KAVYA PRAKASHA BY MAMMATA

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This document covers the important points from the first 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 सन्दर्भ 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 file
which additionally includes an elaborate table of contents and a few SmartArt graphic images.

Contents
Introduction................................................................................................................................. 4
Type of Granthas ..................................................................................................................... 4
History of Kaavya Shaastra ...................................................................................................... 5
Different Opinions on Kaavya Lakshana .................................................................................. 6
Dhvani ...................................................................................................................................... 7
Mammata ................................................................................................................................ 7
Kavyaprakasha ......................................................................................................................... 7
Structure of KaavyaPrakasha ................................................................................................... 8
Content of KaavyaPrakasha ..................................................................................................... 8
First Ullasa ................................................................................................................................... 8
Mangala Shloka........................................................................................................................ 8
Kavya Prayojanam - purpose of a kavya .................................................................................. 9
Kavya Hetu - Equipments required for poetry ...................................................................... 12
Kavya Lakshanam - Definition of Kavya ............................................................................... 13
Classification of Kavya ........................................................................................................... 14
Uttama Kaavya ................................................................................................................... 14
 Five Definitions for the term Dhvani ................................................................................. 15
Madhyama Kaavya ............................................................................................................. 16
Adhama Kaavya.................................................................................................................. 17
Second Ullasa ............................................................................................................................ 18
Three types of words and meanings ..................................................................................... 18
Opponents of Vyanjana ......................................................................................................... 18
Suggestiveness of different meanings ................................................................................... 19
Definitions of Vachaka, Lakshana and Vyanjana ................................................................... 20
Vaachaka ............................................................................................................................ 20
Lakshana............................................................................................................................. 23
Types of Lakshana .............................................................................................................. 23
Function of Vyanjana ......................................................................................................... 26
Suggestion based on Abhidha ............................................................................................... 27
Role of Vyanjaka in contextual and non-contextual meanings ......................................... 29
Third Ullaasa .............................................................................................................................. 30
Arthavyanjakata – suggestiveness of meaning ..................................................................... 30
Fourth Ullasa ............................................................................................................................. 31
Technical Terms – Dosha, Guna, Alamkaara, Alamkaarya .................................................... 31
Dosha ................................................................................................................................. 31
Alankara ............................................................................................................................. 31
Alankarya ........................................................................................................................... 32
Types of Dhvani ..................................................................................................................... 32
Avivakshitavachya.................................................................................................................. 33
Arthantharasamkramita..................................................................................................... 33
Atyantaratiraskrita ............................................................................................................. 33
Viparitalakshana ................................................................................................................ 34
Vivakshitanyaparavachya ...................................................................................................... 34
Illustration of Rasas ............................................................................................................... 34
Rasa .................................................................................................................................... 34
 Vibhava .............................................................................................................................. 35
Anubhava ........................................................................................................................... 35
Vyabhicharibhava............................................................................................................... 35
Sthayibhava ........................................................................................................................ 35
Rasanishpatti or Rasasutra .................................................................................................... 36
Rasanispatti or Rasasutra................................................................................................... 36
Lollata – Utpatti Vaada ...................................................................................................... 37
Sri Shankuka – Anumiti Vada ............................................................................................. 38
Bhatta Nayaka – Bhukti Vaada........................................................................................... 39
Abhinava Gupta – Vyakti Vaada......................................................................................... 41
Illustration of Rasas ............................................................................................................... 42
Nava Rasa ........................................................................................................................... 42
Santarasa............................................................................... Error! Bookmark not defined.
Types of Srngaara............................................................................................................... 44
Bhaava Vichaara................................................................................................................. 44
Rasaabhaasa and Bhaavaabhaasa ..................................................................................... 45
Bhaavodaya, Bhaavashanti, Etc. ............................................................................................ 46
Bhavodaya .......................................................................................................................... 46
Bhavashanti ........................................................................................................................ 46
Bhavasandhi ....................................................................................................................... 47
Bhavashabalata .................................................................................................................. 47
Some Technical Terms – Anuranana, Virodhabhasa, Brahmana-shramana-nyaaya ............ 48
Anuranana.......................................................................................................................... 48
Virodhabhasa ..................................................................................................................... 48
Brahmanashramananyaaya ............................................................................................... 48
Types of Dhvani (Arthashaktimuladhvani) ............................................................................ 48
Shabdashaktimuladhvani ................................................................................................... 49
Arthashaktimuladhvani ...................................................................................................... 49
18 Types of Dhvani ............................................................................................................. 50
 Suggestion of Sentence and Word..................................................................................... 50
35 Types of Dhvani ............................................................................................................. 51
Prabandha Dhvani .............................................................................................................. 52
Rasaadi occurring in parts of words ...................................................................................... 53
Sankara............................................................................................................................... 53
Samsristi ............................................................................................................................. 54
Fifth Ullasa ................................................................................................................................. 54
Gunibhootavyangya and Its Types ........................................................................................ 54
Gunibhootavyangya ........................................................................................................... 54
Eight Types of Gunibhootavyangya ................................................................................... 55
Abhihitanvayavada and Anvitabhidanavada ......................................................................... 56
First - Abhihitaanvayavaada of Bhatta ............................................................................... 56
Second - Anvitaabhidhaanavaada of Prabhaakara ............................................................ 56
Mammata’s counter argument to both ............................................................................. 57
Sixth Ullasa ................................................................................................................................ 61
Adhama Kaavya ..................................................................................................................... 61
Chitrakavya ............................................................................... Error! Bookmark not defined.
Reference............................................................................................................................... 62

Introduction
Type of Granthas
Granthas or Books are of two types namely Lakshya grantha and Lakshana grantha. The grantha
that defines poetry is a lakshana grantha. Lakshana grantha is not a poem or a drama. There
will be definitions 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, firmly 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
first time though it was present and was called by different names like अवगमनार्भ , भर्न्नार्भ, 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

Author Lakshana Soul Highlight Time

Grantha

Bharata Muni Naatya Shaastra Rasa काव्यस्य आत्मा रस: | इभि 500
वृत्तम् िु काव्यस्य शरीरम् | BC
रसात्मकं काव्यम् |
Bhaamaha Kaavyaalamkaara Alamkara काव्यस्य आत्मा अलं कार: | 700
शब्दार्ौ सभििौ काव्यम् | AD

Dhandi Kaavyaadharsha 10 Gunas दश गुणा: एव काव्यस्य आत्मा

|

“शरीरं िावभदष्टार्भ
व्यवभिन्ना पदावली”

Vaamana Kaavyaalankaara Reeti (way of रीभिरात्मा काव्यस्य | 800

Sutra Vrutti expression) AD
काव्यशब्दोयं गुणालं कारसंस्कृत्ोोः
शब्दार्भ योोः वरिभिे |

Anandavardhana Dhvanyaaloka Dhvani काव्यस्य आत्मा ध्वभन: | 1000

AD
Kuntaka Vakrookti Vakrotti काव्यस्य आत्मा वक्रोभत्त: |
Jivitam (crooked
speech)

Mammatta Kaavya Dhvani(Kaavya काव्यस्य आत्मा ध्वभन: |िददोषौ 1200

Prakaasha Lakshanam) शब्दार्ौ सगुणावनलं कृिी पुनोः AD
मम्मट:
क्वाभप

Vishwanatha Saahitya Ukti वाक्यं रसात्मकं काव्यम् |

Dharpana उक्तिभवषे शोः काव्यम् |
भवश्वनार्ोः

Different Opinions on Kaavya Lakshana

Shabda and Artha – Word and Meaning are the body. The Kavya Lakshana is generally given in 3
different 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 िावभदष्टार्भ व्यवभिन्ना पदावली
– It is a collection of words that give some charming meaning. Vishwanatha says in his Saahitya
Dharpana - वाक्यं रसात्मकं काव्यम् - the sentences that convey meaning that is filled with
Rasaa is Kaavya. He gives importance to the meaning. Bhamaha from Kashmir told in his
काव्यालङ्कार that शब्दार्ौ सभििौ काव्यम् | Word and its meaning make poetry. Here सभिियोोः
र्ावोः साभित्म् | But always Shabda and Artha are inseparable. The reason for mentioning the
term सभििौ was clarified 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. कुन्तकाचायभोः say in वक्रोक्तिजीभविम् that शब्दार्ौ सभििौ
वक्रकभवव्यापारशाभलभन। बन्धे व्यवक्तथर्िौ काव्यं िभिदाह्लादकाररभण । He includes all the concepts.

Let us take this example cited by Kuntaka. ििोऽरुणपररस्पन्दमन्दीकृिवपुोः शशी । दध्रे

कामपररक्षामकाभमनीगण्डपाण्डु िाम् ।। Before sunrise, all the flowers 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 काव्यशब्दोयं गुणालंकारसंस्कृत्ोोः

शब्दार्भयोोः विभिे – 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. चारुत्वाि् प्राधान्यम् | 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 firm 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 first 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 (प्रकरण-ग्रन्थ) 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. काव्यित्त्वानां प्रकाशोः काव्यप्रकाशोः
| It comes under मध्यमपदलोभपसमासोः ]

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. काररका is a short verse in the
form of shloka. वृभत्तोः is the description which also includes the Udhaaharanaani or examples.

