Topic : Dhavani school and Riti school

Name : Rabhadiya Vinod

Paper No : 7

Roll No : 34

Year : 2014-15

Semester : 2

Submitted To : M.K.Bhavnagar Uni.Bhavnagar

Dhavani’s Definition

According to V.S.Setaraman

That kind of poetry, here in the meaning renders it self secondary or the word renders it’s self meaning secondary and suggests the implied meaning is designated by the learned as DHAVANI or Suggestive poetry“

Anandavardhana uses the term “Dhavani” for his theory of poetic suggestion

Term taken form the  grammarians 

Its general meaning TONE or SOUND

In the Dhavanyaloka Anandavardhana establishes his theory of Dhvani

“Suggestion is the soul of poetry”

The grammarians define ‘Dhavani’ with the use of Sphotta

Poetry are of two kinds:

nesLiteral (Vacya) Implied

(Pratiyamana)

In highest type of poetry ,sense is the subordinate to the expressed sense as in some of the figures of speech like Somasokti, Paryayokta there is no Dhavani. However this type of poetry has some charm but has not implied meaning is called ‘ Gunibhutavyangana’ poetry.

The quality of poetry depends on the importance given to the element of suggestion.

Anandavardhana’s three leveled meaning

Lakshana (not direct meaning)

Vayjana (take direct meaning but not prominent idea.

Abhidha (Direct

meaning)

Types of Dhavani

Vastu Dhavni

Alankara Dhavni

Rasa Dhavni

According to Vamana Riti or style or mode of expression constitute the soul of poetry. It is a special arrangement of words deviant from the normal colloquial expression and this specialty is based on gunas or qualities like figures of speech, both of sound and sense which have a role to play to enhance the beauty of any poem.

Riti School Asharya Dandi quotes

‘Asti Aneko giram Margaha Shukshmbhedahh Parsparam’

Anandvardhana said that “The Riti is a feeble attempt at enunciated the basic fact of poetic vision and its transfer to the readers through the medium of language.”

Vamana's Riti is anticipated in the marga of the south Indian writer Dandi, author of Kavyadarsha. The distinctions between the vaidarbha style and the gaudya style was known even to Bhamasha , the earliest important writer who was in against of praising the vaidarbha and condemning the gaudya , and said that both style have their own place in good literature.

But in Dandin we find the earlier partiality for vaidarbha and aversion to gaudya given great prominence. He takes the vaidarbha style as the best and says that it contains all ten poetics qualities properly balanced

Ojas

Prasad

Shlesha

Sukamarata

Udaratva

Arthavyakti:

Samata

Samadhi

Madhurya

Kanti

Those ten qualities are: - 1. Ojas: strength through the use of long compounds

2. Prasad: clarity & lucidity

3. Shlesha: well knittedness

4. Samata: evenness of sound within a line

5. Samadhi: ambivalence through the use of metaphors

6. Madhurya: sweetness

7. Sukamarata: softness & delicacy

8. Udaratva: exaltation

9. Arthavyakti: lucidity of meaning

10. Kanti: grace

Vamana took the ten gunas of Bharata and Dandi but he treated all gunas separately as belonging to the expression and as belonging to the meaning thus making their number twenty.

He defined them in his own way to suit his theory of Riti and stated that all the gunas existed clearly and fully in the vaidarbha Riti while only a few of them existed in other Ritis.

Vamana is emphatic about the impotence of gunas pertaining to the sense in making the Vaidarbha style really charming. Mahimabhatta has painted out in his Vyaktiviveka that

"The rich suggestiveness of vaidarbha style is due to its obscene of long compounds, leaving each word to convey its maximum

load of suggested meaning"

To the early styles vaidarbha and gaudiya of ancient writers. Vamana added a third one called panchali. All these are geographical names and suggest the style popular in those regions. And he defines these entire three rites in his own way.

  According to vamana vaidarbha is that style which is

untouched by even the slightest blemish, which is full of all the qualities and which is as sweet as the notes of a lute.

The gaudiya style is characterized by Ojas and Kanti but it devoid of Madhurya and saukumarya it is full of long compounds and bombastic words.

Panchali is the style which has the qualities of Madhurya and saukumarya and is devoid of Ojas and Kanti. It is soft and sweet and resembles the puranic style.

Conclusion:

This analysis of poetic expression and the theories formed as a result of the study are to be used as a means for appreciating and enjoying literature. The Riti School developed by vamana was a serious attempt in this direction on all later critics.

Thank You