Thinking activity : Indian Poetics

Welcome to my Blog,

This blog is part of our study. This Thinking activity is based on Indian Poetics and was assigned by Dr. Dilip Barad sir Department of English MKBU. In this task, we have to Write about various schools like Rasa, Dhvani, Auchitya, Vakrokti, Riti, and alankaar based on our understanding of these concepts. And also Give examples from Gujarati, Hindi, Sanskrit, and English literature.

Indian Poetics

Dr. Dilip Barad Sir Department of English, MKBU Organized the expert Lecture Of Dr. Vinod Joshi's Lecture to teach us Indian aesthetics. He is a  Gujarati writer, Poet, Critic, and professor.

Prof. Vinod Joshi was invited to the session for the week. From 5 January to 13 January, He talks about the Different About Schools of Indian Poetics.

• Rasa
• Riti
• Vakrokti   
• Dhvani
• Auchitya
• Alankara

First of all, we have to understand the concept of Indian Poetics.

What is Indian Poetics?

Indian Poetics has Developed in India a thousand years ago. Indian poetics refers to the study of the artistic and literary traditions of the Indian subcontinent, including the theories and practices of poetry, drama, and literary criticism. It encompasses a rich and diverse tradition that dates back thousands of years, encompassing Sanskrit, Prakrit, and regional language literature, as well as the critical discourse surrounding these works.

One of the central texts of Indian poetics is the "Natyashastra," a Sanskrit treatise on drama and aesthetics that dates back to the 2nd century BCE. This text outlines the principles of poetics and lays down the foundations of Indian dramatic theory, including the use of characterization, plot, song, and dance.

Indian poetics is also characterized by the "Rasa" theory, which holds that poetry and drama can evoke a range of emotional responses or "flavors" in the reader or viewer. These emotions, or "rasas," include feelings of love, wonder, heroism, and disgust, among others. Indian poetics is a rich and multifaceted tradition that has deeply influenced the development of literature and the arts in the Indian subcontinent and continues to shape the understanding and appreciation of these works to this day.

The Six Schools:-

1. Rasa - Bharat
2. Alamkara - Bhamaha
3. Riti - Vamana
4. Dhvani - Anandvardhan
5. Vakrokti - Kuntaka
6. Auchitya - Kemendra

1. Rasa:-

Bharat muni believes that the dramatic form of aesthetic experience is the most perfect fruition of aesthetic activity because drama is the synthesis of all arts According to Abhinav Gupta who was one of the famous critics of Natyashastra, Rasa is the simplest and most we bewildering expression in the Sanskrit language. Anyone can experience it but needs help to define it precisely.

According to Bharat muni 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.

Nine Rasas by Bharat muni in his Natyashastra.

Sthayibhav                              Rasa

1. શમ/નિર્વેદ(peace)               1. શાંત રસ (peace)

2. ભય (Fear)                        2. ભયાનક રસ (Terror)

3. હાસ (Mirth)                       3. હાસ્ય રસ (Comic, Laughter)

4. વિસ્મય઼(Astonishment)        4. અદ્ભુત રસ(Wonder, Marvellous) 

5. જુગુપ્સા(Disgust)                 5. બિભત્સ રસ(Odious) 

6. ક્રોધ (Anger)                      6. રૌદ્ર રસ(Rage)

7. ઉત્સાહ(Energy)                   7. વિર રસ(Heroic)

8. શોક(Sorrow)                     8. કરુણ રસ(Compassion,Pathos)

9. રતિ(Love)                         9. શૃંગાર રસ(Erotic)

श्रृंगारकरूणवीररौद्रहास्यभयानका।

बीभत्साद्भूतशांतश्च नवनाट्येरसास्मृता।।

 - भरतः नाट्यशास्त्र

The concept of rasa is important in Indian aesthetics because it allows artists to create works that evoke specific emotional responses from their audience. By using different techniques such as language, imagery, and symbolism, artists can manipulate the emotions of their audience and create a powerful and memorable experience.

2. Alamkara - Bhamaha

Alamkara is a Sanskrit word that means "ornament" or "embellishment". In Indian literary theory, ahamkara refers to the use of figures of speech or literary devices that add beauty, emotional depth, and meaning to a text.

Bhamaha was an Indian literary critic and poet who lived around the 7th or 8th century CE. He is known for his influential work on poetics called the Kavyalankara, which is one of the earliest Sanskrit treatises on the subject. Bhamaha focused primarily on the concept of alamkara, and his work helped to establish it as a central element of Indian poetics. He identified several types of alamkaras, including upama (metaphor), rupaka (simile), utpreksa (hyperbole), and arthantaranyasa (suggestion of hidden meaning). Bhamaha also emphasized the importance of using alamkaras judiciously and with restraint, so as not to overwhelm the text or distract from its meaning.

