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contains Vakrokti involving Sabhangaśleşa, one of the varieties of Rudrata, which Hemachandra has adopted here. When we come to Mammața, we find that he defines Vakrokti in the very first Sūtrā (K.P. IX. 78) of his sabdālaṁkära chapter. Here it is Equivoque through Pun (śleşa) or Intonation (Kāku). Hence Mammața accepts Rudrața completely; for his twofold Vakrokti is based on Sabhangaślesa and Kāku. Kākuvakrokti Rejected by Hemachandra
So far as Hemachandra's Vakrokti is concerned, we find that he refuses to accept Kāku as a variety of Vakrokti. He follows yāyāvara (Rājasekhara) who criticises Kāku as a mere Pāthadharma and so does not admit it as a variety of poetic embellishment and Hemachandra quotes Rājasekhara (K.M. VII) in the gloss (p. 333). Thus Hemachandra is not only firmly against admitting Kākuvakrokti, but being a follower of Anandavardhana; he includes Kāku under Gunibhūtavyangya and accepts only Subhangaśleşavakrokti as a sabdālaṁkāra.
It may be noted that Mammața has added Abhangaślesa also to what Rudraga has, and, on this point, Hemachandra follows Mammața.171 Hemachandra correlates the discussion of Kākuvakrokti with what Anandavardhana has said about Kāku being a variety of Subordinate Suggestion (Dhv. Al. II. 39) and reproduces in the Viveka (pp. 333-336) long passages from the Nātyaśāstra to prove this.
All the same, Hemachandra divides Kāku into two types : Sākānkșa and Nirākānksa. He also defines and illustrates these two types. Dr. V. M. Kulkarni offers a detailed critical study of the concept of Kaku in Sanskrit Poetics in his 'Studies in Sanskrit Sāhityaśāstra' (pp. 28-36). He traces the various ideas associated with Kāku in the history of poetics and brings together the opinions of Bharata, Rudrata, Rājasekhara, Abhinavagupta, Bhoja, Mammața, Hemachandra, Ruyyaka, Vidyānāth, Visvana tha and others on Kāku. Bhoja, however, makes a major type of Śabdālamkāra called Vakovākya by taking the element of dialogue from the concept of Vakrokti.
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