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Dhvani in Kuntaka, Bhoja and others, and Guṇībhūta-vyangya and Citra-Kavya. 1143
'Vidyadhara' in the IV th unmeṣa discusses the guṇībhūta-vyangya-kāvya and mentions its varieties without attempting a formal definition. He has 'a-gūḍhavyangya', 'aparánga-vyangya', 'vacya-siddhyanga', 'a-sphuta-vyangya', 'sandigdhaprādhānya', 'tulya-prādhānya', 'kākvā"kṣipta' and 'a-sundara' varieties, discussed after Mammata.
'Vidyanatha' also with a quotation from the K. P., does the same. We have seen earlier what Viśvanatha does. For him even more varieties than eight are possible as dipaka, etc. which have 'upamā' suggested are also part of this type.
It may be noted that whatever was respected by earlier alamkarikas under the guise of an alamkāra, is accepted by the dhvani-vādins as part of guṇībhūtavyangya. Anandavardhana has clearly stated at Dhv. III. 36 (pp. 228, ibid) that
"vācyálamkāra-vargóyam vyangyámśānugame sati,
prayeṇaiva parām chāyām bihral lakṣye nirīkṣyate."
"The whole host of figures is seen in many an instance to put on a new charm when it is brought into touch with the suggested element." (Trans. K. Kris., pp. 229, ibid)
Kesavamiśra also follows the same tradition and Appayya in his "Citramīmāmsā" (pp. 23,) also echoes the same view. We have seen above the views of Jagannatha, who has a four-fold scheme of criticism-oriented classification.
Citra-kavya is the third type of poetry enumerated by Ananda-vardhana, After explaining the first two varieties of poetry on the basis of the suggested sense being either principal or subordinate with reference to the expressed sense, and naming them respectively as "dhvani" and "gunībhūta-vyangya", Anandvardhana proceeds to discuss 'citra' kavya, which is different from these two, and is two-fold such as 'sabda-citra' and 'artha-citra', He observes: (Dhv. III. 41; 42; pp. 244, ibid). "pradhana-guna-bhāvābhyām
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vyangyasyaivam vyavasthite,
kāvye ubhe; tatónyat tat
citram ity abhidhīyate." (Dhv. III. 41) "citram śabdártha-bhedena
dvividham ca vyavasthitam,
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