Dhvani: Structure of Poetic Meaning – A Simplified Explanation

In ancient Indian literature, the idea of Dhvani or "suggestion" is central to understanding

the essence of poetry. The concept suggests that poetry is more than just the literal meaning
of words; it involves hidden or implied meanings that resonate deeply with the reader. In
this text, the author explores how poetry carries this "soul" of suggestion through the use of
words and their power to convey meanings beyond their obvious definitions. This essay
unpacks the essence of Dhvani, explaining how it functions in poetry and how it goes
beyond the surface-level interpretation of words.
The Nature of Suggestion in Poetry
The text begins by explaining that the true soul of poetry lies in its ability to suggest
meanings beyond the literal sense of the words. Many scholars have argued about the
nature of this "soul," with some claiming it is a non-existent or abstract idea, while others
argue it is implied or beyond the scope of words. The author proposes that the essence of
poetry is rooted in suggestion, which can be divided into two main aspects: explicit and
implicit.
 Explicit Meaning: This is the straightforward, clear meaning of words. It’s what is
commonly understood and often expressed through figures of speech, such as
similes, metaphors, etc. This meaning is easy to grasp and is not the main focus when
discussing Dhvani.
 Implicit Meaning: This is the deeper, more complex meaning that is not directly
stated but suggested through the choice of words and context. The author argues
that great poetry, particularly that of classical poets like Valmiki, shines through in its
ability to convey such implicit meanings. This deeper level of meaning transcends
what is merely expressed in the text and touches the reader's emotions, thoughts,
and imagination in a way that the explicit meaning alone cannot.
The Role of Suggestion in Poetic Expression
To explain how suggestion works, the author compares it to a man in the dark who seeks a
lamp to light his way. Just as the man is initially interested in the lamp for its light, the poet
begins with the explicit meaning of words, but their ultimate goal is to convey a deeper,
suggested meaning. The explicit meaning of the words is a stepping stone toward the
implied or suggested meaning, which becomes apparent once the reader moves beyond the
literal interpretation.
The Dhvani (suggestion) in poetry is not simply about using words in an unusual or creative
way; it is about how these words carry additional layers of meaning that unfold when the
reader looks beyond the obvious. This implied meaning is what gives poetry its depth,
charm, and beauty.
The Difference Between Suggestion and Indication
It is important to understand that suggestion is different from indication. Suggestion is about
conveying a meaning indirectly, often evoking an emotional response or a complex idea
through subtle hints. On the other hand, indication involves pointing to something more
directly, without the same depth of implied meaning. While indication can be a form of
suggestion, suggestion itself goes beyond mere pointing. In poetry, suggestion should be
subtle and evocative, not overt and forced.
Types of Suggestion
The author categorizes suggestion into two types:
1. Suggestion with Intended Literal Import: This type of suggestion occurs when the
literal meaning of a word or phrase is used as a stepping stone to convey a deeper
meaning. The deeper meaning could either be "merged in the other meaning" or
"completely lost" as it takes the backseat to the suggested emotion or sentiment.
2. Suggestion with Undiscernible Sequentiality: This form of suggestion occurs when
the emotional or sentimental undertones of the poetry are subtle and gradual, not
immediately obvious to the reader. This type of suggestion often works on a more
abstract or intuitive level, where the emotion or meaning slowly becomes clear over
time as the poem unfolds.
The Role of Sentiments in Suggestive Poetry
Sentiment, especially emotions like love, pathos, and anger, plays a significant role in Dhvani.
The text emphasizes that when these sentiments are evoked subtly through the suggestion,
they become the essence of the poem. For instance, the sentiment of "love in separation" or
the "pathetic" sentiment can evoke deep emotional responses from readers. These
emotions, when conveyed through suggestion, bring the poem to life in a way that literal
descriptions cannot.
However, the author also explains that these sentiments must be central to the poem. If
sentiments are secondary or auxiliary to the main idea, they are not considered a true part
of Dhvani. They become mere figures of speech, not the soul of the poetry.
The Power of Words and Sense in Suggestion
Another key point in the discussion is the distinction between suggestion that is based on
the power of words and suggestion that arises from the power of sense.
 Suggestion Based on the Power of Words: This occurs when the words themselves
carry a deeper, implied meaning that is not directly stated but is conveyed through
their connotation, tone, and context.
 Suggestion Based on the Power of Sense: This type of suggestion involves the
meaning that is conveyed through the context or the ideas surrounding the words,
rather than the words themselves.
The text suggests that the true beauty of poetry lies in the subtle interplay of both these
forms of suggestion, where the words and the sense combine to evoke a deeper, richer
meaning.
Conclusion
In conclusion, Dhvani, or suggestive poetry, is the soul of true poetry. It is not simply about
the literal meaning of words but about what is implied or suggested beyond them. Great
poetry, through its mastery of suggestion, transcends the surface and evokes emotions,
thoughts, and insights that cannot be directly stated. By carefully employing words and
figures of speech, the poet opens up a world of deeper meanings, making poetry a rich,
multi-layered experience. Understanding Dhvani requires an appreciation for how words,
emotions, and ideas come together to create a poetic experience that resonates on multiple
levels.

