used by a good poet without his incurringany blame." This Karika is broken up and quoted (in the Vrtti). "In their own blameless." Svavisaye means [the themes] that suggest themselves [to poets] on the spur of the moment. (The Vrttikara) cites the second half of the Karika, "parasvUddnecchd, etc.," along with a preliminary remark (purvopaskdra) [of his own]. The third line reads: parasvuddnecchdviratamanaso vastu sukaveh.75 Apprehending (iisaikya) that a modern poet, becoming a prey to the thought "whence can I possibly find a new theme," may give up the calling of a poet, or might turn out to be only a leech on the themes invented by others, he says: "The blessed Sarasvati." By using the plural form "sukavinCm" he explains the singular "sukaver" in the Karika as standing for the whole class [of poets]. He now clarifies just this, beginning with "former merit" (praktana) and ending with "of those poets" (na tesdm). Avirbhdvayati means "manifests as something absolutely unprecedented." The word "iti" means: "by means of the explanations given in the Karikas and in the Vrtti." (The compound aklistarasdArayocitagunalahkaraSobhdbhrtah) is to be explained as follows: from poetry which has the beauty that comes from effortless (aklisfa, unlaboured) gunas and alankaras, which are appropriate because they help the rasa. In the case of a garden, "aklista" means "appropriate to the season." The garden possesses beauty that comes from an abundance (paryaptatakarana, i.e., prdcurya) of such qualities as: softness [of the flowers], glossiness [or shade], fragrance, etc., which [abundance] is caused by the water (rasa) provided by sprinkling, etc. (sekddikrtah) is appropriate to the [various] seasons. "From where," means from the garden called "poetry." Sarvam samihitam means: "[all desired things] consisting in intellectual knowledge, fame, and delight." All this has been said earlier in detail, and so I have confined my comments to the meaning of the stanza.76 Sukrtibhih means "by people who are able to enjoy the fruits [of
75 Why does Abhinava quote only the third line of Karika XVII ? Is it because the text was in a poor state of preservation ? 76 See pages 40-41 of the Locana.

all the more, like the moon-like face of a young girl which shines all the more [because it has a separate reality of its own]." In some manuscripts, this KSrik5 has been split up and quoted in the Vrtti. In certain [other] manuscripts, the Karikas are read without being split up. The word "atmanah" [in the Karika] has been explained [by the Vrttikara] with the two words "tattvasya" and "sdrabhitasya" used just before [the word atmanah] in the Vrtti. We read "sasarlnvdandnm." "If, however, we read the word "saqrvCddndm"will have "sawvdddndmm," to be connected with the words vakyartharupdnim samuddyadnm (i.e., with the words samuddyarupadnim vdkydrthdndm) (by bheddnvaya), without grammatical case-apposition (vaiyadhikaranyena), the sense being: "the limits of the coincidences in the case of groups of words which are of the nature of sentence-senses [i.e., which give rise to sentence-senses] have been explained." The meaning of the word oastu is: "the senses of one, or two, or three, or four or more words." "Those very same" (tdni tu). The word tdni stands for syllables and words. "In the very same." Possessed of that very form, and not in the slightest degree changed into another form. Having in this manner explained the portion [in the Karika] dealing with the example (drsftnta), namely the portion aksarddiracand ["the use of syllables etc."], he now applies it to the matter in "Involves puns." hand: "The same applies." This means "whose nature consists of puns, etc." For such [punned] words as "sadvrtta" ["good conduct" and "a perfect circle"], "tejasvin" ["bright," and "quick-tempered"], "guna" ["quality" and "string"], "dvija" ["a Brahmin," and "a bird"] have been used by thousands of early poets in a double meaning. Also words like "moon," etc., have been used thousands of times over as standards of comparison. After the words "tathaiva paddrtharupani" in the Vrtti, the earlier sentence, namely "na apilrvdni ghatayiturz Sakyante, etc.," up to "virudhyanti" [p. 549] is to be supplied. He now explains the word lokasya (in Karika XVI): "This aesthetic rapture." "In the case of sensitive readers." This means a cognition (buddhi) that consists primarily of aesthetic relish (dsvoda). He explains "abhyujjihite" by "utpadyate," i.e., "arises." By the words "sphuraneyarn kdcit" he shows the form of this thought.

