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Dhvani in Kuntaka, Bhoja and others, and Gunībhūta-vyangya and Citra-Kāvya.
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Then K. proceeds to discuss the nature of 'bandha' or 'diction' under VJ. I. 22 (pp. 38, ibid). While dealing with "sukumāra-mārga", (VJ. I. 25-29), K. observes that this style is such which master poets follow like bees roving along the grove of full-blown blossoms (Trans. K.Kris., pp. 329). He further observes that by this simile the author intends to suggest elegance about the style which is comparable to the natural loveliness of flowers. (Trans. K.Kris., pp. 330, ibid). The word used here is "dyotyate" - (Vrtti, VJ. I. 29, pp. 44, ibid) - "vikasita-kusuma-kānana-sāmyena tasya kusuma-saukymārya-sadṛśam ābhijātyam dyotyate." Here 'dyotyate should mean 'vyajyate'. The illustration viz. “pravrddhatāpaḥ..." etc., (pp. 44, ibid), has an element of suggestivity. He observes : (vrtti, VJ. I. 29, pp. 44, ibid): tathā ca 'pravrddha-tapah' "tanvi", iti vācakau sundara-svabhāvamātra-samarpana-paratvena vartamānau arthántara-pratīty-anurodha-paratvena pravrttim na sammanyete, kavi-vyakta-kauśala-samullasitasya punaḥ prakārántarasya pratītāvānugunyamatreņa tad-vid-āhlāda-kāritām pratipadyete." "The words, “heated up", and "ślender”, are so used as to bring out essentially the charming nature of the two and cannot directly signify any other shade of meaning. But the poet's artistic skill has succeeded in making them fit for signifying the other meaning also by keeping them in tune with it; and this compels admiration from critics." (Trans. K.Kris., pp. 330). All this comes very close to cases wherein multiple meaning is restricted to one particular meaning and later on with the help of vyañjanā the suppressed meaning again comes to the surface.
K.'s concept of "lāvanya” (VJ. I. 32, pp. 49, ibid), and "ābhijātya” (VJ. I. 33, pp. 50, ibid), could hardly be distinguished from pure varṇadharmas and śabdadharmas; i.e. qualities of letters or syllables and of words. It is just that, pure and simple. Under VJ. I. 33, (pp. 51, ibid) we have a cross-reference to A., wherein K. suggests that when Ā. equates “pratīyamāna” or implicit sense, with the beauty of limbs in a lady, i.e. 'lalanā-lāvanya', he only wants to convey that this beauty is something quite different from the normal limbs such as hands, feet, etc. Here, K. does not criticise Ā., who according to K. here wants to emphasise that the implicit sense is quite different, from the explicit one. - (vrtti, VJ. I. 33, pp. 52, ibid) : "na eșa doṣaḥ. - yamād anena drstāntena vācya-vācaka-laksana-prasiddhávayavavyatiriktatvena astitvamātram sādhyate pratiyamānasya; na punah sakala-lokalocana-samvedyasya lalanā-lāvanyasya." . "This is not at all wrong. All that the analogy establishes is the independent existence of the implied aspect of meaning as distinct from the purely conventional and secondary meanings of words.” (Trans. K.Kris., pp. 338, ibid).
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