Title: "Echoes of Meaning: Anandavardhana's Dhvani Theory Deciphered Through Poetry's Essence and Critical Lens"
Personal Information:-
Name:- Pallavi Parmar
Batch:- M.A. Sem 2 (2023-2025)
Enrollment Number:- 5108230034
E-mail Address:-pallaviparmar501@gmail.com
Roll Number:- 20
Assignment Details:-
Topic:- "Echoes of Meaning: Anandavardhana's Dhvani Theory Deciphered Through Poetry's Essence and Critical Lens"
Subject Code: 22402
Paper 109 : Literary Theory & Criticism and Indian Aesthetics
Submitted to:- Smt. Sujata Binoy Gardi, Department of English, MKBU,Bhavnagar.
Date of Submission:-26, April,2024.
Table of Contents:-
Personal Information
Assignment Details:
Abstract
Keywords
Introduction
Introduction to Anandavardhana and his Dhvanyaloka
Anandavardhana's Dhvanyaloka: The Seminal Text
Anandavardhana's Dhvani Theory
Dhvani: The Soul of Poetry
Types of Poetry
Adoption of 'Dhvani' from Grammar
Foundations of Dhvani Theory
Relation to Rasa Theory
Conclusion
References
Abstract:
Anandavardhana's Dhvani theory represents a pivotal moment in Indian literary criticism, shifting the focus from external literary devices to the inner essence of poetry. Through his seminal work "Dhvanyaloka," Anandavardhana proposed the concept of suggestion (dhvani) as the soul of poetry, emphasizing the power of implied meanings to evoke emotions indirectly. Influenced by Bhartrhari's Sphota theory, Dhvani theory categorizes words into three functions - Abhidha (literal), Laksana (implied), and Vyanjana (suggested), elucidating how poetry transcends mere communication to become a mode of aesthetic experience and emotional expression. This abstract explores the foundations, significance, application, and relation to Rasa theory of Anandavardhana's Dhvani theory, highlighting its enduring impact on Indian literary aesthetics and criticism.
Key words:
Anandavardhana, Dhvani theory, poetry, suggestion, essence, aesthetic, Rasa theory.
Introduction :
Ānandavardhana's Dhvani theory signifies a significant shift in Indian literary thought, emphasizing the inner essence of poetry over external literary devices. Earlier scholars like Bharata, Bhamaha, Udbhata, and Vamana focused on figures of speech, while Ānandavardhana integrated both external and internal aspects, highlighting the implicit or suggested meaning (dhvani) as the true essence of literature.(Singh)
Introduction to Anandvardhana and his Dhvanyaloka:
Anandavardhana, an expert in Sanskrit and Prakrit language was a court poet and literary
critic during the reign of King Avantivarman. He belonged to the 9th century CE. He was honored with the title of Rajanak for his literary and philosophical works. He wrote a large number of books.
However, unfortunately many of his creations are lost now. Anandavardhana was mostly famous for his six major works namely epic, narrative work, Lakshana Granth, Darshana Grantha, Buddhist book and a poem. In short, the Sanskrit Mahakavya-Arjuncarita, a narrative work- Visamabanalila, the Lakshana Grantha-Dhvanyaloka, the Darshana Grantha-Tattvaloka, Buddhist philosophical book- Dharmottarivivrti, and a poem-“Devisataka”, etc. are some of the significant works that are at the credit of Anandavardhana.
Dhvanyaloka:
The Lakshana Grantha was written by Anandavardhana in the 9th Century.
The book became the trendsetter in Indian literary criticism as it turned the focus of literary
criticism from the external artistic elements of poetry to the internal structure and inner beauty of ‘Dhvanyaloka' - The Seminal Text. (Chari)
'Dhvanyaloka' - The Seminal Text:
'Dhvanyaloka' is Anandavardhana's magnum opus, in which he expounded the Dhvani theory in detail. This work challenged the then-prevailing views of the 'alamkara' (rhetorical figures) school of Sanskrit criticism, which emphasized the role of figurative language in poetry. Anandavardhana argued that suggestion (dhvani) is a distinct and more fundamental principle than mere figuration, capable of explaining the efficacy of both figurative and non-figurative language in poetry. He outlined the premises, conditions, and various modes through which suggestion operates, establishing it as a superordinate function of poetic language.
