काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

6 KĀVYAPRAKĀŚA इदमिति काव्यम् । बुधैर्वैयाकरणैः प्रधानभूतस्फोट- रूपव्यङ्ग्यव्यञ्जकस्य शब्दस्य ध्वनिरिति व्यवहारः कृतः । ततस्तन्मतानुसारिभिरन्यैरपि न्यग्भावितवाच्यव्यङ्ग्यव्यञ्जन- क्षमस्य शब्दार्थयुगलस्य । यथा— निःशेषच्युतचन्दनं स्तनतटं निर्मृष्टरागोऽधरो नेत्रे दूरमनञ्जने पुलकिता तन्वी तवेयं तनुः । मिथ्यावादिनि दूति बान्धवजनस्याज्ञातपीडागमे वापी स्नातुमितो गतासि न पुनस्तस्याधमस्यान्तिकम् ॥२॥ अत्र तदन्तिकमेव रन्तुं गतासीति प्राधान्येनाधमपदेन व्यज्यते ॥४॥ The poetry in which the suggested meaning dominates the expressed is poetry of the best kind, called 'Dhvani' by the learned—(4) By the learned—that is by the grammarians, that word is called Dhvani which suggests the sphota, which is all-important (inasmuch as it is through this sphota that a word conveys its meaning), others carry this theory of the grammarians farther still, and apply the word Dhvani not only to words, but also to sense, capable of suggesting meanings other than the directly expressed ones. As an instance of Dhvani, we have— "The sandal-paste has vanished from thy breast, its colour has fled from thy lip; thine eyes have lost their jetty fringing dye—and all thy slender frame is quivering with hair on end. Thus I learn, O false friend, that knowest not the approach of thy friend's sufferings, that thou hast been only to the tank to bathe and not to that mean wretch." Here the words 'mean wretch' suggest the real meaning 'thou hadst gone to dally in my lover's com- pany.' 4.