Vidyaadaanam

Sharing the received Vidyaa with all

Kavya Prakasha of Mammata

KAVYA PRAKASHA of MAMMATA

This document covers the important points from the �rst six ullaasas of Mammata’s Kaavya
Prakaasha. This has been consolidated from the various posts in the blogs on this topic which covered
the sessions by Prof. Anantha Nagendra Bhat, Prof. Sivakumaraswamy, Prof. Vanitha Ramaswamy
and Smt. Harini. The coverage is limited to the important aspects, based on the earlier KSOU MA
exam question papers. The phrases asked in KSOU MA exam स�दभ�questions have been underlined
with bold font (mostly along with this indicator <*>). Some additional information mentioned by
the speakers during the class room sessions have been marked as “Side notes”. They may not be
important from the exam point of view. They have been included either to understand the context or
just for information. Here is a downloadable �le which additionally includes an elaborate table of
contents and a few SmartArt graphic images. kavya-prakasha-by-mammata
(https://nivedita2015.�les.wordpress.com/2016/09/kavya-prakasha-by-mammata1.docx)

Introduction

Type of Granthas

Granthas or Books are of two types namely Lakshya grantha and Lakshana grantha. The grantha that
de�nes poetry is a lakshana grantha. Lakshana grantha is not a poem or a drama. There will be
de�nitions and examples which are mostly cited from other works which are Lakshya Granthas. The
examples could either be from the works of other famous poets or a poem could be written by the
author himself. Lakshya Grantha deals with some subject or vishaya and it is in the form of a poem
or a drama based on a theme or plot.

Kavya Prakasha is a Lakshana grantha [that which explains about rules of poetry, etc.] written by
Mammata. Starting from Bharata there have been various thinkers and writers who have propounded
many theories like Alamkara, Rasa, Bhava, Guna, Reeti, Maarga, etc. while authors like Bhamaha,
Dandin, Udbhata and Rudrata focused on Alamkara, Vamana emphasized the concept of Riti.
However it was Anandavardhana who changed the entire course of discussion by introducing the
concept of Dhvani. Dhananjaya the author of Dasharupaka, Dhanika the commentator of
Dasharupaka and Mahimabhatta the author of Vyaktiviveka, �rmly opposed the concept of Dhvani.

Two important works in Alamkaara Shastra on Dhvani are Ananda Vardhana’s Dhvanyaaloka and
Mammata’s Kavyaprakasha. Ananda Vardhana brought forth the concept of Dhvani for the �rst time
though it was present and was called by di�erent names like अवगमनाथ�, �भ�ाथ�, etc. prior to his times.

History of Kaavya Shaastra

Refer the other page with more details refer the section on History of Kaavya Shaastra in –
https://nivedita2015.wordpress.com/ksou-ma-sanskrit/dhvanyaloka-of-anandavardhana(https://nivedita201
/ksou-ma-sanskrit/dhvanyaloka-of-anandavardhana/)

Author Lakshana Soul Highlight Time

Grantha
Bharata Muni Naatya Shaastra Rasa का��य आ�मा रस: | इ�त वृ�म् 500
तुका��य शरीरम् | BC
रसा�मकं का�म् |
Bhaamaha Kaavyaalamkaara Alamkara का��य आ�मा अलंकार: | 700
श�दाथ� स�हतौ का�म् | AD
Dhandi Kaavyaadharsha 10 Gunas दश गुणा: एव का��य आ�मा |

“शरीरं ताव�द�ाथ� �व�छ�ा पदावली”

Vaamana Kaavyaalankaara Reeti (way of री�तरा�मा का��य | 800

Sutra Vrutti expression) AD
का�श�दोयं गुणालंकारसं�कृ�योःश�दाथ�योः
वरत�ते |

Anandavardhana Dhvanyaaloka Dhvani का��य आ�मा �व�न: | 1000

AD
Kuntaka Vakrookti Vakrotti का��य आ�मा व�ो��: |
Jivitam (crooked
speech)

Mammatta Kaavya Dhvani(Kaavya का��य आ�मा �व�न: |तददोषौ श�दाथ� 1200

Prakaasha Lakshanam) सगुणावनलंकृती पुनः �वा�प AD
म�मट:

Vishwanatha Saahitya Ukti वा�यं रसा�मकं का�म् |

Dharpana उ���वषेशःका�म् |
�व�नाथः

Different Opinions on Kaavya Lakshana

Shabda and Artha – Word and Meaning are the body. The Kavya Lakshana is generally given in 3
di�erent ways – one giving importance to word alone, the other giving importance to meaning alone,
and the last one giving importance to both word and meaning.

Dandhi also spoke about only shareeram and not the atma – शरीरं ताव�द�ाथ� �व�छ�ा पदावली – It is a
collection of words that give some charming meaning. Vishwanatha says in his Saahitya Dharpana –
वा�यं रसा�मकं का�म् – the sentences that convey meaning that is �lled with Rasaa is Kaavya. He gives
importance to the meaning. Bhamaha from Kashmir told in his का�ालङ् कार thatश�दाथ� स�हतौ का�म् |
Word and its meaning make poetry. Here स�हतयोः भावः सा�ह�यम् | But always Shabda and Artha are
inseparable. The reason for mentioning the term स�हतौ was clari�ed later by Kuntaka. The beauty of
one should be enhanced by the other. They should compete within themselves to create the charm.
Here the importance is given to both word and meaning. कु�तकाचाय�ः say in व�ो��जी�वतम् that श�दाथ�
स�हतौ व�क�व�ापारशा�ल�न। ब�धे �व��थतौ का�ं त��दा�ादका�र�ण । He includes all the concepts.

Let us take this example cited by Kuntaka. ततोऽ�णप�र�प�दम�द�कृतवपुः शशी । द�े

कामप�र�ामका�मनीग�डपा�डु ताम् ।। Before sunrise, all the �owers are dull and they look like the face of the
kaamini who misses her lover. In this example, there is saundarya of the shabda due to anupraasaa or
alliteration. Due to the Upamaa Alamkaara, there is beauty in the meaning. Thus, there should be
beauty in both the word and the meaning.

Vaamana explains in the Kaavyaalankaara Sutra Vrutti that का�श�दोयं गुणालंकारसं�कृ�योः श�दाथ�योः वत�ते –
the term Kavya refers to the word-meaning that is endowed with Guna and Alamkaara.

Dhvani

The Vengyaartha or the Dhvani which is given by Shabda or Artha is the soul of poetry according to
Ananda Vardhana. चा��वात् �ाधा�यम् | Due to its charm, when the suggested meaning gains prominence
over the denoted and the indicated meanings, it is called Dhvani. There were other concepts like
Rasa, Bhaava, Alamkara, Guna, Reeti, Vritti, etc. Dhvanyaloka created a new era in Alamkaara
shashtra. He linked other concepts like Rasa, Bhaava, and Alamkara to Dhvani. Mammatta and
Abhinava Gupta strengthened this concept of Dhvani.

The confusion and chaos that prevailed in the literary circles at that time prompted Mammata to
defend the theory of Dhvani. Kavyaprakasha was written to establish a �rm footing for the Dhvani
theory and refute the arguments of the opponents.

Mammata

In the history of Kavyasastra, Mammata is a luminous star, remembered with respect and adoration.
Mammata lived in Kashmir, known as Shaaradadesha, during the latter half of 11th century and �rst
half of 12th century (1090 – 1160 AD). Mammata was a Kashmiri Shaivite. He had the title
Raajaanaka which was generally conferred on poets particularly in Kashmir. He was also called
Saraswathi avatara or Vaakdevataavataara by his admirers.

Kuvata and Kaiyata were brothers. Kaiyata’s son was Mammata. Mammata’s maternal uncle Sriharsha
wrote Nashadeeya Charitam. Mammata’s two works are Kaavyapraakasa and Sabda-vyaapara-vicaara.

Mammatta’s Kaavya Prakaasha is based on Dhvani Siddhanta. He consolidated the earlier concepts
and created a work (�करण-��थ) as a textbook. He is a Samanvaya Aacharya or Samanvayakaarah as
he consolidated all the aspects like Alankaara, Guna, Reeti, Dhvani, Auchityam, Rasa, etc. He
accepted the earlier concepts. He agreed that Alamkara could enhance the poetry in certain cases. He
agreed that Reeti could also enhance poetry when these concepts come to support Dhvani.

Kavyaprakasha

Kaavyaprakaasa is the work of Mammata. It means “The Light of Poetry”. It covers various factors
and aspects of Sanskrit Poetics. The popularity of the text can be known by its numerous
commentaries. There are more than 50 commentaries. It is one of the works with the most number of
commentaries after the Bhagavad Gita. Independent authors like Ruyyaka and Viswanatha have also
written commentaries. Sudhaasagara is a famous commentary written by Bhimasena Dikshitha.

The study of Kavyasasthra is considered incomplete without the study of Kavya Prakasa. The studies
on Kavyasastra from Bharatha to Bhoja are beautifully explained in Kavya Prakasa.

[Side Note: The term Kaavyaprakaasha is a samasta padam. का�त�वानां �काशः का��काशः | It comes
underम�यमपदलो�पसमासः ]

Structure of KaavyaPrakasha

Kavyaprakasha is divided into 10 chapters called Ullaasas. (In the KSOU MA syllabus, 6 ullaasas are
included). The text comprises of 142 Kaarikaas and Vrittis. का�रका is a short verse in the form of
shloka. वृ��ः is the description which also includes the Udhaaharanaani or examples.

Content of KaavyaPrakasha

The �rst ullaasa has the Kaavyas’ Prayojana, Kaarana and Svaroopa. The second ullaasa
श�दाथ��व�प�नण�यः establishes the various forms of the words and their meaning. The third ullaasa
अथ���कता�नण�यः establishes the suggestiveness of the words. The fourth ullaasa �व�न�नण�यः establishes
the concept of Dhvani. The �fth ullaasa �व�न-गुणीभूत�ङ् �य-संक�ण�भेद�नण�यः establishes the
Guneebhootavyangya and explains its eight types where in Dhvani is not so prominent. The sixth
ullaasa श�दाथ��च��न�पणम् explains the further inferior types of poetry called Shabda Chitra and Artha
Chitra where Dhvani is not at all evident.

First Ullasa

Mangala Shloka

�नय�तकृत�नयमर�हतां �ादै कमयीमन�यपरत��ाम् ।

नवरस��चरां �न�म��तमादधती भारती कवेज�य�त ॥ का�रका १ ॥ <*>

�नय�तकृत�नयमर�हता = a creation which has no limitations imposed by the laws of nature.Brahman’s

creation is of a form �xed by the power of the laws of nature. Note that �नय�तor creation is a tattva
or a concept in Saivism.

�ादै कमयी= full of pleasure alone;Brahman’s creation has aspects of pleasure (sattva), pain (rajas) and
delusion (tamas).

अन�यपरत��ा= independent of other’s help;Brahman’s creation is dependent on material causes like the
atoms and auxiliary causes like action.Upaadaana kaarana is like the mud that is required for making
pot. Nimitta Kaaranaor sahakaari kaarana are like the potter and the potter’s wheel.

नवरस��चरा = Charming with nine rasas; Brahman’s creation has only six relishes and not all of them
are enjoyable.

�न�म��तम्आदधती = (kavi’s vaani i.e., poet’s speech) which is giving the creation (with the above
mentioned specialities).

कवेःभारती जय�त= That poet’s speech is victorious. Prostration is implied by jayati.

Summary – The poet’s speech which is giving the creation that surpasses the Brahma’s creation is
victorious!

The nirmiti of Brahma is the upamaana. The nirmiti of Kavi is the upameya. This is Vyatireka
Alamkaara Dhvani as the उपमेय is superior to उपमान |Here the author is trying to draw a comparison
between the creations of the supreme creator Brahma and a poet. He boasts that the creation of a
poet is superior to that of Brahma because it is not restricted by the laws of nature, not dependent on
others, full of pleasure and is enriched with 9 rasas. Brahma’s creation is limited by the laws of
nature, is dependent on other kaaranas [upadana and nimitta], has rajas [pain] and tamas [delusion]
along with sattva [pleasure], and has only 6 rasas.

Since the poet is described as having an upper hand, he says Goddess Bharati [who manifests in the
speech of poet] is victorious.

[Side note: The poets can create the world in the way they want. अपारे का�संसारे क�वरेव �जाप�तः | यथा�मै
रोचते �व�ं तथेदं प�रवत�ते | ]

[Side Note: There are three types of mangala shlokas namely व�तु�नद� श – establishing the subject
matter of the work, आशीवा�द – conferring blessings, and नम�कार – o�ering salutations. Mangalam is for
the completion of the work without any hindrance. The mangala shloka could be addressed to इ�दे वता
(favourite deity) or समु�चतदे वता (appropriate or proper deity) or समु�चते�दे वता (favourite and proper
deity). In this work, Mammata invokes the समु�चते�दे वता | The author recollects and remembers the
deity ��थकृत् परामृश�त ]

Kavya Prayojanam – Purpose of a Kavya

Mammatta shows the importance of Poetry.

[Side note: In the ancient times, there was this idea “का�ालापां च वज�येत्” | “Refrain from the alaapana
of Kaavya”. Plato considered Poetry to be a waste of time. Aristotle did not agree with that. ]

का�ं यशसेऽथ�कृते �वहार�वदे �शवेतर�तये ।

स�ः पर�नवृ�तये का�तासं�मततयोपदे शयुजे ॥ का�रका २ ॥ <*>

Poetry (का�म्) brings fame (यशः);riches (अथ�-कृत्); knowledge (�वद्) of the ways of the world (�वहार);
destruction (��त) of evils that are in-auspicious (�शव-इतर); instant (स�ः) and perfect happiness
(पर-�नवृ��त);and counsel (उपदे श) sweet as from the lips of a beloved consort (का�ता-सं�मततया).

Explanation given in the Vritti:

Yashas: का�ं यशसे Poetry brings fame as to Kalidasa and others (का�लदासाद�नाम्इव यशः).Kalidasa was
widely regarded as the greatest poet and dramatist in the Sanskrit language and he reached such
heights of fame due to his poems. There is no evidence for the stories attributed to Kalidasa. In spite
of the absence of any authentic information about his life, he is still famous due to his works only.

Arthakrth: अथ�कृते Poetry brings wealth as to Dhaavaka and other poets from Sri Harsa and other kings
(�ीहषा�देः धावकाद�नाम् इव धनम्).

[Side Note: There is a story that Dhavaka got money from Sriharsha by selling his work Ratnaavali.
But there are objections to this point about Dhaavaka and there is पठभेद of Kaavya Prakasha in which
Baana is mentioned instead of Dhaavaka.

“According to Buhler’s letter from Srinagara, all the Kashmir Manuscripts of the Kavya-prakasha read,
in the passage in question, Baana, not Dhaavaka, the latter name being altogether unknown to the
Pandits there: ‘As Mammata was a native of Kashmir, this reading is undoubtedly the correct one.’”
notes Albrecht Weber in his “History of Indian Literature”.

“Sri Harsha of Kanauj” by K.M. Panikkar, published by D.B. Taraporevale Sons & Co. in 1922, states
this “Though Nagoji, a very late commentator, leaving both the original and the earlier commentaries
behind, explained the passage by saying that it is possible to earn money as Dhaavaka did by selling
the authorship of his words to Harsha. This statement has certainly no value in as far as it was
written nearly 1000 years afterwards and based entirely on hearsay”. ]

Vyavaharavidh : �वहार�वदे Imparts knowledge about general behavior and the viveka or the
discrimination required to conduct one self. From the poetry, the people can know how to conduct
themselves in the presence of a king, amongst o�cials, priests, etc. Dharmashaastra also teaches this.
Poetry brings the knowledge of rights and usages proper to kings and others – (राजा�द-गत-उ�चत-
आचार-प�र�ानम्).

Shivetarakshati : �शवेतर�तये Poetry removes bad a�ictions, as in the case of Mayura who composed
Mayurashtaka in praise of Sun God and was cured of illness. (आ�द�यादे ःमयूराद�नाम् इव अनथ�-�नवारणम्).

