This document covers the important points from all the four Udyotas of Anandavardhana’s Dhvanyaloka. This has been consolidated from the various posts in the blogs on this topic which covered the sessions by Prof. H.V. Nagaraja Rao, Prof. Sivakumaraswamy, and Prof. Vanitha Ramaswamy. The coverage is limited to the important aspects, based on the earlier KSOU MA exam question papers. The phrases asked in KSOU MA exam सन्दर्भ questions have been underlined with bold font (mostly along with this indicator <*>). Some additional information mentioned by the speakers during the class room sessions have been marked as “Side notes”. They may not be important from the exam point of view. They have been included either to understand the context or just for information. Here is a downloadable file which additionally includes an elaborate table of contents and a few SmartArt graphic images. Click here –> dhvanyaaloka-of-anandavardhana

Introduction

Background Information

Aaloka means light (jyothi / prakaasha). Since it throws light on the matter regarding Dhvani or suggestion, it is named as Dhvanyaaloka. Dhvani was a new concept from the perspective of the earlier Alamkaarikas. So it was not readily accepted. Dhvanyaaloka’s intent was to assert that Dhvani is the soul of poetry.To understand why Dhvanyaaloka was written, we need to know about Alamkara Sashtra.

Shashtra

Shash शास्means “to command”. “शासते इति शास्त्रम्” — That which rules or commands is the scripture. There are different shashtras like Tarka, Vyakarana, Meemaamsa, etc. Dhvanyaaloka comes under Sahitya Shashtra or Alamkaara Shashtra.

[Side note: Only when Veda approves, it can be accepted. Bhaamaah proved that Kavya is accepted by the Vedas.]

Sahitya Shashtra

The first of such poets to think about the nature of poems was Bharata. He lived before 500 BC. There have been many Aalankarikaas or Literary critics after him. The Shahitya Shashtra has evolved over the centuries.

Classification of Sammitaa

The literary works (Sammitaa or Saahityaa) can be classified into 3 types:

Prabhu Sammitaa Peremptory or dictatorial commands – In the tone of इदमित्तं–This is how it has to be done – the lord’s orders. Eg. Veda. Mitra Sammitaa Friendly advice. Itihaasa – Epics – Ramayana and Mahabharata Kaantaa Sammitaa Lover’s words – Sweet Persuation Eg. Kaavyas

[Side Note: In Shakuntalam, while As Kalidasa puts it, अशिक्षित-पटुत्वं– women are very smart which is not taught by anyone. ]

Alankaara

Alamkaara is a concept (Parikalpana) in Sanskrit. In Kavya Shastra, the term Alamkaara means that which beautifies the poem. The definition of Alamkaara as mentioned in काव्यादर्श is काव्यशोभाकरान् धर्मान् अलंकरान् प्रचक्षते| The properties (dharmas) which beautify the poem are Alamkaras – says Dandi in his Kaavyaadarsha. Alankaara Shashtram is Literary Criticism. One who knows fully about Alamkaara is an Aalankaarika. Literary critics are those who write about Alamkaaras. These critics attempted to definethe soul of poetry.

[Side Note: Dhvanyaaloka is a Lakshana Grantha that describes certain concepts related to poetry. (See the details about Lakshana Grantha and Lakshya Grantha – https://nivedita2015.wordpress.com/kavya-prakasha-by-mammata/) ]

Soul of Kavya

काव्यम् = काव्य-आत्मा + काव्य-शरीरम् (अङ्गम् + अङ्गी). Kavya is word and its meaning or meaningful words. शब्दार्थौ सहितौ काव्यम् | All literary critics discuss only about the Kaavya Shareera and the Soul. When we talk about Kaavya Shareera, it has its limbs. There will be a main aspect. The other aspects will be just an अङ्ग or supplementary or auxiliary. अलंकारः, गुणः, रीतिः, etc. We can present or express our feelings through the alamkaaras like Upamaa, Rupaka, etc. These organs assist or supplement the composition of the work. Right from the days of Bharata, there has been the debate on which should be the limbs and which should be the soul of poetry. रसात्मकं काव्यम् says Bharata. He was a literary critic or alamkaarika or laakshanikaa. Various critics or alamkaarikas have propounded numerous theories.

History of Kaavya Shaastra

List of Famous Alamkaarikas and their Theories

Author Lakshana Grantha Theory Highlight Time Bharata Muni Naatya Shaastra

36 chapters Rasa is important. 10 types of dramas रसात्मकंकाव्यम् |

इतिवृत्तम्तुकाव्यस्यशरीरम् |

(काव्यस्यआत्मारसः) 500 BC Bhaamaha Kaavyaalamkaara Alamkara शब्दार्थौसहितौकाव्यम् |

(काव्यस्यआत्माअलंकारः ) 700 AD (P.V. Kane – 8th) Dhandi Kaavyaadharsha 10 Gunas, दशगुणाः(Alamkara Lakshanamand kaavya lakshanam, चम्पु) काव्य शोभाकरान्धर्मान्अलंकरान्प्रचक्षते|…शरीरंतावदिष्टार्थव्यवच्छिन्नापदावली| (It is ok without Prathibha, if a person having vyutpatti and abhyaasa is sincere) 7th AD Kanchi, great grandson of Bhaaravi Vaamana Kaavyaalankaara Sutra and its Vrutti Reeti (way of expression) रीतिरात्माकाव्यस्य | First to think of soul काव्यशोभायाःकर्तारो धर्मागुणाः।तदतिशय-हेतवस्त्वलङ्कारः | पूर्वेनित्यः| Alamkara enhance the beauty. Guna causes them and are essential.3 kinds of reetis. काव्यशब्दोयं गुणालंकारसंस्कृत्योःशब्दार्थयोःवरर्तते| 8th AD Jayapida’s court, Kashmir Udbatta Kaavyalamkara Sara Sangraha 9th Shantha Rasa Staayibhaava Nirveda for Shantha; Also wrote commentary on Bhaamaha’s work 8th AD Jayapida’s court, Kashmir Rudrata Kaavyalamkaara 10th Preyas Rasa Staayibhaava preethi or vaatsalya 9thAD (850) Anandavardhana Dhvanyaaloka Dhvani काव्यस्यआत्माध्वनिः | 9th AD (820 – 890) Rajashekara

राजशेकरः Kavyamimamsa Investigation of Poetics (Kaavya Lakshanam) कवेःकर्मकाव्यम् | kavishiksha or training of poets 9th-10th AD Abhinava Gupta Commentaries Lochana on Dhvanyaaloka, Abhinava Bhaarati on Naatya Shaastra Rasaanubhava Process of realization of Rasa 980 to 1020 Kuntaka Vakrookti Jivitam Vakrotti

(crooked speech)(Kaavya Lakshanam) शब्दार्थौसहितौवक्रकविव्यापारशालिनि।बन्धेव्यवस्थितौकाव्यंतद्विदाह्लादकारिणि। (Opposed classification as Adhama kaavya) 10th 950–1050 Dhananjaya (and Dhanika) Dasharoopaka (and commentary Avaloka) Taatparya (opposed Dhvani) 10th Bhoja Deva / Bhoja Raja Srngaaraprakaasha and सरस्वतीकण्ठाभरण Srngaara and Sanskrit Grammar Srngaara is the only rasa; Revised edition of Sanskrit Grammar 10th AD Malwa (till 1055) Hemachandra Siddha-Hema-Śabdanuśāśana Grammar Grammar in paninian style Jain – 1088-1173 Mahima Batta Vyaktiviveka Anumaana (opposed Dhvani) Defects in Dhvani and showed that anumaana is present in Dhvani examples. Elaborated on Anauchitya 11th Kashmir Kshemendra Auchitya Vichaara Charcha Auchitya Auchitya is the jivita of rasa. 27 types of auchitya. 11th AD student of Abhinavagupta Mammatta मम्मटः Kaavya Prakaasha (Kaavya Lakshanam) तददोषौशब्दार्थौसगुणावनलंकृतीपुनःक्वापि 12th Vishwanatha विश्वनाथः Saahitya Dharpana Ukti उक्तिविषेशःकाव्यम् | वाक्यंरसात्मकंकाव्यम् | 14th Orissa Rupagoswami Bhaktirasa-amritasindhu Bhakti Rasa Like Madhusoodhana Saraswati, Bhakti rasa 15th – 16th Appayya Dikshita Kuvalayaananda, Chitra Meemaamsa 100 alamkaaras 100 works on various subjects; chitra meemaamsa written in shastric manner – for which khandana was written by Jagannatha 16th Tamil Nadu जगन्नाथःJagannatha Pandita Raja title given by Shah Jahan Rasa Gangadhaaraa, Chitra Meemaamsa Khandana (Kaavya Lakshanam only shabda) Rasa Sutra explanation रमणीयार्थ-प्रतिपादकःशब्दःकाव्यम् | Only 9 rasas. Only prathibha is the cause of kavya (more than nipunata and abhyaasa). Dhvani follower but splits shabda chitra and artha chitra into two separate levels. Rasa – indescribable emotion. Critic of Appaiya and Bhattoji Dikshita 17thTelugu Brahmin 1620-1665

There were many other aalamkaarikaas –Lolata, Kaiyatta, etc.

Creativity in Poetry

To understand the difference between ordinary statements and poetry, consider these two sentences. “कश्चित् वृक्षः तिष्ठत्यग्रे”and “नीरसतरुरिव भाति पुरा”.The first one simply states that a tree is present in front. The other one describes it interestingly by saying that it seems to be a tree devoid of any life or aesthetic sentiment. It also has alliteration or anupraasa alamkara due to the repeated occurrence of the same letter “ra”. Along with that shabda alamkara, it also has arthaalamkara by upama or Simile to describe the dry tree. It brings out the various rasas or aesthetic pleasures to different people. The term Niirasa conveys different feelings to different people like a traveler or a young couple.

Poetry

The plot or कथा वस्तु, the theme of the story, is iti vruttamइति वृत्तम्. It is the body of the poem according to Bharata. The body is beautified with alamkaaras. Everyone accepted Bharata’s opinion about the body of the poem. Bhaamah states in काव्यालंकार that Kavya comprises of words and their meanings -शब्दार्थौ सहितौ काव्यम् | Also it is saidthat the work of the poet is poem, कवेः कर्म काव्यम् | There are more definitions of Kavya. रमणीयार्थप्रतिपादकं काव्यम् | Highlighting the creativity of the poet, it is said प्रतिभायुक्तं काव्यम् Poem is one that has this scope for creativity where Prathibha is defined in this way – नवनवोन्मेषशालिनी प्रतिभा – That which produces newer and newer meaning is Prathibha.

प्रधानानामालङ्कारिकाणां काव्यलक्षणानि इमानि सन्ति ।

१. शब्दार्थौ सहितौ काव्यम् – भामहः ।

२. काव्यशब्दोऽयं गुणालङ्कारसंस्कृतयोः शब्दार्थयोर्वर्तते – वामनः ।

३. शरीरं तावदिष्टार्थव्यवच्छिन्ना पदावलिः – दण्डी ।

४. शब्दार्थौ काव्यम् – रुद्रटः ।

५. गुणालङ्काररीतिरसोपेतः साधुशब्दार्थान्दर्भः काव्यम् – वाग्भटः ।

६. तददोषौ शब्दार्थौ सगुणावनलङ्कृती पुनः क्वापि – मम्मटः ।

७. शब्दार्थशरीरं तावत् कव्यम् – आनन्दवर्धनः ।

८. शब्दार्थौ निर्दोषौ प्रायः सालङ्कारौ च काव्यम् – उद्भटः ।

९. निर्दोषा लक्षणवती सरीतिर्गुणभूषिता ।सालङ्काररसानेकवृत्तिर्वाक् काव्यनामभाक् ॥ – जयदेवः ।

१०. अदोषौ सगुणौ सालङ्कारौ च शब्दार्थौ काव्यम् – हेमचन्द्रः ।

११. गुणालङ्कारसहितौ शब्दार्थौ दोषवर्जितौ ।काव्यम् . . . ॥ – विद्यानाथः ।

१२. शब्दार्थौ वपुरस्य… – विद्याधरः ।

१३. वाक्यं रसात्मकं काव्यम् – विश्वनाथः ।

१४. रमणीयार्थप्रतिपादकः शब्दः काव्यम् – जगन्नाथः ।

[Side note: चर्वित चर्वनं मा भवेत् | Let there be noimitation i.e., chewing of that which is already chewed. So each one came up with his own idea]

[Side note: प्रयोजनमनुद्दिश्य मन्दोऽपि न प्रवर्तते | Even a dullard does not venture into a task without considering its benefit].

On correctness ofKaavyam साधु काव्यम् and on the purpose of poetry काव्यस्य प्रयोजनम् , Abhinava Gupta says this in the Lochana:

धर्मार्थकाममोक्षेषु वैचक्षण्यं कलासु च |करोति कीर्थिं प्रीतिं च साधु काव्यनिषेवणम् ||

There are different criteria for a Kavya to be considered as a उत्तमकाव्यम्. A superior poem is one that

Provides intense, special, efficient knowledge or expertise वैचक्षणम् in the four purushaarthas namely Dharma, Artha, Kaama and Moksha.

Provides the expert knowledge about the 64 Kalas.

Becomes the cause for gaining the loving respect and glory करोति कीर्थिं प्रीतिम्

Basic Concepts – Three types of Meanings

We will see the concepts (परिकल्पनानि) that are needed to understand Dhvani.

