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Dhvani Theory
Dhvani Theory
The
medieval Alamkarikās felt that for the purpose of aesthetic experience and Rasānubhuti, the aid
of Dhvani must exist because the Rasā experience is never possible on Vakyabhumi.
The Dhvani Theory found it's first systematic expression in Ānandvardhan's 'Dhvanyāloka'. His
theory dominated Indian Poetics from the 9th to 12th century A.D.
Grammatical Definitions
ध्वनति इति ध्वनि: - That which suggest both word and meaning is Dhvani
Dhvanyaloka of Anandavardhana
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
[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
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 अलं करान् 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
[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. अलं कारः,
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
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
Poetry
The plot or कथा वस्तु, the theme of the story, is iti vruttam इति 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 काव्यालं कार 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
[Side note: चर्वित चर्वनं मा भवेत् | Let there be noimitation i.e., chewing of that which is already
[Side note: प्रयोजनमनुद्दिश्य मन्दोऽपि न प्रवर्तते | Even a dullard does not venture into a task
On correctness ofKaavyam साधु काव्यम् and on the purpose of poetry काव्यस्य प्रयोजनम् ,
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
Koshaarthah, Vaachyaartha, शक्यार्थ The power of the word conveyed by the dictionary
meaning
भाक्त Some element is suppressed (The word bank is suppressed in Gangaayaam goshah –
सङ्के तार्थः |Vritti is defined as the relation of the word with its meaning पदपदार्थयोः सं बन्धः वृत्तिः |
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
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
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. गूढं सत् चमत्करोति | These latent / hidden / suppressed / indicatory (गूढ)
meanings cause fascination and excitement. There is always a relationship (सं बन्धः) between
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
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
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
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
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.,
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
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 अलं कारः | 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.
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
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
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. ]
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.
| 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 दुरन्तं नाटकम् 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
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
[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
स्वेच्छाके सरिणःस्वच्छस्वच्छायायासितेन्दवः | 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
स्वेच्छाके सरिणःनखाः = Nails of him, who took the form of Kesari due to his own will rather than
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
[Side Note: Due to तुगागमसन्धिः and श्चुत्वः, चकार is included between the ह्रस्वस्वर अकार in स्व
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 व्यतिरेकालं कारः 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
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.
Introduction to Dhvani
योऽर्थः सहृदयश्लाघ्यः काव्यात्मेति व्यवस्थितः |वाच्यप्रतीयमानाख्यौ तस्य भेदावुभौ स्मृतौ||1.२ ||</*>
That sense (यः+अर्थः) which wins the approbation (admiration) of sensitive critics (सहृदय+श्लाघ्यः)
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 व्याकृ तः 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
(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 (अतिरिक्तं विभाति) the striking external
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. ]
Sometimes the suggestive idea will be prohibitive, where as the denotative (conventional)
meaning is positive in nature.
(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
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)
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.
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 के वलमनूद्यते, न तु तत्कृ ता | </*>1.4 ++ |
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.
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.
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.
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)
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.
“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 lips ताडिताधरा: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: सं वृतास्यः सुनिश्चलः ध्यायीत मनसा देवं पुरोविष्टभ्य चागृत <TODO – Quote to be
verified> [ Similar Quote from the internet — समग्रीवशिराः सम्यक् सं वृतास्यः 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. ]
Meaning: In the same manner(यथा – तद्वत्) as a man(जनः) intent upon seeing an object in
(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
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
कथितः || १३ ||
(Meaning: The conventional word शब्दः and the conventional meaning अर्थः (स्व+अर्थौ = स्व +
शब्दः + अर्थः) are abandoned उपसर्जनी+कृ त | 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
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
term उपसर्जनीकृ तस्वार्थौ 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
उपसर्जनीकृ तस्वार्थः, while shabda makes its meaning subside शब्दः तमर्थम् उपसर्जनीकृ तस्वार्थः| In
Many alamkaaras like अप्रस्तुतप्रशं सा, 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 also, all Dhvani cannot be equated to this Paryaayoktaalamkaara. Anandavardhana refers
Aanandavardhana authoritatively declares that suggestion becomes possible only when the
यथा समस्तं तिमिर+अं शुकं 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.
“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.
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
सुवर्ण+पुष्पां पृथिवीं चिन्वन्ति पुरुषाः त्रयः |शूरः च कृ तविद्यः 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
हे तरुणि | येन तपसा शुकशावकः तव अधरपाटलं बिम्बफलं दशति, किम् अभिधानम् असौ 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
[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) ]
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
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
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.
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 सं शयम् 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.
end||
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.
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 || <*>
Suggestion and secondary signification are not one and the same because of the innate
difference between the two. अयं ध्वनिःरूपभेदात् भक्त्या एकत्वं नबिभर्ति |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
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
In Meghadoota, the Yaksha is cursed to live away from his wife for one year.
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.
“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.
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.
