Hello friends, here I am writing this blog on Indian Poetics. For that, Vinod Joshi sir's lecture was arranged in our department from 4th to 13th January. In which Vinod sir made us very well understood on the following topics and we understood well about various schools like Rasa, Dhvani, Auchitya, Vakrokti, Riti and Alankar.
∆ Introduction :
The Sanskrit word for poetics is 'Kavyashastra'. Another word used for Poetics is 'Kavyamimansa'. 'Mimansa' means study, discussion, inquiry. The word 'Kavyamimansa' was first used by 'Rajshekhara', a 10th century poet from Kashmir who wrote a treatise named 'Kavyamimansa'. The various schools of Indian aesthetics and poetics study different aspects of the language of literature.
∆ Rasa - Bharat
∆ Dhvani - Anandvardhana
∆ Auchitya - Acharya Kshemendra
∆ Vakrokti - Kuntaka
∆ Riti - Vamana
∆ Alankar - Bhamah
∆ Rasa :
Bharata was the first to write on aesthetics in Bharata's Natya Shastra. Bharata in search of true Beauty uses the word Rasa (the essence of life, juice, Amrit) rasa is only to be felt, it is the source of all life. We live on water and consider it to be the source of all life. In Natya Shastra Bharat discussed the Rasa is founded four types of acting :
→ Vachik :
•Verbal expression i.e. dialogue etc, like tone, pitch
→ Angik:
•Non verbal expression or gestures-to depict the emotion
→ Aaharya :
•Costume and other things, stage properties, etc,to enhance the emotion
→ Satvik :
•Involuntary nonverbal expression, like wide eyes, change of face colour, trembling of hands etc.
Bharata writes:
विभािानुभािव्यभभचारिसंयोगाद्रसननष्पवि
In this Sutra the integration of three elements:
1.Vibhav :
•Vibhava means something that causes the rise of an emotion. Vibhavas are of two types:
•Alamban Vibhava
•Uddipana Vibhava
2.Anubhav :
Anubhava means the expressions.
3.Vyabhicharibhav :
•Vyabhicaribhavas are transient emotions which are not primary emotions but reinforce the primary emotion.
Vibhava, Anubhava and Vyabhicaribhava leads to Sthayibhava. There are eight Sthayibhavas discussed by Bharata in
Natya Shastra.
श्रृंगार करुण वीर रौद्र हास्य भयानका ।
बिभत्साद्भूत शांतश्च नव नाट्ये रसा: स्मृता ।।
(अभिनवगुप्त)
Sthayibhav Rasa
•Rati Shringar
•Shok Karun
•Utsah Vir
•Krodh Raudra
•Hras Hasya
•Bhay Bhayanak
•Jugupsa Bibhatsa
•Vismaya Adbhut
•Shant Ksham
After Bharata, several noted scholars like Bhattanayaka, Bhatt Lollata, Shri Shnkuka, Abhinavagupta have been added to Rasa.
According to Bhattanayaka, the audience feels the way the characters feel.
According to Bhatt Lollata, Interest does not exist, it is generated.
According to Shri Shankuka, interest is not produced, it is expected.
According to Abhinav Gupta, Interest is generated when the audience, the creator, anticipates the value generated and becomes overwhelmed.(Rasa means the conviction of enlightened knowledge)
∆ Dhvani :
Anandvardhana propagated the dhvani
theory but he considered dhvani to be the soul of poetry and not riti. Anandvardhana believed that rasa is not made, it is revealed. The meaning is divided into three types:
•Abhidha (Primary meaning)
•Lakshana (Secondary meaning)
•Vyanjana (Suggested meaning)
For example,
મીઠાં મધુ ને મીઠા મેહુલા એથી મીઠી તે મોરી માત…
મીઠાં મધુને - Abhidha
મીઠાં મેહુલા - Lakshana
એથી મીઠી તે મોરી માત - Vyanjana
According to Mammat,
मुख्यार्थबाधे तद्योगेरूठितोड़य प्रयोजनात् ।
अन्योर्थोलक्ष्यते यत्सलक्षणारोपिता क्रिया: ।।
So, in which the word and the meaning become secondary and that which manifests the corresponding meaning is called Dhvani.