Vaachaka denotative Expressed or denoted meaning Abhidaa vyapara / अभिधावृत्तिः Koshaarthah, Vaachyaartha, शक्यार्थ The power of the word conveyed by the dictionary meaning Laakshanika indicative Indicated or suppressed meaning Lakshanaa vyapara / लक्षणावृत्तिः Lakshyaarthah, Lakshanaarthah,

भाक्त Some element is suppressed (The word bank is suppressed in Gangaayaam goshah – Hamlet on the banks of Ganga and not in Ganges) Vyanjaka suggestive Suggested meaning Vyangyaa vyapara / व्यञ्जनावृत्तिः Dhvanyarthah, Vyanjanaarthah, vyangyaarthah It shows or reflects or suggests some other meaning. The tone of “Go, go!” might mean “Don’t go”

Vaachyaartha – Dictionary Meaning

Shakti has many synonyms. कोशार्थः, वाच्यः, वाच्यार्थः, शक्यार्थः, मुख्यार्थः, अभिधावृत्तिः, अभिधाव्यापारः, सङ्केतार्थः |Vritti is defined as the relation of the word with its meaning पदपदार्थयोः संबन्धः वृत्तिः | वृत्तिःor व्यापारः means function or activity.

Abhidhaa vyaapaarah is defined as that activity by which the dictionary meaning is understood by us – कस्मात् व्यापारात् कोशार्थं अस्माभिः अवगन्तुं शक्यते | We understand the word Pustakam to mean a book. So this term is Koshaartha.

Lakshyaartha – Secondary Meaning

Bhakti is लक्षणा वृत्तिः |The primary power of the word to convey a meaning is called अभिधा. The primary meaning is शक्तिः. In some cases, we indicate a meaning which is different from the primary meaning. For example, when we say that a person is Mercury, it indicates certain quality of Mercury like being very brisk and active. In this case, the primary meaning is not taken. This secondary meaning is called लक्षणार्थः. The famous example is गङ्गायां घोषः | It means – आभीरपल्ली – the hamlet of cowherds.A person is selling milk and milk products. A housewife enquires “भद्रा! क्व ते घोषः ?” The milkman says “अम्ब! गङ्गायां घोषः”. Since the housewife wants to know if the person’s village is having good water resource which would result in a fertile land causing the cows to give good quality milk, the milkman gives an apt reply that his village is in the Ganges. Though he mentions only Ganga, it is understood as “गङ्गातीरे”. The power of the word to indicate a secondary meaning which is different from the primary meaning is called लक्षणा. Another term for it is भक्ति.

Why do we need Lakshanaa vyaapaara? मुख्यार्थस्य बाधः एव लक्षणा-व्यापारस्य आधारः | Lakshanaa obstructs the mukhyaartha. बाधःmeans to reject or not accept. So we go to the indicatory or suppressed meaning. Eg. Gangaayaam gosha – Here the expressed meaning is not acceptable, so the indicatory meaning is taken. To enhance the beauty of the poem, such indicatory meanings are used. गूढंसत् चमत्करोति | These latent / hidden / suppressed / indicatory (गूढ) meanings cause fascination and excitement. There is always a relationship (संबन्धः) between the mukhyaartha and the suppressed meaning.

Dhvani or व्यङ्गार्थ – Suggestion

How is व्यङ्गार्थ different from this suppressed or indicated meaning? For Dhvani, there are no conditions like it should obstruct or have a relationship with the original meaning. The characteristics of Dhvani are described later. To arrive at the suggested meaning, the characters and the context are important. Anandavardhana tells again and again that Dhvani is the प्रतीयमानार्थः – the meaning that flashes in the mind. मनसि प्रकाशते | मनसि उद्भवः भवति | When the mother tells a boy going to the movie, “Go, Go!”, based on the context, it could have the opposite meaning of “Don’t go!” So, here, it is neither the dictionary meaning nor a suppressed meaning. Here it is the suggested meaning. This is an example of Vastu Dhvani. The 3 types are Vastu Dhvani, Alamkaara Dhvani and Rasa Dhvani. The supreme amongst these is the Rasa Dhvani.

Once Anandavardhana put forth his theory that Dhvani is the soul of poetry, there arose prima facie arguments against it, among his critics referred to as Dhvani Virodha vaadis.Abhaavavaadis are those who claim that is no such thing as Dhvani. Anandavardhana partially accepts some of the earlier theories and he also denies some of the earlier theories (पूर्वसिद्धान्तानां निराकरणम्). He accepts that there is importance for Rasa, Guna, Alamkaras, Reeti, Vakroktihi, etc. But he claims that the soul is the Dhvani.

Introduction to Dhvanyaloka

Life and works of Aanandavardhana

Aanandavardhana is credited with creating the Dhvani theory. He wrote of dhvani (literally meaning sound, or resonance) in regard to the “soul of poetry.” Anandavardhana said that “When the poet writes, he creates a resonant field of emotions.”

आनन्दवर्धनः कस्य नासीत् आनन्दवर्धनः | “Whose Ananda did Anandavardhana fail to increase?” In our country, the centre of all Shaastric studies has been Kashmir. Between the 8th century and 11th century, many great thoughts, be it in Nyaya, or Alamkaara or Naatya, originated from Kashmir. Anandavardhana is also from Kashmir. Anandavardhana had that title of “राजानक” that was awarded only in Kashmir. आनक is the drum. राजानक means the poet who makes the fame of the king be known everywhere.Anandavardhana lived in the second half of 9th century from 820 to 890 AD. Kalhana’s Rajatarangini is a metrical legendary and historical chronicle of the north-western Indian subcontinent, particularly about the kings of Kashmir. It was written in Sanskrit by Kashmiri Brahmin, Kalhana, in the 12th century AD. While describing the king’s rule, he also mentions the poets that adorned their courts and the works produced by them. A king named King Avantivarma is mentioned in this Raajatarangini to have been ruling in the later half of 9th century. He wrote – मुक्ताकणः शिवस्वामी कविरानन्दवर्धनः । प्रथां रत्नाकराश्चागात् साम्राज्येऽवन्तिवर्मणः ॥ In King Avantivarma’s court, these poets were present – Muktaakana, Shivasvaami, Kavi Aanandavardhana and Ratnaakara.

Anandavardhana was an expert in Sanskrit and Prakruti languages. While citing examples in Dhavanyaaloka, he would quote from his own works. For example, he would state “यथा मम विषमभानलीलायाम्” – “As mentioned in my work – Vishama Bhaana Leela” and cite the example. Vishama Bhaana Leela has been written in Prakruta. His works are Dhvanyaaloka – lakshana granta, अर्जुनचरितम् – a mahaakavya;तत्त्वालोक – a dharshanika granta – a philosophical treatise; Vishama Bhaana Leela; धर्मोत्तार्त्विवृति Dharmottartvivrti–a Buddhist doctrine; and a poem called देवीशतकम् | Among the works of Anandavardhana, only Dhvanyaaloka and Devishatakam are available now. In Devishatakam, 100 shlokas on Devi was written by him as ordained by Devi who came in his dreams. This work comprises of beautiful shabdaalamkaara with the word Saraswati. देव्या स्वप्नोद्गमादिष्ट-देवीशतक-संज्ञया देशितो अनुपमामादात् अथ नोणसुतो नुतिम् There he refers to himself as नोणसुतः – so we get to know that his father’s name is Nona.

Abhinava Gupta

Abhinava Gupta has written the commentary for this work by name Lochana. He also wrote the commentary called Abhinava Bharati for the Bharata’s Naatya Shaastra. Dhvanyaaloka is the light of Dhvani. Since the light will be useful only when there are eyes, he has named his commentary appropriately as Lochana or eyes. किं लोचनं विनालोको भाति चन्द्रिकयापि हि ।i.e., लोचनं विना आलोकः भाति किम्?

Even before Abhinava Gupta’s Lochana, there was an earlier commentary by an ancestor of Abhinava Gupta himself and this work was called Chandrikaa or splendor. Hence Abhinava Gupta includes चन्द्रिकयाअपि हि– even by using Chandrikaa |

Background of Dhvanyaaloka

The words of common people just convey one meaning. But the words of great poets continue to resonate in our hearts and give numerous meanings as one reflects on it. He does not say it explicitly. Yet these meanings appear in the minds of the readers. This is called Dhvani. The true pleasure is experienced when the reader realizes something that is not explicitly stated. For that, the readers need to be eligible – be knowledgeable to understand the hidden message. John Keats says “Heard melodies are sweet, but those unheard are sweeter”. The readers should develop that sense of understanding the untold meaning.

Prior to Anandavardhana, the focus was only on the superfluous decorations of Kaavya like the Alamkaara. Then the focus changed to Guna. For the object without the soul, whatever is the decoration done, it will be like the decoration done for the dead body. अलम् means पूर्णम्. That which is done to make a thing complete is the Alamkaara – अलं करोति इति अलंकारः | It makes sense only to beautify something that has a life. Vaamana was the first one to think about the soul of poetry. He wrote Kaavyaalamkaara Sutras. He stated “रितिरात्मा काव्यस्य”. There were further debates on the soul of poetry. Anandavardhana proposed Dhvani as the soul of poetry.

Contribution of Anandavardhana to Alamkaara Shastra

Until the time of Anandavardhana, all the theorists were paying attention to the superficial factors like figures of speech, alliteration, simile, metaphor, etc. It was Anandavardhana who changed the course of Sanskrit Poetics. His period is a milestone. The era before and post Anandavardhana are different. He propounded Dhvani. The true enjoyment of Kavya comes due to the Dhvani. There are Vastu Dhvani, Alamkaara Dhvani and Rasa Dhvani, amongst which Rasa Dhvani gives the supreme enjoyment. अलङ्कारत्वसाधनम् (explained below) is a major contribution of Anandavardhana wherein he says that the Alamkaaras should be used as a decoration to enhance the Dhvani. Also Anandavardhana was the first one to provide criticism of a literary work as a whole. Until then, the critics were paying attention to only particular stanzas, word or sentences. He discussed about Prabhanda Dhvani, the Dhvani or the main sentiment that is present in the whole work.

Dhvanyaaloka

[Side Note: The general structure of shastras would be Sutras or Kaarikaas, Vaartikaas, and Bhaashya. Kaarikas are the doctrine stated in verses. Sutras are aphorisms where the main points are covered in a concise manner.Vaartikaas are Meta rules, in which another person develops the original sutras further with his own contribution. Vruttis are explanations which are a sort of paraphrase, to expand the ideas and to make the meaning clear. Bhashyamis a type of commentary which tries to interpret the text in the light of further knowledge. For the Vyaakarana Shaastra, Panini wrote the Sutras; Vararuchi wrote the Vaartikaas;and Patanjali wrote the Bhaashyaa. ]

Dhvanyaaloka was written in the 9th century. Anandavardhana is referred to as Dhvanikaarah as he proposed the Dhvani Theory. His point of view is that Dhvani, in particular, Rasa Dhvani, is the soul of the poem.

This book also has another name called सहृदयालोकः | समानं हृदयं यस्य सः सहृदयः | Only a person having the same interests will be able to appreciate and enjoy the poetry. Abhinava Gupta wrote the commentary called Lochana for this Dhvanyaaloka written by Anandavardhana. येषांकाव्यानुशीलनाभ्यासवशाद्विशदीभूतेमनोमुकुरेवर्णनीयतन्मयीभवनयोग्यतातेस्वहृदयसंवादभाजःसहृदयाः | Abhinava Gupta gives this definition for the term सहृदयाः. Different types of poetry are to be studied. Then the mind will start reflecting clearly like a mirror. In such a state, the purport of the Kaavya will be understood. The similarity in heart will be achieved then. Such a person is called a सहृदयः. This book shows light to such Sahrudayas and it is also called Sahrudayaaloka.

[Side Note on Rasa: When a person watches Sita Swayamvaram, he or she understands Raama’s rati bhava when Rama sees Sita through vakra drushti. Though, he forgets later the theater, Ramayana, Rama and Sita, etc., the young boy might continue to enjoy the feeling of Romance for a longer time.

In the same way, even tragedy in any tragic drama दुरन्तंनाटकम् when expressed nicely gives a good feeling. The tears brought out of the audience indicate the success of the work.

There should be poshana or enrichment of the Rasa. In another work, before Duryodhana leaves for the war, it is mentioned that his wife, Bhanumati cried. The rise of the emotion of the feeling of Vira is hampered. Rather than poshaka, it was a vighna. The feeling should always be nurtured and enhanced. The process of catharsis happens in the minds of the connoisseur. i.e., the purging out of the inner instincts happens. It gives a sense of satisfaction.

Vira, Shringara and Karuna can only be the dominant sentiments. One of these can only be the mukhya rasaa or Angi i.e., the possessor of organs of a literary work. Hasya can only be supplementary or gauna rasaa or apradhaana or Anga i.e., the organ. ]

Structure of Dhvanyaaloka

The structure of Dhvanyaalokaconsists of Kaarikas and Vrutti. There is debate on whether the Vruttiswere written by Anandavardhana. Dr. K. Krishnmoorthi and others in Karnataka are of the opinion that the kaarikaa and the vritti are written by Anandavardhana. There are others in North India and Kerala that opine that only the vritti was written by Anandavardhana. Dr. P.V. Kane has written a book on “The History of Sanskrit Poetics”. In this he mentions that the authors are different. Their opinion is probably based on the commentator named Maheshwara, who mentioned that Bharata or someone else could have written the Kaarikaa. Moreover, in the Lochana, Abhinava Gupta writes this way “इदम् आह वृत्तिकारः” – “So says the author of the Vritti”. This has added to the controversy that the author of kaarikaa and the vrutti could be different people.

[Side Note: P.V. Kane got Bharata Ratna award during the period of Rajendra Prasad. He is the only Sanskrit Pandit to get this award. His Magnum Opus work is “The History of Dharma Shaastra”].

Content of Dhvanyaaloka

There are four Udyotas in Dhvanyaaloka. (The entire text is present in KSOU MA).

In the first Udyota, it is declared that Dhvani is the Aatma of Kaavya. It is stressed that Dhvani has to be prominent and it has to be suggested rather than being denoted or indicated. The three Dhvani Virooda Vaadas are stated and the counter arguments are also provided to prove that Dhvani indeed exists.

In the Second Udyota, the two major classifications of Dhvani namely Avivakshitavaachya and Vivakshitaanyaparavaachya and their subtypes are mentioned. The status of Alamkaara and Guna are also clarified.

