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Dhvani in Kuntaka, Bhoja and others, and Gunībhūta-vyangya and Citra-Kävya. 1085 he observes (Dhv. IV. 8, pp. 292, ibid) -
"avasthā"di-vibhinnānām vācyānām vinibandhanam, bhūmnaiva drśyate laksye
tat tu bhāti rasa"śrayāt." "We find in plenty examples of utilizing the expressed content with variations of circumstances etc. But it will shine out only in association of sentiment. (Trans. K. Kris., pp. 293, ibid). It should be noted that such descriptions as referred to at VJ. III. 8, by K. are expected to promote rasa, but it is not made clear whether they promote rasa through vyañjanā or otherwise K. simply observes : (vȚtti, VJ. III. 8, pp. 141, ibid) - "rasāh śộngārā"days teşām uddīpanam ullāsanam pariposas tasmin sāmarthyam śaktis tayā vinibandhanam niveśas tena bandhuram hşdayahāri." . “Sentiments are the erotic and so forth. Their rise is nothing but their elaboration. Their capacity in this regard is dependent on the creative art of the poet and it leads in its turn to the delight of the connoisseurs.” (Trans. K.Kris., pp. 427, ibid). He also observes : (vrtti, VJ. III. 8, pp. 142, ibid) "jadānām a-chetanānām salila-tarukusuma-samaya-prabhrtīnām evam-vidham svarūpam rasoddipana-samarthyavinibandha-bandhuram varnanīyatām avagāhate.” The treatment of non-sentients should also conform mostly to the kindling of sentiments.” (Trans. K.Kris., pp. 428, ibid) K. holds that this body of content or subject-matter of description should be deemed worthy of adoption by the poets. This is described through 'abhidhā vyāpāra' (vrtti, VJ. III. 9, pp. 142, ibid) : kavīnām etad, eva yasmad varnanāspadam abhidhā-vyāpāragocaram.” He further reads: "evamvidhasya asya svarūpaśobhātiśaya-bhrājisnor vibhūsaņāni upa-sobhántaram ārabhante." This abhidhā is K.'s 'vicitrā-abhidhā', K. observes that, when the content is thus endowed with natural beauty, it becomes worthy of embellishments, which, when they are added, give rise to a fresh type of 'beauty' (upa-sobhā) of their own.
He further observes : (vrtti, VJ. III. 10, pp. 143, ibid) : "tad evamvidham svabhāva-prādhānyena, rasa-prādhānyena ca dviprakāram sahaja-saukumāryarasam svarūpam varṇanā-visaya-vastunaḥ śarīram eva alamkāryatām eva arhati, na punar alamkaranatyam - "Thus what is beautified and can be regarded as the body of all descriptive art can be only two-fold, containing either the prominence of naturalness or regarded as an ornament." (Trans. K.Kris., pp. 429, ibid)
With this he picks up the discussion concerning the nature of what Ā. and others have designated as 'rasā"di alamkāras'. He rejects the case of alamkāras such
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