11 Anandavardhana: Dhvani Theory

Dr. Bhandaram Vani

ANANDAVARDHANA – DHVANI THEORY

The theory of Dhvani in the field of Indian Poetics is not only a contribution to Sanskrit language, but also to the Universal rhetoric and aesthetics. The theme of aesthetics is been inherited through the Natya Shastra of Bharata and has been discussed by many scholars in their works and propounded different theories too. Along with the Rasa theory of Bharata we can name such six more theories which are been originated and propagated by different authors. They are (1) Alankara school of Bamaha and Udbhata, (2) The Guna school of Dandi (though Dandi has not specially said, but his focus was more on Guna) (3) The Riti School of Vamana, (4) The Dhvani school of Ananda Vardhana (5) The Vakrokti school of Kuntaka and (6) The Auchitya school of Kshemendra. Among them Ananda Vardhana occupied a very important place, whose views have been revealed the subtleties of great poems like Ramayana, Mahabharata and opened the minds of the authors on poetics. Almost all the authors on poetics talked directly or indirectly about the both Sabda (sound) and Artha (meaning) constitute the Kavya Sarira – the body of poem. These words and their bmeaning should be free from blemishes (Dosas). When Dandi coined Padavali – the group of words by itself is taken as Sarira only and meaning which is accompanied with great merit adds embellishment to poetry; the quest for the soul of Kavya has started. If the inner meaning of the poetry is suggestive, figurative and expressive then it leads evoking the desired Rasa. Vamana is the first one to coin this inner meaning as Atma – the soul of poetry as Riti – the style, from then onwards Alankarikas started phrasing the term Atma in their works, Anandvardhana said Dhvani is the Atma of Kavya, Viswanatha said Rasa is the Atma, Kuntaka said Vakrokti, Kshemendra asserted that Auchitya is the life of Kavya. Thus there was vast divergence in the opinions of rhetoricians. They are divided Pre-Dhvani school (Pracina School) of Bamaha, Dandi, Vamana and others who focused on Alankara (figures of speech) as they are, linger around word and its meaning (Sabdalankaras and Arthalankaras). Anandavardhana with his theory of Dhvani pointed out that the reader should go beyond the meaning to capture the suggested or hinted meaning. This new school of thought (Navina School) has completely changed the trend of later rhetoricians. Sabda and Artha which one directly expressed (Vachya) but a Sahrudaya ( a Sympathetic critic or a responsive reader, man of taste) gets delighted by grasping the suggested essence –the Rasa through Vyangya. The epoch making work of Anandavardhana – the Dhvanyaloka makes an attempt to study poetics from the aesthetics point of view, by giving prominence to Rasa.

The author of Dhvanyaloka Anandavardhana lived approximately in the 9th century AD, shows great erudition and critical insight in his work. It was written in lucid from and with originality. Dhvanyaloka is divided into four Udhyotas and written in three parts – the Karika, Vritti and examples. Often the prose explanation (Vritti) is at great length, and examples are taken from Prakrit texts and from earlier eminent poets. Abhinavagupta wrote an extensive commentary ‘Locana’ which is compared as eye to look into Dhvanyaloka.

Contents of the text Dhvanayaloka:

In the first Udhyota Anandavardhana establishes his theory that Dhvani – suggestion is the soul of poetry. He refers to three different views of those who are against the doctrine of Dhvani- (1) Dhvanyabhavavaadins likesome saying that Dhvani does not exist, (2) Bhaktavaadins_some regard that it is included in Lakshana, and . (3) Anirvachaniyatavaadins

– others speak its essence as lying beyond the scope of words which is known only to the men of literary taste. The beautiful idea of poetry is of two types expressed (Vacya) and implied (Pratiyamana). The expressed meaning is known to all in the form of Alankaras (the figures of speech). The implied or suggested sense is something like the distinct charm in the ladies other than the beauty of the various limbs of the body. The implied sense is quite different than the literal meaning and not just merely on its parts and exists in the poetry of great poets.

The Pratiyamanartha – implicit aspect cannot be understood by the people who merely know grammar and lexicon but it can be understood by men who are the admirers of poetry. The suggested sense is principal element in poetry. When suggested sense, is prominent it is called Dhvani Kavya. In all good poetry Dhvani is found as important element. Such poetry in which the sound and its explicit meaning become subordinate and implicit meaning embraces various divisions such as the bare idea, figures of speech and sentiment is called the highest type of poetry. In figures of speech like Samasokti, Akashepa, Paryayaokti, Slesha, Visheshokti, Apahnuti etc there is no Dhvani. Because the Vacya-expliciî/direct /denotative or conventional meaning in much prominent than the Vyangya – implicit or suggested meaning. This type of poetry has charm but not as much as Dhvani Kavya, hence called as Gunibhuta Vyangya Kavya.