In the Third Udyota, the suggestiveness of word and sentence is explained. The different types are listed from the perspective of the Vyanjaka –the suggestive word, while in the earlier chapter it was based on the Vyangya –the suggested meaning. The different factors causing the suggestiveness in case of asamlakshyakramavyangya are explained. The significance of auchitya or propriety is mentioned. It is stated that there should be one prominent Rasa. The Guneebhootavyangya and Chitra Kaavya are also described.

In the Fourth Udyota, taking the example of Ramayana and Mahabhaarata, the literary criticism of the entire work is mentioned.The concept of Samvaada or Correspondence and its type are elaborated, with a clear guidance on what should be followed and what should be avoided.

First Udyota

Mangala Shloka

स्वेच्छाकेसरिणःस्वच्छस्वच्छायायासितेन्दवः | त्रायन्तां वो मधुरिपोः प्रपन्नार्तिच्छिदो नखाः || (Meaning: Let the claws of that Hari who manifested in the form of man-lion at His own will, which claws have outshone the moon in their crystal white hue, and which quells the afflictions of His devotees, protect you).

स्वेच्छाकेसरिणःनखाः = Nails of him, who took the form of Kesari due to his own will rather than due to any karma.

मधुरिपोःनखाः – Nails of Vishnu who is the enemy of Madhu.

स्वच्छस्वच्छायायासितेन्दवः = स्वच्छ+स्व+छाया+आयासित+इन्दवः= By their pure splendor, the nails cause the crescent moons to feel exhausted (defeated or troubled due to shame). स्वच्छ+स्व+छायया आयासितः इन्दुः यैः ते — They (Those nails) by which the moon was insulted due to the brilliance of their shadow – i.e., their shine.

[Side Note: Due to तुगागमसन्धिः and श्चुत्वः, चकार is included between the ह्रस्वस्वर अकार in स्व and छकार in छाया]

प्रपन्नार्तिच्छिदःनखाः= Nails of him, who destroys the sufferings of those who surrender on to him. प्रपन्न= Those who surrender to god; आर्ति = suffering; छिदः = tears off

वः त्रायन्ताम् –Let them protect you all (this includes the author and the readers also).

Abhinava Gupta shows that Anandavardhana included the 3 types of Dhvani namely Vastu Dhvani, Alamkaara Dhvani and Rasa Dhvani in his mangala shloka itself.

Vastu Dhvani

Vastu Dhvani is a suggested idea/thing comes to our mind when we read about the idea/thing that is mentioned.

The luster of the nails is many-folds brighter than the shine of the moon. That it is brighter is not stated directly. But saying that the moon felt shy, the brightness of the nails has been suggested. This luster is being suggested. So it is Vastu Dhvani. It is suggested that he is extraordinary when compared to other lions as he took the form on his own desire while the other lion are on account of their Karma. The nails destroy the sufferings of the devotees. He does not need any other tool. His nails are enough for him. This is the idea being suggested. Also the idea that he is brimming with energy to protect the devotees is being suggested.

Alamkara Dhvani

Alamkara or figure of speech should be suggested or expressed without being told explicitly. It should not be openly said or denoted. Examples of Alamkara are Upama, Ropaka, Athisayokti, etc.

By the shine of the nails, even the moon has been defeated. This is Vyatireka alamkara where the upameya (say the face) is considered to be superior to the upamaana (say the lotus). यत्र उपमानात् उपमेयम् अतिशयत्वं प्राप्नोति तत्र व्यतिरेकालंकारः भवति | “व्यतिरेको विषयस्ते उपमानो उपमेययोः” is the definition of Vyatireka in Kuvalayaananda. The nails are the upameyaas. The crescent moon is the upamaana. But here the poet has suggested that the nails / upameyaas are better than the moon/ upamaana.

Rasaadi Dhvani

Rasa or Bhava, etc. should be suggested by what is said by the poet.

The devotion of the poet towards Lord Narasimha is suggested when he says that he can protect you all. So the Bhakti bhaavaa is suggested. Rasaadi means Rasa, Bhaava, etc. According to this system, there are only 9 rasas namely – Shringaara, Haasya, Karuna, Raudra, Veera, Bhayaanaka, Bheebatsa, Adbhuta, and Shanta. Among these, in this shloka, Veera Rasa with the staayibhaava of utsaaha is suggested here. Vishnu and his nails are ever enthusiastic to protect the devotees.

EstablishingDhvani’s existence and its importance

This is the first Kaarikaa.

काव्यस्यात्मा ध्वनिरिति बुधैर्यः समाम्नातपूर्व -स्तस्याभावं जगदुरपरे भाक्तमाहुस्तमन्ये |

केचिद्वाचाम् स्थितमविषये तत्त्वमूचुस्तदीयम्तेन ब्रूमःसहृदयमनःप्रीतये तत्स्वरूपम् || १ ||<*>

काव्यस्यआत्मा ध्वनिःइति बुधैः यः समाम्नातपूर्वःतस्यअभावं जगदुःअपरे भाक्तम्आहुःतम्अन्ये |

केचित्वाचाम् स्थितम्अविषये तत्त्वमूचुःतदीयम्तेन ब्रूमःसहृदयमनःप्रीतये तत् स्वरूपम् || १ ||

Meaning: Dhvani (ध्वनिः) was declared (समाम्नातम्) earlier (पूर्वः ) to be the soul of poetry (काव्यस्यात्मा) by learned persons (बुधैः). All the same, some would refute its existence (तस्याभावं); some would consider it as something that could be logically implied (अपरे भाक्तम्+आहुः+तम्); some others speak of its presence as being beyond the provision of expression (अन्ये केचित्+वाचाम् स्थितम्+अविषये). Hence, we hereby intend explaining (तेन ब्रूमः ) what its nature (तत्स्वरूपम्) is so as to cause delight to the hearts of sympathetic critics (सहृदय+मनः+प्रीतये).

काव्यस्यआत्मा ध्वनिःइति बुधैः यः समाम्नातपूर्वः- That the soul of poetry is Dhvani has been recognized and agreed by the generations of earlier experts.

तस्यअभावं जगदुःअपरे – there are a few people who do not accept the existence of the Dhvani. Their arguments are called as abhaavavaada.

भाक्तम्आहुःतम्अन्ये – There are others who consider Dhvani to be Vyangyaartha or Bhaaktyartha, that meaning which comes out due to the function of Bhakti or indication.

केचित्वाचाम् स्थितम्अविषये तत्त्वमूचुःतदीयम्–Like how Brahma-Gnaanam is Anirvachaneeyam, this Dhvani is also anirvachaneeyam. This vaada is called anirvachaneeyataa vaada. They say that it cannot be explained. An example is stated to emphasize their point – इक्षु-क्षीर-गुडादीनांमादुर्यस्य अन्तरं महत् तथापि नतदाख्यातुं सरस्वत्यापि शक्यते | There is a huge difference in the tastes of sugarcane, milk and jaggery. But even Saraswati will not be able to describe it in words.

Dhvani Virooda Vaada

There are 3 mainarguments against Dhvani, i.e., Dhvani virooda vaada. There are three arguments within the first vada called the Abhaava-vaada who reject the existence of Dhvani. The second is Bhaakta vaada who consider Dhvani to be same as Lakshanaa and the third is the anirvachaneeyataa vaada who say that it is something undescribable. Anandavardhana’s fitting response is mentioned later.

[Side Note: Kashmir was a centre of all intellectual debate. When a person proposes a theory, there will be so many critical works on the new theory. There will be a counter argument. Regarding Kashmir, there is a verse byKavi Bilhana, who was an 11th-century Kashmiri poet. He went around the country and finally settled down in Karnataka. In the place called Kalyaan, the Chaulka kings were ruling. There was a King named Vikramaaditya or Vikramanka. Bilhana became the court-poet. In praise of the King who patronized him, he wrote a mahakaavya called “Vikramaankadeva Charita”. In that poem he mentions about Kashmir in Vikr.1.21– “सहोदरा कुङ्कुमकेसराणां भवन्ति नूनंकविताविलासाः | न शारदादेशमपास्य दृष्टस्तेषां यदन्यत्र मया प्ररोहः।। ” He says that the Kumkuma-kesari and Kavyas are siblings. Both of them are born only in Kashmir and not anywhere else. Thus Kashmir was at the peak of its glory. ]

Response to Manoratha

When Anandavardana proposed his Dhvani theory, there was counter-thesis from Poet Manoratha, who wrote a shloka against Anandavardha.Quoting this counter-thesis in Dhvanyaaloka, Anandavardhana provides his response to it.

यस्मिन्नस्ति न वस्तु किंचन मनःप्रह्लादि सालंकृतिव्युत्पन्नै रचितं च नैव वचनैर्वक्रोक्तिशून्यं च यत्

काव्यं तद्ध्वनिना समन्वितमिति प्रीत्या प्रशंसञ्जडोनो विद्मोऽभिदधाति किं सुमतिना पृष्टः स्वरूपं ध्वनेः ||

Poetry in which there can be least delight to the mind (मनःप्रह्लादि) and no embellishment(सालंकृति), which does not present any welcoming words and artistic turn in expressions(यस्मिन्नस्ति न वस्तु किंचन), is so much praised with all vehemence by the stupid (प्रीत्या प्रशंसः जडःनो विद्मः+अभिदधाति), as being with suggestion (Dhvani)(काव्यं तत्+ध्वनिना समन्वितम्+इति). But one fails to imagine what answer the theorist would furnish if asked to present the nature of Dhvani (स्वरूपं ध्वनेः) itself!”

Manoratha’s argument was this “There is no vastu. There is no alamkara. There is no mastery demonstrated in the choice of words. Vakroti or crooked speech is also absent. But you say that there is still Dhvani. It is like closing the eyes and dancing”. He demanded that the nature of Dhvani be explicitly described. Anandavardhana says that he is writing this Dhavanyaaloka to clarify the misunderstanding about Dhvani.

[Side note: Kuntaka wrote Vakroti-jeevitam. ]

[Side note: प्रतिपत्तिः is understanding. अप्रतिपत्तिः is the no understanding. विप्रतिपत्तिः is the misunderstanding. सुप्रतिपत्तिः is the right understanding. ]

तेनैवंविधासुविमतिषु स्थितासु सहृदयमनःप्रीतये तत्स्वरूपं ब्रूमः |(Meaning: Taking into consideration all these conflicting views, we furnish hereunder the nature of suggestion for the satisfaction and appreciation of sympathetic critics i.e., Connoisseurs). In such a situation, for bringing happiness to the minds of the sahrudayaas, I will explain the nature of Dhvani. Anandavardhana says that he is writing this work to explain the form of Dhvani.

Introduction to Dhvani

योऽर्थः सहृदयश्लाघ्यः काव्यात्मेति व्यवस्थितः | वाच्यप्रतीयमानाख्यौ तस्य भेदावुभौ स्मृतौ ||1.२ ||</*>

यः अर्थः सहृदय-श्लाघ्यः काव्य+आत्मा+इति व्यवस्थितः |वाच्य+प्रतीयमान+आख्यौ तस्य भेदौ उभौ स्मृतौ ||

That sense (यः+अर्थः) which wins the approbation (admiration) of sensitive critics (सहृदय+श्लाघ्यः) is declared to be the soul of poetry(काव्य+आत्मा+इतिव्यवस्थितः). The “denotative” and the “suggestive” (वाच्य+प्रतीयमाना+आख्यौ)are considered to be its two aspects (तस्य भेदौउभौ स्मृतौ).

Types of meanings

We have come across the three types of meanings namely वाच्यार्थः, लक्ष्यार्थः and प्रतीयमानार्थः | Vaachya is the default meaning. Everyone understands it. In the Alamkaaras like upamaa, these meanings are being used. बहुधा व्याकृतः सोऽन्यैः काव्यलक्ष्मविधायिभिः |- – – ततो नेह प्रतन्यते ||1.३||(Meaning: The denotative conventional meaning is generally known and it has already been covered in many ways through figures of speech such as simile by other writers. Since it has been elaborately discussed earlier, it is not being discussed here in detail.

प्रतीयमानं पुनरन्यदेव वस्त्वस्ति वाणीषु महाकवीनाम् |</***>

यत्तत्प्रसिद्धावयवातिरिक्तं विभाति लावण्यमिवांगनासु ||1.४||</*>

(Meaning: But the suggestive aspect is distinct from this explicit – denotative – conventional meaning (प्रतीयमानं पुनःअन्यत् एव). It shows itself brilliantly in the words(वाणीषु) of celebrated poets (महाकवीनाम्)and reigns supreme over and above (अतिरिक्तंविभाति) the striking external elements (प्रसिद्ध+ अवयव, even as charm among ladies(लावण्यम् इव अङ्गनासु)).

In the works of the great poets, there is a third type of meaning, which is different from Vaachya and Lakshya. The prasiddha avayava of kaavya are shabda and artha. For the Kaavyas, the chaarutva is got by the shabda alamkaaras and sangatana chaaturya is got by the shabda gunas, the swaroopas are got by Arthaalamkaaras, and the sangatana dharmas are got by the arthagunas – these are all the popular organs of the Kaavya. That which is different for all these, and which attracts us the very moment we notice it, is found in the prateeyamaanaartha. This is similar to the beauty seen in women that is different all the beauty of the individual organs. Only a sahrudaya will be able to appreciate this third type of meaning.

[Side Note: Laavanya is the bhaava of lavana or salt. It is the lakshanaartha that has come in roodi to indicate charmness. Laavanya indicates the charm that overtakes the other features. ]

Example of Dhvani – Suggested nisheda

The vyangya vastu will be different from the Vaachya vastu. The vyangyaalamkaara will be different from the Vaachyaalamkaara. The rasaadi Dhvani will be different and better than the rasavadaadyalamkaara. The vaachyaartha might be a vidhi or an instruction to do something. But the vyangyaartha might be a nisheda or a prohibition that it should not be done.