Anandavardhana (9th century CE) - The Founder of the Dhvani Theory:
Anandavardhana, a literary critic from Kashmir, is regarded as the founder and original proponent of the groundbreaking Dhvani theory. His seminal work, 'Dhvanyaloka' (Light on Suggestion), laid the foundations of this theory, which sought to establish the concept of suggestion (dhvani) as the central principle of poetic expression. Through this text, he systematically formulated the idea that words and sentences in poetic language can convey an additional, unstated meaning beyond their literal and metaphorical senses, and that this suggestive function is the essence of poetic language that distinguishes it from ordinary discourse. (Chari)
3. Abhinavagupta (10th century CE) - The Commentator and Developer:
Abhinavagupta, a renowned philosopher and literary critic from Kashmir, wrote an influential commentary on Anandavardhana's 'Dhvanyaloka', further developing and elucidating the concepts of the Dhvani theory. His insightful interpretations and arguments helped solidify the theory's position as a major school of thought in Sanskrit literary criticism. Abhinavagupta's commentary played a crucial role in clarifying the nuances of the theory, addressing objections raised by other schools, and establishing the dhvani theory as a comprehensive and systematic approach to understanding poetic language and aesthetics.
4. Challenging the 'Alamkara' School:
The Dhvani theory, as propounded by Anandavardhana and Abhinavagupta, marked a significant shift in Sanskrit poetics. It challenged the dominance of the 'alamkara' (rhetorical figures) school, which had previously been the prevailing approach to literary criticism in Sanskrit. The 'alamkara' school focused primarily on the role of figurative language and rhetorical devices in poetry. In contrast, the Dhvani theorists argued that suggestion (dhvani) was a more fundamental and overarching principle that could account for the effectiveness of both figurative and non-figurative expressions in poetic language. (Chari)
Anandavardhana's Dhvani Theory:
Anandavardhana's Dhvani Theory stands as a significant advancement in classical Indian literary theory, exploring how poetry utilizes language and suggested meanings to evoke emotions indirectly. Unlike Bharata's Rasa Theory, which focuses on direct emotional effects, Dhvani highlights the power of suggestion in evoking aesthetic emotions. Together, these theories offer a comprehensive understanding of how literature resonates with audiences, blending explicit and implicit dimensions of emotional resonance in literary expression.
Defense against Criticisms
Anandavardhana's dhvani theory encountered substantial criticism, particularly from scholars like the Naiyayikas and Mimamsakas, who were skeptical of the notion of a distinct suggested meaning apart from literal and figurative meanings. Critics attempted to assimilate dhvani into existing concepts such as anumana (inference), arthapatti (implication), laksana (figurative meaning), and tatparyavritti (intentional meaning).
Anandavardhana systematically refuted these criticisms by asserting that dhvani operates differently from these concepts. He argued against equating dhvani with anumana, arthapatti, laksana, and tatparyavritti, highlighting the unique nature of suggestion as a literary device that extends beyond established semantic and inferential frameworks.
7. Abhinava's Contributions
Abhinavagupta, a renowned commentator on Anandavardhana's Dhvanyaloka, further developed and refined the dhvani theory. His contributions include:
> Emphasizing dhvani as a tool to analyze the subjective experience of the reader/viewer of a literary work beyond linguistic analysis.
> Viewing dhvani and rasa as interlinked yet distinct concepts that jointly regulate the overall aesthetic experience.
> Describing three psychological stages of rasa realization - cognitive, idealization through imagination, and affective experience.
> Providing a comprehensive analysis of how dhvani integrates with established concepts like anumana and laksana.
