365bet娱乐

Although vidhistotra is deemed to be Arthavada,

7 the features of Arthavada are also found in Abhijana stotra; for, this stotra also does not restrict itself to the analysis of quality, it rather makes attempt to establish a golden throne on the hearts of the reader for ever. While the vedic seer exlogizes Agni, he obviously discloses the impressive power of the God Agni to the reader. (1) The U aim of this stutih (epilogy) also is to draw attention of the reader towards Agni and to overwhelm the reader with reverence for Agni. Considering from this point of view poetry is to be named arthavada, for, the form of the unreal expressed by poetry is not perfect in itself. This unreal and false poetic work discloses perfectly the mysterious form of trueness (reality) to the reader. Here the unreal falsity is necessary; It is liked by the readers as because it inspires them to search for truth. Sanskrit literature is rich in this poetic truth. So, the unreal and false theory of it can not be ignored. The glowing form of truth underlying the network of this wordy compositions deserves proper acceptance. In comparison with other literatures, stotra literature occupies a glorious place. Stotra literature is enriched like other branches of literature from the point of view of excellence as it discloses the true nature of poetry. (1) Aguichota Kavikratuh Satyas citrasravastamah Rgveda 1.1.5

8 This difference of vidhi and Arthavada is essential for a proper understanding of the true nature of Poetry (Karya). Vidhi is a vedic directive%; it is only a directive for the performance of desired action (Kamya Karma). Arthavada, on the other hand, does not direct anything; it rather denotes the compulsory performance of Viahi by introducing imaginary (facts) or narratives. Arthavada aims at denoting the vidhi clearly. Advertisement of modern times may be deemed as the newest edition of Arthavada. It (Arthavada) composes a fictitious narrative to denote the significance and necessity of an action (i.e. rite) or a thing (fact). This narrative too does not limit its effectiveness in itself, it rather explains the real significance of that action or that matter. As a result, the significance of the object of discussion becomes the object of realization more keenly due to the introduction of narratives than it could be in absence of narratives. Here the imaginary narrative is but a step to reach the temple of truth. Bhartrhari tried to explain the fact that imagination and imaginary narrative too can help one reach the temple of truth by an example. A mother sometimes has to make her crying child hear an imaginary narrative of a tiger to stop his cry. This narrative makes a child fearful and the child instantly ceases from crying. (1)

: 9 As the falsity of this narrative is a step to reach truth, the imagination of Arthavada is a means to realize the significance of Vidhi. (2) It is true that Sanskrit stotra literature weaves the net of imagination like other branches of literature but this does not make an end to its effectiveness by making the reader imaginative only, it also makes the reader amazed by explaining the true nature of truth and thereby floods the readers' mind with the sentiment of devotion. (bhaktirasa) (1) Vyaghradi vyapadesena yatha valo nivartyate Astyopi tatha kascit pratyavayo vidhiyate Vakya Padiya [ 2.321 7 (2) Upayah Siksamananam valanamapalapanah Asatye vartamanas tviha tra satyam samihate 掳 Ibid. [ 2.238 7

鈽� 10 This question of poetic truth is closely related to Bhartrhari's theory of the entity of the primary meaning 鈥� 鈼� (Abhidheya) of word. Acharya Bharthari opines that a word -1 does not only denote the meaning of outer entity but also denotes such a thing that has some basis of reality. If, in some places, a thing denoted by a word really exists, it may keep its entity in the form of having a meaning. The significance of this sentence can easily be explained if we analyse the sentence "Akasakusumam nasti". (A flower in sky does never exist). A flower in sky is non-existant, of it has no basis of reality. Hence, there is no scope any question to be arisen to defy its existence. If a flower in sky really exists, the above sentence is false. And if it does not really exist, the sentence then loses its significance. Analysing all these Bhartrhari has established the theory of the entity of the primary meaning of a term (technically called 'abhidheya sattva) or simply the theory of the existence of meaning; according to him, the meaning (of a word) can make its existence in the world of human wisdom though there is no real existence of the meaning (of a word). A sky flower (a flower in sky) is such a thing that has no real existence but only possesses a meaningful existence or any idealistic form. This imaginary meaning, though different from reality, can not totally be ignored;

11 For, this imaginary idea explains the real form and significance of poetic truth successfully. The poet and the connoisseur (Sahrdaya) alike compose and greet this imaginary meaning of poetry i. e. the meaning that possesses an idealistic entity though they are fully aware of the fact that this is false. As the poet, worshipper of truth, does not hesitate to create this imaginary meaning, the reader, quester of truth, also has no hesitation to take it granted. Sanskrit stotra literature is enriched in the occurrence of this imaginary and idealistic truth, in it too exaggeration predominates absolutely. Literature, with its variety of image peries, creates a substitute knowledge (vikalpa jana). This vikalpa this is such a knowledge which is originated following the knowledge of word and the subject-matter of which is really not found. This absence of the subject-matter, creation through falsity, can not be ignored as only a flase imagination, for, this unreal form is made voluntarily. It acquires acceptability as because it is made out of desire and the condusive acceptability itself for performing a particular necessity differentiates vikalpa-jnana from viparyaya. Viparyaya is an erroneous knowledge. (1) (1) Viparyaya mithyajmanamatadrupapratistham mali Patada Samadhipada, eighth sutra