[Side Note: Mayura Bhatta wrote Surya Satakam, in the 7th-century. It was created in praise of Lord
Surya. Mayura Bhatta was su�ering from leprosy. He performed penance at famous Deo Sun Temple
located at Deo in present day Aurangabad district, Bihar. He composed one hundred verses in praise
of Lord Surya – the Sun God, and was cured of leprosy. ]

Paranirvrutti : स�ः पर�नवृ�तये: The Aesthetic bliss is obtained through poetry immediately (sadya).
Poetry causes happiness as soon as it is read. The chief aim of poetry, however, (सकल-�योजन-
मौ�लभूतम्) isthe attainment of the pure unmixed pleasure (�वग�लत-वे�ा�तरम् आन�दम्) that follows
instantaneously (समन�तरम् एव) on the sensing of Rasa (रस-आ�वादन-समु�त � म्).
[Side note: The Kaavya comprises of Vibhaava, Anubhaava, and Viyabhichaari Bhaava. In Naataka or
drama, it is shown. In Kaavya, it is written. On sensing the emotion, instantaneously the Staayi
Bhaava or the inherent latent emotions are kindled and there is the attainment of Rasa or the
aesthetic pleasure.]

Kantasammita upadeshayuk : का�तासं�मततया उपदे शयुजे – gives advice to the reader, sweetly like a
beloved.

[Side Note:

The three types of poetry are Prabhu Sammita, Mitra Sammita and Kaantaa Sammita. Prabhu
sammita is like an order as in the Vedathat orders one to do certain soma yaaga if you want svarga
praapti. One can not question that. The importance is for the word. Mitra sammita are the suggestion
like a friend’s advice. It can be adhered to or be ignored. The importance is for meaning. Kaantaa
sammita is Sweet Persuasion like the lover’s words that are carried out even without realizing that
one is being persuaded to do something. The importance is for the message. ]

The poetry is di�erent (�वल�णम्) from the Vedic scriptures in which the word in the form of master’s
command or Prabhu Sammita predominates (�भु-सं�मत-श�द-�धान-वेदा�द-शा��े�यः); and from the Puranas
and the Itihasas which are in the form of friendly counsel or Mitra Sammita (सु�त्-सं�मत-अथ�वत्-पुराणा�द-
इ�तहासे�यः च).

The poetry takes the aid of the secondary aspect of Sabda and Arthawhich is the Guneebhava (श�द-
अथ�योः गुण-भावेन) and importance of the process of suggestion or Vyanjana (रसा�भूत-�ापार-
�वणतया).Such poetry (यत् का�म्) is the work of poets (क�व-कम�), clever in depicting things in a manner
passing the comprehension of ordinary men (लोको�र-वण�ना-�नपुण), it (तत्) o�ers to other poets and
cultured men counsel (स�दय�य उपदे शं करो�त इ�त), most persuasively through the profound descriptive
style of the pro�cient poet (कवेः यथायोगम्), like a beloved wife (का�ता इव), by relishing the Rasa, that is
brought into being instantly (सरसताआपात् अनेन अ�भमुखी-कृ�य). Poetry o�ers counsels like “one should
behave like Rama and not like Ravana” (“रामा�दवत् व�त�त�ं, न रावणा�दवत्”इ�त उपदे शंकरो�त). As such poetry
is by all means to be studied and cultivated (सव�था त� यतनीयम्).

[Side Note: The earlier theorists on poetics – Bhamaha , Dandin and Vamana – state that the
objectives of poetry are the reputation (Keerti) won by the poem and its poet; and enjoyment (Preeti)
enjoyed by the readers or the listeners of the poetry. The later sets of critics add instructions
(upadesha) as one of the other virtues of a good poetry.]

Kavya Hetu – Equipments required for poetry

श���न�पुणता लोकशा��का�ा�वे�णात् ।
का���श�या�यास इ�त हेतु�त��वे ॥ का�रका ३ ॥ <*>

The saamagri required to compose poems can be grouped under 3 heads.

(1) Poetic genius (श��ः), (2) Knowledge born of a study of the world, of sciences and of poems
(लोक-शा��-का�ा�द-अवे�णात् �नपुणता), and (3) The practice of the teachings of those well-versed in
writing poetry (का��-�श�या-अ�यासः) – these three together constitute the source of poetry (इ�त हेतुः तद्
उ�वे).

Explanation:

Prathibha: The �rst aspect is the Shakthi, which is the intellectual power that could be said to be a
sort of a mass of impressions serving as a seed for sprouting of poetic work (श��ः क�व�व–बीज–�पः
सं�कार-�वशेषः) (after का�रका ३)<*>. This is a peculiar faculty, without which there could either be no
poetical work (यां �वना का�ं न �सरेत्) or if there were, they would be ridiculous (�सृतं वा उपहसनीयं �यात्).

[Side note: Bhaamaha stated in Kaavyaalamkaara that the poem can arise only from a person with
Prathibha.]

Nipunata (vyutpatti): The second aspect is the faculty in composition, arising from a careful study of
“objects”. The author lists the objects to be studied as Lokagnaana, Shaashtragnaana, Kaavyagnaana:

(1) Study of all kinds of objects, animate as well as inanimate (लोक�य �थावर-ज�म-आ�मक-लोक-वृ��य),
(2) Study of the sciences, such as prosody, grammar, lexicons, �ne arts, the sciences dealing with the
four ends of life, and the sciences dealing with the distinguishing qualities of elephants, horses and
the various weapons of warfare, (शा��ाणां छ�दो-�ाकरण-अ�भधान-कोश-कला-चतुव�ग�-गज-तुरग-खड् गा�द-ल�ण-
��थानाम् )
[Side note: Kalidasa demonstrated the knowledge of other shashtras in his works. It is said that
Naishadeyam is the penacea for the well-read people – नैषदं �व�तौषदम् |To understand
Naishadeyacharita, the knowledge of the other shashtras would be required.]
(3) Study of poems, the works of great poets (का�ानां च महाक�व-संब��धनाम्). The word “aadi” implies
history and the rest. (आ�द-�हणात् इ�तहासानां च �वमश�नात् �ु�प��ः)

Abhyasa: The third aspect is the frequent attempt at writing poetry (तत् पौनःपु�येन �वृ��ः इ�त), under the
direction (उपदे शेन करणे योजने च) of men capable of writing and appreciating it (का�ं कतु� �वचार�यतुं च ये
जान��त).

The above three conjointly, and not singly, (�यः समु�दताः न तु ��ताः), constitute the single source of
poetry (त�य का��यउ�वे �नमा�णे समु�लासे च हेतुः).These are not multiple di�erent sources, of poetry. (हेतुः न
तु हेतवः ) (after का�रका ३)<*>

[Side Note: This is supported by Dandhi as he says नैस�ग�क� च ��तभा �ुतं च ब��नम�लम्
।अम�द�ा�भयोगोऽ�याःकारणं का�स�पदः |He says in Kaavyaadarsha that in case prathibha is not present, but
the other two are present, in certain cases, one might get some blessings to create poetry – �तेन
य�नेन च वागुपा�सता�ुवं करो�येव कम�यनु�हम् | ]

Kavya Lakshanam- Definition of Kavya

तददोषौ श�दाथ� सगुणावनलङ् कृती पुनः �वा�प ॥ after का�रका ३ ॥<*>

तत्अदोषौ श�दाथ� सगुणौ अनलङ् कृती पुनः �वा�प । Sabdartha devoid of Dosha, combined with Guna
(normally with Alankara) and sometimes without Alamkara, is Kavya. He clari�es that there is no
compulsion (अनुरोधः) that there should be Alamkaara provided there is prominence of Rasa. In his
words, he says य�सव��सालङ् कारौ �व�च�ु �फुटालङ् कार�वरहेऽ�प न का��वहा�नः | He conveys this point – य�सव��
श�दाथ� सालंकारौ �यातां, य� रस�य �ाधा�यम��त त� �प�-अलंकार�य अनुरोधः मा�तु | He cites this example.

यः कौमरहरः स एव �ह वर�ता एव चै��पा�ते

चो�मी�लतमालतीसुरभयः �ौढाः कद�बा�नलाः ।
सा चैवा��म तथा�प त� सुरत�ापारलीला�वदौ
रेवारोध�स वेतसीत�तले चेतः समु�क�ठते ॥१॥ after का�रका ३ ॥

This is an example to prove that rasa can be predominant without alamkara. “He who stole my
virginity is my beloved now, the nights of spring, the strong breezes from the Kadamba trees carrying
the fragrance of malati �owers are also the same. I too am same as before. But still on the banks of
Reva, under the Vetasa tree my heart longs for amorous sports”. Here, there is no alamkaara. But
since the Rasa is dominant, it is ok for the verse to be devoid of Alamkaara.

[Side note: Though not apparent, there could be Alamkaara in this verse also.Vibhaavanaalamkaara –
कारण अभावे�प काय��प��ः �वभावना. Visheshokti – कारणस�वेऽ�प काय�-अभावः – The causes are present but the
e�ect is not seen.The rasa is more predominant that these alamkaaras].

Classification of Kavya

Prior to Dhvanyaaloka, the classi�cation of Kaavya was Dhrushya (Naataka) and Shravya (Gadya –
kathaa and Aakyaayikaa; Padya – Kanda kavya, mahaa kavya, shataka; and Champu which is a
combination of Gadya and Padya). After the introduction of the concept of Dhvani by
Anandavardhana, the classi�cation is made as Uthama, Madhyama and Adhama or Avara from the
point of view of Dhvani.
Uttama Kaavya

इदमु�मम�तश�य�न �ङ् �ये वा�याद्�व�नबु�धैः क�थतः ॥ का�रका ४ ॥ <*>

अ�वयः — वा�या��ङ् �येअ�तश�य�नस�तइदम्उ�मंका���व�नःइ�तबुधैःक�थतः |

Uttama kavya is also called Dhvani kavya, that which is rich in Dhvani or suggestion. The charming
suggested meaning should surpass the denoted meaning, as mentioned by Anandavardhana in
Dhvanyaloka.

य�ाथ�ःश�दोवातमथ�मुपसज�नीकृत�वाथ�| �ङ् �ःका��वशेषःस�व�न�र�तसू�र�भःक�थतः||(�व�यालोकः) १.१३ ||

Anandavardhana says “सू�र�भःक�थतः”. Here by “बुधैःक�थतः” he refers to vaiyaakaranas – बुधैव�याकरणैः

because �थमे�ह�व�ांसःवैयाकरणाः | All aalamkaarikas are basically vaiyaakaranas. �फोट – �ashes
instantaneously. Sphota is explosion. An ideal form of a word is Dhvani.

Five Definitions for the term Dhvani

Five di�erent meanings for the term Dhvani are given in Dhvanyaaloka and Mammata accepts them.

The vyanjaka word is Dhvani अथ���य�तइ�त�व�नः | �न��इ�त��कः | Here meaning is

supplementary
The vyanjaka meaning is Dhvani��य�तइ�त�व�नः | here the word is supplementary
�व�यतेइ�त�व�नःthe suggested meaning is Dhvani
The vyanjana vyaapaara is Dhvani �ङ् �याथ���तपादय�तइ�त��न�ापारोऽ�प�व�नः |
य��वनेः�ादा�यम��तत�का�म�प�व�नः | The kaavya where suggestion is predominant, is Dhvani.

[Side note: The grammarians state that the word disappears immediately as soon as it is said. While
saying ka – ma – la, the images of the initially uttered ka and ma are retained in the memory until
the last letter is uttered. Then the whole word brings out a meaning. This ideal form of the word is
vyangyaa or sphota or Dhvani. The grammarians use the term Dhvani even to refer to the letters in
the word as it conveys a meaning. पूव� पूव� वना�नुभावा�हत सं�कार स�चवेन अ��यवणा�नुभवेन अ�भ��यते �फोटः | i.e.,
अ��य�व�नना सह �फोटश�दः अ�भ��यते । त��म�ेव समये पूव�पूव��वनयः सं�कार�पेण सहकुव���त।In this case, the
prominent vyangya in the form of Sphota, the vyanjaka are the letters and the vyangya are called
Dhvani by the grammarians.

First we understand the Vaachyaartha. The sahrudayaas will only be able to understand the
Vengyaartha. There could be suggestiveness or vyanjakatvam of the word and the vyanjakatvam of
the meaning. When Vyangya is prominent, the vyanjaka are both the word and the meaning and
those are also called as Dhvani by the Alamkarikas. ]

[Side Note: Additional info from the Encyclopedia of India Literature by Amaresh Data: The term
Dhvani is suggested by the grammarian’s doctrine of “sphota”, according to which the dhvani
suggests the sphota which is the meaning it bears. The words and their senses that are capable of
manifesting the suggested sense are called Dhvani. Thus, suggestive words and senses are called
dhvani. The additional activity of the speaker involved in imparting to the sounds produced by him
in a manner or shape such as fast, slow, etc., is called Dhvani. Similarly it is not the ordinary
signi�cative functions of words, viz., primary (abhidha) and secondary (lakshana) that manifest the
suggested sense, but a third activity inherent in words and di�erent from the two previous ones,
known as suggestion (vyanjana). This is also called Dhvani. But lastly the poetry, where the
suggestive words and ideas, suggestion and suggested ideas are found, is also called Dhvani. It is
evident that the term dhvani, which is used in all the �ve di�erent senses, stated above, is borrowed
and adopted from the terminology of the grammarians. According to Abhinavagupta, the word
dhvani can stand for �ve di�erent meanings, viz., (1) the suggestive meaning (vyanjakartha), (2) the
suggestive word (vyanjakashabda), (3) the function of suggestion (vyanjanavyapara), (4) the
suggested content (vyangya) and (5) poetry as a whole (samudayakavya). ]

Example of Vyangyaartha – the naayaki has sent her friend as a messenger to the naayaka. But the
friend herself has a nice time with the naayaka and returns. The naayaki �nds out by looking at the
evidences on her friend’s body.
वाप� �नातु�मतो गता�सन पुन�त�याधम�या��तकम्॥ after का�रका ४ ॥

The word “adhama” meaning wretched that is used to refer to her naayaka suggests the opposite
meaning त�य अ��तकम् एव गता�स न वाप� �नातुम् |

[Side note: In Dhvani, there are various types namely Vastu Dhvani, Alamkaara Dhvani, Rasa Dhvani.
In Vastu Dhvani, the object or character itself conveys some information – i.e., looking at Raavana we
get certain emotions. Alamkaara by itself is not Dhvani. The suggested meaning derived out of the
usage of Alamkara and the Ananda one experiences reading an Alamkaara is Alamkaara Dhvani. In
Rasa Dhvani, the suggested meaning will �ash in our mind and give us happiness. This happiness will
not be experienced if the information is stated in a straightforward manner. The grammarians used
the word Dhvani to denote Vyangya (suggestion) primarily of Spota nature. Then in the course of
time, critics accepted them and started terming such Sabda and Artha as Dhvani (which rendered
Vachyartha secondary), and potential enough to express Vyangyartha. “Dhvanianti spotam vyanakti
iti Dhvani” — Dhvani means words which express Spota. Dhvani is the word expressing Vyangya
which is Spotaroopa. Spota is obtained by the audible syllable or Dhvani. �फोट indicates the
profound and subtle idea which bursts or �ashes in one’s mind when a sound is uttered. ]

Madhyama Kaavya

Madhyama kavya is also called Gunibhoota Vyangya. Here the suggested meaning though present
does not excel. It may be equal or less charming or subordinated to the denoted meaning.

अता��शगुणीभूत�ङ् �यं�ङ् �येतुम�यमम्।

Eg. �ामत�णं त��या नवव�ुलम�रीसनाथकरम् ।प�य��या भव�त मु��न�तरां म�लना मुख�छाया ॥ after का�रका ४ ॥ In
this, the literal meaning is that the brightness of the young woman’s face becomes acutely faded
when she sees the youthful villager who carries in his hand a bunch of fresh Vanjula �owers. Here
the suggested meaning is that she did not go to the meeting point even though she had promised to
meet her lover there. Since the denoted meaning is more charming, in this example, the suggested
meaning is subordinated to the denoted meaning.

