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Bhavasthiti, Bhāvasandhi and
Bhāvaśabalata - nine in all provides very good examples of Arthaśaktimūlavyaṁgya. While the Sūtra (25) mentions Rasādiśca, i.e., Rasādi also (constitute) the Arthaśaktimuladhvani (as pointed out above, this explicitly acknowledges Rasādi as a poetic principle a central and cardinal principle at that.). He separately enumerates Rasa, Bhāva etc., So as to make it clear that these are always suggested (Vyangya); for they can never condescend to the level of Vacyārtha. In other words, whereas in Vastudhvani and Alamkaradhvani the Väcya sense or the Lakṣya sense plays its part, in Rasadhvani, the Vacya sense is totally discarded, that is to say, Rasadhvani is always suggested. The word 'Ca' in the Sutra, explained in the gloss, is intended to indicate that Rasādi are suggested in a Pada, Vākya and a Prabandha, i.e., in a word, a sentence as well as in a whole poem or poetic composition. We have seen that Rasa etc.,. are all separately mentioned so as to hint that these are all suggested at all times, and they never even so much as approach direct expression. They can never be explicit. This in its turn shows the supremacy of Rasa, Bhāvas, etc., in poetry. However, as Hemachandra points out in the gloss, Vastu and Alaṁkāra may parttake of an expressed character or can be explicit.
Rasādi is Always Suggested; Never Expressed
Hemachandra lays great emphasis on the fact that Rasadhvani or suggestion of an emotion or mood always surpasses everything that is explicit or matter of fact. It is in this variety alone that the supreme importance of suggestion can be truly realized. There is no emotion that can become delectable without the sole means of suggestion; for Rasa is never denoted by words, but is always developed or prortrayed by means of a proper presentation of Vibhāvas or determinants, Anubhavas or ensuants and Vyabhicāris or the accessories or fleeting emotions of that particular Rasa. In a poem, we have a poetic description and in a drama an aesthetic representation of the
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