अपूर्वं यद्वस्तु प्रथयति विना कारणकलां-
जगद्भावप्रख्यं निजरसभरात् सारयति च ।
क्रमात् प्रख्योपाख्याप्रसरसुभगं भासयति तत्
सरस्वत्यास्तत्त्वं कविसहृदयाख्यं विजयते । ।
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बालप्रिया
यत् - "कमलमनम्भसि कमले" इत्यादिकाव्यात्मकं सरस्वतीतत्त्वम्,
कारणकलां विना - तत्तत्कार्यं प्रति प्रसिद्धं यद्यदुपादानादिकारणन्तस्य कला = लेशः ,
तां विना = अन्तरेणैव,
अपूर्वम् = लोकप्रसिद्धवस्तुविजातीयमद्भुतञ्च, वस्तु = निरुपाख्यशशशृङ्गादिविलक्षणमनम्भोऽधिकरणककमलादिकं पदार्थम्,
प्रथयति = सृष्ट्वा विस्तारयति।
[The principle form of Speech (or Goddes of learning/speech i.e. the poetry thrives),
spreads creating afresh anything (unprecedented or unforseen/wonderful, without any material cause (कारण-कला),
(किञ्च, and also),
यद् ग्रावप्रख्यम् = पाषाणतुल्यं निसर्गतो नीरसम्, जगत् = सर्वं वस्तु ;
निजः - स्वीयः काव्यासम्बन्धी यो रसः = शृङ्गरादिः, तस्य भराद् = अतिशयात्,
सारयति - सारं करोति; विभावादित्वयोजनेन रसव्यञ्जकं करोतीति यावद्,
which, makes enjoyable (सारयति) anything n the world which may be like a dry stone (without any taste), with the infusion of its own essence Rasa (emotions like erotics, etc.) i.e. काव्यरस;
[The idea is that the stones are made precious jewels by polishing them and the poetry makes all the ordingary things in every day life not enjoyed as such, enjoyable without any discrimination]
वाक्याभ्यामाभ्यां काव्यात्मकसरस्वतीतत्त्वस्य विश्वकर्तुः प्रजापतेरुत्कर्षरूपव्यतिरेको व्यञ्चितः; तमेव स्थिरीकर्तुमाह-- क्रमादित्यादि ।
यज्जगदिति चानुषज्यते।
प्रख्या = कवेः प्रतिभा; उपाख्या = वचनम्; प्रथमं प्रख्या पश्चादुपाख्येति तयोर्यः क्रमात् प्रसरः , तेन सुभगं = हृद्यं सद्, भासयति;
निसर्गेणारमणीयमपि सर्वं वस्तु रसव्यञ्जकत्वसम्पदनेन रसणीयं सत्प्रकाशयतीत्यर्थः,
चकारस्यात्र सम्बन्धः।
And also which is wonderful by the inspiration of the talent of the poet (प्रख्या - the mental visualization of the poetry by the talent) and its transformation into verbal picture (उपाख्या - its verbal reproduction later); [This includes the two kinds of talent, the creative talent of the poet and also the imaginary talent of the commentator which is collected by its essential form of poetry called कवि-सहृदय)
अत्र प्रख्योपाख्याप्रसरस्यापूर्ववस्तुनिर्माणे सरसत्वकरणे च हेतुत्वमार्थिकं बोध्यम्, अत्राद्येन वाक्येनापूर्ववस्तुनो निर्माणम्,
द्वितीयेन पूर्वं सतो वस्तुनस्सरसत्वकरणम्, तृतीयेन द्वयोरपि हृद्यतया प्रकाशनं चोक्तमित्यपि व्याचक्षते,
तत् तु तथाविधमपूर्ववस्तुप्रथयितृत्वादिधर्मविशिष्टम्, तद्धर्मसम्पत्त्यर्थमाह-कवीति ।
कविसहृदयावित्याख्या यस्य तत्, कविसहृदयशब्दावत्र निर्माणरूपकविव्यापारविचारात्मकसहृदयव्यापारविषयकाव्यपरौ,
यद्वा कविसहृदयैराख्यायतौच्यते इति तदाख्यम्,
अथ वा कविसहृदययोराख्या अभीक्ष्ण्येन ख्यानं स्फुरणं यस्य तत्काव्यात्मकमित्यर्थः, तत्त्वमारोपितं बोध्यम्,
सरस्वत्याः - शब्दप्रपञ्चाभिमानिन्यादेवतायाः, तत्त्वम् = पारमार्थिकं रूपम्, विजयते = सर्वस्मादुपरि वर्तते।
which is called कवि and सहृदय (the essential form consists the endeavor of the poet and the connosiur, making the communation between them complete. This is very important aspect as the poetry can be really enjoyed if the reader's thought exactly corresponds to the thoughts conveyed through his poetry, That is why the connosiur reader is called सहृदय. and then only the poet is gratified to find a suitable reader who can enjoy his poetry. So both form the essential function of the poetry).
