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Dhvani in Kuntaka, Bhoja and others, and Gunībhūta-vyangya and Citra-Kavya.
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designated as, "beauty of concealment." (Trans. K. Kris., pp. 385 ibid). We feel that A.'s vastu-dhvani can be accomodated in second, third, fourt, fifth and sixth varieties of 'samvṛti-vakrata'. The illustration for example, viz. "tat pitary atha parigraha..." etc. (verse, no. 58, pp. 99, ibid) is explained by K. as, (vṛtti, VJ. II. 16, pp. 99, ibid). "atra sadācāra-pravaṇatayā gurubhakti-bhāvitántaḥkarano lokóttaraudārya-guṇa-yogād-vividha-viṣayópabhoga-vitṛṣṇamana nijendriyanigraham a-sambhāvanīyam api śāntanavo vihitavān ity abhidhātum sakyam api sāmānyábhidhāyinā sarva-namnā"cchadya uttarárdhena kāryantarábhidhāyinā vākyantareṇa pratiti-gocaratām ānīyamānam kām api camatkāritām āvahati.”
-"In this example, it was, certainly possible for the poet to state that Santanu's son (= Deva-vrata, alias Bhisma) displayed incredible self-restraint in foreswearing all sensual allurements because of his extra-ordinary magnanimity, his devout good behaviour and boundless regard for elders. But the poet has avoided this straight-forward statement; he has allowed it to be concealed by a pronoun (= he), with general significance. In the second half of the verse, he proceeds to give us a relative clause, which describes some other action and yet succeeds by this manoeuvre in suggesting it strikingly and forcefully." (Trans. K.Kris., pp. 388, ibid). This is just vastu-dhvani. The next illustration, viz. "yāte dväravatim..." etc., (verse 59, pp. 99, ibid), also prove the point when K. observes: (vṛtti, VJ. II. 16, pp. 99, ibid) "atra sarvanāmnă samvṛtam vastu tat-käryä'bhidhāyinā vākyántarena samunmilya sahṛdaya-hṛdaya-hāritām prāpitam." "Here what she sang is concealed by the pronoun 'that' (in the original) and at the same time the concealed idea is revealed by another clause which wins the hearts of critics with taste." (Trans. K. Kris., pp. 387, ibid).
The next variety of 'pada-pūrvárdha-vakrata' is "pada-madhyāntar-bhūtapratyaya-vakrata" (i.e. the affix in the middle of a word adds to the beauty of decorum in subject described - K.Kris.; pp. 388, ibid) - which is taken up at VI. II. 17, (pp. 101, ibid) K. observes: (vṛtti, VJ. II. 17, pp. 101 ibid) - "kaścit pratyayaḥ krd ādiḥ, pada-madhya-vṛttir anyām apūrvām vakratām ullāsayati vakrabhāvam uddīpayati. kim kurvan?
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prastutasya varṇyamānasya vastuno yad aucityam ucitabhāvas tasya vicchittim upaśobhām vikāsayan, samullāsayan; kena ? sva-mahimnā, nijótkarṣena."
"The affix in the middle of a word often adds to the beauty of decorum in the subject described, by virtue of its own excellence. This may be regarded as another type of poetic beauty. Some affixes like 'kṛt' occurring in the middle of words are
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