The implicit aspect/suggested meaning is of three kinds (1) Vastu – the plot, (2) Alankara – the figures of speech and (3) Rasa – the sentiment and there are many sub-division to these three.

Dhvani is two-fold Avivakshita Vacya where the literal meaning is not intended to be conveyed hence further extended literal import is needed and Vivakshitanyapara vacya is where literal import is intended but sub-serves the implied meaning.

He closes the first Udhyata by clearing all objections of the people who are anti-Dhvani theory with all illustrations. He shows Dhvani is neither identical with Bhakti (Lakshna) the secondary meaning nor is incapable of defining and illustrated.

In the second Udhyota he deals with sub varieties of Avivakshita vacya in to Arthantara Sankramita and Atyanta tiraskrita and gives examples of each. He divides Vivakshitanyapar vacya into Asmlakshya Kramavyangya and samlakshyakramavyangs. The Asmlakshya Kramavyangya which can be considered as Rasadhvani is constituted by Rasa, Bhava, Rasabhasa and Bhavabhasa and Bhavaprashana and others are subordinate, and also the difference between Gunas and Alankaras, sub divisions of Samlakshya Kramavyangya into Sabdaskti moola and Asthashakti moola, sub division of Arthashaktimoola into vastu and Alankara and etc were discussed with suitable examples of Alankara Dhvani.

III Udhyota is dealt with sub-divisions of Dhvani based upon Vyanjaka, Padaprakasha, Vakya Prakasha, three kinds of Sanghatana and how it depends upon its appropriations of speaker, the Sense, the Plot and Rasa. How is Rasa is manifested, sustained and how Alankaras become suitable to evoke Rasa, the things that are opposed to arouse the Rasa, the importance of five stages (Mukha, Pratimukha, Garbha, Avamarsha and Nirvhana to lead Rasa manifestation, light on how the establishment of Shanta the Rasa , varieties of Kavyas like Gunibhuta, Chitra, and Dhvani due to the poets Pratibha.

IV Udhyota elaborates the fresh aspects in the domain of Dhvani, and Gunibhuta how the same idea can appear new with poet’s imaginations, his concern about Rasa, Karuna Rasa in Ramayana and Shanta Rasa in Shastra Kavya Mahabharata, as the principal Rasas , establishing the province of poetry is unlimited though hundreds of poets composing hundreds of works continuously. There is no dearth of good quality of poetry for the imagination of poet, the same thought, same idea can be suggested in a number of ways with charming expressions.

Definition of the Dhvani Kavya:

Dhvani kavya is defined by Anandavardhana as wherein the conventional meaning renders itself secondary or the conventional word renders its meaning secondary and suggests the implied or intended meaning is designated as Dhvani or suggestive poetry.

The kind of poetry where the word and its meaning giving up their explicit sense and suggest only the said implicit meaning is signified by the name Dhvani or suggestive poetry. When the suggested sense in overtaken by the denoted word and its meaning is considered as Dhvani. Here Upasargana means ‘being subservient’ i.e. the Vachyartha – the direct or explicit meaning takes the secondary position, without being prominent, suggested meaning, becomes Pradhaana is the situation for Dhvani Kavya. By this it is shown how the province of suggestive poetry is quite distinct from the charm of figures of speech like Upama, Anupasa etc Artha and Sabda Alankaras.

The suggested sense (the implicit meaning)  sometimes  will be prohibition  but  in Vachyartha explicit meaning  in  an  instruction  to  do  something  (Oh! pious man! wander freely, that dog is killed by the fierce lion that dwells on the banks of Godavari river)

Here, the lady who use to meet her lover on the banks of river Godavari, is getting hesitant when the pious man is coming to bathe. She explicitly say that he can roam freely, but actually the man who is scared of dog, how can be move when the lion is there. Thus explicitly she says he can go around but the suggestive (intended) is he should not go there. Thus she makes her privacy unhindered.

Sometimes the explicit meaning is prohibition but implicit meaning is permitting to do as desired .For example in the sloka from Gathasaptashati (Oh! traveler! blinded by night do not tumble into our beds as my mother-in-law sleeps here and I sleep here. Before dark itself you make a mark.)

Here, the speaker is a woman of loose morals, gives a veiled invitation to the traveler to her bed. The suggestive meaning (Vyangyartha) is welcome but explicit meaning is prohibition.

Thus the province of Vasthudhwani is established by Anandavardhana in the Ist Udhyota.

