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SAHRDAYĀLOKA āsādayati." Here also, K. does not mention vyañjanā’ by name. In a similar vein K. explains the suggestivity of the word 'munih' in illustration no. 31, under VJ. I. 9 (pp. 18): "atra kósau munir iti paryaya-padam atra vaktavye, parama-kāruņikasya nisāda-nirbhinna-sakuni-sandarśana-mātra-samutthitaḥ ślokatvam abhajata yasyaiti tasya tad avasthā janaka-rāja-putrīdaśā-darśana-vivasa-vịtter antaḥ-karanaparispandaḥ karuņa-rasa-pariposángatayā sahrdaya-hỉdayā”hlādakārī kaver abhipretah." Here also vyañjanā is not alluded to. On verse 32, he offers some criticism wherein words such as "dyotyate" and "dyotayanti” are used only in the normally accepted sense of 'suggestion', but here too he overlooks the mentioning of vyañjanā-vítti. He observes (pp. 18, ibid, on VS. 32, VJ. I. 9) : "hrdaya-nihitād iti suhrttva-vihitam sāvadhānarvam dyotyate... ambuvāham. ity ātmanas tatkāritábhidhānam dyotayati."
He uses even 'bhanyate' in the sense of 'dyotyate' or 'vyajyate' here : (vrtti, VJ. I. 9, VS. 32, pp. 19) - 'abalā-śabdenā’tra tat-preyasi-viraha-vaidhuryā’-sahatvam bhanyate.” K. is out to smash the perfectly evolved terminology of Ā. He explains the suggested sense of the whole expression with the words : "tad ayam atra vākyárthah.” (pp. 19). This 'vākyártha' is 'wyangyártha', pure and simple, without being designated as such.
K. raises a fresh problem at VJ. I. 10 (pp. 20, ibid), when he observes : (vrtti,
pp. 20) -
"ubhāv etāv alamkāryau, tayoḥ punar alamkrtiḥ
vakroktir eva, vaidagdhya-bhangi-bhanitir ucyate.” ...tad idam atra tātparyam yat śabdárthau prthag avasthitau na kenā'pi vyatiriktenā'lamkaranena yojyete, kintu vakratā-vaicitrya-yogitayā abhidhānam eva anayor alamkāraḥ, tasyaiva sobhātiśaya-kāritvāt, etac ca vakratāvyākhyānávasara eva udāharisyate." . i.e. “Both these are 'adorned'. Their adornment consists in the poetic process known as 'artistic turn of speech'... Let us sum it up once again : apparently, words and meanings both have their distinct existence in poetry and come to be adorned by something different from themselves. The fact of the matter is that the very process of poetic utterance is constituted by the artistic turns assumed by words and meanings. The poetic process itself, in this sense is the real ornamentation. For, it is extremely delighting in itself. This shall engage our attention more when we consider, the concept of artistic beauty further, on.” (Trans. K.Kris., pp. 306). True; even Ā. suggested that no ornamentation could be "bahiranga” or “external”, if properly executed by the
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