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Dhvani in Kuntaka, Bhoja and others, and Gunībhūta-vyangya and Citra-Kavya. 1071 378, ibid). After citing apt illustrations (viz. verses no.s 40, 41, pp. 91, ibid) K. makes the following observation : (vrtti, VJ. II. 12, pp. 91, ibid) : tad evam yady api suspasta-samanvayóyam vākyárthas tathā'pi tātparyántaram atra pratiyate.” - "...apart from this surface meaning, there is also the hint of another intent.”
The variety called, "alamkārópasamskāra-manohāri-nibandhanah" - "that which contains embellishing figurative elements condusive to beauty” (pp. 379, ibid, Trans. K.Kris.) - has beauty caused by figures. The compound is to be treated as both 'trtīyā-samāsah' and 'sasthi-samāsah' - i.e. both as an instrumental compound and as a genitive compound' (K.Kris., pp. 380, ibid). While dealing with the latter, K. cites an illustration of 'utpreksā' which is only suggested. Thus he jumbles up, once again, contrary to the expectations of a pure dhvani-vādin, the two different charms resulting from the use of normal figures of speech and others that are only suggested. The particular illustration, viz. "devi, tvan mukhapankajena..." etc. (verse, No. 42, pp. 42, ibid) may be classed as one of 'alamkāra dhvani', wherein ‘utpreksā' is only implicit. K. observes : (vrtti, VJ. II. 12, pp. 92) : "tvan-mukha-pankajena punah sašinah sobhātiraskārinā nyāyato nirjitāni santi 'vicchāyatām gacchanti iva' iti pratīyamānasya utpekṣā-lakṣaṇasya alamkārasya śobhātisayaḥ samullāsyate."
Now K. comes to treat “upacāra-vakratā” - "beauty of metaphorical expression" - (K.Kris.), under VJ. II. 13, 14 (pp. 93, ibid). It is clear that he intends to cover up all usages having metaphor at its root. Alamkāras such as rūpaka, and all such usages having 'laksana' as their basis, and also such other figures of speech which belong to the 'expressed class are also taken up here. K. also covers up what the dhvani-vādin would call “laksaņā-mūla-dhvani.” Thus without discrimination worthy of a true follower of .., he puts on par both the 'expressed and the "principally suggested." He herein includes also cases which a dhvanivādin would designate as, “atyanta-tiraskrta-vācya-dhvani”. Anyoktis are also covered up under this vakratā.
We come across an illustration of anyókti in verse no. 50(pp. 96, ibid), viz. "anarghaḥ kópy antaḥ...” etc. K. observes : (vrtti, VJ. II. 14, pp. 96, ibid): tathā ca kim api padārthántaram pratiyamānataya cetasi nidhāya, tathāvidha-laksanasāmya-samanvayam samāśritya padárthāntaram abhidhīyamānatām prāpayantaḥ, prāyaśaḥ kavayo dịśyante." - "Furthermore, poets are often seen describing outwardly objects different from the ones that they have in mind, primarily because of some fancied similarity in the qualities of the two.” (pp. 383, ibid, Trans. K.Kris).
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