Adhama Kaavya

श�द�च�ं वा�य�च�म् अ�ङ् �यं �ववरं �मृतम् ॥ का�रका ५ ॥ <*>

Adhama kavya or chitrakavya has no relishable suggested meaning. It is more of a verbal circus
where the poet is interested in conveying his skills. When the poetry is enjoyable due to the
shabdaalamkaara or the arthaalamkaara, it is called Shabda Chitra and Artha Chitra respectively.
Mammata calls it Avyangyam. The poem cannot be devoid of vyangyaartha – but just that it is not
prominent. Dhvani is the soul. There cannot be any poem without it. But just as the servant who is
visited by the king during his marriage still gains importance over the king as it is his special day, in
these chitra kaavyas, vyangyaa seems to lose its importance. This poetry is called as Adhama Kaavya.
Note that Kuntaka raises an objection on classifying a poem to be inferior.

Shabda chitra is the adornment of shabda alamkara like the repeated use of same word or rhyming
words to create Alliteration. Arthachitra involves the use of arthalamkaras. While Mammata
considers them at the same level, Jagannatha Pandita, the author of Rasa Gangaadhara, places
Arthachitra over Shabdachitra and accordingly classi�es the Kavya into four types instead of three.

Here is an example of Shabda Chitra

�व�छ�दो�छलद�छक�छकुहर�छातेतरा�बु�छटामूछ��मोहमह�ष�हष��व�हत�नाना��का�ाय वः ।
�भ�ा���दारद�� रदरीद�घा�द�र���म�ोहो�े कमहो�म�मे�रमदा म�दा�कनी म�दताम् ॥४॥
Here the point is “May Gangaa quickly destroy your lethargy” – म�दा�कनी म�दता��भ�ात् |

This is an example of Artha Chitra

�व�नग�तं मानदमा�मम��दरा�व�युप�ु�य य��छया�प यम् । ससं�मे��्र��तपा�तताग�ला �नमी�लता�ीव �भयामरावती ॥५॥ (मे�ठकृतं
हय�ीववधम्)
When Indra hears that Hayagriva has exited from his residence, the gates of Amaraavati are instantly
closed and that city appears to be closing her eyes out of dread. There is utprekshaalamkaara in the
words �नमी�लता�ीव. The upamaa’s feature of eyes is superimposed on the city, though city does not
have eyes.

Second Ullasa

Three types of words and meanings

�मेणश�दाथ�योः�व�पमाह | There are three types of words and meanings. वाचकः, ला��णकः, and ��कः |
�या�ाचकोला��णकःश�दोऽ���क���धा।वाचक-तःवा�याथ�ः | ल�ण-तःल�याथ�ः| ��क-तः�ङ् �याथ�ः| Word is of 3
kinds: Vachaka [denotative], Lakshanika [indicative] and Vyanjaka [suggestive]. The 3 types of
words are Vaachya [denoted] Lakshya [indicated] and vyangya [suggested] respectively. The
respective functions [vyaapara] of these 3 words are Abhidhaa, Lakshana and Vyanjana. A few other
like Naiyaayikaas and the Bhaatta Meemaamsakaas mention about a fourth type calledता�पया�थ�ः |

… ता�पया�थ�ऽ�प केषु�चत् ॥ का�रका ६ ॥<*>Refering to the Abhihitanvayavada of Bhatta school of

Mimamsa, Mammata says that some say that the Tatparyartha or the meaning of a sentence is the
fourth category. They add a fourth function called ता�पया�वृ��ः |

Vaachaka Expressed Abhidaa Koshaarthah, The power of the word

denotative or denoted vyapara / Vaachyaartha, conveyed by the dictionary
meaning अ�भधावृ��ः श�याथ� meaning
Laakshanika Indicated Lakshanaa Lakshyaarthah, Some element is suppressed
indicative or vyapara / Lakshanaarthah, (The word bank is
suppressed ल�णावृ��ः भा� suppressed in Gangaayaam
meaning goshah – Hamlet on the
banks of Ganga and not in
Ganges)
Vyanjaka Suggested Vyangyaa Dhvanyarthah, It shows or re�ects or
suggestive meaning vyapara / Vyanjanaarthah, suggests some other
��नावृ��ः vyangyaarthah meaning. The tone of “Go,
go!” might mean “Don’t go”

The Denoted meaning or the Vachyartha is the mukhyartha or the principal one. It is assigned to the
word by Sanketa or Ishvarechcha. Since the word has a sanketa it is also called sanketita.

Opponents of Vyanjana

The opponents of dhvani theory also refute vyanjana vyapara. The Bhatta and the Prabhakara school
of mimamsa do not accept vyanjana function of a word. Every word has a sanketa or a denoted
meaning. The relationship between the individual word meaning and the sentence meaning as a
whole has been dealt by Kumarila Bhatta and Prabhakara. The two मतs of meemamsakaas are
कुमरीलBhatta’s mata called Bhaatta mata and �भाकर Bhatta’s mata called Guru mata. Prabhaakara
Bhatta was Kumareela Bhatta’s student. Taatparyaartha accepted by Naiyaayikaas and Kumareela
Bhatta. But, the followers of Prabhaaka Bhaatta consider Vachyaartha to be Taatparyaartha.

The �rst vaada is Abhihitaanvayavaada of Bhatta.

आकाङ् �ायो�यतासं�न�धवशा��यमाण�व�पाणां पदाथा�नां सम�वये ता�पया�थ� �वशेषवपुरपदाथ�ऽ�प वा�यआथ�ः

समु�लसती�य�भ�हता�वयवा�दनां मतम् ॥ (after का�रका ६)

आकाङ् �ा or Expectancy is de�ned as पद�य पदा�तर-��तरेक-�यु�+अ�वय+अननुभावक�वम् आकां�ा by

Naiyaayikaas. One word expects more words to be included to provide a complete meaning. यो�यताor
compatibility ensures that there is no abhaadaa of meaning – अथा�भादा यो�यता | Eg. अ��नना �स�च�त |
सं�न�ध or proximity of utterance of words is अथा�नां अ�वल�बेन उ�चारणम् | A new meaning for the vakyaa is
obtained. The shaabda boda for घटम् आनय is घट�प कम�ता �न��पत आनयन��या |
In this, a new meaning other than the meaning of the individual words in the sentence is present.
First Abhidaa meaning is taken. Then another meaning called Taatparya comes.

The other vaada is Anvitaabhidhaanavaada of Prabhaakara. वा�य एव वा�याथ�

इ�य��वता�भधानवा�दनः(after का�रका ६) | <*>The Anvitaabhidhaanavaadins consider the meaning of the
sentence to be same as the meaning of the words.

More details are provided later in Kaavya Prakasha in the �fth chapter.

[Side note – Recap from 5th ullasa — Bhatta’s Abhihita-anvaya — abhihita indicates that the word’s
meaning is �rst got. Then anvaya or correlation of this meaning happens giving a new Taatparya
meaning. Hence Abhihita-Anvaya is the correlation of the meanings of the words.

Prabhakara’s Anvita-abhidaaa — Based on the connection with other words, the meaning is
understood. Anvitābhidhāna is the correlated meanings of words, where anvita = connected or
correlated ; abhidhāna = denotation or denoted meaning. Words do not directly designate meaning;
any meaning that arises is because it is connected with other words. ]

Suggestiveness of different meanings

All the three meanings could have suggestiveness in them. सव�षां �ायशोऽथा�नां ��क�वमपी�यते । (after
का�रका ६)

Vyanjakatva or suggestiveness of all 3 functions of the word are accepted

1. Suggestiveness of denoted meaning: eg.मातः गृहोपकरणं अ� खलु ना�ती�त सा�धतं �वया ।त�ण �क� करणीयं
एवमेव न वासरः �थीयी ॥Mother, you proved that provisions are not available today. Tell me, what should
be done? Day light will not stay like this for long. Here the denoted meaning suggests that the
daughter wants to roam freely.
2. Suggestiveness of indicated meaning: eg. साधय�ती स�ख सुभगं �णे�णे �नाऽ�स म�कृते ।स�ाव�नेहकरणीयस�शं
ताव��वर�चतं �वया ॥]oh friend, you have been subjected to much exertion almost every minute in
persuading that handsome youth. You have de�nitely done what is proper for your good nature and
friendship. Here the indicated meaning is that “You have become my enemy by entertaining my
beloved amorously”. The suggested meaning is that the paramour of the speaker has committed an
o�ense and she wants to express it.

[Side Note: For Lakshana, there should be mukhyaartha baada. In Lakshana, there is roodi and
prayojavathi lakshana. In prayojavathi, there has to be some purpose for mentioning the words
having the indicated meaning. In case of gangaayaam goshah, the purpose is to indicate the chillness
and the sacredness.]

1. Suggestiveness of suggested meaning: eg. प�य �न�ल�न�प�दा �व�सनी��े राजते बलाका

।�नम�लमरकतभाजनप�र��थता शङ् खशु���रव ॥See the white crane is shining on the lotus leaf still and
motionless like a conch shell resting on a clean plate of emerald. Here the security of the place is
suggested by the motionless crane. This in turn suggests the absence of people in that place and it
being suitable for rendezvous. There can be another suggestion where the young woman is telling
her lover “You are telling a lie, you did not come here”. There would be one Vaachyaartha and
there could be multiple vengyaartha. When di�erent people here गतो�तमक�:“sunset is happening”,
based on their profession or condition, it could provide di�erent suggested meaning.

Definitions of Vachaka, Lakshana and Vyanjana

Vaachaka

सा�ा�संके�ततं योऽथ�म�भध�े स वाचकः ॥ का�रका ७ ॥ <*>

Vaachakais that which directly denotes the conventional meaning. Conventional meaning or
Sanketa is de�ned in this way in Tarka – अ�मा�छ�दात् अयमथ� बो�� इ�त ई�र इ�छा संकेतः | इह+अगृहीत-
संकेत�य श�द�य-अथ��तीतेः अभावात् संकेतसहाय एव श�दोऽथ��वशेषं ��तपादयती�त य�य य�ा�वधानेन संकेतो गृ�ते
स त�य वाचकः ॥७॥ (afterका�रका ७). There is no possibility of comprehension of meaning of a word if
the convention related to the meaning is not grasped. So Vaachaka is a word with reference to a
meaning in which the relationship between the word and the meaning has been uninterruptedly
grasped.

Vaachyaartha is called as mukhyaartha, primary meaning, and expressed sense. According to

grammarians there are four types of conventional meaning. According to both the bhaatta and Guru
meemaamsakaas, there is only one type which is the Jaati and then by Aakshepa, they extend the
meaning to speci�c person – eg. अयं मनु�यः | Meemaamsakas were interested in understanding the
Vedas. They took only the jaati artha.

सङ् के�तत�तुभ�दो जा�या�दजा��तरेव वा । (after का�रका ७) <*>

Sanketa or convention is of 4 types as Jati etc or just one Jati itself.

Since the words are in�nite in number it is not possible to come up with a convention for each
individual word. Hence a concept or Upadhi has been introduced. Convention is of 4 types.

1. Jati – genus. It is also called Praanaprada. An eternal property which is universally one and exists
in many individual things is called Jati. Eg. Gotva in all go, ghatatva in all ghata, etc. All words
denoting the property of a genus belong to this group.
2. Guna – quality. Also called visheshadanahetu. Words denoting guna or quality fall into this group.
It adds a special feature like shuklatva, krishnatva etc.
3. Kriya – action. Words denoting actions like chalanam, pachanam, etc.
4. Vaktryadrichchasanniveshita- arbitrary name These are �xed according to the whims and fancies
of a speaker. It includes proper nouns, Rama, Ravana, Diththa, etc.

The guna, kriya and yadrichasanniveshita categories all exist only in a dravya and not independently.
So he says Jati etc 4 or Jati alone.

[Side note: If the word cow indicates each individual cow, then there are in�nite objects that it
indicates. Hence it has to be taken to indicate the genus of cows. But when we say पशुः अनुब��ः – to
say that the animal to be sacri�ced is tied to the post, the entire Jaati of pashu is not being sacri�ced
and here the word points to only an individual being. त�पाधावेव संकेतः । The convention is to be made
in the Upaadhi or a concept or an adjunct.

There are two kinds of Upaadhi. उपा�ध� ���वधः व�तुधम� व�ृय��छासं�नवे�शत� । First is the thing’s nature
व�तुधम�ः and the other is the name, say Ditta, given arbitrarily by the speaker व�ृय��छासं�नवे�शतः|
व�तुधम�ऽ�प ���वधः �स�ः सा�य� ।A thing’s nature can be of two types (1) that which is always an
accomplished entity and (2) that which has to be accomplished. A thing which comes into being is
the Siddha called Guna like the color of the cow being white. All actions will always be in the
avashtha of Saadhya. Only while it is walking, we say ग�छ�त | �स�ोऽ�प ���वधः पदाथ��य �ाण�दो
�वशेषाधानहेतु� । The siddha is of two types (1) that which gives the very life to the object —
praanaprada (jati – genus) and (2) that which adds a special feature or property – Visesaadhaanahetu
(guna – quality). न �ह गौः �व�पेण गौना��यगौः । गो�वा�भसंव�धातु गौः | It is said in Vaakyapadeeya that “a
cow is neither a cow nor a non-cow by its very existence. It is a cow due to its invariable relation to
cowness”.

Upaadhi
Vastudharma
Siddha
(1) Praanaprada
(jaati – genus)
(2) Viseesaadhaanahetu
(Guna – quality)
(3) Saadhya
Kriyaa – action
(4) Vaktruyadrucchaasanniveshita
Yadruchchaa – arbitrary name

The grammarians say that there is only jaati. Suklatva or whiteness is a jaati on the basis of which
there is a common awareness of “white”. Similarly for action also, the jati is the cause of usage. The
meemaamsaka say that even Ditta can be taken as a jaati as di�erent speakers – child, old man,
parrot and so on say it di�erently. The third group says that we need both jaati and vyakti. The
speci�c cow that has the cowness – गो�व �व�श�ः गौः | त�ान् (like जा�तमान्) – one who possesses that –
suggested by Nyaaya school. Next, according to Buddhists, nothing is permanent. Everything is
temporary. They say that the movement of the earth is not felt. In the same way, the objects exist
only during that speci�c moment. But due to the continuity of the existence of di�erent entities
(considering that each moment the person is changing), we feel its continuous presence. They call it
अपोह – apoha – negation of the di�erent. Omitting all that is di�erent from this, whatever remains is
the indicated object. ]

स मु�योऽथ��त� मु�यो �ापारोऽ�या�भधो�यते ॥ का�रका ८ ॥ <*>

That primary meaning which has sanketa [convention] is called Mukhyartha and the function of the
word that conveys it is Abhida [denotation]

Lakshana

मु�याथ�बाधे त�ोगे ��ढतोऽथ �योजनात् ।अ�योऽथ� ल�यते य�सा ल�णारो�पता ��या ॥ का�रका ९ ॥The
conditions for Lakshana to occur (1) incompatibility of the primary meaning (मु�याथ�बाध) and (2) a
relation (त�ोग) of the other meaning should be with the primary meaning – this should be on the
basis of (3a) usage (��ढ)or (3b) purpose (�योजन) | It is a function imposed (आरो�पता)on the word.

Eg. “कम��ण कुशलः” इ�यादौदभ��हणा�योगात् II “ग�ायांघोषः” इ�यादौचग�ाद�नांघोषा�ाधार�वासंभवोत् II <*>

Eg. कम��ण कुशलः – for कुशलः the original meaning is कुशान् ला�त – he who carries with him the kusha or
dharba grass. The relationship between the meaning of expert and one who carries kusha is
�ववेक�च�वात् संब�ध. There is incompatibility as carrying kusha does not have anything to do with work.
And there is a relationship between an expert and one carrying kusha as both indicate the alertness.
Here this is on the basis of Roodhi i.e., usage.

