201. DHVANYĀLOKA 199

DHVANYĀLOKA 199

propounds the doctrine of स्फोट (I. 44 ff). The ध्वन्यालोक says that the object of writing the book is not merely to establish by polemics that safa exists, but it is to show that the true fun- ction and purpose of poetry is arra which may take the form of T etc. and to show that if the poet regards mere narration of events as his principal function, he is liable to commit serious breaches of good taste 'अत एव चेतिवृत्तमात्रवर्नप्राधान्येडमाजि- भावरहितभावनिबन्धेन च कवीनामेवंविधानि स्खलितानि भवन्तीति रसादिरूपव्य- अयतात्पर्यमेवैषां युक्तमिति यत्नोऽस्माभिरारग्धो न ध्वनिप्रतिपादनमात्रामिनिवेशेन' (p. 201-202). On going over all the arguments for and against the , identity or non-identity of authorship I cannot help suspecting that, soon after Anandavardhana, those who believed in identity tried to tamper with the text of the ध्वन्यालोक in various ways such as introducing the spurious verse इति काव्यार्थ ... विस्मार्य: (after III. 9 on p. 178), reading इत्यक्लिष्ट for निस्याक्लिष्ट०, the splitting up of kārikas and so on. It is impossible to convey an adequate idea of the con- tents of the ध्वन्यालोक in a few lines. The following is a bare outline. In the first उद्द्योत, the author refers to the different views about afa, some holding that it does not exist, some saying that it is included under लव्या, others holding that ध्वनि cannot be defined and is beyond the province of words but can at the most be relished by the man of taste; there are two senses in poetry, expressed (वाच्य) and implied (प्रतीयमान); the arT sense in the form of figures of speech is well-known; the प्रतीयमान is like personal charm in the case of beautiful ladies (which is distinct from the body and the limbs); प्रतीयमान is of three kinds, वस्तु, अलक्कार and रस and there are many sub- divisons of these three; this प्रतीयमान sense is not understood by those who merely know grammar and lexicons, but only by those who know the essence of poetry; the प्रतीयमान sense is the principal thing in poetry; when the ajr4 sense is the most prominent, it is ध्वनिकाव्य; in figures like समासोक्ति, भाचेप, पर्यायोक and others, though there is a प्रतीयमान sense, the वाच्य sense is the most prominent and hence they are not ध्वनि; ध्वनि is of two kinds अविवत्षितवाच्य (in which the expressed sense is not intended to be conveyed or taken literally and विवच्ितान्यपरवाच्य (where the a sense is intended to be conveyed and also suggests another sense). ध्वनि is not identical with भक्ि (लच्षया); nor is ध्वनि