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Chapter XII
Dhvani in Kuntaka, Bhoja and others, and Guṇībhūta-vyangya and Citra-Kāvya.
We have examined the concept of dhvani-rasa-dhvani in A. and his followers belonging to his Kashmir School of thought. These writers included the Locanakāra Abhinavagupta to begin with, followed by Mammața, Hemacandra, Vidyadhara, Vidyanatha, Viśvanatha, Jayadeva. Appayya and Jagannata to name some of them. The approach of these writers is identical and is in keeping with what A. laid down.
But among the successors of A. there were some who were the predecessors of M., such as Kuntaka, Dhananjaya-Dhanika, Bhoja and Mahimabhaṭṭa, who were of course posterior to Abhinavagupta, yet declined to follow the dictates of A. and Abhinavagupta. They tried to treat dhvani in their own way. They had the inheritance, not only of A. and Abhinavagupta, but that of the earlier masters such as Bhāmaha, Dandin, Udbhata, Vamana and Rudrața also. They had before them the thought-currents of guna, alamkāra, lakṣaṇa, rīti, vṛtti etc. before them. Some of them overlooked vyañjanā or even opposed the same, tooth and nail. It will be very interesting to study their approach to the fact of dhvani-rasa-vyañjanā, and then to see how A. had tried to keep space for all the thought currents in his catholic and almost all pervasive approach, followed by great thinkers such as Mammața, Hemacandra, Viśvanatha and Jagannatha. This we will discuss in the next Chapter i.e. in Ch. XIII. The voice of the four viz. Kuntaka, Dhañjaya/Dhanika, Bhoja and Mahima along with the humdrum advanced by Mukula and Pratihārendurāja drowned deep into the larger music of the followers of A. We have seen the views of the earlier alamkarikas such as Bhāmaha, Dandin, Udbhata, Vamana and Rudrața, in an earlier chapter (i.e. Ch. IV) in which we discussed the approach of these ancient writers towards dhvani, or better say, implicit sense - "pratiyamānártha" in general. So, we will not repeat the same over here. However, we will take a brief resume of their views here also as they serve as the background for the thoughts seen in Kuntaka and Bhoja.
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