स हि कदाचिद्वाच्ये विधिरूपे प्रतिषेधरूपः | </**>| 1.4 ++ |

सः हि कदाचित् वाच्ये विधिरूपे प्रतिषेधरूपः |

Sometimes the suggestive idea will be prohibitive, where as the denotative (conventional) meaning is positive in nature.

भ्रम धार्मिक विस्रब्धः स शुनकोऽद्य मारितस्तेन | गोदावरीनदीकूललतागहनवासिना दृप्तसिंहेन ||

(Meaning: Freely (विस्रब्धः) roam (भ्रम) about, O Ascetic! That dog (सः शुनकः) which you were afraid of, has been killed (मारितः)recently(अद्य) by (तेन)the ferocious lion (दृप्त+सिंहेन) that dwells (लतागहन+वासिना)on the bank of Godavari river (गोदावरी+नदी+कूल).

Suggested meaning: “Don’t worry that there is no privacy. The person who used to haunt us has been removed away by a more powerful person. So we can’t meet”.Here a woman tells a person who comes to meet her place that he could come freely now as the dog that used to bark at him has now been killed by a lion. Here though she says roam around freely, the hidden meaning is that you cannot walk around freely due to the presence of the lion. The interpretation is based on the context. It could mean that there is a bigger danger now compared to the smaller nuisance that was faced earlier. There are examples of other cases of suggestion like the case where the denoted meaning is to not do while the suggested meaning is to do. There could also be the cases where the suggested meaning is (अनुभय) neither vidhi nor nisheda.

Example of Dhvani – Suggested vidhi

A woman is living with her blind-in-laws while her husband has gone out of town for a long time. A traveler पथिकःhappens to stay in her house. She is attracted. She tells him to note where each person sleeps. She points to her bed and tells him not to come over there in the night. The suggested meaning is that she wants him to comeand meether.

श्वश्रूरत्र शेते (अथवा निमज्जति) अत्राहं दिवसकं प्रलोकय |मा पथिक रात्र्यन्धः शय्यायामावयोः शयिष्ठाः ||

श्वश्रूः अत्र शेते (अथवा निमज्जति) अत्र अहं दिवसकं प्रलोकय |मा पथिक रात्रि अन्धः शय्यायाम्+आवयोः शयिष्ठाः ||

“Mother-in-law lies here, fast asleep. I will be here. You shall know these before it gets dark. O traveler, don’t you tumble into our beds blinded by night”.

In this example, the conventional (explicit) meaning prohibits the action whereas the suggestive (implicit) meaning approves of the proposal.

Example of Dhvani –Neither vidhi nor nisheda

कस्य वा न भवति रोषो दृष्ट्वा प्रियायाः सव्रणमधरम् |</*> सभ्रमरपद्माघ्राणशीले वारितवामे सहस्वेदानीम् ||<//*>| 1.4 ++ |

कस्य वा न भवति रोषः दृष्ट्वा प्रियायाः सव्रणम् अधरम् |सभ्रमर+पद्म+आघ्राण+शीले वारित+वामे सहस्व इदानीम् ||

Whose rage is not aroused when one sees the lower lip of his beloved being hurt? You, who are habituated to smell the lotus flower with the bee inside, being indifferent to my caution, face the situation (now).

Sometimes, the suggested meaning relates to something which is absolutely different from that with which the conventional meaning is associated. Here the lady’s friend is cautioning her about the consequences that she has to face from her husband if she continues to visit her lover.

Rasa is suggested

स्वशब्देन सा केवलमनूद्यते, न तु तत्कृता | </*>1.4 ++ |

स्वशब्देन सा केवलम् अनूद्यते, न तु तत्कृता |

The experience of sentiments, etc., can never be restricted by the proper name though it gets its name. In reality, we do not experience sentiments, etc., in all instances where proper names are employed.

i.e., The rasa is not experienced by the mere mention of the name of the rasa. The rasa is suggested by the description of the characters. We clearly experience the rasa in cases where the name is not explicitly stated. Therefore, stating of name of the rasa merely reinstates the rasa and it does not cause the readers to experience the rasa.

Rasadhvani is the soul of poetry

काव्यस्यात्मा स एवार्थस्तथा चादिकवेः पुरा |</*>क्रौञ्चद्वन्द्ववियोगोत्थः शोकः श्लोकत्वमागतः || 1.५ ||</**>

काव्यस्यात्मा सः एव+अर्थः+तथा च+आदिकवेः पुरा |क्रौञ्च-द्वन्द्व-वियोग+उत्थः शोकः श्लोकत्वम्+आगतः ||

That meaning (Rasadhvani) alone is the soul of poetry. This is quite evident from the very incident of the first poet’s Valmiki’s grief which become evoked (in him) due to the wailing of the separate Kraunca bird (from its male mate drenched in pool of blood), which struck the inner core of the sage so as to present the flow of poetry.सः एव+अर्थः = प्रतीयमान अर्थः|

The sage Valmiki experiences Karuna Rasa as an outcome of the total attainment of the situation. The Karunca bird which became killed forms the Aalambana vibhaava and the same rolling in the pool of blood forms the Uddeepana Vibhaava. The wailing of the female Kraunca bird becomes the Anubhaava. In this way, the shoka of the sage raises itself to the level of Karuna Rasa in his experience and later it obtains the form of a Shloka. Abhinava Gupta describes the manner of realizing the sentiments in general. The sensation of emotion of grief is actual, personal, individual and painful. The sentiment of pathos is ideal, generic, univerasal and pleasurable. This change from the actual to the ideal is effected by the universal sympathy of the percipient (observer) with the emotional experiences of the individual. It became converted into pathetic sentiment and was enjoyed by him in the form of absolute bliss. It was this infinite joy realized by the abundant sympathy of the sage poet that flooded his heart and expressed itself in the form of a Shloka.

शोको हि करुणस्थायिभावः |</*> | 1.5 ++ |

शोकः हि करुण+स्थायिभावः |

Sorrow (shoka) is the abiding emotion (sthaayibhaava) which stands as the sentiment of pathos (karuna). It will be of the nature of suggestion. Example – The grief of the first poet Valmiki became transformed into a Shloka.

Only like-minded people can appreciate

शब्दार्थशासनज्ञानमात्रेणैव न वेद्यते| वेद्यते स तु काव्यार्थतत्त्वज्ञैरेव केवलम् || ७ ||</***>

शब्दार्थ+शासन+ज्ञान+मात्रेणएव न वेद्यते | वेद्यते सः तु काव्यार्थ+तत्त्वज्ञैःएव केवलम् || ७ ||

That meaning cannot be comprehended by the mere knowledge of the rules of grammar (word and sense) but can be realised only by those who have understood the real significance of poetry. (7)

This Dhvani or vyangyaarthaa will not be understandable by everyone. Onlyकाव्यार्थतत्त्वज्ञः or the connoisseurs or experts in poetry can understand the suggested meaning. Ordinary people cannot understand.

Eg. In Kumaarasambhava, when Parvathi’s tapas is described. That it is as per Yoga shastra can be understood only by those who are aware of it. This demonstrates that only knowledgeable people would be able to appreciate this inner meaning.

[Side Note: Example from Kalidaasa’s Kumaarasambhava

स्थिता: क्षणं पक्ष्मसु ताडिताधरा: पयोधरोत्सेधनिपातचूर्णिता:।

वलीषु तस्या: स्खलिता: प्रपेदिरे चिरेण नाभिं प्रथमोदबिन्दव:।।

“The first drop of rain water प्रथमोदबिन्दव:falling on her at the advent of the rainy season. On the lashes of the eyes, that water droplet stood for only one moment – स्थिता: क्षणं पक्ष्मसु. It hit her on the lipsताडिताधरा:They fell on her breasts and split into tiny droplets – पयोधरोत्सेधनिपातचूर्णिता: | They jumped on the folds of her stomach and hesitated तस्या: वलीषु स्खलिता:प्रपेदिरे| After sometime चिरेण, they flowed down and entered her navel बिन्दव:नाभिं प्रथमोद | In the poetry of high standards, the suggested meaning should be present and it will be more attractive and beautiful. Kalidasa is suggesting the secret of Yoga. When doing penance, the eye should neither be completely open nor should it completely closed. नासाग्रन्यस्तनयन: संवृतास्यः सुनिश्चलः ध्यायीत मनसा देवं पुरोविष्टभ्य चागृत <TODO – Quote to be verified> [ Similar Quote from the internet — समग्रीवशिराः सम्यक् संवृतास्यः सुनिश्चलः ॥प्राङ्मुखोदङ्मुखो वाऽपि नासाग्रन्यस्तलोचनः । ] That ‘the eyes should be pointed at the nose’ is described in the Yoga shastra. If she had closed her eyes, the rain drop would not have stayed there. If she had kept her eyes fully open, then they would stay there and not fall down. That the drop fell down after a second suggests that her eyes were half-open. The mouth should not be open during dhyaanaa, when done in the right yogic posture. So the drop fell on her lower lip. Her lips were so soft that it just did not flow. The fall of the drop hurt her lips. While standing in tapas, one should not be stooping or bending. The person should stand firm and erect. Since she stood straight without bending, it fell on her breasts. ]

Need for vaachyaartha

आलोकार्थी यथा दीपशिखायां यत्नवाञ्जनः | तदुपायतया तद्वदर्थे वाच्ये तदादृतः ||1.९||</*>

आलोक+अर्थी यथा दीप+शिखायां यत्नवान्+जनः |तत्+उपायतया तद्वत्+अर्थे वाच्ये तत्+आदृतः || ९ ||

Meaning: In the same manner(यथा – तद्वत्) as a man(जनः) intent upon seeing an object in darkness (आलोक+अर्थी), puts forth his efforts(यत्नवान्) towards fetching a lamp (दीप+शिखायां)owing to its being a means to realise his goal (of seeing the object) (तत्+उपायतया) one who is very much interested (तत्+आदृतः) in the suggested meaning (अर्थे) would at the outset direct his effort towards (understanding) the conventional meaning (वाच्ये).

Like the person who carries a lantern if he needs the light, in the same way, to be able to understand the vyangyaartha, the vaachyaartha is required. Though he does not want the flame of the lamp, and he wants the light only, he still brings the deepa shikaa because without the flame, there is not going to be any light. The flame of lamp is just an upaayaa – a means to the required end. Vachyaartha is the upaaya or the means. Vengyaartha is the upeya or desired goal. Vengyaartha could come from Vaachyaartha or Lakshyaartha. Lakshanaa is a vyaapaara or function where a meaning is indicated. There can be only one Vaachyaartha. There could be many intended or suggested meanings. In Mammata’s Kavya Prakaasha, he gives the example of गतोस्तमर्कः |i.e., गतः+अस्तम्+अर्कःor अर्कः अस्तम् गतः| The vaachyaartha is that the sun has set. The Vaidhika Brahmana understands that it is time for Sandhya vandana. The thief thinks that he should start his work. The students want to start studying. Based on the nature of the listener, the message conveyed differs.

The Definition of Dhvani

यत्रार्थः शब्दो वा तमर्थमुपसर्जनीकृतस्वार्थौ | व्यङ्क्तः काव्यविशेषः स ध्वनिरिति सूरिभिः कथितः || १३ ||</*> यत्र+अर्थः शब्दः+वा तम्+अर्थम्+उपसर्जनी+कृतस्वार्थौ |व्यङ्क्तः काव्य+विशेषः सः ध्वनिः+इति सूरिभिः कथितः || १३ ||

(Meaning: The conventional word शब्दः and the conventional meaning अर्थः (स्व+अर्थौ = स्व + शब्दः + अर्थः) are abandoned उपसर्जनी+कृत | They become suggested word or meaning. अर्थः शब्दःवाव्यङ्क्तः | व्यङ्क्तः = प्रतीयमानः अर्थः भवति | That is a specialty of the poem called Dhvani. That kind of poetry in which the conventional meaning or the conventional word renders its meaning sub-ordinate and suggests the intended or implied meaning, is termed “Dhvani” or “suggestive poetry” by the learned people).

Some time the meaning subdues itself and gives a more beautiful meaning. In other cases, the word does this. It can be shabda shakti mula dhvani or artha shakti mula dhvani. The वा here does not mean that it is either artha or shabda. The intention here is that when Artha is prominent in conveying the Dhvani, the word will be subordinate to it and similarly when Shabda is prominent in conveying the Dhvani, the meaning will be subordinate to it. The termउपसर्जनीकृतस्वार्थौ is in dvivachana indicating both are there. When the suggested meaning is overtaken by the denoted word and meaning, that Kaavya is considered to be a Dhvani by the scholars. Upasarjana means “being subservient”i.e., taking the guneebhaava or secondary position without having praadhaanyam. Artha subsides by itself अर्थः उपसर्जनीकृतस्वार्थः, while shabda makes its meaning subside शब्दः तमर्थम् उपसर्जनीकृतस्वार्थः| In that situation, it is called Dhvani Kaavya.

Many alamkaaras like अप्रस्तुतप्रशंसा, समासोक्तिः, विषेशोक्तिः, आक्षेप, पर्यायोक्तः, etc. have some suggested meaning in them.If the suggestion is not prominent, then it becomes Gunibhoota Vyangya and this gunibhoota vyangya is a type of Alamkaara only. Paryaayokta is the indirect expression of something which cannot openly be avowed. “भ्रम धार्मिक विस्रब्धः” can be taken to be an example of this alamkara पर्यायोक्तः| But that has been given as an example of Dhvani. It is true that it qualifies to be an alamkara and a Dhvani. But due to the prominence of Dhvani and since the Alamkaara is just supplementary पर्यायोक्तस्याङ्गित्वेन, it is taken to be a Dhvani and also, all Dhvani cannot be equated to this Paryaayoktaalamkaara. Anandavardhana refers to this superiority of Dhvani (mahaavishaya) over an Alamkaara (alpavishaya) and concludes that in those cases the Alamkaara cannot be treated to be Dhvani itself.

