IKS
Name: Chavda Khushi
TYBA SEM 5
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Anandavardhana's theory of Dhvani is a major contribution to Indian poetics, positing that Dhvani, or suggestion, is the "soul of poetry". This theory, detailed in his work
Dhvanyaloka, changed the course of Sanskrit rhetoric by emphasizing that a reader should go beyond the direct, expressed meaning of a poem to grasp its suggested or hinted meaning.
Core Concepts of Dhvani
Anandavardhana's theory is based on the idea that the soul of a poem lies in its suggested essence, which is distinct from its literal meaning. He identified two main types of meaning in poetry:
Expressed Meaning (Vacya): The literal, direct meaning of words, which includes figures of speech (Alankaras). Implied Meaning (Pratiyamana): The suggested or implicit sense, which a responsive reader (Sahrudaya) grasps to feel a sense of delight. This is the principal element of good poetry.
• Classification of Poetry
Anandavardhana categorized poetry into three types based on the prominence of the suggested meaning: Dhvani Kavya (Highest Poetry): This is the best type of poetry, where the suggested meaning is primary and the literal meaning becomes subordinate. Sound and explicit meaning serve the purpose of conveying the sentiment.Gunibhuta Vyangya Kavya (Intermediary Poetry): In this type, the suggested sense is present but is secondary to the expressed meaning or ornate description.
Chitra Kavya (Lowest Poetry): This poetry lacks any suggested meaning and relies solely on figures of speech and other embellishments to beautify the description
The Two Main Types of Dhvani
Anandavardhana further classified Dhvani into two main types:
Avivakshita Vacya Dhvani: The literal meaning is not intended and a different, extended meaning is required.
Vivakshitanyapara Vacya Dhvani: The literal meaning is intended but its purpose is to serve the implied meaning.
Dhvanyaloka and its Influence
Anandavardhana's work, Dhvanyaloka, is a comprehensive study of poetics, divided into four sections (Udhyotas). In it, he refutes the arguments of those who denied the existence of Dhvani, clarifying that it is distinct from other poetic concepts like figures of speech (Alankaras) and secondary meaning (Lakshana/Bhakti). The work also highlights the importance of Rasa (sentiment) in poetry, asserting that it is manifested through Dhvani. For example, he states that the primary rasa in the Ramayana is Karuna Rasa (sorrow) and in the Mahabharata it is Shanta Rasa (tranquility).
According to modern scholars, the Dhvanyaloka is an "epoch-making work" in the history of Alankara literature, holding a position similar to Panini's Asthadhyayi.
Anandavardhana's theory of Dhvani is a foundational concept in Indian poetics, positing that the soul of poetry is suggestion, or dhvani. In his work,
Dhvanyaloka, he argues that the true essence of a poem lies not in its literal meaning, but in the implied or hinted meaning that a responsive reader grasps. This perspective distinguishes his Dhvani school from earlier schools that focused on figures of speech (Alankara), style (Riti), or other elements as the soul of poetry.
• Key Ideas
The Soul of Poetry: Anandavardhana declared that Dhvani is the Atma (soul) of poetry. He classified poetry into three types based on how prominent the suggested meaning is: Dhvani Kavya (Highest Poetry): The best form of poetry, where the suggested meaning is primary and the expressed meaning is secondary.
Gunibhuta Vyangya Kavya (Intermediary Poetry): Poetry where the suggested meaning is present but less prominent than the expressed meaning.
Chitra Kavya (Lowest Poetry): Poetry that lacks any suggested meaning and relies solely on embellishments like figures of speech.
Refuting Objections: Anandavardhana addressed and refuted the arguments of those who denied the existence of Dhvani. He argued that suggestion is distinct from other poetic elements, such as
Alankaras (figures of speech) and Lakshana (secondary meaning). While some
Alankaras may have a suggestive sense, the explicit meaning remains more charming and prominent, unlike in Dhvani. He also differentiated Dhvani from
Lakshana, noting that Lakshana functions only when the primary meaning is hindered, whereas suggestion is a separate and independent function.
Connection to Rasa: The Dhvanyaloka gives prominence to Rasa (sentiment), stating that it is manifested through Dhvani. Anandavardhana identified the primary
Rasa in the Ramayana as Karuna Rasa (sorrow) and in the Mahabharata as Shanta Rasa (tranquility), with all other sentiments being subordinate. He maintained that
Rasa is the principal element of poetry and that figures of speech merely embellish the body of the poem. The effective use of suggested meaning is what achieves the status of a first-rate poet_
Anandavardhana's work is considered "epoch-making" and holds a position in poetics similar to Panini's in grammar. It helped reveal the subtleties in great poems and influenced later rhetoricians by shifting the focus from the expressed to the suggested meaning.
