Indian Poetics and Aesthetics
Hello Everyone 😀,
This blog is in response to a thinking task activity assigned by Prof. Dilip Barad Sir.
In this blog I'm going to deal with the topic of Indian Poetics.
Introduction:
Indian Poetics and Aesthetics, deeply rooted in ancient cultural and philosophical traditions, form a captivating exploration of the art of literary expression. Developed over centuries, these concepts delve into the nature of beauty, emotion, and the nuances of language in the realm of literature.
Indian poetics and aesthetics, deeply rooted in ancient Sanskrit texts, have evolved through various schools of thought.
The concept of "Rasa" explores the emotional essence of art, identifying nine primary emotions.
"Dhvani" emphasizes the power of suggested meaning in language, as seen in Anandavardhana's "Dhvanyaloka."
"Auchitya" focuses on appropriateness in expression, guiding writers to choose words fitting the context.
"Vakrokti" celebrates the beauty of indirect expression and deviation from the straightforward use of language.
"Riti" by Vamana delves into the appropriate style of expression for different themes.
"Alankar" involves various rhetorical devices, enhancing the aesthetic appeal of literature.
Together, these concepts from a rich framework for understanding and appreciating the beauty in Indian literary traditions.
Language is like a spoken symbol, and understanding art is limited when relying solely on personal experiences. That's where criticism comes in – it broadens our view when evaluating artworks. In Indian Poetics, there are different categories like:
1. Rasa theory by Bharata
2. Dhvani theory by Anandvardhan
3. Vakrokti theory by Kuntaka
4. Alamkara by Bhamaha
5. Riti by Vaman
6. Auchitya by Kshemendra
Each of these theories offers unique insights into how we appreciate and interpret art, making Indian Poetics a diverse and fascinating field.
1. Rasa theory by Bharata:
The Rasa theory, attributed to Bharata, is a foundational concept in Indian poetics that explores the emotional essence of artistic expression. Originating from Bharata Muni's "Natya Shastra," this theory identifies and categorizes the various emotions that a work of art can evoke. Rasa, which translates to "essence" or "flavor," comprises nine primary emotions, including love, joy, anger, and sorrow. According to Bharata, the successful creation of Rasa involves a harmonious blending of different artistic elements, such as language, music, and dramatic performance. The Rasa theory has profoundly influenced Indian aesthetics, providing a framework for understanding and appreciating the emotional impact of literature and performing arts. It not only serves as a guide for artists but also enhances the audience's ability to connect with and experience the diverse range of human emotions portrayed in artistic endeavors.
• Bhava-Jagat:
Bharata refers to the human soul as the "Bhava-Jagat," emphasizing the world of emotions. He extensively explored the theory of Rasa, considering it crucial in both concept and context. Rasa, according to Bharata, creates a delightful atmosphere around emotions, and it draws inspiration from the references found in the Upanishads. Its very difficult to understand "Bhava-Jagat".
The term "Bhava" is not continuous; instead, it is fragmentary in nature.
सुखदुःखे समे कृत्वा लाभालाभौ जयाजयौ।
ततो युद्धाय युज्यस्व नैवं पापमवाप्स्यसि।।2.38।।
The theory of rasa is elaborated in Chapter 6 of the Natya Shastra, an ancient Sanskrit text attributed to Bharata Muni. According to this text, the world created by Brahma is characterized by Shad Rasa, consisting of six primary emotions. "Bhavana nu urdhvikaran" translates to the elevation or enhancement of emotions, signifying the attainment of rasa.The Natyashastra describes eight primary rasas, which are:
Shringara (romantic/erotic love)
Karuna (pathos/sorrow)
Hasya (mirth/comic)
Veera (heroism/boldness)
Bhayanaka (terror/horror)
Adbhuta (wonder/amazement)
Bhava (sentiment)
Shanta (tranquility/peace)
The Rasa theory is also used as a metaphor in various spiritual and philosophical contexts, to describe the emotions and feelings evoked by spiritual practices, and the ultimate goal of spiritual realization.