प्रतिभा = जन्मान्तर सं स्कारः | 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 ।कु कवित्वं पुनः साक्षान्मृतिमाहुर्मनीषिणः ।। १.१२ ।।
(kaavyaalamkaara)न+अकवित्वम्+अधर्माय व्याधये दण्डनाय वा ।कु कवित्वं पुनः साक्षात् मृतिम् आहुः
मनीषिणः ।। “Not writing poetry is no crime; it won’t cause illness or lead to punishment; but
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.
3. व्यङ्ग्योऽर्थः The suggested meaning (vyangya) Suggested sense for whose sake the
(१) अविवक्षितवाच्यः
(१.१) अर्थान्तरसङ्क्रमितवाच्यः
(२) विवक्षितान्यपरवाच्यः
(२.१) सं लक्ष्यक्रमव्यङ्ग्यः
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 अत्यन्ततिरस्कृ तवाच्यः|In the example, “दण्डाः प्रविशन्ति”, the sticks
cannot enter on their own. There is only अल्पविवक्षित. It joins with the पुरुषः and indicates the
In गङ्गायां गोषः, we totally discard the meaning that it is the stream and we take it to be the
banks. So this is अत्यन्ततिरस्कृ तवाच्यः| This usage is to highlight the qualities like शैत्य and
पावनत्वा |
अर्थ+अन्तरे सङ्क्रमितम् अत्यन्तं वा तिरस्कृ तम् |अविवक्षित-वाच्यस्य ध्वनेः वाच्यं द्विधा मतम् ||2.१||
The expressed meaning in the former variety i.e., अविवक्षितवाच्य is sub-divided into two,
namely, अर्थान्तरसं क्रमित (transformed into some other sense) and अत्यन्ततिरस्कृ त (totally
discarded).
Example of अर्थान्तरसङ्क्रमितवाच्य
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,
Example of अर्थान्तरसङ्क्रमितवाच्य -2
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 ||
आनन्दके काः कलाः | कामं सन्तु | दृढं कठोर+हृदयः रामःअस्मि | अहं सर्वं सहे |वैदेही तु कथं भविष्यति ? हहा
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 अत्यन्ततिरस्कृ त
(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 snow तुषार+आवृत+मण्डलः| Like a mirror
rendered blind by the heaving निःश्वास+अन्धः इव+आदर्शः, the moon does not glow चन्द्रमा न
प्रकाशते|)
At the advent of morning, the sun is raising and the brightness of moon is fading. The
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
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 अत्यन्ततिरस्कृ त – 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 मत्तमेघं च | the Arjuna trees in the
forest have water drops dripping वनानि धारालुलित+अर्जुनानि च | Nights are not bright with
moon bereft of pride निशाः निरहङ्कार+मृगाङ्काः | Though black in colour, they capture you नीला
अपि (मनः)हरन्ति | मनःis अध्याहारः (the supplied missing text).Here the words “rolling”, “bereft of
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.
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 सं लक्ष्यक्रमव्यङ्ग्य (where sequentiality can be discerned) and
असं लक्ष्यक्रमव्यङ्ग्य (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
सं लक्ष्यक्रमव्यङ्ग्यः
सं लक्ष्यक्रमव्यङ्ग्यःcould 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
असं लक्ष्यक्रमव्यङ्ग्यः
Any shloka that has rasa or bhava is an example for असं लक्ष्यक्रमव्यङ्ग्य. 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 असं लक्ष्यक्रमव्यङ्ग्यः| यद्यपि क्रमः विद्यते, अतिसूक्ष्मत्वात् न लक्ष्यते | It is
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
असं लक्ष्यक्रमव्यङ्ग्यःis Rasaadhi Dhvani as there are actually eight types namely Rasadhvani,
भासमानो व्यवस्थितः || 2.3||(Meaning: Sentiment (रस), emotion (भाव), the semblance of sentiment
(तद्+आभास = रस’s आभास), the semblance of motion (तद्+आभास = भाव’s आभास)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.
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 प्रत्यय sindicating
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
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.
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 kaavyas तस्मिन्काव्ये, these secondary rasa, bhava, etc.
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 opinion इति मे मतिः| This was accepted
by all.
Example of Rasavadalamkaara
क्षिप्तो हस्तावलग्नः प्रसभमभिहतोऽप्याददानोऽशुकान्तं
गृह्णन् के शेष्वपास्तश्चरणनिपतितो नेक्षितः सम्भ्रमेण |
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 के शेषु 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
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.
अलङ्कारत्वसाधनम्
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.
In this way, there is a specific differentiating aspect between Dhvani, alamkaaras like upama,
and the Rasavadamkaara.
||
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
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 ||७ 2.8||
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.
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 के वलम् | We experience Ananda even in Rasas like Karuna the proof is
the ananda experienced by the sahrudayas. शृङ्गारे विप्रलम्भाख्ये करुणे च प्रकर्षवत् |माधुर्यमार्द्रतां
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
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
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.
