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1144
SAHRDAYĀLOKA tatra kiñcic chabda-citram
vācya-citram atah param.” (Dhv. III. 42).' -“These two classes of poetry are decided thus on the principal of importance or unimportance of the suggested content. That which is other than both is given the name of Portrait (citra)."- (III. 41)
"Portrait-like poetry is also seen to be two-fold in asmuch as it is based either on word or on meaning. The first variety is word-portrait and the second, meaningportrait."-Dhv. III. 42.)
(Trans. K. Kris., pp. 245, ibid). Ānandavardhana observes : (vrtti, Dhv. III. 42) (pp. 244, 246, ibid) :"vyangyasya arthasya prādhānye dhvani-samjñitaḥ kāvya-prakāraḥ, gunabhāve tu gunībhūta-vyangyatā tatónyad rașa-bhāvā"di-tātparya-rahitam vyangyárthavišesa-prakāśana-sakti-sünyam ca kāvyam, kevala-vācya-vācaka-vaicitryamārtāśrayeņópanibaddham alekhya-prakhyam yad ābhāsate tac citram. na tan mukhyam kāvyam. kāvyánukāro hy asau. tatra kincic chabdacitram yathā duskara-yamakā"di. vācya-citram sabda-citrād anyad vyangyā”rtha-samsparsarahitam prādhānyena vākhyárthatayā sthitam rasā”di-tātparya-rahitam utpreksādi.”
"If the suggested content is all important, we get the class of poetry called dhvani' or poetry with principal suggestion; if the same is subordinate, we get the second class of poetry called, 'gunībhūta-vyangya', or poetry with subordinate suggestion; that class of poetry which is seen to differ from either, and which is destitute of purport relating to sentiments and emotions etc., which is devoid of the power to reveal any suggested content and which owes its construction only to the strikingness of the expressed meanings and expressions denoting them gets the name of 'Citra' or portrait. It is not poetry at all, strictly speaking. It is only an imitation of poetry. One of the sub-divisions of this poetry of portraiture is wordportrait such as rhyming repetition, and so on, whose employment involves much labour. The second sub-division differs from word-portrait and may be called .meaning-portrait. It will also be devoid of the suggested content and will be wanting in the purport of sentiments etc. Poetic fancy and such other figure illustrations of this." (Trans. K. Kris. pp. 245, 247, ibid).
Before we peoceed further with Anandavardhanaś views we may observe that it is Anandavardhanaś observation that, "na tan mukhyam kāvyam. kāvyánukāro hy asau"- which prompted Viśvanātha to reject 'citra' as a variety of kavya. But the very fact that Anandavardhana has mentioned and discussed this variety shows that
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