Indian poetics

Thinking Activity :

Indian Poetics

This blog is written in response to the thinking activity assigned by Dr. Dilip Barad sir, Department of English, MKBU on Indian Poetics.

In this blog I will deal with various concepts of Indian Poetics like Rasa, Riti, Vakrokti, Alankara, Dhvani, and Auchitya. The lectures of Indian Aesthetics were taken by a prominent Gujarati Writer, Poet and Critic Prof. Vinod Joshi sir.

THE INDIAN POETICS    

 

Introduction : 

              Indian poetics is one of the oldest forms of literary criticism. Scholars in India have developed various theories to explain how literature functions. Despite their differences, these theories share common characteristics. Indian poetics recognizes three types of mental imagery: dreams, memories, and imagination. Dreams and memories are fixed and unchangeable, while imagination allows for creativity and new ideas. Literature often reflects aspects of our own lives and experiences. Indian Aesthetics encompasses different schools of thought, each emphasizing different aspects of literature. These schools contribute to a diverse understanding of literature and its functions.

These are : 

1. Rasa theory by Bharata

2. Dhvani theory by Anandvardhan

3. Vakrokti theory by Kuntaka

4. Alankara by Bhamah

5. Riti by Vaman

6. Ramaniyata by Jagganatha 

1. Rasa theory : by Bharata

The word Rasa is derived from the root word "Rasah" meaning juice taste flavor, relish. The extract of a fruit is reffred to as "Rasa" which it self is the essence of it.  

" Just as the combination of several vegetable and spices creates a flavor in food, the combination of several emotion field in a Rasa"

primary goal is to show reality

According to Rasa theory of the Natyashastra entertainment is the primary goal.

without Rasa Drama cannot no Appel to the spectator

The rasa theory has a dedicated section chapter -6 in Sanskrit text "Natyashastra"

Natyashastra the fifth Veda :

Natyashastra the fifth Veda by Bharat Muni is considered to be the eldest text in Indian poetic and dramaturgy

As far as the date of the composition of this well known classic is to concassed there is hardly any unanimity among critics

Natyashastra contains six thousands verse spread over 37 -38 chapters.

Bharat may be called as the originated Rasa school of poetry.

In this book Natyashastra Bharat mentioned Natya Rasa rather than Kavya Rasa.

The fact remain that the first exposition of the rasa theory is infect the backbone of Indian aesthicism it is also the first significant work in which the theory of poetic diction is formulated.

the concept of "Rasa" is the most significant contribution of the Indian mind to aesthetics

beauty is art "its (joy) relish or enjoyment and the awareness of joy that accompanies and experience of beauty.

Rasa has no equivalent word in any other language or art of the world hitherto knowns to us.

Bharata succinctly encapsulates the theory of Rasa in his most famous like Rasa sastra thus :

According to Abhinav Gupta the most important thinker in Indian aesthetics held this doctrine.

"There is no poetry without Rasa"

Bharata explained the concept of Rasa in these words.

"Rasa is realization of one's our consciousness as coloured by emotions"

The 6th and 7th chapter of Natyashastra known as the Rasadhyaya and Bhavyadhyay respectively. Together bring out the concept of bhava Rasa Theory of Bharata, become the bedrock for all deliberation on aesthetics.

"Bhava" is delivered from the root "Bhu" Bhavati that is ti become into existence Bharata gives casual quality of Bhava saying

" Bhavayanti iti Bhava"

that is a thing or mental state that bring its awareness which persuades one like a particular smell.

there are three types of Bhava namely

From this sutra we can get nine Rasas:

Rasa is a concept in Indian aesthetics that refers to the aesthetic essence or flavor evoked by a work of art, particularly in literature, drama, and performing arts. There are nine primary Rasas, each associated with a specific emotion, presiding deity, and color. Here's a brief overview:

1. Hasya (Laughter):

   • 

2. 
   Shringara (Love):

   
   • Emotion: Erotic or romantic love
   • Presiding Deity: Vishnu
   • Color: Light green

3. Karuna (Compassion):

   • 
   • Emotion: Compassion or sympathy
   • Presiding Deity: Yama
   • Color: Grey

1. Raudra (Anger):

2. 

