2 edition of Dhavanyaloka of Anandavardhana found in the catalog.
|LC Classifications||December 1999|
|The Physical Object|
|Pagination||xvi, 120 p. :|
|Number of Pages||72|
nodata File Size: 10MB.
While expanding on the concept of Dhvani, Anandavardhana did not confine himself to the words and sentences, but went on to include all contextual factors such as: the tone and gestures, the sound effect produced, the rhythm, the metere as well as the literal sense. Abhinava Gupta Abhinava Gupta has written the commentary for this work by name Lochana. So we go to the indicatory or suppressed meaning. Some time the meaning subdues itself and gives a more beautiful meaning. There is another thing called Sandarba auchitya.
Until the time of Anandavardhana, all the theorists were paying attention to the superficial factors like figures of speech, Dhavanyaloka of Anandavardhana, simile, metaphor, etc.
First, Bharat stated only 4 alamkaaras — Upamaa, Roopakam, Deepakam, and Yamakam. The term was initially used to mean that she has a special characteristic which makes her look so beautiful just as the salt adds a taste to the food without which it would not be good. Rasa-viroodha-parihaara has to be done. Mention that A Kashmiri poet, Kshemendra has written a work called Auchitya Vichaara Charchaa.
That class of poetry which is different from both these is called Citrakaavya. The plot could be based on the stories from epics and puraanas or based on some imagination. He is believed to have lived in the 7 th century AD. The term Sphota signifies: bursting; opening; expansion; disclosure; the eternal and imperceptible element of sound and words; and, is the real vehicle of the idea which bursts or flashes on the mind when a sound is uttered.
There are 64 of these Sandhyanga.
The poet who makes the fame of the king be known everywhere gets awarded with this title. It sheds light on the function of suggestion in poetry. Prior to Anandavardhana, the focus was only on the superfluous decorations of Kaavya like the Alamkaara.
They do not demand any special importance. Abhinavagupta, however, explained it as the generalized state of creative medium, where the poet is an impersonal observer expressing human experience in poetry, as an intermediary.
There are three arguments within the first vada called the Abhaava-vaada who reject the existence of Dhvani.
He should be keen in rendering it only secondary or subordinate.
Leave the use of Alamkaara if it is not supporting the rasa.
This theory of Dhvani being very comprehensive can never be deemed to be on equal status with the specific figures of speech.
In this case, the primary meaning is not taken.