शृंगार करुण वीर
रौद्र हास्य भयानक।
बिभत्स्यद्रभुत शांतश्व
नव नाट्य रसा: स्मृता।।
- अभिनव गुप्त
१) करुण - Sorrow
२) भयानक - Terror
3.) रौद्र - Anger
४) शृंगार - रति - love
५) वीर - उत्साह - Energy
६) हास्य - Mirth
७) बिभत्स - जुगुप्सा - Disgust
८) अदभुत - विस्मय - Astonishment
९) शांत - निर्वेद - Calm
Bharat Muni gives definition in sixth chapter of "Natyashastra",
विभावानुभावव्यभिचारिसंयोगाद्ररस निष्पत्ति:।
By this definition we can divide it into four stages…
1.) Vibhav
2.) Anubhav
3.) Vyabhichar
4.) Samyog
The stages of Rasa:
The stages of Rasa can be delineated as follows:
1. Vibhava:
Vibhav denotes the elements that catalyze the emergence of rasa. For instance, in the play "Abhijnanasakuntalam," Dushyant and Shakuntala function as Vibhav, triggering the rasa.
2. Anubhava:
Anubhav encompasses the circumstances or settings in which the rasa unfolds. For example, the forest encounter between Dushyant and Shakuntala serves as Anubhav.
3. Vyabhichari Bhava:
Vyabhichari Bhava refers to the transient emotions that stem from primary emotions. For instance, feelings of melancholy may arise from sorrow.
4. Samyog:
Samyog denotes the harmonious synchronization of elements in a work of art to such an extent that they become indistinguishable from one another.
Acharya’s comments:
Bhatt Lollata,
Shri Shankuk,
Bhatt Nayak,
Abhinavagupta, and
Dhananjaya
These Acaryas have enriched our comprehension of rasa, highlighting the phenomenon wherein characters in literature shed their distinct identities as audiences empathize with them. This process leads to the universalization of emotions, culminating in a cathartic experience for the audience. Ultimately, these scholars underscore that poetic delight emerges when particular events undergo a process of generalization, enabling readers or spectators to resonate with the characters and their emotional journeys.
2. Dhvani theory by Anandvardhan
Dhvani, also known as "Suggestive Poetry", is a concept introduced by Anandavardhana. In this poetic style, the conventional meaning of words takes a back seat, emphasizing the derived or suggested meaning.
What is the meaning of Dhvani?
मुख्यर्धबाधेतधोगेरुढितोऽथ प्रयोजनात्।
अन्योर्थ लक्ष्यते यत्सालक्षणारोपीता: किया:।।
In Indian poetry, Dhvani is a key idea that adds emotional impact to a piece of writing. It's like an echo of the feelings expressed, making the audience feel similar emotions. Dhvani is closely linked to Rasa, which is the main emotion conveyed in a literary work. The Natyashastra, an ancient Indian text, talks about eight primary Rasas. Poets use Dhvani by using figures of speech like metaphors and similes. In music, Dhvani is created through melodies, rhythms, and musical styles.
ધ્વનિ એટલે પ્રતીયમાન અર્થ:
Getting new meanings through the same words is Dhvani- apparent meanings. That is the soul of poetry. Morover, it is symbolic.
Acarya Mammata devides Dhavni in three parts.
शक्तिःकावितवबीजरूपे संस्कारविशेसप्राप्ते याम्विना काव्य न प्रसरित ।
Anandavardhana argues that understanding the proposed meaning is crucial and can be achieved through explicit meaning, just as the meaning of a sentence is understood through the words of which it is composed. He believes that suggestion is the essence and central poetic principle of great poetry.
Words and it's meaning is connected as two side of coin.
Example:
In Raghuvansh Kalidas compared Shabda and Artha to Shiva-Parvti. It is united in that sense.
वागर्थाविव सम्पृक्तौ वागर्थप्रतिपत्तये ।
जगतः पितरौ वन्दे पार्वतीपरमेश्वरौ ॥
In Dhvani, symbolic content is considered a poetic invention, and the best poems transcend the strict limits of expression, plunging into mysterious appeals similar to resonance or echo.
Dhavni is coding and Artha is decoding. Meanings are imposed on words. Idioms are also example of Dhavni.
Example:
તું અજાણી ભાષા, તારો સમજુ કેવળ સાદ,
પછી હૃદયમાં સંગોપીને કરું સહજ અનુવાદ.
Examples:
• “વનમાં ચાંદલિયો ઉગ્યો,મારે મન સૂરજ થઇ લાગ્યો”
• “ चाहे हम पास रहे या रहे दूर”
• “ચરણ લઈ દોડવા બેસું”
Acharya Mammata introduces three powers of words:
1. Abhidha (Denotation):
This is the fundamental power of language, representing the literal or conventional meaning of an expression.
2. Laksana (Implication):
The second power indicates outward manifestations of the expression that lead to a deeper meaning, serving as a form of indicator power.