काव्यदोषाः
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
Definition of Kavya or Poetry given by Mammata in Kavya Prakashaa – तत् अदोषौ शब्दार्थौ सगुणौ
अनलं कृ ती पुनः क्वापि (काव्यप्रकाश 1.4) – इति काव्यलक्षणं | The first condition is that there should
Usage of Alamkaara
ध्वन्यात्मभूते शृङ्गारे यमकादिनिबन्धनम् | शक्तावपि प्रमादित्वं विप्रलम्भे विशेषतः||२.१६ ||</*>
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
in the skill of including alamkaras like Yamaka). In this section, Anandavardhana clarifies the
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.
अलङ्कारस्य स्थानविवेकः
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
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
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.
of the bee. It has helped in enjoying the rasa even more.चलापाङ्गां दृष्टिं स्पृशसि बहुशो
सं लक्ष्यक्रमव्यङ्ग्यः
shabda-shakti-moola-dhvani
आक्षिप्त एवालङ्कारः शब्दशक्त्या प्रकाशते |यस्मिन्ननुक्तः शब्देन शब्दशक्त्युद्भवो हि सः ||2.२१||
Meaning: That example in which a figure which is not expressed directly by any word is present
and conveys solely, by the suggestive potency of the word itself, should be taken as suggestion
based on the potency of the word.
take both the meanings. येन ध्वस्तमनोभवेन बलिजित्कायः पुरास्त्रीकृ तोयश्चोद्वृत्तभुजङ्गहारवलयो गङ्गां
सर्वदोमाधवः || In this example, the meaning applicable for Hari and the one applicable for the
Hara exist. Here both the ideas are simultaneously present as an outcome of the potency of
the word and hence it is only shlesha and not shabda shakti moola dhvani.
When one meaning is considered as an upamaa for the other meaning (King and elephant),
then it is shabda-shakti-moola-dhvani.
An example is given here where the verse could mean both a king and an elephant belonging to
the jaati of Bhadra. From the context, since it is about the King, the meaning meant for the King
is to be taken first. The other meaning is taken to be Vyanjana.
Contextual meaning: The king has a peaceful nature, his persona is difficult to be gauged, he
has the high stature due to his vamsha, he has mastered several weapons, his knowledge
never goes awry, he gets rid of his foes easily, his hands are charming and always wet with the
water being poured while giving gifts [daana].
Non-contextual meaning: Describes an elephant. It is of the Bhadra variety, body is so high that
it is difficult to mount, backbone is large and lofty, attracts many bees, its movement never
falters, it is an elephant par excellence, the trunk is beautiful and always has the liquid rut
flowing.
(More Info: Jagannaata does not agree that with this. He says that the second meaning should
also be taken as the vaachyaartha. He agrees only in certain specific cases. Even
Anandavardhana does not say that. But Abhinava Gupta gives this in his vyaakyaanaa. The
Elephant can be taken to be the upamaana and hence the alamkara of Upama comes. So this
becomes Upama Dhvani. The shabda shakti mula Dhvani can only be alamkara Dhvani and it
can never be vastu roopa Dhvani says Anandavardhana). ]
Her bosoms having no garland though garlanded by active (attractive) as it were, whom should
they not amaze.
That example in which a figure which is not expressed directly by any word is present and
conveys solely, by the suggestive potency of the word itself, should be taken as suggestion
based on the potency of the word (shabda-shakti-moola-dhvani). The shlesa on the word हार
helps only in conveying a tinge of virodha or paradox on how she is garlanded without a
garland. There is no suggestion based on the potency of the word. So this verse is not an
example for shadba-shakti-moola-dhvani. But the sentiment of love conveyed here through
sequentiality.
Types of Artha-shakti-moola-dhvani
Samlakshyakramadhvani is classified into shabdashakti-moola-dhvani and arthashakti-
meaning. It is of two kinds – (1) प्रौढोक्तिः found in ornamented expression. (2) स्वतः सम्भवी
naturally existing. Each of these two types are further classified into (a) वस्तुना वस्तुध्वानिः, (b)
वस्तुना अलं कारध्वनिः, (c) अलं कारेण वस्तुध्वनिः, (d) अलं कारेण अलं कारध्वनिः |
एवं +वादिनि देवर्षौ पार्श्वे पितुः अधोमुखी |लीला+कमल+पत्राणि गणयामास पार्वती|| after 2.22
This shloka is from Kumaara Sambhava. The Sapta Rishis have come. Narada comes and tells
Himaalaya that Shiva is the suitable groom for Parvathi and that he has agreed to marry
Parvathi. When Narada was talking in this way (एवं +वादिनि देवर्षौ), Parvathi was standing next to
her father with head facing down (पार्श्वे पितुःअधोमुखी). She was holding a lotus for play (leela)
लीला+कमल+पत्राणि. She started seriously counting its petals (गणयामास पार्वती or another
That example in which one sense leads to another sense through its own potency of suggestion
and not out of the denotative potency of words will be an example of suggestion which depends
upon the potency of meaning very much akin to resonance – artha-shakti-moola-dhvani. In this
case, counting of petal suggests bashfulness.