Dhvani by Anandavardhana: A Simple Overview

Anandavardhana's theory of Dhvani, or suggestion, is a key concept in classical Sanskrit
aesthetics, particularly in poetry. The term Dhvani refers to the power of suggestion that
allows a poet to convey deeper meanings or emotions beyond the literal words used.
Anandavardhana suggests that poetry is not just about direct expressions, but also about the
underlying sentiments and meanings that are hinted at through the use of words and
phrases.
According to Anandavardhana, suggestion can occur in two primary ways. One type of
suggestion is unintended literal import, where words or phrases may have meanings that go
beyond their immediate sense. The other type is resonance-like suggestion, where the
deeper meanings or emotions echo through the text, often creating a sense of something
more profound than what is directly stated. Both of these forms of suggestion are present in
individual words, whole sentences, and even the entire composition.
For instance, certain words or sounds can suggest specific emotions. Anandavardhana
explains that letters such as ‘s’ or combinations like ‘sr’ and ‘dh’ may carry negative
emotional connotations, especially when related to feelings like disgust. On the other hand,
these same sounds, when used in the context of other sentiments, can intensify those
feelings, demonstrating how the texture of language itself can suggest emotions.
Texture in literature, according to Anandavardhana, refers to the way in which language is
constructed. There are three types of texture: without compounds, with medium-sized
compounds, and with long compounds. The choice of texture depends on the decorum, or
appropriateness, of the style, which varies depending on the medium of literature. Whether
a piece is prose or poetry, the texture should align with the sentiments being expressed,
enhancing the emotional impact of the work.
The construction of a narrative or plot also plays a crucial role in Dhvani. The poet should
aim to create a plot that is charming and in tune with the sentiments being expressed. This
requires careful consideration, especially when adapting traditional stories, as certain events
may conflict with the intended sentiment. In such cases, the poet may omit or invent new
incidents to maintain the emotional flow of the work.
A good poet, Anandavardhana states, must also avoid hindrances to the sentiment. For
example, presenting an emotion abruptly or over-elaborating it can disrupt the reader’s
emotional engagement. However, once the main sentiment is clearly established, other
sentiments can be included as long as they serve to enhance or contrast with the primary
emotion, without overshadowing it.
An important concept in Dhvani is the idea of a principal sentiment that dominates the
entire work. While multiple emotions may appear throughout a poem, the poet must ensure
that one sentiment remains central. If conflicting emotions appear, they should be handled
delicately to avoid disrupting the main sentiment. A well-crafted poem ensures that even
when opposing sentiments are introduced, they are presented in a way that does not lead to
confusion or contradiction.
For example, in the case of erotic sentiment, a delicate and careful approach is required.
Erotic emotions are sensitive and must be treated with care, as any small lapse can be
glaring. However, the poet may introduce opposing sentiments into the accessories of the
erotic sentiment, such as through irony or subtle contrasts, without harming the overall
emotional impact.
The poet’s task, therefore, is to skilfully balance the construction of emotions within the
poem. This requires understanding the dynamics between opposing and non-opposing
sentiments and using them strategically to enhance the emotional depth of the work.
Anandavardhana emphasizes that a great poet must master the art of suggestion, ensuring
that each emotion is conveyed through the appropriate use of language and structure.
Anandavardhana also introduces the idea of subordinated suggestion in poetry. In this type
of poetry, the expressed meaning may take precedence over the suggested meanings. The
artistically greater element is the clear, direct meaning, but the suggested emotion or idea
still plays a secondary role. Even when suggestions are present, they should not overwhelm
the primary message or sentiment of the work.
There are also varieties of poetry where the suggestion becomes more prominent. These
works rely heavily on the interplay between words and their deeper meanings, creating
layers of emotion and thought. Such poetry draws attention to the nuanced relationship
between the literal and the suggested, allowing for multiple interpretations.
Anandavardhana asserts that the poet’s imagination is limitless when it comes to using
suggestion. Even a simple idea can become fresh and unique when it is connected to the
right sentiment. This ability to imbue common themes with new emotional depth is what
makes poetry so powerful and varied.
The variety of poetic themes is endless, Anandavardhana claims, because poetry can draw
from a wide range of sentiments and experiences. Even ordinary themes can be transformed
into something extraordinary by linking them with appropriate emotions. In this way, the
poet’s skill in handling suggestion is what gives poetry its infinite potential.
Moreover, Anandavardhana acknowledges that the potential for similarity between poetic
themes is inevitable. Great minds may often arrive at similar ideas, but this does not mean
that one work is a mere copy of another. Just as two similar faces may each have their own
beauty, a poem can share similarities with another and still stand out as unique and
valuable.
The poet need not fear drawing on familiar themes or structures. As long as the work
presents something new and emotionally engaging, it can be appreciated for its originality.
Poetic themes that may seem familiar or trite can still shine with novelty and creativity when
expressed through the lens of sentiment.
Finally, Anandavardhana encourages poets to freely explore their creativity. The Goddess of
Speech, Saraswati, will guide those poets who avoid plagiarism and seek to create works
that are both fresh and meaningful. Through a careful balance of expressed and suggested
meanings, the poet can create a work that resonates deeply with its audience, offering both
beauty and emotional depth.
In conclusion, Anandavardhana’s theory of Dhvani emphasizes the importance of suggestion
in poetry, highlighting how words, sounds, and structures can convey deeper meanings and
emotions. By mastering the art of suggestion, poets can elevate their works, imbuing them
with complexity and resonance.