व्यङ्ग्यप्राधान्येहि ध्वनिः | </*> | 1.13+|

Aanandavardhana authoritatively declares that suggestion becomes possible only when the suggested element is absolutely prominent. This is not so in समासोक्ति (concise speech or condensed metaphor) and the like.

Dhvani Defn –Example of non-prominent suggestion

उपोढरागेण विलोलतारकं तथा गृहीतं शशिना निशामुखम् |</****>

यथा समस्तं तिमिरांशुकं तया पुरोऽपि रागाद्गलितं न लक्षितम् ||<//****>| 1.13+|

उपोढ-रागेण विलोल-तारकं तथा गृहीतं शशिना निशा-मुखम् |

यथा समस्तं तिमिर+अंशुकं तया पुरः अपि रागात् गलितं न लक्षितम् ||

The twilight with twinkling stars became brightened by the moon glowing red suddenly so that the whole mass of darkness vanishing in the east due to brightness was not noticed at all.

With reference to the lady, it means “The heroine’s face with its bright pupils was kissed by the hero overcome by passion with such intense love that the black garment which she had put on slipped away even in the very front was not at all noticed due to intense love.”

It is the explicit meaning which alone remains prominent and the suggested meaning serves only as subservient to it. In this stanza, the main purport is the description of the night and the moon over which the disposition of a heroine and of a hero are ascribed to them. This attribution is secondary only.

In this illustration, the words though are primarily addressed to the moon and the night, also refer to in an implicit way to the disposition of a lover and the beloved, which has been heaped on moon and the night. Therefore the suggested sense is subservient to the conventional meaning. Hence Dhvani can never be included in Samaasookti.

Samasokti is compound statement / concise speech. The words of the stanza have double meaning. Note the pun in raaga – meaning redness and love. Taraka means pupil as well as stars. Purah means in front of her and also in the east. Note the masculine gender word for moon and feminine gender word for night.

Dhvani Defn – Dhvani is not a limb

न चावयव एवपृथग्भूतोऽवयवीति प्रसिद्धः |</*> | 1.13+|

न च+अवयव एवपृथक्+भूतः अवयवी+इति प्रसिद्धः |

“अवयवी अवयव नएव | अवयवीपृथक्+भूतःच |” इति प्रसिद्धःThe limbs cannot be thought of as body.

Dhvani cannot be brought under other heads. It is because of the declaration that it is only the full-fledged kinds of poetry that could be called Dhvani. The limbs of poetry are figures of speech, qualities (Gunas) and varieties of diction (वृत्त्यः).The limbs cannot be thought of as body. When we consider them together, it will be a part of the whole but never identical with the whole. Even granting that identity may be possible in some of the instances, suggestive poetry cannot be deemed as conditioned by its limbs stated above, since Dhvani is quite extensive.

Dhvani Defn – The name was given by Grammarians

‘सूरिभिः कथित’ इति विद्वदुपज्ञेयमुक्तिः,न तु यथाकथञ्चित्प्रवृत्तेति प्रतिपाद्यते |

प्रथमे हि विद्वांसो वैयाकरणाः</*>,

व्याकरणमूलत्वात्सर्वविद्यानाम् | ते च श्रूयमाणेषुवर्णेषु ध्वनिरिति व्यवहरन्ति | 1.13+|

The expression“सूरिभिःकथित” brings forth the idea that this name was first given by the learned only and that it has not emerged somehow. The Supreme among the learned are grammarians for, grammar is the very root of all studies. It is only they who designate the articulate letters by the term Dhvani. Since the aspect of suggestion is common to both, the word and its meaning, its essential verbal potency and also poetry have all been named Dhvani by other learned people who have a deeper insight into the fundamental essence of poetry and who closely follow the principles laid down by grammarians. This theory of Dhvani being very comprehensive can never be deemed to be on equal status with the specific figures of speech. So Suggestion does exist and it is different from Alamkara.

Dhavani Defn –Example – Dhvani

सुवर्णपुष्पां पृथिवीं चिन्वन्ति पुरुषास्त्रयः | </*>शूरश्च कृतविद्यश्च यश्च जानाति सेवितुम् ||<//*></*>| 1.13+|

सुवर्ण+पुष्पां पृथिवीं चिन्वन्ति पुरुषाः त्रयः |शूरः च कृतविद्यः चयः च जानाति सेवितुम् ||

There are plenty of golden flowers in this world. Only 3 types of people can gather it – namely warriors (valorous in battle), Scholar (one who has mastered any vidya) and people who know how to serve. (Three men will collect flowers of gold out of the earth – the courageous, the learned and he who knows how to serve. Mahaabharata – 5.35.64)

This is an example of Deepaka alamkaara. Three people have the same common factor of being able to gather the golden flowers. The prominence is for the one who serves. The common factor applies to the other two types of people also. Deepa iva deepakam. Like the deepa lit in the door step, that lights up the space within the house, also lights outside.

Dhvani is classified into two, namely अविवक्षितवाच्य (unintended literal import) and विवक्षितान्यपरवाच्य (intended but further extending literal import). In the first one, the literal sense is not intended. In the second one, the literal sense is intended, but is subordinated to a second meaning. This is an example of the first one, avivakshitavaachya. The flower of gold means success or worldly advancement.

Dhavani Defn – Example

शिखरिणिक्वनुनामकियच्चिरंकिमभिधानमसावकरोत्तपः।</*>

तरुणियेनतवाधरपाटलंदशतिबिम्बफलंशुकशावकः।।1.13+|

शिखरिणिक्वनुनाम? कियत् चिरम् ?किम् अभिधानम् असौ अकरोत् तपः।</*>

तरुणियेनतव अधरपाटलंदशतिबिम्बफलंशुकशावकः।।1.13+|

हे तरुणि | येन तपसा शुकशावकः तव अधरपाटलं बिम्बफलं दशति, किम् अभिधानम् असौ तपः अकरोत् ? क्व नु नाम शिखरिणि तपः अकरोत् ? कियत् चिरं तपः अकरोत् ?

A person tells the parrot that it is very fortunate and it must have done a lot of penance. “On which mountain and for how long a time did this young parrot perform penance and what might be the name of the penance? For, this young parrot has been chewing the bimba fruit which is as red (paatala) as your lips”. Here the suggested meaning is that he envies it as he was not able to reach his lover whereas the bird was able to enjoy its object of love, the fruit. At a high level, Dhvani is classified into two, namely अविवक्षितवाच्य (unintended literal import) and विवक्षितान्यपरवाच्य (intended but further extending literal import). In this, the literal sense is intended, but is subordinated to a second meaning. So it is विवक्षितान्यपरवाच्य.

In its implication, this is a eulogy addressed to a lady by an impassioned lover, who communicates to her his secret desire in an artful manner. What is suggested is a parallel between the action of the parrot and that of the lover. The speaker wishes he were in the position of the parrot, in relation to the maiden’s lips. This meaning, it is argued, flows directly from the expressed meaning of the sentence; there is no secondary meaning here because the literal meaning that “the lucky parrot is pecking at the plum that is red like your lip” is intact.

[Side Note: On closer examination, however, we notice that the description of the parrot is the non-contextual meaning – the lover cannot simply be saying “What a lucky guy the parrot must be to peck the plum!” Such a remark would be rather pointless in the lover’s context. This consideration, together with other telltale signs, such as the absurdity of a parrot performing a penance and the likening of the plum to the lady’s lips (which would also have been pointless without an amorous intent on the part of the speaker), leads to the suggestion of a parallel between the explicit subject (the parrot) and the implicit subject (the would-be lover), the latter being the contextual or relevant meaning. Thus, even in this case, there is obstruction to the surface meaning, on the basis of which we arrive at the implied contextual meaning – the parallel of the lover relishing the maiden’s lips. (Source: Sanskrit Criticism By V. K. Chari) ]

Abhaava-vaada and its Khandana

There are three different schools of Dhvani-abhaava-vaadas which maintain that there is no Dhvani. The first group says that all the beautifying factors of poetry have already been stated by earlier writers. It may be Alamkaara, Guna, Reeti or Vritti. Prasthaanas are the major concepts that have been put forth by earlier alamkaarikas. There cannot be something new which can beautify the poetry called Dhvani.

The second group says that if Dhvani is something new other than what is already stated, then it must be a dosha or fault. If it is not Alamkaara, Guna, Reeti or Vritti, it cannot be something that beautifies the poetry and it has to be only a defect or blemish. नास्त्येव ध्वनिः | प्रसिद्धप्रस्थानव्यतिरेकिणःकाव्यप्रकारस्य काव्यत्वहानेः|

The third group says that the varieties of descriptions are endless. Therefore there is an increase ofthe number of alamkaaras in all the texts.

[Side Note: We find that in the history of poetics. First, Bharat stated only 4 alamkaaras – Upamaa, Roopakam, Deepakam, and Yamakam. Later writers like Bhaamah increased it to 36. And then in Kavya Prakaasha, there are 60. In Kuvalayaananda, there are more than 100. ]

The ways or the manners, in which a poet can describe any object is not limited. And therefore, you might have shown some other way of description. It is like some other type of a new Alamkaara. So it is not a new concept. It has to be just another type of Alamkaara. And many more new alamkaaras could come in future also. They do not demand any special importance. There are different ways of Vaakvikalpa – these are all creativity of the poet. न सम्भवत्येवध्वनिर्नामापूर्वः कश्चित् | कामनीयकमनतिवर्तमानस्य तस्योक्तेष्वेवचारुत्वहेतुष्वन्तर्भावात् |If this Dhvani adds Manohara or enjoyment to the poetry, it can be also be considered as a new type of one of the existing concepts like Alamkaara or Guna. They ask the Dhvani supporters to not close their eyes and keep dancing about Dhvani. तस्मात् प्रवादमात्रं ध्वनिः| Dhvani is not truth. It is a Pravaada, that which is simply spreading among a set of people.

For the first one, Anandavardhana argues that Dhvani is different from the earlier stated concepts. In Dhvani, the suggested meaning is one which is not explicitly stated, yet it is understood by the Sahrudayaas.

[Side Note: In Chitra Meemaamsaa, Appaiya Deekshita quotes an example

काञ्चित् काञ्चनगौराङ्गी वीक्ष्य साक्षादिव श्रियम् वरदः संशयापन्नो वक्षःस्थलमवैक्षत|

अन्वयः — साक्षात्श्रियम् इव काञ्चित्काञ्चनगौराङ्गीवीक्ष्यसंशयापन्नः वरदः वक्षःस्थलम् अवैक्षत|

In Kanchi, there is Varadaraaja Swamy Temple. Once, during the Vasanthostava, Varadaraajaa himself comesto play with the devotees. At that time, he notices a woman. She is काञ्चन–गौराङ्गी i.e., she is some ladyhaving a golden yellowish body; साक्षात्श्रियम् इव – She resembled Goddess Lakshmi Herself. वरदः संशयम् आपन्नः – Lord Varada was confused and वक्षःस्थलम् अवैक्षत – he looked at his heart. The poet has not stated why he looked at his heart. His heart is the seat of Lakshmi as she is vakshassthala vaasini. Some readers will assume that Varada wants to check if Lakshmi has left that place and has come here in person. A second person might think that Varada looked at his heart to compare Lakshmi with the lady. Another reader could interpret it in this way – Since Lakshmi has the arrogance that she is only the most beautiful woman, Varada wants to see her reaction when this lady with golden complexion is in front of him. ]

There could be many suggested meanings and it cannot be classified as any other earlier defined entity. The great poets have included this Dhvani in their poems. The readers enjoy this suggestion which is different from the other alamkaaras.

Anandavardhana points out that great poets like Valmiki and Vyasaa have also used this. He states that he is not saying something new. So this suggestion definitely exists.

वाल्मीकिव्यासमुख्याश्च ये प्रख्याताः कवीश्वराः |तदभिप्रायबाह्योऽयं नास्माभिर्दर्शितो नयः .. इति || ३.१९ end||

वाल्मीकि+व्यास+मुख्याःच ये प्रख्याताः कवि+ईश्वराः |तत्अभिप्राय+बाह्यःअयं नअस्माभिः दर्शितःनयः इति ||

The principles laid down are in-keeping with the features followed by celebrated poets such as Vaalmiki, Vyaasa and the like.

For the second school, which consider anything new to be dosha or a fault only, Anandavardhana says that since the readers enjoy the suggestive rasa, it cannot be considered to be a negative aspect. He says that he can only pity such people, who say that Dhvani is a defect, who fail to recognize the Ananda produced by Dhvani.

For the third school, who claim that Dhvani is nothing new but another alamkaara, Anandavardhana explains how Dhvani is different from the other alamkaaras. Dhvani is something that is understood on account of the alamkaara. Alamkaara itself could suggest various meanings. Lakshyaartha could suggest a different meaning. There are shabha shakti mula dhvani and artha shakti mula dhvani and endless varieties like that. Alamkara, Vachyaartha, Lakshyaartha, etc. could suggest a different meaning and the suggested meaning is the Dhvani. Therefore, Dhvani is not just another alamkaara. Dhvani is a separate entity conveying that suggested meaning. (Refer the notes earlier on how Dhvani differs from Alamkara). Thus Anandavardhan established that there is a third type of meaning called Dhvani or Vyangyaartha.

Bhaakta Vaada and its Khandana

In the Bhaakta Vaada, the Bhaaktaas say that the vyangyaartha can be included in Bhaktyaartha itself. When the denoted meaning is not applicable, any way we are taking a different meaning. Let Dhvani also be that Bhaktyaartha.

Anandavardhana points out that – there is difference in the forms between the Bhaktyaartha i.e., Lakshyaartha, and the Dhvanyartha. In Gangaayaam Ghosha, if Vaachyaartha is the stream, the Lakshyaartha is the bank. The purpose which is to indicate the qualities of sacredness and chillness is not explicitly indicated in the Lakshyaartha. So this is Dhvani. If just to make sense of the sentence, instead of the denoted meaning or the Mukhyaartha, the indicated meaning or the Lakshanaa is taken, then it is not Dhvani. Thus there is Bhakti without Dhvani and they both cannot be the same.

