Text 4.62

अथ द्वितीयम् आह,

atha dvitīyam āha,

Now he subdivides the second one (artha-śakti-bhū dhvani):

artha-śakty-udbhavo’py artho vyañjakaḥ sambhavī svataḥ ||4.39cd||
prauḍhokti-mātrāt siddho vā kaves tenombhitasya vā |
vastu vālaṅkṛtir veti ṣaḍ-bhedo’sau vyanakti yat ||4.40||
vastv alaṅkāram atha vā tenāyaṃ dvādaśātmakaḥ ||4.41ab||

artha-śakty-udbhavaḥ—arisen from the force of the meaning [of a word]; api—also (i.e. that kind of meaning as well is suggestive); arthaḥ—a meaning; vyañjakaḥ—suggestive; sambhavī—it arises (or possible); svataḥ—automatically; prauḍha-ukti-mātrāt—only from a bold statement; siddhaḥ—accomplished (effected); vā—or; kaveḥ—of the poet; tena—by him (the poet); umbhitasya—[effected merely from a bold statement of a speaker] who is filled (i.e. invented^[1]); vā—or; vastu—an idea; vā—or; alaṅkṛtiḥ—a literary ornament; vā—or; iti—in this way; ṣaḍ-bhedaḥ—sixfold; asau—it (the meaning); vyanakti—suggests; yat—because; vastu—an idea; alaṅkāram—a literary ornament; atha—afterward; vā—or; tena—therefore; ayam—this (the meaning); dvādaśa-ātmakaḥ—consists of twelve.

The meaning (literal or implied) that arises by the force of a meaning (artha-śakti) is suggestive. Initially it is of three kinds: (1) svataḥ-sambhavī (it is naturally possible), (2) kavi-prauḍhokti-siddha (it is effected from a bold assertion made by the poet), and (3) kavi-kalpita-vaktṛ-prauḍhokti-siddha (it is effected from a bold assertion of a speaker invented by the poet). Next it has six subvarieties because it is either a vastu or an alaṅkāra. Afterward, one of those two suggests either a vastu or an alaṅkāra, therefore an implied sense arisen by artha-śakti occurs in one of twelve ways.

artho’pi artha-śakty-udbhave dhvanau vyañjakaḥ. sa ca svataḥ-sambhavī loke’pi dṛṣṭaḥ. tasminn adṛṣṭo’pi kaveḥ pratibhāmātreṇa siddhaḥ. tena kavinā pūritasya^[2] vaktur nāyakāder veti trividho’sau pratyekaṃ vastutvālaṅkṛtitvābhyāṃ dvaividhyāt ṣaḍ-bhedaḥ sann ekaiko vastv-alaṅkārau vyanaktīti tasya dvādaśa-vidho vyaṅgyaḥ, tena hetunāyam artha-śakty-udbhavo dhvanir api dvādaśa-vidhaḥ.

Even the meaning (usually an implied meaning)^[3] is suggestive, when a dhvani arises by the force of that meaning. The one which is svataḥ-sambhavī (it is naturally possible) is seen even in day-to-day life. Although unseen in day-to-day life, the second one is effected merely by the poet’s creative intelligence. Or else it is effected by the wit of a speaker, such as a lover, who is invented by the poet. Those are three categories. Next the total is six categories, since each one is twofold, by being either a vastu or an alaṅkāra. Afterward, one of the two (a vastu or an alaṅkāra) suggests either a vastu or an alaṅkāra, therefore twelve kinds of it are implied. Consequently the dhvani which arises by the force of a meaning (artha-śakti-bhū) has twelve varieties.