Content of KaavyaPrakasha
The first ullaasa has the Kaavyas’ Prayojana, Kaarana and Svaroopa. The second ullaasa
शब्दार्भस्वरूपभनणभयोः establishes the various forms of the words and their meaning. The third
ullaasa अर्भव्यञ्जकिाभनणभयोः establishes the suggestiveness of the words. The fourth ullaasa
ध्वभनभनणभयोः establishes the concept of Dhvani. The fifth ullaasa ध्वभन-गुणीर्ूिव्यङ्ग्य-
संकीणभर्ेदभनणभयोः establishes the Guneebhootavyangya and explains its eight types where in
Dhvani is not so prominent. The sixth ullaasa शब्दार्भभचत्रभनरूपणम् explains the further inferior
types of poetry called Shabda Chitra and Artha Chitra where Dhvani is not at all evident.

First Ullasa
Mangala Shloka
भनयभिकृिभनयमरभििां ह्लादै कमयीमनन्यपरिन्त्राम् ।
नवरसरुभचरां भनभमभ भिमादधिी भारती कवे र्जयतत ॥ काररका १ ॥ <*>

भनयभिकृिभनयमरभििा = a creation which has no limitations imposed by the laws of nature.

Brahman’s creation is of a form fixed by the power of the laws of nature. Note that भनयभि or
creation is a tattva or a concept in Saivism.

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

अनन्यपरिन्त्रा = 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 Kaarana or sahakaari kaarana are like the potter and the
potter’s wheel.
नवरसरुभचरा = Charming with nine rasas; Brahman’s creation has only six relishes and not all of
them are enjoyable.

भनभमभभिम् आदधिी = (kavi’s vaani i.e., poet’s speech) which is giving the creation (with the
above mentioned specialities).

कवेोः र्ारिी जयभि = 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 काव्यसंसारे कभवरे व
प्रजापभिोः | यर्ास्मै रोचिे भवश्वं िर्ेदं पररविभिे | ]

[Side Note: There are three types of mangala shlokas namely वस्तुभनदे श – establishing the
subject matter of the work, आशीवाभ द – conferring blessings, and नमस्कार – offering
salutations. Mangalam is for the completion of the work without any hindrance. The mangala
shloka could be addressed to इष्टदे विा (favourite deity) or समुभचिदे विा (appropriate or
proper deity) or समुभचिेष्टदे विा (favourite and proper deity). In this work, Mammata invokes
the समुभचिेष्टदे विा | The author recollects and remembers the deity ग्रन्थकृि् परामृशभि ]

Kavya Prayojanam - Purpose of a Kavya

Mammatta shows the importance of Poetry.
[Side note: In the ancient times, there was this idea “काव्यालापां च वजभयेि्” | “Refrain from the
alaapana of Kaavya”. Plato considered Poetry to be a waste of time. Aristotle did not agree
with that. ]
काव्यं यशसेऽर्भ कृिे व्यविारभवदे भशवेिरक्षिये ।
सद्योः परभनवृभिये कान्तासंतिततयोपदे शयुर्े ॥ काररका २ ॥ <*>
Poetry (काव्यम् ) brings fame (यशोः); riches (अर्भ-कृि्); knowledge (भवद् ) of the ways of the
world (व्यविार); destruction (क्षभि) of evils that are in-auspicious (भशव-इिर); instant (सद्योः) and
perfect happiness (पर-भनवृभभि); and counsel (उपदे श) sweet as from the lips of a beloved consort
(कान्ता-संभमििया).

Explanation given in the Vritti:

Yashas: काव्यं यशसे Poetry brings fame as to Kalidasa and others (काभलदासादीनाम् इव यशोः).
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: अर्भकृिे Poetry brings wealth as to Dhaavaka and other poets from Sri Harsa and
other kings (श्रीिषाभ देोः धावकादीनाम् 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 पठर्ेद 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 : व्यविारभवदे 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 officials, priests, etc. Dharmashaastra
also teaches this. Poetry brings the knowledge of rights and usages proper to kings and others –
(राजाभद-गि-उभचि-आचार-पररज्ञानम् ).
Shivetarakshati : भशवेिरक्षिये Poetry removes bad afflictions, as in the case of Mayura who
composed Mayurashtaka in praise of Sun God and was cured of illness. (आभदत्ादे ोः मयूरादीनाम् इव
अनर्भ -भनवारणम् ).

[Side Note: Mayura Bhatta wrote Surya Satakam, in the 7th-century. It was created in praise of
Lord Surya. Mayura Bhatta was suffering 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 : सद्योः परभनवृभिये: 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-
प्रयोजन-मौभलर्ू िम् ) is the attainment of the pure unmixed pleasure (भवगभलि-वेद्यान्तरम् आनन्दम् )
that follows instantaneously (समनन्तरम् एव) on the sensing of Rasa (रस-आस्वादन-समुद्र्ूिम् ).

[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 : कान्तासंभमििया उपदे शयुजे - gives advice to the reader, sweetly
like a beloved.

[Side Note:

Prabhu Sammita Mitra Sammita Kaantaa Sammita

• Order • Suggestion • Sweet Persuation

• Eg. Vedic Injunctions • Eg. Friendly advice • Eg. Lover's words
• Word - important • Meaning - important • Message - important

The three types of poetry are Prabhu Sammita, Mitra Sammita and Kaantaa Sammita. Prabhu
sammita is like an order as in the Veda that 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 different (भवलक्षणम् ) from the Vedic scriptures in which the word in the form of
master’s command or Prabhu Sammita predominates (प्रर्ु-संभमि-शब्द-प्रधान-वेदाभद-शास्त्रेभ्योः);
and from the Puranas and the Itihasas which are in the form of friendly counsel or Mitra
Sammita (सुहृि्-संभमि-अर्भवि्-पुराणाभद-इभििासेभ्योः च).

The poetry takes the aid of the secondary aspect of Sabda and Artha which is the Guneebhava
(शब्द-अर्भयोोः गुण-र्ावेन) and importance of the process of suggestion or Vyanjana (रसाङ्गर्ूि-
व्यापार-प्रवणिया). Such poetry (यि् काव्यम् ) is the work of poets (कभव-कमभ ), clever in depicting
things in a manner passing the comprehension of ordinary men (लोकोत्तर-वणभना-भनपुण), it
(िि्) offers to other poets and cultured men counsel (सहृदयस्य उपदे शं करोभि इभि), most
persuasively through the profound descriptive style of the proficient poet (कवेोः यर्ायोगम् ), like a
beloved wife (कान्ता इव), by relishing the Rasa, that is brought into being instantly (सरसिा
आपाि् अने न अभर्मु खी-कृत्). Poetry offers counsels like “one should behave like Rama and not
like Ravana” (“रामाभदवि् वभिभिव्यं , न रावणाभदवि्” इभि उपदे शं करोभि). As such poetry is by all
means to be studied and cultivated (सवभर्ा ित्र यिनीयम् ).

[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

शक्तिभनभ पुणिा लोकशास्त्रकाव्याद्यवेक्षणाि् ।
काव्यज्ञभशक्षयाभ्यास इतत हे तुस्तदु द्भवे ॥ काररका ३ ॥ <*>

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

(1) Poetic genius (शक्तिोः), (2) Knowledge born of a study of the world, of sciences and of poems
(लोक-शास्त्र-काव्याभद-अवेक्षणाि् भनपुणिा), and (3) The practice of the teachings of those well-
versed in writing poetry (काव्यज्ञ-भशक्षया-अभ्यासोः) – these three together constitute the source of
poetry (इभि िेिुोः िद् उद्भवे).

Explanation:

Prathibha: The first 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 ( शक्तिः कतवत्व-
बीर्-रूपिः संस्कार-तवशेषिः) (after काररका ३) <*>. This is a peculiar faculty, without which there
could either be no poetical work (यां भवना काव्यं न प्रसरे ि्) or if there were, they would be
ridiculous (प्रसृिं वा उपिसनीयं स्याि्).

[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 (लोकस्य थर्ावर-जङ्गम-आत्मक-
लोक-वृत्तस्य),
(2) Study of the sciences, such as prosody, grammar, lexicons, fine 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, (शास्त्राणां िन्दो-व्याकरण-अभर्धान-कोश-
कला-चिुवभगभ-गज-िुरग-खड् गाभद-लक्षण-ग्रन्थानाम् )
[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 भवििौषदम् |To understand
Naishadeyacharita, the knowledge of the other shashtras would be required.]
(3) Study of poems, the works of great poets (काव्यानां च मिाकभव-संबक्तन्धनाम्). The word “aadi”
implies history and the rest. (आभद-ग्रिणाि् इभििासानां च भवमशभनाि् व्युत्पभत्तोः)

Abhyasa: The third aspect is the frequent attempt at writing poetry (िि् पौनोःपुन्येन प्रवृभत्तोः इभि),
under the direction (उपदे शेन करणे योजने च) of men capable of writing and appreciating it (काव्यं
किुुं भवचारभयिुं च ये जानक्तन्त).

