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"Tātparya"
443 may be lebelled as 'aesthetic' in poetry at any level - expressed, indicated and also suggested - is dhvani' 'principal purport of a beautiful poetic expression.' Then Bhoja explains this 'dhvani' in ‘kāvya' as
"saubhāgyam eva guņa-sampadi vallabhasya
lāvanyam eva vapuși svadaténganāyāḥ
śộngāra eva hrdi mānavato janasya." Among the treasure of guņas only 'saubhāgya' is tasted, (both) in case of a vallabha i.e. beloved person (as well as in the person of a kāvya-purusa). Now 'saubhāgya' as seen in Kuntaka above is everything in poetry. It is t everything. It is pratibhā, it is pratibhā's launching pad, it is suggested meaning, + + + + ... Among the wealth of gunas of a lover, 'Saubhāgya' is the most praiseworthy. In case of a lady ‘lāvanya' is the quality which is tasted by the aesthetes. Abhinavagupta in his Locana mentions “lāvanya-candrikā” - “na ca avayavānām eva nirdosatā vā bhūsaņāyogo vā lāvanyam. prthan-, nirvarnyamāna-kāņā"di-dosaśūnya-śarīrā'vayavayoginyām api alamkrtāyām api ‘lāvanya-śūnyā iyam' iti, atathābhūtāyām api kasyāñcil, lāvyanyāmrta-candrikā iyam' iti sahrdayānām vyavahārāt.' (pp. 24, Edn. Dr. Nandi, ibid; Locana on Dhy. I. 4)
Bhoja also equates this ‘dhvanireva kāvye' with 'anganāyāḥ lāvanyam', which for Anandavardhana and Abhinavagupta was not a physical quality but something over and above mere physicality, a quality emerging from the total personality of a lady. Beauty is thus abstract, though revealed by physical and other features alike.
Bhoja further gives one more explanation. He says - and this is by implication - that as is the quality of 'Srngāra' - “rasóbhimāno’hamkāraḥ śộngāra iti giyate”. the highest quality of an aesthete, so is this ‘dhvani' in kāvya. It is not just the dhvani' of Anandavardhana and it is not the charm of vyañjanā alone, a name = vyañjana) Bhoja is never enthusiastic to mention. But this quality is that which emerges from 'total poetry. This can be equated with Kuntaka's 'Saubhāgya'.
Now we will be able to explain the other observations of Bhoja in a more satisfactory fashion. He says,
"yad abhiprāya-sarvasvam vaktur vākyāt pratīyate, tātparyam; artha-dharmas tat,
śabda-dharmaḥ punaḥ, dhvanih.” We may add 'kāvya' before 'vākyāt to mean 'kāvya-vākyāt. The essence (abhiprāya-sarvasva) which is understood from a poetic statement, that (we may
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