Commentary:

In all three broad categories, the poet’s creativity is central. In the first category, however, the suggestive idea or the suggestive ornament could occur in day-to-day life.^[4]

The twelve kinds are as follows. The upcoming examples are shown by this sequence:

✡ a svataḥ-sambhavī vastu-dhvani (or vastu) gives rise to another vastu-dhvani,
✡ a svataḥ-sambhavī vastu-dhvani (or vastu) gives rise to an alaṅkāra-dhvani,
✡ a svataḥ-sambhavī alaṅkāra-dhvani (or alaṅkāra) gives rise to a vastu-dhvani,
✡ a svataḥ-sambhavī alaṅkāra-dhvani (or alaṅkāra) gives rise to an alaṅkāra-dhvani,
✡ a kavi-prauḍhokti-siddha vastu-dhvani (or vastu) gives rise to another vastu-dhvani,
✡ a kavi-prauḍhokti-siddha vastu-dhvani (or vastu) gives rise to an alaṅkāra-dhvani,
✡ a kavi-prauḍhokti-siddha alaṅkāra-dhvani (or alaṅkāra) gives rise to a vastu-dhvani,
✡ a kavi-prauḍhokti-siddha alaṅkāra-dhvani (or alaṅkāra) gives rise to an alaṅkāra-dhvani,
✡ a kavi-kalpita-vaktṛ-prauḍhokti-siddha vastu-dhvani (or vastu) gives rise to another vastu-dhvani,
✡ a kavi-kalpita-vaktṛ-prauḍhokti-siddha vastu-dhvani (or vastu) gives rise to an alaṅkāra-dhvani,
✡ a kavi-kalpita-vaktṛ-prauḍhokti-siddha alaṅkāra-dhvani (or alaṅkāra) gives rise to a vastu-dhvani,
✡ a kavi-kalpita-vaktṛ-prauḍhokti-siddha alaṅkāra-dhvani (or alaṅkāra) gives rise to an alaṅkāra-dhvani.

Abhinavagupta says that the four prototypical categories of artha-śakti—a vastu gives rise to a vastu; a vastu gives rise to an alaṅkāra; an alaṅkāra gives rise to a vastu; and an alaṅkāra gives rise to an alaṅkāra—also apply to the category of śabda-śakti.^[5]

Footnotes and references:

[1]:

Śrīvatsa-lāñchana Bhaṭṭācārya glosses umbhitasya as pūritasya (Sāra-bodhinī 4.39). The verbal root is unbh pūraṇe (to fill). Viśvanātha Kavirāja expounds: pūritasya nibaddhasyeti yāvat (Kāvya-prakāśa-darpaṇa 4.39).

[2]:

However, in the elaborationof text 4.74 Baladeva Vidyābhūṣaṇa uses the term kalpita (invented) in this context. Kavikarṇapūra prefers the term nibaddha (literarily constructed).

[3]:

In Kavikarṇapūra’s methodology, the meaning referred to here is always an implied meaning (an implied vastu or an implied alaṅkāra): artha-śakty-udbhavo yo dhvaniḥ, sa tridhā bhavati—svataḥ-sambhavī, kavi-prauḍhokti-niṣpanna-śarīraḥ, tan-nibaddha-vaktṛ-prauḍhokti-niṣpannaśarīraś ceti (Alaṅkāra-kaustubha 3.15). However, in Mammaṭa and Baladeva Vidyābhūṣaṇa’s system, that is not always the case.

[4]:

svataḥ-sambhavī na kevalaṃ bhaṇiti-mātra-niṣpanno yāvad bahir apy aucityena saṃbhāvyamānaḥ. kavinā pratibhā-mātreṇa bahir asann api nirmitaḥ kavi-nibaddhena vaktreti vā dvi-vidho’para iti tri-vidhaḥ (Kāvya-prakāśa 4.39).

[5]:

evam iti, avivakṣita-vācyo vivakṣitānya-para-vācya iti dvau mūla-bhedau. ādyasya dvau bhedau, atyanta-tiraskṛta-vācyo’rthāntara-saṅkramita-vācyaś ca. dvitīyasya dvau bhedau, alakṣya-kramo’nuraṇana-rūpaś ca. prathamo’nanta-bhedaḥ. dvitīyo dvividhaḥ, śabda-śaktimūlo’rtha-śakti-mūlaś ca. paścimas trividhaḥ, kavi-prauḍhokti-kṛta-śarīraḥ kavi-nibaddhavaktṛ-prauḍhokti-kṛta-śarīraḥ svatas-sambhavī ca. te ca pratyekaṃ vyaṅgya-vyañjakayor ukta-bheda-nayena caturdheti dvādaśa-vidho’rtha-śakti-mūlaḥ. ādyaś catvāro bhedā iti ṣodaśa mukhya-bhedāḥ (Locana 2.31).