________________
45 On Kāku ref. to K. M. (VII). It is a modulation of voice
and the soul of poetry according to Rajasekhara. It helps reveal a meaning not expressed and is related to the process of suggestion.
Vide Dr. V. M. Kulkarni's views on Kāku, "Studies in S. K. Sahityaśāstra", pp. 38-36. 46 Vide f.n. 45 above. cf. "In considering utterances, it
must be constantly remembered that they occur in a context, with a certain intonation, and that this context and intonation are essential to their analysis and interpretation." Paul Henle, Language, Toyught and
Culture', p. 123. 47 Vide Dhvanyaloka (II), p. 74 (B. P. Bhattacharya's ed.). 48/49 Svataḥsambhavi is a subdivision of the Arthasakti mūla
vyangya. Abhinava admirably brings out the suggestion
in the verse 140 cited in Viveka. 50 Abhinava says that śābdivyañjanā is due to double
entendre' (e.g. Goparāga) but Ārthi is due to context
(Prakarana). 51 Gloss on Dhv. Al. 1.23. 52 B. P. Bhattacharya's ed. of Dhvanyaloka (!), pp. 109-110. 53 cf. Dhv. Al. 11.28 for the difference between an expressed
and a suggested poetic figure. 54 Cited in the Dhv. Al. under 11.27 where the reading is
Virānām (Vide Dr. K. Krishnamoorthy's ed., p. 92) Here it
is an example of Upamādhvani. 55 Viveka, p. 74. 56 Cited in the K.P.X (v. 407) as also in the Locana. 57 Vide Ekavali III. 1 (with Taralā) K. P. T. 's ed. 58 Vide, Taralā on EK. III. 1
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