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Dhvani in Kuntaka, Bhoja and others, and Gunībhūta-vyangya and Citra-Kāvya. 1151
Keśavamiśra (pp. 11, Alamkāra śekhara, Edn. N. S. Bombay, '26;)- Observes :
"camatkştihetu-vyangya-rahitatvam adhamatvam.” yathā, "vandāmahe maheśāna..." atra vyangyaḥ kópyarthas tādrśo násti. atra sarvatra vaktur eva tātparyam niyāmakam. taj jñānam eva bodhópayogi. tad abhāvād adhamam ity ucyate."
Keśava, accepting the terminology viz. "adhamam" does not use the word 'citra' He does not go into its two or three types either. He gives an illustration and observes that here whatever be the suggested sense, it is not tādrśa' i.e. 'camatkrtihetu' i.e. that which causes 'camatkrti' or instantaneous joy. He further observes,and perhaps he echoes Anandavardhanaś word, “tātparya" i.e. primary intention of the speaker-that here everywhere (i.e. in all the three types) the import of the speaker is the deciding factor (i.e. if he intends that the suggested sense be taken as principal, it is termed dhvani, if subordinate then it is gunībhūtavyangya, and if the suggestion is not causing any camatkāra, it is 'adhama' kavya). Thus the knowledge of the import) is the cause of apprehension in the form of a particular poem being taken as either uttama or madhyama or adhama). .
Thus in the absence of (such a) (suggested sense), it is said to be ‘adhama.'
Appayya Dīksita has an independent work called “Citramīmāmsā”. Even though he was a great supporter of dhvani, by writing an independent treatise on 'citra’-kāvya, he has presented great scientific thinking which has impressed and inspired even the great Jagannātha to devote much space to the consideration of alamkāras. The Citra-mīmāmsā (pp. 27), observes : “yad a-vyangyam api caru tac citram”, i.e. that which is without suggestion and yet charming is said to be ‘citra'. Thus Appayya seems to accept the possibility of there being poetry even in the absence of suggestion'. Here 'a-vyangya' is to be understood as “that type of poetry having ‘a-sphura' i.e. 'not clear' suggestion. This is the explanation of some commentators. So, the variety of poetry having charm caused by guna and alamkāra, is said to be "citra'. One thing is clear that Appayya wants 'apprehension of beauty'-'cārutva-pratīti' as a condition for 'citra' also. He gives three sub-varieties such as sabda-citra', 'artha-citra', and 'ubhaya-citra'. He observes that sabda-citra being practically 'nīrasa' i.e. without 'rasa', is not honoured by poets. Or, perhaps there is nothing in it which stands serious thinking. Therefore Appayya does not go in any detailed discussion on śabda-citra and goes ahead with ‘artha-citra'.
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