-:: 12 In viparyaya the knowledge of a thing is originated in a different thing like the knowledge of a serpent in a rope. This knowledge is again contradicted with the real knowledge originated later and hence there is no question to accept it as real one. So, viparyaya is not acceptable as because it is originated in a way that excludes the individuality of the seer; this erroneous knowledge goes away as soon as the real nature of the thing is originated. But vikalpajuana is as acceptable on the one hand, so tasteful on the other, for, the speaker applies such words voluntarily that it is capable of originating the knowledge of this unreal thing. This question whether this knowledge is real or unreal is also redundant. (2) The charming imagenary, capable of originating such peculiar vikalpa-jnana, which poetic sentence (again) makes, attracts the minds of the readers firstly towards poetry and then discloses the ideal and real nature expressed in a number of sentences. (2) Sabday nananupati vastusunya vikalpah -Vogasutras amadhipada sutraq, sa na pramanoparohi, na viparyaoparoni ca, vastusunyatvepi sabdajnanamahatmyanivandhano vyavahe ar drsyate, tad yatha caitanyam purusasvaruppam iti, 1

-:: 13 yada citireva purusastada kimatra kena bh V Vyapadisyate, Natati ca vyapade se vrttih yatha caitrasya Gauriti, tatha pratisiddhavas tudharma S niskriyah purusah tis thati vanah, sthasyati sthita iti, gatinivrttaw dhatrarthama tram ganiyate ! Tathanutpattidharma-purusa iti utpattidharmasya vabamatramavagamyate, na purusanwayi dharmah, tasmat, vikalpita sa dharmastena casti vyavahara ti nj pata aladarsana. Samadhipada pp. 59 patafyalada -

14 For this, Acarya Mammata seems to have considered the acceptance of advice of the sentence advocated by the 0 beloved to be one of the necessites of Kavya in connection with the saying of the necessity of Kavya. (3) The presence of the advice of the beloved in a kavya-vakya (poetic sentence) differentiates it from a puranic or from a historical statement. Word predominates in a vedic sentence, here no other word can be put in place of the used word nor the succession of the application of words can be violated. The meaning (of a word) predominates in a Puranic or historical statement, there the desired meaning may be expressed by any word or net of words as because a historian or an expert in Puranas seem to have achieved success by unfolding the nature of the eternal truth gained through experience. The poet aims not at giving arid theories gained through experience, but making the real think about it newly. Hence, word and meaning gain a secondary primacy in Kavya, implication, capable of infusing experience (in the mind of a reader), absolutely predominates there. r (3) Kavyam yasase(\)anthakrte vyavaharavide Siveterakshataye Sadyaha para nirbtaye kantasammitatayopodes ayuje Kavyaprakash/1st ullasa/Karika-2

F ' 15 By stating the sentence of a Kavya as Kanta-sammita (advocated by the beloved) the rhetorician wants to mean that as a beloved at first attracts the mind of her dear towards her and then confers him such things as suited for meeting the necessities of life, a Kavya draws the attention of a reader towards it by variety of imageries and then shows us the way of life to be trodden fully by giving us a hint of charming poetic truth in the like manner. This attractive power of Poetry (Kavya) depends on the ability of imagery or word-image (Vakya pratima). The imagery of Poetry attracts the reader's mind towards an imaginary (doctrine) truth by producing vikalpa jnana (substitute knowledge). The reader, on the other hand, finds the true nature of poetic truth within this imaginary theory. And hence, the imagery of poetry is held in so high esteem in spite of its introducing falsity. And the question of examining truth or fasity of the theories yielded by poetry is absurd. The sentence that represents a particular theory and which is called 'Proposition' in English, can be judged whether it is true or false. A poetic sentence cannot, however, be deemed as a proposition for, it represents no theory at all; rather, it only makes the truth newly. It infuses the supra-numdane experience from the mind of the poet to that of the reader. Even in that particular and significant moment when the poet chanced to gain that peculiar experience this proposition makes the occurrance e of that moment too in the mind of the reader. This proposition is not a common sentence or a great sentence (mahavakya).

16 Hence, poetic truth can not be judged by applying the standpoint used to judge the truth of any theory or doctrine, different to that. The truth of poetry is bright with the touch of feeling. The lustre of feeling makes it a confluence of reader and the entire world.