<//*>
शिखि-पिच्छ-कर्ण-पूरा With the plumes of peacock (i.e., an ornament made from the feathers in
the peacock’s tail) adorning her ears, व्याधस्य जाया the wife of the hunter गर्विणी भ्रमति walks in
pride मुक्ता-फल-रचित-प्रसाधनानां सपत्नीनां मध्ये in the midst of all her co-wives who are
Meaning: In this spring season the southerly wind raising the breath of snakes reclining on
sandal trees causes stupor to travelers.
This verse describing the spring season is an example of Utpreksa (poetic fancy) Dhvani. The
southerly wind causes stupor (lethargy) in travellers because it generates passionate longing in
them. The southerly wind itself is poetically fancied (i.e., imagined by the poet) as stuporous
because of its coming in contact with the heaves of snakes which have encircled the sandal
trees. This fancy is not directly conveyed by the words like “as it”, etc. But it is conveyed
through suggestion by the potency of sense in the sentence. It is just like resonance. Since the
cause of the lethargy is an imaginative one, it is an example of हेतूत्प्रेक्षा | Here the suggester is a
The mango tree sheds sprouts, converts into leaf, buds and flowers. Love (treasured) in the
hearts sprouts, turns into leaf, buds and flowers.
maintaining the same order of occurrence referring to love and mango tree is far far greater
than the charm associated with the expressed figure तुल्ययोगिता (combination of equals). The
expressed alamkara, tulyayogitaa results in resonance and suggests यथासं ख्य alamkara.
[Side note–TODO –To be verified if this understanding is right–This is an alamkara where both
the object and the mirrored object follow an enumeration in a fixed order. Further, in this case,
since both are not made to follow a single enumeration and rather there is resonance in its
place, it does not become that alamkara. But it remains as a suggested Alamkaara].
Utility of Alamkaaradhvani
शरीरीकरणं येषां वाच्यत्वे न व्यवस्थितम् |</*>तेऽलङ्काराः परां छायां यान्ति ध्वन्यङ्गतां गतः || २८||<//*> |
2.29 |
The following aphorism points out the utility of suggested figures. The very same figures of
speech (तेअलङ्काराः) which cannot afford to become even the body of poetry (येषां वाच्यत्वे
शरीरीकरणं न व्यवस्थितम्), will gain special beauty (परां छायां यान्ति) much more than what they
were in their expressed aspect, when they become involved in suggestion (ध्वन्यङ्गतां गतः).
Third Udyota
Suggestiveness of Words – Avivakshitavaachya
In this 3rd udyota, 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. Due to the presence of a certain word, there could be suggestion. Or due to the
entire sentence itself, there could be suggestion. एवं व्यङ्ग्यमुखेनैव ध्वनेः प्रदर्शिते सप्रभेदे स्वरूपे
Meaning: Having thus displayed the nature of varieties of suggestion in detail, through the stand
point of the suggested material, the same shall be set forth through the suggestive elements.
Meaning: Both the varieties of suggestion with unintended literal meaning and resonance-like
suggestion are suggested by individual words and also by whole sentences.
When the bell is rung, the resonance that is heard is called अनुरणन | In every variety of Dhvani
(except for Ubhayashakti Mula Dhvani mentioned by Mammata which is based only on the
vaakya), there are two sub-types for the suggestion by individual words and by whole sentence.
Example of वाक्यप्रकाशता in अत्यन्ततिरस्कृ त
या निशा सर्वभूतानां तस्यां जागर्ति सं यमी | </*>यस्यां जाग्रति भूतानि सा निशा पश्यतो मुनेः || <//*> | 3.1 eg |
The following is the example of a suggestive sentence of the sub-class of “Primary sense
totally discarded (अत्यन्ततिरस्कृ तवाच्य) under the class of “that with intended expressed sense”
(अविवक्षितवाच्य).
What is night for all beings, the saint keeps himself awake during then; when the beings are
awake that will be night for the saint.
The expressed sense that one should be awake during night, and remain sleeping during other
time is absolutely irrelevant to what is intended. This only suggests predominantly that the
wise saint has been with spiritual alertness and has shunned false notions about Reality. The
primary meaning thus has been totally discarded and the suggested meaning comes to the
(वाक्यप्रकाशता). Suggestive sentence and suggestive word are the two categories under the
Meaning: For some it would be nectar; for some others both poison and nectar and for some, it
would be neither poison nor nectar.
In this verse, the words poison and nectar are used in such a way that it would merge in the
sense of miserable and joy. These words reveal the suggestivess of अर्थान्तरसङ्क्रमितवाच्य at the
sentence level.
Asamlakshyakrama अलक्ष्यक्रमव्यङ्ग्यः
Influence of Letters
शषौ सरेफसं योगो ढकारश्चापि भूयसा | विरोधिनः स्युः शृङ्गारे ते न वर्णा रसच्युतः || 3.३||
Meaning: The letters “श” and “ष”, letters conjunct with र and ढ–all these are not conducive to
Meaning: When the same letters are used in relation to the sentiment of disgust बीभत्स and
others, they will certainly intensify them. Therefore letters also suggest sentiments.
