Assignment Meg 5
Dhvani
This word means "sound" literally, but does not deal with the fhction of sound in the musical sense.
The theory was first propounded by Anandavardhana, the ninth century thinker, in his treatise,
Dhavanyaloka (Dhvani+aloka). The Dhvani theory considers the indirectly evoked meaning or suggestivity as the characteristic f a e of literary utterance. This feature separates and determines the literary from other kinds of discourse, and is an all-embracing principle which explains the structure and function of the other significant aspects of literary utterance: the aesthetic &e,d or rasa, the figural mode and devices (alamkara), and so on. In Kapoor's words, "all the subsequent literary theorists in the tradition found the combination of rasa and dhvani theories both adequate and sufficient to analyse the constitution of meaning in Indian literature. "
In his treatise I have mentioned before, Anandavardhana has given a detailed description of structural analysis of indirect meanings. According to him, if we can explain how indirect meanings arise systematically, we can claim that all potential meanings inhere in a text. Anandavardhana uses the term dhvani to designate the universe of suggestion. (The soul of kmya is dhyani, he says). His preference for the term sprang from the fact that grammarians before him had used the term to denote several concepts. First, to denote the sound structure of sabda or words; second, to denote the semantic aspect of sabda; and third, the complex of the now revealed suggested meaning and the process of suggestion involved. Thus drvuni theory is a theory of meaning (an Indian hermeneutics or sorts), of symbolism. The thrust of this theory is towards claiming a greater value for the poetry of suggestion.
Anandavardhana integrates the theory of the rasa with his dhvani theory; that is, he says that dhvani is the method through which the effect of rasa is achieved. Rasa is the effect of suggestion.
Mimesis
This word means "sound" literally, but does not deal with the fhction of sound in the musical sense.
The theory was first propounded by Anandavardhana, the ninth century thinker, in his treatise,
Dhavanyaloka (Dhvani+aloka). The Dhvani theory considers the indirectly evoked meaning or suggestivity as the characteristic f a e of literary utterance. This feature separates and determines the literary from other kinds of discourse, and is an all-embracing principle which explains the structure and function of the other significant aspects of literary utterance: the aesthetic &e,d or rasa, the figural mode and devices (alamkara), and so on. In Kapoor's words, "all the subsequent literary theorists in the tradition found the combination of rasa and dhvani theories both adequate and sufficient to analyse the constitution of meaning in Indian literature. "
In his treatise I have mentioned before, Anandavardhana has given a detailed description of structural analysis of indirect meanings. According to him, if we can explain how indirect meanings arise systematically, we can claim that all potential meanings inhere in a text. Anandavardhana uses the term dhvani to designate the universe of suggestion. (The soul of kmya is dhyani, he says). His preference for the term sprang from the fact that grammarians before him had used the term to denote several concepts. First, to denote the sound structure of sabda or words; second, to denote the semantic aspect of sabda; and third, the complex of the now revealed suggested meaning and the process of suggestion involved. Thus drvuni theory is a theory of meaning (an Indian hermeneutics or sorts), of symbolism. The thrust of this theory is towards claiming a greater value for the poetry of suggestion.
Anandavardhana integrates the theory of the rasa with his dhvani theory; that is, he says that dhvani is the method through which the effect of rasa is achieved. Rasa is the effect of suggestion.
Mimesis