Types of Dhvani

Introduction 

          After establishing Vyañjanā (Suggestion) as the third and independent function of words, Ānandavardhana asks an important question:

"What kinds of meanings can be suggested in poetry?"

His answer is simple.

The suggested meaning (Vyaṅgyārtha) may suggest:

• an emotion
• a figure of speech
• an idea or fact

Accordingly, he classifies Dhvani into three major types.

• Rasa-Dhvani
• Alaṅkāra-Dhvani
• Vastu-Dhvani

Rasa-Dhvani (रसध्वनि) 

            Rasa-Dhvani (रसध्वनि) is regarded as the highest form of Dhvani (suggestion) in Sanskrit poetics. In this form, the suggested meaning primarily evokes Rasa, or aesthetic emotion, rather than merely conveying a literal or secondary meaning. The poet does not directly state the emotions being experienced by the characters; instead, the poem creates those emotions in the mind of the reader through suggestive language and imagery. As a result, the reader does not simply understand the emotion intellectually but experiences it aesthetically.

            The term Rasa refers to aesthetic delight or artistic emotion that arises from the appreciation of literature, drama, or poetry. Classical Indian poetics recognizes several Rasas, including Śṛṅgāra (love), Vīra (heroism), Karuṇa (compassion), Adbhuta (wonder), Hāsya (laughter), Raudra (anger), and others. These emotions are not merely described but are artistically evoked so that the reader or spectator experiences them as a refined aesthetic pleasure.

How does Rasa-Dhvani work?

The poet never says

"The hero is brave."

Instead, he describes

• battlefield
• enemies
• fearless actions

The reader automatically experiences heroism.

This experience is Rasa-Dhvani.

              Ānandavardhana considered Rasa-Dhvani to be the supreme form of poetic expression because he believed that the ultimate purpose of poetry is the evocation of Rasa. According to him, poetry attains its highest artistic excellence when it enables readers to experience aesthetic emotions through suggestion rather than direct description. His commentator, Abhinavagupta, expanded this idea even further by asserting that Rasa-Dhvani alone constitutes the soul of poetry. In his view, every truly great poem ultimately aims to produce the experience of Rasa, making aesthetic enjoyment the central objective of literary art.

Points to remember:

• Highest form of Dhvani
• Suggests emotion
• Produces aesthetic pleasure
• Creates emotional experience
• Considered the soul of poetry

              

Alaṅkāra-Dhvani (अलंकारध्वनि) 

              Alaṅkāra-Dhvani (अलंकारध्वनि) is a form of Dhvani in which the suggested meaning is not an emotion (Rasa) but a figure of speech (Alaṅkāra). In this type of poetic suggestion, the figure of speech is not explicitly expressed; instead, it is implied, allowing the reader to recognize and appreciate it through inference. The beauty of the poem arises from this indirect suggestion rather than from a plainly stated ornament. 

              A well-known example quoted in the chapter is the following verse: “Filling all space with the light of beauty, When your smiling face shines alert, O darling, since waves don't rise in duty, The sea-water is surely all inert!” In this verse, the poet never directly states, “Your face is the moon.” However, the comparison is clearly understood through the imagery of radiance, beauty, and the calmness of the sea. The metaphor is therefore suggested rather than openly declared, making it an excellent example of Alaṅkāra-Dhvani.

For example, "The classroom became silent when she entered."
Literal meaning - The class became quiet.
Suggested meaning - Her presence is so impressive that everyone stopped talking.
The implied comparison elevates her importance.

              Another example is the expression, “The moon smiled.” Since the moon cannot literally smile, the reader immediately understands the implied figure of personification. The figure of speech is not explained or identified by the poet but is naturally inferred by the reader, illustrating the principle of Alaṅkāra-Dhvani. 

Points to remember:

• Suggests figure of speech
• Beauty comes from implied comparison
• Ornament is not directly stated
• Reader discovers the figure independently

Vastu-Dhvani (वस्तुध्वनि)

              Vastu-Dhvani (वस्तुध्वनि) is a form of Dhvani in which the suggested meaning is an idea, fact, thought, or concept rather than an emotion (Rasa) or a figure of speech (Alaṅkāra). The Sanskrit word Vastu means fact, idea, thought, or concept. In this type of poetic suggestion, the literal meaning serves as a medium through which a deeper idea or message is conveyed. The reader goes beyond the surface meaning and discovers the implied thought intended by the poet.

              A simple example of Vastu-Dhvani is a teacher saying, “Many students failed this year". The literal meaning is that a large number of students did not pass the examination. However, the suggested meaning is that the students may not have studied seriously or prepared adequately. This implied idea is not directly stated but is naturally inferred by the listener, making it an example of Vastu-Dhvani.

Political Example : A poet writes "The palace windows remained closed."

Literal meaning - Windows were closed.

Suggested meaning - The ruler ignored the people.

The idea is political, not emotional.

              The main characteristics of Vastu-Dhvani are that it suggests an idea, thought, fact, or concept instead of an emotion or figure of speech; the deeper meaning lies beyond the literal statement; the reader infers the implied message through interpretation; and the focus remains on conveying an intellectual or conceptual insight rather than creating emotional or ornamental effects.

Points to remember:

• Suggests an idea
• Suggests a fact
• Suggests a philosophical meaning
• Suggests political or social meaning
• Appeals mainly to intellect

Conclusion

            Ānandavardhana's classification of Dhvani demonstrates that poetry communicates far more than literal meaning. A poem may suggest an emotion (Rasa), a figure of speech (Alaṅkāra), or an idea (Vastu). Among these, Rasa-Dhvani occupies the highest position because it enables the reader to experience aesthetic delight, which is the ultimate goal of literature. This classification established Dhvani Theory as a comprehensive explanation of poetic meaning and profoundly influenced later Indian literary criticism.

References:

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