Influence of Pada
Every word comprises of two parts prakruti and pratyaya. Each of these could cause
भयपरिस्खलितांशुकान्ताते लोचने प्रतिदिशं विधुरे क्षिपन्ती | क्रू रेण दारुणतया सहसैव दग्धाधूमान्धितेन
Context: Vasavadatta being burnt down and Udayana says this to her. Meaning: You, whose
garment was slipping due to being struck with fear and whose helpless eyes were being
diverted in different directions, were all of a sudden consumed by the cruel fire due to his hard
heartedness. You could not be seen by him since he was surely blinded by his own smoke.
Here “those” eyes (ते लोचने) in the illustration are suggestive of sentiment. Udayana recollects
how those eyes of Vasavadatta used to create in him an impression of her anger, desire and
helplessness.
Sanghatana सं घटना
Sanghatana is the arrangement of words in poetry. Anandavardhana discusses whether Gunas
and Sanghatanas are one and the same or are they different. There are 3 types of Sanghatana.
Composition (texture – सङ्घटना) is of three kinds namely (1) without compounds असमासा (2)
with medium compounds मध्यमेन समासेन भूषिता and (3) with long compounds दीर्घसमासा.
The first type is Asamaasa – without any samaasa giving each pada separately like those of
Kalidasa–(अस्ति उत्तरस्यां) अस्त्युतरस्यां दिशि देवतात्मा हिमालयो नाम नगाधिराजः। The second type is
Madhyama – where there are smaller samaasaas or compound words. The third type is
where there are very long samaasas like the style of Bhaanaa. Vedanta Desika in his
Bharata has stated 10 gunas – Slesha, prasada, samata, madhurya, sukumarata, arthavyaki,
udaratva, ojas, kanti and samadhi – these ten are the gunas.
Anandavardhanaa says in the 3rd chapter of Dhvanyaaloka that Guna and Sanghatana are
different.
qualities like sweetness and suggests sentiments). Kavya has guna. The guna suggests rasa.
ऐक्यपक्ष taking both to be the same, गुणान्आत्मभूतान् the gunas is identical with Sangatana
itself; and in the second case where both are different, the texture becomes the substratum or
Thus in both of these cases, the texture either being based on itself or being based on the
nature of its attributes, suggests rasa. सङ्घटना रसादीन् व्यनक्ति | The other possibility of both
being differentand the guna being the foundation for sangatana is also discussed and it is
refuted. He finally concludes that Guna and Sanghatanaa are different without any
are cases where the long compounds have been used in Shrngaara. There are cases where
there is Ojoguna in the absence of samaasa (which contradict the earlier definition of
समासभूयत्वम् ओजः). So it has to be understood that irrespective of the sangatana, the rasa is
suggested only through the gunas. There is no generalized rule mapping specific Sanghatana
to specific rasas. As mentioned earlier (तमर्थमवलम्बन्ते येऽङ्गिनं ते गुणाः स्मृताः), the Rasa’s dharma
are the gunas. Guna’s relation to Rasa is constant like Maadhurya may be used for suggesting
Karuna and Vipralambhasrungaara. Ojas is used to suggest only Raudra, Adbhutaa and not
Karuna. Prasaada would apply to all rasas.There is no such principle governing the scope of
Sanghatanaa.
Prabhanda Vyanjakatva
There could be suggestiveness at the level of the entire composition itself.
Meaning: A poet should design only such a theme कथा-शरीरस्य विधिः, based either on
traditional accounts वृत्तस्य वाor an invented one उत्प्रेक्षितस्य वा which could be charming चारुणः
with its propriety औचित्य of the accessories of sentiment namely, the settings and its stimuli
विभाव, abiding emotion अनुभाव, emotional responses and changing moods सञ्चारिभाव.
In the Prabhanda, there should be the usage of Vibhaava, Anubhaava, and Vyabhichaari
Bhaava. It should come along with the theme or plot of the story. The plot could be based on the
stories from epics and puraanas or based on some imagination. If the vibhaava, anubhaava and
vyabhichaari bhaava are used along with the texture of the plot, the entire composition could
suggest a rasa.
Meaning: If in a theme based on traditional accounts, the poet comes across a situation which is
in conflict with the intended sentiment, we must be prepared to abandon such incidents. He may
even invent incidents of his own imagination in their place, with an objective of depicting the
sentiment that he intends.
The situations that could cause hindrance to the main theme of the story should be avoided.
The kavi should create new situations that are amicable to the theme. The best example is
Abhignaana Shaakuntala of Kaalidaasa. In the original story, Dhushyanta is a cheat who does
not want to admit that he had married Shakuntala. Kaalidaasa glorified Dhushyanta’s role by
introducing the incident about the curse. In this way, the unnecessary incidents should be
dropped and introduce new incidents that support his intention. That they finally meet in the
Maareecha ashrama is not in the original story. The main message of the story is this – initially
they had only worldly love. In their separation, it became a heavenly love. To indicate this, the
kavi made them meet in the heavenly abode of Maareecha.
