The Dhvani Theory

 Introduction

      Over many centuries, different scholars proposed different theories to explain the essence of poetry. Some believed that the beauty of poetry lies in figures of speech (Alankāra), while others argued that it depends on style (Rīti), poetic qualities (Guṇa), or propriety (Auchitya).

        Among all these theories, the Dhvani Theory occupies a unique and central position. It explains that the real beauty of poetry does not lie merely in the words or their direct meaning, but in the hidden or suggested meaning that the reader discovers. According to this theory, poetry becomes truly beautiful when it suggests emotions, ideas, and deeper meanings beyond the literal expression. 

Dhvani - Meaning 

The Sanskrit word Dhvani (ध्वनि) literally means:

• Sound
• Echo
• Tone
• Resonance

However, in literary criticism, the word has a special technical meaning. Here, Dhvani means "Suggestion" or "Suggested Meaning". It refers to a meaning that is not directly stated but is understood indirectly by the reader or listener.

Therefore,

Dhvani = Suggestion = Implied Meaning = Hidden Meaning

This meaning is not visible on the surface of the words. It emerges naturally from the poem and is grasped by a sensitive reader.

Origin and Development

        Ānandavardhana defines Dhvani as that type of poetry in which the literal meaning becomes secondary while the suggested meaning becomes primary.

        The Dhvani Theory was systematically developed by Ānandavardhana, one of the greatest Sanskrit literary critics. Although he himself admits that the idea of suggestion existed before him in literary circles, he was the first scholar to present it in a complete and scientific form.

Therefore,

Ānandavardhana's famous Treatise Dhvanyāloka literally means:

"The Light on Suggestion"

This work completely changed the course of Indian literary criticism.

Ānandavardhana

                Ānandavardhana was a celebrated Sanskrit poet and literary critic who lived during the 9th century CE in Kashmir. His greatest contribution is the book Dhvanyāloka, in which he argues that:

The soul of poetry is not ornament, style, or diction, but suggestion (Dhvani). 

        His theory later received detailed explanation and support from Abhinavagupta, whose commentary Locana established the authority of Dhvani Theory in Indian aesthetics.

Intellectual Background of Dhvani Theory

The Dhvani Theory developed from two important earlier traditions.

1. Bharata’s Rasa Theory

            Bharata, in his famous work Nāṭyaśāstra, explained the concept of Rasa or aesthetic experience. According to Bharata, Rasa is not directly expressed. It is created through:

• characters,
• actions,
• situations,
• dialogue,
• gestures.

              Ānandavardhana extended this idea from drama to poetry. He argued that poetry also creates aesthetic pleasure through suggestion. Therefore, Dhvani Theory is closely connected with Bharata’s Rasa Theory.

2. Bhartṛhari’s Sphoṭa Theory

        The second influence came from the philosopher and grammarian Bhartṛhari. According to Bhartṛhari’s Sphoṭa Theory, words are not merely sounds. They reveal meaning in the mind of the listener.

            Ānandavardhana developed a similar idea in poetry. Just as words reveal meaning, poetic expressions reveal deeper meanings beyond their surface meaning.

Thus, Dhvani Theory combines:

• Bharata’s theory of aesthetic experience
• Bhartṛhari’s theory of linguistic meaning

Functions of Words in Dhvani Theory

        The Functions of Words in Dhvani Theory (Śabda-Śakti / Powers of Words) explain how words convey meaning. According to Indian literary critics, words possess certain powers through which they communicate meaning, and these powers are known as Śabda-Śakti. There are three functions of words: Abhidhā, Lakṣaṇā, and Vyañjanā.

        Abhidhā refers to the primary or literal meaning of a word. It is the direct, ordinary, and dictionary meaning that comes immediately to our mind. This function requires no interpretation and is commonly used in everyday communication. For example, in the sentence “The child is sleeping”, the meaning is simply that the child is asleep. Similarly, in “The book is on the table”, the words express exactly what they mean. However, according to Ānandavardhana, poetry cannot attain its highest beauty through Abhidhā alone because it conveys only the direct meaning.

        Lakṣaṇā refers to the secondary or indirect meaning of a word. It comes into operation when the literal meaning is impossible, unsuitable, or inconsistent with the context. In such cases, a related meaning is understood. For example, the sentence “The village is on the Ganga” literally suggests that the village is floating on the river, which is impossible. Therefore, the intended meaning is “The village is on the bank of the Ganga”. This indirect meaning is known as Lakṣaṇā. Thus, Lakṣaṇā depends on context and allows the reader or listener to understand a related meaning when the literal sense is inappropriate.

        Vyañjanā is the power of suggestion and is regarded as the most important function of words in Dhvani Theory. Through Vyañjanā, words suggest meanings that go beyond both their literal (Abhidhā) and secondary (Lakṣaṇā) meanings. The suggested meaning is called Vyaṅgyārtha. For example, when a mother says, “It is already midnight,” the literal meaning is simply that the time is midnight. However, the implied or suggested meaning is “Go to sleep.” This second meaning is not directly stated but is naturally understood by the listener. Such implied or suggested meaning is the essence of Vyañjanā, making it the foundation of poetic beauty and the central concept of Dhvani Theory.

Importance of Vyañjanā

        Ānandavardhana introduced the concept of Vyañjanā to explain how poetry communicates meanings that cannot be fully expressed through Abhidhā (literal meaning) or Lakṣaṇā (secondary meaning). According to him, the true beauty of poetry lies in its power to suggest meanings beyond what is directly stated. Through Vyañjanā, poetry evokes emotions, enhances aesthetic beauty, stimulates the imagination, and provides a deeper understanding of ideas and experiences. It enables readers to perceive subtle feelings and hidden meanings that are not explicitly expressed in words. For this reason, Vyañjanā is regarded as the foundation of Dhvani Theory and the most important function of words in literary expression.

Comparison of Three Functions of Words

Dhvani as the Soul of Poetry

        According to Ānandavardhana, the literal meaning of poetry is only its external form, while the suggested meaning is its inner life. A poem becomes great when it expresses something beyond what is directly written.

Therefore:

• Words are the body of poetry.
• Suggestion is the soul of poetry.

Abhinavagupta further explains that all forms of Dhvani ultimately lead towards Rasa, which is the highest aesthetic experience.

Conclusion

        The Dhvani Theory of Ānandavardhana is one of the most important contributions to Indian literary criticism. It explains that the true beauty of poetry lies not only in its direct meaning but in the deeper meanings suggested through language.

References:

An Introduction to the Study of Indian Poetics by M.S. Kushawaha and Sanjayakumar Mishra, D.K.Printworld, Ltd.-2021