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'Classification of Poetry (Criticism Oriented)
975 But the third variety of the implicit viz. the sentiments etc., shines forth due to the latent power in the expressed : "tļtīyas tu rasā"di-laksanah prabhedo vācyavyāpāra-visaya iti vācyād vibhinna eva" (vrtti, Dhv. I. iv). Thus, this variety of the implicit viz. rasā"di, never becomes an object of direct verbal denotation and hence it is necessarily distinct from the explicit or expressed.
Before we proceed to examine how A. explains this point, we will pay attention to what the Locanakāra i.e. Abhinavagupta has to say. He observes (Locana, Dhv. I. iv) that the implicit sense is primarily two-fold such as “laukika” i.e. that which is also met with in ordinary parlance, and the other one, “which is exclusively the object of poetic effort.” Out of these two, the first, viz. the 'laukika' is, at times, also conveyed by placing its own name, i.e. it be comes sva-sabda-vācya, i.e. it is capable of being denoted by its proper name. It is manifold, taking the form of 'vidhi' or positive proposal, or ‘nişedha' i.e. prohibition etc., and is termed 'vastu' or 'idea'.
This 'laukika pratīyamāna' is two-fold such as (i) that which formerly in a given sentence sense has enjoyed the status of a figure of speech such as a 'simile' or upam, and the like, but for the present (being principally implied or suggested) not being subservient to anything else has lost its status of (an expressed) figure of speech, but as it was formerly designated as a figure, is now termed as 'alamkāradhvani' or (principally) suggested figure of speech, on the analogy of the "brāhmana-śramana-nyāya”. (ii) the second as noted above is a bare 'idea' or vastu. Thus 'laukika pratīyamāna' is fully explained.
The other suggested sense viz. 'alaukika', is such that it can not ever be conveyed by its own proper name, even in a dream, and is certainly not an object of worldly context. This type of suggested sense is an object only of the poetic function. Its nature is of the highest divine bliss. The fact is that all individuals have the emotions such as 'rati' and the like engramed in their conscience from times immemorial. When they see something being enacted on the stage, or listen (or read) certain words in poetry, they experience in their hearts such vibhāvā”dis i.e.
ants, consequents and ancillary feelings, that being congenial to their taste and mental attitude, look beautiful and cause to arise their emotions such as 'rati' and the like which are there in the heart as permanent latent impressions. At this moment, the connoisseur has a feeling of divine bliss. This experience of divine bliss is termed 'rasa', i.e. frasā"di-dhvani'. Pratically, says Abhinavagupta, in reality only this variety viz. rasā”di-dhvani is "dhvani" proper, in the real sense, and only this is the "soul” of poetry (or any art in general), and the other two, viz. vastudhvani and alamkāra-dhvani ultimately terminate into rasa-dhvani, which alone is therefore, the 'soul of poetry. Locana (on Dhv. I. iv) reads as :
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