This blog is a response to the task given by Dilip sir as a part of thinking activity because we are having Indian theories and criticism in our syllabus of M.A at Department of English,MKBU.
Introduction
Indian poetics refers to the study and analysis of literature, particularly poetry and drama, in ancient India. It is also known as Sanskrit poetics because it is primarily based on the texts written in Sanskrit, the ancient language of India. Indian poetics has had a profound impact on literary theory and practice, not only in India but also in other parts of the world, including the West.
The earliest Indian text on poetics is the Natyashastra, written by Bharata Muni in the second century BCE. The Natyashastra is a comprehensive treatise on drama, covering everything from the construction of the stage to the acting techniques of the performers. It also includes a detailed analysis of the various elements of drama, such as plot, character, dialogue, and music. The Natyashastra is considered one of the most important texts on poetics in India and has had a significant influence on the development of Indian drama and theatre.
Another important text on Indian poetics is the Kavya Prakasha, written by Mammata in the eleventh century CE. The Kavya Prakasha is a treatise on poetry and literary criticism, focusing on the analysis of various poetic devices and techniques. It provides a detailed analysis of the various forms of poetry, such as the epic, the lyric, and the drama. The Kavya Prakasha is considered one of the most important texts on poetics in India and has had a significant influence on the development of Indian poetry.
Indian poetics places great emphasis on the use of language in poetry and drama. It has developed a highly sophisticated system of metrics, or "chandas," to measure the rhythm and structure of verse. The use of metrics is considered essential in Indian poetry and is closely linked to the concept of "rasa," or aesthetic experience. According to Indian poetics, a work of art is meant to evoke a particular emotional response or "rasa" in the audience.
Overall, Indian poetics is a rich and complex tradition that has had a profound impact on the development of literature, particularly in India. Its influence can be seen in the works of contemporary Indian writers and in the literary traditions of other cultures around the world.
Indian poetics, also known as Sanskrit poetics, has had a significant impact on English literature and language. The ancient Indian tradition of poetics, as articulated in works such as the Natyashastra, has influenced Western literary theory and practice in a number of ways.
One of the most important ways in which Indian poetics has impacted English literature is through the idea of the "rasa" or aesthetic experience. According to Indian poetics, a work of art is meant to evoke a particular emotional response or "rasa" in the audience. This concept has been influential in the development of Western literary theory, particularly in the work of the German philosopher Friedrich Schiller, who developed the idea of "aesthetic education" based on the notion of rasa.
In addition to the concept of rasa, Indian poetics has also had an impact on English language and literary practice through its emphasis on language itself. Indian poetics places great emphasis on the use of language in poetry and drama, and has developed a highly sophisticated system of metrics, or "chandas," to measure the rhythm and structure of verse. This emphasis on language and metrics has been influential in the development of English language and literature, particularly in the use of metrics such as iambic pentameter and in the work of poets such as T.S. Eliot, who was greatly influenced by Indian poetics.
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 : Temporary emotions like anger and happiness
Sthayibhav : Permanent emotions like Love and Sorrow
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.”
Bharatmuni has mentioned these and Rasa. He elaborated states for each its colour , diety , the vibhav , anubhav and sancharibhav and how they should be acted.
Overall, Indian poetics has had a profound impact on the development of English literature and language, influencing everything from the theory of aesthetics to the use of metrics in poetry. Its legacy continues to be felt in contemporary literature and language, and its importance as a source of inspiration and influence remains as strong today as it has ever been
2. Alamkara School :
Bhamaha is the first alamkara poetician . In ch-2 and ch-3 of Kavyalamkara , he describes 35 figures of speech.
Bhamaha talks of the pleasure of multiplicity of meaning inherent in certain alamkaras such as Arthantatanyasa, Vibhavana and Samasokti, other those who continued the tradition are Dandin , udbhata ,Rudrata and Vamana. Finally , in Anandvardhana , alamkara was sought to integrated with Dhvani and Rasa.
It is a figure of speech external to poetry or is it an integral part of conceptualization and of the way the poet visualizes.
Example of Metaphor :
“See how the moonlight sleeps on the bank.”
Mammta also did the detailed discussion of Alamkara into Kavyapraksh Ullas -10. We feel Almakara in poetry but can’t see. Alamkara is the supporting part of poetry . It is auxilural factors to poetry. The categories of alamkara have been classified by different poeticians into different kinds of systems.