Eg. Gangaayaam ghosah. There is incompatibility with the meaning of stream for Gangaayaam. The
related meaning that is indicated is the banks of the Gangesdue to closeness सामी�य संब�धः. Here this is
on the basis of purpose of indicating chillness, sacredness, etc.

The function that brings out the meaning of chillness and sacredness is not Abhidaa since Ganga
literally does not mean these qualities. ना�भधा समयाभावात् | The meaning is not Lakshana also since the
conditions do not apply for taking the Lakshanaa to indicate chillness, sacredness, etc. न ल�णा
मु�याथ�बाधा�दहेतु��तयाभावात् । अतः ��ना एव अ� �ापारः | This is called Lakshanaa mula vyanjanaartha.
These two types called abhidhaa mula vyanjanaartha and Lakshanaa mula vyanjanaartha is explained
further in the 4th chapter.

Types of Lakshana

… ल�णा तेन षड् �वधा ॥ का�रका १२ ॥ <*>

Lakshana is broadly classi�es into 3 types, with two in each amounting to a total of 6 types.

1. Shuddha Lakshana: The relation between the primary and indicated meanings are not similarity
but some other thing, it is called Suddha Lakshana. This is again divided into 2 types.
1. Upadaana Lakshana – Here the primary meaning implies the secondary meaning for
accomplishing its own completion. Eg.कु�ताः��वश��त , the lances enter. Since the lances cannot
enter on their own, the phrase implies the persons holding the lances. उपादानल�णा =
उप+आदान+ल�णा;उप = समीप; आदान = �वीकरणम्; This is called �व�स�येपरा�ेपः I
2. Lakshanalakshana – Here the primary meaning is given up for the sake of secondary meaning.
Eg.ग�ायांघोषः. A village where cowherds live cannot exist on the stream named Ganga. So the
primary meaning is given up and the indicated meaning, namely the bank, is accepted. This is
called पराथ��वसमप�णम् I
2. Saaropa Lakshana: सारोपा�यातुय�ो�ौ�वषयी�वषय�यथा II Here the the Vishaya [that on which something
is superimposed] and Vishayin [that which is superimposed], both are mentioned. This is of 2
types.
1. Gauni saaropa: Aaropa is based on relationship of similarity in guna [quality] eg. गौवा�हीकःhere
Gauh is the vishayin, the qualities of it like जा�(dullness), मा��(laziness), etc. are
superimposed on the vishaya, Vaahika [a member of the vaahika tribe]. So it is indicated that
the qualities of slothfulness, stupidity, etc. seen in an ox is present in the Vaahika.
 2. Shudda Saaropa: Aaropa is based on some other relationship. Eg. आयुघृ�तम् ghee is long life.
Here relationship can be explained on the basis of cause and e�ect. Consumption of Ghrta
gives strength and ensures longevity in the consumer, hence Ayush is superimposed on ghrta.

1. Saadhyavasana Lakshana: �वष�य�तःकृतेऽ�य��म�सा�या�सा�यवसा�नकाI Here the Vishaya on which the

vishayin is superimposed is not mentioned. This is again of 2 types.

1. Gauni Saadhyavasana: Similar to Gauni Saaropa except that the vishaya is not mentioned. Eg.
गौरयम् I The term Vaahika is understood and not mentioned explicitly.
2. Shudda Saadhyavasana: Similar to Shudda Saaropa except that the term Ghrtam is not explicitly
mentioned. Eg. आयुरेवेदम् I

Mammata again classi�es Lakshana on the basis of the presence of Vyanjana.

�ङ् �येन र�हता �ढौ स�हता तु �योजने । (after का�रका १२ )

1. Roodhi Lakshana: This kind has no suggested meaning in it. Just indicated meaning alone. Hence
it is also called अ�ङ् �या I eg. कम��णकुशलः
2. Prayojanavati Lakshana: This is further divided into of 2 types.
1. गूढ�ङ् �या – it has hidden suggested meaning.

1. अगूढ�ङ् �या – The suggested meaning is explicit.

Function of Vyanjana

Vyanjana is that function of the word which unfolds the Vyangya or the suggested meaning. The
importance of Vyanjana in poetry cannot be overstated. Rasa which is the quintessence of poetry can
manifest only through Vyanjana and it is the suggested sense which makes Kavya beautiful and
charming.

Vyanjana is understood as (1) based on lakshana and (2) based on abhidaa.

When we say gangayam goshah, the word Ganga denotes the stream. This is the Abhidaa or denoted
meaning. Further since there is an incompatibility between Ganga and gosha (hamlet), we adopt the
indicated meaning [Lakshana] which helps us understand Ganga as ganga tata – the bank. The
prayojana or purpose for resorting to the indicated meaning is to highlight that the qualities of Ganga
[sacredness, coolness, etc.] are present in the hamlet also due to its closeness.

The question here is if Lakshana is able to express the indicated meaning along with the prayojana
then why have vyanjana separately? Mammata replies.

हे�वभावा� ल�णा ॥ का�रका १५ ॥मु�याथ�बाधा�द�यं हेतुः ॥१५॥ <*>

It cannot be Lakshana due to the absence of the hetu [conditions] required for lakshana i.e.,
incompatibility of primary meaning, relation of the other sense with the indicated meaning and
purpose.

�योजनेन स�हतं ल�णीयं न यु�यते ॥ का�रका १७ ॥ <*>

Lakshana or the indicated meaning does not include the prayojana.

�ान�य �वषयो ��यः फलम�य�दा�तम् । (after का�रका १७)

The object of cognition is said to be di�erent from its purpose. An example is given to explain this.
When we see a pot, the object of perception is the black pot. Here the prayojana or result of
perception is �कटता [state of being known] or सं�व��ः [consciousness]. This prakatata or samvitti,
which is the prayojana, is not included in the pot.

So, (abhidaa) Ganga à (lakshana) ganga thata à(vyanjana) coolness, sacredness, etc.

Thus Vyanjana is required to realise the prayojana or phala or the intended purpose.

For example, in gangayam goshah, the special qualities which are cognised in the bank, i.e.,
sacredness and so on are grasped through a function which is di�erent from abhidhaa, lakshanaa and
tatparyaa. That function is called vyanjanaa, dhvananaa, dyotanaa etc. This is an example for
vyanjana based on lakshana.

Suggestion based on Abhidha

अनेकाथ��य श�द�य वाचक�वे �नय���ते ।संयोगा�ैः+अवा�याथ�-धीकृत्+�ापृ�तः+अ�नम् ॥ का�रका १९ ॥

When the denotative power of a word having several meanings is restricted by means of Samyoga
(physical contact), etc., the function which brings about the non-denoted meaning is Vyanjana
(suggestion). Abhidhaa niyantrana is required for the words which have denotative power so that one
meaning is restricted to one speci�c meaning.

The next category is Vyanjanaa based on Abhidaa. There are 14 conditions in this category.

संयोगो �व�योग� साहचय� �वरो�धता ।अथ�ः �करणं �ल�ं श�द�या�य�य सं�न�धः ॥

साम�य�मौ�चती दे शः कालो ���ः �वरादयः ।श�दाथ��यानव�छे दे �वशेष�मृ�तहेतवः ॥

संयोगः (contact), �व�योगः (separation), साहचय� (association) �वरो�धता (enmity) अथ�ः (purpose, aim) �करणम्
(context) �ल�म् (peculiar feature), अ�य�य श�द�य सं�न�धः (proximity of another word), साम�य�म् (ability)
औ�चती (propriety) दे शः (place), कालः (time) ���ः (gender) �वरादयः (accent), etc., become the causes of
bringing into memory the intended meaning when there is uncertainty regarding the meaning of a
word.

1. Samyoga: Contact. सशङ् खच�ोह�रः

Hari has di�erent meanings like Vishnu, Monkey, Lion, Horse, etc. The meaning is restricted to
Vishnu because he is known to have a contact with shankha and chakra.
2. Viprayoga: Separation.अशङ् खच�ो ह�र�र�य�युते
Again we understand Hari as Vishnu because he is the only one capable of being separated from
them.
3. Saahacharya: Association. रामल�मणा�व�तदाशरथौ।
Here meaning of the word Rama is restricted to son of Dasharatha due to his association with
Lakshmana.
4. Virodhita: Enmity. रामाजु�नग�त�तयो�र�तभाग�वकात�वीय�योः।
Here Rama is Parashurama and Arjuna is Kartaveeryarjuna. Their well known enmity is referred
here.
5. Artha: Purpose. �थाणुंभजभव��छदे इ�तहर।
Here Sthanu can mean pole or Shiva. Here it refers to Lord Shiva due to the purpose of
bhavachedana that can be attributed to him.
6. Prakarana: Context. सव�जाना�तदे वइ�तयु�मदथ�।
Here the meaning is based on the context. Devah can mean God or a king. Here it refers to the
person addressed to in that context.
7. Linga: Peculiar feature. कु�पतोमकर�वजइ�तकामे।
Here makaradhwajah can mean Manmatha or the ocean. Here kopa or anger can be linked to
Manmatha only.
8. Shabdantarasannidhi: Proximity of another word. दे व�यपुराराते�र�तशंभौ।
Here again deva can have di�erent meanings. But due to the proximity with the word
puraaraatheh, we understand Deva as Lord Shiva.
9. Saamarthyam: Ability. मधुनाम�ःको�कलइ�तवस�ते।
The word madhu has various meanings liquor, nectar, honey etc. but the ability to produce
intoxication in kokila exists only in vasanta ritu. So madhu here refers to the season vasanta.
10. Auchiti: Propriety. पातुवोद�यतामुख�म�तसांमु�ये |
Here mukham can mean face, presence, beginning, etc., based on propriety here it means
presence.
11. Deshah: Place. भा�य�परमे�रइ�तराजधानी�पा�दे शा�ाज�न।
Parameshwara can refer to God and king. The meaning here is king as the sentence is spoken in
the capital city of a kingdom.
12. Kalah: Time. �च�भानु�व�भाती�त �दने रवौ रा�ौ व�ौ |
Chitrabhanu means sun and �re. If the sentence is spoken during day, it refers to sun and at night
it refers to �re.
13. Vyaktih: Gender. �म�ंभाती�तसु��द, �म�ोभाती�तरवौ।
Mitram in neuter gender means friend, while mitrah in masculine gender means sun.
14. Svara: Accents used in Vedas, Udaatta Anudaatta and Svarita. इ��श�ु�र�यादौ वेदे एव न का�े �वरो
 �वषेष�ती�तकृत् ।
Based on the accents, Indrashatru can mean 1. One for whom Indra will be the killer and 2.
Indra’s killer. The �rst one is a Bahuvrihi compound and will have Purvapadaprakritiswaraor
Adyodaatta. While the second is Tatpurusha compound having Antodaatta.

Role of Vyanjaka in contextual and non-contextual meanings

त�ु�ो ��कः श�दो …त�ु�ो ��नयु�ः

The word which has that function is called Vyanjaka. त�ु�means that which has the function of
Vyanjana. So Vyanjana is that function by which the non-contextual meaning is expressed.

… य�सोऽथा��तरयु�था ।अथ�ऽ�प ��क�त� सहका�रतया मतः ॥ का�रका २० ॥ <*>

Since the word expresses the non-contextual meaning with the interruption of the contextual
meaning, the contextual meaning is considered as suggestive in a co-operative manner सहका�रतया��क:

भ�ा�मनो �र�धरोहतनो�व�शालवंशो�तेःकृत�शलीमुख�व�ह�य ।य�यानुप�लुतगतेः परवारण�यदाना�बुसेकसुभगः सततं

करोभूत् ॥१२॥

An example is given here where the verse could mean both a king and an elephant belonging to the
jaati of Bhadra. From the context, since it is about the King, the meaning meant for the King is to be
taken �rst. The other meaning is taken to be Vyanjana.

Contextual meaning: The king has a peaceful nature, his persona is di�cult to be gauged, he has the high
stature due to his vamsha, he has mastered several weapons, his knowledge never goes awry, he gets rid of
his foes easily, his hands are charming and always wet with the water being poured while giving gifts
[daana].

Non-contextual meaning: Describes an elephant. It is of the Bhadra variety, body is so high that it is
di�cult to mount, backbone is large and lofty, attracts many bees, its movement never falters, it is an
elephant par excellence, the trunk is beautiful and always has the liquid rut �owing.

(Side Note: Jagannaata does not agree that with this. He says that the second meaning should also be
taken as the vaachyaartha. He agrees only in certain speci�c cases. Even Ananda vardhana does not
say that. But Abhinava Gupta gives this in his vyaakyaanaa. The Elephant can be taken to be the
upamaana and hence the alamkara of Upama comes. So this becomes Upama Dhvani. The shabda
shakti mula Dhvani can only be alamkara Dhvani and it can never be vastu roopa Dhvani says
Anandavardhana).

Third Ullaasa

Arthavyanjakata – suggestiveness of meaning

अथा�ः �ो�ाः पुरा तेषाम् … … अथ���कतो�यते । before का�रका २१ ॥ <*>

अथा�ः वा�यल�य�ङ् �याः । तेषां वाचकला��णक��कानाम् ॥

The meanings of these have already been explained. The “meanings” mean vachya, lakshya and vyangya.
“Of these” means vachaka, lakshanika and vyanjaka. Now we shall deal with suggestiveness of the
meanings.

[Side note: य� श�द-��कता अ��त अ� अथ�ऽ�प ��कः सहका�रतया | i.e., In Shabda shakti mula Dhvani,
where there is suggestiveness of the word, there will be suggestiveness of the meaning also in a
supplementary way. Similarly, in Artha shakti mula Dhvani, where there is suggestiveness of the
meaning, there will be suggestiveness of the word also in a supplementary way. य� अथ�-��कता
अ��त अ� श�दोऽ�प ��कः सहका�रतया | ]

व�ृबो��काकूनां वा�यवा�या�यस��धेः ॥ का�रका २१ ॥

��तावदे शकालादे व��श��ा���तभाजुषाम् ।योऽथ��या�याथ�धीहेतु�ा�पारो ���रेव सा ॥ का�रका २२ ॥

The function of the word, which is the cause of the cognition of another meaning (di�erent from the
denoted meaning) to those who have imagination (prathibhaa) on the basis of the specialty of the
speaker व�ृ, the person spoken to बो��, intonation काकू, sentence वा�य, the denoted meaning वा�य the
presence of another person अ�यस���धः, the context ��ताव, the place दे श, the time कालand other such
factors like chesta [gesture]आ�दis only the Vyanjanaa. Mammata says that the above can coexist in a
given example.

Example from Venisamhaara is given for intonation.

तथाभूतां ��् वा नृपसद�स पा�चालतनयांवने �ाधैः साध� सु�चरमु�षतं व�कलधरैः ।
�वराट�यावासे ��थतमनु�चतार�भ�नभृतंगु�ः खेदं �ख�े म�य भज�त ना�ा�प कु�षु ॥ after का�रका २२ ॥

Having seen Draupadi in that pitiable condition, and having seen how we lived for a long time in the
forest wearing bark clothes, and also having observed our life in the residence of Viraata in which we
took up the most inappropriate professions, my elder brother is embarrassed about me even today,
and not at all angry on the Kauravas. Here it is suggested by variation of tone that it is wrong for
Yudhistira to be angry on Bhima, but right to be so on Kauravas.

The following is an example of Karuna rasa which is not explicitly stated in the Vaakya.

तदा मम ग�ड�थल�नम�नां ���� नानैषीर��य� ।इदान� सैवाहं तौ च कपोलौ न च सा ���ः ॥

“Then you did not turn aside your eye �xed on my cheek. Now, I am the same, the cheeks are the
same, but your look is not the same”. This actually means “O stealthy lover! You were happily
looking at my friend re�ected in my cheek. When she moved away, your look immediately changed.”

