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Dhvani in kuntaka, Bhoja and others, and Gunībhūta-vyangya and Citra-Kāvya. 1057 co-exist like an object and a lamp that illuminates it. Ā. has ruled out the case of a mere secondary sense or laksyártha, which seems to be hinted at by K. M. (= Mammata) has utilized the same illustrations for the establishment of vyañjanā, independent of laksanā here. So, K., while citing the second illustration, viz. "rāmo'sau.” etc., (verse no. 43, pp. 27, ibid), when he observes that this involves an attribution of the extra-ordinary speciality of the feature under description, - "lokottarā'tiśayā’dhyāropam garbhīkrtyópanibandhaḥ,” , he almost suggests that there is the suggested meaning or the vyangyártha' concealed in a given statement. And for this, Ă. has vyañjanā-vitti, while K. gropes in darkness in flouting this clear-cut scheme as laid down by. Ā. K. again has no fixed and clear expression, for in one case he has, “lokottarā'tiśayádhyāropam garbhi-kstyā”, and in the next breath he has, "lokottara-sauryā”di-dharmátiśayā’-dhyāropa-paratvena."
K. goes to illustrate further how out of a number of synyonyms possible, only that is chosen which is especially significant in the context, e.g. "vāmam kajjalavat...." etc. (verse, 44, pp. 28, ibid). Now this illustration runs parallel to the one in which "kapalinah" is preferred and "pinākinah" is rejected by Kālidāsa. Here also there is a charm caused by vyañjanā, without mentioning the same. Again, it is unthinkable to put "varna-vinyāsa-vakratā" and this "paryāya-vakratā" on the same footing. K. observes that, (vrtti, VJ. I. 19, pp. 28) : etac ca paryāya-vakratvam vācya-sambhavi-dharmántara-garbhīkāreņā’pi paridrśyate." - "this artistic use of synonyms is also found to include hints of even features which are conceivably no parts of literal meanings.” (Trans. K.Kris., pp. 315, ibid). This again is vyañjanā, pure and simple. Needless to say that the illustrations, such as "angarāja, senāpate...".etc. (verse, 45; pp. 28, ibid), also contain 'vyangyártha', which is the only source of charm.
The upacāra-vakratā variety of prabandha-pūrvárdha-vakratā, wherein the charm is caused by metaphor, is nothing else but laksaņā-vilasita : vịtti, on VJ. I. 19; pp. 28 - "yatrā’mūrtasya vastunaḥ mūrta-dravyábhidhāyinā śabdenābhidhānam upacārāt...” Thus here the charm is caused by laksaņā or indication. In ‘nikārakanikā', "hastávaceyam”, etc. the charm lies in laksaņā or indication, and then in the ultimate suggestion of "stokatva", or "slightness" 'bahutva', etc. Similarly, expressions like, "billowy" which primarily apply to liquids, when they are serging with waves, are often found in poetic tradition to apply even to solids, only on the basis of general similarity.
"Visesana-vakratva" or "beauty in epithets" is also a variety of "pada-pūrvárdhavakrata', or "art in the base form of substantives", wherein art or beauty springs
alm.
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