355. ÆSTHETIC CURRENTS IN POETICS 393

ÆSTHETIC CURRENTS IN POETICS 393

susceptibility and which he technically calls Vakrokti, is the essential element of poetry. A composition without Vakrokti, though written in a good style and so possessed of the qualities such as sweetness and clearness, is not poetry. It is like a song which pleases the ear only.1 Thus, according to Bhamaha, embellishment (Alankāra) is the most essential element of poetry and it consists in the striking manner of putting a striking idea in equally striking words.2

HIS CONCEPTION OF POETIC EXPERIENCE.

He is silent on the æsthetic experience. It was natural for him to be so, because his object in the work was not to discuss the nature of the asthetic experience, but to state the poetic embellishments4. There are only two accidental statements which give some idea of his conception of æsthetic experience. According to one, it is a certain pleasant experience. No doubt,5 according to the context, this experience refers to the poet's experience and not to that of the appreciating hearer or reader; but we know from later psychological analysis of the æsthetic experience by Abhinava that the two experiences are very similar. Hence what Bhamaha has said with regard to poet's experience may be said to hold good of that of the reader. At another place he distinguishes this pleasure from that resulting from a mere sensation, such as the one from song or music. Further, this was recognised to be due to the objective perception or cognition of the presented and not to the subjective realisation of a basic mental state at its highest pitch, because he compares embellished speech to a tastefully decked lady. The

1. K. A., 4. 2. K. A., 39. 3. K.A., 40. .2.4. K.A., 1. OFE 5. KA., 1.A 0 8,4 6. K.A, 25. 50