Indian poetic

Hello everyone,

 Today i write blog on Indian poetics which tought us by well known gujrati poet Dr. Vinod Joshi sir. He give lecture to us for nine days so i would like give my understanding of this nine days about Indian poetics :- 

1)Introduction of the Indian poetics :-

"Western criticism focused on result

 when India criticism focused on process".

 BharataMuni is the first among all critics who pioneered in Indian aesthetics. Some of the noteworthy critics of Sanskrit literature are :-

1) Bharat 

2) Aanand vardhan

3) Kuntak 

4)Bhamaha

5) Jagannath

6) Abhinav Gupta

7) Dhananjay

8) Bhoja

9) HemchandraCharya

10) Dandi 

This all are well known critics of Indian poetics who give Idea of all the theories like - Rasa theory , Dhvani Theory , vakrokti theory, Riti theory and Auchitya theory.

"Connection of Word and meaning called literature"

 

Language + word = voice 

2) What is happiness??

Happiness is not describeable ,it is not fortune, it is not demand but it is result of fortune and happiness which is  beyond our capacity.

All critics was fighting for the find out the  soul of poetry  - kavya and theatre , they wanted to make their theory as soul of poem - kavya.

 The Six Schools and the pioneers of Indian poetics :–

1)Rasa - Bharat

2)Alamkara - Bhamaha

3)Riti - Vamana

4)Dhvani - Anandvardhan

5)Vakrokti - Kuntaka

6)Auchitya - kshemendra

(1)School of Rasa :-

According to BharataMuni Rasa is the soul of poem.

रसप्राणो हि नाट्यविघि:

BharataMuni is the first who find out this theory and create a Granth named - NATYASHASTRA  and discussed Rasa theory in detail. 

According to this theory whatever we feel we decide that another person also feel the same thing and we conclude that whatever we feel another person also feel the same thing but it isn't true it is our allusion and belief that everyone feel same thing in one condition.

According to BharataMuni 'Bhava' is the more important than the experience of the person. And he says that we are here for feel instinct not for thinking.

When BharataMuni create 'Natya' that time he gave 'Rasa Theory'.

Rasa theory includes everything including Vakrokti, Dhvani and Alankara. 

Rajshekhar wrote grantha name - Kavyamimansa. In that he claimed that creater and reader both have capacity to read and feel the art and poem - kavya. And everyone hasn't able to do such things and creativity because he/she is avarage. 

BharataMuni give some characteristics of Rasa and definition of 'Rasa' :-

There is three type through this we got knowledge of the world :-

1) Memory- unchangeable

2) Dream - uncontrollable

3) Imagination - controllable

The Sanskrit text Natya shastra presents the rasa theory in a text attributed to Bharata Muni. The text begins its discussion with a sutra called in Indian aesthetics as the rasa sutra:

।। विभावानुभाव व्यभिचारी संयोगात् रसनिष्पति: ।।

"Rasa is produced from a combination of Determinants (vibhava), Consequents (anubhava) and Transitory States (vyabhicaribhava).

According to Bharatmuni, the realization of Rasa results from the Union of Vibhavas, Anubhavas, and Vyabhikaribhavas. When Sthaibhavas unite with others, the three Bhavas, one attains the quality of Rasa.

There was four commentator who talked about Rasaa :

Bhatta Lollata took the lead in this direction followed by Sri Sankuka and Bhatta Nayaka. 

a) Bhatta Lollata

b) Sri Sankuka 

c) Bhatta Nayaka

 d) Abhinava Gupta

A) Bhatta Lollata - (Utpatti Rasa)

He held that Rasa is

nothing more than an intensified and heightened Sthayibhava as a result of the combined effects of the play, the players and various theatrical devices. He further maintained that Rasa is located primarily in the characters. His Rasa is in fact real life Sthayibhava which is intensified, nurtured and heightened by Vibhavas, Anubhavas and Vyabhicari Bhavas. Rasa-nispatti (realization of Rasa) in Lollata’s interpretation of Rasa-sutra becomes Rasa-utpatti (production of Rasa) or

upaciti (intensification of Sthayibhavas culminating to Rasa). The imitation of the character by actors who acquire this through their process of training and the other theatrical devices employed during the production of the play become a source of Rasa for the spectators.

B) Sri Sankuka :-Anumiti- Vada Pratitivada

Sri Sankuka strongly criticised that Rasa is not a matter of production or intensification of sthayibhavas. Instead the Rasa is inferred. The sthayibhavas actually do not inhere in the actor

but it is inferred to be the trained actor will his perfect rendering by means of blend vibhavas, anubhavas and vyabhicaris bhavas along unreal, creates an imitation of sthayibhava.