MASSONAND PATWARDHAN: Dhvanyaloka and Dhvanyalokalocana, poetry] without the difficult instruction [that is endemic to scientific subjects]." Akhilasaukhyadhamni:" [in the garden of poets which is] the one place of happiness that is not permeated with any particles of pain (khila)." He means to imply that it is difficult to find something that is completely pleasant or completely beneficial in this world [but this is possible in the garden of poets]. Vibudhodyana also means Nandana which is the cause of the attainment of all desired objects, only in the case of those who are "sukrtin," i.e., who have performed Jyotistoma, etc.. Vibudhah [also] means "those who know the essence of poetry." DarSitah means "[that, dhvani], already existent, was revealed." For if something is not revealed, how can it be enjoyed? (The expression kalpatarupamdnamahimd) is a bahuvrihi compound that contains still another bahuvrihi, [and it means]: "that which possesses a greatness which is comparable to the [wish-fullfilling tree]." For in poetry, the attainment of all desired objects [such as vyutpatti, priti, etc.], depends on dhvani exclusively. This has [already] been said in great detail. "The famous Anandavardhana explained that [doctrine of dhvani], the path to the exact knowledge of the essence of good poetry, which was for a long time practically dormant in the minds of [even] those of mature intelligence, for the sake of giving delight to those sensitive to literature." In this verse he sums up, [i.e., mentions], [three out of the four guidelines-anubandhasof the present work, namely] the connection (sambandha), the subject matter (abhidheya) [the true nature of dhvani], and the purpose (prayojana) [of the work, namely to give delight].77 In this world generally people are induced to undertake a thing through the force of the trust [they feel for someone], which [trust] is further based on their respect [for him], because of a well-known connection he has with the thing in question. Now this trust based on respect, arises because on hearing the name [of some person who is associated with some action or utterance], one remembers78 that person's other well-known qualities, such as his [unimpeachable] behaviour, his poetic ability, or his learning, etc. For instance,
77 See pages 34-35 of the D. Al. 78 Samanusamaranena is a scribal error for samanusaraiena or for samanusmara.nena. De, p. 263, reads

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when people hear "Bhartrhari79 did this thing, who was generous in such and such a way," or when they hear "This metrical work is by Bhartrhari, who has displayed such a proficiency in this science,"80people are attracted towards that thing or work, for they think that it deserves their attention because of Bhartrhari's association with it. And people must be attracted in order to fulfill the purpose of the particular science [they are being asked to study]. This is why authors mention their own names [in their works], as a means of attracting to their works the readers for whom those works are intended (anugrdhyaSrotrjana).81 With this in mind he gives his own The word prathita name, Anandavardhana. [famous] conveys just this [namely, the reason why authors mention their names in their works and why it serves as an inducement to readers to read those works]. As for the fact that for some few readers, to hear Ananda's name causes revulsion, well, this is due simply to their jealousy and need not be taken seriously. For if some individual, blinded by passion [i.e., prejudice], turns away in disgust from the scripture, which is the means of attaining liberation, are we, merely on that account, to say that the objective [of the mruti,namely to point the way to moksa] is no [worthwhile] objective at all? Therefore [the mention] of a famous name is meant to win over [only] those who are sincere. "I bow down to that fourth (Vaikhari)82 powerwhich reveals things with such clarity that they seem to be
directly perceived, and which projects outwards a variety of things that have become absolutely clear and definite [in the mind of the speaker]." 79 It is not impossible to take bhartrharinedam krtam to mean: "This was written by Bhartrhari." But then what point would auddrya have to do with a writer? A writer's generosity should make no impression on readers. Since legend has it that Bhartrhari was also a king, perhaps this refers to his royal generosity, along the

lines of the Bhojaprabandha.


80 Add a da.da

after mahima, and remove the one

after gdstre.
81 Anugrdhyagrotrfana means the listeners [or readers] who are to be benefited by the composition, i.e., the

readersfor whom the work is intended.

sawsmara;ena.

vaikhari). See also K.I.S. Iyer: Vdkyapadyla [Deccan College MonographSeries].