The above three conjointly, and not singly, (त्रयोः समुभदिाोः न िु व्यस्ताोः), constitute the single
source of poetry (िस्य काव्यस्य उद्भवे भनमाभ णे समुल्लासे च िेिुोः).These are not multiple different
sources, of poetry. (हेतुिः न तु हेतविः ) (after काररका ३) <*>

[Side Note: This is supported by Dandhi as he says नैसभगभकी च प्रभिर्ा श्रुिं च बहुभनमभलम् ।
अमन्दश्चाभर्योगोऽस्याोः कारणं काव्यसम्पदोः | 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 – श्रिेन यत्नेन च वागुपाभसिाध्रुवं करोत्ेव कमप्यनुग्रिम् | ]

Kavya Lakshanam - Definition of Kavya

तददोषौ शब्दार्थौ सगु णावनलङ् कृती पुनिः क्वातप ॥ after काररका ३ ॥ <*>

िि् अदोषौ शब्दार्ौ सगुणौ अनलङ्ग्कृिी पुनोः क्वाभप । Sabdartha devoid of Dosha, combined with
Guna (normally with Alankara) and sometimes without Alamkara, is Kavya. He clarifies that
there is no compulsion (अनुरोधोः) that there should be Alamkaara provided there is prominence
of Rasa. In his words, he says यत्सवभत्र सालङ्कारौ क्वभचत्तु स्फुटालङ्कारभवरिेऽभप न काव्यत्विाभनोः | He
conveys this point - यत्र सवभत्र शब्दार्ौ सालंकारौ स्यािां , यत्र रसस्य प्राधान्यमक्तस्त ित्र स्पष्ट-अलंकारस्य
अनु रोधोः मास्तु | He cites this example.
योः कौमरिरोः स एव भि वरस्ता एव चैत्रक्षपास्ते
चोन्मीभलिमालिीसुरर्योः प्रौढाोः कदम्बाभनलाोः ।
सा चैवाक्तस्म िर्ाभप ित्र सुरिव्यापारलीलाभवदौ
रे वारोधभस वेिसीिरुिले चेिोः समु त्कण्ठिे ॥१॥ after काररका 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 flowers 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 अर्ावेभप कायोत्पभत्तोः भवर्ावना. Visheshokti - कारणसत्वेऽभप कायभ-
अर्ावोः - The causes are present but the effect is not seen .The rasa is more predominant that
these alamkaaras].

Classification of Kavya
Prior to Dhvanyaaloka, the classification 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 classification is made as Uthama, Madhyama and Adhama or Avara from
the point of view of Dhvani.

Uttama Kaavya

इदिुत्तििततशतयतन व्यङ् ये वाच्याद् वतनबुज धिः कतर्थतिः ॥ काररका ४ ॥ <*>

अन्वयोः -- वाच्याि् व्यङ्ग्ये अभिशभयभन सभि इदम् उत्तमं काव्यम् ध्वभनोः इभि बुधैोः कभर्िोः |

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.

यत्रार्भोः शब्दो वा िमर्भमुपसजभनीकृिस्वार्ौ | व्यङ्ग्िोः काव्यभवशेषोः स ध्वभनररभि सूररभर्ोः कभर्िोः ||

(ध्वन्यालोकोः) १.१३ ||

Anandavardhana says “सूररभर्ोः कभर्िोः”. Here by “बुधैोः कभर्िोः” he refers to vaiyaakaranas –

बुधैवैयाकरणैोः because प्रर्मे भि भविां सोः वैयाकरणाोः | All aalamkaarikas are basically
vaiyaakaranas. स्फोट – flashes instantaneously. Sphota is explosion. An ideal form of a word is
Dhvani.

Five Definitions for the term Dhvani

Five different meanings for the term Dhvani are given in Dhvanyaaloka and Mammata accepts
them.

(1) The vyanjaka word is Dhvani अर्ुं व्यज्यभि इभि ध्वभनोः | व्यनक्ति इभि व्यञ्जकोः | Here
meaning is supplementary
(2) The vyanjaka meaning is Dhvani व्यञ्जयभि इभि ध्वभनोः | here the word is supplementary
(3) ध्वन्यिे इभि ध्वभनोः the suggested meaning is Dhvani
(4) The vyanjana vyaapaara is Dhvani व्यङ्ग्यार्ुं प्रभिपादयभि इभि व्यञ्जन व्यापारोऽभप ध्वभनोः
|
(5) यत्र ध्वनेोः प्रादान्यमक्तस्त ित्र काव्यमभप ध्वभनोः | 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. पूवभ पूवभ वनाभ नुर्ावाभिि संस्कार सभचवेन
अन्त्यवणाभ नुर्वेन अभर्व्यज्यिे स्फोटोः | i.e., अन्त्यध्वभनना सि स्फोटशब्दोः अभर्व्यज्यिे । िक्तस्मन्नेव समये
पूवभपूवभध्वनयोः संस्काररूपेण सिकुवभक्तन्त। 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 significative functions of words, viz., primary (abhidha) and secondary
(lakshana) that manifest the suggested sense, but a third activity inherent in words and
different 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
five different senses, stated above, is borrowed and adopted from the terminology of the
grammarians. According to Abhinavagupta, the word dhvani can stand for five different
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 finds out by
looking at the evidences on her friend’s body.

वापीं स्नािुभमिो गिाभस न पुनस्तस्याधमस्याक्तन्तकम् ॥ after काररका ४ ॥

The word “adhama” meaning wretched that is used to refer to her naayaka suggests the
opposite meaning िस्य अक्तन्तकम् एव गिाभस न वापीं स्नािुम् |

[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 flash 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. स्फोट indicates the profound and subtle
idea which bursts or flashes 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.

अिादृभश गुणीर्ू िव्यङ्ग्यं व्यङ्ग्ये िु मध्यमम् ।

Eg. ग्रामिरुणं िरुण्या नववञ्जुलमञ्जरीसनार्करम् । पश्यन्त्या र्वभि मुहुभनभिरां मभलना मुखच्छाया ॥ after
काररका 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 flowers. 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

शब्दभचत्रं वाच्यभचत्रम् अव्यङ् यं त्ववरं स्मृति् ॥ काररका 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 classifies the Kavya into
four types instead of three.

Here is an example of Shabda Chitra

स्वच्छन्दोच्छलदच्छकच्छकुिरच्छािेिराम्बुच्छटा मूिभन्मोिमिभषभिषभभवभििस्नानाभिकािाय वोः ।
भर्द्यादु द्यदु दारददुभ रदरी दीर्ाभ दररद्रद्रुम द्रोिोद्रे कमिोभमभमेदुरमदा मन्दाभकनी मन्दिाम् ॥४॥
Here the point is “May Gangaa quickly destroy your lethargy” - मन्दाभकनी मन्दिाम् भर्द्याि् |

This is an example of Artha Chitra

भवभनगभिं मानदमात्ममक्तन्दराद्भवत्ुपश्रुत् यदृच्छयाभप यम् । ससंभ्रमेन्द्र्रद्रुिपाभििागभला भनमीभलिाक्षीव
भर्यामराविी ॥५॥ (मेण्ठकृिं ियग्रीववधम्)
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 भनमीभलिाक्षीव. 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
क्रिेण शब्दार्थजयोिः स्वरूपिाह | There are three types of words and meanings. वाचकोः,
लाक्षभणकोः, and व्यञ्जकोः | स्याद्वाचको लाक्षतणकिः शब्दोऽत्र व्यञ्जकक्िधा । वाचक-िोः वाच्यार्भोः |
लक्षण-िोः लक्ष्यार्भोः | व्यञ्जक-िोः व्यङ्ग्यार्भोः | 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 called िात्पयाभ र्भोः |

... तात्पयाजर्थोऽतप केषुतचत् ॥ काररका 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 िात्पयाभ वृभत्तोः |

Vaachaka Expressed or Abhidaa Koshaarthah, The power of the word

denotative denoted vyapara / Vaachyaartha, conveyed by the dictionary
meaning अभर्धा शक्यार्भ meaning
वृभत्तोः

Laakshanika Indicated or Lakshanaa Lakshyaarthah, Some element is suppressed

indicative suppressed vyapara / Lakshanaarthah, (The word bank is suppressed in
meaning लक्षणा र्ाि Gangaayaam goshah – Hamlet
वृभत्तोः on the banks of Ganga and not
in Ganges)

Vyanjaka Suggested Vyangyaa Dhvanyarthah, It shows or reflects or suggests

suggestive meaning vyapara / Vyanjanaarthah, some other meaning. The tone
व्यञ्जना vyangyaarthah of “Go, go!” might mean “Don’t
वृभत्तोः 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 मिs of
meemamsakaas are कुमरील Bhatta’s mata called Bhaatta mata and प्रर्ाकर 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 first vaada is Abhihitaanvayavaada of Bhatta.