Fourth Ullasa

Technical Terms – Dosha, Guna, Alamkaara, Alamkaarya

Dosha

Dosha is a �aw or blemish that causes suppression or hindrance of the main meaning of a kavya.
Doshas can occur in pada, vakya, artha and rasa. Mammata emphasizes that the kavya has to be
adoshau – blemish free. Dandin says, even a small dosha should not be neglected. It is like an ugly
spot of vitiligo [shvitra] on the most beautiful body.

Guna

Guna may be understood as quality of excellence. They are the properties [dharmas] of rasa. Again
Mammata says that the kavya has to be enriched with gunas – sagunau. Bharata has listed 10 gunas
namely, shlehsa, prasada, samata, madhurya, sukumarata, arthavyakti, udaratvam, ojas, kanti and
samadhi. Vamana says that gunas increase kavyashobha. Mammata who follows Anandavardhana has
accepted only 3 gunas namely Maadhurya, Ojas and Prasaada. He de�nes gunas as those qualities
which heighten the Rasa [utkarsha hetu] and stay with it permanently [achalasthita]
माधु�य�जः�सादा�याः �य�ते न पुनद� श ॥ He says that the other 7 gunas are either included under the above 3
or are just absence of doshas. So they are de�nitely not 10 in number.

Alankara

These are the properties [dharmas] of shabda and artha. Although Mammata says that alankara is
optional in kavyaswaroopa, he later adds that shabda and artha should generally have alankaras.
They may not be explicit always. While de�ning alankara Mammata saya, those factors which at times
beautify the existing rasa through its limbs [anga] shabda and artha are called alankaras. They are like
necklace etc [haaradivad]. Eg. Anuprasa, upama etc.
अलं पूण� करो�त इ�त अलंकारः | Alankara brings about fullness to a kavya. They should be employed
judiciously and should never over shadow the rasa. In the absence of rasa, alankaras are mere
fanciful expressions.

Alankarya

Alankarya is the prominent factor that is getting embellished. Factors like guna, alankara, etc.,
enhance rasa, so rasa is called alankarya. In certain cases, rasa may not enjoy prominence and
may be subservient to some other factor. Then it is called Rasavadalankara and it belongs to
gunibhoota vyangya category.

Types of Dhvani

Dhvani
अ�वव��तवा�य�व�नः – lakshanaa mula Dhvani
अथा��तरसङ् ��मतवा�य�व�नः–�क��च��वव��ता
अ�य�त�तर�कृतवा�य�व�नः–अ�वव��त
�वव��ता�यपरवा�य�व�नः–abhidhaa mula Dhvani

नञ्means full absence and also little presence. So अ�वव��त is not �वव��ताand also�क��च��वव��ता.

Avivakshitavachya

अ�वव��तवा�यो य�त� वा�यं भवेद�् वनौ ।अथा��तरे सङ् ��मतम�य�तं वा �तर�कृतम् ॥ का�रका २४ ॥

Avivakshitavachya is one where there is an unintended literary import of the primary meaning. It is
of 2 types Arthantarasamkramita and Atyantatiraskrta.

Arthantharasamkramita

Here the primary meaning is transformed into another suggested meaning. Eg.

�वाम��म व��म �व�षां समवायोऽ� �त��त ।आ�मीयां म�तमा�थाय ��थ�तम� �वधे�ह तत् ॥२३॥(afterका�रका २४ ॥)

I am telling you this, here sits an assembly of scholars. Hence remain here keeping your mind alert. We see
that in the suggested meaning, “telling” gets transformed into “advicing”.

(Side note: from Dhvanyaaloka notes – अथा��तरसङ् ��मतवा�या – e.g., A lotus will be a lotus only when it
is blessed by the sun’s rays. The second time usage of lotus could mean di�erent things like the abode
of Lakshmi, sakala soundarya aakara, etc. Here some additional meaning over the derived meaning is
suggested. सङ् �म is to go from one place to another. Here the meaning changes for one to another).

Atyantaratiraskrita

Here the primary meaning is totally rejected for the sake of the suggested meaning. Eg.

उपकृतं ब� त� �कमु�यते सुजनता ��थता भवता परम् ।�वदधद��शमेव सदा सखे सु�खतमा��व ततः शरदां शतम्
॥२४॥(afterका�रका २४ ॥)

You have helped me greatly what can I say? You have exhibited extremely good humaneness. O my friend!
Live for a hundred years happily, doing acts of the very same kind. The entire verse is �lled with irony to
express one’s displeasure. Live for a hundred years happily is not intended. In fact the intended
meaning is just the opposite.
एतदपका�रणं��त�वपरीतल�णयाक�����॥२४॥(afterका�रका २४ ॥)

Here the primary meaning is total rejected and the suggested meaning adopted is actually in contrast
to the primary meaning due to irony. This is called viparitalakshana.

Viparitalakshana

One of the 3 factors required for adopting lakshana or secondary meaning is the relation to the other
meaning. It may be nearness as in Gangayaam goshah or similarity as in mukham chandrah. Another
relation is contrariness or irony. An extremely dull person may be called Brihaspathi. The indicated
meaning is the opposite of the denoted meaning. This is called viparitalakshana. (after ॥का�रका २४॥ )

Vivakshitanyaparavachya

�वव��तं चा�यपरं वा�यं य�ापर�तु सः ।अ�यपरं �ङ् �य�न�म् । (before का�रका २५)

Vivakshitanyaparavachya is one where the primary meaning is intended to be conveyed but in such a way
that it is subservient to the other [suggested] meaning.

कोऽ�यल�य�म�ङ् �यो ल�य�ङ् �य�मः परः ॥ का�रका २५ ॥

It is of 2 types namely, alakshyakramavyangya and lakshyakramavyanga.

Alakshyakramavyangya

Rasa gets manifested through vibhavas, anubhavas and vyabhichari bhavas. But this sequence is too
subtle and happens very quickly and hence is not comprehended.

�वभावानुभाव��भचा�रण एव रसः । अ�प तु रस�तैः इ�य��त �मः । स तु लाघवा� ल�यते ॥२५॥ (after का�रका २५ ॥ )

Apart from rasa, bhava, rasabhasa, bhavabhasa, bhavashanti, bhavodaya, bhavasandhi and
bhavashabalatva are considered to be alakshyakramavyangya. Alakshyakramavyangya is also referred
to as Asamlakshyakramavyangya or Akramavyangya.

Lakshyakramavyangya

Lakshyakramavyangya is where the sequence is perceptible. It is of 3 types, Shabdashaktimula,

Arthashaktimula and Ubhayashaktimula.

Illustration of Rasas

Rasa

कारणा�यथ काया��ण सहकारी�ण या�न च ।र�यादे ः �था�यनो लोके ता�न चे�ा�का�योः ॥ का�रका २७ ॥

�वभावा अनुभावा�त�क�य�ते ��भचा�रणः ।��ः स तै�व�भावा�ैः �थायी भावो रसः �मृतः ॥ का�रका २८ ॥

There are causes, e�ects and auxiliary feelings of rati, etc. When they occur in a kavya or natya they are
respectively called Vibhavas, Anubhavas and Vyabhicharibhavas. The permanent mood [sthayibhava] which
is manifested by these vibhavas, etc., is known as Rasa.
Vibhaava

Exciting causes (stimulus) that make the sthayibhavas relishable are called vibhavas. They are of 2
kinds Aalambana vibhaava and Uddeepana vibhaava. The person or object which is the cause of
the given sthayibhava is called aalambina vibhava. E.g., a woman is the alambana vibhava for rati
sthayibhava in a man. E.g., a tiger is the alambana vibhava of bhaya sthayibhava.

Uddeepana vibhavas are associated factors like moonlight, breeze, fragrance, etc., in shrngara; and
darkness, shrill sounds, etc., in bhayanaka.

Anubhaava

These are supporting factors (emotional responses) that bring the sthayibhavas within the reach of
experience. Glances, change of colour of the face, etc., are anubhavas.

Vyabhicharibhaava

These are transitory feelings. They come and go like the waves in the ocean. They are also called
sancharibhavas. They are 33 in number. Nirveda, glani, shanka, asuya, mada, shrama, alasyam,
dainyam, chinta, moha, smriti, dhriti, vrida, chapalata, harsha, avega, jadata, garva, vishada,
autsukyam, nidra, apasmara, suptam, prabodha, amarsha, avahitham, ugrata, mati, vyadhi, unmade,
maranam, trasa and vitarka.

Sthayibhaava

Bhavas [permanent mood or abiding emotion] which permanently exist in the mind [or antahkarana]
in the form of vasana [latent imprints] are called sthayibhavas. When excited, it evokes a heightened
aesthetic experience called rasa. Sthayibhavas are 9 in number namely.

र�तहा�स�शोक��ोधो�साहौभयंतथा।जुगु�सा�व�मय�े�त�था�यभावाः�क��त�ताः॥का�रका३०॥<*>
(Note:सृ�ारहा�यक�णरौ�वीरभयानकाः ।बीभ�सा��तसं�ौ चे�य�ौ ना�े रसाः �मृताः ॥ का�रका २९ ॥ )

Rati [love], haasa [mirth], shoka [sorrow or grief], krodha [anger], utsaaha [enthusiasm], bhayam [fear],
jugupsa [disgust], vismaya [wonder] and nirveda [tranquillity] are the Sthayibhaavas.

Rasanishpatti or Rasasutra

Rasanispatti or Rasasutra

In the worldly a�airs, whatever is called as Kaarana or cause, in Kavya and naataka, that is referred
to as Vibhaava; and Kaarya or action is referred to as Anubhaava; and the sahachaari kaarana or
supplementary causes are referred to as Sanchaari Bhaava or Vyabhichaari Bhaava. Bharata in his
Rasa Sutra states that by the combination of these three factors, there will be the nispatti of the
Rasa.Bharata states �वभावानुभाव��भचा�र संयोगा�स�न�प��: |This is the Rasa Sutra.

कारणं काय� सहकारी are respectively �वभाव, अनुभाव, स�चारीभाव | �था�यभाव raises to a state where it becomes
Rasa. The vishesha bhavaa or bhaavana due to which we see Shakuntala in the actress is the Vibhava.
The reason or kaarana for our pleasure is this character and hence Vibhava is the kaarana. Even when
the audience feels sad on seeing the su�ering of Sita, they actually experience a kind of joy.
Sanchaaribhaava is a temporary feeling. Rasa = र�यते आ�वा�ते इ�त रसः | The enjoyment is experienced
by the mind and not by the senses. It is due to the samyoga – Vibhaava, anubhaava,
vyabhichaaribhaava samyogaat | Only the Sahurdaya – samaanam hrudayam yasya – one who has
the same feelings as that of the poet. Like the paanaka which is a mixture of water, jaggery, etc.,
Rasa is also a mixture. This nyaaya is called पानक-रस-�याय. There is usually a Kaaraka and a
gnaapaka. Kaaraka is the producer and Jnaapaka is the indicator. Clay is the karaka for pot which
the light is the jnaapaka. Rasa is neither. Such a thing is not seen anywhere else. So it is alaukika.
Brahmaananda Sahodarah. This is kaavyaananda. Rasa’s ananda is not permanent. Brahmaananda is
permanent bliss.

For Rati or love, the cause is Rama and Sita. They are called as Aalambana Vibhaavas. The additional
supporting factors like the moon-rise, cool breeze, etc. are Udeepana Vibhaavas. The expressions
shown in the face indicating the feeling that a person has inside are all called anubhaavaas in Kavya
which are the actions or Kaaryaas in the normal world. The temporary feeling which comes along
with Vibhaavas and Anubhaavasand vanishes is the Vyabhichaari Bhaava or sanchaari bhaava.
��भचर��तइ�त��भचा�रभावाः | Vyabhicharati means leaving without being committed.

When these factors come together, there will be the nispatti of the rasa i.e., the inherent feeling in
the person called Sthaayibhaava gets well-nourished and results in the enjoyment of the Rasa. In
Naatya Shaastra there are 8 sthaayi bhaavaas as there are only 8 rasas. In this, there are 9. There are
others who include more like Bhakti, making it go up to 14. In Kaavya Prakaasa there are four
arguments. (Side Note: Jagannatha Panditha in Rasa Gangaadhara puts forth more arguments). The
sthaayi bhaava is kindled by the vibhaava. The biggest debate is “In whom is the the Sthaayi bhaava
present?” The person who experiences the rasa is ultimately the Sahrudaya, though the kavi and the
actors could also experience the feelings.

Here Mammata clari�es what is samyoga and what is nishpatti. Rasa Nishpatti means experiencing
the Rasa or the aesthetic experience. How this happens? What is the relationship between the
samyoga and the nishpatti?

Rasa Nishpatti Vaada

Rasa Nishpatti Vaadas deal with the theories that try to explain how Rasa is conveyed to the
spectators. There are four prominent theories.

Lollata – Utpatti Vaada

Lollata is from Kashmir, believed to have lived between 800AD and 840 AD. He has written a
commentary on Bharata’s Natyashastra. He was one of the earliest thinkers who attempted to explain
Rasasutra of Bharata. He was a Kashimiri pandit specializing in Mimaansa मीमांसा (i.e., purva
mimaansa). His theory on Rasa sutra is called utpatti vada. According to him, Rasa is in the anukarya
[characters] represented on the stage. But it is conceived as existing in the actor who represents the
character.

Bhatta Lollata said that the Rasa is created by the vibhaava, etc. So he calls रसः as उ�पा�ः and the
other causes �वभावः अनुभावः and ��भचा�रभावः as उ�पादकः | Samyoga is the उ�पा�-उ�पादक-भाव-संब�धः | He
says that the Rasa is experienced due to the मु�यवृ��ः or मु�यश��ः | Nishpatti is the Utpatti of Rasa.
अनुकता� – नटः, अनुकाय�ः – रामा�दः | He said that the Rasa is created in the mula vyakti like Rama.

Rasa in primary sense belongs to the hero, i.e., Rama, etc. The spectator’s understanding of love
demonstrated by the actor brings delight to them. Lollata thinks that the actor cleverly represents
Rama’s activities. Vibhavas produce rasa, anubhavas make it perceivable and vyabhicharins
consummate it. This cognition of rasa by the spectator gives him an unadulterated joy. A rope though
not a serpent but mistaken to be one can produce fear. Similarly, shell mistaken as silver produces
desire. Likewise, love of Rama for Sita is observed in the actor [who is not Rama and has no love for
Sita]. Such things, although not genuine, produces aesthetic joy according to Lollata.

Argument: How can an observer who has already seen silver mistake shell to be silver? A serpent
could be seen as a rope and this can be life threatening. If rasanishpatti is actually in Rama the actor,
how can the spectator enjoy it?

(Side note: This is not possible since the actor will not be able to act if he really starts experiencing
those feelings. Bharata has clearly stated that sumanasah rasam anubhavanti – the sahrudayaas
experience the rasa. Lollata has written commentaries on Bharata’s Naatyashaastra. It is not possible
for the audience to feel happy by looking at the experience of the actors).
Sri Shankuka – Anumiti Vada

Sri Shankuka’s personal details are not known. Sri Shankuka – He was a specialist in �यायशा��म् | He
says that we imagine (अनुमान) the actor to be having the feelings of the character like Rama. So रसःis
अनु�म�तः which is ऊहा�मकं �ानम् |

स�य���यासंशयसा��य�ती�त�यो �वल�णया �च�तुरगा�द�यायेन रामोऽय�म�त ��तप�या �ा�े नटे (after का�रका २८)

It can come in four ways – स�यक्-�ती�तः, �म�या-�ती�तः, संशय-�ती�तः and सा��य-�ती�तः | We would feel the
pain of Sita only if we imagine the actress to be the real Sita. Considering this person to be Sita is
स�यक्-�ती�तः | But that is not the case completely. We also know that she is not Sita �म�या-�ती�तः | It is
not that we doubt whether she might be Sita संशय-�ती�तः. It is also not Saadrushya-prateetih that we
think that this person is like Sita. The experience of the viewer is not any of the above. It is a
di�erent one called सादारणीकरण | It is understood with the analogy of Citra-turaga nyaaya, i.e., the
maxim of the picture of the horse. This is like the picture of a horse where we consider it to be a
horse though we know that it is not the real horse.

