Origin of Dhvani initiated a new system of writing in Indian poetry. It is a matter of common experience that an utterance may mean much more than its literal sense. Even the Vedic sages were aware of the fact that the literal meaning of an expression is only a part of its total meaning. Rajasekhara lived at a time when a new doctrine, that of Dhvani, tone, was gaining popularity. It is represented by the metrical Karikas preserved in Dhvanyaaloka of Anandavardhana of Kashmir along with a commentary by Abhinavagupta. The Karikas assert that the doctrine is old.
The theory finds its origin in the analysis of language and meaning. It is contended, that this is not given by implication, but by the power of suggestion that is derived from the poet`s purpose in applying the phrase. This doctrine of suggestion was not accepted by the grammarians may be because it was based on a philosophical opinion of the grammarians themselves. They recognized the Sphota that was a sort of hypostatization of sound, of which action sounds were manifestations. The same idea of revelation of something intrinsic is found in the Vedanta, where all is a manifestation of the Brahman or absolute.
The holders of the doctrine of Dhvani on the basis of their theory declared that the soul of poetry was not style nor sentiment, but tone or Dhvani, by which they meant that an implied sense was the essence of poetry. The threefold: a subject, a figure, a sentiment are admitted by the more orthodox members of the school, including Anandavardhana and Mammata. Abhinava gupta went onto declare that in reality all suggestion must be of sentiment. Suggestion can be expressed in two ways as it may rest on the metaphorical sense of words. In this case there are Dhvanikavya where the literal meaning is not intended at all thereby making provision for the ordinary view that attaches importance to metaphor or simile as the base of poetry. There is also a possibility that the literal sense may be intended but a deeper suggestion implied.
There are two different cases as the process of apprehension may be instantaneous which the rule in respect of suggestion of sentiment is. It is clear that the rising up of sentiment is not due to deduction. It can come into being in a person who has had in previous lives experience which gives him aesthetic receptiveness.
The system does not deny the right to rank a poetry which contains a secondary degree suggestion. The doctrines of the older writers accepted in certain figures the expression of sentiment, as in Preyas, Rasavat, and Urjasvin of Dandin. The system also included the cases in which these writers found that one figure lay at the base of others. Finally the system permitted the kind of poetry called Citra which there was mere beauty without a suggestive sense. The beauty may be of sense or sound.
The numbers of qualities were reduced thereby restricting their extension to sound effects, and by merging in them both the Ritis of Vamana and the Vrttis of Udbhata, which were practically identified. This became possible as a new doctrine was adopted regarding the qualities to the poem. The sentiment regarded as the vital element. Everything depends on the sentiment. We have thus left just three qualities, and these of sound only, there being no need in the views of the school, which Mammata in special develops very clearly, to allow of qualities of sense.
As far as figures a definite line is drawn between them and the qualities. The figures are important as they enhance the sentiment. They do not act directly on the sentiment but help it by decorating the body, sound and sense. If figures do help in enhancing the sentiment, then they are simply forms of speech. Their place in the poetry is of the third type, Citra, pictorial poetry which Visvanatha denies outright the name of poetry.
Anandavardhana remarks on compounds are sensible and just. He allows them freely in Akhyayikas but also points out that in pathetic or love-sorrow effects are aimed at such compounds are not suitable. In Katha they should be employed in restraint.