आकाङ्क्षायोयिासंभनभधवशािक्ष्यमाणस्वरूपाणां पदार्ाभ नां समन्वये िात्पयाभ र्ो भवशेषवपुरपदार्ोऽभप

वाक्यआर्भोः समुल्लसिीत्भर्भििान्वयवाभदनां मिम् ॥ (after काररका ६)

आकाङ्क्षा or Expectancy is defined as पदस्य पदान्तर-व्यभिरे क-प्रयुि+अन्वय+अननुर्ावकत्वम्

आकां क्षा by Naiyaayikaas. One word expects more words to be included to provide a complete
meaning. योयिा or compatibility ensures that there is no abhaadaa of meaning - अर्ाभ र्ादा
योयिा | Eg. अभिना भसञ्चभि | संभनभध or proximity of utterance of words is अर्ाभ नां अभवलम्बेन
उच्चारणम् | A new meaning for the vakyaa is obtained. The shaabda boda for र्टम् आनय is
र्टरूप कमभिा भनरूभपि आनयनभक्रया |

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. वाच्य एव वाक्यार्थज

इत्यक्ितातभधानवातदनिः (after काररका 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 fifth chapter.

[Side note – Recap from 5th ullasa -- Bhatta's Abhihita-anvaya --- abhihita indicates that the
word's meaning is first 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. सवेषां प्रायशोऽर्ाभ नां व्यञ्जकत्वमपीष्यिे ।
(after काररका ६)
Vyanjakatva or suggestiveness of all 3 functions of the word are accepted

1. Suggestiveness of denoted meaning: eg. मािोः गृिोपकरणं अद्य खलु नास्तीभि साभधिं त्वया ।
िद्भण भकं करणीयं एवमे व न वासरोः थर्ीयी ॥ 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. साधयन्ती सक्तख सुर्गं क्षणेक्षणे दू नाऽभस मत्कृिे ।
सद्भावस्नेिकरणीयसदृशं िावक्तत्वरभचिं त्वया ॥] oh friend, you have been subjected to much
exertion almost every minute in persuading that handsome youth. You have definitely
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 offense 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.]

3. Suggestiveness of suggested meaning: eg. पश्य भनश्चलभनष्पन्दा भवभसनीप्त्रे राजिे बलाका ।

भनमभ लमरकिर्ाजनपररक्तथर्िा शङ्ग्खशुक्तिररव ॥ 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 different people here गिोस्तमकभ: “sunset is happening”, based on
their profession or condition, it could provide different suggested meaning.

Definitions of Vachaka, Lakshana and Vyanjana

Vaachaka

साक्षात्संकेतततं योऽर्थजितभधत्ते स वाचकिः ॥ काररका ७ ॥ <*>

Vaachaka is that which directly denotes the conventional meaning. Conventional meaning or
Sanketa is defined in this way in Tarka - अस्माच्छब्दाि् अयमर्ो बोद्धव्य इभि ईश्वर इच्छा संकेिोः |
इह+अगृहीत-संकेतस्य शब्दस्य-अर्थजप्रतीतेिः अभावात् संकेतसहाय एव शब्दोऽर्थजतवशेषं
प्रततपादयतीतत यस्य यत्राव्यवधानेन संकेतो गृह्यते स तस्य वाचकिः ॥७॥ (after काररका 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 specific person – eg. अयं मनुष्योः | Meemaamsakas were interested in
understanding the Vedas. They took only the jaati artha.

सङ्केतततश्चतुभेदो र्ात्यातदर्ाजततरे व वा । (after काररका ७) <*>

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

Since the words are infinite 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 names. These are fixed 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 infinite objects that it
indicates. Hence it has to be taken to indicate the genus of cows. But when we say पशुोः
अनुबन्द्द्योः – to say that the animal to be sacrificed is tied to the post, the entire Jaati of pashu is
not being sacrificed and here the word points to only an individual being. तदु पाधावे व संकेतिः ।
The convention is to be made in the Upaadhi or a concept or an adjunct.

There are two kinds of Upaadhi. उपाभधश्च भिभवधोः वस्तु धमो विृयदृच्छासंभनवेभशिश्च । First is the
thing’s nature वस्तुधमभोः and the other is the name, say Ditta, given arbitrarily by the speaker
विृयदृच्छासंभनवेभशिोः | वस्तुधिोऽतप तद्वतवधिः तसद्धिः साध्यश्च । 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 गच्छभि | तसद्धोऽतप तद्वतवधिः पदार्थजस्य प्राणप्रदो तवशेषाधानहेतुश्च । 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 तह गौिः
स्वरूपेण गौनाजप्यगौिः । गोत्वातभसंवन्धातु गौिः | 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 different speakers –
child, old man, parrot and so on say it differently. The third group says that we need both jaati
and vyakti. The specific cow that has the cowness – गोत्व भवभशष्टोः गौोः | ििान् (like जाभिमान् )
– 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 specific moment. But due to the continuity of
the existence of different entities (considering that each moment the person is changing), we
feel its continuous presence. They call it अपोि – apoha – negation of the different. Omitting all
that is different from this, whatever remains is the indicated object. ]

स िुख्योऽर्थजस्तत्र िुख्यो व्यापारोऽस्यातभधोच्यते ॥ काररका ८ ॥ <*>

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

Lakshana

िुख्यार्थजबाधे तद्योगे रूतितोऽर्थ प्रयोर्नात् । अन्योऽर्थो लक्ष्यते यत्सा लक्षणारोतपता तक्रया

॥ काररका ९ ॥ The conditions for Lakshana to occur (1) incompatibility of the primary
meaning (मुख्यार्भबाध) and (2) a relation (िद्योग) of the other meaning should be with the
primary meaning – this should be on the basis of (3a) usage (रूभढ) or (3b) purpose (प्रयोजन) |
It is a function imposed (आरोभपिा) on the word.

Eg. "कमभभण कुशलोः" इत्ादौ दर्भग्रिणाद्ययोगाि् II “गङ्गायां घोषिः" इत्ादौ च गङ्गादीनां

र्ोषाद्याधारत्वासंर्वोि् II <*>

Eg. कमभभण कुशलोः – for कुशलोः the original meaning is कुशान् लाभि – he who carries with him
the kusha or dharba grass. The relationship between the meaning of expert and one who
carries kusha is भववेकभचत्वाि् संबन्ध. 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 Ganges due to closeness सामीप्य
संबन्धोः. 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. नाभर्धा समयार्ावाि् | The meaning is not
Lakshana also since the conditions do not apply for taking the Lakshanaa to indicate chillness,
sacredness, etc. न लक्षणा मुख्यार्भबाधाभदिे िुभत्रियार्ावाि् । अिोः व्यञ्जना एव अत्र व्यापारोः |
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

... लक्षणा तेन षड् तवधा ॥ काररका १२ ॥ <*>

Lakshana is broadly classifies into 3 types, with two in each amounting to a total of 6 types.
 लक्षणा

शुद्धा सारोपा साध्यवसाना

उपादानलक्षणा गु णी सारोपा गौणी साध्यवसाना

(कुन्ताोः प्रभवशक्तन्त) (गौवाभ िीकोः) (गौरयम्)

लक्षणलक्षणा शुद्धसारोपा शुद्धसाध्यवसाना

(गङ्गायां र्ोषोः) (आयु धृभिम् ) (आयु रेवे दम् )

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.

उपादानलक्षणा (कुन्ताोः प्रभवशक्तन्त) लक्षणलक्षणा (गङ्गायां र्ोषोः) The

The primary meaning is retained primary meaning is given up
along with the projected meaning totally. The meaning of "stream"
. "The lances enter "implies "the is given up and "the banks of
persons holding the lances." ganges" is adopted.

शुद्धा

a. Upadaana Lakshana – Here the primary meaning implies the secondary meaning
for accomplishing its own completion. Eg. कुन्ताोः प्रभवशक्तन्त , the lances enter. Since
the lances cannot enter on their own, the phrase implies the persons holding the
lances. उपादानलक्षणा = उप+आदान+लक्षणा; उप = समीप; आदान = स्वीकरणम् ; This
is called स्वभसद्धये पराक्षेपोः I
b. Lakshanalakshana – Here the primary meaning is given up for the sake of
secondary meaning. Eg. गङ्गायां र्ोषोः. 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 परार्ुं स्वसमपभणम् I
2. Saaropa Lakshana: सारोपान्या िु यत्रोिौ भवषयी भवषयस्यर्ा 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.

a. Gauni saaropa: Aaropa is based on relationship of similarity in guna [quality] eg.

गौवाभ िीकोः here Gauh is the vishayin, the qualities of it like जाड्य (dullness), मान्द्द्य
(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.
b. Shudda Saaropa: Aaropa is based on some other relationship. Eg. आयुर्ृभिम् ghee
is long life. Here relationship can be explained on the basis of cause and effect.
Consumption of Ghrta gives strength and ensures longevity in the consumer,
hence Ayush is superimposed on ghrta.

