Text 4.58

अथ लक्ष्य-व्यङ्ग्य-क्रमो ध्वनिर् विभज्य दर्श्यते,

atha lakṣya-vyaṅgya-kramo dhvanir vibhajya darśyate,^[1]

Now the type of poetry called dhvani-kāvya where the sequence of the implied sense is noticed is being subdivided and exemplified:

anusvānābha-saṃlakṣya-krama-vyaṅgya-sthitis tu yaḥ ||4.37cd||
śabdārthobhaya-śakty-utthas tridhā sa kathito dhvaniḥ ||4.38ab||

anusvāna—a reverberation^[2]; ābha—like; saṃlakṣya—which is fully noticed; krama—has a sequence; vyaṅgya-sthitiḥ—in which the existence of the implied sense; tu—however; yaḥ—which [dhvani]; śabda-artha-ubhaya-śakti—from śabda-śakti, from artha-śakti, and from both śabda-śakti and artha-śakti; utthaḥ—arisen; tridhā—threefold; saḥ—that [dhvani]; kathitaḥ—is called; dhvaniḥ—first-rate implied sense.

The dhvani-kāvya in which there is the existence of an implied sense which is similar to an echo and whose sequence is fully perceived has three varieties: (1) śabda-śakti-bhū (arisen by the power of a word), (2) artha-śakti-bhū (arisen by the power of a meaning), and (3) ubhaya-śakti-bhū (arisen by both the power of a word and the power of a meaning).

pratidhvani-tulyasya saṃlakṣya-paurvāparyasya vyaṅgyasya sthitir yatra sa dhvanis tridhā śabda-śakty-uttho’rtha-śakty-uttho dvi-śakty-utthaś ceti. iha vyaṅgyasya śabdādi-śakty-utthatvena traividhyāt vyañjakasyāpi lakṣya-vyaṅgya-kramākhyasya dhvanes tena traividhyaṃ bodhyam.

First-rate poetry in which there is the existence of an implied sense which is similar to an echo (dhvani ≈ pratidhvani), in other words its prior state and subsequent state are fully noticed in the mind, has three varieties: (1) śabda-śakti-bhū, (2) artha-śakti-bhū, and (3) dvi-śakti-bhū.

Since an implied sense has three varieties, in terms of arising from śabda-śakti and so on, the dhvani-kāvya known as lakṣya-vyaṅgya-krama (in which the sequence of the implied sense is noticed) (i.e. poetry that contains either a vastu-dhvani or an alaṅkāra-dhvani) has three varieties. In this dhvani-kāvya, the implied sense can be suggestive.

Commentary:

In the dhvani-kāvya called alakṣya-vyaṅgya-krama (rasa-ādi), a vyabhicāri-bhāva can suggest a rasa, but only in conjunction with vibhāvas and so on. Still, a vyabhicāri-bhāva can suggest some other idea: On that occasion, the vyabhicāri-bhāva is considered in its form as a vastu (the words that express the effect of that vyabhicāribhāva) (e.g. Kāvya-prakāśa verse 60) to facilitate the rule that a suggestive factor is either a vastu, a vastu-dhvani, an alaṅkāra, or an alaṅkāra-dhvani.

The difference between śabda-śakti (the force of a word or of the words) and artha-śakti (the force of a meaning or of the meanings) is that if the implied sense is not altered by replacing a word of the text with a synonym, the force of that word is classed as artha-śakti. By contrast, śabda-śakti is so called because the suggestive word is more important than its meaning, since the word cannot be replaced, even with a synonym, without altering the implied sense. Thus the common element between śabda-śakti and śābdī vyañjanā (Suggestiveness based on a word) (2.35) is that the word is more important than its meaning (2.40).

The third category, ubhaya-śakti-bhū (arisen by śabda-śakti and by artha-śakti), is so called because śabda-śakti occurs in one part of the text and artha-śakti occurs in another, and both are equally suggestive.

In the terminology, various synonyms are used. Kavikarṇapūra prefers the term śakti-bhū, which is seen in an upcoming sūtra (4.75). In deference to him, the present writer standardized the translations as much as possible. These words are synonymous: ubhaya-śakti-bhū dhvani, ubhaya-śakti-udbhava dhvani, dvi-śakti-udbhava dhvani, śabdārtha-śakti-udbhava dhvani, ubhaya-śakti-uttha dhvani, ubhaya-śakti-mūla dhvani, and so on.

The three categories—śabda-śakti, artha-śakti, and ubhaya-śakti—are included in the aforesaid poetical category called vācya-vaiśiṣṭya (the specialty of the literal meanings) (3.2). Many other specialties, such as time and place, are simply subcategories of vācya-vaiśiṣṭya (Commentary 3.3).

Footnotes and references:

[1]:

This preliminary is not in Kāvya-prakāśa. Mammaṭa does not use the term lakṣya-vyaṅgya-krama anywhere in this section. The wording lakṣya-vyaṅgya-krama refers to first-rate poetry whereas the wording lakṣya-krama-vyaṅgya refers to a first-rate implied sense.

[2]:

In general, the word dhvani means either: sound, echo, or implied sense, depending on the context, yet in poetical theory, dhvani only means “implied sense.” Śrīvatsa-lāñchana Bhaṭṭācārya glosses anusvāna as pratidhvani (echo), and so does Baladeva Vidyābhūṣaṇa. Similarly, Viśvanātha Kavirāja glosses anusvāna as anuraṇana (echo) (Kāvya-prakāśa-darpaṇa 4.37): Throughout Dhvanyāloka, Ānandavardhana used the term anuraṇana as a synonym of saṃlakṣya-krama-vyaṅgya (vastu-dhvani or alaṅkāra-dhvani).