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.