Dhvanyabhaavavaada Khandana-Refuting the objections of those who deny the existence of Dhvani:

As already pointed there are mainly three sets of people who disapprove the existence of Dhvani. The Abhavavaadins make three types of arguments. The first is what is new in Dhvani when the beautifying factors are already existing and acknowledged also .the second argument is vagvikalps they outright rejected the existence of Dhvani as the major concepts that have been put forth by the previous critics which is called Prasiddhaprasthana going against the well-known path will not add anything new and it would fail to win the acceptance of learned. The third argument is there is nothing like Dhvani because it can be a new name for the old beauty may be an insignificant element left un explained for that people need not dance as if they found a new discovery therefore Dasani is nothing but a fabricatin. Anandavardhana refuted the objection of anti- Dhvani is being shown fallacious through the number of illustrations. Suggestion is possible only when the suggested element is exclusively important. For example in Samasokti Alaknara the explicit meaning alone appears as prominent and charming than the suggested sense hence becomes secondary to it. In this Sloka the main subjects of description are the night and the moon. And the behavior of a heroine and that a hero are attributed to them are only secondary. Such places the intended is not primarily suggested. Hence, the figures of speech, qualities, varieties of diction, style all these can be the limbs of poetry but suggestive poetry cannot be looked upon as conditioned by its limbs, since its sphere is very extensive. The comprehensive concept as suggestion with all its divisions and sub-divisions is explained to satisfy the minds of enthusiastic critics. Though some Alankaras like Paryayakta, Somasokti, and Visheshokti etc. have suggestive sense but they are not the place for Dhvani, for, the implicit meaning is not prominent. In those instances Alankara is primary and suggestive sense is secondary.

One more example in Akshepa Alankara, where the chief element is hinting, and to serve the purpose of conveying specialty, but what expressed is more charming than implicit.

(Twilight is full of love with red colour, the day chases her face to face, but alas! look at the decree of fate, the twain do never meet)

Here, suggesting idea is the heroine Twilight, must be understood to be advancing to meet her Lover, the Day; the Day is also passionate Lover in also moving to meet her as it were. Since both are moving eagerly unable to meet each other. The Saga is continuing. All the beauty of the verse lies in Vachyartha only but not in the Vyangyartha. Hence explicit aspect is only considered as primarily intended, not the implicit.

Anandavardhana very clearly declares that Bhakti cannot be Dhvani because of Ativyapti, Avyapti Dosas of Lakshana definition. Dhvani exists even when there is no hindrance to the primary meaning, whereas Mukhyarthabhada – where the direct meaning gives up and indicates through, Lakshna power. The fact that lakshana is grounded on the primary denotative force of words. Like ‘Ganagayaam Goshah’ (village in the river Ganga) vachyartha –direct meaning is not applicable .hence we have to take a different meaning that the village is on the banks of river Ganga and this discrepancy is removed by the Lakshnaartha-secondary meaning. The village possess the coolness and holiness of Ganga is suggested. Thus Lakshana/Bhakti/Upachara function only when primary meaning is effected whereas suggestion is solely dependent on suggestively. Hence suggestion is different, Bhakti is different.

Now since Dhvani has been properly defined, explained and illustrated, the argument of Anirvachaniyata Vaadins is also refuted. Thus Anandavardhana justified the view of the existence of suggestion and reputed the all the objection raised by Dhavanyabhavavadi’s. (Those who say suggestion non-existent)

Alankara Dhvani:

The province of Alankara dhvani is proved by Anandavardhana in the second Udhyota in the illustration of (Upamadhvani-suggested simile) taken from his own work Vishamabanalila.

(The eyes of the heroes will not be so delighted in their beloved’s red-anointed breasts as in the temples of enemies’ elephants painted in deep red colour).

The third class of the implicit the Rasadhvani is quite distinct from the explicit. The meaning above is the soul of the poetry. At the sight of the separation of the Kruncha birds, the sorrow  of  Valmiki too  the  form of  the  poet.

The poetry of great poets is said to have such meaning and it is possible by the extraordinary genius of the poets. The status of first-rate poets is achieved only by the effective employment of suggested meaning and suggested expressions and not by mere use of conventional meanings and conventional words. Though by its own power the word-import responsible for conveying the sentence-import, just as it escapes notice once its purpose is served. The suggestive sense suddenly flashed in the perceptive critics when they turn away from the literal meaning.