3. • Emotion: Anger or fury
   • Presiding Deity: Rudra (Shiva)
   • Color: Red

4. Veera (Heroism):

   • Emotion: Courage or heroism
   • Presiding Deity: Indra
   • Color: Golden yellow

1. Bhayanaka (Fear):

• Emotion: Fear or terror
• Presiding Deity: Kala (Time)
• Color: Black

1. Bibhatsa (Disgust):

• Emotion: Disgust or revulsion
• Presiding Deity: Vishnu
• Color: Blue

1. Adbhuta (Wonder):

   • Emotion: Wonder or amazement
   • Presiding Deity: Brahma
   • Color: Yellow
   • 
     
     
     

2. 
   

3. Shanta (Peace):

• 
  
• 
  
• 
  
  
  
• Emotion: Peace or tranquility
• Presiding Deity: Vishnu
• Color: White

Thus we see that the Rasa theory is the basis of the indian aesthetic the art of drama we can say that bharat's Natyashastra has remained a source of inspiration for later writers on poetics.

2. Dhvani Theory:-

Kavyasya atma Dhvani

              

1. The sound structure of words
2. The semantic aspect of shabda
3. The revealed or suggested meaning

Dhvani theory is a theory of meaning, of symbolism, and this principle leads to the poetry of suggestion being accepted as the highest kind of poetry.

 Dhvani theory was coined by Anandvardhan in his book dhvanyaloka. To understand Dhvani ‘Shabda’(letter) and ‘Arth’(Meaning) and its interpretation is important.

The Combination of  ‘Shabda’(letter) and ‘Arth’(Meaning)is dhvani itself.

 ‘Shabda’(letter) + ‘Arth’(Meaning)= Dhvani

Before looking at the definition of Dhvani by Anandvardhan, let’s first try to understand the relation of Shabda and Artha by three “Shabda Shaktis”.

1. The denotative function [Abhidha(અભિધા)]:-

When we take and have to take basic on direct or the very first interpretation of anything is called as Abhidha. Here we don’t have to look for another hidden meaning but rather the surface meaning is enough to have understanding.

2. The indicative function[Lakshana(લક્ષણા)]:- When we can’t take direct meaning or any sentence, text or anything and we have to take nearer or another interpretation is called as Lakshana. Idioms, Phrases are categories under this Shabda Shakti. For Lakshana, Mammat says that,

मुख्यार्थबाधे तद्योगे रूढ़ितोऽथ प्रयोजनति्।

अन्योऽर्थों लक्ष्यते यत् सा लक्षणारोपिता क्रिया॥

अभिधा (Abhidha) - Literal Meaning of the word

लक्षणा (Lakshana) - Characteristically Meaning of the word

व्यंजना (Vyanjana) - Poetic & Metaphysical Meaning of the word

Certainly! Let's consider the poem "Ode to a Nightingale" by John Keats:

Literal Meaning: The poem describes the speaker's encounter with a nightingale in a forest. The speaker reflects on the bird's song and its effect on him, expressing a desire to escape from the troubles of life.

Abhidha: On a surface level, the poem narrates the speaker's experience of hearing a nightingale's song and his contemplation of its beauty.

Lakshana: Looking deeper, we can interpret the nightingale as a symbol of beauty, transcendence, and immortality. The poem explores themes of mortality, the transience of life, and the longing for an escape from the harsh realities of existence.

Vyanjana: Delving further, we may understand the nightingale's song as a metaphor for the power of art and imagination to provide solace and transcendence in the face of suffering and mortality. The poem evokes a sense of longing for a realm beyond the constraints of human existence, where the soul can find eternal joy and peace.

In this example, understanding the Vyanjana or implied meaning of Keats' poem involves recognizing its deeper philosophical and existential themes, transcending the literal description of the nightingale's song to explore the human longing for beauty, transcendence, and immortality.

જેમાં શબ્દ અને અર્થ ગૌણ બની જાય અને જે પ્રતીયમાન અર્થ પ્રગટે તેને ધ્વનિ કહેવાય.

This pratiyaman artha is that When there is nothing described and we understand it by hidden meaning. So Anandvardhan describes this hidden meaning as Dhvani. 

