Dhvani

Dhvani Echo – a good poem is one that haunts one

after readingTaken from grammarIn grammar – sounds of utterances which

reveal the integral linguistic sign (sphota)

Dhvani

A good poem with its sound as well as the literal sense reveals, over & above the literal sense, a charming sense which has great aesthetic value

Dhvani The term ‘Dhvani’ is referred to –

suggestive poetry where the suggested sense predominates over literal sense

The suggested senseThe function of suggestion

DhvaniAnandavardhana – Dhvanyaloka (9th cen)“The quality of poetry depends upon the imp.

given to the element of suggestion”Suggestion – the soul of poetry

DhvanyalokaThere are 2 kinds of beautiful ideas in poetry1. Vacya (literal)2. Pratiyamana (implied)

Vacya/Pratiyamana Vacya is invariably – 1. An idea, or2. A figure of speech

But suggested sense, pratiyamana may be – 1. An idea, or2. A figure of speech, or3. An emotion

Anandhavardhana

Bharata – main objective of dramatic work –to arouse rasa

Anandavardhana extended it to poetryDhvani the soul of poetryDhvani-stresses on the method of treatmentRasa – the ultimate effectSuggestion alone is not enough, the

suggested sense must be charming

Rasa RealizationAbhinavagupta (अभि�नवगु�प्त) (c. 950 – 1020

AD) - one of India's greatest philosophers, mystics and aestheticians He was also considered an important musician, poet, dramatist, theologian, and logician — a polymathic personality who exercised strong influences on Indian culture.

Rasa Realization

“when thus the formal or intellectual, imaginative & emotional elements of a poem blend into one predominant sentiment & making a simultaneous appeal, awaken the sthayibhava of the reader or spectator, the relish of rasa is manifested as a unity in the heart, leaving no trace of the constituent elements; & this is why rasa dhvani is called asamlaksyakrama-vyangya or the suggested sense with imperceptible stages"

Criticisms against Dhvani Nyaya & Mimamsaka schools do not

recognize dhvani Jayaratha’s commentary on Alamkaravasva

12 anti dhvani theories are mentioned1. Anandhavardhana himself mentioned many

of the views against dhvani in Dhvanyaloka

Criticisms against Dhvani1. Dhvani vs Anumana2. Dhvani vs Arthapatti 3. Dhvani vs Laksana 4. Dhvani vs Abhidha 5. Dhvani vs Tatparyavrtti6. Dhvani vs Vakrokti

Anumana (Inference)

Naiyayika school rejected the suggestive power of dhvani

Mahimabhatta wrote his Vyaktiviveka with the specific purpose of proving that dhvai is included in anumana. But Anandhavardhana anticipated this & justified his stand in 3rd chap. Dhvanyaloka

Anumana (Inference)Anandhavardhana-Inference depends on the knowledge

of vyapti or the invariable concomitance bet. the middle & major terms of a proposition.

Eg. The landscape lay as still as a painted picture. Here, the word still is an instance of inference and not suggestion

Dhvani- the relationship between the expressed sense & the implied sense is something similar bet. light and a pot. As light reveals the pot so the expressed sense reveals the suggested sense

Dhvani vs Arthapatti

Immediate inference based on universal relation between the absence of the major & the absence of the middle terms

Samsarga maryadaBut, arthapatti means to a valid

knowledge, demands of suggested sensee accuracy & definiteness,

But-In dhvani, implied sense is vague

Z

Dhvani vs LaksanaFigure of speechAlamkarikas like Mukulabhattasay at times

sentences convey ideas diff. from literal sense, but all such instances come under laksana

Acc. To Anandhavardhana laksana operates when there is some inconsistencyin the primary sense & cancels it, but in Dhvani primary sense neednt be cancelled

Z

Dhvani vs Abhidha

Mimamsakas of Prabhakara schoolAnandhavardhana –Abhidha only primary meaningDhvani can be there even without abhidha

Z

Dhvani vs TatparyavrttiFunction of the sentence to explain

the verbal comprehensions arising from it

Dhanika, DhanamjayaAbhinavagupta answers -The power of tatparyavrtti is exhausted

by establishing the logical connection of the word meanings & cannot givefurther suggestions

Dhvani vs vakroktiKuntakas vakrokti is almost similar to dhvaniMahimabhatta rejects vakrokti as dhvani

theory in disguiseYet both complimentary

Dhvani from the point of view of the readerVakrokti from the point of view of the writerDhvani the imaginative contentVakrokti poets imaginative skill

Classification of Dhvani

vivaksitanyayapara vacya (based on abhidha, so called abhidhamula)

avivaksita vacya (based on laksana, so called laksanamula)

Dhvani

vivaksitanyayapara vacya avivaksita vacya

Atyantatiraskrita-vacya arthantarasamkramita-vacya

Dhvani avivaksita vacya vivaksitanyayapara vacya

asamlaksyakrama-vyangya

Samlaksyakrama vyangya

Gunibuta-vyangya

Dhvani II.avivaksita vacya I. vivaksitanyayapara vacya I.3. gunibhuta-vyangya I.2. asamlaksyakrama-vyangyaI.1.Samlaksyakrama vyangya

(A.)I.1.a.Pada-prakasya I.1.b vacya-prakasya

(B.)I.1.a. vastu dhvani I.1.b. alamkara dhvani

(C.)I.1.a.sabdasaktimula I.1.b. arthasaktimula I.1.c.Ubhayasaktimula

Kaku (intonation) {quality in the mode of expression which brings out the

intention of the speaker clearly}

Sakamksa kaku (expectant intonation)

1. Objection (asksephgarbha)

2. Question (prasnagarbha)

3. Doubt (vitarkagarbha)

Nirakamksa kaku(non expectant

intonation)1. Vidhirupa

(statement)2. Uttararupa

(answer)3. Nirnayarupa(asse

rtion)