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stated. So, if the poet uses words which are Vācaka of that Sambandha, it is not a case of śabdaśaktimüla. In other words, in sabdaśaktimüla, the relation must be suggested, and not expressed. Otherwise, it would be an instance of mere Alamkāra or witty and striking expressions. This holds true for Rasas also; for, if a certain emotion be properly developed and suggested through Vibhāvādi, and then again denoted by words like Srgāra, Karuņa, etc., it will detract from the Rasa of the poem.
Hemachandra Illustrates Types of Dhvani
Now Hemachandra illustrates the different types of Dhvani or Vyangya resulting from the different types of Vyañjanāvștti. For example, in the verse (58), he explains sabdaśaktimūlavyangya in a Pada (sabda) - 'Sadagamah'. In the next verse (59), 'Pathia etc.' which means : "O Pathika, the village is full of stones and there is no bed to sleep on; if you wish to stay here, owing to the rainy season, do so" the inner sense is that "the traveller will enjoy the company of the lady throughout the night, since the people there are all dull as stones; he may stay if he wants to stay looking to the buxom breasts of the Jady". This inner meaning consists of a Vastu - a bare idea. As the Vyangya arises due to the Bädha (obstruction) of the Väcyārtha, there is no Upameya - Upamānabhāva between the Vācyārtha and Vyangyártha, hence no Upamā results. The next verse saniraśanisca etc. contains the words Sani and Ašani yielding two senses, so also Udāra and Anudara have a double-sense; but the suggested sense 'even contraries serve you' is a bare statement - Vastu.
The next verse (61) contains the word Bhima which means terrible but suggests the comparison of Bhima, the son of Pandu. This Vyañjanā is based on one word (Pada) 'Bhima.' Here the king is called 'Bhima' i.e., Bhişāņa due to his fierce looks. However, in (62) Unnataḥ etc. (quoted in the Dhy. Āl. II), the Vyangya is found in the whole Vākya. The words
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