The realisation of Rasa takes place when the audience infer the existence of sthayi. It is interesting to note that this type of cognition is unique, unlike any other accepted form of cognition. To expand

his point further he offers an analogy of citra-turaga nyaya which stands for the analogy through which one can learn that the horse in the picture is actually called a horse. His elaboration of sthayibhava and its relation of vibhavas etc. and Rasa are significant. 

C) Bhatta Nayaka :- Bhuktivada

According to Bhatta Nayaka whatever role is play by actor and actress if they are able to connect and feel and same thing is feel by audience  then only Rasa produced.

D) Abhinav Gupta :-

According to Bhashya : Greatest theory of NATYASHASTRA propounded by Abhinav Gupta. He wrote critical grantha name Lochan.

But we live life with understanding rather than Bhava and Rasas

Dhvani Theory : Voice - sound 

Dhvani has  Language , Thought when Rasa has Bhav not language.

The Dhvanyaloka of Anandvardhan is with Bharata’s Natyasastra, the most central theory of literature in Indian tradition. Dhvani Theory is basically a semantic theory and Rasa theory is an affective theory. Anandvardhana was the chief exponent of Dhvani Theory and Abhinavagupta had made significant contribution to it. Poetry is a verbal structure. There cannot be any poetry without words. 

Language doesn't have meanings but voice has a meanings. And Rasa indirectly connect with the Dhvani - Voice.

What is Dhvani ??

Whenever we read, listen and then whatever we understood it's called Dhvani.

The Dhvanyaloka of Anandvardhan is, with Bharata’s Natyasastra, the most central theory of literature in Indian tradition. Dhvani Theory is basically a semantic theory and Rasa theory is an affective theory. Anandvardhana was the chief exponent of Dhvani Theory and Abhinavagupta had made significant contribution to it.  Poetry is a verbal structure. There cannot be any poetry without words. The poetry invokes emotional response, and that is followed by the understanding of its emotive language and the appreciation by the reader of the true import of the

poet. 

The supporters of Dhvani theory maintain that the situation, the context, the speaker, the words and their meanings all conjointly produce the suggestion. There are three powers of words or three aspects of Dhvani:

1)Abhidha (denotation)

2)  Laksana (implication)

3) Vyanjana (suggestion)

1)अभिधा (Abhidha) - Literal Meaning of the word

2)लक्षणा (Lakshana) - Characteristical Meaning of the word

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

According to Aanandvardhan Dhavni is soul of poetry because without Dhavni we can't feel happiness.

Abhinavagupta in Dhvanyaloka Locanam explains that ‘sabda sakti moola’ (word) and ‘arthasakti moola’ (meaning) have a role to play. He further explains the word ‘dhvani’ in two different way: -

1).ध्वनति इति ध्वनि:-That which suggest both word and meaning is Dhvani

2). ध्वन्यते इति ध्वनि - That which is suggested is Dhvani

3).ध्वननं ध्वनि: - Process of Suggestion is Dhvani

4).ध्वनि समुदाय: ध्वनि: - Entire Literature is Dhvani

So, Many authors such a Bharat, Mammatt, Bhāmah, Dandi considered various aspects such as Rasa, Alamkar, Riti, Vakrokti as the important part of the poem. But Anandvardhan is one step ahead. He said the above-mentioned aspects were the body of the poetry. In short, they were part of the poetry. Whereas 'Dhvani' is the soul of poetry. Just like the human body is not alive with soul, poetry is also lame without Dhvani.

3) Vakrokti Theory :-

This theory is given by Kuntak.  He wrote   treatise named Vakroktijivitam.

वक्रोक्ति :- use to taunt - indirectly say something

 

वैदगध्य - विशिष्टभंगीभणिति : 'To say something specifically'

Vinod sir told us very interesting reality of nature is that we never find triangle or square in nature,  we only find round shape in Every natural elements. And like that when we give shape to our language it became interesting and sentence became more important if we put best word in best order.

Kuntak give Idea of 'six' kind of Vakrokti :-

1)Phonetic figurativeness:-

Varnavinyasa Vakrata—encompasses alliteration, rhyme, and all other subtle effects of sound in poetry. Kuntaka recognises onomatopoeic effects. Shakespeare’s ‘Fair is foul and foul is fair’.

2)Lexical figurativeness:-

padapurvardha Vakrata—includes stylistic choice in vocabulary, metaphor, power of adjectives and veiled expressions. For example, carefully concealing a Mahapataka—“Is he despatched”

3)Grammatical figurativeness :-

pratyaya vakrata—involves the deft use of suffixes, especially those indicating numbers, person, and case forms. It also includes delineation of inanimate objects as animate and personification of objects—instead of saying ‘tense’—‘make my seated heart knock at my ribs’.

