Indian Poetics

Helo readers... 

In this blog I would like to share some of my knowledge and understanding on Indian Poetics which I study from the famous gujrati Poet Vinod Joshi.

Introduction:-

                       Indian Poetics:-

 As we know that Poetry has been a very precious possession of the mankind from a

very primitive period. Poetical production, obviously led to the development of a

literary taste and the origin of the science of the Poetics". In poetics we are

concerned with the effects of poetry in the mind of the man of literary taste and

as such we are to examine certaion mental states. The merits of a poetical work

is determined by this science on the basis of this mental states. It will be observed

that the man of literary taste may very in temperament and the assessment of

the merits and the nature of appeal of a certain poetical work may not be the

same incase of all the readers. Poetics in so for as it has the states of mind as

the subject of study falls at per with introspactive psychology the claim of which

to be called a science is very insecure in contrast with modern psychology. 

Poetics is one of the three main branches of knowledge in which Indian

scholarship has made significant contribution, the other two being grammer and

philosophy. poetics presents a most fascinating and exciting area of Indian scholarship.

Thomas Munro speaks highly of the comprehensive, thorough and systematic

point of view enshrined in it. The great works produced by Indian scholars reveal

the will and ability to develop a certain aesthetic theory in great detail, relating

it to a metaphysical world-view on the one hand, and to a considerable amount

of emperical data on the other. Their conclusions are undoubtedly the: outcome

of long close, professional observation and experience of art.

Modern scholars has established following schools and theories :-

( 1) The Rasa theory

(2) The Alamkara theory

(3) The Dhvani theory

(4) The vakrokti theory

(5) The Riti theory

(6) The Aucitya theory

In the following lines we come to know labout the theories mentioned

above.

Let's first we throw some light on The Rasa theory:-

1)Rasa theory:-

From the critical thinking point of view one cannot you aside the immense value of Sanskrit literature Which has provided the most dominant views on literary Criticism. From the anciant time of Bharata to the present time. A lot many books written in Sanskrit explaining the nature of literature focusing on the essanse of literature. For example:- aesthetic delight.

                While aesthetic delight is concerned, it was Bharatmumi,who in his most wonderful treaties Natyasastra, has established the theory of the Rasa, which has been acclaimed the most valuable concept of Sanskrit poetry. Thus, Bharata has been called a founder of the Rasa School.

                    Basically specking, the Rasa theory was an attempt to learnt the emotional effect of drama.i.e. the nature of enjoyment experienced by the spectators. The basic purpose of the Rasa theory was find out the aesthetic thought of any literary work. To explaine this very concept Bharata has given the maxim:-

विभानुभव व्याभिचारी संयोगात रसनिष्पति:।

It means the Rasa is born out of the combination of vibhava,Anubhaya and Vyabhicharibhava.

         In order to learn the mentioned statement, it would be better than to learn the exact meaning of certain terminology. They are the different bhavas.

The Bhavas:-

They are the elements very much needed for the Rasa of poetry. They directly appeal to the heart of the readers. They can produce Rasa and they stand for emotions and hoods. They can be sthayi, vibhava, Anubhava, Vyabhichari and satvik.

      Rasa is created only because of Vibhav , Anubhav and Vyabhicharibhava. VIBHAV is just like pilar of it and because of it Bhvak feels Rasa.Bharatmuni describes 33 Sancharibhava in Natyasastra.

Vibhav : Emotion arise because of Vibhav

Anubhav : Reaction of Bhavak

Sancharibhav : Come and go

Sthayibhav : like…. Love, Mirth, Sorrow ,etc….

        Bharatmuni explained nine Rasa in Natyasastra.

 According to critic Mohan Thamps ………..

“ Majority of the traditionalist; considers that nine rasas are enough to cope with infinite varity of literary production.”

Types of Rasa:

      Rasa is created only because of  Vibhav , Anubhav and Vyabhicharibhava.  VIBHAV is just like pilar of it and because of it Bhvak feels Rasa.Bharatmuni describes 33 Sancharibhava in Natyasastra.

Vibhav :        Emotion arise because of Vibhav

Anubhav :            Reaction of Bhavak

Sancharibhav      :        Come and go

Sthayibhav       :              like…. Love, Mirth, Sorrow ,etc….

