Iks assignment

Name : Sarvaiya Prarthanaba S.

Sub: IKS{English}

Date:25/9/2025

Sem:sem-3

Year: s.y b.a.

College: maharani shree nankuvarba mahila arts and commerce college

         Vakrokti 

Introduction

Kuntaka is the originator of the Vakrokti school of Sanskrit literary theory. He came after

Anand vardhan of the 9th century and before Abhinavagupta of the 10th century. His time was

the time of high merit of Indian poetics. Dhananjaya and Rajashekhar were his contemporary

theorists. The theorists who appeared in the time of Kuntaka contributed a lot to what is in

different shape is considered as modern theories of literature and language. In this context,

Ganesh Devy says that Vakrokti and the Alamkara are two Indian schools which are very close

to two Western schools of thought, formalism and new criticism.

, Kuntaka and Vakrokti-Jivitam

Anjalika Mukhopadhyay informs in her Bangla translation of Kuntaka’s M that,

the manuscript of Kuntaka’s Vakrokti-Jivitam was appeared as final version with the initiative

and immense work done by Sushil Kumar Dey in 1922. This manuscript was found as

incomplete in four chapters. Some scholars assume this book has its fifth chapter also but it is not

proved yet. 

History of Vakrokti

The theory of Vakrokti is found even before Kuntaka had made it sophisticated and scientific

with his rare talent. Bhamaha among the theorists who talked about Vakrokti is most ancient.

Kuntaka primarily adopted Bhamaha’s idea of Vakrokti. Rudrat in his Kavyalankara (9th

century) also talked about Vakrokti. Vakrokti was generally perceived as a Shabdalankar only.

But it did not have much significance beyond its significance as Shabdlankar in Bhamaha,,Dandin and Bamana understands.

What is Vakrokti ?

Kuntaka explains the definition of the term Vakrokti and its genealogical meaning. He mentions

that, “the term Vakrokti is composed of Vakra + Ukti, where the latter (Ukti) derived from

Vac-paribhashane can easily be taken to mean a poetic expression, a clever speech or a pithy

statement. It is however the former component (Vakra) of the term Vakrokti, evoking diverse

shades of meanings and suggestions, that is widely discussed and interpreted in various manners”

(Rao, Sreenivas;) .

Kuntaka’s Vakrokti

According to Kuntaka Vakrokti is created by “Baidagdhabhangibhanitiruchyate”, which means

a poetic talent with his own creative power creates such attractive subject which being earthly,

sounds heavenly to the rasika or to the readers who has authority to accomplish. Swabhabvokti

defines or represents things or objects as it is there in the world of reality. Kuntaka argues there is

no credit of creating Swabhabokti because it does not bring any uniqueness in the poetic thought

and alamkara also cannot perform its role here in the Swabhabokti. Alamkara makes the object

beautiful by putting the elements which are not there in the object.

Kuntaka’s Idea of Sahitya

Kuntaka explains the idea of Sahitya in his Vakrokti-Jivitam. He said,

Sahityamanayo Shobhashalitang Prati kapyasou

Anyunyatiriktatwamanoharinyabasthiti

Kuntaka’s above statement means that the mode of union is literature. When the word and the

meaning exists together and united with each other but do not lose their own identity,

characteristics but their union is so heavenly, so spiritual that do not cross the limits of each

other’s boundary then they together create the beauty and that beauty is Sahitya (literature). As

word and meaning meet with each other in a heavenly mode, there is no need for additional

claims of Alamkara or ornament in literature. Hence, Kuntaka did not feel there was any need for

Alamkara as a necessary component of literature.

Marga or Riti or Style and Guna

According to Kuntaka, 'Sukumara Marga’ is an essential condition of Kavya. Beside

Sukumara Marga, he talks about Bichitra Marga and he explains the characteristics in ten

Karikas. There are another Marga which is created by the characteristics of both the above said

Margas, and that is Ubhayatmak Marga.

Conclusion

Kuntaka after Bhatrihari, is the most brilliant and rare talent who contributed enormously on

the discourse of language study and also on the discourse of poetic language or literary language.

In his understanding vakrokti is the vaidagdhyam bhangi or it is deviated or alternative to the

speech act of the common people. With his study of poetic language he suggested the how of the

birth of beauty. He is that genius in Indian poetics who extends himself from language study to

aesthetics to adaptation theory, to translation theory what we deal with now can be rooted in

Kuntaka’s work also. 