Dhvani: The Theory of Suggestion in Poetry

Dhvani, which translates to "suggestion" in Sanskrit, is a key concept in classical Indian
literary theory, particularly articulated by the scholar Anandavardhana in his seminal work
Dhvanyaloka. The idea of Dhvani revolves around the belief that the essence or "soul" of
poetry lies in what is suggested rather than what is explicitly stated. According to
Anandavardhana, a poem’s true meaning often emerges not directly through the words but
through their subtle, indirect implications, creating an emotional resonance that goes
beyond the literal meaning.
The concept of Dhvani highlights the idea that words in poetry do not merely represent
objects, actions, or ideas in a direct manner. Instead, they evoke feelings, thoughts, and
atmospheres that might not be immediately obvious. The significance of Dhvani lies in its
ability to convey emotions, themes, and meanings that arise through the interplay of words,
structure, and context, without these elements necessarily being spelled out.
There are three primary types of Dhvani that Anandavardhana describes:
1. Vastu-Dhvani (Suggestion of Meaning): This type of suggestion relates to the
meaning of the words themselves. It refers to the way a poem may suggest ideas or
 concepts beyond the surface meaning. For example, a poem describing a sunset may
not only talk about the physical event of the sunset but also evoke feelings of
melancholy, endings, or the passage of time. The deeper emotional connection to
the idea of the sunset is what is suggested through the words, not explicitly stated.
2. Rasa-Dhvani (Suggestion of Emotion): The most well-known type of Dhvani, Rasa-
Dhvani refers to the emotional experience that a work of art provokes in the reader.
Rasa (literally "essence" or "flavor") refers to the emotion or sentiment that the poet
is trying to evoke. The emotion or mood is not told directly but suggested through
images, metaphors, rhythm, and tone. For instance, a love poem may use imagery
like moonlit nights, blooming flowers, or soft winds, all of which suggest romantic
feelings, even though the word "love" might not appear explicitly.
3. Alankara-Dhvani (Suggestion of Aesthetic Devices): This type focuses on the
aesthetic qualities of the poem, such as the use of figures of speech, metaphors,
similes, and symbolism. The purpose of these devices is to enhance the emotional
and intellectual impact of the poem, leading the reader to feel deeper meanings and
connections that are not directly articulated. For instance, a metaphor might suggest
a deeper relationship between two objects or ideas, creating a resonance in the
reader's mind that conveys more than the literal comparison.
Anandavardhana argues that the true power of poetry lies in its ability to evoke emotions
and ideas that are not immediately clear but emerge subtly through the sequence of words,
phrases, and the overall structure. This suggests that poetry’s emotional impact is not
merely a result of direct statements but of the way these suggestions unfold and connect in
the reader’s mind.
In this way, Dhvani challenges the traditional, direct interpretation of language and
encourages a more nuanced, interpretive reading. It invites the reader to engage with the
layers of meaning that are present, and it is through the emotional and intellectual
resonance created by Dhvani that poetry achieves its highest aesthetic and artistic value.
In summary, Dhvani enriches poetry by suggesting meanings, emotions, and connections
beyond what is explicitly written. It is through the subtlety of suggestion, rather than direct
declaration, that the essence of poetry is revealed. Through Dhvani, poets craft a deeper,
more profound connection with their readers, inviting them to explore meanings that unfold
and resonate on multiple levels.