भक्त्या बिभर्ति नैकत्वम् रूपभेदादयं ध्वनिः |……अतिव्याप्तेरथाव्याप्तेर्न चासौ लक्ष्यते तया || 1.14 || <*>

भक्त्या बिभर्ति न+एकत्वम् रूपभेदात्+अयं ध्वनिः |….अतिव्याप्तेः+अथ+अव्याप्तेः+न च+असौ लक्ष्यते तया |

Suggestion and secondary signification are not one and the same because of the innate difference between the two. अयं ध्वनिःरूपभेदात् भक्त्या एकत्वंनबिभर्ति |If that is considered identical with suggestion, it commits the fallacies of “too wide” a definition and “too narrow” a definition.

Among the three functions of the word, the second function is called Lakshana Vyaapaara or Bhakti. Believers of Bhakti are Bhaktaas. They are also called as Laakshanikaas. Suggestion and Bhakti are different since their forms are different (roopa bheda).

[Side Note: The three doshaas in definitions are Athivyaapti, avyaapti and asambhavaa. What is a cow? को नाम गौः ? (गो shabda can be used in both male and female gender). If the definition is given as that which has 2 hornsand 4 legs (शृङ्गी चतुष्पात्), it becomes athivyaapi since there are many other animals that this definition will apply. If the definition is given as that which has 4 legs and white coloured skin, it becomes avyaapti since there are cows which are not in white color and the definition does not cover all the cows. If the definition is given as that which has 3 horns, it is asambhavaa as it is not possible. ]

If lakshanaa is stated to be same as Dhvani, there will be athivyaapti and avyaapti doshaas. There are many examples where the poet is describing a situation and a certain emotion (rasa) that is delineated or understood. In such cases, there is no lakshana and yet we get dhvani directly from the vaachyaartha.

मुख्यार्थबाधे तद्योगे रूढितोऽथ प्रयोजनात् ।अन्योऽर्थो लक्ष्यते यत्सा लक्षणारोपिता क्रिया ॥ काप्र-९ ॥ मम्मटः- काव्यप्रकाश

For lakshanaa, the primary meaning should be unacceptable. There has to be bhaadaa or obstruction of the primary meaning. सिंहो मानवकःThat boy is a lion. Here the term lion indicates ferociousness, aggressiveness, and other such qualities in the boy. Only when there is inconsistency in the meaning, the lakshanaa is taken.

In Meghadoota, the Yaksha is cursed to live away from his wife for one year.

यक्षश्‍चक्रे जनकतनयास्‍नानपुण्‍योदकेषु स्निग्‍धच्‍छायातरुषु वसतिं रामगिर्याश्रमेषु।।

यक्षः+चक्रे जनक-तनया-स्नान-पुण्य-उदकेषुस्निग्ध-छाया-तरुषु वसतिं रामगिरि-आश्रमेषु।।१।।

He took residence among the hermitages of Ramagiri,where the trees give cool shade,and the waters are purified by the baths of Janaka’s daughter.

He lived in ashramas in Ramagiri. Why is it mentioned in plural here? He builds one ashram. He is engrossed in thoughts about his wife. He forgets that residence and starts building another one elsewhere. The pathetic state of the Yaksha is being described in this way. In this example, there is no inconsistency in the literal meaning. But there is the Dhvani of Vipralambha Shringaara. So Lakshanaa cannot be equated to Dhvani as Dhvani could occur in the absence of Lakshanaa.

In many instances, Lakshanaa will not be Dhvani. Hence Avyaapti also occurs.

There are “dead metaphors” which have been used for a long time and hence they do not carry any ability to convey a special meaning. For example, a woman is praised for her charm and grace or “laavanya”. Laavanya is the bhava of Lavana – saltness. There is no longer any metaphor as people understand laavanya as charm. The term was initially used to mean that she has a special characteristic which makes her look so beautiful just as the salt adds a taste to the food without which it would not be good. In such situations, there is Lakshanaa but there is no Dhvani.

परिम्लानं पीनस्तनजघनसङ्गादुभयत-स्तनोर्मध्यस्यान्तः परिमिलनमप्राप्य हरितम् |

इदं व्यस्तन्यासं श्लथभुजलताक्षेपवलनैःकृशाङ्ग्याः सन्तापं वदतिबिसिनीपत्रशयनम् || eg for 14 ||

“This bed prepared with lotus leaves (बिसिनी+पत्र+शयनम्) speaks (वदति) of the affliction of the beautiful lady who slept on it. For, its two edges one faded because of her robust bosom and plumpy hips. That portion which was occupied by her slender waist has retained its greenness. The movements of her drooping creeper-like arm have rendered it disorderly.”

Ratnaavali had slept somewhere on a bed prepared with lotus leaves. Later, Vatsa Raaja is seeing that place. The word vadati means that it “indicates” rather than conveying its literal meaning of “saying”. But since such usage is so common, there is no Dhvani in that.

[Side Note: The use of “says” for “indicates” is just a cliché, i.e., a phrase used to the point of no meaning or importance, ironic because it is intended to make an impact like “I love you” or “I am so grateful to you” or the pleasantries like “I am extremely happy to see you”].

Since there can be Dhvani without Lakshana and also Lakshana without Dhvani, these two cannot be the same.

Anirvachaneeyataa Vaada and its Khandana

Anirvachaneeyataa vaadins say that Dhvani cannot be explained. Now that it has been properly defined, this argument has been totally refuted.

Kavya Prathibha काव्ये प्रतिभा

प्रतिभा = जन्मान्तर संस्कारः | Poets are born and not made. Some say that only the poets who have the Prathibha (talent or power of imagination or the creative intuition) can write poems. Some say that even the Prathibha (talent) can be learnt and gained.

[Side Note: There are some actors who become great even without going to the film institute. There are some film institute students who fail to become good actors].

[Side Note: नाकवित्वमधर्माय व्याधये दण्डनाय वा ।कुकवित्वं पुनः साक्षान्मृतिमाहुर्मनीषिणः ।। १.१२ ।। (kaavyaalamkaara)न+अकवित्वम्+अधर्माय व्याधये दण्डनाय वा ।कुकवित्वं पुनः साक्षात् मृतिम् आहुः मनीषिणः ।। “Not writing poetry is no crime; it won’t cause illness or lead to punishment; but writing bad poetry is a living death”, says Bhaamahin Kaavyaalamkaara.

न केवलं प्रतिभा अपि तु

शक्तिर्निपुणता लोकशास्त्रकाव्याद्यवेक्षणात् । काव्यज्ञशिक्षयाभ्यास इति हेतुस्तदुद्भवे ॥ काप्र-३ ॥

शक्तिः + निपुणता लोक+शास्त्र+काव्यादि+अवेक्षणात् । काव्यज्ञ+शिक्षयाभ्यासः इति हेतुः+तत्+उद्भवे ॥ काप्र-३ ॥

According to Mammata, the author of Kaavya Prakaasha, (which is a later work),three factors become one cause (hetu) of poetry. Shakti and Prathibha are synonyms. One has to gain expertise by studying the grammar in the shashtras. One has to study what is already mentioned in the Kaavyaas of other poets and avoid repeating it. The third point is to practice (अभ्यासः) and get trained (शिक्षया) under the direction of those (काव्यज्ञः) who know to write poems].

Second Udyota

Five Different meanings for Dhvani

There are different meanings given to the term Dhvani. According to Abhinavagupta, the word dhvani can stand for five different meanings namely suggestive words, suggestive ideas, suggested ideas, suggestion and the composition in which all or any one may be found.

1. व्यञ्जकोऽर्थः The suggestive meaning (vyanjaka-artha) Suggestive meaning due to which the primary sense discards itself 2. व्जञ्जकःशब्दःध्वनिः The suggestive word (vyanjaka-shabda) Suggestive words whose primary sense is discarded 3. व्यङ्ग्योऽर्थः The suggested meaning (vyangya) Suggested sense for whose sake the expressed meaning is rendered not fruitful. 4. व्यञ्जनाव्यापारः The function of suggestion (vyanjanavyapara) Suggestive function through which the primary sense is discarded. 5. ध्वनिःकाव्यम् The poetry as a whole (samudayakavya) A composition where the primary senses are discarded

The different types of Dhvani

Vastu Dhvani, Alamkaara Dhvani and Rasa Dhvani are one way of classifying Dhvani, which was explained earlier. Another way of classification is as follows.

अस्ति ध्वनिः | स चासावविवक्षितवाच्यो विवक्षितान्यपरवाच्यश्चेतिद्विविधः सामान्येन |

(१) अविवक्षितवाच्यः

(१.१) अर्थान्तरसङ्क्रमितवाच्यः

(१.२) अत्यन्ततिरस्कृतवाच्यः

(२) विवक्षितान्यपरवाच्यः

(२.१) संलक्ष्यक्रमव्यङ्ग्यः

(२.२) असंलक्ष्यक्रमव्यङ्ग्यः

Here अविवक्षितवाच्यःis लक्षणामूलध्वानि and विवक्षितान्यपरवाच्यःis अभिधामूलध्वनि | (Refer Kaavya Prakaasha Notes for more explanation). Along with सर्वथाविवक्षित, even अल्पविवक्षित is treated as अविवक्षित. So, when it is told to a very less extent, it becomes अर्थान्तरसङ्क्रमितवाच्यः| When it is not told at all, it becomes अत्यन्ततिरस्कृतवाच्यः|In the example, “दण्डाः प्रविशन्ति”, the sticks cannot enter on their own. There is only अल्पविवक्षित. It joins with the पुरुषः and indicates the men holding the sticks. This is अर्थान्तरसङ्क्रमितवाच्यः|

In गङ्गायां गोषः, we totally discard the meaning that it is the stream and we take it to be the banks. So this is अत्यन्ततिरस्कृतवाच्यः| This usage is to highlight the qualities like शैत्य and पावनत्वा |

अविवक्षितवाच्य and its two types

अर्थान्तरे सङ्क्रमितमत्यन्तं वा तिरस्कृतम् | </*>अविवक्षितवाच्यस्य ध्वनेर्वाच्यं द्विधा मतम् ||2.१||

अर्थ+अन्तरे सङ्क्रमितम् अत्यन्तं वा तिरस्कृतम् |अविवक्षित-वाच्यस्य ध्वनेः वाच्यं द्विधा मतम् ||2.१||

The expressed meaning in the former variety i.e., अविवक्षितवाच्य is sub-divided into two, namely, अर्थान्तरसंक्रमित (transformed into some other sense) and अत्यन्ततिरस्कृत (totally discarded).

Example of अर्थान्तरसङ्क्रमितवाच्य

तदा जायन्ते गुणा यदा ते सहृदयैर्गृह्यन्ते |रविकिरणानुगृहीतानि भवन्ति कमलानि कमलानि ||

तदा जायन्ते गुणाः यदा ते सहृदयैःगृह्यन्ते |रविकिरण+अनुगृहीतानि भवन्ति कमलानि कमलानि ||

Merits do become merits where refined critics consider them so. Lotuses will be lotus as only when the rays of sun shelter them.

Anandavardhana gives his own verse as an example. A guna is a guna only when the friends recognize it. A lotus will be a lotus only when it is blessed by the sun’s rays. The second time usage of lotus could mean different things like the abode of Lakshmi, sakala soundarya aakara, etc. The second usage is the अर्थान्तरसङ्क्रमितवाच्य.

Example of अर्थान्तरसङ्क्रमितवाच्य -2

स्निग्धश्यामलकान्तिलिप्तवियतो वेल्लद्बलाका घनावाताः शीकरिणः पयोदसुहृदामानन्दकेकाः कलाः |

कामं सन्तु दृढं कठोरहृदयो रामोऽस्मि सर्वं सहेवैदेही तु कथम् भविष्यति हहा हा देवि धीरा भव ||

कामं सन्तु दृढं कठोर-हृदयः रामः अस्मि सर्वं सहेवैदेही तु कथम् भविष्यति हहा हा देवि धीरा भव ||

(Meaning: स्निग्धश्यामलकान्तिलिप्तवियतः, वेल्लद्बलाकाः, घनाः वाताः शीकरिणः, पयोदसुहृदाम् आनन्दकेकाः कलाः | कामं सन्तु | दृढं कठोर+हृदयः रामःअस्मि | अहं सर्वं सहे |वैदेही तु कथं भविष्यति ? हहा हा | देवि, त्वं धीरा भव |

The quarters are all painted as it was with the glistening dark clouds; the cranes are flying with excitement, forming a circle as it were. The gentle wind is full of moisture; these friends of clouds, i.e., the peacocks are giving out joyous notes in the wind. Let all these confront me (कामं सन्तु). I shall certainly put up with all these (सर्वं सहे), for, I am Rama (रामःअस्मि) whose heart is quite hard as adamantine (made of very hard material) (दृढं कठोर+हृदयः). But how will Sita bear with this (वैदेही तु कथम् भविश्यति)! Alas! Alas!(हहा हा) O my beloved queen! Bear these with all fortitude or courage (देवि धीरा भव).