        Bharatmuni explained nine Rasa in Natyasastra.

 According to critic Mohan Thamps ………..

“ Majority of the traditionalist; considers that nine rasas are enough to cope with infinite varity of literary production.”

Types of Rasa:-

श्रृंगारकरूणवीररौद्रहास्यभयानका।

बीभत्साद्भूतशांतश्च नवनाट्येरसास्मृता।।

                   - भरतः नाट्यशास्त्र

                    - छंद अनुष्टुप

Let's we talk about other Four Critics of RASA theory:-

Bhatta Lollata           Creationism

Shree Shankuka       Permissiveism

Bhatta Nayaka           Nepotism

Abhinavagupta          Expressionism

Sir gave an example of T.S.Eliot’s Murder in the Cathedrel, Film Mughal-E-Azam and Kalidasa’s Abhigyanshakuntalam and Malti madhav.

2)dhvani theory:-

Pioneer:- Anandvardhan

Anandvardhan's theory of Dhvani has changed Indian Poetics in its essanse. The word Dhvani  means 'sound' or 'tone'. In language sound carries a meaning. A word in its basic grammatical sense is a combination of letters. The Sanskrit grammarians argue that the letters are not the ultimate cause of meaning. Thus they discovered a distinct entity called sphota(sign). They argue that meaning is indeed signified by the sound which becomes the meaning of the word.

                The Central idea of the theory of Dhvani is that words in their capacity of conveying sense. He talk about threefold sense which are અભિધા(denotation), લક્ષણા (indication), વ્યંજના (suggestion).

1)Abhidha is basic and other two saktis rest upon it. Abhidha may be defined as that power of words which conveys the conventional meaning or the literal meaning of the expression.

2)Laksana is the second power of the word is, it is indication power. It consists in the external characteristics of the expression which are indicative of something deeper.

3)Vyanjana is the third power which means what is suggestive.

for examples:-

એક બિલાડી જાડી - અભિધા

તેણે પહેરી સાડી - લક્ષણા

તળાવમાં તો મગર - વ્યંજના

It is noted worthy that Anandvardhana uses the term dhvani for his theory of Poetic suggestion. He believes that suggestion is the soul of poetry. He says that beutiful ideas in poetry are two kinds; litearal and implied.

According to Anandvardhana, the person who knows the essanse of poetry can get the implied meaning.

 i.e. the most important element in poetry, a solu of poetry.

ध्वनिरात्मा काव्यस्य।

According to him various types of Dhvani:-

3)vakrokti theory:-

Pioneer:- kuntal

"वेदग्ध्यभंगीभणिती इति वक्रोक्ती।"

Kuntak was the Kashmiri scholar who has enriched the Indian Poetics in Sanskrit with his precious contribution.i.g. Vakrokti.we can say that the origin of Vakrokti could be found in Bhama's 'Kavylankara'and Dandi's 'kavydarsan'

But it was Kuntak who clearly explained Vakrokti. He wants to convey that a certain striking of expression.

It was Bhama who considers Vakrokti as mode of expression because it is the fundamental principle of all figurative expression.

Vamana considers Vakrokti as a special poetic figure based on laksna.

Dandi defines Vakrokti as Poetic figure except svabhavokti.

Kuntaka considers Vakrokti as striking mode of Speech which transcends the ordinary mode of Speech.

There are six types of Vakrokti:-

Eg.:-

(1)"સાંવરિયો રે મારો સાંવરિયો 

હુ ખોબો માંગુ ને દઇ ડે દરિયો".-રમેશ પારેખ

પરપોટો ઉંચકીને કેડ વળી ગઈ

હવે દરિયો લાવુ તૌ કેમ લાવુ!-વિનોદ જોશી

વૃક્ષે છાયો આપ્યો(ખરેખર સૂર્ય દૂર ગયો હોય એટલે છાયો આવ્યો હોય)like... कही पे निगाहे कही पे निशाना

4) Alamkar:-

Pioneer:- Bhamah

तद्दोष शब्दार्थों सगुण अलंकृत पुन: वाद।

The theory of Alankar was the oldest in Sanskrit Poetics and many learnd follow like Mammata. Visvenatha habe done a lot of work in this theory. It was Bhama ha who very first time in his work Kavylankara exposed the detailed concept of Alankara.

