Iks assignment

Name: Chauhan Ami prakashbhai

Subject: iks (English)

Professor name: rachna ma'am 

Year: s.y.b.a sem-3

College: maharani shree nandkuvarba mahila arts and commerce College 

      

               Class assignment 

Topic: Dhvani Theory of Ānandavardhana

Introduction

Indian literary criticism has a rich and unique heritage. Among the various theories of poetics, the Dhvani theory proposed by Ānandavardhana (9th century CE) is considered revolutionary. He explained that the true essence of poetry lies not merely in words (śabda) or literal meaning (artha), but in what is suggested (dhvani). This theory brought a new dimension to aesthetics and became the foundation for later scholars like Abhinavagupta.

Meaning of Dhvani

The word Dhvani literally means sound, resonance, or echo.

In poetics, it means the suggestive power of words beyond their direct and figurative meanings.

According to Ānandavardhana, poetry (kāvya) achieves its highest beauty only through this suggestion (vyañjanā śakti).

Background

Earlier thinkers like Bharata (Nāṭyaśāstra) emphasized Rasa as the soul of poetry.

Later, Bhamaha and Dandin discussed figures of speech (alaṅkāra) as central to poetry.

Ānandavardhana criticized this view, saying that mere ornamentation cannot create great poetry.

In his work Dhvanyāloka, he systematically presented Dhvani theory.

Types of Dhvani

Ānandavardhana classifies Dhvani into three types:

1. Vastu-dhvani (suggestion of idea/concept)

When poetry suggests something beyond the literal meaning of words.

Example: Indirectly praising a king by describing a lion.

2. Alaṅkāra-dhvani (suggestion of figures of speech)

When suggestion highlights an alaṅkāra (metaphor, simile, etc.).

Example: "The moon of your face rises in the sky of my heart." (suggesting metaphor).

3. Rasa-dhvani (suggestion of aesthetic experience)

Considered the highest form of Dhvani.

When poetry suggests an emotion (rasa) that touches the reader’s soul.

Example: A verse describing separation may evoke karuṇa-rasa (pathos) beyond words.

Vyañjanā: The Power of Suggestion

Ānandavardhana explains that suggestion works through a unique power of language called Vyañjanā.

Just as words have abhidhā (denotation) and lakṣaṇā (connotation), they also have vyañjanā (suggestion).

This vyañjanā makes poetry

 subtle, deep, and emotionally powerful.

Importance of Rasa in Dhvani Theory

For Ānandavardhana, the ultimate aim of poetry is the realization of Rasa.

Rasa-dhvani is superior because it provides an aesthetic experience (rasānubhava), not just intellectual meaning.

Thus, Rasa becomes the soul of poetry, while Dhvani is the vehicle through which it is expressed.

Example (Illustration)

A famous verse:

"Her face is pale, eyes wet, lips trembling… though she utters no word, her silence speaks of sorrow."

Literal meaning → She is silent.

Suggested meaning (Dhvani) → Her silence expresses deep grief, evoking karuṇa-rasa.

Impact and Contribution

1. Ānandavardhana shifted focus from ornamentation to essence of poetry.

2. His theory gave rise to aesthetic criticism centered on emotions and experience.

3. Abhinavagupta, in his commentary Locana, elaborated and defended the Dhvani theory.

4. Modern scholars call it the most original contribution of Sanskrit poetics.

Conclusion

Ānandavardhana’s Dhvani Theory transformed Indian poetics by highlighting the role of suggestion and aesthetic experience. While figures of speech, meter, and grammar are important, the true soul of poetry lies in what is suggested and emotionally realized. This makes poetry not just a collection of words, but a medium of spiritual and aesthetic 

                              Essay 

Topic: Vakrokti Theory of Kuntaka

Introduction

Among the many schools of Indian poetics, Vakrokti theory proposed by Kuntaka (10th century CE) holds a significant place. His work Vakroktijīvita (“Life of Poetry is Oblique Expression”) presents the idea that the true beauty of poetry lies in Vakratā – a unique style of expression that deviates from the ordinary.

While Ānandavardhana emphasized Dhvani (suggestion), Kuntaka emphasized Vakrokti (oblique/creative expression). This brought an important stylistic dimension to Sanskrit literary

 criticism.

Meaning of Vakrokti

Vakra = crooked, indirect, deviated.

Ukti = expression, utterance.

Hence, Vakrokti means a mode of expression which is different from ordinary speech.

For Kuntaka, poetic language must be distinct, novel, artistic, not flat or straightforward.

Central Idea

The soul of poetry is not just meaning (artha) or figures (alaṅkāra), but Vakrokti.

It makes expression charming, creative, and fresh.

Just as Ānandavardhana said “Dhvani is soul of poetry”, Kuntaka said “Vakrokti is soul of poetry”.

Levels of Vakrokti

Kuntaka explains Vakrokti at six levels, showing how deviation and creativity can appear at different stages of poetic composition:

1. Varṇavinyāsa-vakratā (Phonetic obliqueness)

Beauty achieved through arrangement of sounds, alliteration, rhyme, repetition.

Example: A verse where repetition of soft syllables creates a tender mood.

2. Pada-pūrvārddha-vakratā (Lexical obliqueness)

Beauty of expression at the level of words.

Use of rare, sweet, or unusual words instead of ordinary vocabulary.

3. Padaparyāya-vakratā (Semantic obliqueness)

Achieved by using synonyms, puns (śleṣa), and double meanings to enrich poetry.

4. Vākyavinyāsa-vakratā (Syntactic obliqueness)

Special arrangement of words and sentences for artistic effect.

For example, inversion of word order (anuloma-viloma).

5. Prakarana-vakratā (Contextual obliqueness)

Skillful selection of incidents, plot devices, and contexts in a work.

Example: A dramatist introducing a minor charac

ter in a surprising but effective way.

6. Prabandha-vakratā (Compositional obliqueness)

The overall artistic structure of the whole poem or drama.

The unique style of the poet pervades the entire composition.

Vakrokti vs. Dhvani

Ānandavardhana: Poetry is great because of suggestion (Dhvani).

Kuntaka: Poetry is great because of creative expression (Vakrokti).

Both are complementary: Dhvani focuses on meaning and rasa, while Vakrokti focuses on style and expression.

Illustration

Suppose a poet wants to say: “The king is very brave.”

Ordinary statement: “The king is brave.”

Vakrokti expression: “The lion that walks on two legs has made the battlefield tremble.”

 Here, bravery is expressed in an oblique and powerful style rather than plain words.

Contribution of Kuntaka

1. First to develop a comprehensive stylistic theory of poetry.

2. Highlighted the importance of individual creativity and personal style of poets.

3. Emphasized that every level of language (sound to composition) can contribute to beauty.

4. His ideas are still relevant in modern stylistics and literary criticism.

Conclusion

Kuntaka’s Vakrokti Theory enriches Indian poetics by stressing that poetry is not ordinary communication but a creative art of oblique expression. Through six levels of Vakratā, he shows how poetic charm arises from novelty, freshness, and stylistic beauty.

 Thus, for Kuntaka, Vakrokti is the very soul of poetry.