एतेन तन्नमस्कारो ग्रन्थकर्तुर्गम्यते;
अथ च सरस्वत्यास्तत्त्वं ध्वनिकाव्यम्, विजयते; अपूर्वमित्याद्यर्थः पूर्ववद्बोध्य इति प्रतिपाद्यार्थोऽप्यासूत्रित इति दिक् ।
The essence of poetry is named as ध्वनि the suggested meaning (Rasa mainly) is also intended in this verse as introduction to the commentary on the ध्वन्यालोक the first work establishing ध्वनि theory as the essence of the poetry which has not expounded by any other literary critic before आनन्दवर्धन and all the attributes apply equally to the ध्वनि काव्य also.
A note on the word सहृदय. As noted in its place, it is an important qualification to be a good reader to really appreciate any काव्य that he thinks in the same way as the poet has done while composing. This is suggested by the word सहृदय - समानं हृदयं (कविहृदयेन समानं हृदयम्) यस्य सः - (the one having the same mind thinking like the poet himself). This is the only qualification for a good critic/reader/connossiur) above all, the practice of reading poetry and realization of the poets thinking and not what I/we think). This can be accomplished by reading the poetry with this view in mind and not only by verbal cogniition achieved with dictionary and grammar, as आनन्दवर्धन himself put it:
सरस्वती स्वादु तद्-अर्थ-वस्तु निःष्यन्दमाना महतां कवीनां ।
अलोक-सामान्यं अभिव्यनक्ति परिस्फुरन्तं प्रतिभा-विशेषं । । (ध्वन्यालोकः_१.६ । ।)
शब्दार्थ-शासन-ज्ञान-मात्रेणैव न वेद्यते ।
वेद्यते स तु काव्यार्थ-तत्त्वज्ञैरेव केवलम्॥ (। । ध्वन्यालोकः_१.७ । ।)
The creative talent of the poet can be understood only those know the essence of the poetry itself (which can be achieved by learning poetry from the teachers who are काव्यार्थतत्त्वज्ञ).
The same essence of poetry is described in the first part of this message, by the commentator अभिनवगुप्त in his commentary लोचन who himself a great philosopher and commentator also. His respect and indebtedness with humility to the earlier teachers can be seen in this verse:
ऊर्धोर्ध्वमारुह्य यदर्थतत्त्वं
धीः पश्यति श्रान्तिमवेदयन्ती।
फलं तदाद्यैः परिकल्पितानां
विविकसोपानपरम्पराणाम्॥
If our mind can see the essence of thing by climing over and above, without feeling tiresome, it is the result of (due to the) staircase of understanding provided by our ancestors (The knowledge accumulated by our earlier wisemen serves as the staircase to see the real state of things at any height if it exists).
Sorry for this long message, after a long time posted by me to the group. Please ignore it, if it is boring.
With regards
--
Dr. Hari Narayana Bhat B.R. M.A., Ph.D.,
Research Scholar,
EFEO,
PONDICHERRY - 605 001