He has criticised Lollata. He believes that the spectator infersthe rati of Rama and Sita on the basis of
what is presented on the stage. Hence his theory is called anumiti vada.He says that vibhaavaadis are
the anumaapakas and the rasa is the anumaapya and they are related by the anumaapya-
anumaapaka-sambanda. By Anumaana or inference, the audience experiences the joy. He says that
Nishpatti is Anumiti. The sentiment of love, etc., is inferred by looking at the actor.

Even though what is presented on stage is not true, he deliberately accepts them to be true. This is
called “willing suspension of disbelief”. A well-trained actor imitates the hero, Rama, etc., and the
spectator of the drama assumes that the actor is really Rama. From the vibhavas, anubhavas, etc., the
spectator infers the sthayibhava of rati in him. This rati gets manifested as sringara rasa and the
spectator relishes it.

Argument: The spectators relish rasa as a direct perception. Nobody thinks that he or she has inferred
the love of Rama for Sita, but it is the transcendental joy of direct experience. What happens when
one reads a poem or drama? There are no actors or imitation there. There is no basis of inference at
all. But Rasanubhava is not denied there. So his theory of inference was rejected.

Bhatta Nayaka – Bhukti Vaada

Bhatta Nayaka has written a commentary on Bharata’s Natyashastra. He was an opponent of dhvani
theory and wrote Hrdayadarpana to refute Anandavardhana’s theory. His main contribution is the
introduction of the concept of Sadharaneekarana or the concept of universalization of vibhavas, etc.

भ�नायकःwas an expert in साङ् �यशा��म्. He mentioned about the function called भोगीकृत-�ापार. The
function of भावक�व �rst happens and it generalizes the vibhaavas etc., and brings the sthaayibhaava
to a state of relishability. Then it is relished as Rasa by means of भोग. We enjoy the Rasa.
(�वभावा�दसाधारणीकरणा�मना भावक�व�ापारेण भा�मानः �थायी … भोगेन भु�यते इ�त भ�नायकः । (after का�रका २८)

Bhattanaayaka’s vaada is Bhukti vaada. BhattaNaayaka says that along with Abhidhaa vyaapaara,
there are two other functions namely Bhaavakatva vyaapaara and Bhojakatva vyaapaara that are
required for Rasa Siddhi. By Bhaavakatva vyaapaara, Saadaarani karana or generalization /
universalisation will happen. The experience is not considered as being Rama’s experience or the
actor’s experience or my experience. The sahrudaya experience this saadaarani kruta vibhaavaadis.
By the bhojakatva vyaapaara, the sahrudaya relishes this rasa – रसं भुङ्�ते | Here it is bhoojya-
bhoojaka-bhaava sambanda. The nishpatti is called Bhukti.

He has accepted 3 distinct functions of poetic word which are called abhida, bhaavana and bhoga.
Abhida presents the content. Bhaavana universalises the content and Bhoga brings about the aesthetic
relish. A spectator cannot have rati in respect of any heroine, say shakuntala, because he knows that
she is wife of Dushyanta. Hence she cannot be the alambanavibhava. Then how can the spectator
relish shringara rasa? To overcome this Bhattanayaka suggested Saadharanikarana by the function of
Bhavakatva. By this, dharmas like Shakuntalatva, etc., are forgotten for a moment and she is
visualised just as a nayika. This helps in enjoying shringara rasa.
Argument: No theoretical objection but Abhinavagupta rejects it because he thinks it is a burden to
accept two separate functions like Bhavana and Bhoga.

[Side Note: Additional Info — An ordinary emotion may be pleasurable or painful, but a dramatic
sentiment (rasa), a shared emotion transcending personal attitude and concerns, is lifted above the
pleasure and pain of personal ego into pure impersonal job (ananda). This happens because one is not
concerned with how the depicted actions will personally a�ect one; an “artistic distance” is
maintained between the spectator and the portrayed emotions. Aesthetic emotions are intense, but
not personal. Sita’s painful situation does not a�ect our lives personally, but is ours to “enjoy” free
from any of the ordinary concerns. Thus, the tears one sheds while watching a drama are never tears
of pain, but of sentiment.

Empathy enables the actors to merge their personality into the personality of the characters. Then,
the reader or the spectator also through this faculty of empathy loses his own individuality as he
merges it with that of the actors or the characters. There is an oneness of the characters, the actors
and the reader or the spectator. This is what is meant by “Sadharnikaran” because of which the
spectator or the reader relishes the Rasa or takes delight in witnessing or reading a particular work of
art. ]

Abhinava Gupta – Vyakti Vaada

Abhinava Gupta is one of the most remarkable personalities of medieval India. He was the son of
Narasimhagupta and great-grandson of Atrigupta. He lived in Kashmir in the 11 th century AD. He
was a proli�c writer and a great teacher. Tantraaloka is his magnum opus. He also wrote
commentaries named Abhinavabharati [on Natyashastra of Bharata] and Lochana [on Dhvanyaloka].
He was an authority on Pratyyabhijnadarshana. His other works include Malinivijayavartika,
Paraatrimshikaavivarana and Tantralokasaara. It is through his works that we get details about
Lollata, Bhattanayaka and Srisankuka. Mammata has revered him as Srimadacharya Abhinavagupta.

The fourth is by Abhinavagupta which is the Vyakti Vaada. अ�भ���ः (manifestation) is the �nal
argument that was accepted refuting the earlier arguments. He based his argument based on
वेद�तशा��म् | Abhinava Gupta says that there is no need for two functions as both are together doing
the function of Vyanjana. By the vyanjanaa vyaapaara, both saadaarani karana and bhukti happen.
Here vengya-vyanjaka-bhaava sambanda is there. Vengya is rasa. Vyanjakas are the Vibhaavaadis.

He has put forth the theory of Vyanjana to explain the relation between vibhava, etc., and rati. He
follows the footsteps of Bhattanayaka by saying that the locus of rasa is with the spectator.

According to him it is not possible to accept that the anukarya [character like Rama] is the locus
because he does not exist now. Also many works have �ctitious characters.

The anukarta [actor on stage] cannot be the locus because he would get carried away by the intensity
of it and cannot continue to act as required. And so he rejects Srisankuka and Lollata.

Finally he changed focus on to the sahrdaya or the spectator. He says that the sthayibhavas exist in
the antahkarana in the form of vasana or samskara. Poetry or drama evokes these latent sthayibhava
and make it relishable.

[Side note: nishpatti = ���यते or अ�भ���यते – �ashes / manifestsby saadaaraneekarana. The

rasaasvaada is experienced only by the sahrudayas. The actor only helps for the manifestation of the
rasa to happen in the viewers. He says that it is अ�नव�चनीयः – inexplicable. It is a not-worldly
experience – अलौ�ककः – superhuman – to be experienced in the mind | �वानुभववे�ः – to be experienced
by one’s own self. आन�द�पः – ��ान�द�व�पम् – रसोवै सः रसं �ेवाऽयं ल��वा आन�द� भव�त |It is said that
Kaavya Ananda is Brahmaananda sahodarah | The nava-rasa has to be experienced by one’s own self.
Rasa is not an e�ect or काय�. The vibhaava, etc. are kaarana. If it were the Kaarya, it would have
existed after the kaaranas disappeared unlike the pot which exists even after the disappearance of the
kaaranas. It is also not a Kaaranam unlike the dandaa and chakra that are used to make the pot. This
is Anandaroopa – anubhava-vedyah. Rasa is Kaavyaatma. This is given by Abhinava Gupta based on
the Naatya Shaastram and Dhvanyaaloka. ]
Illustration of Rasas

Nava Rasa

सृ�ारहा�यक�णरौ�वीरभयानकाः ।बीभ�सा��तसं�ौ चे�य�ौ ना�े रसाः �मृताः ॥ का�रका २९ ॥

Rasa Sthayibhava Vibhava Anubhava Vyabhichari

Sringara 2 Rati hero heroine Skill of eye All except
types with splendid movements, nirveda
vipralambha dress, garlands, eye glances,
and sambhoga seasons, limb
ornaments movements
Hasya Haasa Strange attire, Throbbing of Alasya, tandra,
�ckleness, lips, nose nidra,
irrelevant cheeks, prabodha,
talks, His perspiration asuya
crying
Karuna Shoka Separation and Weeping, Sthamba,
loss of dear lamentation vepathu
ones, burning and crying vaivarnya,
of body ashru
Raudra Krodha Anger, striking, Reddened eyes, Sammoha,
abusing, false knitting of utsaha, avega,
allegations, eyebrows, amarsha,
raising of grinding the chapalata,
weapons teeth. gadgada,
vepathu
Vira Utsaha Heroes, great Braveness, Dhriti, mati,
feats like �rmness, garva, avega
crossing oceans generosity,
e�ciency
Bhayanaka Bhaya Strange Shaking hands Sthamba,
sounds, cruel and feet, sveda,
animals throbbing gadgada,
Agitations of eyes, change romancha,
jackal, owls, of face color moha, dainya
Imprisonment
of near and
dear
Bhibhatsa Jugupsa Hearing or Shrinking of Apasmara,
sight of ugly limbs, udvega, avega,
undesirable, contraction of moha, marana
unpleasant face, looking
things slyly, vomiting
Adbhuta Vismaya Sight of divine Dilation of Sthamba,
beings, eyes, seeing gadgada,
ful�lment of without romancha,
desire, vimana winking, tears, sambhrama,
perspiration pralaya
Shanta Nirveda knowledge of Yama, niyama, nirveda, smriti,
philosophy, adhyatma dhriti,
renunciation, dhyana, sthambha
dharana.
Santarasa

Shanta rasa was not mentioned by Bharata. Mammata follows Anandavardhana who has accepted it.
He also argues that shanta is the main rasa of Mahabharata. Nirveda can be both sthayibhava and
vyabhichari bhava. When it is born of tatvajnana it is permanent and is the sthayibhava of shanta
rasa. Otherwise it is only a vyabhicharibhava. Some argue that shanta rasa can occur in kavya but
cannot occur in nataka, as it is not possible to enact it on stage. But this argument is unacceptable as
we see the successful presentation of the role of Buddha. Natakas like Prabodhachandrodaya and
sankalpasuryodaya can be mentioned as examples.

व�तुतः रसः एक एव – उपा�धभेदेन ब�धा ��यते | आन�द is only one. Hence Rasa is only one. Due to its
ingredients, it is seen di�erently. Note that Mammata was an Advaitin. Nirveda is the staayeebhaava.
From this staayibhaava, the rasa of shaantah comes. This is also called shamaa. �नव�द�था�यभावोऽ��त
शा�तोऽ�प नवमो रसः। <*>
यथा “अहौ वा हारे वा कुसुमशयने वा �ष�द वा मणौ वा लो�े वा बलव�त �रपौ वा सु��द वा। तृणे वा ��ैणे वा मम सम�शो या��त
�दवसाः �क�च�पु�यार�ये �शव �शव �शवे�त �लपतः” (१.३४) । Here is an example describing the Sannyaasi who
has nirveda. �शवः = म�लकरः | constantly mutter the God’s name. I see no di�erent. I see all things to
be equal. अहौ वा हारे वा snake or garland, कुसुमशयने वा �ष�द वा bed or rock, मणौ वा लो�े वा gem or sand,
बलव�त �रपौ वा mighty foe, तृणे वा ��ैणे वा grass or things related to a lady, all are the same for the
Sanyaasi.

Types of Srngaara

Two kinds of Srngaara-rasa. Sambhoga is the love in union and Vipralambha is the love in separation.

शू�यं वासगृहं �वलो�य शयना��थाय �क��च�छनैर्

�न�ा�ाजमुपागत�य सु�चरं �नव��य� प�युमु�खम् ।
�व��धं प�रचु��य जातपुलकामालो�य ग�ड�थल�
ल�जान�मुखी ��येण हसता बाला �चरं चु��बता ॥३०॥ (after का�रका २९ )

“She saw the residence totally empty (of all people except the two lovers), rose gently from the
couch, gazed at the face of her beloved husband intently for a long time. He was feigning
(pretending) sleepiness. She kissed him fearlessly but saw there was rising of hair on his cheeks, and
bent her face being shy. Her beloved laughed and kissed her for a long time.”

Rasa Dhvani, Alamkaara Dhvani and Vastu Dhvani – all of these result in Ananda.

Bhaava Vichaara

र�तद� वा�द�वषया ��भचारी तथा��तः ॥ का�रका ३५ ॥भावः �ो�ः … <*>

आ�दश�दा�मु�नगु�नृपपु�ा�द�वषया । का�ता�वषया तु ��ा शृ�ारः ।

When rati is expressed in respect of God, etc., then the suggested mood is called Bhava. This includes muni
[sage], guru [teacher], nrupa [king], putra [son], etc. When the love is suggested or manifested for a
beloved it is termed as Sringara rasa.

Love for God, etc. and suggested mood are called Bhava. Because of the happiness experienced, we
think that it is Rasa. Love is र�तः i.e., �ी�तः |In the de�nition, “etc.” means sage, guru, king, son, etc.
The suggested (or manifested) love for the spouse is Srungaara. Bhakti is the love towards elders like
God, guru, etc. Vaatsalya is another kind of love towards those who are younger like devotee,
students, child, etc. Vatsalah is the sthaayibhaava from which the bhaava of Vaatsalya comes.
According to Mammatta, Vaatsalya is not a Rasa. It is a bhaava.

Here is an example from Maaghakaavya ��सशुपालवध for Bhakti.

हर�यघं सं��त हेतुरे�यतः शुभ�य पूवा�च�रतैः कृतं शुभैः ।शरीरभाजां भवद�यदश�नं �न�� काल��तयेऽ�प यो�यताम् ॥४६॥
(after का�रका ३५ )

“Your sight, O Narada, destroys sins in the present, causes welfare in the future, and indicates the
good deeds of the past”. This is an example of Bhakti Bhaava.

Rasaabhaasa and Bhaavaabhaasa

… तदाभासा अनौ�च�य�व���ताः(after का�रका ३५) ।तदाभासा रसाभासा भावाभासा� । <*>

Abhaasa or improper manifestation of these leads to anauchitya [impropriety]. Of these means Rasabhasa
and bhavabhasa.

Rasa or bhava is considered as an aberration [abhasa] if it occurs improperly. This is called

impropriety or anauchitya.

[Side note: In Meghadutam, there is personi�cation of a thing (cloud – megha) that is not a person.
Like that, here it seems like Rasa but it is not completely rasa.]

In srngara, rati is considered as improper if it occurs in the upanayaka. Love for another man’s wife
especially wife of a sage, guru are also considered as anauchitya. For example, we see that in
Ravana’s love for Sita. One woman having rati for many men and one sided love are also termed as
Aabhasa.

In Hasya rasa, humour directed against a Guru is considered Aabhasa. Raudra or Vira against one’s
own parents is Aabhasa. Bhayanaka depicted in a well-known hero like Rama is Aabhasa.

Rasabhasa and Bhavabhasa can be examples of Dhvani. Such a kavya can also be categorised as
Uttama just like Rasadhvani or bhavadhvani. These are Rasaabhaasa Dhvani and Bhaavaabhaasa
Dhvani.

Bhaavodaya, Bhaavashanti, Etc.

भाव�य शा��त�दयः स��धः शबलता तथा ॥ का�रका ३६ ॥ <*>

Bhava also occurs in various stages and these stages are termed as Bhavodaya, bhavashanti etc.

Bhavodaya

Bhavodaya is the birth or rise of sentiment.

एक��म�शयने �वप�रमणीनाम�हे मु�धयास�ो मानप�र�ह�ल�पतया चाटू �न कुव���प ।

आवेगादवधी�रतः ��यतम�तू�ण� ��थत�त��णंमा भू�सु�त इवे�यम�दव�लत�ीवं पुनव���तः ॥५१॥अ�ौ�सु�य�य । (after का�रका

३६ )

They were on the same bed, he mentioned the name of another wife. Her indignation was aroused, she
disdained him in anger. In spite of his �attering speech, she stayed silent for a moment. Fearing that he
might fall asleep she looked at him turning her neck. Here there is the rise of Utsukata or anxiety.

