Assignment Paper No - 109

Name: - Insiyafatema Alvani 

Roll No: - 11

Semester: - 2 (Batch 2022-24)

Enrolment number: - 4069206420220001

Paper No: - 109

Paper name: - Literary Theory & Criticism and Indian Aesthetics 

Paper code: - 22402

Topic: - Introduction of Dhvani Theory and Example from Movie 

Submitted to: - Smt. S. B. Gardi Department of English, Maharaja Krishnakumarsinhji Bhavnagar University

Email Address: insiyafatemaalvani@gmail.com

Introduction of Dhvani Theory and Example from Movie 

Indian Aesthetics:

Aesthetics is concerned with the concept of beauty. Hence it is known as saundaryaṡāstra or lāvaṇyaṡāstra. Rasānubhava or disinterested contemplation of beauty is the basic characteristic of all aesthetic experiences. The real perception of beauty is what distinguishes an aesthetic experience from all other experiences. There are various schools of thoughts in Indian Aesthetics.

• Rasa Theory given by Bharata - Natyashastra 
• Dhvani Theory given by Anandavardhana - Dhvanyaloka 
• Alamkara Theory given by Bhamaha - Kavyalankara 
• Riti Theory given by Vamana - Kavyalamkarasutrvrtti 
• Vakrokti Theory given by Kuntaka - Vakroktijivita
• Aucitya Theory given by Ksemendra - Aucityavicaracarca 

Introduction to Anandavardhana and his Dhvanyaloka :

Anandavardhana, an expert in Sanskrit and Prakrit language was a court poet and literary critic during the reign of King Avantivarman. He belonged to the 9th century CE. He was honored with the title of Rajanak for his literary and philosophical works. Anandavardhana was mostly famous for his six major works namely epic, narrative work, Lakshana Granth, Darshana Grantha, Buddhist book and a poem. In short, the Sanskrit Mahakavya - Arjuncarita, a narrative work - Visamabanalila, the Lakshana Grantha - Dhvanyaloka, the Darshana Grantha - Tattvaloka, Buddhist philosophical book - Dharmottara Virti, and a poem - 'Devisataka', etc. are some of the significant works that are at the credit of Anandavardhana. Dhvanyaloka - the Lakshana Grantha was written by Anandavardhana in the 9th Century. The book became the trendsetter in Indian literary criticism as it turned the focus of literary criticism from the external artistic elements of poetry to the internal structure and inner beauty of poetry. This colossal book includes four Udyotas with Karikas and Vrittis. There are a lot of arguments regarding the title of the book and the author of the Karikas and Vrittis. Many critics thought that the whole book was not written by Anandavardhana. According to them, only Vrittis were written by Anandavardhana. Regardless of all kinds of arguments, the thematic concern and critical analysis of inner beauty of poetry the book made Anandavardhana very famous in Indian literary criticism. The book begins with the meaning and definitions of Dhvani. The second part of this book discusses the types of Dhvani. It also sheds light on figures of speech and Guna-Dosha in poetry. Next to it, Anandvardhana put forth his views of types of poetry, suggestiveness and the concept of Auchitya. 

Dhvani Virodhi Vaada:

Dhvani-against Arguments or Dhvani Virodhi Vaadas and Anandavardhana’s reply to them from the first section of Dhvanyaloka. Many learned men rejected the idea of Dhvani on the basis of three major points: non-existence of Dhvani, non-separation from figures of speech and the non-explanatory entity. The ancient critics have critically analyzed poetry considering the artistic elements such as figures of speech, rhyme, metrical pattern, stanza pattern, etc and didn’t mention Dhvani in their study. Hence, the Dhvani-against critics believe that Dhvani doesn’t exist. For many other critics Dhvani is not different from figures of speech (Alamkara). Some critics say Dhvani is indescribable. No one can explain the term “Dhvani” exactly as its essence remains beyond the scope of words. According to these critics, there is a big difference in the taste of sugarcane, milk and jaggery, but it cannot be explained exactly. In the same manner, it is impossible to describe the idea of Dhvani. 