How does Anandavardhana's theory of Dhvani help connect the apparent and hidden
meanings in poetry? Illustrate this concept with suitable examples.
Anandavardhana's theory of Dhvani (or suggestion) plays a crucial role in understanding the
layered meanings present in poetry. According to Anandavardhana, Dhvani is a form of
suggestion that transcends the direct, literal meaning of words. It helps connect the
apparent meaning, which is what the words explicitly say, with the hidden or implied
meaning, which is conveyed through suggestion. The theory suggests that words have the
power to evoke emotions, sentiments, and ideas that go beyond their surface-level meaning,
thus enriching the poetic experience.
Dhvani, in its simplest form, refers to the suggestion of a meaning that is not directly
expressed by the words themselves but is inferred by the reader. This hidden meaning is
often linked to the sentiment (Rasa) conveyed by the poem. The reader may not be
consciously aware of the deeper meaning, but it influences their emotional experience as
they read the poem. Anandavardhana emphasizes that the true essence of poetry is often
found in what is suggested rather than what is plainly stated. This hidden or implied
meaning is what makes poetry so powerful and layered, allowing it to resonate with readers
on different levels.
The first and most significant aspect of Dhvani is the idea of "Rasa" (sentiment), which is
central to Indian aesthetics. Rasa refers to the emotional response that a work of art evokes
in its audience. Dhvani connects the surface-level narrative with the deeper emotional
impact by suggesting underlying sentiments. For instance, a poem may describe a scene in
nature, such as a river flowing through a valley. On the surface, it might simply be an image
of a river, but through Dhvani, the description might evoke feelings of peace, nostalgia, or
even sadness, depending on the context and the way the scene is presented.
To understand how Dhvani works, let’s look at an example from classical Sanskrit poetry. In a
poem where a lover describes the changing seasons, the poet might mention the arrival of
spring, the blooming of flowers, and the sweet scent in the air. While the literal meaning is
simply a description of the seasons, the deeper meaning—the hidden suggestion—can
convey the lover’s longing for their beloved. The imagery of blooming flowers and the gentle
breeze suggests the emotions of love and yearning, even if these feelings are not explicitly
stated. This is where the power of Dhvani lies: it makes the reader feel the emotions
associated with the image, even though they are not directly mentioned.
Anandavardhana also highlights that Dhvani operates through both the words themselves
and the context in which they are placed. The combination of sound, rhythm, and structure
of a poem can enhance the suggestion of a particular sentiment. For example, a poet might
choose a particular word that, on its own, may not carry much emotional weight, but in the
context of the entire poem, it gains a new significance. This contextual suggestion allows the
poet to convey complex emotions without explicitly stating them, which is one of the
reasons why poetry can be so powerful and evocative.
One of the most important components of Dhvani is the concept of "Vyanjana," which refers
to the indirect communication of meaning. Vyanjana is the process by which the poet uses
words and expressions that suggest something beyond their literal meaning. For instance, in
a poem that describes a stormy night, the literal description might evoke an image of
darkness and chaos. However, through the suggestion of certain words, the storm could also
represent inner turmoil or a conflict between two characters. The poet does not directly say
that the storm represents emotional conflict, but the choice of words and their placement in
the poem creates that suggestion. The reader can then interpret the storm as a symbol of
the characters’ emotions, adding layers of meaning to the poem.
Another example of Dhvani can be seen in the famous Sanskrit poem "Shakuntala" by
Kalidasa. In this work, the poet uses nature to suggest the inner emotions of the characters.
For instance, when Shakuntala is in distress over her lover’s absence, the poet does not
explicitly describe her sadness. Instead, the natural world mirrors her emotional state. The
blooming of flowers or the fading of the moon can symbolize Shakuntala’s emotional
journey, thus connecting the external world to her internal feelings. Here, Dhvani bridges the
literal meaning (the physical world) with the hidden emotional states of the characters.
Dhvani also helps in connecting the various layers of meaning in a text. Anandavardhana
argues that good poetry often operates on multiple levels: the immediate, surface-level
meaning of the words, the deeper meanings that emerge through suggestion, and the
emotions that resonate with the reader. These layers do not contradict each other but work
together to create a more complete and enriching experience. The primary meaning might
be a simple narrative, but the suggested meaning elevates the poem into a profound
expression of human experience.
For instance, in the famous poem "Meghaduta" (The Cloud Messenger) by Kalidasa, the
literal meaning is a cloud carrying a message from a lover to his distant wife. However, the
suggestion or Dhvani behind the poem connects the cloud to the lover’s feelings of
separation and longing. The cloud becomes a metaphor for the lover’s yearning, and the
imagery of the cloud journeying through the skies becomes a symbol for the emotional
journey of separation. The literal journey of the cloud is imbued with the emotional journey
of the lover, and the reader feels the depth of his longing, even though it is not directly
stated.
In conclusion, Anandavardhana's theory of Dhvani helps connect the apparent and hidden
meanings in poetry by emphasizing the power of suggestion. Through carefully chosen
words, structure, and context, poets can convey emotions and sentiments that go beyond
the literal meaning of the words. This connection between the apparent and hidden
meanings allows poetry to evoke a deeper emotional response in the reader, making it a
richer and more layered form of expression. By using Dhvani, poets can create works that
speak to the heart as well as the mind, offering readers an experience that resonates long
after the words have been read.