Bhavashanti

Bhavashanti is the subsiding of the sentiment.

त�याः सा���वलेपन�तनतट��ेषमु�ाङ् �कतं�क� व��रणान�त��तकर�ाजेन गोपा�यते ।

इ�यु�े �व त�द�युद�य� सहसा त�सं�मा�ु � मयासा���ा(च्x सं���ा) रभसेन त�सुखवशा���ा च त���मृतम् ॥५०॥} अ� कोप�य
। (after का�रका ३६ )

She said “Are you trying to conceal the marks of her sandal-painted breasts which are stamped on your
chest”. I asked “where is it?” and to get those marks erased, I embraced her suddenly and she the slim one,
forgot everything under the ecstasy. In this example we see anger subsiding. So this is Bhavashanti.
Bhavasandhi

Bhavasandhi is the junction of 2 sentiments.

उ��स��य तपःपरा�म�नधेर�यागमादे कतःस�संग��यता च वीररभसो�फाल� मां कष�तः ।

वैदैहीप�रर�भ एष च मु���त�यमामीलयन्आन�द� ह�रच�दने���श�शर��न�धो �ण��यतः ॥५२॥अ�ावेगहष�योः । (after का�रका

३६ )

On seeing this treasure of austerities and prowess, my love for association with good people and the sudden
burst of heroism attract me. On the other hand, Sita’s embrace that enlivens my soul, cool and soft like the
divine sandal paste stops me, immersing me in bliss. Here there is a conjunction of Aavega
(perturbance) and harsa (joy).

Bhavashabalata

Bhavashabalata is the admixture of a number of sentiments.

�वाकाय� शशल�णः �व च कुलं भूयोऽ�प ��येत सादोषाणां �शमाय न �ुतमहो कोपेऽ�प का�तं मुखम् ।

�क� व�य��यपक�मषाः कृत�धयः �व�ेऽ�प सा �ल�भाचेतः �वा��यमुपै�ह कः खलु युवा ध�योऽधरं धा�य�त ॥५३॥अ�
�वतक��सु�यम�त�मरणशङ् कादै �यधृ�त�च�तानां शबलता । (after का�रका ३६ )

“Where the �awless lunar dynasty and where this unbecoming act? May I see her again and again! I was
educated so that faults would subside. But oh! Her face was so charming even in anger. What will the wise
and pure say about this? I think she is not accessible even in dreams. O mind, steady yourself. But which
blessed young fellow will kiss her lips!” Here there is an admixture of vitarka (trepidation), autsukya
(impatience), mati (resolve), smarana (memory), shanka (anxiety), dainya (humility), dhriti
(fortitude) and chinta (re�ection).

Rasa is the predominant factor in poetry. But sometimes bhavodaya, bhavashanti, etc., may gain
predominance. This is compared to the importance of a servant in whose marriage the King is merely
present. अ���वं राजानुगत�ववाह�वृ�भृ�यवत् ॥का�रका ३७ ॥All these are types of asamlakshyakrama dhvani.

Some Technical Terms – Anuranana, Virodhabhasa, Brahmana-

shramana-nyaaya

Anuranana

Anuranana or Anusvaana means reverberation. When a sound is made near a cave it reverberates and
produces echo. This is like ringing a bell. The sound does not stop at one stroke, but continues for
some time. Similarly in poetry, one meaning is understood �rst, it then produces another meaning
and that leads to another and so on. Such examples are said to have anuranana dhvani. This usually
occurs in samlakshyakramavyangya. It is of three types namely shabdashakti yukta, arthashakti
yukta and ubhayashakti yukta.

Virodhabhasa

The �gure of virodhabhasa occurs when there is an apparent contradiction, which is solved when the
other meaning is grasped.

त�या �वना�प हारेण �नसगा�देव हा�रणौ | जनयामासतुः क�य �व�मयं न पयोधरौ || (After 2.22 in Dhvanyaaloka)

Here, that which has no Haara [necklace] is said to possess Haara and so there is an apparent
contradiction. It is solved when we understand that the other meaning of the word HaariNau is
attractive. Now the sentence means your breasts are attractive even without a necklace.

Brahmanashramananyaaya

A Brahmana gets converted to Buddhism and becomes a Shramana. He is no longer a Brahmana. But
people who have known him since a long time cannot forget that was a Brahmana previously and so
they call him Brahmana-shramana. Similarly when �gures of speech are suggested they belong to
dhvani class and are not alankaras. In fact they are alankaryas or factors that get embellished. But
still they are called alankaras. Here the analogy of Brahmana-shramana is utilised.

Types of Dhvani (Arthashaktimuladhvani)

श�दाथ�भयश��यु�थः ��धा स क�थतो �व�नः । (after का�रका ३७ ॥<*>

Shabdashaktimuladhvani, Arthashaktimuladhvani and Ubhayashaktimuladhvani belong to the main

type called Samlakshyakramavyangya which is Abhidamuladhvani.

श�दश��मूलानुरणन�प�ङ् �यः, अथ�श��मूलानुरणन�प�ङ् �यः,उभयश��मूलानुरणन�प�ङ् �य�े�त ���वधः ( after का�रका

३७)

Shabdashaktimuladhvani

Shabdashaktimuladhvani is one where the power of the shabda [words] that have more than one
primary meaning plays a role [Eg. Haara means garland and attractiveness]. The words may suggest
a vastu [idea] or a �gure of speech [alankara].

�धान�वेन स �ेयः श�दश��यु�वो ��धा । (after का�रका ३८) <*>व��वे�त, अनलङ् कारं व�तुमा�म् ।

Suggestion based on the power of word is chie�y of two types – (1) where a �gure of speech is
suggested; and (2) where only an idea is suggested.

Arthashaktimuladhvani

In arthashaktimuladhvani, the meaning of the word plays a role in conveying the suggested idea
[vastu] or �gure of speech [alankara].

अथ�श��यु�वोऽ�यथ� ��कः संभवी �वतः ॥ का�रका ३९ ॥

�ौढो��मा�ा��स�ो वा कवे�तेनो��भत�य वा ।व�तु वालङ् कृ�तव���षड् भेदोऽसौ �न�� यत् ॥ का�रका ४० ॥व��वलङ् कारमथवा
तेनायं �ादशा�मकः ।

The meaning in arthashaktimuladhvani becomes vyanjaka [suggestive]. It is of 3 types namely svatah

sambhavi, kavipraudoktimatrasiddha and kavinibaddhavaktru–praudoktisiddha. Each of these 3 types is
categorised as 2 on the basis of vastu and alamkara thereby making the total count 6. The 6 is again divided
on the basis of vastu and alankara and we �nally have 12 types of arthashaktimuladhvani.

Svatah sambhavi Kavipraudoktisiddha Kavinibaddha

vaktrupraudokti siddha
Vastunavastu Vastunavastu Vastunavastu
Vastuna alankara Vastuna alankara Vastuna alankara
Alankarena vastu Alankarena vastu Alankarena vastu
Alankarena alankara Alankarena alankara Alankarena alankara
Svatah sambhavi: That which exists in the world. Not the imagination of the poet. [Side note: Valmiki
or Hanuman describing Lanka in Ramayana – description of something that exists in the world]
Kavipraudokti siddha: Concepts arising from the imagination of the poet and conveyed by the poet
himself. [Side note: pure imagination – something that does not exist in the world like the clouds
feeling proud]

Kavinibaddhavaktru praudokti siddha: Here again it is the imagination of the poet. But it is conveyed
through the speech of the character. [Side note: Some character in the work describes something that
does not exist in the world]

18 Types of Dhvani

… भेदा अ�ादशा�य तत् ॥ का�रका ४१ ॥अ�ये�त �वनेः ॥४१॥

There are 18 types of dhvani [arthantarasankramita, atyantatiraskrita, rasadidhvani, 2 types of

shabdashaktimula, 12 types of arthashaktimula and 1 ubhayashaktimula].

ननु रसाद�नां ब�भेद�वेन कथम�ादशे�यत आह ।रसाद�नामन�त�वा�े द एको �ह ग�यते । <*>(after का�रका ४१)

How is it that the count is just 18 when there are many rasa etc? Since the rasadis are innumerable, they
have been taken as one.

Rasas are 9. Of these shringara is of 2 types, vipralamba and samboga. The permutation combination
of all possible alambana and uddeepana vibhavas, anubhavas and vyabhicharins is innumerable. If
this is the case with one rasa, we have 8 more rasas and then the bhavadis. Therefore they are taken
as one type only considering that they have the common factor of belonging to
asamlakshyakramavyangya.

Suggestion of Sentence and Word

Ubhayashaktimula dhvani श�दाथ�भयभूरेकः| It has only one type – vastuna alankara dhvani. It occurs
only in a sentence वा�ये द्�ु�थः …द्�ु�थ इ�त श�दाथ�भयश��मूलः ॥ (After का�रका ४१)

पदे ऽ�य�येOthers, i.e., shabdashakti and arthashaktimula dhvani can occur in a word and sentence also.

अ�पश�दा�ा�ये�प । एकावयव��थतेन भूषणेन का�मनीव पद�ो�येन �ङ् �येन वा�य�ङ् �या�प भारती भासते । (After का�रका
४१)

Just as a beautiful woman shines more due to a jewel worn on her limb, poetic speech or idea suggested by a
sentence shines more due to the suggested meaning of a word.

35 Types of Dhvani

श�दाथ�भयश��यु�व�तु पद�का�यो न भवती�तप�च���श�े दाः ॥( before का�रका ४२ ).

Except Ubhayashaktimuladhvani, the rest of the 17 in these 18 can manifest either in a pada [word]
or vakya [sentence]. So we have 17 x2=34. Ubhayashaktimuladhvani occurs only in Vakya because
here the suggestion depends on both the word and the meaning and so it cannot have padaprakaasya
i.e., having just the word as its basis. Thus the total count is 35.

Prabandha Dhvani

… �ब�धेऽ�यथ�श��भूः ॥ का�रका ४२ ॥ <*>

Suggestion based on the power of meaning [arthashaktimula] can occur also in Prabandha. An example
given is the conversation between a vulture and a jackal. It is called गृ�गोमायुसंवाद and has been taken
from the Shantiparva of Mahabharata.

यथा गृ�गोमायुसंवादादौ ।{अलं ��थ�वा �मशानेऽ��मन् गृ�गोमायुसंकुले ।कङ् कालबहले घोरे सव��ा�णभयङ् करे ॥९३॥न चेह
जी�वतः क���कालधम�मुपागतः ।��यो वा य�द वा �े �यः �ा�णनां ग�तरी�शी ॥९४॥इ�त �दवा �भवतो गृ��य पु�ष�वसज�नपर�मदं
वचनम् ॥ (after का�रका ४२ quoted from महाभारत शा��तपव�न् )

“Enough of your stay in the burial ground which is replete with vultures and jackals. The presence of many
skeletons is horrible and can produce fear in all animals. None in this world has become alive after meeting
death, whether he is a dear or a hated one. This is the way of all living beings”. This is told by the vulture,
who has power only during the day, in order to send people away from that place.

आ�द�योऽयं ��थतो मूढाः �नेहं कु�त सां�तम् ।ब��व�नो मु�त�ऽयं जीवेद�प कदाचन ॥९५॥

अमुं कनकवणा�भं बालम�ा�तयौवनम् ।गृ�वा�या�कथं मूढा��यज�वम�वशङ् �कताः ॥९६॥

इ�त �न�श �वजृ�भमाण�य गोमायोज�न�ावत�न�न�ं च वचन�म�त �ब�ध एव �थते ॥(after का�रका ४२ quoted from महाभारत
शा��तपव�न् )

“Oh fools, the sun is still there. Show your love now. This time has many obstacles. The dead boy may
possibly live. Oh fools, how can you trust the words of the vulture and abandon this boy, who has not yet
attained youth and whose complexion is golden?”This has been told by the jackal which is active at
night.

Neither the vulture nor the jackal cares for the boy or the feelings of other people. Each of them has
the sel�sh motive of devouring the body. So the vulture wants them to abandon the body
immediately [when there is sunlight] while the jackal wants people to wait till sun sets.

Rasaadi occurring in parts of words

Sankara

Sankara is a combination of 2 or more dhvanis in one stanza or sentence and these have a mutual
relationship. Based on the relationship, Sankara is of 3 types.

1. Anugrahyaanugrahaka sankaraha: Here one dhvani assists or blesses the other dhvani.
2. Sandeha sankaraha: Here there is a doubt as to which type of dhvani needs to be accepted.
3. Ekavyanjakaanupravesha sankaraha: Here 2 types of dhvanis occur in one and the same
suggestive expression.

Samsristi

Here again there are 2 or more dhvani in one stanza or sentence. But unlike sankara, in this casethere
is no mutual relation or dependence.

Fifth Ullasa

In this chapter, Guneebhuta vyangya kaavya is explained. There are 8 types with speci�c description.
Mammatta mentions to the point in this work. His work has the maximum number of commentaries
as the subject could be elaborated further based on what he has mentioned. In the later part of the
�fth ullasa, Mammatta speaks about Dhvani Sthaapanaa.

Gunibhootavyangya and Its Types

Gunibhootavyangya

Mammata classi�es kavya as Uthama, Madhyama and Adhama. Uthama kavya is one �lled with
dhvani or rich in suggested meaning. Madhyama kavya is one in which dhvani becomes
subservient to some other factor. It is also called Gunibhootavyangya. Adhama kavya is one
which is lacking of dhvani and it is also called chitra kavya.

Eg. �ामत�णं त��या नवव�ुलम�रीसनाथकरम् । प�य��या भव�त मु��न�तरां म�लना मुख�छाया ॥३॥ In this, the literal
meaning is that the brightness of the young woman’s face becomes acutely faded when she sees the
youthful villager who carries in his hand a bunch of fresh Vanjula �owers”. Here the suggested
meaning is that she did not go to the meeting point even though she had promised to meet her lover
there. Since the denoted meaning is more charming, in this example, the suggested meaning is
subordinated to the denoted meaning.

उपोढरागेण �वलोलतारकं तथा गृहीतं श�शना �नशामुखम् |

यथा सम�तं �त�मरांशुकं तया पुरोऽ�प रागा��लतं न ल��तम् || (dhvanyaloka)

उपोढ-रागेण �वलोल-तारकं तथा गृहीतं श�शना �नशा-मुखम् |

यथा सम�तं �त�मर+अंशुकं तया पुरः अ�प रागात् ग�लतं न ल��तम् ||

The twilight with twinkling stars became brightened by the moon glowing red suddenly so that the whole mass
of darkness vanishing in the east due to brightness was not noticed at all.

With reference to the lady, it means “The heroine’s face with its bright pupils was kissed by the hero
overcome by passion with such intense love that the black garment which she had put on slipped away even
in the very front was not at all noticed due to intense love.”

It is the explicit meaning which alone remains prominent and the suggested meaning serves only as
subservient to it. In this stanza, the main purport is the description of the night and the moon over
which the disposition of a heroine and of a hero are ascribed to them. This attribution is secondary
only.

Eight Types of Gunibhootavyangya

अगूढमपर�या�ं वा�य�स��म�फुटम् ।स��द�धतु�य�ाधा�ये का�वा���तमसु�दरम् ॥ का�रका ४५ ॥ �ङ् �यमेवं

गुणीभूत�ङ् �य�या�ौ �भदाः �मृताः ।

Mammata has mentioned 8 types of Gunibhootavyangya.

1. अगूढम्Agoodavyangya: Not properly concealed.

The suggested meaning or dhvani has importance only when it is subtly implied and not too obvious.
In this case however the subtleness is lacking and the meaning is too obvious.

2. अपर�या�म् Aparangavyangya: Suggested meaning is subservient to something else.

Here the rasa, etc., or the reverberated meaning becomes subsidiary to another rasa or the denoted
meaning.

