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Dhvani in Kuntaka, Bhoja and others, and Gunībhūta-vyangya and Citra-Kāvya. 1107 termed dhvani. The suggestor is subordinate and the suggested is principal, and it arrives either in form of 'anunāda' i.e. resonance as in case of the bronze metal struck by an instrument, or like an 'echo' i.e. pratiśabda as in case of a cave 'kandarā' resounding our call. Bhoja also talks of a number of varieties of dhvani which is primarily artha-dhvani and sabda-dhvani. Dr. Raghavan is at sea when he tries to find out what exactly Bhoja has in his mind to distinguish between 'pratīyamāna' and 'dhvani'. Our suggestion is that perhaps the former is a suggested sense which is subordinate, gauna, to the expressed sense and the latter is the suggested sense which is principal. This is one explanation. However, Bhoja himself is silent over this point. Dr. Raghavan feels that perhaps the pratiyamāna tātparya is vastu-dhvani, which comes as first suggestion, and then the expertness of the heroine, as suggested in the verse "bhrama dharmika' etc. is the suggestion at second stage which comes as a principal dhvani. So, pratīyamāna' forms the first stage and 'dhvani' forms the secons stage. Dr. Raghavan observes (pp. 159-160, ibid): “It we examine Bhojas explanations of his own illustrations of the severel varieties of Dhvani, we shall see that, in each and every case, Dhvani passes through 'pratīti' or the 'pratīyamāna artha' and the suggested, Dhvanyamāna, always arises at the back of or through 'pratīyamāna'. "etat pratyāyayan idam dhvanati' is the phraseology in all cases. We can say that the two do not differ accept in the fact. that the 'pratīyamāna' is the first-risen Dhvani and Dhvani itself is the subsequent Dhvani. Almost all the gāthās given as illustrations for the varieties of the pratīyamāna are taken up in the Dhvani section and the suggested idea or Dhvani is pointed out in all of them. As regards these, Bhoja says that the Dhvani is the suggestion of how clever the lover or the lady or her friend is, how much one loves the lady and so on. In the verse, 'śikharini kva nu nāma..." etc. all non-expressed implied ideas are called pratīyamāna and as for the suggestion of Dhvani, Bhoja says, it is the love of the man for the lady described in that verse. In the gāthās 'bhama dhammia...” etc., Bhoja assigns all implied ideas, arthas or vastus, to the class of pratīyamāna and gives the "Vaidagdhya' of the nāyikā or her cetī as the suggested, Dhvani : 'nayavatyā vaidagdhyam dhvanati. prarthanā-vaidagdhyam dhvanati. S-skhalita-gopaneșu sakhī-vaidagdhyam dhvanati. varṇanīyāyāḥ cărutvótkarsa-pratītim dhvanati. varṇanīyāyāḥ svánurāgam prakāśayati...” and so on. Thus, the first-risen suggestion is pratīyamāna; it is of the nature of vastu-dhvani only, to adopt here Anandavardhanaś phraseology and classification. The subsequent or the final suggested idea is described as Dhvani proper. It is mostly of the nature of Bhăva, that is sthāvin like Anuraga or Rati as in the case of, śikharini kva nu nāma..." etc., which forms the Rasā”di-dhvani of Anandavardhana or
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