Rudrata divides all alamkaras into two types :
1. Phonetic Form ( Sabdalamkara)
2. Meaning Form ( Arthalamakara)
Ruyyaka classified alamkara into seven classes on the basis of their meaning.
1. Sadsya
2. Virodha
3. Srnkhalabadha
4. Tarkanyaya
5. Lokanyaya
6. Kavyanyaya
7. Gudhartha Pratiti
It is only such Alamkaras as lend themselves easily to the development of Rasa that should fine a proper place in poetry.
Mammata envmerates sixty –one figures and groups them into seven types as...
1. Upama ( Simile)
2. Rupaka ( Metaphore)
3. Aprastuta Prasamsa ( Indirect decription)
4. Dipaka ( Stringed figures)
5. Vyatreka ( Dissimilitude)
6. Virodha ( Contradiction)
7. Samuccaya (Concatenation)
Bharata’s original four to sixty –one distinguished by Mammata .This taxonomy is not mere ingenuity; it represents global and local taxonomies , a refined analysis and classification of what ultimhately are modes of perception. The different classificatory systems can be seen to be based on the following parameters.
1. Objects Compared
2. Objects with which compared
3. Value of Figures
4. Semantic basis, such as simplicity
5. Grammar
6. Coherence with known facts
1. Upama
-Damayati is as beautiful as the Moon
2. Rupaka - Her voice is music to their ears.
Riti School : Riti is a theory of language of literature. Though it is described for the first time in Bhartmuni’s Natyasastra itself under the rubric of Vrtti. It is Vamana who developed it into a theory as the theory of “ Vishista Padracana” .Riti is a formation of or arrangement of marked inflected constructions .
Two other words used for riti are Marga and Vrtti.Dandin uses the term Marga and talks of two Margas. Mammata designates the different modes as Riti.
“Every writer has own style to write with own originality.”
Vamana lays down in clear terms; ‘Ritiratma Kavyasya’- Riti is the soul of poetry and working out this figurative description he points out that the word and its sense constitute the body of which the soul is the “Riti.”
Riti correlate with… Themes , Effect on the viewers, Sentiments. Bharata in Natyasastra has all the three in mind in his discussion of Vrttis:
· Kaisiki
· Bharati
· Sattavati
· Arbhatti
“Style is a man.”
Dhvani School :
The theory proposed in Dhavnyaloka by Anabdvardhana is known as the name of “ Dhvani”. ‘Dhvnyaloka’ itself a huge compendium of poetry and poetics styles. Dhvani means..
“The suggestive quality of poetic language.”
Anandvardhana established element Dhvani as the soul of poetry . In Anandvardhana’s view it is this structure , which is the total effect of the suggestive quality of language that distinguishes poetry from the ordinary usage language. His theory , appropriately exerted an abiding influence on the succeeding generations of theoreticians in India.
Dhvani; Structure of poetic meaning soul of poetry is suggestion, some would ever its non- existence, some would regard it.
“Dhavnyaloka’ is the mile stone Grantha of Indian poetics.”
Anandvardhana saw the essence of poetic meaning in the suggested or implied sense rather than in the literal meaning of the words of the poem.In the end of the poetry- Theory of suggestion prevailed and together with the classification of poetic en\motions formed the key-stone of almost all the important works on poetics after 12th century.
To define Dhvani, it is very necessary that we have language and language plays with us through words. Bhavas are more important to feel poetry, enjoy poetry than any other things.In “ Dhvanyaloka”, Anandvardhana has presented a structural analysis of indirect literary meaning.
According to V.S.Seturaman ,
“That kind of poetry, where in the meaning renders itself secondary or the word render itself meaning secondary and suggests the implied meaning is designed by the learned as ‘Dhvani’ or’ Suggestive Poetry.’
Anandvardhana says that this term is taken directly from the grammarians , just as the sounds of utterance reveals the integral linguistic sign so also a good poem with its sound , as well as reveals over and above the literal sense, a charming sense which has great aesthetic valley considered as suggestive poetry.
Moreover he says that beautiful ideas in poetry are of two kinds:
1. Literal
2. Implied
The grammarians define “Dhvani” with the use of “ Sphotta” theory. Briefly stated ‘Sphotta’ is a ‘linguistic’ sign in its aspect of meaning.
