Rasa and Dhvani
In the annals of aesthetics, Anandavardhana occupies an
irrefutable place of significance through his proposition of Dhvani that
revolutionized poetry and indeed the veritably approach to aesthetics. Poetry
revolves around the choice of words that produce an air and the incantation of
an emotional response brought about by the understanding of its emotive
language and the appreciation by the anthology of the true import of the
minstrel. The success of a good lyric unnaturally involves three aspects the
minstrel’s creative alleviation (Prathibha); its form created by way of words
and meaning, i.e. body of the kavya; and, the aesthetic effect it has upon the
anthology (Rasa). The ultimate object of kavya is Rasa, the aesthetic delight.
In order to arrive at the ultimate end of aesthetic delight we must begin our
trip through an analysis of words and their meaning. Rasa and Dhvani The Dhvani School put
forward by Anandavardhana (Ca. 850 Announcement) through his Dhvanyaloka
brought focus on the implicit power of the word in a kavya. Rasa and Dhvani Then, the word
(sabda) together with its nonfictional sense (vakyartha) is said to form the
body of kavya, which simply serves as a cloak. But, the substance of poetry is
away; it isn't directly visible; and, that substance is the suggested sense of
the word (vyanjana-artha). Rasa and Dhvani It isn't the direct nonfictional and egregious
meaning that's unequivocal in poetry, but it's the suggested, circular
(paroksha-artha) and emotive meaning that matters. It doesn't mean that words
and primary meanings are insignificant. What's suggested then's that though the
words of a kavya and their nonfictional sense must be given their due
significance, they're but a medium for emotive and circular meaning to burst
forth. In good poetry, this suggested meaning dominates over the words and
their nonfictional meaning. This paper intends to negotiate in a limited way to
expound the conception of Rasa dhvani and to make a philosophical appraisal of
it.