Bhamah says that without Alamkar poetry is not poetry. It is one device which  already applied. It should be melted ornaments are not natural but applied.

Eg.:-

૧)દયમતીનું મુખ ચંદ્ર જેવું છે.

૨) કરચલી એટલી પડી ગઈ છે દરિયાને કે 

એક જુવાન નદીએ ના કહી દીધી પળવાર

૩)Robert Frost's 'Miles to Go'.

As it has already been mentioned above the alankaras was divided into two kinds;

(1) Sabdalankara and

(2) Arthalankaras.

5) Riti theory:-

Pioneer:- A.D.Vamana

'रीतिरात्मा काव्यस्य ; विशिष्टापदरचना रीति: |'

The riti School of poetics is represented fully by its chief exponent Vamana, author of kavyalankar sutravritti, who flourished in Kashmirtowards the close of the eight century A.D.Vanmna says in Kavyalankar books.

  when dhvni theory’s anandvardhayan defined of poem soul is Dhavni that time Vamna oppositely put on view about own fillings and describe that guna and almakara is toytally different of each other. Vamana's riti is anticipated in the marga of the south Indian writer Dandi, author of kavyadarsha. The distinctions between the vaidarbha style and the gaudya style was known even to Bhamasha , the earliestimportant writer who was in against of praising the vaidarbha and condemning the gaudya , and said that both style have their own place in good literature.But in Dandin we find the earlier partiality for vaidarbha and aversion to gaudiya given great prominence. He takes the vaidarbha style as the best and says that it contains all ten poetics qualities properly balanced. Those ten qualities are: -

1. Ojas:  strength through the use of long compounds

2. Prasad:  clarity & lucidity

3. Shlesha:  well knittedness

4. Samata:  evenness of sound within a line

5. Samadhi:  ambivalence through the use of metaphors

6. Madhurya:  sweetness

7. Sukamarata: softness & delicacy

8. Udaratva:  exaltation

9. Arthavyakti: lucidity of meaning

10. Kanti: grace

After Vamana, Kuntaka in VakroktJj'ivita made contribution to the 

guna-riti theory remedying some of the defects of Vamana. But the Riti system 

never appears to have .. Very great influence, and its existence was comparatively 

short-lived. There is no that like the Rasa and the alamkara system,, it left its 

impress on later theories, but it never found a serious champion after 'Vamana. 

Once poetry was explained in terms of rasa and dhvani the riti concept could claim 

no more recognition than as a subordinate Kavyanga.

(6) Auchitya theory:-

Pioneer:- ksemendra

The principal of aucitya (appropriateness) had been indirectly

reckoned with from the time of the earliest writers on the theory of poetry in

Sanskrit. Bharata, the earliest known critic has been dealt at length on

appropriateness in the way of speaking, modulation of voice, musical tunes, dress

and make up - all suiting to the Rasa and Bhava. Ksemendra explains the terms Aucitya in the following way: that

which is suited to a certain thing is called proper, ucita, the abstract notition of

which is 'Aucitya', propriety, Between angin and anga, propriety is perfect

harmony. This is the reason why Ksemendra considered it is the secret of poetic

appeal. He says: ucitam prahuracaryah sadrsam kilayasya yat ucitasya ca yo

bhavastadaucityam pracaksyato. "Aucitya is the condition of being proper when

one thing befit another, or when things suit each other well and match perfectly,

they may be said to be proper or appropriate. 

In his text Aucityavicaracharacha he has given detailed explanation

of all these aspects of aucitya. The appropriateness and inappropriatness of each

of the above mentioned aspect are explained.

Sir also discussed that We can see this aucitya with the connection of The Old man and the Sea by Ernest Hemingway and Myth of Sysiphus by Albert Camus. 

 In the end I would like to say that It's really amazing and memorable session for all of us.we really enjoyed and we learnt a lots of new things and facts about Indian Poetics.  Thanks  to Our head of the department Dr.Dilip Barad sir for organizing this session.

conclusion:-Finally, there are all theory properly their condition may be true and right of his way through writing of literature. Indian poetics in such concepts of very valuable tools of evolution of work of art and some other related things. Here most important that we are not evolution to only for in One theory.Here I would like to share playlist of Vinod Joshi sir's session:-

Word count:-1996