Corresponding meaning,
विभाती भावण्यमिवाण्ड़गनासु ।
→ Types of Dhvani given to Anandavardha :
•Vastu Dhvani :
Vastu Dhvani is based on the idea.
•Alankar Dhvani :
In which ornament is used.
•Rasa Dhvani :
In which the expression is generated.
∆ Auchitya :
Propounded by Acharya Kshemendra. Auchitya means propriety. Auchitya or appropriateness is another such concept which needs a brief mention here. Bharata recognizes it in the context of performance. Ananda discusses it and so does Kuntaka. But it gets central focus in the hands of Ksemendra who highlights the fit among the elements, the subject, the contexts and so on. According to Kshemendra, auchitya
is the rasajvitabhuta or the life force of rasa which imparts camatkara to
kavya. Like all other theories of Indian poetics, traces of auchitya are
also found in Bharata's Natyashastra. Bharata mentions auchitya as one of
the dramatic elements. After him, other scholars have discussed auchitya
in connection with other concepts like rasa, alamkaras, etc.
Auchitya means all the components of kavya are appropriate and are used properly and they are blended together in a befitting manner.
∆ Vakrokti :
The Sanskrit word vakrokti is a compound of two words: vakra (crooked) and ukti (expression). Vakrokti literally means oblique expression. Kuntaka is credited for the propagation of this theory. Bharata has mentioned vakrokti only in passing. Bhamaha considers vakrokti as atishayokti. Dandin understands vakrokti as distinct from svabhavokti. Types of Vakrokti according to Kuntaka :
•Varan Vinyas Vakrata
•Pada Poorvardh Vakrata
•Pada Parardh Vakrata
•Vakya Vakrata
•Prakarana Vakrata
•Prabandh Vakrata
∆ Riti :
Riti means style or characteristic way of presentation adopted by the poet. Vamana is considered to be the founder of riti. Other words used by other scholars are marga, gati, pantha, and prasthana. Earlier Dandin had referred to two margas of representation:
•Vaidarbhi
•Gaudi
Dandin had said that each has a characteristic style. Vamana added a third one to its Pancali. Other scholars added more ritis to it. Rudrata added Latiya and Raja Bhoja added Avantika taking the total
to five.
→Types of Riti :
1)Vaidarbhi
2)Gaudi
3)Pancali
4)Latiya
5)Avantika
According to Vamana riti is the soul of
poetry. Vamana has divided the organization in three ways. The first is asamasa. It creates madhurya and is apt for depicting shringar, karuna and shanta rasa.The second is madhyama samasa where only small compounds are used. And the third riti is dirgha samasa where
large compounds are used. This is helpful in depicting vira, bibhatsa or
raudra rasa. Mammata names the three riti as:
•Upanagarika
•Paurusa
•komala
Anandavardhana names riti as samghatana. Bhoja, like Dandin,
calls riti as marga. Kuntaka has enumerated three margas:
•Sukumara marga
•Vicitra marga
•Madhyama marga, corresponding to vaidarbhi, gaudi and pancali respectively.
∆ Alankaar :
Alankaar means, in its broadest sense,
kavya soundarya, or the charm or beauty of poetry itself and, in its narrow
sense, means the figure of speech like simile or metaphor. According to Bhamah, alankaar is the essential element of poetry and it consists in the striking manner of putting a striking idea in an equally striking word. Anandavardhana views in Dhvanyaloka that "alankaar are those elements which, depending upon word and meaning, minister to the generation of poetic charm" also certifies the creative use of language in literature.
Bharata has mentioned four alankaar:
•Upama (simile)
•Rupaka (metaphor)
•Dipaka (condensed expression)
•Yamaka (repetition)
Alankar is divided into two main types:
•Shabdalankar :
Shabdalankar means figures of speech based on the word
•Arthalankar :
Arthalankar means figures of speech based on the meaning or sense
of the word. Anuprasa is a Shabdalankaar as the beauty of the alankaar is
the alliteration or repetition of the same sound.
•Ubhaya Alankar:
Which is a mixture of Shabdalankar and Arthalankar.
Bhamaha said that poetic composition is not possible without alankaras
and alankara comes out of vakrokti and atishayokti. For him there cannot be kavya without alankara and alankara is not possible without vakrokti. Dandin differs from Bhamah and holds the view that there can be poetry without vakrokti.
•Word Count : 1220
•Images : 5
