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Dhvani in kuntaka, Bhoja and others, and Gunībhūta-vyangya and Citra-Kāvya. 1059 is done by the great Mammata and Ācārya Hemacandra who follow the track of Abhinavagupta who himself in his turn does not make a secret of his being a follower of Ā. And in that case, K. need not have attempted this sort of a treatise at all.
It has been noticed earlier that K.'s use of “pratīyate' is equivalent to "vyajyate'. When he deals with "vrtti-vaicitrya vakratā", once again in a further variety of padapūrvárdha-vakratā (pp. 31, ibid), he finds beauty in the speciality of linguistic structure like compounds, their speciality, etc. : (vrtti, VJ. I. 19, pp. 31) : “yatra samāsā"di-vșttīnām kāsāmcid vicitrāņām eva kavibhiḥ parigrahaḥ kriyate.” The illustration reveals a mixed beauty of expression, pure and simple, and also suggestion. Similer is the case with his yet another variety of "pada-pūrvárdhavakratā”, viz. "linga-vaicitra-vakratvam”, wherein we have speciality in gender. (vrtti; VJ. I. 19, pp. 31) : - "aparam linga-vaicitryam nāma pada-pūrvārdha-vakratāyāḥ prakārántaram drśyate. yatra bhinna-lingānām api śabdānām vaicitryāya samānádhikaranyópanibandhaḥ.” At times the poet pitches upon only the feminine form of a word, because of its tenderness, though it admits of other genders. (Trans. K.Kris., pp. 318, ibid). All this is beauty of pure expression coloured with beauty of suggestion. Similarly, his "kriya-vaicitrya-vakratva" is beauty in speciality of verbs, where poets offer usage, full of charm, brought about by artistic expression while describing the speciality in verbs. All this is beauty of pure expression tinged with that of suggestion as well. The illustration cited is, “rati-keli...” etc. (verse No. 58, pp. 32, ibid), wherein the verb "jayati" occurs. K. observes that here, the verb 'jayati' i.e. 'triumphs', has a striking beauty. Then he quotes an illustration which forms the famous mangala-śloka of the Dhv., viz. "sveccha-kesarinaḥ..." etc., in which observes K., the poet has attributed a unique activity, viz. the cutting away of woes of devotees, which is so different from their cutting activity well-known to the people. Vrtti on VJ. 1. 19, pp. 32, ibid - "atra nakhānām sakala-loka-prasiddha-cchedana-vyāpāravyatireki kim apy apūrvam eva prapannā"rti-cchedana-laksanam kriyā-vaicitryam upanibaddham” - could K. have-read Locana ?
But here also, the charm is caused by the suggestion it contains. So also, in the illustration drawn from Ā., and also in the illustration, viz. “karnótpala-dala..." etc., (pp. 33 ibid), the charm caused is the result of suggestivity. At all these places, K. avoids any mention of vyañjanā directly.
After this, K. treates “pratyaya-vakratā”. (pp. 33, ibid) with all its varieties. It is clear that in many of these, the special charm results from suggestivity. K. illustrates them and tries to bring out the source of beauty which for him is either
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