Dhvani Theory

Dhvani Theory

Introduction:

There are two important ideas in understanding literature: Rasa and Dhvani.

Rasa is all about the emotions and feelings that a piece of writing can make us feel. It is like when we read a sad story and we start feeling sad ourselves.

Dhvani, on the other hand, is more about the hidden meanings behind words. It is like when we  read between the lines and understand something deeper than what is actually written.

Origin and Proponents of Dhvani:

Ānandvardhan, a 9th-century Kashmiri scholar, introduced the Dhvani theory in his work Dhvanyāloka. Daniel Ingalls, a Harvard professor, noted that Dhvanyāloka revolutionized Sanskrit literary theory by emphasizing the goal of poetry as evoking a mood or "flavor" (rasa) through the power of suggestion.

Later, another scholar named Abhinavgupta wrote more about Dhvani in his commentary.

Ānandvardhan also said that literature has two parts: the body (Kāvyaśarīra) and the soul (Kavyātmā). The body is made up of words and their meanings, while the soul is the suggested meaning behind them, which is Dhvani.

There is a saying from Dhvanyāloka that compares words to the body and Dhvani to the soul of literature. शब्दार्थ शरीरं तावत् वाक्यं, काव्यस्यात्मा ध्वनिः। This means: "The body of the word-meaning is the sentence; the soul of poetry is suggestion."

In ancient texts, it is mentioned that language is as vast as the sea, suggesting that words have a lot of potential meanings. This means that when we read something, we might not always catch all the meanings right away. It is like language has hidden depths.

Prof. Kapil Kapoor explains that Dhvani is all about understanding how these hidden meanings come about. It is like unlocking the secrets of a text to see all the different meanings it can have. Dhvani helps us see that there's more to words than just their surface meaning.

Three Levels of Dhvani:

With respect to word meanings, Indian linguistic tradition talks about two types: Primary Meaning (Abhidhā) and Secondary Meaning (Lakshanā). These are about what words directly say and what they indirectly imply. But a scholar named Ānandvardhan added another level called Vyanjanā.

1. Abhidhā (Literal Meaning): It is known as denotative or lexical meaning.This is the straightforward meaning of a word, what we first think of when we hear it.

2. Lakshanā (Secondary Meaning):  It is known as connotative or metaphoricalmeaning. This is like a metaphorical or implied meaning of a word. It is different from the literal meaning but still connected to it.

3. Vyanjanā (Tirtiary Meaning): It is known as suggestive meaning or socio-cultural meaning. This is what Ānandvardhan introduced. It is the hidden meaning that a word suggests beyond its literal sense.

In simpler terms:

§ Abhidhā: What a word directly means.

§ Lakshanā: What a word suggests indirectly.

§ Vyanjanā: The deeper, suggested meaning beyond what's said.

Dhvani Theorists’ Perspective:

Ānandvardhan states that when words in poetry give out this deeper meaning, it is called Dhvani. He believed that great poets' words keep echoing in our hearts and give us many meanings as we think about them. A sensitive reader can grasp these suggested meanings beyond the obvious ones.

He explained that suggestive meanings rely on literal meanings. The suggested meaning is not directly said but is hinted through the literal one. He divided speech into Vāchya (direct) and Pratīyamāna (suggested/symbolic). Vyanjanā, the suggested meaning, depends on context, emotions, and cultural understanding. This suggested meaning may come through words, sentences, context, tone, gestures, or even sounds.

Another term for vyanjanā is pratiyamānārtha, but it is important to note that it does not mean the direct meaning is not important. The suggested meaning can't exist without the direct one, as it is shown through it.

Sphota Theory- The Root Theory of Dhvani:

Sphota theory is a linguistic theory given by Bhartrihari in his Vakyapadiyam.  Sphota is an integral linguistic sign. Sphota is like the heart of the Dhvani Theory. It is a big idea in linguistics that says each word or sentence has a hidden burst of meaning, like an explosion. In Indian thought, sphota is seen as the core of language, containing all its meaning in one unit.

Imagine when we say a word, it is like breaking open a bubble filled with meaning. That is what sphota is. It is the hidden meaning that explodes out when we speak or write. This explosion of meaning happens with the sound of the word. When we hear or read a word, we grasp its full meaning only when we get to the end of it.