The sandhi and sandhyangaas come in every kaavya and Naataka. In Ratnaavali, the author has
included all the sandhi and sandhyangaas irrespective of whether they are required or not.
Meaning: The construction of divisions and sub-divisions of the theme must help the depiction of
sentiments and not blindly conform to the rules of poetics.
Only the required ones need to be taken and others have to be avoided. Sandhyanga is the
joining of the portion of the Kathaa vastu and the Avashtaa vishesha. There are 64 of these
Sandhyanga.
The second Sandhi is Pratimukha sandhi. At this stage, the person has to get into action. In
Venisamhaara, when Duryodhana leaves for the battle, he has used a sandhyanga called
Vilaasa which indicates sarasa-sallaapa. This is inappropriate. For the entire drama, this brought
द्वितीयेऽङ्के भरतमतानुसरणमात्रेच्छयाघटनम् |This should not have been used here. उद्दीपनप्रशमने
Meaning: A poet should be in a position to present the sentiments in its high as well as in its low
ebb keeping an eye over the appropriateness. He must maintain the unity of the main sentiment
from beginning to the end.
One has to be careful about where uddeepana and prashamana is placed, considering the
entire plot in mind. अलङ्कृ तीनां शक्तावप्यानुरूप्येण योजनम् |प्रबन्धस्य रसादीनां व्यञ्जकत्वे निबन्धनम् ||
3.१४||
Meaning: He must exercise judiciousness in the use of figures of speech though he may be
endowed with the ability of using them profusely. These are the stipulations underlying the
suggestiveness of a whole composition in respect of sentiments, etc.
A poet might have the capacity to create different types of Alamkaaras. Even then, he should
include only the required ones, keeping in mind the entire story.
Auchitya औचित्यम्
औचित्यम् = propriety – suitableness – it is the bhava of uchita. उचितम् = proper. It is the soul of
all beauty. Without propriety, whatever you do, will be wrong. If it is not proper, it becomes a
matter of ridicule. The auchitya is decided according to the main rasa. The characters have 3
types of prakruti – daivi prakruti, aasuree prakruti or maanavee prakruti. Based on their
prakruti, everything else should match like the dress and the mannerism. There is another
thing called Sandarba auchitya. What is appropriate in such situation has to be considered.
रसभङ्गस्य कारणम् अन्यत्न There could be no other cause for a breach in sentiment
An interruption of aesthetic relish is called Rasa bhanga. The main reason for this is anauchitya.
Bharata laid down the strict rule that in the stage play par excellence, only a well-known plot and
a familiar noble hero should figure in. If this rule is adopted, a poet can ill-afford to go wrong in
the matter of maintaining propriety in relation to the hero with impossible super human
characteristics while writing a drama with its plot invented by him.
There is the suitability of the character and the suitability of even Vrutti, Pravrutti and
Sannivesha (situation) are to be considered. For example, the king taking out his sword to fight
enemy is acceptable but if he takes out his sword in a fight with his wife, it is not appropriate.
Even in the Natya Shastra, when Indra flies in the sky, it is acceptable for the audience to
accept the divine feats only by gods. But when an ordinary man says that he will fly to the
heaven, it is inappropriate. Another example – in a drama, there is a pandit. His speech could
indicate his knowledge. But the character of a servant cannot be shown to be talking in that
same manner. For each rasa like adbhuda, karuna, vira or bhayaanaka, the poem has to be
written appropriately. The dialog and the actions for Karuna and Vira will be different. Adbhuda
might have a lengthy dialog expressing surprise. Thus the most important factor among the
suitability is Rasa Auchitya.
Gone are the delights and times pose more and more depression. The earth has become
destitute of youth and every next day (tomorrow) is a sinful day.
In the above verse suggestion with alakshyakrama is communicated through primary suffix –
krudantaah (अतिक्रान्त, प्रत्युपस्थित, गत), number – bahu vachaana (सुखाः, कालाः) and the
suggestion with the expressed totally discarded (अत्यन्ततिरस्कृ तवाच्य) is found in the
No doubt, there is a convention that in entire literary composition, there should be more than
one sentiment. It is ordained here that one of those sentiments should be made the main by any
poet who wants his work to be great.
Angi rasa – is the prominent rasa which should be present from the beginning till the end of the
Kavya. Anga rasa is the secondary rasa which could appear in between at some time.
There are two vibhaavaas namely Aalambana Vibhaavaa and Uddeepana Vibhaavaa. The
object towards which the rasa is targeted is Aalambana Vibhaavaa. Bhima says that he will
drink Dhushaasanaa’s blood. So Bhima is the kaarana or Aalambana Vibhaavaa for
Dhushsaasanaa’s fear. When Bhima comes, there are others who come with him making loud
noises beating their drums. They become the secondary cause and enhance the fear. They are
the Uddeepana Vibhaavaa. So the Vibaavaa, Anubhaavaa and Sanchaaribhaavaa included by
the poet should enhance the main rasa. It should not be against the main rasa.
