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sense being predominent outshines the primary sense in its grandeur grace, charm and apeal. In Dhvani System the emphasis is shifted from the extrenuous elements of diction to the innner content represented by the symbolic. According to the adherent of Dhvani School the greatness of the poetry is to be judged by the dazzling splendour of the symbolic and the capacity of the creation to recreate this experience and not by the grandeur of the poetic texture represented by the expression and the expressed.
On the lines laid down by the Dhvani School, Karṇapūra first divides Dhvani into two main branches based as it is on Abhidha or Lakṣaṇā. Accordingly it is designated Lakṣaṇa Mula Dhvani or Avivakṣitavācya Dhvani and Abhidhā Mūla Dhvani or Vivakṣitānyaparavacya Dhvani as the case may be. The two designations point to the characteristic features of these Dhvanis. In the first variety the expressed idea is not intended to be accepted as such and in the second it is certainly taken into account and ultimately leads to the manifestation of suggested sense. Avivakṣita-vacya is further divided into subtypes--Arthāntara Samkramita vācya and Atyantatiraskṛtavācya on the bases of the main varieties of Lakṣaṇā on which it relies or rests. The second type known as Vivakṣitānyaparavacya based on Abhidha has first two main subdivisions according to the perceptibility or otherwise of the sequence existing between the comprehension of the expressed and that of unexpressed. It is termed as Asaṁlakṣya krama vyañgya when the sequence between the cognition of the expressed and suggested meaning is imperceptible and Samlakṣyakramavyangya when the sequence existing between the cognition of direct and suggested meaning is clearly perceptible. Rasa, Bhāva, Tadabbāsa etc belong to the category of Asaṁlakṣyakramavyañgya because the Connoisseur is deeply absorbed in the relish of Rasa that he does not notice the process. Samlakṣyakramavyañgya Dhvani is divided first into three main varieties as it depends upon formal suggestiveness (Sabda Sakti Mula), material suggestiveness (ArthaSakti Mula) and on both (Ubhaya Sakti Mula). In Śabda Śakti Mula the suggested sense arises from the force of expressed meaning and in Ubhaya Sakti Mula from the force of both word and sense units. Sabda Sakti Mūla Dhvani has two types in accordance with the suggested element being a fact (vastu) or an imaginative mood (Alaṁkāra). While in Sabda Sakti Mula Dhvani sound element is more important as with the change of homonyms implicit idea (vyañgyartha) is not conveyed in Artha