Classification of Dhvani :

The Dhvani is mainly divided into two fold. 1.Avivakshita Vacya Dhvani. Where the intended meaning is not implied or not meant . Dhvani with unintended literal import as in – (Three persons gather flower of gold from the earth the sold, the learned and the one who knows to serve)

The expression Suvarnapursham in the above verse means literally ‘flowers of Gold’ is an epithet of the earth. The primary meaning is tainted with incompatibility. The earth cannot bear the gold flowers. Hence the secondary meaning (Lakshana or Bhakti) becomes necessity. The meaning can be understood as the earth replete with all coveted riches in an abundant measure. The greatness of three men specified are the hero, the scholar and the servant . Here the significance is distinct from secondary meaning. This is which designated as Avivakshita Vacya Dhvani.

The second variety is 2. Vivakshitanyapara Vacya dhvani where the intended meaning is implied. Dhvani with intended but further extended literal import as in (The quarters are all painted as it was with excitement, forming a circle as it were, etc. Rama says let us all these confront me; I shall bear them all as I am Rama, whose heart is adamant to be sure, But, how will Sita bear with all this. Alas! My beloved queen! be bold! I am separated from you.

Here the word ‘Rama’ carries the suggestive force. The word does not merely denote and individual’s name as Son of Dasaratha, but conveys the sense that he has all the capacity to bear any kind of pain. It suggests various qualities of Rama. This is example of Arthantarasankramita Vachya when suggested, the direct meaning use its individual sense.

Atyantatiraskruta Vacya – where the literal sense is completely set aside and Like in Valmiki Ramayana Here, this is the description of winter by Rama, in Panchavati, All the charm of the moon has gone to the Sun, it disappeared now that the orb is enveloped by snow, like a mirror rendered blind by the breath. The moon’s shine is blocked by the breathed out air. The figurative use of the word Nishwaasaandha-blined in the verse justify several qualities and completely lost the literal meaning that the moon is not shining due to the rise of Sun. The word ‘blinded’ contains the suggestion.

The Vivaksshitanyapararacyadhvani can be called as Abhidamoola is further divided into two types.

(1) Asamlakshya Krama-dhavani- where the intended sense is grasped without any apparent sequence the levels and scheme of realization of implicit sense in unperceivable. This is constituted by Rasa, Bhava, Rasabhasa, Bhavabhasa, Bhavodaya, Bhavasandhi, Bhava Sabalata and Bhava Prashama. When these occupy the predominant place in the poem. When sentiment Rasa and Bhava (emotion) etc. are sub-ordinate and principle meaning in primary there occurs Rasavadalankara only not Dhvani. For example –

In this verse a lady in her drama prattles with her husband, “since you are cunning, I shall keep you chained in my arms”. She lovingly rebukes her husband as ‘Ruthless’ etc. implying her innocence. In the present sloka the sorrow of widowed queens of enemy, those who can meet their husbands only in dream, is surely pathetic. But the sentiment paths is made sub-ordinate to the heroism of the king who is praised. Here Karuna Rasa is only an alankara here. Since it becomes auxiliary it is only Rasavadalankara. Whenever any Rasa is intended by the poet as primary then it rises to the status of Dhvani.

The Alamkara –figures of speech whose employment is regarded as secondary in Asamlakshya Krama-dhavani-Suggestive poetry of undiscerned sequentially and serves as the best vehicle of sentiment that is the place of Dhvani,  The painting on the cheeks are faded by the pressure from the palm of your hand .the nectar like juice of your lips drunk by your sighs. The tears continuously wetting your breast .OH! Hard hearted one! Anger has become your darling.

Here as the heroine is sitting and shedding with her chin placed the on her palm, the hero is trying to win her over artfully. While he enjoys the heroine’s consequent state like jealous, anger etc. And figures like Slesha,Rupaka and Vyatireka flood in poets mind without any effort .This kind of the poem is kind of expression can easily promote Rasa –the Sentiment. Figures of speech can beatify only the body of the poem but the principal element of the poetry Rasa can be derived from the soul- by Dhvani -suggestion alone.

(2) Samlakshya Krama dhvani – where the sequence is apparent, where the stages of understanding the implicit sense from the explicit is well perceived.

The Samlakshydhvani is again divided into 3 types (1) Sabda Shakti Moola dhvani where the transition is due to the power of words.

When an Alankara is suggested it is Sabdashakti moola of the world dhvani. In Slesha there is scope for two meanings. The power of the words can convey suggestion like

Meaning related to Hara is that he by whom God of love is destroyed, by whom the very body of Bali’s enemy was turned into a shaft. Meaning that relates to Hari is He, the unborn, by whom the Demon of cart was destroyed. Whose body that triumphed over Bali was into a feminine form changed etc.