3. वा�य�स��म् Vachyasiddyanga vyangya: Suggested meaning is for the accomplishment of the

denoted meaning.

Vyangya is applied for Vachya siddhi i.e., better clarity of the denoted meaning is obtained through
vyangya.

4. अ�फुटम् Asphutavyangya: <*>Unclear or obtuse.The suggested meaning is not clearly conveyed.

अ��े दश�नो�क�ठा ��े �व�छे दभी�ता ।ना��ेन न ��ेन भवता ल�यते सुखम् ॥१२८॥

When you are out of sight, there is a longing to see you. When you are seen there is the fear of separation.
There is no happiness from you even when you are seen or not seen. Here the suggested meaning is “Do
something by which you are seen and there is no fear of separation too.” This idea is not very clearly
conveyed.

5. स��द�ध�ाधा�यम् Sandigdhapradhanya:

There is a doubt as to which one of the 2 is prominent – the denoted meaning or the suggested
meaning.
6. तु�य�ाधा�यम् Tulyapradhanya: Equal prominence.

Here there is equal scope for the denoted as well as the suggested meanings.

7. का�वा���तम् Kaakvakshiptam:

Here the suggested meaning is implied by the tone of the speaker [kaku]. The vachyartha negates the
actions but the vyangyartha a�rms it.

8. असु�दरम् Asundara: Not beautiful.

Here the suggested meaning is not as charming as the denoted meaning. The vachyartha nourishes
and enhances the rasa better and so it is more beautiful than the suggested meaning.

Abhihitanvayavada and Anvitabhidanavada

First – Abhihitaanvayavaada of Bhatta

In Kumarila Bhatta’s Abhihitanvayavada, it is taken that the meaning of the sentence is not merely
the total meanings of the individual words. It is considered to be the syntactic combination on the
basis of Akanksha [expectancy], Yogyata [compatibility] and sannidhi [proximity in pronounciation].

Eg: devadutta tandulam pachati. Here the individual denoted meanings are �rst understood as
Devadutta [karta], tandulam [rice, karma] pachati [cooking present tense ekavachana]. Since these
unconnected word meanings, presented by the function abhida, does not make complete sense,
another function called tatparyavritti was introduced. Here with the aid of Akanksha, yogyata and
sannidhi one is able to understand that “cooking of rice is going on [present tense] under the
agentship singular agent named Devadutta”.

Thus the meaning of the sentence called tatparyartha is di�erent from the individual meanings of
the words known by abhida. The words denote their individual meanings and then those meanings
are correlated to obtain the sentence meaning. Abhida gets exhausted after denoting the individual
word meaning and so we resort to tatparyartha or tatparya vritti for sentence meaning.

[Side note: Addition explanation – abhihita-anvaya-vāda, “connection of the referents,” as Abhihita

= referents = that which is being referred to by the word; and anvaya = the relation or connection.
In this view, the meaning of a sentence was understood only after understanding �rst the meanings
of individual words. ]

Second – Anvitaabhidhaanavaada of Prabhaakara

Anvitaabhidhaanavaadindo not want the complication of the additional meaning. They say that the
Vakyartha and Padartha are the same and there is no need for a separate function like tatparyartha.
They prefer to take the लाखव simple path rather than the गौरव higher path. A child learns the
language by hearing the words repeatedly being used in the sentences that are formed. So this group
claims that the denoted meaning of the words itself is the meaning of the sentence.

According to Anvitabhidaanavada, the words of a sentence do not convey unconnected meanings but
always syntactically connected meanings only. As soon as the sentence is uttered, the meanings of the
words are grasped in a connected way.

�व�श�ा एव पदाथा� वा�याथ�ः। न तु पदाथा�नां वै�श��म्(after का�रका ४७ )

The meaning of the sentence is the correlated meanings of words and not the correlation of the
meanings of the words.

Mammata’s counter argument to both

In Abhihitanvayavada and Anvitabhidanavada, the function of abhida is given prominence. This
cannot explain the function of suggestion. In Arthashakthimula dhvani, the denoted meaning is only
contextual. We see from many examples where the convention may be positive but however the
suggested meaning is actually negative.

According to Abhihitanvayavada, the function abhida cannot even give the normal expressed
meaning of the sentence, so how can it give suggested meaning which may be di�erent or even
opposite to the expressed sense?

According to Anvitabhidanavada, the denoted meanings of the words are related to each other in a
general non-speci�c way. Eg. Each of these sentences have the word gaam [cow] with di�erent verb.
Gaam aanaya [bring the cow], Gaam naya [take away the cow] and Gaam badhaana [tie down the
cow].

The relation of the meaning of the word gaam and the words aanaya, naya and badhaana are related
only in a general non-speci�c way. When words occur in a sentence, the sanketa of each word is
cognised only when the sanketa of meanings related to other meanings is grasped.

Since the number of words and number of sentences are in�nite, it becomes di�cult to understand
the sanketa of each and every word in in�nite sentences.

Also the denoted meaning itself is something correlated only in a general non-speci�c way with the
meanings of other words. So a particular meaning of a word related to another particular meaning of
another word in a sentence cannot be known by denoted meaning at all, since it has no sanketa.

Therefore the suggested meaning which is further di�erent from the sentence meaning cannot be
denoted by abhida.

Refutation of opponents of Vyanjana

Mammata establishes the role of vyanjana �rmly by defeating the opponents of Vyanjana vada. 2
main theories that were proposed to oppose vyanjana are

1. नै�म��कानुसारेण�न�म�ा�नक��य�ते
2. सोऽय�मषो�रव द�घ�द�घ�तरो �ापारः | य�परः श�दः स श�दाथ�ः |

नै�म��कानुसारेण�न�म�ा�नक��य�ते(after का�रका ४७ )<*>

Causes are guessed from the e�ects.

Nimitta means cause and Naimittika is that which results from a Nimitta, i.e., e�ect. Nimitta is of 2
types – Kaaraka and Jnaapaka.

Kaaraka is the actual cause like mud or wheel in respect of the e�ect ghata and Jnaapaka could be
just an indicator or illuminator like the lamp. If there is an object X, a lamp only illuminates and
helps us cognise it [see it]. It does not help us to know what the object is unless we know the
convention associated with it.

Something becomes known [by a word] only if a convention is established. This convention happens
only when there is a correlation. So as long as the correlation of the cause and e�ect has not been
ascertained, how can one know the e�ect from the cause or cause from the e�ect? Therefore it is not
proper to accept that causes are guessed from the e�ects.

सोऽय�मषो�रव द�घ�द�घ�तरो �ापारः इ�त य�परः श�दः स श�दाथ�ः इ�त �व�धरेवा� वा�य इ�त । (after का�रका ४७)<*>

Some say “that the function of a word is like the action of an arrow and so is very very long. So the meaning
of the word is the sense �nally desired to be conveyed.” And so Vidhi [a�rmative] of the denoted meaning
is what is being conveyed.

It is like saying that tatparyartha which arises on the basis of abhida or denoted meaning is the sense
that is desired to be �nally conveyed. [Side note: when a lady sarcastically says to her lover “go, no
one is stopping you” the literal sense conveyed is that the lover is allowed to go. But in reality it is
just the other way. Here the tone of the speaker suggests sarcasm. This cannot be known by the
function of abhida or tatparyartha]

भूत�समु�चारणे भूतं भ�ायोप�द�यते(after का�रका ४७)<*>

When that which is accomplished [bhuta] and that which is to be accomplished [bhavya] are both
mentioned, the former is only for enjoining the later. This means that when something new is added to
an already known fact, the enjoining is only for understanding the new factor. So the sentence need
not be understood from scratch.

ऋ��व��चरणे �माणा�तरा��स�े “लो�हतो�णीषा ऋ��वजः �चर��त” इ�य� लो�हतो�णीष�वमा�ं �वधेयम्।

For instance, consider the Vedic statement “the red-turbaned priests move”. Here the movement of
priests is already known [bhuta] and so what is enjoined here is that the priests should wear red
turbans while moving [bhavya].

This is called Adagda-dahana nyaya. Fire burns everything. But everything includes only unburned
things and not ash. Therefore only that which is already not known is enjoined.

Arguments in favour of Vyanjana:

If comprehension of meaning of a sentence happens only on the basis of abhida, then how can one
explain di�erent emotions like happiness [when one hears that a son is born] and sorrow [when
one hears that his unmarried daughter is pregnant]?
Both the schools of Mimamsa accept Lakshana. Mammata’s argument is why accept Lakshana
when even that can be explained as a longer function of abhida?
Doshas are classi�ed as nitya [permanent] and anitya [temporary]. Asaadhutva or grammatical
error is a permanent dosha while Kashtatva [harshness] is a dosha in sringara and shanta rasas,
but is allowed in Vira rasa. So it is classi�ed as a temporary dosha based on the context.
Mammata says if everythings is based on abhida then why have the category of anitya dosha?
The phrase गतोऽ�तमक�ः (after का�रका ४७) has only one denoted meaning “the sun has set”. The
suggested meaning may be any of the following. 1) This is the opportunity to attack the enemy. 2)
Begin the voyage to meet your lover. 3) Your beloved has almost come. 4) Let us retire from our
work. 5) Let us begin our evening rituals. 6) Don’t go far. 7) Allow the cows to enter the house. 8)
No longer will the heat be here now. 9) Let the merchandise be packed. 10) My beloved has not
come till now.
There is also a di�erence of time between the two because denoted meaning always �ashes �rst
and the suggested appears afterwards.
The Ashraya [locus] of the two functions is also di�erent. Denotation always depends on the word
while suggestion may depend on word, part of the word, its meaning, varnas or the structure
[rachana].
Denoted meaning is known from grammar while the suggested meaning requires grammar and
clarity of imagination assisted by the context, etc.
The e�ect also varies. Denoted meaning produces ordinary knowledge in every hearer while
suggested meaning produces aesthetic delight in sahrdayas.
Vachakas [denotative words] require a meaning �xed by convention, while Vyanjakas [suggestive
words] do not require it.

त��व�चद�पनीलपीतादौभेदोन�यात्।Despite the above arguments if still one believes that Vachaktva and
Vyanjakatva are the same then there would be no di�erence between blue and yellow. With the
above arguments Mammata has established that Vachakatva is not Vyanjakatva.
नवाचक�वमेव��क�वम् | (after का�रका ४७)

Refutation of Bhaaktavadins: Mammata then proceeds to refute scholars who say that Vyanjana is
nothing but Bhakti or Lakshana. Lakshana is of many types and is always regularly related to the
primary meaning.

Unlike Lakshana which should have a relation with the primary meaning, Vyanjana (1) may have
a regular relation with primary meaning;(2) may not have a regular relation with the primary
meaning; or (3) may have an indirect relation.
Lakshana is said to be a tail of Abhida as it always depends on Abhida, while Vyanjana may or
may not follow Abhida and Lakshana. In some cases suggestion depends on the varnas which have
no Abhida at all. Also Vyanjana can occur from gestures like side glances where words are not at
all involved.
Sixth Ullasa

In this sixth ullasa, Mammatta explains Shabda Chitra and Artha Chitra Kaavyas. Where there is
shabdaalamkaara, it is shabda chitra. Where there is arthaalamkaara, it is artha chitra.

Adhama Kaavya– Chitra Kaavya

Adhama Kaavya is also a kaavya. It is not that it is bad poetry. Just that it would be so interesting
when we go through it again and again, similar to the ornaments that might not seem so attractive
when we see it repeatedly. While classifying Kavya, Mammata says that chitrakavya is of the Adhama
category, as it is devoid of dhvani. It is of 2 types namely Shabda Chitra Adhama Kaavyam and Artha
Chitra Adhama Kaavyam. श�दाथ��च�ं य�पूव� का��यमुदा�तम् ।गुण�ाधा�यत�त� ��थ�त���ाथ�श�दयोः ॥
का�रका ४८ ॥ The examples where Artha is prominent are present in Kuvalayaanandam. By means of
the meaning only we conclude the types of Alamkaara. There is vaichitrya or importance for Artha.
Mammatta says that Alamkaara is optional. Guna is important. Rasa gives happiness every time. But
these adhama kaavyas might seem good during the �rst reading. But it will not be so interesting that
someone wants to read it repeatedly. (Side Note: We enjoy the food every day. But certain special
items, though they might seem tasty, cannot be consumed on a regular basis. The external
Alamkaara to the body is also optional. The most important decoration is the guna). Example of
artha-chitra is वागथा��वव संपृ�ौ वागथ���तप�ये। जगत: �पतरौ व�दे पाव�तीपरमे�रौ ।। Here the meaning gains
superiority over other aspects. For shabda-chitra, the examples are the verses with Yamaka,
Anupraasaa, etc. present in Bhaaravi’s Kiraartaarjuneeyam. This is an example of सव�थोब�ा |

दे वाका�न�नकावादे

वा�हका�व�वका�हवा

काकारेभभरेकाका

�न�भ��भ��न

Guna is most important and not Alamkaara in Kaavya just as the character is most important in the
person and not the ornaments.

न तु श�द�च�े अथ��या�च��वमथ��च�े वा श�द�य । (after का�रका ४८) (book has it as ४२)

It is to be remembered that in shabdachitra, shabda is predominant and artha is subsidiary. Similarly

in arthachitra, artha is pradhana and shabda is subordinate.
�पका�दरलङ् कार�त�या�यैब��धो�दतः ।न का�तम�प �नभू�षं �वभा�त व�नताननम् ॥ (after का�रका ४८)<*>

Roopaka, etc., are the �gures of speech. Other authors have explained them in various ways. The face of a
beautiful lady does not shine, if it is totally devoid of ornamentation. The need for alankaras like rupaka,
upama, etc. has been mentioned here. Some before Bhamaha had felt that the �gures of speech like
Rupaka are external to poetry and that the elegant nouns and verbs [saushabdya] are the real
ornaments. Bhamaha had opposed this view that the ornament of poetry is the employment of proper
words. He had a�rmed that upama, rupaka, etc., are arthalankaras, while anuprasa, yamaka, etc. are
shabdalankaras. Mammata agrees with him.

Chitrakavya can have the description of a vibhava or anubhava or vyabhicharibhava of some rasa.
But this does not result in the relishment of the rasa. For example, moonrise is a well-known vibhava
of sringara rasa. If the description of moon rise occurs in a kavya where the meeting of lovers is
described, then it enhances the relishment of sringara rasa and becomes dhvani. If it stops at the
description of moonrise as a natural occurrence then it is not dhvani.

Reference

Good – http://www.sanskritworld.in/public/assets/book/book_50dc00b0d40ab.txt
(http://www.sanskritworld.in/public/assets/book/book_50dc00b0d40ab.txt)

Not so good – https://sa.wikisource.org/wiki/%E0%A4%95%E0%A4%BE%E0%A4%B5%E0%A5%8D

%E0%A4%AF%E0%A4%AA%E0%A5%8D%E0%A4%B0%E0%A4%95%E0%A4%BE%E0%A4%B6%E0
%A4%83/%E0%A4%AA%E0%A4%9E%E0%A5%8D%E0%A4%9A%E0%A4%AE%E0%A4%83_
%E0%A4%89%E0%A4%B2%E0%A5%8D%E0%A4%B2%E0%A4%BE%E0%A4%B8%E0%A4%83
(https://sa.wikisource.org/wiki/%E0%A4%95%E0%A4%BE%E0%A4%B5%E0%A5%8D%E0%A4
%AF%E0%A4%AA%E0%A5%8D%E0%A4%B0%E0%A4%95%E0%A4%BE%E0%A4%B6%E0%A4%83
/%E0%A4%AA%E0%A4%9E%E0%A5%8D%E0%A4%9A%E0%A4%AE%E0%A4%83_%E0%A4
%89%E0%A4%B2%E0%A5%8D%E0%A4%B2%E0%A4%BE%E0%A4%B8%E0%A4%83)

Additional reference material – का�ल�ण�वचारः – https://sa.wikisource.org/s/7×2

(https://sa.wikisource.org/s/7x2)

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