Ānandavardhana proceeds by citing passages which are generally accepted to have various kinds of poetic effects, and then analyzing how these effects are attained by suggestion. He divides the content of what is suggested into implied meanings, implied figures, and aesthetic moods (rasa). He also distinguishes among varieties of suggested meaning according to other criteria such as the speaker’s intention, how rapidly the hearer recovers the suggested content, and whether expressions or phonemes are the basis for what is suggested. When suggestion is a way of conveying the rasa, the dominant aesthetic mood described or intimated within a poem, it is called rasa-dhvani. Ānandavardhana tries to give an account of when it is that suggestion causes poetic beauty, and argues that rasa is the proper aim of all poetry. It is important to mark that, for Ānandavardhana, rasa is found within the text, and not the reader. The reader simply comes to have a cognition of the text’s rasa. Thus it is easily understood as meaning, and not a reader’s emotional state. After Abhinavagupta’s commentary on Ānandavardhana, the emphasis shifts onto the reader’s emotive experience, and how to understand rasa in relation to other kinds of meaning becomes more difficult. Even though many things may be suggested (figures of speech, facts), the ultimate aim of dhvani or suggestion in the poetic context is to suggest rasa.