2 2 Anandawardhana and Abhinava Gupta who founded the Dhwani School regarded as an independent process, and correctly. Anandwardhana, in parti- cular, called Dhwani the soul of poetry, and traced it to the very ancient seers : काव्यस्यात्मा ध्वनिशिते बुधैर्यत् समाम्नातपूर्वः । । Mahimabhatta criticised Anandawardhana and Abhinava Gupta, and tried to show that Vyanjana was merely a species of д. This criticism was met by Mammata who reestablished Dhwani by following the वैयाकरण School : बुधैर्वैयाकरणैर् ध्वनिरिति व्यवहारः कृतः । तन्मतानुसारिभिरस्माभिरपि । In our opinion, the Dhwani is a good rhetorical counterpart among the as to the metaphysico- mystical doctrine of Sphota among the and the योगिन् s. . 3 III Three Chief manifestations of Dhwani.
Three kinds of Dhwani are generally recog- nised -- रसध्वनि, अलंकारध्वनि and वस्तुध्वनि -- having a psychological; a rhetorical and a metaphysical or mystical significance. The level by the Je has been brought to a very low 1 s. Its only concern, according to them, is a plot, a story or a denouement. They entirely shut their eyes to its metaphysical, not to speak of its mystical, significance. It may be noted that the Dhwani might produce in the mind either
