Is Vastu‑Dhvani an Expendable Form of Poetic Excellence?
By S. Meera
Summary
S. Meera examines whether Vastu-dhvani, the suggestion of mere matter, constitutes a valid form of poetic excellence. The author argues that it is an indispensable type of poetic excellence. The essay notes that primary meaning facilitates daily transactions, but poetry requires a secondary function where syntax and expression transform ordinary language. Kuntaka is cited as stating that a mere description of poetic matter cannot be considered poetry. The text questions if mere matter can be suggested in a superior way. The author presents evidence from Kuntaka’s *Vakroktijivita*, which cites types of *vakrata* such as *vacaka vakrata*, *radhi vaicitrya vakrata*, and *upacara vakrata*, closely resembling instances of *vastu dhvani*. Mammata in the *Kavyaprakasa* gives examples of *kaku vakrokti* and *vacya vyangya*, where a speaker’s import is suggested by change of tone. Mahimabhatta is identified as the prime objector to *vastu dhvani*, asserting that *Kavyanumana* (inference) is the only possible poetic function. He reduces verses to *arthantara sankramita vacya* resolvable by *anumana*. The author counters Mahimabhatta by examining *lakshana*, or secondary import, which arises when there is a break in the flow of primary meaning (*mukhyartha badha*). *Lakshana* is divisible into *jahallakshana* and *ajahallakshana*. Abhinavagupta is quoted as stating that *lakshana* is always present with primary denotation. The author argues that in the verses quoted by Mahimabhatta, there is no *mukhyartha badha*, and thus they fall under *vastu dhvani*, which can be due to *abhidha* as well as *lakshana*. The text distinguishes *vastu dhvani* from *lakshana* by noting that in *vastu dhvani*, the *pratiyamandrtha* or poetic import is suggested, whereas in *lakshana*, the *vicyartha* is established. Ananda Vardhana clearly establishes the distinction between *alankaras* like *samasokti* and *vastu dhvani*. The author concludes that *vastu dhvani* is superior and indispensable, fulfilling the criterion of Kuntaka. The sources discussed include *Vakroktijivitam* by Kuntaka, *Vyaktiviveka* by Mahimabhatta, *Rasagangadbara* by Jagannatha, *Kavyaprakasa* by Mammata, *Dhvanyaloka* by Ananda Vardhana, and *Locana* by Abhinavagupta.
AI-generated summary, automatically checked against the article text.
Conclusion
The article concludes that Vastu-dhvani is an indispensable form of poetic excellence rather than an expendable one. By analyzing the objections of Mahimabhatta, who reduces all poetic suggestion to mere inference and secondary meaning, the author demonstrates that Vastu-dhvani operates through a smooth, unbroken flow of literal meaning, distinguishing it from devices like *lakshana* or *upacara* that rely on a break in denotation. The text highlights that Vastu-dhvani encompasses diverse nuances and emotional contexts, fulfilling Kuntaka’s criteria for superior poetry by transforming ordinary language into art without sacrificing its literal foundation. Ultimately, it is established as a unique, superior poetic function that integrates primary denotation with profound suggested import, securing its vital role in Indian poetics.