82 Jacobi, in the introduction to his translation of Ruyyaka's Alaikdrasarvasva, has a long note on the four kinds of Vak (namely, pard, paSyanti, madhyamd and

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Journal of the American Oriental Society 97.4 (1977)


BIBLIOGRAPHY Amarusataka. Edited with the commentary of Arjunavarmadeva by Narayana Rama Acharya. Bombay, 1958. "gantarasa et Advaita: a Bhattacharya, K. (1972). propos d'un livre recent." Journal Asiatique: 89-105. De, S. K. (1959). Aspects of Sanskrit Literature. Calcutta. - (1959). Some Problems of Sanskrit Poetics. Calcutta. . "The Theory of Rasa." Appendix to Sir Asutosh Mukherjea Silver Jubilee Volumes. Vol. III, Orientalia Part II. Dhvanydloka of Anandavardhana. Edited with a moder commentary Avahhdna by Srimadhusudana Misra Sarman. Calcutta Sanskrit Series 25B. Calcutta, 1938. -. Edited with the Locana of Abhinavagupta with a Hindi translation of both texts by Jagannatha Pathak. Vidyabhavan Sanskrit Granthamala, 97. Chowkhamba, 1965. -. Edited with the Locana of Abhinavagupta by Durgaprasada Sastri. Kavyamala, 25. Bombay, 1911. -. Edited with the Locana of Abhinavagupta, the Kaumudi of Uttungodaya and Upalocana of the editor (first uddyota only) by S. Kuppuswami Sastri assisted by T. V. Ramachandra Diksitar and T. R. Chintamani. Madras, 1944. -. Edited with the Locana of Abhinavagupta and the Balapriyd of RamaSaraka by Pattabhirama Sastri, Banarasi, 1940. -. Edited with the Locana of Abhinavagupta and a Hindi translation of both texts by R. S. Tripathi. Delhi, 1963. Translated into German by H. Jacobi. ZDMG, -. 56. Leipzig, 1902. -. Translated into English by K. Krishnamoorthy. Poona Oriental Series, 92. Poona, 1955. Revised edition, Dharwar, 1974. Dhvanydlocana of Abhinavagupta: Uddyota IV. Edited as "The Text of Kavyalokalocana IV" by S. K. De. Journal of the Department of Letters, University of Calcutta, 1923. Edgerton, F. (1936). "Indirect Suggestion in Poetry: A Hindu Theory of Literary Aesthetics." Proceedings of the American Philosophical Society. for they will naturally do so. On the other hand, the fire, though censured, will not cease its burning, and so also, nasty people, who read Abhinava's works only to criticise them, cannot be cured by being blamed. The idea is not a felicitous one, but it most likely reflects a personal experience of Abhinava.

"This Locana of Abhinavagupta has been completed. The Locana which shines and which reveals all good things, and whose greatness can be inferred from its presentation of the essential topics of the Kdvyaloka that have been revealed by the discrimating intelligence of Ananda."83 "(Abhinava) the teacher of Mimrmsakas, logicians and grammarians, who is deeply interested in large literary and philosophical works, and whose small amount of intelligence has been refined by the mind of [his teacher] Bhattenduraja,84 who [in his turn] was purified by the pollen from the lotus-like feet [of his guru] grisiddhicela, composed this commentary on the subject of dhvani." "This poet (i.e., Abhinava) does not entreat good people [to read his works] any more than the moon is entreated to give delight. Nor does he blame the wicked, even though they curse him again and again. For fire, even if cursed, will not become cold.85 But in truth, in the heart that is made of giva, everything on all sides shines clearly as made only of giva.86 Nobody's words are unkind. Therefore may you become identified with giva." 83 The word abhinavaguptavilocana contains a pun: the Locana that is both new (abhinava) and hidden (gupta). But why should Abhinava say that his commentary is gupta? Does he mean that its contents are difficult to grasp? We can also take it another way: it is a new special vision (vilocana), enabling the sahrdaya to grasp the previously hidden meaning of the D. Al. 84 Several explanations of this long compound are possible: we can read vdkyapramdnapadavediguruh as one compound separate from the next phrase prabandhasevdrasah and translate: "the teacher (guru) of those who know grammar(pada), philosophy (pramdna) and Mimarmsa(vdkya)." Or, "preeminent (guru) among the knowers of vdkya, pramdna and pada." Or we can read as follows: vdkyapramanapadavediguruprabandhasevdraso, in which case the meaning is: "one who is committed to (rasa), or deeply interested, in continual (prabandha) service to his gurus who know vdkya, pramdna and pada." Or it can even mean: "one who is interested in appreciating large works which teach vdkyapramdnapada [taking vedi from the causal of the root vid]." Or: "one who is interested in large works, and who knows these sciences." Note that De, p. 264, reads kdvya, not vdkya. 85 Abhinava's point is that wicked people will not change simply because he berates them, any more than fire will lose its its heat if censured. 86 The comparison here is that the moon is naturally good and need not be taught to be so, and so also good people need not be told to appreciate Abhinava's work,

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