Dhvani is the Soul of Poetry:
Anandavardhana asserts that Dhvani, or suggested meaning, is the essence of poetry, constituting its soul. Dhvani is not merely any meaning, but specifically a suggested meaning that fulfills certain criteria laid out by Anandavardhana. According to him, for a meaning to qualify as the soul of poetry, it must garner the admiration of discerning critics and possess supreme quality. Furthermore, this meaning should exhibit Rasadhvani qualities—appealing deeply to human sentiments and emotions.
Anandavardhana defines Dhvani as a poetic expression where the literal or conventional meaning takes a backseat, serving as a secondary or subordinate element, while the implied or suggested meaning takes precedence. He emphasizes that it is this suggested meaning that embodies the essence of poetry, capturing the heart and mind of the reader or listener.
Three Levels of Meaning - Abhidha, Laksana, Vyanjana :
Ānandavardhana introduced a third level of meaning beyond abhidha (literal) and laksana (implied). He emphasized vyanjana (suggestion), suggesting that the richness of literary language is more about suggestion than mere description.
Abhidha (Denotative/Literal Meaning):
Abhidha represents the primary, denotative, or literal meaning of words. It is the straightforward, surface-level interpretation based on common understanding and conventional usage. According to Ānandavardhana, language operates on two levels - explicit and implicit. While acknowledging the importance of abhidha as the foundation of communication, Ānandavardhana views it as a means for poets to convey deeper, suggestive ideas indirectly. Poets use explicit language to communicate implicit meanings, which are considered the true essence of poetry in Dhvani theory.
Laksana (Indicative/Implied Meaning):
Laksana refers to the secondary, implied, or indicative meaning derived from words or phrases based on context or inference. It goes beyond the literal sense and involves reasoning or suggestion. Ānandavardhana recognized laksana as a valid function of language, but he emphasized that it still falls short of capturing the complete suggested sense or dhvani, which he considered essential in literary discourse.
Vyanjana (Suggested Meaning/Dhvani):
Vyanjana, or dhvani, is the suggested, implicit, or evoked meaning that forms the core of Ānandavardhana's Dhvani theory. It is not explicitly stated but indirectly conveyed through words, context, figures of speech, and aesthetic experiences. Ānandavardhana proposed vyanjana as a third function of words to explain the suggested sense, emphasizing that the richness of literary language lies more in suggestion than in description. Vyanjana is considered the "soul of poetry" (kavyasya atma dhvani) and is what distinguishes literary discourse according to Dhvani theory. (Singh)
Classifications of Dhvani
Subsequent scholars further classified and analyzed the concept of dhvani:
- Shabdi dhvani vs Arthi dhvani: Shabdi dhvani arises from specific words, whereas arthi dhvani depends on the overall meaning of the sentence.
- Abhidhamula vs Laksanamula: Abhidhamula suggests that suggestion depends on the literal primary sense, whereas laksanamula implies that it depends on the figurative secondary sense.
Understanding abhidha, laksana, and vyanjana in Ānandavardhana's Dhvani theory helps us see how implied meanings and hints play a big role in understanding and enjoying literature.(Singh)
Categories of Suggested Meaning :
Ānandavardhana classified suggested meanings into three categories:
Vastu Dhvani : Suggesting a unique idea or truth.
Alankara Dhvani : Suggesting a figure of speech.
Rasa Dhvani : Evoking an aesthetic experience (rasa). (Singh)
The Layers of Poetic Suggestion:
The Dhvani Theory, conceptualized by Anandvardhana, delineates poetic suggestion (dhvani) into two primary categories:
I. Avivakshitavacya or Lakshana-born Dhvani:
In this category, the literal meaning of words is wholly disregarded, and only the suggested or implied meaning (laksyartha) is conveyed through metaphorical language.
II. Vivakshitanyaparavacya or Abhidha-born Dhvani:
Here, while the literal meaning is intended to some extent, it simultaneously suggests a deeper meaning (vyangyartha). This category further subdivides into three types:
A. Vastu Dhvani:
This type suggests facts, objects, or realistic possibilities. It can either be rooted in the poet's imagination (kavipraudhoktimatrasiddha) or grounded in material realities (swatahsambhavi).