Angi Rasa
In every prabhanda, there has to be only one which has to be Angi Rasa and the other rasas
have to be anga rasa. Shrungaara, Veera, shanta and karuna can be Angi. Bhaavabhuti said
“एको रसः करुण एव” and then Karuna was considered as an Angi Rasa. Prabhoda-chandrodaya
was an allegorical drama which had Shanta as its primary rasa. The prateekaas or concepts
were the characters. Dhveshaa, Asooya and Advaita bhaavana were characters.
(Side note: Initially the definition of the story demanded a single person to be the hero. Only
after Raghuvamsa, which had a lineage of kings whose stories were being described,
Vishvanaatha changed the definition that there could be multiple heroes belonging to the same
clan in a story).
Anandavardhana says that Shanta is the prominent rasa in the entire Mahabharata. It shows the
impermanence of all the worldly possessions, valour, etc. Thrushnaakshaya is the most
important aspect there. तृष्णाक्षय, is the cessation of desire and the tranquility of mind. It is the
staayeebhava of Shaanta rasa. The entire Mahabharata is based on this Shaanta rasa. The rasa
of the entire Ramayana is Karuna rasa though it is not explicitly mentioned anywhere in the
There are some mutually in-compatible rasas. In the same situations, these both cannot come
together. Rasa-viroodha-parihaara has to be done. For example, if Shrungaara and Karuna rasa
are present, make one become supplementary to the main rasa. प्रबन्धे मुक्तके वापि
should be directed to remove the opposition by a celebrated poet who is intent upon infusing
It is indeed true that women are endearing to the heart (रामाःमनोरमाः सत्यं ). It is true that wealth
is quite alluring (विभूतयः रम्याः सत्यं ). But life (जीवितम्)itself is much transient as to compete with
the tremulous glances [ i.e., the incomplete movement (भङ्ग+लोलं )of the corner of the eyes
(अपाङ्ग)] of the love-intoxicated (मत्त) lady (अङ्गना). (यथा मत्ताङ्गनायाः अपाङगात् भङ्गं लोलं
If there be slightest touch of the opposite sentiments while dealing with the Sringaara Rasa and
its accessories, there may not arise any defect when the rules governing the non-opposition of
sentiments are meticulously followed. Hence indeed there can be no defect with the insertion of
an opposed sentiment as one finds in the above verse.
Guneebhootavyangya
प्रकारोऽन्यो गुणीभूतव्यङ्ग्यः काव्यस्य दृश्यते | यत्र व्यङ्ग्यान्वये वाच्यचारुत्वं स्यात्प्रकर्षवत् ||३.३४||
Meaning: We come across another kind of poetry, having suggestion as subordinate, in which
the poetic exuberance of the expressed is much more intense than in the suggested, though
both the expressed and the suggested are together found.
Here he defines Guneebhootavyangya. It is a kind of poetry other than Dhvani. In this, more
than the suggested meaning – vyangyaartha, there is prominence of the vaachyaartha itself.
The maaduryam is due to vaachyaartha and vyangyaartha just supports it. Here the Vyangyaa
Meaning: Twilight is full of love and the day follows her face to face. Alas! What is ordained by
decree of fate is that they never meet!
The day goes in the front. The vadu – Sandhya follows himself from behind. But the destiny is
such that they could never meet. Here the vaachyaartha itself is much attractive than the
vengyaartha which suggests the pain of the couple who could not unite. Eg. ग्रामतरुणं तरुण्या
(Context: The person brings the creeper from the meeting place and shows it to his lover to
convey that she did not come to meet him there at the appointed time. Meaning: In this, the
literal meaning is that the brightness of the young woman’s face becomes acutely faded when
she sees the youthful villager who carries in his hand a bunch of fresh Vanjula flowers. Here the
suggested meaning is that she did not go to the meeting point even though she had promised
to meet her lover there. Since the denoted meaning is more charming, in this example, the
Guneebhoothavyangya.
Meaning:All literary compositions, which attract the readers, with their lucid elegant words, are
to be reckoned as Guneebhuta by the sensitive critic.
The Prasanna padas are the words which are pleasing when we read it. Gambheera padas are
the words that are impregnated with deep meaning. The Kaavya that comprises of Prasanna
and Gambheera padas bring happiness. In case of Vastu Dhvani and Alamkaara dhvani, there
is some chamatkaara – some surprise – some enjoyable factor. In Rasa Dhvani also, the viewer
or reader experiences Ananda. Similarly, in the guneebhoothavyangya also, ananda will be
experienced. Thus, even if it is guneebhoothavyangya kaavya, if it has prasanna and
gambheera padas, it can be considered almost equal to Dhvani Kaavya.
Meaning: The entire group of Alankaaras obtains special charm when it is brought in association
with suggested element. Even the Vaachyaalamkaaras, which are supported by vyangyaarthas,
gain supreme splendor. There is an Alamkaara called samaasokti. It is nurtured by vyangya and
thus enhances its splendor. In such cases, the guneebhoothavyangya kaavya is almost equal to
Dhvani Kaavya. These verses show the abhimaana that Anandavardhana had for
Guneebhootavyangya Kaavyas.
