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Dhvani in Kuntaka, Bhoja and others, and Gunībhūta-vyangya and Citra-Kavya. 1129
Third variety is illustrated, as in "sanketakāla-manasam vitam." etc., wherein the vyangya is subordinated by its own expression through some other words : "tasyaiva svayam uktyā prakāśikṣtatvena gunībhāvaḥ, yathā udāhstam, 'sanketakāla-manasam,” ityādi. (Vrtti, Dhv. III. 34, pp.226).
It may be noted that this variety depends more on the mode of conveying the suggested sense, rather than the type of suggested sense itself.
The fourth variety occurs when suggested sense in form of sentiment and the like is subordinated to another principal rasa or sentiment and the like. Actually this is the field of alamkāras such as rasavat and the like : (vrtti, Dhv. III 34, pp. 226, ibid) : “rasā”di-svarūpa-vyangyasya gunībhāvo rasavad alamkāre darśitah; tatra ca teşām ādhikārika-vākyápekṣayā guṇībhāvo vivahana-pravstta-bhrtyánuyāyirājavat." "The subordination of sentiment, etc., to the main purport of the sentence in such instances can be likened to the circumstantial subordination of a king who has to walk behind his own servant when the latter is a bridegroom taken in procession.” (Trans. K. Kris., pp. 227, ibid).
It may be noted that in this particular variety; illustrated as above by the stalk illustration viz. "ayam sa raśanótkarsi...." etc., we find that the fields of 'rasavad ādi alamkāras and "gunībhūta-vyangya" mix and merge into each other. Anandavardhana does not attempt to draw a clear-cut line of demarcation between the spheres of both. We will go to observe that even Mammața has also failed to do the same, while as noted earlier in the classification of poetry attempted by Jagannātha we find a clear line of demarcation laid down between the areas of dhvani, gunībhūtavyangya of a special type. and guṇībhūta-vyangya covering a number of figures based on sense. i.e. arthálamkāras.
Fifth variety is said to be there, when a suggested figure is subordinated as in case of the figure "dipaka” and the like : (vrtti, Dhv. III 34; pp. 226, ibid) : vyangyálamkārasya gunībhāve dīpakā”dir vişayah”. On finding out the special charm of the above mentioned fifth variety, Anandavardhama becomes so jubilant, that he declares : (Dhv. III. 35, and vịtti thereon, pp. 226, ibid) :
"prasanna-gambhirapadāḥ kāvyabandhāḥ sukhāvahāḥ, ye ca teșu prakāróyam eva yojyaḥ sumedhasā.” (Dhv. III. 35).
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