•Vahikah is an ox •This person is an ox

•Similarity - qualities of •Similarity - qualities of
ox ox
•Super-imposition of •Vishaya is absorbed in
Vishaya on Vishayin the Vishayin - ox

गौणी
गुणी सारोपा
साध्यवसाना
- गौवाभ िीकोः
- गौरयम्

शुद्ध
शुद्ध सारोपा
साध्यवसाना
- आयुधृभिम्
- आयुरेवे दम्
•Ghee is long life •This is long life
•Total Identity •Total Identity
•Super-imposition of •Vishaya is absorbed in
Vishaya on Vishayin the Vishayin - long life

3. Saadhyavasana Lakshana: भवषय्यन्तोःकृिेऽन्यक्तस्मन् सा स्यात्साध्यवसाभनका I Here the Vishaya

on which the vishayin is superimposed is not mentioned. This is again of 2 types.

a. 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.
b. Shudda Saadhyavasana: Similar to Shudda Saaropa except that the term Ghrtam
is not explicitly mentioned. Eg. आयुरेवेदम् I
Mammata again classifies Lakshana on the basis of the presence of Vyanjana.

व्यङ्ग्ये न रभििा रूढौ सभििा िु प्रयोजने । (after काररका १२ )

1. Roodhi Lakshana: This kind has no suggested meaning in it. Just indicated meaning
alone. Hence it is also called अव्यङ्ग्या I eg. कमभभण कुशलोः

2. Prayojanavati Lakshana: This is further divided into of 2 types.

a. गूढव्यङ्ग्या – it has hidden suggested meaning.

b. अगूढव्यङ्ग्या – 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 त्वभावान्न लक्षणा ॥ काररका १५ ॥ मु ख्यार्भ बाधाभदत्रयं िे िुोः ॥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.

प्रयोर्ने न सतहतं लक्षणीयं न युज्यते ॥ काररका १७ ॥ <*>

Lakshana or the indicated meaning does not include the prayojana.

ज्ञानस्य भवषयो ह्यन्योः फलमन्यदु दाहृिम् । (after काररका १७)

The object of cognition is said to be different 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 प्रकटिा [state of being known] or संभवभत्तोः [consciousness]. This prakatata or
samvitti, which is the prayojana, is not included in the pot.

So, (abhidaa) Ganga  (lakshana) ganga thata (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 different 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

अनेकार्थजस्य शब्दस्य वाचकत्वे तनयक्िते । संयोगाद्यिः+अवाच्यार्थज -धीकृत्+व्यापृततिः+अञ्जनि्
॥ काररका 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 specific meaning.

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

संयोगो तवप्रयोगश्च साहचयं तवरोतधता । अर्थजिः प्रकरणं तलङ्गं शब्दस्यान्यस्य संतनतधिः ॥

सािर्थ्जिौतचती दे शिः कालो व्यक्तिः स्वरादयिः । शब्दार्थजस्यानवच्छे दे तवशेषस्मृततहेतविः ॥

संयोगोः (contact), भवप्रयोगोः (separation), सािचयुं (association) भवरोभधिा (enmity) अर्भोः

(purpose, aim) प्रकरणम् (context) भलङ्गम् (peculiar feature), अन्यस्य शब्दस्य संभनभधोः (proximity
of another word), सामर्थ्भम् (ability) औभचिी (propriety) दे शोः (place), कालोः (time) व्यक्तिोः
(gender) स्वरादयोः (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. सशङ्ग्खचक्रो िररोः

Hari has different 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. अशङ्ग्खचक्रो िररररत्च्युिे
Again we understand Hari as Vishnu because he is the only one capable of being
separated from them.
3. Saahacharya: Association. रामलक्ष्मणाभवभि दाशरर्ौ।
Here meaning of the word Rama is restricted to son of Dasharatha due to his association
with Lakshmana.
4. Virodhita: Enmity. रामाजुभनगभिस्तयोररभि र्ागभवकािभ वीयभयोोः।
Here Rama is Parashurama and Arjuna is Kartaveeryarjuna. Their well known enmity is
referred here.
5. Artha: Purpose. थर्ाणुं र्ज र्वक्तच्छदे इभि िर।
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. सवुं जानाभि दे व इभि युष्मदर्े।
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. कुभपिो मकरध्वज इभि कामे।
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 वस्य पुरारािेररभि शंर्ौ।
Here again deva can have different meanings. But due to the proximity with the word
puraaraatheh, we understand Deva as Lord Shiva.
9. Saamarthyam: Ability. मधुना मत्तोः कोभकल इभि वसन्ते।
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. पािु वो दभयिामुखभमभि सां मुख्ये |
Here mukham can mean face, presence, beginning, etc., based on propriety here it
means presence.
11. Deshah: Place. र्ात्त्र परमेश्वर इभि राजधानीरूपाि् दे शाद्राजभन।
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. भचत्रर्ानुभवभर्ािीभि भदने रवौ रात्रौ विौ |
Chitrabhanu means sun and fire. If the sentence is spoken during day, it refers to sun
and at night it refers to fire.
13. Vyaktih: Gender. भमत्रं र्ािीभि सुहृभद, भमत्रो र्ािीभि रवौ।
Mitram in neuter gender means friend, while mitrah in masculine gender means sun.
14. Svara: Accents used in Vedas, Udaatta Anudaatta and Svarita. इन्द्रशत्रुररत्ादौ वेदे एव न
काव्ये स्वरो भवषे षप्रिीभिकृि् ।
Based on the accents, Indrashatru can mean 1. One for whom Indra will be the killer and
2. Indra’s killer. The first one is a Bahuvrihi compound and will have
Purvapadaprakritiswara or Adyodaatta. While the second is Tatpurusha compound
having Antodaatta.
Role of Vyanjaka in contextual and non-contextual meanings

िद् युिो व्यञ्जकोः शब्दो ... िद् युिो व्यञ्जनयुिोः

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

... यत्सोऽर्ाभ न्तरयुिर्ा । अर्थोऽतप व्यञ्जकस्तत्र सहकाररतया ितिः ॥ काररका 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
सिकाररियाव्यञ्जक:

भद्रात्मनो दु रतधरोहतनोतवज शाल वंशोन्नतेिःकृततशलीिुखतवग्रहस्य । यस्यानुपप्लुतगतेिः परवारणस्य

दानाम्बुसेकसुभगिः 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 first. The other meaning is taken to be Vyanjana.

Contextual meaning: The king has a peaceful nature, his persona is difficult 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 difficult 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
flowing.

(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 specific 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
अर्थाजिः प्रोतािः पु रा तेषाि् ... ... अर्थजव्यञ्जकतोच्यते । before काररका २१ ॥ <*>

अर्ाभ ोः वाच्यलक्ष्यव्यङ्ग्याोः । िेषां वाचकलाक्षभणकव्यञ्जकानाम् ॥

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: यत्र शब्द-व्यञ्जकिा अक्तस्त अत्र अर्ोऽभप व्यञ्जकोः सिकाररिया | 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. यत्र अर्भ -व्यञ्जकिा अक्तस्त अत्र शब्दोऽभप व्यञ्जकोः सिकाररिया | ]

वतृबोद्धव्यकाकूनां वाक्यवाच्यान्यसतन्नधेिः ॥ काररका २१ ॥

प्रस्तावदे शकालादे वैतशष्ट्यात्प्रततभार्ुषाि् । योऽर्थजस्यान्यार्थजधीहेतुव्याजपारो व्यक्तरे व सा ॥
काररका २२ ॥

The function of the word, which is the cause of the cognition of another meaning (different
from the denoted meaning) to those who have imagination (prathibhaa) on the basis of the
specialty of the speaker विृ , the person spoken to बोद्धव्य, intonation काकू, sentence वाक्य, the
denoted meaning वाच्य the presence of another person अन्यसभन्नभधोः, the context प्रस्ताव, the
place दे श, the time काल and other such factors like chesta [gesture] आभद is only the
Vyanjanaa. Mammata says that the above can coexist in a given example.

Example from Venisamhaara is given for intonation.

तर्थाभूतां दृष्ट्वा नृपसदतस पाञ्चालतनयां वने व्याधिः साधं सुतचरिुतषतं वल्कलधरिः ।
तवराटस्यावासे क्थर्थतिनुतचतारम्भतनभृतं गुरिः खेदं क्खन्ने ितय भर्तत नाद्यातप कुरषु ॥ after
काररका 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.

िदा मम गण्डथर्लभनमिां दृभष्टं नानैषीरत्न्यत्र । इदानीं सैवािं िौ च कपोलौ न च सा दृभष्टोः ॥

“Then you did not turn aside your eye fixed 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 reflected in my cheek. When she moved away, your look
immediately changed.”

Fourth Ullasa
Technical Terms – Dosha, Guna, Alamkaara, Alamkaarya
Dosha

Dosha is a flaw 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 defines gunas as those qualities which heighten the Rasa [utkarsha hetu] and stay
with it permanently [achalasthita] माधुय्यौजोः प्रसादाख्याोः त्रयस्ते न पुनदभ श ॥ He says that the other 7
gunas are either included under the above 3 or are just absence of doshas. So they are
definitely 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 defining 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 पूणुं करोभि इभि अलंकारोः | 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
 अभववभक्षिवाच्यध्वभनोः – lakshanaa mula Dhvani
o अर्ाभ न्तरसङ्ग्क्रभमिवाच्यध्वभनोः – भकभञ्चि् भववभक्षिा
o अत्न्तभिरस्कृिवाच्यध्वभनोः – अभववभक्षि
 भववभक्षिान्यपरवाच्यध्वभनोः – abhidhaa mula Dhvani
नञ् means full absence and also little presence. So अभववभक्षि is not भववभक्षिा and
also भकभञ्चि् भववभक्षिा.

