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- 321 DHVANI As stated before, there is no systematic and planned theory of poetics in the Agni Purana. But emphasis is laid on all its aspects - Alankara, Alankara, kiti, Rasa etc. Likewise the principle of Dhvani is also referred to in the Agni Purana but not in the developed form as is done by Ananda vardhana in his Davanyaloka. Though the Purana is not aware of the great importance of Dhvani in Kavya it knows the Dhvani theory in its outline. The Purana knows the principle of Dhvani which belongs to the sphere of Grammar rather than that of poetics. It is regarded as one of the constituents of Vahmaya (Literature) along with Vani, Pada and Vakya. Agni Purana's Dhvani seems to correspond of 'Sphota' of the Grammerians. 94 with the concept The Agni Purana has mentioned a third type of the alankaras namely Sabdarthalankara. While discussing one of these Sabdarthalankaras, Abhivyakti, the Purana has discussed the sabda saktis which express various meanings. It divides all expression into Sruti and Aksepa. The Purana brings Abhidha and Laksana under Sruti, and Dhvani or suggestion under Aksepa.95 According to the Agni Purana, Dhvani can be described as constituting the Alankaras like Aksepa, Samasokti, 96 Apahnuti and Paryayokta. Dhvani is regarded as an alankara which heightens the beauty of poetry. Hence in Purana's Dhvani is related to Sabda and Artha only. Anandarvardhana stressed the principle of Dhvani as a 'Kavyavisesa' and glorified it

- 322 by saying that Dhvani is the very soul of Kavya. Dr. Kane has shown the similarity between this discussion of the Agni Purana and the discussion of Bhamaha and Udbhata. In support of his statement he has cited a passage from the 'Alakirasarvasva. 197 Anandavardhana slso states that if suggestion is predominant in the alankara Paryayokta, it can be included in 'Dhvani', but Dhvani cannot be included in the Alamkara. 98 Aksepa alankara is regarded as Dhvani itself by the Agni Purana. Aksepa is the suppression of the common meaning end suggesting a new one.