1. Name:- Goswami Gayatri M.
MA-part- 1-sem-2
Roll no :-9
Paper no.:7 Literary Theory and
Criticism
Year:-2014
Submitted to:-Department of
English
Smt. S. B. Gardi
maharaja krishnakumarsihji
Bhavnagar university
Topic: Dhavni Theory and
Alamkara

2. Introduction
•In the sanskrit poetics there were two major
thearios as per view of B.K.matilal
•This was the chitrakavya
•Bhamah was the founder of this school of
rhetoricians
•One is Alankara by which the speech and
meaning is embellished and the other was
the external way to beautiful speech

3. Dhvani
• The Grammarians used the term to refer to
the sound ; and they spoke of two kinds of
sound.
• Prakrta Dhwani and vaikrta Dhwani
•The actual sounds of the words spoken belong
to vaikrta Dhwani .
•Prakrata refers to the pattern of the norm.
•Rasa theory in importance , the Dhvani theory
of Anandavardhana considars suggetion
• “Dhvani” as the essence of poetry and ”
“vyanjana” as the medium of literary creation
and communication
• its propagator Anandavardhana carried forward tradition
elevating the level of discussion on the essence of the poetry

4. Dhvani is suggested by the grammarian’s Doctrine of
“sophota” wich means it bear
from the first verse of the Dhvnnayaloka it as quite clear that
heory of Dhavani had a long course of development.
This is also called dhvani, But lastly the poetry where all
hese, the suggestive words and ideas, suggestion and
suggested ideas are found is also called dhvani.

5. •The credit for developing the idea of Dhavani into a
full grown system of literary criticism necessarily goes
to “Dhvanyalok” ,”lochana “ and kavyaprakasha in
this order
•The dhavni theory to quote Kane ,is only an
extension of Rasa theory bring out the Rasa from the
confines of drama alone.
1) it established that rasa, the acknowledged soul of
poetry, is never directly expressed but always
aesthetic outcome is all nothing but dhvani.
2) it inclued an element of aesthetic consciousness
into our literary appreciation and explained that it is
the suggested sense that makes the poetic content
meaningful and charming.

6. Dhavni Based on Force of The Word is of
Two Kinds
A)A figure of speech
(Almkara)
B) A bore matter of fact

7. • The word Dhavni can stand for five different
meaning
The
suggestive
meaning
The
suggestive
word
The function
of suggestion
The
suggested
content
Poetry as a
whole

8. The Two Main Division of Dhavni
“Avivekshitavachy”
• Avivekshitavachya expressed sense
“vivekshitavachy”
• Vivekshitvachy expressed illustrated by the
following

9. Alamkara
Shabdanu
Alamkara
Varnanu
alamkara
Alamkara

10. Alamkara
•In Indian , Alankar or Almkara means ornaments or
ornaments
• in the context of Indian classical music ,the application
of an Alamkara is essentially to embellish or enhance the
inherent beauty of the genre
•The Realist's Reference to the term Alamkara has been
found in Bharatas Natyashastra writter sometime
between 200 before birth of Christ and 200 AD treatise
on dramaturgy mention 33 type of Alamkars the
shostras or ancient text have categorized Alamkars into
two brode group
1)Varnalankar
2)shabdanulankar

11. Varnalankar
•The former comprised the varna based Alankar of
earlier time
• four Varna based on Alankars of earlier times
1) Sthay : refer to halting of singal not
2) Arohi : Arohi to an upward movement
3) Avroh : to s Downward movement
4) Sanchari: sanchari is a mixed upward and downward
moment

12. Shabdanulankar
•Shabdanulankar is comprised the aesthetic aspect
•It is refer to sound production taqniqe
•Utilized by either the human voice or on an
instruments .
•This may farther vary from one gharana to another
•Today Alankar we specifically refer to
embellishment to a swor or a not
•Shabdanulankar seems to have changed
•Besides the Raga ,the Tala ,and the Bandish which
are the fixed portion in a performance ,the process
of elaboration
•Shabdalankar had a wide connotation