Prakrit Mahakavyo Me Dhyanitattva - Book Summary

Here is a comprehensive summary in English of the provided Jain text, "Prakrit Mahakavyo me Dhyanitattva" (The Essence of Dhvani in Prakrit Mahakavyas) by Ranjan Suridev:

This text, an excerpt from a larger work published by Z_Yatindrasuri_Diksha_Shatabdi_Smarak_Granth_012036.pdf, explores the concept of Dhvani (suggested meaning or resonance) as presented in Prakrit Mahakavyas (epic poems).

The author begins by referencing Acharya Vishvanath Kaviraj's Sahityadarpan, which defines Dhvani as a suggested meaning that surpasses the literal meaning of words. Poetry dominated by such suggested meaning is considered Uttam Kavya (superior poetry). The core of Dhvani is the Vyangya (suggested element), which is considered the lifeblood of poetry. Acharya Anandavardhana, a proponent of Dhvani, asserts that Dhvani is the soul of poetry – a poetic specialty where words and meanings convey a special sense beyond their literal meanings. Dhvani is deemed one of the most significant elements contributing to the beauty of poetry.

The text traces the origin of the term "Dhvani" in literary criticism to the Sphot Siddhanta (theory of explosion) of grammarians. Literary scholars, according to the commentary on Dhvanyaloka (1.16), adopted the term "Dhvani" from grammarians. Grammatically, "Dhvani" refers to the sounds that express Sphot. Acharya Bhartrihari, in his Vakyapadiya, states that the sounds produced by the combination and separation of letters (varnas) constitute Dhvani. He further elaborates that in the two types of words, Prakrit and Vaikrita, Prakrit Dhvani is the cause for grasping Sphot. The sound produced by the manifestation of a word is Krita Dhvani, which is also essentially Sphot. Thus, Dhvani and Sphot are identified as one.

The core of the argument is that Rasa (aesthetic emotion) is intrinsically linked to Dhvani; Rasa can only be expressed through Dhvani, and Rasadhvani is the highest form of Dhvani, considered the soul of poetry, as stated in Dhvanyaloka.

The text outlines that literary scholars identify 5355 types of Dhvani, but there are 51 pure types. Among these, 18 Dhvanis are further categorized into 12 types, with six additional types:

Vastudhvani originating from Shabdashakti (suggested meaning of object from word power).
Alankardhvani originating from Shabdashakti (suggested meaning of ornament from word power).
Vastudhvani originating from Shabdartheshakti (suggested meaning of object from word and meaning power).
Alakshyakramavyangyadhvani (Dhvani where the sequence of suggestion is imperceptible).
Avivakshitavachya (undesired literal meaning) with its two subtypes:
- Arthantar-sankramita-vachya (literal meaning transferred to another meaning).
- Atyanta-tiraskrita-vachya (literal meaning completely rejected).

The author asserts that these Dhvani types are discoverable in the excellent Mahakavyas of Prakrit because they extensively employ the principle of Dhvani. Leading Dhvani theorists frequently cite Prakrit Gathas (verses) in their discussions. Gahasattasai (Gatha Saptashati), a famous Prakrit poem, served as a significant source for Anandavardhana and Vishvanath in this regard.

While Gahasattasai, attributed to King Hala Satavahana of the first century CE, is classified as a Prakrit muktak (stray verse) and not a strict Mahakavya, its qualitative excellence grants it the dignity of a Mahakavya. This is compared to Kalidasa's Meghaduta, which, though a khandakavya (lyric epic), is deemed worthy of Mahakavya status due to its rich rasa, similar to how Mahakavi Magha's Shishupalavadha is described by the phrase "मेघे माघे गतं वयः" (the age has passed in Meghaduta and Shishupalavadha).

The text explains that Dhvani in poetic elements like Alankara (ornaments) is akin to the subtle charm of a beautiful woman, which goes beyond her visible physical beauty, like the lustrous sheen of pearls. This suggested beauty is perceived by connoisseurs.

The text then delves into specific examples of Dhvani in Prakrit Mahakavyas:

Atyanta-tiraskrita-vachya Dhvani (completely rejected literal meaning): This occurs when the literal meaning is entirely different from or rejected by the suggested meaning.
- Gahasattasai (Gatha 75): A verse describing a religious man being warned about a lion killing a dog in a grove is cited. The suggested meaning here is a prohibition against the religious man entering the grove by instilling fear in him, thereby conveying a meaning opposite to the literal warning.
- Gahasattasai (Gatha 13): A verse describing a heroine with soiled hands from kitchen work touching her face is analyzed. The smudge on her face is compared to a blemished moon. Here, the blemish itself becomes an embellishment (Alankara), and the transfer of meaning is an example of Atyanta-tiraskrita-vachya Dhvani.
Vastudhvani (suggested meaning of object) through Alankara:
- Setubandha Mahakavya by Pravarasena: A verse describing the ocean's appearance is presented. The ocean is compared to a mountain with uprooted trees, a lake devoid of lotuses, a chalice drained of wine, and a dark night without the moon. These metaphors (Alankaras) suggest the vast and formidable nature of the ocean.
- Setubandha Mahakavya by Pravarasena: A verse describing Rama's retreat during the rainy season uses the metaphor of the season as night, Rama's valor as the sun, his anger as an elephant, and his victory as a cage. This use of Rupaka Alankara (metaphor) suggests Rama's helplessness and inability to display his valor, anger, or pursue victory during the rainy season.
Vastudhvani from Vastudescibed by Alankara:
- Gaudavaho by Vakpatiraja: A verse praising Vindhyavasini is cited. The suggestion is that while externally the goddess resides in half of Shiva's body, she resides completely in his heart. This implies Shiva's deep love for the goddess. This is an example of Vivakshitanyapara-vachya Dhvani (meaning desired, but pointing to something else), where the literal meaning is retained but points to a deeper suggested meaning. The Gaudavaho is generally characterized by a strong presence of Vyangya in most verses.
Alankardhvani from Shabda-pradudha-vastu (object created by poetic imagination):
- Dvyashraya Mahakavya by Acharya Hemachandra: A verse from the praise of Vindhyavasini is presented. The jewels in the buildings of the capital make even the blemished moon appear flawless. The suggested meaning is the magnificence of the capital. The phrase "kavi-praudoktimatra-siddha vastu" refers to something created purely by the poet's imagination.
Alankardhvani from Vastudescibed by Alankara:
- Dvyashraya Mahakavya by Acharya Hemachandra: A verse from the praise of Vindhyavasini is quoted where the poet imagines the redness in the eyes of a person waking up from sleep is due to the goddess's feet, stained with henna, touching their eyes. This is an example of Vastudhvani from Alankara, where the goddess's entry into the eyes is suggested.
Atyanta-tiraskrita or Avivakshitavachya Dhvani at the pada level (word level):
- Dvyashraya Mahakavya by Acharya Hemachandra: A verse describing beautiful women in the city of Anhilpur is analyzed. The word "mayachchhijano" (or similar variations) is used to describe their enchanting, deer-like eyes. The literal meaning of "mayachchhi" is rejected in favor of the suggested meaning of "chancal" or "mad-vihval" (bewildered) eyes, which is an example of Jahatsvartha Lakshana (a type of implied meaning). This passage also illustrates Shlesha Alankara (pun) at the word level, resulting in Alankardhvani.
Sankalakrama Rasadhvani (Rasa Dhvani with perceptible sequence):
- Dvyashraya Mahakavya by Acharya Hemachandra: A verse questioning the efficacy of bathing in sacred rivers for purification is cited. It states that if bathing purifies, then even animals bathing in these rivers should be purified. The suggested meaning is that mere ritualistic bathing without internal purity (thoughts and actions) is fruitless. This conveys a Shantarasa (peaceful sentiment) indirectly.
Abhidhamulaka (Vivakshitanyapara-vachya) Rasadhvani (Rasa Dhvani based on direct meaning, pointing elsewhere):
- Lilavati Mahakavya by Kuttuhala: A verse praising King Satavahana is presented. It compares the king's dominance over the world to the sun illuminating the world with its radiance. The suggested meaning is the king's immense valor, indicating Veerarasa (heroic sentiment). This is also considered Alankara to Vastudhvani.
Alankara to Vastudhvani:
- Lilavati Mahakavya by Kuttuhala: A verse describing the splendor of King Kumarapala's capital is analyzed. The whiteness of his fame is compared to curd. The king's spotless character is suggested. The city being like an ocean due to accumulated gems suggests the immense wealth of its citizens. This verse exhibits Samsrishti (combination) of multiple Dhvanis.
Vastudhvani through Vyathireka Alankara (Contrast/Distinction):
- Kumarapalcharita: A verse is presented where the four Vedas emerging from Brahma's four mouths are understood to be contained within Bahuladitya's single mouth. This suggests Bahuladitya's profound knowledge of the Vedas.
Dhvani-sankara and Dhvani-samsrishti (Mixture and Combination of Dhvanis):
- The text explains that Dhvani-sankara occurs when one Dhvani blends with others like milk in milk, while Dhvani-samsrishti happens when they combine like sesame and rice.
- Kumarapalcharita (6.81): A verse describes the looting of a city after the victory of King Kumarapala.

The author concludes by stating that Prakrit Mahakavis have consistently established the principle of Dhvani in their excellent epic poems. Their poetic language, by its very usage, is inherently phonetic. Almost all Prakrit Mahakavyas can be considered Dhvani-kavyas due to their marvelous expression of meaning. Works like Setubandha and Dvyashraya are particularly valuable for the study and contemplation of Dhvani. The study of Dhvani in classical Prakrit Mahakavyas warrants an independent research dissertation, and this paper only offers a brief glimpse into the Dhvani elements found in prominent Prakrit Mahakavyas.

The text provides references to Dhvanyaloka and Sahityadarpan for further details on Dhvani.