वतनिः

अतववतक्षत-वाच्य: तववतक्षतान्यपर-
(लक्षणा-िूल) वाच्यिः (अतभदा-िूल)

अर्थाजन्तरसङ् क्रतित-वाच्यिः संलक्ष्यक्रि-व्यङ् यिः

अत्यन्तततरस्कृत-वाच्यिः
असंलक्ष्यक्रि-व्यङ् यिः
Avivakshitavachya
अभववभक्षिवाच्यो यस्तत्र वाच्यं र्वेद्ध्वनौ । अर्ाभ न्तरे सङ्ग्क्रभमिमत्न्तं वा भिरस्कृिम् ॥ काररका 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.

त्वामक्तस्म वक्ति भवदु षां समवायोऽत्र भिष्ठभि । आत्मीयां मभिमाथर्ाय क्तथर्भिमत्र भवधेभि िि् ॥२३॥ (after
काररका 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 - अर्ाभ न्तरसङ्ग्क्रभमिवाच्या – 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 different things
like the abode of Lakshmi, sakala soundarya aakara, etc. Here some additional meaning over
the derived meaning is suggested. सङ्ग्क्रम 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.

उपकृिं बहु ित्र भकमु च्यिे सुजनिा प्रभर्िा र्विा परम् । भवदधदीदृशमेव सदा सखे सुक्तखिमाथस्व ििोः
शरदां शिम् ॥२४॥ (after काररका 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
filled 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.

एिदपकाररणं प्रभि भवपरीिलक्षणया कभश्चिक्ति ॥२४॥ (after काररका 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 ॥ काररका २४॥ )

Vivakshitanyaparavachya
भववभक्षिं चान्यपरं वाच्यं यत्रापरस्तु सोः । अन्यपरं व्यङ्ग्यभनष्ठम् । (before काररका 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.

कोऽप्यलक्ष्यक्रमव्यङ्ग्यो लक्ष्यव्यङ्ग्यक्रमोः परोः ॥ काररका 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.

भवर्ावानुर्ावव्यभर्चाररण एव रसोः । अभप िु रसस्तै ोः इत्क्तस्त क्रमोः । स िु लार्वान्न लक्ष्यिे ॥२५॥

(after काररका 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
कारणान्यर् कायाभ भण सिकारीभण याभन च । रत्ादे ोः थर्ाभयनो लोके िाभन चेन्नाट्यकाव्ययोोः ॥ काररका २७
॥

भवर्ावा अनु र्ावास्तत्कर्थ्न्ते व्यभर्चाररणोः । व्यिोः स िैभवभर्ावाद्यै ोः थर्थायी भावो रसिः स्मृतिः ॥ काररका
२८ ॥

There are causes, effects 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.
रभििाभ सश्च शोकश्च क्रोधोत्सािौ र्यं िर्ा । जु गुप्सा भवस्मयश्चे भि थर्थातयभावािः प्रकीततजतािः ॥ काररका ३०
॥ <*> (Note: सृङ्गारिास्यकरुणरौद्रवीरर्यानकाोः । बीर्त्साद् र्ुिसंज्ञौ चेत्ष्टौ नाट्ये रसाोः स्मृिाोः ॥
काररका 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 affairs, 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 तवभावानुभावव्यतभचारर संयोगाद्रसतनष्पतत्त: | This is the
Rasa Sutra.

कारणं कायुं सिकारी are respectively भवर्ाव, अनु र्ाव, सञ्चारीर्ाव | थर्ाभयर्ाव 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 suffering of Sita, they
actually experience a kind of joy. Sanchaaribhaava is a temporary feeling. Rasa = रस्यिे आस्वाद्यिे
इभि रसोः | 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-न्याय. 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 Anubhaavas and vanishes is the Vyabhichaari
Bhaava or sanchaari bhaava. व्यभर्चरक्तन्त इभि व्यभर्चाररर्ावाोः | 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 clarifies 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.

Bhatta Lollata - Sri Sankuka - Bhatta Naayaka - Abhinava Gupta -

Utpatti Vaada Anumiti Vaada Bhukti Vaada Vyakti Vaada
• Utpaadya- • Anumaapya- • Abhidhaa- • Vyanjanaa
utpaadaka- Anumaapaka- vyaapaara + Vyaapaara
bhaava- Sambanda Bhaavakatyva (with
sambanda • Experienced by (with Saadaarani
• Experienced by audience by Saadaaranee karana and
the original Inference karana) + bhukti)
character and • Naiyaayika Bhojakatva • Vengya-
the actor • Bhoojya- vyanjaka-
• Meemaamsaka bhoojaka- bhaava-
bhaava- sambanda
sambanda • Vedantin
• Saankhaya

Lollata – Utpatti Vaada

Lollata is from Kashmir, believed to have lived between 800 AD 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 मीमां सा (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 रसोः as उत्पाद्योः and
the other causes भवर्ावोः अनुर्ावोः and व्यभर्चाररर्ावोः as उत्पादकोः | Samyoga is the उत्पाद्य-
उत्पादक-र्ाव-संबन्धोः | He says that the Rasa is experienced due to the मुख्यवृभत्तोः or
मुख्यशक्तिोः | Nishpatti is the Utpatti of Rasa. अनुकिाभ – नटोः, अनु कायभोः – रामाभदोः | 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 न्यायशास्त्रम्
| He says that we imagine (अनु मान) the actor to be having the feelings of the character like
Rama. So रसोः is अनुभमभिोः which is ऊिात्मकं ज्ञानम् |
सम्यभिर्थ्ासंशयसादृश्यप्रिीभिभ्यो भवलक्षणया भचत्रिुरगाभदन्यायेन रामोऽयभमभि प्रभिपत्त्या ग्राह्ये नटे (after
काररका २८)

It can come in four ways – सम्यक्-प्रिीभिोः, भमत्ा-प्रिीभिोः, संशय-प्रिीभिोः and सादृश्य-प्रिीभिोः | 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 सम्यक्-प्रिीभिोः | But that is not the case completely. We also know that she
is not Sita भमत्ा-प्रिीभिोः | It is not that we doubt whether she might be Sita संशय-प्रिीभिोः. 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 different 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 infers the 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.
र्ट्टनायकोः was an expert in साङ्ग्ख्यशास्त्रम्. He mentioned about the function called र्ोगीकृि-
व्यापार. The function of र्ावकत्व first 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 र्ोग.
We enjoy the Rasa. (भवर्ावाभदसाधारणीकरणात्मना र्ावकत्वव्यापारे ण र्ाव्यमानोः थर्ायी ...
र्ोगेन र्ुज्यिे इभि र्ट्टनायकोः । (after काररका 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 र्ुङ्ग््िे | 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 affect 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 affect 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 11th century AD.
He was a prolific 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. अभर्व्यक्तिोः (manifestation) is the
final argument that was accepted refuting the earlier arguments. He based his argument based
on वेदन्तशास्त्रम् | 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 fictitious 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 = व्यञ्ज्यिे or अभर्व्यञ्ज्यिे – flashes / manifests by 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 अभनवभचनीयोः – inexplicable.
It is a not-worldly experience – अलौभककोः – superhuman – to be experienced in the mind |
स्वानु र्ववेद्योः – to be experienced by one’s own self. आनन्दरूपोः – ब्रह्मानन्दस्वरूपम् - रसोवै सोः रसं
ह्येवाऽयं लब्ध्वा आनन्दी र्वभि | 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 effect or कायभ. 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

सृङ्गारिास्यकरुणरौद्रवीरर्यानकाोः । बीर्त्साद् र्ु िसंज्ञौ चेत्ष्टौ नाट्ये रसाोः स्मृिाोः ॥ काररका २९ ॥

Rasa Sthayibhava Vibhava Anubhava Vyabhichari

Sringara 2 types Rati hero heroine with Skill of eye All except
vipralambha and splendid dress, movements, eye nirveda
sambhoga garlands, glances, limb
seasons, movements
ornaments

Hasya Haasa Strange attire, Throbbing of Alasya, tandra,

fickleness, lips, nose cheeks, nidra, prabodha,
irrelevant talks, perspiration asuya
His crying

Karuna Shoka Separation and Weeping, Sthamba,

loss of dear ones, lamentation and vepathu
burning of body crying vaivarnya, 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 firmness, garva, avega
crossing oceans generosity,
efficiency

Bhayanaka Bhaya Strange sounds, Shaking hands Sthamba, sveda,

cruel animals and feet, gadgada,
Agitations of throbbing eyes, romancha, moha,
jackal, owls, change of face dainya
Imprisonment of color
near and dear

Bhibhatsa Jugupsa Hearing or sight Shrinking of Apasmara,

of ugly limbs, udvega, avega,
undesirable, contraction of moha, marana
unpleasant things face, looking
slyly, vomiting

Adbhuta Vismaya Sight of divine Dilation of eyes, Sthamba,

beings, seeing without gadgada,
fulfilment of winking, tears, romancha,
desire, vimana perspiration sambhrama,
pralaya

Shanta Nirveda knowledge of Yama, niyama, nirveda, smriti,

philosophy, adhyatma dhriti, sthambha
renunciation, dhyana, 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.

