Dhvani

Dhvani when I hear this word then normally I understand that it is a another words of sound and also a things which go directly in a ear when I start reading on this word dhvani as a topic then many things get understand from it. Dhvani is an older term going back to Atharva Veda, where it was used in the sense of sound, tune, noise etc. PaaNini's grammar does not talk anything about eternality or non-eternality of dhvani because it is not related to the of language Philosophical problem.

Rasa Theory and Dhvani Theory are the most important

Poetic theories of ancient India. Dhvani Theory is basically a semantic theory. Anandavardhana was the chief exponent of the Dhvani Theory; all the same Abhinava Gupta had made significant contributions to it. This is not to say that it is imperative to study

linguistics, philology, morphology and such other subjects

to appreciate poetry. One must be fully aware of the

Potency of words and word-structure in order to apprehend a poetic structure. Also poetry evokes emotions; no linguistic structure devoid of feelings or emotions deserves the appellation of poetry. Poetry is constituted of emotive language. Dhvani relates itself to meanings and the suggestive power of words.

 
The basic principle of dhvani is innate in sphota vada; strictly speaking it is not admissible to take words separately by splitting a sentence. Thus, the term sphoTa stands for the initial sound of the drum while the term dhvani stands for the reverberation of the initial sound. This reverberation is called dhvani and it is responsible for the increase and decrease in length. Dhvani has three aspects, 'abhidha' which consists in the literal meaning of the expression, 'laksana' which consists in the external characteristic of the expression which are indicative of something deeper, and 'vyanjana' what is suggestivc. We arrive at the suggested sense either through 'abhidha' or 'laksana'.