383. VAKROKTI THEORY 387

VAKROKTI THEORY 387

वोकि and states that rasokti catches (hearts of सहदयs) most of all. Vide Dr. Raghavan's work on Bhoja's शङ्गारप्रकाश part I pp. 120-144 'Bhoja and Vakrokti'. 13 The Dhvani School. For an analysis of the धवन्यालोक vide pp. 199-201 above. The dhvani theory is only an extension of the rasa theory. It took over the idea of rasa into the field of poetry. The rasa theory took account only of a complete dramatic work. The main object of a dramatic work is the evolution of some rasa, śṛngāra, karuņa etc. by means of fani -* , अनुभावs etc. This naturally presupposes a composition of some length. But if there be a single charming verse, it cannot be said to evolve a rasa, although it may suggest some one or more of the constituents that bring about the relishing of a complete rasa. Such single pieces would be out- side the pale of kavya, if it were said that the soul of kāvya is rasa alone. It was shown above that rasa is always suggested and not directly expressed. Hence, applying the same reason- ing, the ध्वन्यालोक said that the best poetry is that which con- tains a charming व्यङग्य sense. 'अयमेव हि महाकवेमुख्यो व्यापारो यद्रसादी- नेव मुख्यतया काव्यार्थीकृत्य तद्व्यक्त्यनुगुशात्वेन शब्दानामर्थानां चोपनिबन्धनम् । एतच्च रसादितात्पर्येय काव्यनिबन्धनं भरतादावपि सुप्रसिद्धमेवेति ... । रसादयो हि द्वयोरपि तयोः (काव्यनाट्ययोः) जीवभूताः' ध्व. p. 225-226; 'सारभूतो ह्यर्थ: स्वशब्दानभिधेयत्वेन प्रकाशितः सुतरामेव शोभामावहति। प्रसिद्धिश्चेयमस्त्येव विदग्ध- विद्वत्परिषत्सु यदभिमततरं वस्तु व्यङ्गयत्वेन प्रकाश्यते न साक्षाच्छशब्दवाच्यत्वेनेव।' धव. p. 300. Though it is possible to extract some sort of व्यङग्य sense from any sentence or word, still all words or sentences are not necessarily kavya, but only those words, which have particular qualities and arr arranged in a particular manner and contiin a charming व्यङग्य, constitute kauya. Vide लोचन (p. 32) 'तेन सर्वत्रापि न ध्वननसङ्गावेपि तथा व्यवहारः। आत्मसद्भावेपि क चिदेव जीव- व्यवहार इत्युक्तं प्रागेव।'. The ध्वन्यालोक refutes at great length the theory of some that ध्वनि is गुणवृत्ति or लक्षया (secondary sense due to the possession of some quality common to two objccts) ; vide ध्व. I. 17 'भक्त्या बिभर्ति नैकत्वं रूपभेदादयं ध्वनिः। अतिव्याप्तेरथाव्याप्तेन चासौ लक्ष्यते तया ॥'. The स्व. (p. 18) divided व्यङग्य sense into three varieties, रसादि, अलक्कार and वस्तु. Under the first are included not only the nine rasas but all the bhāvas and their ābhāsas also. What is meant by वस्तुध्वनि is this that a mere fact is suggested by words that express another sense.1 What is 1. An example of वस्तुध्वनि is 'पथिक नात्र स्रस्तरमस्ति मनाकूप्रस्तर-