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'Classification of Poetry' (Criticism Oriented)
content is compared to a king joining the vara-yātrā or bridegroom's procession. Here of course the bridegroom is no doubt most important from the contextual point of view, because it is he who is going to marry the bride, but the king who has joined this procession of a bridegroom who happens to be the son of His Majesty's minister or any other senior officer, is virtually the centre of attraction and even the bridegroom's importance sky-rockets because the king, as a guest, has chosen to follow him. This shows that in the heart of his heart A.'s preference lies with the suggested sense, in any context. It is precisely this vyangya-biased attitude which has prompted his arch rival Mahima to reject the category of the so called guṇībhūta-vyangya and accept the supremacy only of the 'other' sense, i.e. 'anumeya' for him, in place of A's 'vyangya'. This our observation deserves special notice of the learned.
In the third Udyota, of course, A. improves upon this analogy of padárthavākyártha-nyāya between vācya-vyangya, and instead, projects the "ghatapradeepa-nyāya". This is guided by the consideration of saving vyañjanā being branded only as lakṣaṇā, wherein there is clear mukhyártha-badha. In vyañjanā, especially rasádi-vyañjanā, the vācya-pratiti is not totally efaced. Actually the two apprehensions co-exist.
Thus, after establishing the existence of the suggested meaning which is superior to i.e. more charming than the expressed or conventional sense to his satisfaction, A. proceeds to define this principal suggested sense (i.e. the sense which is the principal source of poetic charm) in poetry at Dhv. I. 13:
Ā. observes :
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"yatrárthaḥ śabdo vā
tam artham upa-sarjanīkṛta-svárthau vyanktaḥ, kavyaviseṣaḥ sa
dhvanir iti sūribhiḥ kathitaḥ."
"That kind of poetry, wherein the (conventional) meaning renders itself secondary or the (conventional) word renders its meaning secondary and suggests the (intended or) implied meaning, is designated by the learned as 'Dhvani' or 'Suggestive poetry." (Trans. K. Kris. p. 19, ibid)
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This definition is applicable simultaneously to both the principally suggested sense in poetry, as well as that type of poetry which is having suggested sense as the principal (source of charm). He observes that by this definition it is shown how
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