Anandavardhana explains the nature of suggestion (Dhvani) to clarify these above misunderstandings about the notion of Dhvani. For the counter argument of non-existence of Dhvani, Anandvardhana replies that according to the learned men of earlier generations the soul of poetry is suggestion (Kavyaashi Atma Dhvani). Anandavardhana acknowledges that he is not saying something new about Dhvani as the principle of suggestion was observed by the celebrated poets of the ancient time. Anandavardhana clearly shows the difference between the suggestion and indication. He says that figures of speech, the Lakshyartha and the conventional meaning itself offers suggested meaning and hence, there is difference between indication and suggestion. According to Anandavardhana, figures of speech offer common usage meaning whereas Dhvani offers a meaning that has a charm and something speciality. In Anandavardhana’s views, that poetry in which the conventional meaning renders itself to the secondary position or the conventional word renders its meaning secondary and suggests the intended or implied meaning is termed as Dhvani or Suggestive poetry. Anandavardhana provides a solid reply to Dhvani-Against Arguments (Dhvani-Virodhi Vaadas)  and establishes his theory of Dhvani in Dhvanyaloka. 

Dhvani is the Soul of Poetry:

Anandavardhana opines that Dhvani is the soul of poetry. Word Dhvani is derived from the root dhvan means to suggest. Definition of dhvani is given as the suggested sense which gives pleasure (रमणीयव्यङ्ग्यार्थ:।). For him, Dhvani is nothing but a suggestion or a suggested meaning. All types of meaning or any meaning cannot be labeled as the soul of poetry. He put forth some criteria or certain attributions and if the meaning achieves these attributions, only those meanings are known as the soul of poetry. According to Anandavardhana, the meaning which wins the admiration of sensitive critics, the meaning that has supreme quality, the meaning that has Rasadhvani qualities, the meaning that appeals to human sentiment and to the heart and mind is the soul of poetry. While defining the term, Anandavardhana says that the poetry in which the conventional or the literal meaning remains at secondary or subordinate position and it suggests the indicated or implied meaning is termed as Dhvani or suggestive poetry. Here, he highlights that the suggested meaning is the soul of poetry. In short, Anandvardhana accepting the importance of sentiment (Rasa), figures of speech (Alamkara) and poetic qualities and defects, strongly affirms that Dhvani is the soul of poetry. 

Types of Dhvani: 

Considering the nature, the medium and the process of suggestion, Anandavardhana categorizes Dhvani into different types;

He also gives suggestions with intended literar importance. In Vastu Dhvani the suggested idea is the fact, in Alamkara Dhvani the fact is idealized through an image or figures of speech and in Rasa Dhvani, the sentiment or emotion (Rasa) is suggested. Suggestion with unintended literal import is a Lakshana-born Dhvani in which the literal meaning is not intended. Suggestion with intended literal import is also known as the suggestion through the primary meaning. It is an Abidha-born Dhvani in which the conventional meaning or the literal meaning is intended.

Types of Poetry: 

Anandavardhana classifies poetry into three broad categories considering the prominence, subordination and negligence of suggestion in poetry.

• Dhvani Kavya
• Gunibhuta Vyangakavya
• Chitra Kavya

If suggestion is prominent in poetry, it becomes suggestive poetry or Dhvani Kavya. If suggestion has a secondary place in poetry, it becomes Gunibhuta Vyangakavya. If suggestion is negligible, it becomes portrait-like poetry. In short, according to Anandavardhana Dhvani Kavya, Gunibhuta Vyanga Kavya and Chitra Kavya are three major types of poetry. In Dhvani Kavya, suggestion is the principal method that offers special meaning. In Gunibhuta Vyang Kavya, the literal meaning has the important place and in Chitra Kavya, the ornate description or the figurative description has the important place. 

