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'Dhvani' and other thought-currents such as guna,.......
1161 Anandavardhana holds that in literature in general, be it prose or verse, texture or construction takes its own shape following the central theme of rasa-dhvani and thus serves as a vyañjaka i.e. suggester of rasa. It varies even with the subject - matter or theme. He observes :
"rasa-bandhoktam aucityam bhāti sarvatra samśritā racanā visayápekşam
tat tu kiñcid vibhedavat.” (Dhv. III. 9) (pp. 132, ibid) "Texture with decorum in the delineation of sentiments will shine out wherever it might be found. It will, however, assume a shade of variation coupled with decorum of literary medium.” (Trans. K. Kris; pp. 133, ibid)
Thus, after considering pada i.e. a word, padámía (=part of word). vākya (=sentence) and samghatanā (i.e. sentence-construction or texture) in a relation of vyangya-vyañjaka, Anandavardhana turns his guns towards 'prabandha' i.e. a major composition, both prose and verse in relation to rasa-dhvani, and suggests that a major composition has to be rasa-centred and for bringing about this result, Anandavardhana suggests a number of conditions, which when observed make such a composition rasa-centred and therefore successful. How a whole work of a greater magnitude becomes a suggester of rasa is explained by Anandavardhana at Dhv. III. 10-14, with apt illustrations and explanations with elaboration in the vrtti or gloss concerned. We will not go into all the minute discussion here but will concern ourselves with what basics he expects for a whole work to become suggestive of rasa. He observes : (Dhv. III. 10-14; pp. 134; 136 ibid)
"idānīm a-laksya-krama-vyangyo dhvaniḥ prabandhā”tmā rāmāyaṇa-mahābhāratā”dau prakāśamānaḥ prasiddha eva. tasya tu yathā prakāśanam tat pratipadyate.
"vibhāvánubhavasañcāryaucitya-cāruṇaḥ, vidhiḥ kathā-śarīrasya vịttasyótprekṣitasya vā." (Dhv. III. 10) "iti-vștta-vaśāyātām tyaktvā' nanuguņām sthitim. utpreksyā’py antarā'bhista-rasócita-kathonnayah.” (Dhv. III. 11)
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