3. Vyanjana (Suggestion):
The third power involves what is oblique, suggesting that a word possesses the power of suggestion in addition to denotation and implication.
These three powers, with Abhidha as the foundation, contribute to the richness and depth of language, allowing words to convey not only their literal meanings but also implied and suggested layers of understanding.
What meaning we get from these three power of words can be defined as:
Abhidha= Abhitharth
Lakshana = Lakshyarth
Vyanjana = Vyanjanarth
Ananda Vardhana gives more emphasis towards “Pratiyman Artha”. Pratiyman Arth is more to feel.
Example :
• “विभाति लावण्य इव अंगनासु”।
• “ગોખલામાં રહેલા દીવાનો ઉજાસ”
Pratiyman Arth Divided into two parts…
Laukik arth
Alaukik arth
According to that we can also see world in three ‘Jagat’
Vastu Jagat
Alankaar Jagat
Rasa Jagat
Perfect Example for three power of words:
“મીઠા મધુ ને મીઠા મેહુલા રે લોલ
એથી મીઠી તે મોરી માત જો
જનનીની જોડ સખી નહીં જડે રે લોલ”
કવિ બોટાદકર
Anandvardhan says that,
“જ્યાં સુધી સાહિત્યમાંથી પ્રતિયમાન અર્થ વ્યક્ત ન થાય ત્યાં સુધી રસ પ્રાપ્ત થતો નથી.”
He divided dhwani into 3 parts:
Vastu dhwani
Alankar dhwani
Rasa Dhwani
3. Vakrokti theory by Kuntaka
Vakrokti theory is an important concept in Indian poetics that emphasizes the power of suggestion and indirect expression in poetry.
According to Kuntaka, the beauty of poetry lies in its ability to convey meaning through unconventional and twisted expressions. It's all about creating a sense of surprise, intrigue, and playfulness in the reader's mind.
शब्दार्थो सहितौवक्र कविव्यापार शालिनी।
बन्धे व्यवस्थितौ काव्यम् तद्धिदाहलाद कारिणी॥
In his book "Vakrokti-jivitam," Kuntaka highlighted the importance of statements that go beyond ordinary speech. Vakrokti, meaning "clever expression," is born from poetic skill and offers statements that stand out from everyday conversation. It's closely related to Aesthetics theory and emphasizes the use of language that is strikingly different from common speech.
Examples :
સાહિત્ય કૃતિ : ધૂમકેતુની વિનિપાત કૃતિ
પંક્તિઓ:
"જેવા નાહ્યા પછીના નખ કૂણાં, સખી મારા સાજન એવા સલુણાં"
"કાગળો શે લખવા ? વેરાન આંગળીઓ તો રહીને છાણે પાદર વચાળ “
"હું ચાહું છું સુંદર ચીજ સૃષ્ટિની,
અને જે અસુંદર કરી મુકું સુંદર ચાહી ચાહી.”
There are six types of Vakrokti (વક્રતા)
1. વર્ણવિન્યાસ વક્રતા
2. પદ પૂર્વાર્ધ વક્રતા
3. પદ પરાર્ધ વક્રતા
4. વાક્ય વક્રતા
5. પ્રકરણ વક્રતા
One linear meaning of a whole text or any literary art.
1. Ramayan- સદબુદ્ધિ અને લોકકલ્યાણ
2.મહાભારત- દુઃખ સનાતન સત્ય
3.હિતોપદેશ અને પંચતંત્ર ની વાર્તા
4.વેવિશાળ- માર્ટા મુખે પ્રતીક્ષા નું પાણી
So, instead of straightforward and direct language, Vakrokti theory encourages the use of figurative language, wordplay, and unexpected twists to evoke emotions and engage the reader. It adds a touch of artistry and creativity to poetry.
4. Alamkara by Bhamaha:
Alamkara is a Sanskrit word that means "ornament" or "embellishment." In Indian poetics, the theory of Alamkara, as proposed by Bhamaha, focuses on the use of various literary devices and figures of speech to enhance the beauty and aesthetic appeal of poetry.
It emphasizes the importance of figurative language, such as similes, metaphors, and personification, to create vivid imagery and evoke emotions in the reader. According to Bhamaha, Alamkara is like adorning poetry with beautiful ornaments, making it more captivating and delightful. It adds a touch of elegance and artistry to the world of literature.
Types of Alankara:
1. Simile/Upama:
A simile compares two things using "as" or "like" to highlight a similarity between them. For instance, "She was as brave as a lion" or "His smile was like sunshine." Similes create vivid images by drawing parallels between unrelated objects or concepts.