Study of Cinema from an Indian Aesthetic Perspective:

A discussion on films based on the ancient Indian aesthetic principles will show that drama is closest in nature to films. Drama has to be rehearsed and its destiny is the stage. Films though have a different life, unlike on stage, the actors in a film do not have to emote everything all at once, their act can be done in bits and pieces. Films have to be recorded, edited, background music and playback music have to be synchronized, only then they can be shown to the audience. Of course, it is a given that drama and films both are used to convey, within a stipulated time, some message to society. Drama too has the same characteristics, world over at all times. In the Indian context, drama has been called the best form of poetics. 

The great Sanskrit poet Kālidāsa has expressed his view in the beginning of his play Mālavikāgnimitra that drama is such a medium that, on a single platform, fulfills the desires of all the people gathered irrespective of their varied interests. Cinema has to be understood in the context of poetics, dramatics and aesthetics. Both poetics and dramatics are explained within aesthetics. In the Indian philosophical system, aesthetics and truth do not oppose each other. In a traditional discussion, if truth is scrutinized then we can see that virtue or the right path and pursuit of the worldly pleasing path both are questioned. Our sacred texts, i.e. the Vedas and the Upaniṣads, are the right path chosen to learn the truth, whereas poetics is akin to the pursuit of the worldly pleasing path. The great poet Jaishankar Prasad has said that poetics is the imaginative experience of the soul, it has nothing to do with any kind of analysis or inference or science. The thinking power of the soul accepts the virtuous path to the truth in its original and elegant form in its exceptional state and in poetics this conviction is the true realization. The following verses in the epic work Nāṭyaśāstra, written by Bharata Muni, explain the utility of drama:

"Drama teaches the glory of duty to those who have forgotten their duty, it guides us on the path to find love, to the ill-tempered and uncouth, it shows how punishment can improve them, to the disciplined it shows how to live in regulation, cowards are taught how to be brave, the brave are shown the virtues of energy and enthusiasm, a person who is unwise is given wisdom and the intelligent are made further wise. The ones who are burdened with sorrow are taught how to be stable in their grief, those who are waylaid are taught discipline and the poor are shown the means to a livelihood".

Movie 'Lunch Box Can be analyzed from Dhvani point of view.

Directed by Ritesh Batra

Written by Ritesh Batra

Producers: 

• Anurag Kashyap      
• Guneet Monga
• Arun Rangachari

Release date: 20 September 2013 (India)

In Mumbai, Ila is a young wife seeking her husband Rajeev's attention. She tries to put romance back into her marriage by cooking delicious lunches for him. It has become her routine to cook delicious food for husband after he leaves for the office in the morning. Coincidentally, a lunchbox used to reach Saajan (Irfan) , a lonely person who is on the verge of retirement. Little mistake of dabbawalas is responsible for the exchange of lunchboxes and also for the extra-ordinary friendship of Ila and Saajan. Friendship of both started with a note sent by Ila after seeing no feedback from her husband about the lunchbox. Thus, there began a communication between two strangers. They share their regrets, memories, and liking through letters in the lunchbox. Though Ila understood the mistaken delivery of lunchbox doesn’t venture to rectify the same. In fact, she enjoys this new relationship where she gets little space for her day to day sharing.

Ila’s unhappy marriage is not vividly shown on the screen but it is suggested in film by very symbolic expressions. Ila’s husband is least bothered about the lunchbox she gives. It is left to the viewer to create an image about her husband on their own. Viewers may understand this as the busy schedule of Ila’s husband which is not allowing him to give attention towards his personal life at all. One more suggestive element is present in the film where Ila could smell some perfume on her husband’s shirt. It gives only a suggestion that her husband might be having some extra-marital affair. End of the film is not explicit at all. It is left completely on viewers. Ila’s father dies with lung cancer, her mother confesses how she faded up with her married life. Ila then decides to search for Saajan but she learns that he is retired and moved for Nasik. She writes a letter that she is leaving for Bhutan with her daughter. Saajan who was on the train towards Nasik changes his mind and goes in search of Ila. Ila is waiting for her daughter to pick her up from school and about to leave for Bhutan.

