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'Pratiyamāna artha' - as seen in the earlier ālamkārikas...
233 is thus reconised as the very basis on which the whole of art, architecture and edifice of poetry is built.
At I. 30, Bhămaha asserts that this 'vakrokti' should be present in all poetry beginning from a muktaka i.e. a single independent verse to a mahākāvya or an epic :
"anibaddham punar gāthā śloka-mātrā"di tat punah, yuktam vakra-svabhāvoktyā
sarvam eva etad isyate.” Thus vakrokti is omnipresent for Bhāmaha. At I. 34, he is even prepared to reject the so called vaidarbha kävya if it is found bereft of this element of vakrokti :
“a-pustártham a-vakrokti prasannam rju-komalam, bhinnam geyam iva idam tu
kevalam śruti-peśalam." "If the composition is meagre in meaning and bereft of beautiul expression, though clear, uninvolved and soft, it is to be taken as different from poetry, (and) something akin to a musical composition appealing only to the ear.”.
Tatacharya writes : (pp. 15, ibid) : a-pustártham a-gambhīrártham, ata eva prasannam kavi-pratibhā-janita-rasopaskāra-rahitam, a-vakrokti alamkāraśünyam, ata eva rju pāmara-sādhārana-vārtā-tulyam evam kavya-jīvita-vikalam api komalam lalita-pada-bandham idam tu vaidarbham vilakṣaṇam geyam iva kevalam sștimadhuram, na tu priti-hetu-bhūta-viśista-śabdárthamaya-kāvya-vyapadeśa-nidānaśobhāśāli. tathā ca kāvyatyam eva nástīti kutas tad-višeșatā. geyam gītipradhānā padaracanā."
Bhāmaha very clearly affirms the use of only 'vakra' 'word and sense' in poetry when he observes at I. 36 :
"na nitāntā”di-mātrena jāyate cărutā girām, vakrábhidheyaśābdoktir
iştā vācām alamkṛtiḥ.” "By the use of soft words such as 'nitānta' and the like, poetic beauty is not caused. A poetic expression graced by beauty in word and sense is welcome as true 'alamkāra' (i.e. inherent poetic beauty) of speech."
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