'પાન લીલું જોયું ને તમે યાદ આવ્યા'

4)Sentential Figurativeness:-

Vakyavakrata—it is the permeating presence that enters all other elements. The effect is akin to a painter’s stroke that shines out distinctively from the beauty of the material used. Most of the figures of speech are instances of it.

'You too Brutas!!'

5)Contextual figurativeness :- 

Prakarana vakrata comprises all those factors which contribute to the strikingness of the context. Whatever said before we understood new things by this that is Prakarana vakrata. For example,  The equivocation in the prediction of witches, culminating in the materialisation of the Birnamwood coming to Dunsinane, the emergence of Macduff, ‘untimely rippd from his mother’s womb’ to kill Macbeth, the apparition of the witches and the sleep walking scene are examples of contextual figurativeness.

6)Compositional figurativeness :- 

 Prabandha vakrata. This includes adaptation of a story from a well-known source with new twists added to it, with a new emotional significance, deletion of unnecessary episodes, the development of even minor incidents into events of far reaching consequences and strikinglness. Kuntaka regards a literary composition as an allegory which conveys some profound moral message and this moral content is also regarded as a compositional figurativeness. For example, In Ramayana whatever say through Sita - Ram, it's not for them but for the society.

4) Alankar Theory :-

'Bhamaha give Idea of the Alankar Theory'

According to him language is the only true ornaments, when we apply Alankar in language then it's become beautiful.

Bhamaha wrote treatise name "KAVYALANKARA".

(1)Simile - Upama:-

 Bharata mentions this figures in his discussion on poetry. As a rhetorical device it was used in the oldest of vedic writings "and has played an important part in Indian literature at all times" It can be asserted that simile as a figurative

expression is as old as speech itself. It is one of the basic devices used by poets

of any language "to make the description of his subject more responsive to his

emotions and to the reactions which reality rouses in his feelings.

In short wherever we find similarities that is Upama Alankar.

2) Possibility - Utpreksha :-

Wherever we find Possibility for something there is Utpreksha Alankar.

3)Rupak - Metaphor :-

When a word is used for something to which it is not literally applicable in order to suggest a resemblance.

The Alankara-sastra is called Poetics in English - the science of poetry. In its wider sense, Alankara means ornament, embellishment, that which beautifies poetry. It is also called as Sahitya. It embraces in its sphere, theory of poetry, the origin, form and variety of poet’s work.

The Shastras or ancient texts have categorized alankars into two broad groups :– 

1Aarthalankar :-

2)Shabdalankar :-

 The former comprised the varna based alankars of earlier times.

1)Arthalankar :-

When meaning of the word  give pleasure then it's called Arthalankar.

2) Shabdalankar :-

When Word give pleasure then it's called Shabdalankar.

When Word and meaning both are giving pleasure then it's Ubhayalankar.

5)Riti - Style :- 

    The riti School of poetics is represented by its chief exponent Vamana, author of kavyalankar sutravritti. Who wrote treatise name ' SAHITYAVICHAR'  in which he mentioned that 'riti' is the soul of the kavya - poem.

1) Vaidarbha:- 

According to vamana vaidarbha is that style which is untouched by even the slightest blemish, which is full of all the qualities and which is a scoot as the lute.

2)Gaudiya style:- 

The gaudiya style is characterized by Ojas and Kanti but it devoid of madhurya and saukumaryo it is full of long compound and bombastic words.

3)Panchali:-

 Panchali is the style which has the qualities of Madhurya and saukumarya and is devoid of ojas and kanti. It is soft and resemble the puranic style.

Style is always about comparison, and to be better is easier than became different.

Though creater is forgotten  , Style remain as it is. 

In their all of over things like that very interesting way of vamanna explain that how can poet make in common to different way of thinking. The Riti School developed by vamana was a serious attempt in this direction on all later critics.There theory is also useful to poetic version of totally depend not on one things but many things and some abstract is

very important Role of model.

6) Auchitya :-  Appropriate 

Kshemendra made ‘Auchitya’ the defines Auchitya as the property of an expression being an exact and appropriate analogue of the expressed. The theory of property or appropriateness claims that in all aspect of literary composition. There is the possibility of a perfect, the, most appropriate choice of subject, of ideas, of words, of devices as such, it has affinities with Longinus’s theory of the sublime.

That means poetry should be made by vastu,rasa,dhvani,and all over things were important but only for appreciable Achitya. If the poetry repentance of without Alankar, guna, that not for good qualities but very poor things of reproduce.Anandavardhana relates this principle specifically to rasa. It has been used for propriety in delineating bhavas according to character and in the choice of margas.

     According to the speaker, content and type of literary composition areas, locations or sites of literary compositions where the concept of Auchitya is pertinent.

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. All of theorist has right and true of his own view and poetry and literature creator got idea that all over theory possible to use of most kind of work.

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