A Comparative Study of Dhvani-Kāvya and Various Rāgas in Music, in the Production of the Sentiments (Rasa-niṣpatti)

RĪGAS IN MUSIC, IN THE PRODUCTION OF THE SENTIMENTS (RASA-NIŞPATTI) Miss Roopa Kulkarnı 'The word 'Dhvanı' has been used by Grammarians, Rhetoricians, and Musicians in three different contexts Sanskrit Grammarians hold that every word has got two forms the outer non-eternal physical sound, formed by perishable syllables that we hear, and the permanent eternal form

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कुलकर्णी रसनिष्पत्ति के साधन रूप में काव्य के ध्वनि और संगीत के राग की तुलना करती हैं। वैयाकरणों के स्फोट से आनन्दवर्धन तक ध्वनि का विकास दिखाकर वे नाट्यशास्त्र की रसव्यवस्था को संगीतरत्नाकर तथा रानडे की राग-रस सूची के साथ रखती हैं, और अधिक ठोस कसौटी की माँग करती हैं। Kulkarni compares dhvani in poetics with raga in music as producers of rasa. Tracing dhvani from the grammarians' sphota through Anandavardhana, she sets the Natyasastra's scheme of sentiments beside the Sangitaratnakara and G. H. Ranade's list of ragas and their moods, and asks for firmer criteria.

Written by the archive’s cataloguers, not by the author.