2. Metaphor/Rupaka:
A metaphor implies a comparison between two unrelated things, suggesting that one thing is another. For example, saying "He is a lion on the battlefield" implies bravery and strength, even though he's not literally a lion. Metaphors evoke emotions and imagery by using words symbolically.
3. Epithet/Atishyokti:
An epithet enhances a description by attributing a characteristic to a person, object, or idea. For instance, calling someone "The Great Wall of China" emphasizes their grandeur and significance. Epithets create vivid imagery by highlighting specific qualities.
4. Alliteration/Anuprasa:
Alliteration repeats the same sound or letter at the beginning of consecutive words, like "Peter Piper picked a peck of pickled peppers." It adds rhythm and musicality to language, making it more appealing.
5. Irony/Vakrokti:
Irony conveys a meaning opposite to its literal interpretation for humorous or sarcastic effect. For example, saying "Oh, what fine weather we are having today" on a rainy day. Irony adds complexity to language by allowing subtle commentary or critique.
6. Suggestion/Dhwani:
Suggestion implies meanings beyond literal interpretation, inviting readers to explore deeper layers of a text. It adds richness and complexity to poetry by conveying messages indirectly. Dhwani encourages readers to uncover hidden nuances and engage actively with the text.
5. Riti by Vaman:
Meaning of Riti:
Riti is a Sanskrit word that means "style" or "manner."
'रीतिरात्मा काव्यस्य; विशिष्टापदरचना रीति: |’
Riti, which means style, is a crucial aspect of poetry. Acharya Vamana's poetic work, Kavyalankasutra, delves into the concept of riti. According to Vamana, riti embodies the formless, indeterminate essence of poetry. He likens riti to the soul of poetry, just as every body has an Atma (soul), every poem possesses its riti.
Initially, riti refers to the underlying pattern or style inherent in a poetic work. This pattern then influences the writing style adopted by the poet. For instance, specific forms dictate the style, such as a sonnet's adherence to 14 lines or a drama's presentation in dialogue form.
પ્રવાહભંગ means to do something different it's Riti.
Poetry Becomments More Effective Because Of Riti. The effect of the region in which the writer grew up is seen in his writing style.
Example:
Bāṇabhaṭṭa’s “Kadambari”.
Types of શૈલી:
પાંચાલ શૈલી,
ગૌડી શૈલી,
લાટી શૈલી,
વૈદર્ભી શૈલી.
Kalidas, for instance, is renowned for his 'Vaidarbi Shaily,' a distinctive style of writing.
We can identify This Riti by two methods:
Language
Author
વિશિષ્ઠ પદ રચના એટલે રીતિ . - વામન
In Indian poetics, Vaman's theory of Riti focuses on the different styles or modes of expression in poetry. Vaman categorizes these styles into three main types:
The simple style (soundarya),
The grand style (udatta), and
The mixed style (misra).
Each style has its own characteristics and is suitable for different themes and moods. The simple style is straightforward and natural, while the grand style is more elevated and majestic. The mixed style combines elements of both.
The theory of Riti helps poets choose the appropriate style to convey their ideas effectively and create a desired impact on the reader. It's like selecting the right brushstroke to paint a beautiful picture with words.
6. Auchitya by Kshemendra:
Meaning of Auchitya:
Auchitya is a Sanskrit word that can be translated as "appropriateness" or "suitability."
उचितं प्राहुराचार्याः सदृशं किल यस्य यत्।
उचितस्य च यो भावस्तदौचित्यं प्रचक्षते॥
He said Auchitya is the life of Kavya (Kavyasya jivitam) that is endowed with Rasa (Aucityam rasa siddhasya sthiram kavyasya jivitam).
In Indian poetics, Kshemendra's theory of Auchitya focuses on the idea of using language and expressions that are appropriate and suitable for the context and subject matter of a poem.
Auchitya, which is imbued with Rasa, provides stability to poetry. The core of Rasa relies heavily on Auchitya. Auchitya ensures harmony between the words expressed and the emotions suggested. It's described as a commendable virtue that enriches poetry with delight.
According to Kshemendra, Auchitya refers to when one thing fits or matches perfectly with another.
It emphasizes the importance of selecting the right words, phrases, and figures of speech that align with the theme, tone, and intention of the poet.
The theory of Auchitya helps poets create a harmonious and effective poetic expression that resonates with the reader. It's like finding the perfect fit between the words and the emotions they convey.
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