The soul of poetry is suggestion

The statement "The soul of poetry is suggestion" encapsulates a central idea in literary
theory, particularly within the framework of Sanskrit aesthetics, and more specifically, the
theory of Dhvani proposed by Anandavardhana. According to this theory, poetry transcends
the mere expression of ideas or emotions through direct statements; rather, its essence lies
in suggestion, in what is implied rather than explicitly stated. I strongly agree with this
statement because the power of poetry lies not just in what it says, but in the deeper
meanings it evokes in the reader through indirect suggestion. Textual examples from
classical literature as well as modern poetry can be used to substantiate this view.
In classical Sanskrit poetry, the concept of suggestion is beautifully articulated in
Anandavardhana's theory of Dhvani. He suggests that the true essence of poetry is found
not in the literal meanings of words but in their ability to evoke emotions and sentiments
through suggestion. A poet’s words, while having a surface meaning, also suggest a deeper
emotional layer, an underlying sentiment that resonates with the reader. This sentiment is
what gives poetry its depth and soul.
An example of this can be found in Kalidasa’s "Meghaduta" (The Cloud Messenger), where
the literal story is about a cloud carrying a message from a lover to his distant wife. On the
surface, it is a simple narrative of longing and separation. However, the cloud, as a vehicle
for the lover’s emotions, takes on a deeper significance through suggestion. The journey of
the cloud mirrors the emotional journey of the lover, whose separation is not just described,
but suggested through the changing landscapes the cloud passes through. The sky, the
mountains, and the rivers that the cloud encounters are not just physical entities; they
become symbols of the lover’s emotions, emphasizing his longing, melancholy, and hope.
The literal meaning of the cloud’s journey is thus imbued with an emotional depth that is
never directly stated but is felt through suggestion.
Another example from classical Sanskrit literature is from the epic "Mahabharata,"
particularly in the description of Draupadi’s emotional turmoil during the infamous game of
dice. While the event itself is described in a straightforward manner, the emotions Draupadi
experiences—shame, humiliation, and helplessness—are conveyed not just by the words
themselves but by their arrangement and the context in which they are placed. The
suggestion of these emotions is more powerful than their explicit description. A good poet
doesn’t need to state the emotions directly; rather, they suggest them through the setting,
the actions, and the reactions of the characters.
In modern poetry, the soul of poetry as suggestion can be seen in the works of poets like
Emily Dickinson and T.S. Eliot. Dickinson’s poem "I Felt a Funeral in My Brain" is a powerful
example of suggestion. The poem describes a seemingly simple scene of a funeral, but the
imagery, rhythm, and mood evoke a deeper sense of inner turmoil and psychological death.
The speaker never directly says they are experiencing a mental breakdown, but through the
description of the funeral procession, the poem subtly suggests feelings of despair,
confusion, and existential dread. The literal imagery of a funeral is used to suggest a
personal, internal experience that goes far beyond the actual event described.
Similarly, T.S. Eliot’s "The Love Song of J. Alfred Prufrock" uses suggestion to convey the
complexity of the speaker’s emotions. The poem is filled with indirect references to
Prufrock’s feelings of inadequacy, self-doubt, and fear of rejection. The famous line "Do I
dare disturb the universe?" is an example of suggestion. Eliot doesn’t say directly that
Prufrock is paralyzed by his own insecurities and fear of the unknown, but the question itself
implies a profound sense of hesitation and anxiety. The universe here is not just a vast,
external entity, but a metaphor for the speaker's own life, choices, and relationships. The
suggestion works at a deeper level, giving readers insight into Prufrock’s inner conflict
without explicitly stating it.
The strength of poetry lies in its ability to convey complex emotions and ideas without
needing to state them outright. The suggestion provides readers with space for
interpretation, allowing them to engage with the poem on a more personal level. This is why
poetry is often considered more profound than prose—it taps into the subconscious,
evoking emotions and thoughts that are not always directly accessible through rational or
logical language.
Moreover, suggestion in poetry also adds layers of meaning. It is not just about conveying a
single emotion or idea, but about creating a multi-dimensional experience for the reader.
The suggestion allows the poet to address multiple themes and emotions simultaneously. A
single phrase or image can have different meanings depending on the reader's
interpretation, and this ambiguity is what gives poetry its richness.
In conclusion, I firmly believe that "the soul of poetry is suggestion." It is through suggestion
that poetry becomes more than just an arrangement of words or a narrative; it becomes a
living, breathing experience that resonates with the reader on multiple levels. Whether in
classical Sanskrit poetry, modern Western poetry, or any other form of literary expression,
suggestion adds depth, complexity, and emotional power to poetry. The reader's
engagement with the hidden meanings in the poem is what makes poetry a unique and
enduring form of artistic expression.

