The Sanskrit term 'Dhvani' literally means 'suggestion' or 'implication'.

Anandavardhana is considered to be the father of the Dhvani theory. He expounded his theory in his seminal work, the Dhvanyaloka.

Anandavardhana identified three types of Dhvani: Abhidha (direct meaning), Lakshana (indirect meaning), and Vyangya (suggested meaning).

Vyangya is considered to be the highest form of Dhvani because it suggests a meaning that is beyond the literal meaning of words.

Dhvani and Rasa are two distinct concepts in Indian aesthetics. Dhvani refers to the suggestion or implication of a meaning beyond the literal meaning of words, while Rasa refers to the aesthetic experience or emotional response that is evoked by a work of art.

A metaphor is an example of Dhvani because it suggests a meaning that is beyond the literal meaning of words.

Vyangya refers to the suggested meaning of a word or phrase.

Lakshana refers to the indirect meaning of a word or phrase.

Abhidha refers to the literal meaning of a word or phrase.

Vakrokti refers to the use of words in a twisted or indirect way, such as in a pun.

Anumana refers to the use of logic or reasoning to arrive at a conclusion, such as in a riddle.

Upamana refers to the use of a simile or comparison, such as in a simile.

Alankara refers to the use of figurative language or ornamentation, such as in a metaphor.

Rasa refers to the aesthetic experience or emotional response that is evoked by a work of art, such as love, hate, joy, or sorrow.

Bhava refers to the emotional state or feeling that is expressed in a work of art, such as love, hate, joy, or sorrow.