Dhvani Echo – a good poem is one that haunts one after reading Taken from grammar In 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 sense The function of suggestion Dhvani Anandavardhana – Dhvanyaloka (9th cen) “The quality of poetry depends upon the imp. given to the element of suggestion” Suggestion – the soul of poetry Dhvanyaloka There are 2 kinds of beautiful ideas in poetry Vacya (literal) 2. Pratiyamana (implied) 1. Vacya/Pratiyamana Vacya is invariably – An idea, or 2. A figure of speech 1. 1. 2. 3. But suggested sense, pratiyamana may be – An idea, or A figure of speech, or An emotion Anandhavardhana Bharata – main objective of dramatic work –to arouse rasa Anandavardhana extended it to poetry Dhvani the soul of poetry Dhvani-stresses on the method of treatment Rasa – the ultimate effect Suggestion alone is not enough, the suggested sense must be charming Rasa Realization Abhinavagupta (अभिनवगप्ु त) (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 1. Nyaya & Mimamsaka schools do not recognize dhvani Jayaratha’s commentary on Alamkaravasva 12 anti dhvani theories are mentioned Anandhavardhana himself mentioned many of the views against dhvani in Dhvanyaloka Criticisms against Dhvani 1. 2. 3. 4. 5. 6. Dhvani vs Anumana Dhvani vs Arthapatti Dhvani vs Laksana Dhvani vs Abhidha Dhvani vs Tatparyavrtti 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 maryada But, arthapatti means to a valid knowledge, demands of suggested sensee accuracy & definiteness, But In dhvani, implied sense is vague Z Dhvani vs Laksana Figure of speech Alamkarikas 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 school Anandhavardhana – Abhidha only primary meaning Dhvani can be there even without abhidha Z Dhvani vs Tatparyavrtti Function of the sentence to explain the verbal comprehensions arising from it Dhanika, Dhanamjaya Abhinavagupta answers The power of tatparyavrtti is exhausted by establishing the logical connection of the word meanings & cannot givefurther suggestions Dhvani vs vakrokti Kuntakas vakrokti is almost similar to dhvani Mahimabhatta rejects vakrokti as dhvani theory in disguise Yet both complimentary Dhvani from the point of view of the reader Vakrokti from the point of view of the writer Dhvani the imaginative content Vakrokti 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-vyangya I.1.Samlaksyakrama vyangya (A.)I.1.a.Pada-prakasya (B.)I.1.a. vastu dhvani I.1.b vacya-prakasya 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(assertio n)