Anandavardhana: Dhvani - Structure of Poetic Meaning | EXPLANATION

Anandavardhana: Dhvani - Structure of Poetic Meaning

Based on the excerpt in G. N. Devy (Ed.), Indian Literary Criticism: Theory and Interpretation (pp. 31-40).

Introduction to Anandavardhana and the Theory of Dhvani

Anandavardhana, a highly influential 9th-century CE Indian literary theorist, revolutionized the understanding of poetic meaning with his groundbreaking theory of Dhwani (ध्वनि), often translated as "suggestion," "implication," or "resonance." His seminal work, the Dhvanyaloka (ध्वन्यालोक, "The Light of Suggestion"), posits that the most significant and aesthetically potent aspect of poetry lies not in its literal or directly expressed meaning (vachya, वाच्य), but in the suggested or implied meaning (vyangya, व्यङ्ग्य) that resonates with the reader. The excerpt under discussion introduces this core concept and explores the structure and various types of this suggested poetic meaning.

Before Anandavardhana, Indian poetics primarily focused on elements like figures of speech (alamkara, अलंकार) and the aesthetic emotion (rasa, रस) as being directly expressed. Anandavardhana argued that the true essence of poetry, the element that evokes profound aesthetic delight, often lies in what is left unsaid but powerfully suggested by the words, their arrangement, and the overall context of the poem.

The Distinction Between Expressed and Suggested Meaning

Anandavardhana establishes a clear distinction between two levels of meaning in poetry:

• Expressed Meaning (Vachya): This is the literal, primary, or dictionary meaning of the words used in a poem. It is what is directly stated by the poet.
• Suggested Meaning (Vyangya or Dhvani): This is the implied, suggested, or resonant meaning that goes beyond the literal. It is not explicitly stated but is evoked in the reader's mind through the interplay of words, their connotations, the context, and the overall poetic structure.

Anandavardhana contends that the dhvani, or suggested meaning, is the soul (atman, आत्मन्) of poetry. He argues that poetry which primarily focuses on the expressed meaning may be informative or descriptive, but it lacks the depth and aesthetic power of poetry where the suggested meaning dominates and creates a richer, more profound experience for the reader.

He does not dismiss the importance of the expressed meaning entirely. Rather, he posits that the expressed meaning serves as the foundation or the vehicle through which the suggested meaning is conveyed. The words and their literal senses create the necessary framework for the dhvani to emerge.

The Nature and Manifestations of Dhvani

Anandavardhana elaborates on the nature of dhvani, highlighting that it is not arbitrary or purely subjective. It arises from specific elements within the poetic text and adheres to certain principles of suggestion. He identifies several ways in which dhvani can manifest:

• Suggestion Based on the Meaning of Words (Abhidhamula Dhvani): In this type, the suggested meaning arises directly from the inherent connotations and associative power of the words themselves, going beyond their literal denotation.
• Suggestion Based on the Expressive Power of Words (Lakshanamula Dhvani): Here, the suggested meaning arises through the figurative or metaphorical use of words. The literal meaning is set aside, and a secondary, implied meaning is conveyed based on resemblance or association. This often involves figures of speech like metaphor (rupaka, रूपक) or metonymy (lakshana, लक्षणा in a broader sense).
• Suggestion Based on Rasa (Rasadhi Dhvani): This is considered the most important and aesthetically significant type of dhvani. Here, the primary suggested meaning is the evocation of rasa, the aesthetic emotion experienced by the sensitive reader. The entire poem, through its words, structure, and imagery, works towards suggesting and realizing a particular rasa, such as love (shringara, शृङ्गार), sorrow (karuna, करुण), or heroism (vira, वीर).
• Suggestion of Fact or Idea (Vastudhvani): This involves the suggestion of a particular fact, situation, or idea that is not directly stated but is implied by the descriptive elements and narrative progression of the poem.
• Suggestion of Figure of Speech (Alamkaradhvani): Here, a particular figure of speech is not explicitly mentioned but is subtly suggested through the arrangement of words and the overall poetic expression.

Anandavardhana emphasizes that in the best poetry, these different types of dhvani often intermingle and reinforce each other, creating a rich tapestry of suggested meaning that contributes to the overall aesthetic experience.

The Structure of Poetic Meaning and the Role of Suggestion

Anandavardhana argues that the structure of poetic meaning is not linear or straightforward. It involves a dynamic interplay between the expressed and the suggested. The expressed meaning acts as a kind of signifier that points towards the signified suggested meaning. However, this relationship is not always direct or easily discernible. The power of dhvani lies in its ability to evoke layers of meaning that resonate deeply with the reader's emotions and imagination.

