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Dhvani in Kuntaka, Bhoja and others, and Guṇībhūta-vyangya and Citra-Kavya. 1147 rasángatām nīyamānam praguṇībhavati. acetanā api hi bhāvā yathāyatham ucitarasa-vibhāvatayā cetana-vṛttānta-yojanayā vā na santy eva te, ye yanti na rasángatām. tatha ca idam ucyate-"apare kavya-samsare...
...".
tasmān nasty eva tad vastu yat sarvä❞tmanā rasa-tātparyavataḥ kaves tad icchaya tad abhimata-rasángatām na dhatte. tathopanibadhyamānam vā na cārutvátiśayam puṣnāti. tad evam idānīntana-kavi -kāvyanayopadeśe kriyamāṇe prāthamikānām abhyāsārthinām yadi param citreṇa vyavahāraḥ, prāptapariṇatīnām tu dhvanir eva kävyam iti sthitam etat."
(vṛtti, Dhv. III. 42, pp. 248, 250, ibid)
"This class of poetry, i.e., portrait like poetry, has been noted at all by us, because of the practice of poets who recognise no laws in their usage of words and who go about composing poems without any intention of incorporating sentiments, etc. therein. But if we should strictly apply the new principle of poetry laid down here, there can be no class of poetry other than 'dhvani' or poetry with principal suggestion. For, in the absence of whole-hearted intention towards sentiments etc., the very activity of poets will not appear charming; and contrariwise, in the presence of whole-hearted intention towards sentiments etc., there will be no subject which will not attain exceeding charm by being made an accessory of the intended sentiment. Even amongst insentient objects, there are none which will not become accessories of sentiment either by acting as stimuli towards the intended sentiment or at least by a metaphorical application of the behaviour of sentient objects to themselves. Hence it is that we say -
"In the boundless realm of poetry, the poet alone is the creator, and as it pleaseth him, so doth this world revolve..." etc. .... Thus it is clear that there is absolutely no such subject which does not become an accessory of the intended sentiment by the poets desire, so long as his concern is solely with sentiment. Nor does it ever fail to acquire exceeding charm when so handled. All this is seen in the works of first-rate poets. In our own poetic compositions too, we have tried to illustrate these principles as far as possible. Thus viewed, all classes of poetry will come only within the sphere of 'Dhvani' or poetry with principal suggestion. From this stand-point of sentiment etc., on the part of the poet, even the class designated by the name of 'poetry of subordinated suggestion' will come only under the sphere of dhvani, as we already said. It has also been said that in quatrains of affectionate praise and devotional hymns, if sentiments etc. are regarded as subordinate and that in Prakrit verses known as Hṛdayavatis and in some gnomic verses of
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