Part 8 - Dhvanyāloka of Ānandavardhana

[Post-Dhvani Theory of Sanskrit Poetics (1): The Agnipurāṇa of Vyāsadeva (9th century A.D.)]

The Agni-Purāṇa, covering a wide range of various subjects, one of them is poetical topics from the chapters 337-347 are devoted to Alaṃkāras. In the other portions of the Purāṇas, its Alaṃkāra sections mainly a compilation. According to A. Sankaran ‘this section complied by some unknown writer contains but a loose and disjointed expression, often in their own words, of the different views held by early writers like Bharata, Bhāmaha, Daṇḍin and others’.^[1] The unknown compiler of this section of the Purāṇa culls materials from various sources and even it presents some interesting features of historical importance.

In the Alaṃkāra section of the Agni-Purāṇa, where is extensive borrowing from Bharata to Ānandavardhana. So it is clear that this section must have been complied sometimes after Ānandavardhana and fixed the date is later than the middle of the ninth century A. D. but its date cannot be so definitely settled and the difficulty is furthered by the fact that in this section of Purāṇa is not quoted or referred to by any known Ālaṃkārikas without Viśvanātha. It is very probable therefore that, the Alaṃkāra section of the Agni-Purāṇa was compiled later than the middle of the ninth century A. D.^[2] Lastly we can place it as the earlier than Rājaśekhara and Bhoja.

The Agni-Purāṇa does not represent the views of any particular system of poetics; there is no dominant theory of poetry but touches upon the teachings of almost all the earlier schools. All previous schools of poetics leave their impress on it and eclectically it accords treatment to and lays all the aspects of poetry, individually elaborated by previous theories viz. Rasa (sentiment), Alaṃkāras (figures of speech), gesticulation, Doṣas and Guṇas, borrowing ideas, wordings and even entire verses. There are described Alaṃkāras (figure of speech) of Yamaka, Citra, Upamā, Rūpaka, Sahokti, Arthāntaranyāsa, Utprekṣā, Atiśaya, Vibhāvanā, Virodha and Hetu.

In this Purāṇa we get the first time a clear definition of kāvya (poetry). C.f.

“saṃkṣepāvdākyamiṣṭārthavyavacchinnā padāvalī |
kāvyaṃ sphu radalaṃkāraṃ guṇavaddoṣavarjitam || ”

- Agni-Purāṇa: 337/6

Means:

“In brief, kāvya (poetry) is group of words, bringing an elegant meaning. It must have figure of speech, Guṇas (excellences) and must be free from Doṣas (defects).”

This definition of kāvya is something similar to Daṇḍin’s definition, where Daṇḍin’s says:

“taiḥ śarīrañca kāvyānāmalaṅkārāśca darśitāḥ |
śarīraṃ tāvadiṣṭārtha - vyavacchinnā padāvalī || ”

- Kāvyādarśa of Daṇḍin: 1/10

Means:

“The sages showed and formulated the outward form body and internal embellishments in kāvya (poetry). And the outward form of a kāvya (poetry) is that it should be characterized by and couched in desirable words producing beauty.”

In spite of its lack of originality and systematic theory it is worth nothing that it deviates from the teaching of previous schools are some important features. However, Agni-Purāṇa do not established any new system but perhaps lies in the fact that the Purāṇa derives its peculiar treatise from an altogether different traditions, which is now lost and of which it is the only existing representative. At lastly, in the account the Alaṃkāra section of the Agni-Purāṇa possesses a distinct importance and among them nine rasas including Śānta are recognized the special treatment in the history of Sanskrit poetics.

In this way we can says, Bharata is the founder of rasa theory and the Agni-Purāṇa is the profoundest of Rasa School in whole literature.

Footnotes and references:

[1]:

A. Sankaran, Some aspects of Literary Criticism in Sanskrit, Oriental Books Reprint Corporation, New Delhi, 2nd Ed, 1973, Pp- 35-36.

[2]:

De, S. K. History of Sanskrit Poetics, Firma K. L. M, Kolkata, 2nd Ed, Vol-I, 1960, Pp-97-99 and Sankaran, A. Some Aspects of Literary Criticism in Sanskrit, University of Madras, 1929, Pp- 35-39