He uses the analogy of a jewel and its luster to explain this relationship. The expressed words are like the jewel, and the suggested meaning (dhvani), particularly when it evokes rasa, is like its radiant luster. The luster is inherent in the jewel but is also something more than just the material of the jewel itself; it enhances its beauty and value. Similarly, dhvani enhances the aesthetic appeal and significance of poetry.

The process of understanding dhvani involves a sensitive and discerning reader who is capable of going beyond the surface level of the expressed meaning and apprehending the underlying suggestions. This requires a certain level of aesthetic sensibility and familiarity with the conventions of poetic language.

The Superiority of Dhvani-Poetry

Anandavardhana firmly establishes the superiority of poetry in which dhvani is the dominant element. He categorizes poetry based on the prominence of expressed and suggested meaning:

• Uttama Kavya (Excellent Poetry): This is poetry where the suggested meaning (dhvani), particularly rasa-dhvani, is clearly dominant and evokes profound aesthetic delight.
• Madhyama Kavya (Mediocre Poetry): In this category, the suggested meaning is present but subordinate to the expressed meaning, or the suggestion is not as powerful or aesthetically pleasing.
• Adhama Kavya (Inferior Poetry): This refers to poetry where the expressed meaning is primary, and there is little or no significant suggested meaning. Anandavardhana considers this to be closer to mere statement or description rather than true poetry.

For Anandavardhana, the highest form of poetic art achieves its greatness through the skillful and subtle suggestion of meaning, particularly the evocation of rasa. This is what distinguishes true poetry from ordinary language and bestows upon it its unique power to move and delight the reader.

The Role of the Poet and the Reader in Dhvani

The theory of dhvani highlights the crucial roles of both the poet and the reader in the creation and appreciation of poetic meaning.

• The Poet: The poet, endowed with imaginative insight, skillfully employs language in a way that not only conveys the expressed meaning but also subtly hints at deeper, unstated meanings. This involves a careful selection of words, their arrangement, the use of figures of speech, and the creation of a particular atmosphere or context that facilitates the emergence of dhvani. The poet's genius lies in their ability to make the expressed words resonate with suggested significance.
• The Reader (Sahridaya): The ideal reader, or sahridaya (सहृदय, "one with a sympathetic heart"), is someone who possesses the sensitivity, imaginative capacity, and aesthetic training to recognize and appreciate the suggested meanings. They are able to go beyond the literal and experience the emotional and intellectual resonance evoked by the dhvani. The realization of dhvani is thus a collaborative process between the poet's suggestive expression and the reader's receptive and imaginative interpretation.

Anandavardhana emphasizes that the experience of dhvani leads to a unique kind of aesthetic pleasure (alaukika ananda, अलौकिक आनन्द, "transcendental bliss") that is distinct from the enjoyment derived from ordinary language or mere intellectual understanding.

Dhvani and Other Poetic Theories

Anandavardhana's theory of dhvani engaged with and often critiqued earlier Indian poetic theories that primarily focused on other aspects of poetry, such as:

• Riti (Style): Theories that emphasized the importance of specific styles or manners of expression.
• Guna (Qualities): Discussions about the desirable qualities of poetic language.
• Alamkara (Figures of Speech): Focus on the decorative and ornamental aspects of poetry.
• Rasa (Aesthetic Emotion): While Anandavardhana considered rasa to be the most important type of dhvani, he argued that rasa itself is often suggested rather than directly stated.

Anandavardhana argued that while these elements are important aspects of poetry, they ultimately serve as means to the end of dhvani. The true essence and power of poetry lie in its suggestive capacity to evoke deeper layers of meaning and ultimately, the aesthetic emotion of rasa.

Conclusion

Anandavardhana's theory of dhvani represents a significant milestone in the history of literary criticism. By highlighting the importance of suggested meaning in poetry, he provided a new framework for understanding the aesthetic power and complexity of poetic language. His ideas about the interplay between expressed and suggested meaning, the various types of dhvani, and the roles of the poet and the reader continue to be influential in the study and appreciation of literature, not just in India but globally. The concept of dhvani encourages a deeper engagement with the nuances of poetic expression and the rich layers of meaning that can be evoked through suggestion.

This explanation is based on the interpretation of Anandavardhana's ideas as presented in G. N. Devy (Ed.), *Indian Literary Criticism: Theory and Interpretation* (Orient Longman, 2002, pp. 31-40). For a more comprehensive understanding, refer to translations and commentaries on the Dhvanyaloka itself.