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'Dhvani' and other thought-currents such as guņa,......
1159 tatra varṇānām anarthakatvād dyotyatvam asambhavi ityāśankya idam ucyate
"sasau sa-refa-samyogo dhakāraś cā’pi bhūyasā, virodhinaḥ syuḥ śộngāre te na varṇā rasaś cyutaḥ.” (Dhv. III. 3) "ta eva tu niveśyante bībhatsā”dau rase yadā, tadā tam dīpayanty eva
tena varņā rasaścyutaḥ.” (Dhv. III. 4) "suggestion with undiscerned sequentiality will flash forth in letter, word etc., sentence, composition and finally the work as a whole.” (Dhv. III. 2.)
The objection that letters cannot be suggestive because they are meaningless by themselves is answered below - "The (sanskrit) letters 's" and 'ş', letters conjunct with r', and 'dh', - all these become deterrents of the erotic sentiment. Hence those letters are not condusive to a particular sentiment.” (Dhv. III. 3)
"When these very letters are employed in relation to the sentiment of disgust and so forth, they will only intensify them. Hence also letters suggest sentiments.”.
(Dhv. III. 4) • The above aphorisms show negatively and positively that letters do possess suggestiveness.
Next, Anandavardhana illustrates how a word becomes suggestive of rasa. He also shows through illustrations how a part of a word and also a sentence are capable to suggest rasa. He explains that the suggestivity of a sentence is twofold, i.e. pure and mingled as when it either carries a figure of speech in it or not. All this is duly illustrated.
After this he comes to samghațanā' or construction of a sentence (Dr. Krishnameorthy translates 'samghatana' by the term 'composition.' We feel that this word 'Composition should be reserved, for a whole work. Later, he gives the word texture. Which is acceptable to us.)
Prior to explaining how a 'samghatan becomes 'suggestor of rasa, Ānandavardhana dwells upon the full explanation of the concept of samghatanā and its relationship with guņas. This we will look for in a separate chapter later (in vol. II) but for the present we are concerned only with the fact that for Anandavardhana,
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