The categories of alamkara have been classified by different poetician into different kind. Rudrata divides it into two types those based on phonetic form its called sabdalamkara and those who based on meaning its called Arthalamkara.

Shabdalamkara :-  Shabda + Alamkara

                            The meaning of sound.

Arthalamkara :- Artha + Alamkara

                        The meaning of words & thoughts.

Bhoja also divided it into seven parts,

1. Sadrasya 

2. Virodha 

3. Srnkhalabadha 

4. TarkaNyaya 

5. Lokanyaya 

6. Kavyanyaya and 

7. Gudharthapratiti. 

Mamata also divided alamkara into seven types:

1. Upama 

2. Rupaka 

3. AprastutaPrasnsa 

4. Dipaka 

5. Vyatiraeka 

6. Virodha and 

7. Samuccaya.

Here are some examples of Alamkara:

1. દમયંતીનું મુખ ચંદ્ર જેવું સુંદર છે.

2. House like Taj Mahal.

3. Riti - Vamana

Riti is a concept in Indian poetics that refers to the style of language and the way it is used in a literary work. It is concerned with the form and structure of language rather than the content. Vamana was a famous Sanskrit poet who contributed significantly to the development of riti as a poetic style.

Vamana believed that the style of language used in a literary work should be appropriate to the subject matter and the intended audience. He believed that the use of different types of language, such as high or low, formal or informal, should be determined by the context of the work.

Vamana also emphasized the importance of clarity and coherence in poetic language. He believed that a poet should strive to convey their message in a clear and straightforward manner, without resorting to obscure or convoluted language. Vamana's approach to riti was characterized by a focus on precision and appropriateness of language, as well as the importance of clarity and coherence in poetic expression.

'रीतिरात्मा  काव्यस्य ; विशिष्टापदरचना रीति: |'

4. Auchitya - Kshemendra

Kshemendra was a famous Sanskrit poet and critic who wrote the treatise "Kavyaprakasha," which is considered one of the most authoritative works on Sanskrit poetics. In the Kavyaprakasha, Kemendra explains the concept of Auchitya in detail and provides several examples to illustrate the importance of appropriateness in poetry.

According to Kshemendra, Auchitya is the quality that makes poetry pleasing to the reader or listener. It is the proper use of words, phrases, and figures of speech in the appropriate context. The poet must consider the subject matter, audience, and purpose of the poem when choosing the words and expressions to use.

One example of Auchitya in poetry is the use of similes and metaphors. These figures of speech should be appropriate to the context and should enhance the meaning of the poem. For example, in the Ramayana, the poet Valmiki uses the simile of a swan separating milk from water to describe the separation of good and evil in the character of Ravana.

Another example of Auchitya is the use of language that is appropriate to the audience. The language used in a poem for children would be different from the language used in a poem for scholars. The poet must consider the education, culture, and language of the intended audience when choosing the words and expressions to use.

A Sanskrit shloka that exemplifies Auchitya is:

यथा राजा तथा प्रजा, यथा प्रजा तथा राज |

यथा लोहमयः शृङ्गः, तथा पापस्य शृङ्गम् ||

5. Vakrokti - Kuntaka

 Vakrokti is the most misunderstood and misinterpretation one. It means striking ness in word and the meaning of Vakrokti is:-

Vakrokti:-  Vakra  +  Ukti

Vakra:- Crooked indirect or unique.

Ukti:- Poetic expression or speech

Vakrokti is a concept in Indian poetics that refers to indirect or oblique speech, where the intended meaning is not immediately apparent and requires the reader or listener to make an effort to understand it. Kuntaka was an Indian poet and literary critic who lived in the 9th century and is best known for his work on the theory of poetry, the Vakrokti.

Kuntaka's concept of Vakrokti emphasizes the importance of suggesting meanings indirectly, rather than stating them directly. He believed that the use of figurative languages, such as metaphors, similes, and allusions, could add depth and complexity to a poem, and create a more nuanced and layered meaning. Kuntaka also believed that the use of Vakrokti could create a sense of mystery and intrigue, and keep the reader engaged and interested.

6. Dhvani - Anandvardhan

Dhvani is a concept in Indian poetics that refers to the suggestive power of language. It was first introduced and developed by Anandavardhana in his work, Dhvanyaloka. According to Anandavardhana, the primary function of poetry is to evoke emotions in the reader or listener through the suggestive power of language.

Anandavardhana argued that the meaning of a poem is not limited to its literal or surface level meaning, but extends to the emotional and suggestive meaning that is implied or suggested by the words and their arrangement. This is known as the dhvani or the suggestive power of the poem.

Anandavardhana also distinguished between two types of dhvani: the vyangya or implied meaning, and the rasa or emotional resonance. The vyangya refers to the implied meaning of the poem, while the rasa refers to the emotional response that is evoked in the reader or listener.

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