So, sphota is the idea that the true sense of a word or sentence is not fully understood until we have heard or read the whole thing. It is like the final piece of a puzzle that brings everything together. Ānandvardhan, inspired by Bhartrihari's ideas, applied this concept to texts and said that the overall meaning (Dhvani) of a text is different from just adding up the meanings of individual words.

Characteristics of Dhvani:

Some characteristics of Dhvani are as under:

§ Hidden Meanings: Dhvani happens when the main meaning of words or sentences does not quite fit. Like in the book "Animal Farm" where animals act like people. This hidden meaning is usually a bit strange or funny.

§ Secret Charm: Dhvani's hidden meaning adds a special charm. It is like a secret only sensitive readers can understand. Abhinavgupta calls these sensitive readers "Sahridaya."

§ Exciting Discovery: Finding Dhvani in a poem or story feels amazing. It is like discovering a hidden treasure that makes the writing more special. This excitement might not be there in just the main meaning. Its revelation leads to chamatkriti (poetic delight). Such delight may not be found in the primary meaning.

§ No Blocking: Even if we do not get Dhvani's hidden meaning, it does not stop us from understanding the main one. For example, "Animal Farm" can be read as a simple story even if we do not catch all the hidden messages.

 Classification of Dhvani:

Dhvani can be classified based on two key aspects: the nature of the suggested sense and the relationship between primary and suggested meanings. This classification provides a framework for analyzing how literary elements evoke different emotions and ideas in the reader.

(a) Based on the nature of the suggested sense:

1. Vastu Dhvani: When the theme or idea of a literary work is suggested rather than directly stated. For example, in Wordsworth's poem "Tintern Abbey," the benevolence of nature is suggested through lines describing acts of kindness and love.

2. Alamkāra Dhvani: In this type, a figure of speech is suggested. It occurs when the suggested figurative idea surpasses what is literally expressed. For instance, in Emily Dickinson's poem, "Faith is the Pierless Bridge," the idea of faith supporting unseen scenes goes beyond what is directly said.

3. Rasa Dhvani: Here, emotions are suggested. According to Ānandvardhan, this is the highest form of dhvani. Rasa is the emotion evoked by suggestion. It is achieved through four stages: understanding the poem intellectually, imagining its contents, intensifying emotional response, and blending imagination and emotion to evoke a dominant sentiment. 

(b) Based on the relation between the primary and the suggested meanings:

1. Avivakshita Vāchya: (अविवक्षित वाच्य) Here, the literal meaning is not intended to be conveyed. It is further divided into:

§ Arthāntara Sankramita Vāchya: (अर्थान्तर संक्रमित वाच्य) The primary meaning is set aside in favor of the suggested sense, even though it's not completely incompatible. For example, in William Blake's "The Sick Rose," the literal meaning of "worm" and "rose" doesn't convey the desired sense.

§ Atyant Tiraskrita Vāchya: (अत्यन्त तिरस्कृत वाच्य)  Here, the primary meaning is completely discarded because it is incompatible. For instance, in T.S. Eliot's "The Waste Land," the line "April is the cruellest month" suggests something beyond the literal meaning.

2. Vivakshitānyapara Vāchya: (विवक्षितान्यपरा वाच्य) In this category, the literal meaning is intended along with something more suggested. It's further divided into:

§ Samlakshya Krama: (संलक्ष्य क्रम) The transition between the primary and suggested meanings is clear. Generally, the content, figure of speech, or emotion is suggested.

§ Asamlakshya Krama: (असंलक्ष्य क्रम) Here, the transition between primary and suggested meanings is not clear, often seen in Rasa Dhvani.

Conclusion:

Dhvani theory reveals that literature has hidden meanings beyond what is directly said. It helps us understand how words and sentences evoke emotions and convey deeper ideas. By exploring Dhvani, we uncover the richness and complexity of literary expression and we can engage with texts on a deeper level. Thus, Dhvani theory enhances our appreciation of literature by revealing its hidden depths and takes us to explore the beauty and complexity of language.