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Bharata’s Natyashashtra is the oldest treatise on Rasa theory. The Rasa theory rooted in classical Indian aesthetics suggests that the central purpose of artistic expression especially in literature and performance is to elicit specific emotional responses known as rasas in the viewer or reader. These responses arouse and channery emotions, offering elevated aesthetic experiences shaped through the interplay of characters, situations and sentiments within the work. Key emotional flavours such as love (Shringara), humour (Hasya), and compassion (Karuna) are among the wise rasas explored. This theoretical framework is most throughly articulated in Natyashashtra, an ancient Sanskrit treatise attributed to Bharata muni which lays out the intricate connections between emotional expression, aesthetic pleasure, and narrative form.
The eleven elements that are described as the essence of Natyashashtra by Bharata but Rasa and Bhava are the main.
aesthetic performances in provoking a desired emotion that leads to open the heart and mind of spectators to understand the message and idea of the poet.
Rasa Theory was given by Bharata muni. According to this theory, the emotions that arise in the reader’s or viewer’s mind while reading poetry or watching a play are called Rasa. The Rasa Theory is one of the most important ideas in Indian poetics. Bharata muni said that there are nine Rasas in total. Each Rasa shows a different mood or emotion. These are:
1. Shringara (Love and Beauty) – This Rasa shows feelings of love, romance, attraction and beauty.
2. Hasya (Laughter) – This Rasa shows joy, fun and humour.
3. Karuna (Compassion) – This shows pity, sadness or sympathy for someone’s pain.
4. Veera (Heroism) – This Rasa shows courage, bravery or being and confidence.
5. Raudra (Anger) – This Rasa shows anger, rage or fury.
6. Bhayanaka (Fear) – This shows fear or worry about something dangerous.
7. Bibhatsa (Disgust) – This Rasa shows dislike or hatred towards something ugly or dirty.
8. Adbhuta (Wonder) – This shows surprise and amazement.
9. Shanta (Peace) – This Rasa shows calmness, peace, and satisfaction.
Each Rasa is connected with a certain emotion (Sthayi Bhava) and has its own colour and deity. For example, Shringara Rasa is linked with the colour green and the god Vishnu.
The main aim of any poetry, story, song or drama is to awaken these Rasas inside us when we read a beautiful poem. We start to feel these emotions and that makes the poem powerful and enjoyable. In simple words, the Rasa theory says that art is successful when it makes us feel something—that feeling connects the poet, the person, and the reader.
Bharata has stated that the main independent Rasas are not the emotions. The feelings, the fusion, and the repugnance and that something arouses independent—the homonymous on the emotions—the pathetic and the furious, the wondrous, or the velour, and the horrific or repugnance. All the later writers accepted the Bharata’s principle on Rasa, only his commentators tried to put their own views and points regarding the philosophical and psychological nature of Rasa.
According to Bharata, Rasa is created when various Bhavas (emotional states) come together in performance. These are:
Sthayi Bhava (permanent emotions)
Vibhava (stimulus)
Anubhava (consequently expressions)
Vyabhichari Bhava (transitional emotions)
Through the interaction of these Rasas is experienced in the mind of the spectators (known as the Sahridaya—one with a sensitive heart), appeared the intended Rasa.
In conclusion, Bharata’s Rasa Theory is a timeless framework. Art connected with emotion is universally highly relevant not only in classical Indian arts but even in modern literature, cinema, and performing arts. It transforms a performance from mere entertainment into a profound emotional journey.
•ESAAY•
Kuntaka's Vakrokti Theory is a significant contribution to Sanskrit literary criticism, placing the concept of Vakrokti (crooked or stylized speech) as the very "soul of poetry".
Core Principles
Kuntaka's theory, detailed in his work Vakrokti-Jivitam, views poetry as being defined by its unique language—a language of metaphor and suggestive communication that is distinct from everyday speech. He expanded upon the ideas of his predecessors like Bhamaha, who also considered Vakrokti the soul of poetry, but had generally categorized it as a figure of speech (Alamkara). Kuntaka, however, elevated it to a primary condition for all successful poetry.
Key Differentiators from Other Theories
Kuntaka's approach contrasted with other prominent schools of thought in Indian poetics:Dhvani vs. Vakrokti: While Anandavardhana's Dhvani school held that suggestion (Dhvani) is the soul of poetry, Kuntaka proposed that a poet's creativity and stylized expression (Vakrokti) is the crucial element. For Kuntaka, the art and talent of the poet, referred to as Kavi-vyapara-vakrata, is the primary condition for a successful poem.
Rasa vs. Vakrokti: Unlike Bharata's Rasa theory, which focuses on the aesthetic experience (Rasa) of the reader as the central element, Kuntaka balanced the role of both the poet's creativity and the reader's appreciation in the emergence of rasanubhuti (aesthetic experience).
In essence, Kuntaka's theory not only serves as a guide for appreciating poetry but also as a framework for poets on how to compose. He is considered an early language theorist in India, with his school of thought often compared to Western literary theories like formalism and new criticism.