anandavardhan on undiscernivle sequentiality

Anandavardhana, a classical Indian literary theorist, is most famous for his concept of
Dhvani, or suggestion, which he discussed in his work Dhvanyaloka. One of the important
aspects of his theory is the idea of undiscerned sequentiality, which refers to how meaning
and emotional content are subtly conveyed in a piece of literature through the sequence of
words, sentences, and overall composition, even when the connection between them is not
immediately obvious or directly stated.
The idea behind undiscerned sequentiality is that a piece of literature doesn’t always need to
be explicit in its meanings. Rather, meanings can unfold gradually as a work progresses, and
the overall sentiment or theme becomes clear through the flow and arrangement of words
and ideas. This sequence of thought or emotion isn’t always immediately discernible
because it may not be conveyed in a straightforward, direct manner. Instead, it emerges over
time as the reader processes the various elements of the work.
In Anandavardhana’s view, literature often has layers of meaning that develop from one part
of a text to the next. For example, the mood or emotional tone of a poem may not be
apparent in the first line or stanza but can become more evident as the poem progresses. A
simple metaphor or symbol introduced at the beginning of a work can gradually take on
deeper significance as the narrative or poetic structure develops, revealing a more complex
emotional or thematic landscape.
This subtle unfolding of meaning is what Anandavardhana refers to as undiscerned
sequentiality. He suggests that words and phrases in poetry or literature can convey a sense
of mood or sentiment without explicitly stating it. The sequence of words, phrases, and
sentences works together to create a cumulative effect, allowing the reader to sense the
evolving emotional or thematic undercurrent without being directly told what it is.
For instance, in a poem about a lover’s longing, the initial verses might describe the beauty
of nature, the time of day, or the environment. These observations might seem unrelated at
first, but as the poem unfolds, the reader begins to understand that these elements are all
expressions of the lover's yearning and emotional state. The sequence of images builds upon
each other, and the emotional depth becomes clearer as the poem progresses. The
connection between the initial, seemingly unrelated observations, and the final emotional
revelation, is an example of undiscerned sequentiality.
This approach allows the poet to create a richer and more subtle experience for the reader,
where meanings are not imposed directly but are suggested and revealed over time. It
encourages the reader to engage with the text actively, interpreting the gradual build-up of
meaning as they move through it.
Anandavardhana’s concept of undiscerned sequentiality helps explain how literature can
convey complex emotions and ideas in a way that feels organic, layered, and deeply
resonant. It shows how literature can create a sense of emotional depth and complexity
through structure, arrangement, and the subtle connection between words and ideas, rather
than through straightforward statements.