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SAHĶDAYĀLOKA number of unknown writers and though the concept of 'rasa' was acceptable to one and all, the concepts of dhvani and especially vyañjanā were challanged by such great names as Kuntaka, Dhananjaya. Dhanika, and Mahimā, who followed the lead of Mukula and Bhatta Näyaka. Of course Kuntaka could be labelled as a "pracchanna-dhvani-vădin", but Mahima was the greatest challanger whose
iration perhaps came from both Sri Sankuka and also Bhatta Nayaka who drafted his “Hrdaya-darpana" with "dhvani-dhvamsa” - demolition of dhvani-t being his sole target. Then we also come across such opponents as recorded in the Locana and the K.P. of Mammata, viz. the dīrgha-dīrghatara-vyāpāra-vādin mimāmsakas, the laksanāvādins or bhaktivādins etc. We have taken care of these under vyañjanā-virodha, for their thrust was greater against vyañjanā, then against the implicit sense or 'pratīyamāna artha' as such. We will take care of pure dhvani virodha as recorded in the Dhv. I. later, in a separate chapter but for the present, as noted above, we proceed with the divisions and sub-divisions or types or varieties and sub-varieties of dhvani' proper.
Dhvani-prabheda : Actually this topic of the varieties of dhvani is absolutely congruent with the three-fold criticism-based classification of poetry into dhvani, gunībhūtavangya and citra, or in the words of Mammata, uttama, madhyama and avara.'
In the second udyota of the Dhv., the sub-divisions are enumerated from the point of view of 'vyangya' i.e. suggested sense, and in the third udyota there is enumeration of the types of dhvani from the point of view of 'vyañjaka' or suggester. We will calculate the basic divisions here with the help of first, the Locana and then we will compare Locana's scheme with that of Mammata and Viśvanātha and then of course Jagannātha. We will also mention other authors of repute in between. We have already noted that basically Ā. has given a threefold scheme of dhvani, gunibhūtavyangya and citra, with reference to the supreme importance of the suggested sense in dhvani, its lesser status as compared to the expressed sense as in gunībhūtavyangya and its absence or lack of any importance from the point of poetic charm in 'citra'. This classification of poetry is "criticism oriented”, as against the one based on consideration of external form as noted by us.
First, we will take up 'dhyani' (kāyya) for consideration.
Ā. informs us that in poetry there is what is called the 'implicit' or 'pratīyamāna' sense which is different from the explicit or conventional sense, i.e. 'vācya' artha.
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