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We noted that the Sanskrit drama, shorn of its sophisticated patronage, its stable milieu ravaged by frequent social upheavals, became increasingly a literary form. itself the chief object of interest, where it-^bj a not unambiguous application of the Mimamsa notion of "primacy" prddhdnyam)—may be said to be the "main" or chiefly intended mode of apprehension involved. One must speak of "primacy", for given the analysis of speech, the dhvani cannot come unalloyed by other functions. Where the dhvani as function is primary, its most characteristic content, then, the rasa, is by definition what the best poetry is about; since the content, in this case, is proper to the function, its apprehension is simultaneous, instantaneous (asamlaksyakrania [2,3]); but because rasa is an affect it is always accompanied by a content that can properly be said in some sense to be indicated (that is to say a content in the usual sense,Ja "meaning").

But the pun, par contre, is not simply a simile, though its words express both wpameya and upamdna: the simultaneity of apprehension adds an unmistakable Glanz und Pracht to the figure which itself may be thought of (and no doubt was by Rudrata) as the exaggeration essential to hyperbole. The apprehension of the similitude is accompanied by a distortion so grave as to become hyperbolic. The distortion applies not to the similitude but to its apprehension. 111 The density of expression that is characteristic of the classical kdvya—the essential inweaving of overtone and allusion—reaches a formal limit in the artha-Mesa that makes of the latter the laksana of the style itself.

K. RAJA, Indian Theories of Meaning, Madras 1963. K. RAJA, op. cit. , pp. 48-50. The first problem that Mimamsa has is justifying its own reasonableness: adhikarana 1: svddhydyo 'dhyetavyah. Rasa and bhakti: the Dhvanyaloka 255 cognized in the word; one of course is denotation (abhidhd) ex hypothesi, the other covers that range of usage where there is comprehension {ergo a power operating) in the presence of an explicit malfunction of denotation: secondary or metaphorical signification: laksana, as in the standard example "the grandstands are cheering", which joins an inanimate subject with an animate-only action, or the older Mimamsaka problem "the rocks are swimming; the trees attend on the sacrifice".

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