Sthayi Bhavas:

       Sthayi bhavas are those bhavas which we can't prevent from coming out as an expression. We can control these bhavas, we can increase and decrease the immensity of its expression. As Aristotle says in the definition of tragedy, "Tragedy is an imitation of an action that is serious, complete and of a certain magnitude... through pity and fear affecting the proper purgation of these emotions''. There are 8 Sthayi bhavas according to Bharata, but later on Abhinavagupta adds one more sthayi bhava 'Shant', which is not described by Bharata. Now generally 9 bhavas are called Sthayi bhavas.

Dhvani is of three types:

વસ્તુંધ્વનિ  (Thought is at the centre)

અલંકાર ધ્વનિ(Figures of speech is at the centre)

રસ ધ્વનિ (Rasa ia at the centre)

Phonetic Vakrokti (Varnavinyasa Vakrata): Charm of using words with alliteration.
Grammatical Vakrokti (Pratyaya Vakrata): Dependency on the first letter of the statement.
Lexical Vakrokti (Padapurvardha Vakrata): Dependency on a letter after any of the letters in the statement.
Sentential Vakrokti (Vakyavakrata): A miraculous or enchanting description of an object.
Contextual Vakrokti (Prakaranavakrata): Enlargement of a part of any literary art or legend by the poet’s interpretation.
Compositional Vakrokti (Prabandhavakrata): One linear meaning of a whole text or any literary art.


The Alankara theory :

The Alankara theory, also known as the theory of poetic ornamentation, is a foundational concept in Indian poetics. It encompasses various literary devices and techniques used to embellish language and enhance the aesthetic appeal of poetry and other forms of literature. Here's an overview of the Alankara theory:

1. Upama or Simile: Comparing two different things to show their similarity. For instance, saying "She sings like a bird" compares someone's singing ability to that of a bird.

2. Rupaka or Metaphor: Using a word or phrase to represent something else, even though it's not literally applicable. For example, saying "Time is a thief" metaphorically implies that time steals moments.

3. Atishayokti or Epithet: Adding a descriptive word or phrase to emphasize a statement. For instance, calling someone "The King of Comedy" emphasizes their skill in making people laugh.

4. Anuprasa or Alliteration: Repeating the same sound or letter at the beginning of consecutive words. For example, "Sally sells sea shells by the seashore" emphasizes the 's' sound.

5. Vakrokti or Irony: Saying something but meaning something else. Irony often involves saying the opposite of what is meant. For example, saying "What a lovely day!" on a rainy day implies the opposite.

6. Dwani or Suggestion: Hinting at a meaning through words or phrases without explicitly stating it. For instance, saying "The room was so quiet, you could hear a pin drop" suggests the extreme silence in the room.

Riti by Vamana :

Different styles or Ritis mentioned:

1. Vaidarbhi Style: This style, associated with Kalidasa, emphasizes elegance, grace, and sophistication in expression. It focuses on beauty in language and presentation, often using intricate metaphors and rich imagery to convey emotions and ideas.

2. Panchali Style: This style is characterized by its simplicity and directness. It prioritizes clarity of expression and straightforward communication of thoughts and emotions. Panchali style aims to convey meaning concisely without excessive ornamentation.

3. Gaudi Style: Gaudi style is known for its vividness and exuberance. It employs colorful language, lively imagery, and vibrant metaphors to create a sense of vitality and energy in the writing. It often appeals to the senses and aims to evoke strong emotional responses from the audience.

4. Lati Style: Lati style is marked by its lyrical and musical qualities. It emphasizes rhythm, harmony, and flow in language, akin to the cadence of poetry or music. Lati style often uses repetition, parallelism, and other musical devices to create a melodious effect in the writing.

In essence, these different styles or Ritis represent various approaches to literary expression, each emphasizing different aspects such as elegance, simplicity, vividness, or musicality. They provide writers with diverse tools and techniques to convey their ideas and emotions effectively in their writing.

"Auchitya by Kshemendra.

"Auchitya" is a concept in Indian poetics, particularly emphasized by the scholar Kshemendra. It refers to appropriateness or suitability in literary expression. In simple terms, Auchitya means using language, imagery, and expressions that are fitting or suitable for the context and content of a literary work. It involves selecting words and phrases that align with the theme, tone, and style of the composition, enhancing its effectiveness and impact. Essentially, Auchitya ensures that the language and expressions used in literature are harmonious and well-suited to convey the intended message or evoke the desired emotions.

Thank you...........