Example:
"The taper burneth in your closet, Sir." (Julius Caesar Act I S-I)
In this line, the literal statement suggests that Brutus is an evaluator and conspirator who has decided to sacrifice Caesar.
B. Alankara Dhvani:
This form suggests through the skillful use of poetic figures like metaphors and similes. The poetic embellishments themselves convey additional senses beyond the literal meaning.
Example:
"Across the seas a new knowledge,
sudden and unobtrusive as first snow
transforming the landscape..."
This simile suggests that the poet's new self-awareness is akin to the transformative effect of snow.
C. Rasa Dhvani:
This kind evokes an aesthetic experience or emotional state (rasa) meant for the reader's relish. By depicting emotions through characters and imagery, poets indirectly suggest and arouse specific rasas.
Example:
"I am sick at heart...My way of life
Is fall'n into the sear the yellow leaf..."
These lines from Macbeth suggest and evoke rasas like despondency and depression.
Ultimately, the purpose of dhvani is for the poet to skillfully employ suggestion to create poetic beauty (caurutva), generate a sense of charm (camatkara), and enable the reader to experience and savor the intended rasa through refined sensitivity (sahrdayata). (Sharma)
Types of Poetry:
1. Dhvani Kavya: Poetry of Suggestion :
Anandavardhana identifies Dhvani Kavya as a type of poetry where suggestion or implied meaning takes precedence as the principal method of conveying special significance. Here, the suggested meaning surpasses the literal or conventional meaning, enriching the poetic experience with deeper layers of interpretation and emotional resonance.
2. Gunibhuta Vyanga Kavya: Poetry of Literal Meaning:
In Gunibhuta Vyanga Kavya, Anandavardhana emphasizes the importance of literal meanings, which hold a more significant position compared to suggestion. While elements of suggestion or Dhvani may be present, they play a secondary role to the straightforward, surface-level meanings conveyed by the text.
3. Chitra Kavya: Poetry of Ornate Description:
Chitra Kavya, according to Anandavardhana, celebrates ornate or figurative descriptions in poetry. This type of poetry prioritizes vivid and imaginative imagery, employing rich metaphors, similes, and descriptive language to create a visually captivating and sensory poetic experience. (Kulkarni)
Adoption of 'Dhvani' from Grammar :
The term 'dhvani' was borrowed from Sanskrit grammar, particularly the 'sphota' theory, which explained how words convey meaning beyond their literal interpretation. This concept was extended to literature, emphasizing suggestive meanings inherent in poetic expressions.
Role of Literal Meaning :
Ānandavardhana did not dismiss the literal meaning but viewed it as a means to convey deeper, suggestive meanings. Understanding the implied sense depends on grasping the explicit meaning, much like how poets use explicit language to communicate their deeper ideas indirectly.
SO we can say that Ānandavardhana's Dhvani theory revolutionized literary analysis by emphasizing the implied, suggested meanings within poetry, moving beyond traditional focus on external literary devices. This theory reshaped perceptions of poetry and literature, highlighting the intrinsic depth and essence conveyed through suggestive expressions. (Singh)
Foundations of Dhvani Theory Description:
The foundations of Dhvani theory can be traced back to the seminal text Dhvanyāloka by Ānandavardhana, which elaborates on the three functions of words (Abhidhā, Laksanā, and Vyanjanā) as delineated by grammarians and alankarikas. While Abhidhā pertains to the primary sense of words, and Laksanā indicates the associative or indicative sense, Vyanjanā represents the suggestive function, which is central to Dhvani theory. The integration of these functions into the study of poetic language led to a nuanced understanding of how words can convey multiple layers of meaning and evoke emotions in the reader.
The Significance of Bhartrhari and the Sphota Theory Description:
The influence of Bhartrhari and his Sphota theory on Ānandavardhana's development of Dhvani theory is crucial in understanding the broader context of Indian literary aesthetics. Bhartrhari's concept of Sphota posits that the meaning of a sentence is grasped as a whole entity, highlighting the unity of linguistic symbols and the process of comprehension. This idea of a unified linguistic entity resonates with the notion of Dhvani, wherein words evoke a holistic meaning that transcends mere denotation.