Here the film doesn’t clarify whether both of them meet or otherwise. If they meet what they talk, whether Saajan accompanies Ila with her journey to Bhutan or Ila refuses his company after seeing him or Ila returns to her married life. Was their emotion of love developed between Ila and Saajan or they were considering each other simply friends or just a relation between two strangers giving them emotional satisfaction. All these are suggested meanings through the ‘end’ shown in the movie.

There is no main rasa (angi rasa) in the movie as such. There are just sprinkles or hints, suggestions of rasa. It is not nourished by vibhava(causes), Uddipana (excitants) anubhava etc. but there are many vyabhichari bhavas which are beautifully delineated as well as suggested through different episodes on a subtle level. There are vibhava (causes) present in the form of Ila and Saajan. Uddipana(excitants) can be stated as Ila’s unhappy marriage and Saajan’s loneliness. Initial exchange of lunchbox is also one of the uddipanas. Anubhav are presented through their expressions of responding to letters, appreciating food in the lunchbox and also continuation of mistakes of exchange. Film is based on vyabhichari like shanka (doubt), dainya, chinta, chapalata, avega, vishada, autsukya, vitaraka etc. presented through the character of Ila.

• Ila is doubtful about dedication of her husband after smelling his clothes (shanka and vitaraka)

• Ila is upset thinking her husband is having extra-marital affair (dainya, vaishada)

• Ila is having hopeful about Saajan, it creates curiosity in her mind to meet him (autsukya)

Vyabhichari bhavas get nourished through the character of Deshpande aunty and Ila’s mother. Both ladies are trapped in their own lives to lead unhappy lives. These characters through their behavior engrave negativity on Ila’s mind about married life in a very subtle way. Deshpande aunty and her mother are uddipan which nourish all vyabhichari bhavas. Character of Deshpande aunty is only built through her voice and the viewer imagines the entire personality by that. Dainya, chinta, avega, vishada, autsukya etc. are presented through the character of Saajan.

• Saajan is most of the time seen lonely in the office as well as in the home (dainya, vishada)

• Saajan is curious to start new life with Ila (autsukya)

• Saajan is very excited and quick to meet Ila in cafe and also when Ila is about to leave for Bhutan (autsukya, chapalata, avega)

These are all examples of Bhava Dhvani. Film is not meant for delineation of prominent rasa or subsidiary rasas but presents an unusual treat of vyabhichari bhavas to viewers. Film focuses on very routine object known as lunchbox in very unusual way

Conclusion: 

Dhvanyaloka propounds Anandvardhana’s theory of suggestion in four sections through Karikas and Vrittis. While writing about Dhvani, or the nature of suggestion, Anandavardhana has explained a number of concepts such as Dhvani as aesthetic principle, suggestion is supreme quality of poetry, suggestion adds beauty to literal meaning, three types of poetry, varieties of suggestion and the idea of coincidence (Auchitya). Film "Lunch Box" is a very good example which shows Dhavani Theory and focuses on very routine objects in a very unusual way.

Words - 2,454

Images - 5

Video - 1

References -

Gawde, Dr. Shakuntala. “HomeLunch Box- from the Perspective of Dhvani Theory.” Dr Shakuntala Gawde, 22 Dec. 2018, https://www.shakuntalagawde.com/2018/05/19/lunch-box-from-the-perspective-of-dhvani-theory/. 

Kulkarni, Mr. Digambar S. “Dhvanyaloka by Anandavardhana: A Critical Reading of the Theory ... - JETIR.” Jetir.org, Mar. 2018, https://www.jetir.org/papers/JETIR1803326.pdf. 

Sridhar, Aparna. “World Cinema Can Be Discussed within the Framework of Indian Aesthetics: Prachand Praveer.” Center for Soft Power, 19 Mar. 2021, https://www.csp.indica.in/world-cinema-can-be-discussed-within-the-framework-of-indian-aesthetics-prachand-praveer/.