Rama is separated from Sita. He describes the season which causes more pain for the separated lovers. He hopes that Sita is able to bear this pain. He says that he will be able to bear it. Here for the term Rama, the meaning to be taken is much more than the son of Dasaratha. He is to be taken as one having the capacity to bear all the pains. It is an example of अर्थान्तरसङ्क्रमितवाच्यः | The suggestion here is that he can bear all the pain (सर्वकष्टसहिश्नुत्वशक्तिमान्) |

Example of अत्यन्ततिरस्कृत

रविसङ्क्रान्तसौभाग्यस्तुषारावृतमण्डलः | </**>निःश्वासान्ध इवादर्शश्चन्द्रमा न प्रकाशते ||

रवि+सङ्क्रान्त+सौभाग्यः तुषार+आवृत+मण्डलः चन्द्रमा, निःश्वास+अन्धः आदर्शः इव न प्रकाशते |

(Meaning: All the charm (brightness) of the moon has gone to the sun. रवि+सङ्क्रान्त+सौभाग्यःIt has disappeared now that the orb is enveloped by snowतुषार+आवृत+मण्डलः| Like a mirror rendered blind by the heavingनिःश्वास+अन्धः इव+आदर्शः, the moon does not glowचन्द्रमा न प्रकाशते|)

At the advent of morning, the sun is raising and the brightness of moon is fading. The soubhaagyaa of chandra has now been transferred to Sun (रवि+सङ्क्रान्त+सौभाग्यः) आदर्शः = दर्पणः = mirror. When we breathe out air on the mirror, the mirror becomes unclear. The person is unable to see clearly. Like that, Chandra is not bright now. The literal meaning here is that the mirror has become blind अन्धः by the breathed out air. There is Dhvani in the shabda अन्धःas it means that it is unable to reflect the image clearly. This type of Dhvani is अत्यन्ततिरस्कृतवाच्या. The literal meaning is overridden.

The chandra’s shine is blocked as a mirror’s reflection is not clear when someone breathes out air on it. निःश्वासान्ध– The term’s literally meaning is to be blinded by the breathed out air. We totally discard that meaning and we take the meaning that the chandra’s shine is not seen when the sun has risen.

Here the word “blinded” is suggestive of the second variety. This is a famous stanza from the epic Valmiki Raamaayana. When we breathe out air on the mirror, the mirror becomes unclear for some time and then becomes bright again. Like that, Chandra is also not bright now, but he will get the light back later on. The literal meaning here is that the mirror has become blind by the breathed out air. There is Dhvani in the shabda “andha” as it means that it is unable to reflect the image clearly. This type of Dhvani is atyanta tiraskruta vaachyaa. The literal meaning is overridden. Through similarity in not being able to reflect or see clearly, the word takes the Lakshana meaning. The conventional meaning of the word “Andha” is completely discarded.

Example of अत्यन्ततिरस्कृत – 2

गगनं च मत्तमेघं धारालुलितार्जुनानि च वनानि | </**>निरहङ्कारमृगाङ्का हरन्ति नीला अपि निशाः || <//**>||2.1 ++||

मत्तमेघं गगनं च, धारालुलित+अर्जुनानि वनानि च, निरहङ्कार+मृगाङ्काः निशाः नीला अपि (मनः) हरन्ति ||

The sky is enveloped with intoxicated or rolling clouds गगनं मत्तमेघंच | the Arjuna trees in the forest have water drops drippingवनानि धारालुलित+अर्जुनानि च | Nights are not bright with moon bereft of prideनिशाः निरहङ्कार+मृगाङ्काः | Though black in colour, they capture youनीला अपि (मनः)हरन्ति | मनःis अध्याहारः (the supplied missing text).Here the words “rolling”, “bereft of pride” are replete (brimming) with suggestion.

विवक्षितान्यपरवाच्यः and its two types

We will now see about विवक्षितान्यपरवाच्यः| Where there is no hindrance to the vaachyaartha and yet another meaning flashes, that is विवक्षितान्यपरवाच्यः = विवक्षितवाच्य dhvani. वक्तुम् इच्छा विवक्षा | Vivaksha is the desire to express. Vivakshita is the message that the poet wants to express.

Two types in विवक्षितान्यपरवाच्यः

मुख्यतया प्रकाशमानो व्यङ्ग्योऽर्थो ध्वनेरात्मा |<*>

स च वाच्यार्थापेक्षयाकश्चिदलक्ष्यक्रमतया प्रकाशते , कश्चिद्क्रमेणेति द्विधा मतः ||| 2.2 + |

मुख्यतया प्रकाशमानः व्यङ्ग्यः अर्थः ध्वनेः आत्मा |

सः च वाच्यार्थ अपेक्षयाकश्चित् अलक्ष्यक्रमतया प्रकाशते ,कश्चित् क्रमेण इति द्विधा मतः ||| 2.2 + |

The nature of suggestion is such that the suggested meaning can be conveyed with significance. A variety of it can be grasped along with the expressed since the sequence in comprehending both conventional and suggested meanings cannot be discerned. Another variety is that in which the sequentiality can be easily discerned.

Even when the suggested meaning is present, if it is not enjoining importance and pre-eminence, then it should not be called as Dhvani.

This is the vritti for “The nature of suggestion”.विवक्षितान्यपरवाच्य (intended literal import) is also divided into two, namely संलक्ष्यक्रमव्यङ्ग्य (where sequentiality can be discerned) and असंलक्ष्यक्रमव्यङ्ग्य (where sequentiality cannot be discerned). One variety in which the suggested meaning is grasped along with the expressed since the sequence in comprehending both conventional and suggested meanings cannot be discerned (separated). Another variety is that in which the sequentiality can be easily discerned.

संलक्ष्यक्रमव्यङ्ग्यः

संलक्ष्यक्रमव्यङ्ग्यःcould be the Alamkaara Dhvani, Vastu Dhvani or even the gunibhoota vyangya Dhvani. From the vibhaava, anubhaava, and vyabhichaari bhaava, the staayibhaava is created and it gets nourished by them and turns out to be the experience of Rasa. There is a kramaa or sequence there.Samlakshyakramavyangya is where the sequence is perceptible. It is of 2 types, namely Shabdashaktimulaand Arthashaktimula. Note that Mammata added Ubhayashaktimula making it three. The verse “शिखरिणिक्वनुनाम” mentioned earlier is an example of Samlakshyakramavyangya. Here we first understand the denoted meaning related to the parrot and then we realize the suggested meaning of the speaker.

Any shloka that has rasa or bhava is an example for असंलक्ष्यक्रमव्यङ्ग्य. The stotra will sing the praise of the deity and there would be a prayer for protection also. So, any stotra can also become an example of Bhava Dhvani as there will be Bhakti Bhaava in it. Even if this sequence is present, it is not seenin असंलक्ष्यक्रमव्यङ्ग्यः| यद्यपि क्रमः विद्यते, अतिसूक्ष्मत्वात् न लक्ष्यते | It is understood by the maxim of सहस्रदलसूचीभेदन्यायः (or Shatapatra-patrashata-beda-nyaayaa)| When the needle is made to go through 1000 petals, we would not notice how it crosses each petal. Here also though विभाव-अनिभाव-व्यभिचारिभावैः रसः, we do not notice them and we seem to directly experience the rasa. The overall feeling is understood while going through the work, without having to analyze each aspect for identifying the specific bhaavaa there. On account of the quickness, the order is not noticed. Note that it is not said that the order or क्रम is not present. It is only unnoticed – असंलक्ष्य.

असंलक्ष्यक्रमव्यङ्ग्यःis Rasaadhi Dhvani as there are actually eight types namely Rasadhvani, Bhaavadhvani, Rasaabhaasa Dhvani, Bhaavaabhaasa Dhvani, Bhaavodaya, Bhaava Sandhi, Bhaava Shabalataa, and Bhaava Shaanti. रसभावतदाभासतत्प्रशान्त्यादिरक्रमः |ध्वनेरात्माङ्गिभावेन भासमानो व्यवस्थितः || 2.3||(Meaning: Sentiment (रस), emotion (भाव), the semblance of sentiment (तद्+आभास = रस’sआभास), the semblance of motion (तद्+आभास = भाव’sआभास)or mood and that rise and cessation – all these form un-discerned sequentiality. It is decided that when there is prominent presence (अङ्गि भावेन) of the variety that would be the very soul of suggestion (ध्वनेःआत्मा)). In Lochana, the example has been given for each of the variety.

रसादिरर्थो हि सहैव वाच्येनावभासते | स चाङ्गित्वेनावभासमानोध्वनेरात्मा |after 2.3<*>

रसादिः अर्थः हि सहएव वाच्येन+अवभासते | सः च अङ्गित्वेन अवभासमानः ध्वनेः आत्मा |

The elements such as Rasa (i.e., Rasa – sentiment, bhaava – emotion, Rasaabhaasa – semblance of sentiment, bhaavaabhaasa – semblance of emotion or mood, and that rise and cessation) would strike the mind along with the conventional or literal import. If they also shine prominently, there would be the soul of suggestion.

It would seem like the vaachyaartha and the vyangyaartha are coming together. Kaarana has to be present before the Kaarya. Since Vaachyaartha is the Kaarana, it has to be present even before the Kaarya which is the Vyangyaartha. But the gap is so less that it feels as though they are there together. The Rasaadi Dhvanis are inseparable with the Vaachyaartha. They might seem to come together. Whereas there is a clear order in the vastu dhvani and alamkaara dhvani in which the vaachyaartha occurs first and then comes the vyangyaartha.

Rasavadalamkaara

रसः अस्मिन् अस्ति इति रसवत् | (धनं अस्य अस्ति इति धनवान् | वतुप् and मतुप् प्रत्ययsindicating possession) | The earlier alamkaarikaas mentioned that the alamkaaras that have rasa can be taken to be Rasavadalamkaaraa. Anandhavardhana does not agree with this. He said that where the rasa is prominent, it should be called as Rasadhvani. In Rasaadi Dhvani, there is prominence of one of these – Rasa, Bhaava, Rasaabhaasa, Bhaavaabhaasa, Bhaavodaya, Bhaava sandhi, Bhaava shabalataa or Bhaava shaanti. Rasa should be vyangya or suggested and it should be prominent. Sometimes, the rasa will be the anga or secondary to some other aspect. Usually the king is more important than the servant. But assume the king attends the marriage of the servant. The servant gains prominence there (भृत्य-विवाह-प्रवृत्त-राजवत्). Like that, in some remote cases, where some alamkaara gains more importance than the rasa, it will be called as Rasavadaadyalamkaara.

प्रधान्येऽन्यत्र वाक्यार्थे यत्राङ्गं तु रसादयः |<*>काव्ये तस्मिन्नलङ्कारो रसादिरिति मे मतिः ||२.५ ||

प्रधान्ये+अन्यत्र वाक्यार्थे यत्र+अङ्गं तु रसादयः |काव्ये तस्मिन्+अलङ्कारः रसादिः इति मे मतिः ||२.५ ||

If on the other hand, the chief meaning of the sentence should direct towards something else and if Rasa, etc. are to figure in only as subsidiary to it, that would be the case of Rasavadalankaara.

Where the vaakyaartha is important अन्यत्र वाक्यार्थेप्रधान्ये and rasa, bhava, etc. are only secondary यत्ररसादयःतु अङ्गम्, in those kaavyasतस्मिन्काव्ये, these secondary rasa, bhava, etc. will become Alamkaara रसादिःअलङ्कारः, is my opinionइति मे मतिः |

Until Anandavardhana’s period, there was no work with this level of details. Anandavardhana clarifies that where there is no prominence of Rasa, it is not to be considered as Dhvani and it is to be taken to be only Alamkaara.He says that this is his opinionइति मे मतिः| This was accepted by all.

Example of Rasavadalamkaara

क्षिप्तो हस्तावलग्नः प्रसभमभिहतोऽप्याददानोऽशुकान्तं

गृह्णन् केशेष्वपास्तश्चरणनिपतितो नेक्षितः सम्भ्रमेण |

आलिङ्गन् योऽवधूतस्त्रिपुरयुवतिभिः साश्रुनेत्रोत्पलाभिः

कामीवार्द्रापराधः स दहतु दुरितं शाम्भवो वः शराग्निः ||

क्षिप्तःहस्तौअलग्नः, प्रसभम् अभिहतःअपि आददानः अशुकान्तं

गृह्णन् केशेषुअपास्तःचरण-निपतितः नेक्षितः सम्भ्रमेण |

आलिङ्गन् यः अवधूतस्त्रिपुरयुवतिभिः साश्रुनेत्रोत्पलाभिः

कामी-वार्द्रापराधः सः दहतु दुरितं शाम्भवः वः शराग्निः ||

May that fiery arrow of Shiva burn down all our sins. That arrow who worked out in the form of a lover who has committed a new offence towards his beloved. Though avoided by the wives of Tripura with fear stricken lilly-like eyes, it would cling intently to their hands, though compellingly pushed out, it would still hold on to the tips of garment, though harshly pushed aside by the hair of its feather, it would fall at their feet and yet remain unrecognized due to their agitation, and despite it being pushed back, it would embrace them.

Tripura Samhaara is when Shiva kills three demons, who travel in space, as though in a space shuttle. Vishnu is the arrow. Meru mountain is the bow. At a specific point of time, all three of them come in one line. At that moment, Shiva killed the demons. The fire comes and falls at the hands of the ladies (क्षिप्तःहस्तौअलग्नः). Even when they push it (प्रसभम् अभिहतःअपि), it holds onto the edge of their sarees (आददानः अशुकान्तम्). Though the fire is harshly pushed aside by the hair(गृह्णन् केशेषु अपास्तः), it goes and falls at their feet (चरण-निपतितः). The poet says that the fire is like their lovers (कामी+वार्द्रापराधः). Even though there is karuna rasa in the act of protecting the people, here the prominent rasa is the vira or the prathaapa of Shiva. So this is rasavat alamkaara. In most of the slokas after all the praise, it concludes by seeking the blessings. In such cases, Karuna is not prominent.

हे हेरम्ब किमम्ब रोदिषि कुतः? कर्णौ लुठत्यग्निभूः

किं ते स्कन्द विचेष्टितं मम पुरा संख्या कृता चक्षुषाम्।

नैतत्तेप्युचितं गजास्य चरितं नासां मिमीतेऽम्ब मे

तावेवं सहसा विलोक्य हसितव्यग्रा शिवा पातु वः॥

पार्वती :: हे हेरम्ब |

गजानन: :: किम् अम्ब ?

पार्वती :: रोदिषि कुतः?

गजानन: :: अग्निभूः कर्णौ लुठति |

पार्वती :: (हे) स्कन्द | किं ते विचेष्टितम् ?