Application of Dhvani in Literary Criticism Description:
The application of Dhvani theory in literary criticism extends to analyzing the aesthetic and emotional dimensions of poetic texts. By unraveling the layers of suggestion and resonance embedded in poetry, critics can uncover the subtle meanings, nuances, and emotional effects that contribute to the overall impact of a literary work. Dhvani provides a framework for understanding how poetry transcends mere communication to become a mode of aesthetic experience and emotional expression.
In summary, Dhvani theory encapsulates the power of suggestion, emotion, and resonance in poetry, offering a profound insight into the multifaceted nature of literary language. By examining its foundations, significance, function, and application in literary criticism, one can appreciate the depth and complexity of Dhvani as a transformative concept in Indian literary aesthetics. (Singh)
Relation to Rasa Theory
Rasa Theory by Bharata in Natyashastra:
The classical Indian tradition of literary theory is enriched by Bharata's Rasa Theory, as elucidated in the Natyashastra. According to this theory, the primary objective of poetry and drama is to elicit specific aesthetic emotions, known as rasas, within the audience. These rasas encompass a broad spectrum of human experiences, ranging from love (shringara) to heroism (vira) and beyond. Bharata emphasizes that these emotions are evoked through a combination of factors including stimuli (vibhavas), emotional responses (anubhavas), and transitory emotions (sanchari bhavas). The theory underscores the direct emotional impact produced by literary works, focusing on the immediate and tangible effects on the audience.
8. Influence
The dhvani theory proposed by Anandavardhana and elaborated by Abhinavagupta exerted a profound influence on subsequent Indian literary criticism and theories of meaning and interpretation. It became a foundational concept in Sanskrit Poetics (Alamkara Shastra), establishing the idea that literature conveys a suggested meaning that transcends.
Conclusion:
In Conclusion, we can say that Ānandavardhana's Dhvani theory revolutionized Indian literary thought by emphasizing the power of suggestion (dhvani) as the essence of poetry. Through 'Dhvanyaloka', he shifted focus from external literary devices to the inner beauty of literature, providing a framework for understanding poetry's emotional resonance. Influenced by Bhartrhari's Sphota theory, Dhvani theory offers a holistic approach to interpreting the layered meanings in poetry, solidifying its position as a major school of thought. Ultimately, Dhvani theory highlights poetry's ability to evoke profound emotions and stands as a testament to the enduring impact of Ānandavardhana's insights on literary criticism.
References:
Chari, V. K. “The Indian Theory of Suggestion (Dhvani).” Philosophy East and West, vol. 27, no. 4, 1977, pp. 391–99. JSTOR, https://doi.org/10.2307/1397981. Accessed 26 Apr. 2024.
Kulkarni, Digambar S. “Dhvanyaloka by Anandavardhana: A Critical Reading of the Theory of Suggestion in Poetry.” Journal of Emerging Technologies and Innovative Research, Journal of Emerging Technologies and Innovative Research (JETIR), March 2018, https://www.jetir.org/papers/JETIR1803326.pdf. Accessed 26 April 2024.
Sharma, Bharati. “Dhvani Theory: Understanding Meaning of a Literary Composition.” IJCRT.org, International Journal of Creative Research Thoughts, 2 February 2022, https://ijcrt.org/papers/IJCRT2202147.pdf. Accessed 26 April 2024.
Singh, Ajay. “ĀNANDAVARDHANA'S THEORY OF DHVANI: AN INTRODUCTION.” EPRA JOURNALS, EPRA International Journal of Multidisciplinary Research (IJMR) - Peer Reviewed Journal, June 2022, https://eprajournals.com/IJMR/article/7071/download. Accessed 26 April 2024.
Singh, Ajay. “Dhvani Theory in Indian Aesthetics.” IJELS, International Journal of English Literature and Social Sciences, May-Jun 2022, https://ijels.com/upload_document/issue_files/34IJELS-106202231-Dhvani.pdf. Accessed 26 April 2024.
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