Abhinav Guptas Ideas In Locana On Nature Of Beauty Of Kavya - Book Summary

Here's a comprehensive summary of the provided text, focusing on Abhinavagupta's ideas on the nature of beauty in Kavya as presented in V.M. Kulkarni's analysis of the "Locana" commentary:

The article, "Abhinavagupta's Ideas in Locana on the Nature of Beauty of Kavya" by V. M. Kulkarni, delves into the aesthetic theories of Abhinavagupta, particularly as expounded in his commentary, Locana, on Anandavardhana's Dhvanyaloka. The focus is on how Abhinavagupta elaborates and expands upon Anandavardhana's concept of dhvani (suggestion) as the essence of poetic beauty.

Key Concepts and Abhinavagupta's Contributions:

Shift from Form to Suggestion: While earlier Indian literary critics (alamkarikas) focused on the outward aspects of poetry (sound and meaning - shabda and artha), later critics, starting with Anandavardhana and further developed by Abhinavagupta, shifted their attention to the suggested sense and, most importantly, rasa (aesthetic relish or emotion) as the soul of poetry.
The Nature of Beauty (Lavanya): Anandavardhana compares the suggested sense to the ineffable beauty (lavanya) of a woman, which is distinct from the mere sum of her well-formed body parts. Abhinavagupta expands on this, stating that true beauty is not just the faultlessness of limbs or adornments but a distinct quality revealed by their configuration. He argues that this beauty, like lavanya, cannot be paraphrased or explained by simply describing its components. It is an emergent quality that goes beyond the literal meaning (abhidha) or indicated meaning (laksana).
Intention and Evocation of Rasa: Abhinavagupta, following Anandavardhana, emphasizes the poet's intention in portraying rasa. If a poet aims merely at creating figures of speech without intending to evoke rasa, or if rasa is apprehended incidentally without the poet's focus, it is considered faint and the kavya is deemed devoid of genuine rasa. Abhinavagupta uses the analogy of a dish prepared by an unskilled cook to illustrate that even good ingredients (words and meanings) won't produce the desired aesthetic pleasure if not skillfully combined by an intent poet. The skillful portrayal of vibhava (determinants), anubhava (consequents), and vyabhicari-bhava (transient emotions) is crucial for evoking rasa.
Aesthetic Repose: The experience of rasa is characterized by a sense of restful joy or aesthetic repose, distinct from the expectancy generated by religious injunctions or the knowledge of a sage. Sentences in kavya are expected to lead to this state of calm delight, not practical action.
Aucitya (Propriety): The suitability of words to the depicted emotion is paramount. Abhinavagupta highlights that words pleasant in one context (e.g., "garland," "sandal paste" in shringara rasa) can be unpleasant in another (e.g., bibhatsa rasa). This leads to the later doctrine of aucitya, emphasizing fitness and appropriateness in relation to the rasa.
Dhvani as the Soul of Kavya: Dhvani, or suggestion, is identified as the very soul (atma) of kavya. It can manifest as vastu-dhvani (suggested idea), alamkara-dhvani (suggested figure of speech), or rasa-dhvani (suggested emotion). Abhinavagupta elevates rasa-dhvani to the supreme position, viewing the other two as subservient to or aspects of it.
Beauty in Suggestion, Not Just Adornment: While figures of speech (alamkaras) are recognized sources of beauty, they achieve true aesthetic value only when they embody a subordinate suggested sense (guni-bhuta-vyangya). Abhinavagupta criticizes examples of figures of speech that are "prosaic, dry, and devoid of any touch of suggested sense," arguing they lack life and true poetic beauty. He uses the analogy of ornaments that adorn a living person by reflecting their inner state, but are meaningless on a corpse or inappropriate on an ascetic. The true alankarya (that which is ornamented) is the self, implied by the suggestive power of the poetry.
Emotions as the Content: The core content of kavya lies in emotions. The truths and falsehoods of everyday reality are irrelevant in the realm of poetry, where they exist to evoke aesthetic delight (camatkara).
Dhvani: The Indirect Method: Emotions are conveyed indirectly through the skillful suggestion (dhvani) of their causes and effects. This indirectness, particularly in the case of rasa-dhvani, is what creates the profound charm and beauty of poetry. Abhinavagupta likens dhvani to a woman's partially concealed breasts, which excite curiosity and passion precisely because they are not fully revealed, emphasizing the "beauty of concealed essence" (gopana-sara-saundarya).
Aesthetic Pleasure (Priti) as the Chief Aim: While both priti (aesthetic pleasure) and vyutpatti (culture, refinement) are aims of kavya, Abhinavagupta asserts that priti is the chief aim. Aesthetic pleasure is the ultimate fruition of vyutpatti and fame (kirti). He argues that kavya's distinctiveness lies in its immediate aesthetic pleasure, akin to the persuasive charm of a loving wife, differentiating it from authoritative texts like the Vedas or Puranas.

In essence, Kulkarni's paper highlights Abhinavagupta's profound contribution in solidifying the concept of dhvani, particularly rasa-dhvani, as the paramount element of poetic beauty. He meticulously explains how Abhinavagupta, through his insightful commentary in Locana, defines poetic beauty as an emergent, suggestive quality that evokes aesthetic repose and delight, surpassing mere linguistic embellishment or the literal meaning of words.