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Dhvani in Kuntaka, Bhoja and others, and Gunībhūta-vyangya and Citra-Kāvya. 1077
K. seems to accept from Ā., of course without openly recognising the same. K. seems to cover some more sub-varieties such as "upagraha-vakratā” (VJ. II. 31, pp 118, ibid), and “pratyayántara-vakratā” (VJ. II. 32, pp. 119), i.e. beauty due to verbaffix, and also unique beauty of affix.” This pertains to charm caused by pure expression at abhidhā level. K. equates this without discrimination, with other varieties involving vyañjanā. This can not be accepted by a dhvanivādin.
K. then comes to yet another variety of pada-vakratā at VJ. II. 33 (pp. 120, ibid). This is very interesting, for he says,
“rasā"di-dyotanam yasyām upasarga-nipātayoh, vākyaika-jīvitatvena
sā’parā pada-vakratā.” (VJ. II. 33, pp. 120, ibid) "In a poem where the prepositions and indeclinables are employed only to suggest rasas as the sole essense of a poem as a whole, we have what may be called another type of “word-beauty”. (Trans. K.Kris., pp. 406, ibid). K. speaks of
dyotana' in the sense of 'vyañjana' of rasa, and here he accepts it, but without being vyañjanā-biased. Similarly, he accepts "pratiyamāna" through 'vyañjanā', but he would not hesitate to put the ‘abhidhártha' and 'pratiyamānártha' in the same category as he himself is not 'pratiyamāna-biased'. He cites illustrations which are read also in the Dhv. Like Dhv. III. 16, as quoted above, K. also suggests in VJ, II. 38 (pp. 122, ibid), that many sub-varieties can be found together at a single place, as in “tarantīva.” iti, etc. (pp. 122, ibid, verse no. 113) Actually, K. does not seem to be an opponent of vyañjanā, i.e., he is not a "vyañjanā-virodhin”, but perhaps, he can be said to be an "antar-bhāva-vādin". Vyañjanā forms but an aspect of 'kavi-vyāpāra' or "vicitrā-abhidhā”. He also mentions “vyañjakatva” by name, while dealing with VJ. II. 35 (pp. 123, ibid), wherein he observes : (VJ. II. 35, pp. 123) :
"vāg-vallyāḥ pada-pallavā”spadatayā yā vakratódbhāsini vicchittiḥ sarasattva-sampad-ucitā kāpy ujjvalā jțmbhate, tāmālocya vidagdha-sat-pada-ganair vākya-prasūnāśrayam
sphärāmoda-manoharam madhu navotkņthā”kulam pīyatām.” "Poetic speech is a veritable creeper, with words as leaves, forming the bases for (symmetrical) beauty striking with artistic turn adding to the wealth of feelings and sentiments in a most striking manner. May the bee-like connoisseurs appreciate it
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