Q-2.      Davni

The Sanskrit word “Dhvani” literally means “sound, echo, or resonance.”

But in Indian poetics (Alaṅkāra-śāstra), Dhvani is not just “sound” — it refers to the suggestive meaning in poetry, i.e., what is conveyed beyond the direct meaning of words.

So, in English, Dhvani = Suggestion / Poetic Resonance / Implied Meaning.

Concept in Literary Theory

• Introduced systematically by Ānandavardhana in his work Dhvanyāloka (9th century CE).
• He declared: “The soul of poetry is Dhvani” (vākya-sya ātmā dhvaniḥ).
• That means true poetry is not limited to words (śabda) or literal meaning (artha), but to the suggested sense (vyaṅgya-artha), which evokes aesthetic emotion (rasa).
• 
  
• Types of Dhvani (Suggestive Meaning)

1. Vastu-dhvani – Suggestion of an idea or fact.

   • Example: Saying “the moon has risen” might indirectly suggest it is time to meet the beloved.

2. Alaṅkāra-dhvani – Suggestion of a figure of speech (like metaphor, simile).

   • Example: “Her face is the moon” → suggests beauty beyond the literal comparison.

3. Rasa-dhvani – Suggestion of aesthetic emotion (rasa).

   • Considered the highest form of Dhvani.
   • Example: “The forest is silent after the storm” → evokes śānta rasa (peace).

Why Dhvani is Important

• It gives poetry its depth, beauty, and emotional power.
• Without Dhvani, poetry is only plain expression of words and meaning.
• With Dhvani, poetry resonates with layers of implied sense that move the reader/listener.

Dhvani in English means “suggestion” — the deeper, implied meaning of words in poetry that evokes rasa (aesthetic emotion). It is considered the very soul of poetry in Indian literary theory.

       Essay 

Ānandavardhana: Life and Works

Introduction

Ānandavardhana (9th century CE) is one of the most celebrated Sanskrit literary critics and aestheticians of India. He is best known as the propounder of the Dhvani theory, which revolutionized Indian poetics by asserting that the true essence of poetry lies not in direct meaning, but in its power of suggestion (Dhvani). His major work, the Dhvanyāloka, is regarded as a landmark in the history of Indian literary theory.

Life

• Ānandavardhana was born in Kashmir around the 9th century CE.
• Details of his personal life are scarce, but he is believed to have belonged to a scholarly family deeply rooted in Sanskrit learning.
• He was a contemporary of many Kashmiri intellectuals and philosophers, and later commentators like Abhinavagupta helped preserve and expand his ideas.
• Tradition portrays him not only as a critic but also as a poet, philosopher, and grammarian.
• Though little biographical information survives, his intellectual contributions have made him immortal in the history of Indian aesthetics.

Works

1. Dhvanyāloka

   • His most famous and influential work.
   • In this text, Ānandavardhana systematically explains the theory of Dhvani (suggestion).
   • He divides Dhvani into three kinds: Vastu-dhvani (suggestion of an idea), Alaṅkāra-dhvani (suggestion of a figure of speech), and Rasa-dhvani (suggestion of aesthetic emotion).
   • Among these, Rasa-dhvani is considered the highest form, because poetry ultimately aims at evoking aesthetic experience (rasa).
   • The work emphasizes that “the soul of poetry is Dhvani” (vākya-sya ātmā dhvaniḥ).
   • Dhvanyāloka not only redefined the principles of Indian poetics but also influenced later scholars and commentators like Abhinavagupta.

2. Other Works (less famous but attributed to him):

   • Ānandavardhana is said to have composed a Mahākāvya (great epic poem) called Arjunacarita, which narrates the exploits of Arjuna from the Mahābhārata.
   • He also wrote hymns and devotional verses, which reflect his spiritual depth.
   • Some works on grammar and poetics are attributed to him, though Dhvanyāloka remains his greatest contribution.

Contribution to Indian Poetics

• Ānandavardhana shifted the focus of literary criticism from ornamentation (alaṅkāra) and literal meaning (abhidhā, lakṣaṇā) to the power of suggestion (dhvani).
• His ideas brought together poetry and philosophy, showing that literature is not mere embellishment, but a medium for aesthetic and emotional experience.
• Later scholars like Abhinavagupta built upon his foundation, making Dhvani theory central to Indian aesthetics.
• His philosophy influenced Sanskrit literature, regional literatures, and even modern theories of interpretation.