स्कन्द: :: पुरा मम चक्षुषाम् संख्या (तेन) कृता |

पार्वती :: (हे) गजास्य | एतत् ते चरितं अपि न उचितं |

स्कन्द: :: (हे) अम्ब | (स:) मे नासां मिमीते |

एवं शिवा तौ सहसा विलोक्य हसितव्यग्रा पातु वः॥

शिवा = पार्वती ; हेरम्ब: = गणेश:; अग्निभूः = born out of fire – Shanmukha; तौ एवं सहसा विलोक्य = स्कन्दगजाननौ कलहरूपेण क्रीडन्तौ दृष्ट्वा ; सहसा = hurriedly (here, casually); हसितव्यग्रा = हसने या व्यग्रा अभवत् सा = She who is engaged or occupied in smiling; व: = युष्मान् (you all); पातु = रक्षतु;

Hasya rasaa is prominent and Karuna is not prominent though it ends saying – let that Parvathi protect us. Hence this is Rasavadalamkaara.

रसभावादितात्पर्यमाश्रित्य विनिवेशनम् |अलङ्कृतीनां सर्वासामलङ्कारत्वसाधनम् ||2.6

रस+भावादि+तात्पर्यम्+आश्रित्य विनिवेशनम् |अलङ्कृतीनां सर्वासाम्+अलङ्कारत्व+साधनम् ||

It is only the use of Alamkaaraas in view of the principal idea of Rasa, Bhaava etc. that really proves as sources of charm.

When the ornaments are kept for display in the shop, it is not serving the purpose of an ornament. Only when someone wears it, it becomes a decorative item. Just the presence of alamkara in a poem does not have any significance unless it becomes a decoration for the Dhvani in the poem.

एवं ध्वनेरुपमादीनां रसवदलङ्कारस्य च विभक्तविषयताभवति | </*> |2.6+|

एवं ध्वनेःउपमादीनां रसवदलङ्कारस्य च विभक्त-विषयताभवति |

In this way, there is a specific differentiating aspect between Dhvani, alamkaaras like upama, and the Rasavadamkaara.

Guna – Different from Alamkara

Right from Bharata’s time, Gunas were recognized. Dhandi related Gunas to the Marga or Reeti and listed the ten Gunas. Vaamana also explained in the same way classifying them as Shabda Guna and Artha Guna. While the alamkaarikaas prior to him had considered Guna to be the dharma of Marga or Reeti, Anandavardhana was the first one to say that Gunas are the dharmas of Rasa. He describes the difference between the Guna and Alamkaara. This difference was pointed out for the first time clearly by Vaamana but in a different way.

तमर्थमवलम्बन्ते येऽङ्गिनं ते गुणाः स्मृताः <*>|अङ्गाश्रितास्त्वलङ्कारा मन्तव्याः कटकादिवत् || 2.7 ||

तम्+अर्थम्+अवलम्बन्ते ये+अङ्गिनं ते गुणाः स्मृताः |अङ्ग+आश्रिताः+तु+अलङ्काराः मन्तव्याः कटकादिवत् ||

That which depends upon this main element (here rasa) are considered as “qualities”. The figures of speech are those that are connected with its parts (here the expressed meaning and the expression) in the same way as ornaments like bracelet, etc.

The difference between Alamkaara and Guna is stated here. A person might have decorated himself in a certain way. But his Gunas or qualities are different. The Alamkaaras are decorations of the body and the Gunas always depend on the soul (अङ्गि that which contains the organs). The अङ्गि of kavya is rasa. The gunas Prasaad, Ojas, and Madhurya are decorations of the soul, the rasa dhvani, which is the अङ्गि. शब्दार्थौ काव्यस्य शरीरम् | The alamkaaras are attached to the body which is the word, shabda and the meaning, vaachya. Yamaka is a shabda alamkara. Upamaa is an arthaalamkaara. येअङ्गिनं तम्अर्थम् (dhvani) अवलम्बन्ते, ते गुणाः | अङ्ग-आश्रिताः तु अलङ्काराः | कटकादिवत् = Like the bangle (कटक) and others. In this he says that the Rasa’s Dharma is the Gunas. The alamkaaras are only supplementary parts to the body made of Shabda-Artha. Like the ornaments for the human body, the alamkaaras are ornaments to the Kaavya’s body.

Dhandi mentions about 10 gunas. Anandavardhana accepts only three as Gunas. The first is maadurya guna which is the dharma of Shrungaaraadirasa (like Shrungaara, Kaarunya, Hasya, etc.). The next one Ojas is related to Raudraadi Rasa (i.e., Raudra, Veera, Adbuda, Bibatsa). The third one Prasaada is the common dharma for all Rasa. Prasaada means Prasanna. This brings the ananda due to the Rasa.

Maadurya Guna and Shrngaara Rasa

शृङ्गार एव मधुरः परः प्रह्लादनो रसः <*>|तन्मयं काव्यमाश्रित्य माधुर्यं प्रतितिष्ठति ||७2.8||

Meaning: Shringaara – the sentiment of love – is the sweetest and most enjoyable of all sentiments. The quality of Maadhurya or sweetness is declared to be present in the poetic composition beaming with this sentiment of Shringaara.

He says that the Shrungaara Rasa is the Rasa that can cause the most happiness. Madurya resides in this type of Kaavya having Rasas like Shrungaara. Madurya is a quality residing in the Shabda and Artha. And still it brings out the ananda of the Rasa. Even within the Shrungaara, the vipralamba shrungaara is much more enjoyable than the Samboga Shrungaara.

Maadurya Guna and Karuna Rasa

The most enjoyable Rasa is Karuna. The Harishchandra drama is full of pathos. The audience would cry so much while watching it and yet they will want to watch the drama again. Vishwanath says in Saahitya Dharpana that करुणादावपि रसे जायते यत् परं सुखम् | सचेतसामनुभवःप्रमाणं तत्र केवलम् | We experience Ananda even in Rasas like Karuna the proof is the ananda experienced by the sahrudayas. शृङ्गारे विप्रलम्भाख्ये करुणे च प्रकर्षवत् |माधुर्यमार्द्रतां याति यतस्तत्राधिकं मनः ||८2.9||

Meaning:In the two kinds of sentiments, namely, love-in-separation and the pathetic sentiment, sweetness should be the foremost because the heart of the recipient is moved very much in those situations.

The most touching of all the Rasas, that melt the heart, are vipralambha-shrungaara and Karuna.

Ojas Guna

रौद्रादयो रसा दीप्त्या लक्ष्यन्ते काव्यवर्तिनः | तद्व्यक्तिहेतूशब्दार्थावाश्रित्यौजो व्यवस्थितम् ||९ 2.10||

Meaning: Raudrarasa etc., are significant in their having great exciting potency in poetry. The quality of ओजस्or forcefulness is said to be in word and sense which produce the effect.

Sentiments like Raudra create a sort of excitement in poetic composition. Hence by lakshana, one might designate that sentiment itself by the term Deepti or excitement. It was said by the earlier alamkaarikas that दीर्घसमासत्वम् ओजत्वम् | Anandavardhana is of the opinion that Ojas may be found even in the simplest expressions. Two examples are given for Ojas from Venisamhaara. The first one has long compounds. चञ्चद्भुजभ्रमितचण्डगदाभिघात-सञ्चूर्णितोरुयुगलस्य सुयोधनस्य | स्त्यानावबद्धघनशोणितशोणपाणि-रुत्तंसयिष्यति कचांस्तव देवि भीमः || Bhima says that he will kill the kauravas and with that blood in his hands, he will tie Draupadi’s hair. Both Shabda and Artha have ojas guna. यो यः शस्त्रं बिभर्ति स्वभुजगुरुमदः पाण्डवीनां चमूनांयो यः पाञ्चालगोत्रे शिशुरधिकवया गर्भशय्यां गतो वा | यो यस्तत्कर्मसाक्षी चरति मयि रणे यश्च यश्च प्रतीपःक्रोधान्धस्तस्य तस्य स्वयमपि जगतामन्तकस्यान्तकोऽहम् || Ashwattaama says he will kill all the people on the Pandavas side without leaving the fetus in the womb. In this example, the deepti is created by the word and meaning in spite of the absence of long compounds.

Prasaada Guna

समर्पकत्वं काव्यस्य यत्तु सर्वरसान् प्रति | स प्रसादो गुणो ज्ञेयः सर्वसाधारणक्रियः ||2.१०||

Meaning: That which produces congeniality in a poetic composition towards all sentiments is known as Prasaada which goes well with all sentiments and poetic compositions.

प्रसादस्तु स्वच्छता शब्दार्थयोः | The quality of Prasaada or Perspicuity means clarity or lucidity in word and meanings. Samarpakatvam is to have the appropriate shabda and artha that is appropriate for the specific rasa. सर्वसाधारणक्रियः– it is applicable in common to all the rasas.स च सर्वरससाधारणोगुणः सर्वरचनासाधारणश्च व्यङ्ग्यार्थापेक्षयैवमुख्यतया व्यवस्थितो मन्तव्यः | (2.10 / 2.11) All sentiments could be accommodated in this perspicuity and all poetic compositions could make use of this quality. Hence it is better we understand it as primarily relating to व्यङ्ग्यार्थ only.

Dosha

श्रुतिदुष्टादयो दोषा अनित्या ये च दर्शिताः | ध्वन्यात्मन्येव शृङ्गारे ते हेया इत्युदाहृताः || 2.११||

Meaning: Faults like indelicacy which are considered to be non-permanent by the ancient writers have been deemed to be so only with reference to the sentiment of love when it has suggestion.

Indelicacy is that which is not pleasant to hear. The faults like this are not considered as permanent faults. It can be ignorable in certain rasas and it can even enhance the raudra-adi rasa. But it should be totally avoided in Shrngaara.

दोष means मुख्यार्थ-हानिः – the factor that prevents the main meaning from being understood. A blemish that damages or destroys the desired meaning is kaavya dosha. पददोष,वाक्यदोष, अर्थदोष, रसदोष, etc., are the types of faults. पददोष’s example would be spelling mistakes. वाक्यदोष where there could be some grammatical mistakes like singular-plural mismatch between कर्तृ and क्रिया. Rasa is most important. रसदोष is the blemish that damages the rasa. It is acceptable even if a गुण or good quality is missing. But it is not acceptable to have a दोष. Not having a दोष itself is an अलंकार.

Definition of Kavya or Poetry given by Mammata in Kavya Prakashaa – तत् अदोषौ शब्दार्थौ सगुणौ अनलंकृती पुनः क्वापि (काव्यप्रकाश 1.4) – इति काव्यलक्षणं | The first condition is that there should not be any fault अदोषौ.

Usage of Alamkaara

ध्वन्यात्मभूते शृङ्गारे यमकादिनिबन्धनम् | शक्तावपि प्रमादित्वं विप्रलम्भे विशेषतः ||२.१६ ||</*>

ध्वनि+आत्मभूते शृङ्गारे यमकादि-निबन्धनम् | शक्तौअपि प्रमादित्वं विप्रलम्भे विशेषतः |

ध्वनि+आत्मभूते शृङ्गारे शक्तौप्रमादित्वम्अपि यमकादिनिबन्धनम् | विप्रलम्भे विशेषतः |

Even granting that the poet is proficient in using the figures like assonance, it would be a lapse on his part in case he were to use them while delineating the sentiment of love which is the very soul of Dhvani, especially in vipralambha shrungaara. (यमकादिशक्तौप्रमादित्वम्= proficiency in the skill of including alamkaras like Yamaka). In this section, Anandavardhana clarifies the role of Alamkara in Dhvani poetry.

रसाक्षिप्ततया यस्य बन्धः शक्यक्रियो भवेत् | अपृथग्यत्ननिर्वत्यः सोऽलङ्कारो ध्वनौ मतः ||2.१७ / 2.16||</*>

रसाक्षिप्ततया यस्य बन्धः शक्यक्रियः भवेत् |अपृथक्+यत्न+निर्वत्यः सः अलङ्कारः ध्वनौ मतः ||

The poet is permitted to use only such figures the employment of which is made possible only by the emotional exuberance (excitement) of the poet and in the use of which figure there is no special effort used.

Anandavardhana clarifies about the usage of Alamkaara within the composition that has Dhvani. If the Alamkaara effortlessly finds a place there, then retain it. But for the sake of including an Alamkaara, do not force it into the composition. Kalidasa uses the Alamkaara judiciously, only those which are appropriate to the rasa in that context. विवक्षातत्परत्वेन नाङ्गित्वेन कदाचन |काले च ग्रहणत्यागौ नातिनिर्वहणैषिता ||2.१८||

Meaning: It must be realized that the figure of speech should serve as a means to the delineation of sentiment and it should not be an end in itself. He should have the right to abandon it when not needed in the same way as he uses them when needed rightfully.

(1) विवक्षातत्परत्वेन– Alamkaara should be to enhance the sentiment (2) नअङ्गित्वेन कदाचन– at any point of time, it should not gain prominence over the rasa (3) काले च ग्रहणत्यागौ– it should be used or given up at the appropriate time (4) न अतिनिर्वहणैषिता– One should not over do the Alamkaaras. (5) निर्व्यूढावपि चाङ्गत्वे यत्नेन प्रत्यवेक्षणम् – If it happens to come that way, the poet should put effort to make it only secondary or subordinate. Alamkaaras are to be used only when they nourish the Rasa. It should not be forcefully introduced just for the sake of having an Alamkaara there. It should not be the angi i.e., gain prominence over the Rasa. Leave the use of Alamkaara if it is not supporting the rasa.

निर्व्यूढावपि चाङ्गत्वे यत्नेन प्रत्यवेक्षणम् | रूपकादिरलङ्कारवर्गस्याङ्गत्वसाधनम् ||2.१९||

Meaning: He shall not exercise his over-enthusiasm however much he may feel himself an expert. He should be keen in rendering it only secondary or subordinate. It is only thus, the figures like Rupaka become instrument to suggest sentiments.

In Abhignaana Shaakuntalam, there is a S