I approached Parshwanath Vidyapeeth, Varanasi for its publication. I am very thankful to the authorities of Parshwanath Vidyapeeth for allowing this work for publication. My thanks are also due to Dr. Shriprakash Pandey, Joint Director, Parshwanath Vidyapeeth who went through the whole manuscript and made required corrections in order to make this publication perfect. I am also thankful to Dr. O. P. Singh for managing printing of this book through the press. For nice printing we are thankful to The Mahavira Press, Varanasi.
Poets use the words, we do. They utilize the same sense, we mean. But by specific creation with the same words and senses, they entertain the whole word.
The poetry without suggestion is not poetry as such. The best quality of poetic creation is valued by the suggestive meaning it has.
This (poetry) in which suggestive sense is superior to the primary sense being called the Dhvani by scholars is the best poetry.
The soul of the poetry is Dhvani. This has been conveniently accepted and reiterated from time to time by the thinkers of the past. But there are some scholars who deny the existence of it and some say that Dhvani is another name of Laksana and some scholars are there who admit the Dhvani to be something that cannot be the subject to speech. This is the reason that I endeavor to define Dhvani for the enjoyment of experienced a trained people.
This suggestive meaning was 'established by Anandavardhana with great effort. He was opposed by his contemporary rhetoricians. Then he argued that one can hypothesis the absence of Dhvani because it has never been discussed or identified by former acaryas.
Had there been that the things or limbs, that are inside the body would be exposed out of body, people would always be busy in eliminating dogs and crows with sticks.
As regards Prakrit literature, it runs side by side the Sanskrit literature, if we look at the glamour; we shall realize their long time co-relation, for example: the works of Kalidasa in Sanskrit and those of Hala in Prakrit, the prching of Lord Buddha and Lord Mahavira and the prescription of Prakrit in Sanskrit plays, the Upanisads in Sanskrit and inscriptions in Prakrit, Setubandha of Pravarasena and Kadambari of Banabhatta and so on and so forth. But the Prakrit ornate poetry was not reviewed critically by critics of ancient and modern age. Kuvalayamala of Uddyotanasuri (8th century AD) has the same fate to display though it is impregnated with all that is required to obtain the prestigious place in literature. The period of the author of the Kuvalayamala - Uddyotanasuri is the same in which Bharavi, Bana, Bhavabhuti etc. lived but their
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