Dhvani theory is a theory of meaning, of symbolism , and thid principle leads to the poetry suggestion being accepted as the highest kind of poetry.Anandvardhana integrates Rasa theory with his Dhvani theory . Dhvani is the method , the means , for achieving or evoking Rasa , which is the effect of suggestion.
Abhidha : Direct meaning
Lakshana: We have direct meaning but we have to take another one, which is not that direct
Vyanjana : There is the existence of direct meaning yet we have to use another meaning of word.
Example :
“ I would be rather born as tree, stanted and shorn of leaves in the forest that as a generous but poor person in this world of men.”
The expressed ideas in this example convey the uselessness of the life of a person who is generous but poor and praise of the life of a bare ,stanted tree suggestively , however comparison is intended between the above mentioned tree and the person to bring out the idea that such a man deserves for more pity than the free in the vegetable kingdom. This type of distinction between two objects described is called Vyatiraka or contrast and than fancied contrast between the tree and the man is suggested here.
“ Poetry which does not contain any suggested sense can not be considered as good poetry, however charming the expressed sense may be.”
In poetry , of course we see the communication of a new meaning by the agency of Ironic tone.
“ A good poet should be extremely careful so far as that sentiment is concerned.”
The Dhvani theory of meaning came in for criticism at hands of Nyaya and Mimamsa thinkers.The opponents said that……………..
1. Dhvani is inonexistent.
2. Dhvani is a product of inference and is to be include under Lksana .
3. Dhvani is something beyond the realm of words.
Dhvani is not Laksana. It can be evoked by an idea a figure of speech or even emotion.
E.g.
Even in the absence of Laksana , the word Ganga can suggest Purity and Sanctity.
5.Vakrokti School :
Kuntaka made Vakrokti a full fledged theory of literariness. His definition of Vakrokti is …….
“ Both words and meanings marked by artistic turn of speed.”
It claims that the characteristic property of literary language is its ‘markedness.’
Kuntaka is known as the originator of Sanskrit literary theory. Vakrokti is a theory of poetry which perceives poetry essentially in terms of the language of its expression. It sees the poetic language as language of metaphor and suggestive communication.
The Sahitya or mutual coherence between word and meaning in respect of beauty is nothing but a unique poetic usage , involving neither more nor less than exact form of word and meaning required to make the whole beautiful.
“ Vakrokti turns into ‘Beauty’.”
All things which is belonged to Nature is ‘Vakra.’
Kuntaka classifies Vakrokti into six heads…………..
· In syllables , on their arrangements
· In the base substantives
· In inflected forms of substantives
· In sentences , including figure of speech
· In topics or section
· In the whole composition.
Kuntka incorporates Rasa , alamkara, Riti, and guna theories into his Vakrokti Sidhanta. Vakrokti was not was not discussed as as separately by later theorists but it has always been discussed as an important element.
Vakrokti theory is a useful framework for stylistic analysis of literature.
6. Aucitya School :
Aucitya is harmony and in one aspect it is proportion between the whole and the parts between the chief and the subsidiary . This perfection is all the morals and beauty in art. At the final stage of its formation as a theory explaining the secrect of poetic appeal. Aucitya is stated to be the Jivita, life – birth of poetry.
The theory of propriety or appropriatness claims that in all aspects of literary composition. There is the possibility of a perfect , the most appropriate choice of subject, of ideas of words , of devices.
Ksemendra made aucitya the central elements of literarinmess . He defines aucitya as the property of an expression being an exact and appropriate analogue of the expressed.
The concept of propriety with reference to custom, subject , character and sentiment recurs in almost all theorist and is often discussed in association with figures of speech , guna/dosa and rities.
Ksemendra’s discussion of the principle of Aucitya is from the point of view of bith the writer and the reader and is articulated in its given cultural and philosophical context.
Dhvani is Vyanjana , Rasa is a highway of opticism not only for Indian literary but also for the study of European literary , a sure and certain method.
Emphasizing Rasa , one school accepts Dhvani or suggestion, while another school accept Rasa emphasizing Unnaya.
Dhvani , the later says , is a sort of inference , a quick anticipatory way of inference. These three run after Aucitya , Gunas ,Alamkaras, and Ritis, these are emphasized in special ways.
Thank You.
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