काव्यालङ्कार (आचार्य भामह - भारतीय काव्यशास्त्र एवं अलङ्कार-सिद्धान्त मूल महाग्रन्थ सटीक)

SECOND PARICCHEDA 67
They are totally damned. The raillery intended by
the author is quite obvious. Compare this verse
with that of Bhaṭṭi which occurs almost at the end
of Bhaṭṭi Kāvya or Rāvaṇavadha which runs as fol-
lows:—व्याख्यागम्यमिदं काव्यं उत्सवः सुधियामलम् । हता दुर्मेधसश्चास्मिन्
विद्वत्प्रियतया मया ॥ Obviously Bhaṭṭi has before him Bhā-
maha's condemnation of difficult poetry. The word
अलं in Bhaṭṭi suggests that it is no shame if a poet is
intelligible only to the learned. On the other hand
it is a matter of pride for learned scholars. Simi-
larly if dullards are unable to understand a poem, it
is no disgrace for a poet. I am विद्वत्प्रियः —fond of
learned men. If they are pleased I am satisfied. So
says Bhaṭṭi. On a comparison of the above verses
of Bhāmaha and Bhaṭṭi Mr. D. T. Tatacharya unhesi-
tatingly establishes the priorty of Bhāmaha to
Bhaṭṭi. Mr. P. V. Kane's halting suggestion to the
contrary is therefore thrown overboard. With this
verse ends Bhāmaha's treatment of शब्दचित्र or शब्दालंकारs.
At this stage it would be advantageous to note
the different gradations of poetry according to later
Ālaṁkārikas ever since the promulgation of Dhvani
by Ānandavardhana, the author of Dhvanyāloka.
The best type of poetry is Dhvani or a Kāvya where
व्यङ्ग्य or the suggested import reigns supreme. The
next variety is गुणीभूतव्यङ्ग्य where the suggested import
is subordinated or plays adjunct to the expressed
meaning. The third type is called अर्थचित्र, abounding