वस्तु िोः रसोः एक एव – उपाभधर्े देन बहुधा दृश्यिे | आनन्द is only one. Hence Rasa is only one. Due
to its ingredients, it is seen differently. Note that Mammata was an Advaitin. Nirveda is the
staayeebhaava. From this staayibhaava, the rasa of shaantah comes. This is also called shamaa.
भनवेदथर्ाभयर्ावोऽक्तस्त शान्तोऽतप नविो रसिः। <*>
यर्ा “अिौ वा िारे वा कुसुमशयने वा दृषभद वा मणौ वा लोष्टे वा बलवभि ररपौ वा सुदृभद वा। िृणे वा
स्त्रै णे वा मम समदृशो याक्तन्त भदवसाोः व्कभचत्पु ण्यारण्ये भशव भशव भशवेभि प्रलपिोः” (१.३४) । Here is
an example describing the Sannyaasi who has nirveda. भशवोः = मङ्गलकरोः | constantly mutter
the God’s name. I see no different. I see all things to be equal. अिौ वा िारे वा snake or garland,
कुसुमशयने वा दृषभद वा bed or rock, मणौ वा लोष्टे वा gem or sand, बलवभि ररपौ वा mighty foe,
िृणे वा स्त्रै 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 न्यं वासगृिं भवलोक्य शयनादु त्थाय भकभञ्चच्छनै र्

भनद्राव्याजमु पागिस्य सुभचरं भनवभण्यभ पत्ुमुभखम् ।
भवश्रब्धं पररचुम्ब्य जािपुलकामालोक्य गण्डथर्लीं
लज्जानम्रमु खी भप्रयेण िसिा बाला भचरं चुक्तम्बिा ॥३०॥ (after काररका 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

रततदे वातदतवषया व्यतभचारी तर्थातञ्जतिः ॥ काररका ३५ ॥ भाविः प्रोतिः ... <*>

आभदशब्दान्मु भनगुरुनृ पपुत्राभदभवषया । कान्ताभवषया िु व्यिा शृङ्गारोः ।

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 रभिोः i.e., प्रीभिोः | In the definition, “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 क्तिशुपालवध for Bhakti.

हरत्यघं संप्रतत हे तुरेष्यतिः शुभस्य पू वाजचररतिः कृतं शुभिः । शरीरभार्ां भवदीयदशजनं व्यनक्त
कालतत्रतयेऽतप योयताि् ॥४६॥ (after काररका 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 अनौतचत्यप्रवतत्तजतािः (after काररका ३५) । िदार्ासा रसार्ासा र्ावार्ासाश्च । <*>

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 personification 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.

भावस्य शाक्न्तरदयिः सक्न्धिः शबलता तर्था ॥ काररका 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.

एकक्तस्मञ्शयने भवपक्षरमणीनामग्रिे मु ग्धया सद्यो मानपररग्रिग्लभपिया चाटू भन कुवभन्नभप ।

आवेगादवधीररिोः भप्रयिमस्तूष्ीं क्तथर्िस्तत्क्षणं मा र्ू त्सुप्त इवेत्मन्दवभलिग्रीवं पुनवीभक्षिोः ॥५१॥ अत्रौत्सुक्यस्य

। (after काररका 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 flattering 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.

िस्याोः सान्द्रभवले पनस्तनिटप्रश्लेषमु द्राभङ्किं भकं वक्षश्चरणानभिव्यभिकरव्याजेन गोपाय्यिे ।

इत्ुिे क्व िभदत्ुदीयभ सिसा ित्सं प्रमार्षटुुं मया साक्तश्लष्टा(च्x संक्तश्लष्टा) रर्सेन ित्सु खवशात्तन्द्व्या च
िभिस्मृिम् ॥५०॥} अत्र कोपस्य । (after काररका 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.

उक्तत्सिस्य िपोःपराक्रमभनधेरभ्यागमादे किोः सत्सं गभप्रयिा च वीररर्सोत्फालश्च मां कषभ िोः ।

वैदैिीपरररम्भ एष च मु हुश्चै िन्यमामीलयन् आनन्दी िररचन्दने न्द्दुभशभशरभस्नग्धो रुणद्ध्यन्यिोः ॥५२॥

अत्रावेगिषभ योोः । (after काररका 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.

क्वाकायुं शशलक्षणोः क्व च कुलं र्ू योऽभप दृश्ये ि सा दोषाणां प्रशमाय न श्रु िमिो कोपेऽभप कान्तं मु खम्
।

भकं वक्ष्यन्त्यपकल्मषाोः कृिभधयोः स्वप्नेऽभप सा दु लभर्ा चेिोः स्वास्थ्यमु पैभि कोः खलु युवा धन्योऽधरं धास्यभि
॥५३॥ अत्र भविकौत्सु क्यमभिस्मरणशङ्कादै न्यधृभिभचन्तानां शबलिा । (after काररका ३६ )

“Where the flawless 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 (reflection).

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. अभङ्गत्वं राजानुगिभववािप्रवृत्तर्ृ त्वि् ॥ काररका 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 first, 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 figure of virodhabhasa occurs when there is an apparent contradiction, which is solved
when the other meaning is grasped.

िस्या भवनाभप िारे ण भनसगाभ देव िाररणौ | जनयामासिुोः कस्य भवस्मयं 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 figures 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)

शब्दार्ोर्यशक्त्यु त्थोः तत्रधा स कतर्थतो वतनिः । (after काररका ३७ ॥ <*>

Shabdashaktimuladhvani, Arthashaktimuladhvani and Ubhayashaktimuladhvani belong to the

main type called Samlakshyakramavyangya which is Abhidamuladhvani.
शब्दशक्तिमू लानु रणनरूपव्यङ्ग्योः, अर्भ शक्तिमू लानु रणनरूपव्यङ्ग्योः, उर्यशक्तिमू लानु रणनरूपव्यङ्ग्यश्चे भि
भत्रभवधोः ( after काररका 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 figure of speech [alankara].

प्रधानत्वेन स ज्ञेयिः शब्दशक्त्युद्भवो तद्वधा । (after काररका ३८) <*> वस्त्वेभि, अनलङ्कारं वस्तुमात्रम् ।

Suggestion based on the power of word is chiefly of two types – (1) where a figure 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 figure of speech [alankara].

अर्भ शक्त्युद्भवोऽप्यर्ो व्यञ्जकोः संर्वी स्विोः ॥ काररका ३९ ॥

प्रौढोक्तिमात्राक्तत्सद्धो वा कवेस्तेनोक्तम्भिस्य वा । वस्तु वालङ्ग्कृभिवेत्य्षड् र्ेदोऽसौ व्यनक्ति यि् ॥ काररका

४० ॥ वस्त्वलङ्कारमर्वा िेनायं िादशात्मकोः ।

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 finally 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

... र्ेदा अष्टादशास्य िि् ॥ काररका ४१ ॥ अस्येभि ध्वनेोः ॥४१॥

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

shabdashaktimula, 12 types of arthashaktimula and 1 ubhayashaktimula].

ननु रसादीनां बहुर्े दत्वे न कर्मष्टादशे त्ि आि । रसादीनािनन्तत्वाद्भे द एको तह गण्यते । <*>(after
काररका 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 शब्दार्ोर्यर्ूरेकोः | It has only one type – vastuna alankara dhvani. It
occurs only in a sentence वाक्ये द् व्युत्थोः ... द् व्युत्थ इभि शब्दार्ोर्यशक्तिमूलोः ॥ (After काररका ४१)

पदे ऽप्यन्ये Others, i.e., shabdashakti and arthashaktimula dhvani can occur in a word and
sentence also.