There is some common aspect within all the alamkaaras which causes them to be attractive.
That aspect is called Athishayaa. Athishayokti is a specific Alamkaara. Athishayaa is the basis
for the extra-ordinary-ness in the alamkaaras. It is lokottara vaak – the speech that is beyond
the normal speeches. Bhaama and others call it as Vakrokti. सैषा सर्वैव वक्रोक्तिरनयार्थो विभाव्यते |
Context: Bhaamaha has defined exaggeration as follows. Meaning: This exaggeration is nothing
but the artistic turn of expression and it is by this poetic idea is conveyed. A poet should work
hard on it in particular and there cannot be any figure i.e. alamkara without it.
The essence of that which is called Athisayoktih is completely Vakrokti only. Such vakrokti is
the basis for all alamkaaras. So the Kavi should make special effort to introduce this vakrokti in
his works. विभाव्यते–Visheshana bhaavyate – i.e., it gets a specialty due to vakrokti. The reason
for the attractiveness of all the alamkaaras is the athishaya amsha – the vakrokti.
Chitra Kaavya
प्रधानगुणभावाभ्यां व्यङ्ग्यस्यैवं व्यवस्थिते | काव्ये उभे ततोऽन्यद्यत्तच्चित्रमभिधीयते ||3.४१||
Meaning: The two divisions of poetry have been thus recognized mainly on the standard of
primary importance and secondary importance attached to the suggested idea. That class of
poetry which is different from both these is called Citrakaavya.
Meaning: This Chitrakaavya is further divided into two depending on its grounding on word and
meaning. They are Shabdachitram and arthachitram.
By differentiating between the shabda and artha, there are two types of chitra – namely
shabda chitra which gains attractiveness due to shabdaalamkaara and the other artha chitra
which gains attractiveness due to the arthaalamkaara. Example of shabda chitra given in
Kaavya prakaasha is
स्वच्छन्दोच्छलदच्छकच्छकु हरच्छातेतराम्बुच्छटामूर्छन्मोहमहर्षिहर्षविहितस्नानाह्निकाह्नाय वः ।
<(गोविन्दठक्कु रऽस्काव्यप्रदीप)>. Example of Artha chitra is the verse given in Kaavya prakaasha
where Amaraavati closes her eyes due to fear. विनिर्गतं मानदमात्ममन्दिराद्भवत्युपश्रुत्य यदृच्छयापि
यम् ।ससं भ्रमेन्द्र्र द्रुतपातितार्गला निमीलिताक्षीव भियामरावती ॥५॥(मेण्ठकृ तं हयग्रीववधम्). When Indra
hears that Hayagriva has exited from his residence, the gates of Amaraavati are instantly
closed and that city appears to be closing her eyes out of dread. There is utprekshaalamkaara
in the words निमीलिताक्षीव. The upamaa’s feature of eyes is superimposed on the city, though
Fourth Udyota
Noveltythrough Suggestion
ध्वनेर्यः सगुणीभूतव्यङ्ग्यस्याध्वा प्रदर्शितः | अनेनानन्त्यमायाति कवीनां प्रतिभागुणः ||4.१||
Meaning: The way in which principal suggestion and subordinated suggestion have been
expounded hitherto, will enhance the richness of creative imagination in poets and there will be
no end at all to that.
We have described the Dhvani’s marga and the Guneebhootavyangya’s marga. Having learnt
all these, the Kavi’s imagination knows no bounds. He brings Ananda.
अतः हि अन्यतमेन+अपि प्रकारेण विभूषिता |वाणी नवत्वम्+आयाति पूर्व+ अर्थ + अन्वयवती + अपि ||४.२||
By a mere contact of even a single variety of suggestion out of the many that have been
enlisted earlier, the poets’ expression will gain novelty though it might present astale /
hackneyed idea.
पूर्वार्थ+अन्वयवति अपि – Even if it is follows the earlier poet’s thoughts. It is acceptable if the
poet creates it with dhvani. The subject might be the same. But if I enhance it with my own
individuality including dhvani (अन्यतमेन प्रकारेण विभूषिता वाणी), then there is no fault. It
For example, someone praised the simha that because of its tejas, it is invincible.
Can one who has won fame by the fund of his own powers be surpassed? Can the lion be
overpowered by the mightiest elephant?” Later another poet writes “यः प्रथमः प्रथमः स तु तथाहि
हतहस्तिबहलपललाशी । श्वापदगणेषु सिंहः सिंहः के नाधरीक्रियते ॥” (4.2 ++) (Meaning: The person who
is Numero Uno will be number one, i.e., the most important person will be the most important
person. In the same way, being the best among the wild beasts, the lion will be a lion, which
partakes upto its brim the flesh of the killed elephant). Because of this dhvani
By these numerous types, if Saraswati is pleased even by any one of these, she would gain
novelty. नवनवोन्मेषशालिनी प्रतिभा – That which produces newer and newer meaning is