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Śakti Mula Dhvani it is the matter or sense that the words expresses which matters most. Karnapura classifies this type of Dhvani into three categories according as the idea which conveys the suggested sense (vyañgyārtha) is objectively possible (Svata, Sambhavi) or is invented by the imagination of the puet (Kavi Prouqhoktisiddha) or is brought into being by the imagination of the character created by the muse of the poet(Kavi Nibaddha Vakt? Proudhokti Siddha). In this variety of Dhvani the suggestive matter may take the form either of Vasiu (Matter or Fact) or of an Alamkāra (Figure of speech) and the suggested thing also may in its turn be either a fact (Vastu) or an imaginative mood (Alam kāra). Thus this variety of Dhvani may further be multiplied intu twelve categories depending upon that the suggestion of fact (vastu) is by fact (vastu) which is objectively possible or a suggestion of fact by fact which owes its existence to the imagination of the poet or to the character created by the poet's muse. Similarly a figure (Alamkāra) which is objectively possible or a figure created by poet's muse or a figure created by the imagination of character who himself is the creature of the poet's intuition, may suggest fact or figure accordingly. This can be multiplied further on the ground that Dhvani belongs to a word or a sentence or composition as a whole. This gives 51 varieties of Dhvani which are called Suddha unmixed. If one works out the possible varieties of Dhvani unmixed and mutualy mixed the number goes to 10455. These varieties of Dhvani are generally worked out and enumerated in all those works who subscribe to the principal of Dhvani. Kavi Karpapūra adheres to the system of Dhvani. Hence all possible varieties of Dhvani are worked by him in the 4th Kirana of his Alamkāra Kaustubhia. A chart indicating the principal varieties of Dhvani is appended below for ready reference and convenience.
The IVth Kirana demonstrates the concept and varieties of Gunibhūtavyañgya the poetry of second grade. That is Guņibhūtavyañgya variety of Kāvya where the expressed sense is more charming and appealing rather than the suggested sense. There are some factors and circumstances under which the vyañgyartha losés its charm and becomes subordinate (i) When it is as obvious as the expressed sense (sphuţa Vyañgya). (ii) When it embellishes the expressed sense rather than being embellished by it (Aprāöga) (iii) When it supports and nourishes the expressed sense (Vācya Poşaka) (iv) When it is so deep that it is not possible even for refined critics