(2) Arthashaktimoola dhvani – where the transition is due to the power of meaning, like in  (As the divine sage said this, Parvati standing by the side of her father facing downwards, counted the petals of toy lotus she held in her hand.

He the idea of counting Lotus petals in conveyed expressly and that primary meaning subjugate itself in communicating the second idea that is shyness one of the Anubhava of Sringara Rassa. It is suggested by the power of implication. Unlike the suggestion with undiscerned sequantiality, here the context, description of situation, passing moods etc. will serve suggestion.

(3) Ubhaya Shakti moola dhvani – where the transition is due to the power of both Sabda and Artha (Word and meaning).

The scheme of this classification of Dhvani is very detailed and complicated too. Anandavardhana himself classifies in various ways as many as into fifty one types. Only a brief out line is given above.

Types of Poetry

According to Anandavardhana the poetry can be classified into three types  Chitra Kavya – is that poetry where there is absolutely no Dhvani-suggestive meaning. It is merely a fact (Vastu) involves in the usage of figures of speech Gunas etc. embellishments which beautify the description depending on the embellishment mainly with words or meaning. Again this is divided into two  Sabda chitra kaya and Artha Chitra kavya. This is the lowest order of poem (Adhama Kavya) as it is bereft of Dhvani.

The second type of Kavya Gunnibhutavyangya Kavya where the predominant element is ornate description full with the figures of speech, but not completely devoid of suggestive sense. Though suggestion leads to the charm but takes the secondary place. Since the suggestive meaning (Vyangya) takes subordinate element (Gunibhoota) of Explicit meaning this is called Gunibhoota Vyanya Kavya. The Dhvani here is not more beautiful than the expressed sense, the poetry of subordinate suggestion is considered as intermediary poetry. (Madhyamakavya)

The third variety of poetry is called as Dhvanikavya wherein the suggestions the principal method. All the beautifiers or embellishments of the expressed sense and the expression exist with the single purpose of conveying the sentiment is to be regarded as the best suggestive poetry. The suggested meaning is derived through the explicit meaning. Explicit fact is the means to implicit meaning. When vacyartha becomes subordinate to Vyangyartha (suggestive meaning) it is the best poetry – the Dhvanikavya. Suggestive element become primary and direct meaning becomes just a matter of fact. (Vastu or Alamkara).

The prominent Rasa in Ramayana and Mahabharata:

there are other Rasas like Sringara, Vipralambha Sringara, Vira, Krodha, Adbhuta etc. But all these are sub-ordinate sentiments (Anga Rasas). As Adikavi Valmiki himself said sorrow has become sloka-poem. Shoka or sorrow is the permanent mood (Sthayibhava) of Karuna Rasa. This Karuna Rasa is present in Ramayana throughout hence it is the  primary (Angi) Rasa in the Kavya.

In the entire Mahabharata the prominent Rasa is ‘Shante’ and all the other Rasa’s being Anga Rasas (sub-ordinate) Though there is no reference to the term Shanta in the Anukromanika (the index) – the table of contents, it should be understood through Dhvani. In the Anukramanica there is a quote which says “Lord Vasudeva, the Eternal will be glorified.

“ Here Vasudeva is not the son of Vasudeva, but he is Sanatana – the Eternal. The poem is full of praise of that Sanatana and he is the main character in Mahabharata. The cessation of desire disgust, aversion take important aspect in Mahabharata and tranquility of mind is desired emotion. The whole Kavya shows the importance of worldly pleasures, pains, possessions, Valour, love etc. and praises the Eternal. Abandoning all these desires is Vairagya -which is the static emotion Sthayibhava of Shanta Rasa. Hence in Mahabharata Shanta Rasa is the primary sentiment (Angi Rasa) and all other sentiments are auxiliaries (Anga Rasa).

Conclusion

The minds of Sahridayas go to suggested meaning instantaneously rather than to explicit meaning. To relish Rasa-sentiment the vibhavas- the settings like moong light, seasons, fragrance etc. and the Anubhavas-the physical changes like facial expression, body language etc., Vyabhichari bhavas like instantaneous reactions like laughing, weeping etc. are not simply declared. They are depicted to set the mind of the reader and spectator towards the accomplishment of desired Rasa through Dhvani which is the soul of the poet.

Thus Anandavardhana authoritatively advocates that when the suggestive element is prominent in the Kavya then it becomes a Dhvanikavya, an Uttama Kavya, and highest kind of poetry. Modern Scholars like P.V.Kane writes that “The Dhvanyaloka is an epoch-making  work in the history of Alankara literature. It occupies the same position in poetics as Panini’s Asthadhyayi and Sankaracharya’s commentary on Vedanta.”