Studies in the History of Sanskrit Poetics v2.c85.95

v2.c85.95

In the same way, the definition includes the concept of the suggested sense (*dhvani*), and Jagannātha proceeds to divide poetry on this basis into four (viz., *uttamóttama*, *uttama*, *madhyama* and *adhama*) classes, corresponding to the three classes recognised by his predecessors since the Dhvanikāra's time. The first occurs where the sound and sense, subordinating themselves, suggest another charming sense, corresponding to the principal *dhvani-kāvya* of the Dhvanikāra. The second and third classes, the *guṇībhūta-vyaṅgya* and *citra*, mentioned by the Dhvanikāra, are split up ³³ into three classes, viz., (i) where the suggested sense, though not principal, is yet the cause of special charm, (ii) where the charm of the expressed sense is predicated equally with the charm of the suggested, (iii) where the charm of sound, being embellished by the charm of sense, is principal. This lowest class of poetry, corresponding to the *śabda-citra* and *artha-citra* of Mammaṭa (a distinction which is rejected by Jagannātha), apparently comprehends those cases where the *artha-camatkṛti* is swallowed up or strengthened by *śabda-camatkṛti*. Jagannātha adds that although it is possible to count a still lower fifth class of poetry, in which the charm of sound is altogether devoid of all charm of sense (e. g., cases of conundrums like the *padmabandha*) and which is allowed by the practice of some poets, yet in view of the definition of poetry already given, as consisting of words expressing a charming sense, these instances have to be excluded or ignored.