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Dhvani in Kuntaka, Bhoja and others, and Gunībhūta-vyangya and Citra-Kāvya. 1083 'mukhya' or 'principal' and 'a-mukhya' i.e. subordinate. He says (vrtti, VJ. III. 7, pp. 138, ibid) that, "the description of principal sentient, gods, demons, etc., should be natural. It is made beautiful by a spontaneous presentation of emotions like love." The word spontaneous is used to indicate that the emotions like love should be free from banality and very striking by their fresh flavour. When so treated, the emotions are raised to the level of sentiments like the erotic, for the well-known rule states that the dominant emotion itself gets transformed into sentiment. Now this bcomes very appealing to heart." (Trans. K.Kris., pp. 424, ibid). The vrtti, VJ. IV. 7, pp. 138, reads as -
"mukhyam yat pradhānam cetana-surā'surā”di-sambandhi svarūpam tad evamvidham sat kavīnām varnanāspadam bhavati sva-vyāpāra-gocaratām pratipadyate. kīdrśam ? aklista-ratyādi-pariposa-manoharam. aklistaḥ kadarthanāvirahitah pratyagratā-manoharo yo ratyādih sthāyibhāvas tasya pariposah srngāraprabhști-rasatvā”pādanam, 'sthāyyeva tu raso bhaved” iti nyāyād. tena manoharam hrdayahāri."
The second is rendered lovely by a description of the animals etc., in a way natural to their species. This rasa is arrived at through vyañjanā alone. This is a commitment of a confirmed dhvanivādin. But K. does not make such a categorical commitment. To that extent K. is far from being a pure dhvanivādin. He gives - instances of rasa such as 'vipra-lambha-śrīgāra' (V. 25, pp. 138, ibid), and 'karuna rasa' (VS. 27, pp. 139, ibid). He holds that (vịtti, VJ. III. 7, verse, 27, pp. 139, ibid) - "atra rasa-pariposa-nibandhana-vibhāvā"di-sampat-samudāyah kavina sutarām samujjrmbhitah." Here the poet has fully displayed all the stimulants for the rise of the sentiment of pathos. But he never says that these stimulants evoke rasa through the process of vyañjanā.
K. is fully aware of the fact of rasa-realisation through vibhāvā"dis. But he keeps quiet about the method of operation of these vibhāvā"dis. He observes : (vrtti, VJ. III. 7, verse no. 29, pp. 140, ibid) : "evamvidhóddīpana-vibhāvaikajīvitatvena karunarasah kāsthadhirudha-ramanīyatām ānīyate. evam vipralambha-śpingāra-karuņayon saukumāryād udāharana-pradarśanam vihitam. rasántarānām api svayam e utprekşanīyam."
In short, he does not clearly mention the relation of vyangya-vyājaka between the vibhāvā"dis and rasa. Thus far, K. has described how 'pradhāna-cetana' or the principal sentient object becomes the subject of poetic description. Now onwards K. discusses how the subordinate sentients such as birds, beasts, etc., are described by the poet (pp. 180, ibid). K. observes (vľtti, VJ. III. 7, pp. 140, 141, ibid) : “evam
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