अभपशब्दािाक्येभप । एकावयवक्तथर्िेन र्ूषणेन काभमनीव पदद्योत्ेन व्यङ्ग्ये न वाक्यव्यङ्ग्याभप र्ारिी र्ासिे

। (After काररका 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

शब्दार्ोर्यशक्त्युद्भवस्तु पदप्रकाश्यो न र्विीभि पञ्चभत्रंशद्भे दाोः ॥ ( before काररका 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 x 2 = 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.
 वतनिः

अतववतक्षत-वाच्य:
(लक्षणा-िू ल) तववतक्षतान्यपर-वाच्यिः (अतभदा-िू ल)
(पदप्रकाशता,वाक्यप्रकाश (वणज-पद-वाक्य-सङ्घटना-प्रबन्ध दीप्यते)
ता)

अर्थाज न्तरसङ् क्रतित-वाच्यिः

असंलक्ष्यक्रि-व्यङ् यिः

संलक्ष्यक्रि-व्यङ् यिः
अत्यन्तततरस्कृत-वाच्यिः रसातद (रस, भाव, रसाभास,
भावाभास, भावोदय, भावसक्न्ध,
भावशबलता, भावशाक्न्तिः)

शब्दशक्त-िू ल उभयशक्त-िू ल (वस्तुना

अर्थजशक्त-िू ल
(अलङ्कारवतनिः, वस्तुवतनिः - अलं कारवतनिः - MAMMATA)
MAMMATA)

कतवतनबद्धवतृ प्रौ
स्वतस्सम्भवी कतवप्रौिोक्ततसद्धा िोक्ततसद्धा

वस्तुना वस्तुवतनिः वस्तुना वस्तुवतनिः वस्तुना वस्तुवतनिः

वस्तुना वस्तुना वस्तुना

अलं कारवतनिः अलं कारवतनिः अलं कारवतनिः

अलं कारे ण अलं कारे ण अलं कारे ण

अलं कारवतनिः अलं कारवतनिः अलं कारवतनिः

अलं कारे ण अलं कारे ण अलं कारे ण

वस्तुवतनिः वस्तुवतनिः वस्तुवतनिः

Prabandha Dhvani

... प्रबन्धेऽप्यर्थजशक्तभूिः ॥ काररका 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 गृद्रगोमायुसंवाद and
has been taken from the Shantiparva of Mahabharata.
यर्ा गृध्रगोमायुसंवादादौ । {अलं क्तथर्त्वा श्मशाने ऽक्तस्मन् गृध्रगोमायुसंकुले । कङ्कालबिले र्ोरे
सवभप्राभणर्यङ्करे ॥९३॥ न चेि जीभविोः कभश्चत्कालधमभ मुपागिोः । भप्रयो वा यभद वा िे ष्योः प्राभणनां गभिरीदृशी
॥९४॥ इभि भदवा प्रर्विो गृध्रस्य पुरुषभवसजभनपरभमदं वचनम् ॥ (after काररका ४२ quoted from
मिार्ारि शाक्तन्तपवभन् )

“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.

आभदत्ोऽयं क्तथर्िो मूढाोः स्नेिं कुरुि सां प्रिम् । बहुभवघ्नो मु हूिोऽयं जीवेदभप कदाचन ॥९५॥

अमुं कनकवणाभ र्ं बालमप्राप्तयौवनम् । गृध्रवाक्यात्कर्ं मू ढास्त्यजध्वमभवशभङ्किाोः ॥९६॥

इभि भनभश भवजृम्भमाणस्य गोमायोजभ नव्याविभनभनष्ठं च वचनभमभि प्रबन्ध एव प्रर्िे ॥ (after काररका ४२
quoted from मिार्ारि शाक्तन्तपवभन् )

“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 selfish 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
case there is no mutual relation or dependence.

Fifth Ullasa
In this chapter, Guneebhuta vyangya kaavya is explained. There are 8 types with specific
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 fifth ullasa, Mammatta speaks about Dhvani Sthaapanaa.

Gunibhootavyangya and Its Types

Gunibhootavyangya

Mammata classifies kavya as Uthama, Madhyama and Adhama. Uthama kavya is one filled 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. ग्रामिरुणं िरुण्या नववञ्जुलमञ्जरीसनार्करम् । पश्यन्त्या र्वभि मुहुभनभिरां मभलना मुखच्छाया

॥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 flowers”. 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.

उपोढरागे ण भवलोलिारकं िर्ा गृ िीिं शभशना भनशामुखम् |

यर्ा समस्तं भिभमरां शुकं िया पुरोऽभप रागाद्गभलिं न लभक्षिम् || (dhvanyaloka)

उपोढ-रागे ण भवलोल-िारकं िर्ा गृ िीिं शभशना भनशा-मुखम् |

यर्ा समस्तं भिभमर+अंशुकं िया पुरोः अभप रागाि् गभलिं न लभक्षिम् ||

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

अगूढमपरस्याङ्गं वाच्यभसद्ध्यङ्गमस्फुटम् । सक्तन्दग्धिुल्यप्राधान्ये काक्वाभक्षप्तमसुन्दरम् ॥ काररका ४५ ॥

व्यङ्ग्यमे वं गुणीर्ू िव्यङ्ग्यस्याष्टौ भर्दाोः स्मृिाोः ।

Mammata has mentioned 8 types of Gunibhootavyangya.

1. अगूढम् Agoodavyangya: 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. अपरस्याङ्गम् 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. वाच्यभसद्ध्यङ्गम् 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. अस्फुटम् Asphutavyangya: <*> Unclear or obtuse. The suggested meaning is not clearly
conveyed.

अदृष्टे दशभ नोत्कण्ठा दृष्टे भवच्छे दर्ीरुिा । नादृष्टे न न दृष्टे न र्विा लभ्यिे 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. सक्तन्दग्धप्राधान्यम् Sandigdhapradhanya: Doubtful prominence.

There is a doubt as to which one of the 2 is prominent - the denoted meaning or the
suggested meaning.
6. िुल्यप्राधान्यम् Tulyapradhanya: Equal prominence.
Here there is equal scope for the denoted as well as the suggested meanings.
 7. काक्वाभक्षप्तम् Kaakvakshiptam: Intonation.
Here the suggested meaning is implied by the tone of the speaker [kaku]. The
vachyartha negates the actions but the vyangyartha affirms it.
8. असुन्दरम् 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 first 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 different 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
first the meanings of individual words. ]

Second - Anvitaabhidhaanavaada of Prabhaakara

Anvitaabhidhaanavaadin do 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.

भवभशष्टा एव पदार्ाभ वाक्यार्भोः। न िु पदार्ाभ नां वैभशर्षट्यम् (after काररका 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 different 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-specific way. Eg. Each of these sentences have the word gaam [cow] with
different 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-specific 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 infinite, it becomes difficult to
understand the sanketa of each and every word in infinite sentences.

Also the denoted meaning itself is something correlated only in a general non-specific 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 different from the sentence meaning cannot
be denoted by abhida.

Refutation of opponents of Vyanjana

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

1. नैभमभत्तकानुसारे ण भनभमत्ताभन कल्प्प्यन्ते

2. सोऽयभमषोररव दीर्भदीर्भिरो व्यापारोः | यत्परोः शब्दोः स शब्दार्भोः |

नतितत्तकानुसारे ण तनतित्तातन कल्प्प्यन्ते (after काररका ४७ ) <*>

Causes are guessed from the effects.

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

Kaaraka is the actual cause like mud or wheel in respect of the effect 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 effect
has not been ascertained, how can one know the effect from the cause or cause from the
effect? Therefore it is not proper to accept that causes are guessed from the effects.

सोऽयभमषोररव दीर्भदीर्भिरो व्यापारोः इभि यत्परिः शब्दिः स शब्दार्थजिः इभि भवभधरे वात्र वाच्य इभि । (after
काररका 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 finally desired to be conveyed.” And so Vidhi [affirmative]
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 finally 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]

भूतव्यसिुच्चारणे भूतं भव्यायोपतदश्यते (after काररका 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.

ऋक्तत्वक्प्रचरणे प्रमाणान्तराक्तत्सद्धे “लोभििोष्ीषा ऋक्तत्वजोः प्रचरक्तन्त” इत्त्र लोभििोष्ीषत्वमात्रं भवधेयम् ।

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 different 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 classified 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 classified 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 गिोऽस्तमकभोः (after काररका 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 difference of time between the two because denoted meaning always
flashes first and the suggested appears afterwards.

 The Ashraya [locus] of the two functions is also different. 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 effect also varies. Denoted meaning produces ordinary knowledge in every hearer
while suggested meaning produces aesthetic delight in sahrdayas.

 Vachakas [denotative words] require a meaning fixed by convention, while Vyanjakas

[suggestive words] do not require it.

ित्क्वभचदभप नीलपीिादौ र्े दो न स्याि् । Despite the above arguments if still one believes that
Vachaktva and Vyanjakatva are the same then there would be no difference between blue and
yellow. With the above arguments Mammata has established that Vachakatva is not
Vyanjakatva. न वाचकत्वमेव व्यञ्जकत्वम् | (after काररका 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. शब्दार्थजतचत्रं यत्पूवं काव्यद्वयिुदाहृति्
। गु णप्राधान्यतस्तत्र क्थर्थतततश्चत्रार्थजशब्दयोिः ॥ काररका 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 first 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 वागर्ाभ भवव संपृिौ वागर्भप्रभिपत्तये। जगि: भपिरौ वन्दे पावभिीपरमेश्वरौ ।। 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
सवभर्ोबद्रा |

दे वा का भन भन का वा दे
वा भि का स्व स्व का भि वा
का का रे र् र् रे का का
भन श्व र् व्य व्य र् श्व भन
Guna is most important and not Alamkaara in Kaavya just as the character is most important in
the person and not the ornaments.

न िु शब्दभचत्रे अर्भस्याभचत्रत्वमर्भ भचत्रे वा शब्दस्य । (after काररका 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.

रूपकाभदरलङ्कारस्तस्यान्यै बभहुधोभदिोः । न कान्तितप तनभूजषं तवभातत वतनताननि् ॥ (after काररका ४८)

<*>

Roopaka, etc., are the figures 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 figures 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 affirmed 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

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/%E
0%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 - काव्यलक्षणभवचारोः - https://sa.wikisource.org/s/7x2