Indian Poetics

 

Indian Poetics

So here I am going to share a brief experience of lectures delivered by Poet Vinod Joshi on Indian poetics. First of all let's get some information about Indian Poetics.

Introduction :-

There cannot be any poetry without words. Indian Poetics evolved out of dramaturgy. The poetry evokes 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 success of a good Kavya involves three aspects:-

• Pratibha ( the poet’s creative inspiration)

• Body of the Kavya (its form by way of word and meaning)

• Rasa (the aesthetic effect)

 Bharata's  Natyasastra is the earliest known treatise on Poetics and dramaturgy. His Natyasastra mentions four Alamkaras( Poetic figure), ten Gunas (excellences), ten Dosas (defects) and thirty six Laksanas (characteristics) of poetic composition. (Shodhganga).

In Indian poetics, scholars had different viewpoints, so they formed different sampradayas (school of thought). The chief schools are:-

                       

1. Alamkara (poetic figure)

2. Rasa (aesthetic pleasure)

3. Riti (style)

4. Guna (attribute)

5. Dhvani (suggestion)

6. Vakrokti (obliquity)

7. Aucitya (propriety)

1. Alamkara:-

Bhamaha is considered as a founder of this school. Udbhatta, Dandi, Rudrata, Jayadeva all are the followers of this school. This school believes that there is rasa, riti in the poem but the alamkara is the dominating feature of it.

When the alamkara depends on the word it means if we change the word it does not appear then it becomes shabd-alamkara and when it depends on the meaning it is called as arth-alamkara.

  

1. Shabdalamkara :-     Shabda + Alamkar (The meaning of sound.)

2. Arthalamkara :-    Artha + Alamkar ( The meaning of word & thoughts.)

Generally we are also very well known about ideas of Amkara theory and sometimes suddenly identify with Alamakar and which were used in contrast.

Ex.

• સુણ ચક્ષુ! હું પાંગ‌‌‌ળુ, તું મારું વાહન.

• T.S.Eliot's 'The waste 

• There are rocks and rocks and no water anywhere.

• Robert Frost's 'Miles to Go'.

2. School of Rasa:-

Vinod Joshi sir discussed the most prominent pioneer of Indian Poetics- Bharat Muni and his NatyaShastra and its sixth chapter called Rasa.Sir discussed with us in detail about the literal meaning of Rasa and Bhav. Rasa is present in every work of literature.

What is RASA? 

accomplice by thrill and a sense of joy is Rasa.” In the sixth chapter of Natyashashtra he explains NATYARASA and RASA as the soul of poetry.  

विभावानुभावव्याभिचारी संयोगात रसनिष्पत्ति ।

He has mentioned nine Rasas in Natyashastra with its colour and god.The nine prominent Rasas originate from their respective Sthaýibhav.

बीभत्साद्भूतशांतश्च नवनाट्येरसास्मृता।।

                   - भरतः नाट्यशास्त्र

                    - छंद अनुष्टुप

Worthy to note that RASA comes out only because of these four BHAVAS Vibhav, Anubhav,  Sancharibhav, Sthayi Bhav.We can say that Natysastra is the foundation of fine arts in India.

Sir gave an example of T.S.Eliot’s Murder in the Cathedral, Film Mughal-E-Azam and Kalidasa’s Abhigyanshakuntalam and Malti madhav.

3. School of Dhvani:-

The theory proposed in Dhvanyaloka by Anabdvardhana is known as the name of “ Dhvani''. ‘Dhvanyaloka’ itself is a huge compendium of poetry and poetics styles. Dhvani means……

“ The suggestive quality of poetic language.”

Anandvardhana established the 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.

Dhvanyaloka' is the milestone Grantha of Indian poetics.”

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.

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…………….

4. School of Riti:-

Acharya Vamana had given importance to Riti in his work “Ritivichar”

'रीतिरात्मा  काव्यस्य ; विशिष्टापदरचना रीति: |'

 While discussing this theory, Sir referred to Shakespeare's drama and his own . Sir also explained in detail on four major Styles of Writing-

🔷Vaidarbhi

 🔷Panchali

🔷Gaudiya

🔷Lati

In general sense , we all have same behavior but we are thinking differently. In this creation of poetry creator involved his characteristics or himself. In general way, we can say that ………

        

        “ Every writer has own style to write with own originality.”

So, this Self- identification also known as ……….” Riti.”

                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.”

5. School of Vakrokti:-

Vakrokti is the theory of language of literature. KUNTANK was the father of this theory and development of ideas about simple and different ways of performance.

Vakrokti :-  Vakra  +  Ukti

Vakra :- Crooked indirect or unique.

Ukti :- Poetic expression or speech

In the whole range of Sanskrit poetics, the term Vakrokti took altogether a new significance and the highest position as the all pervading poetic concept in kuntaka's vakrokti jivita. He revived the concept from more verbal poetic figures to the lessons of poetry. Further taking a close look at the views of different theorists on Vakrokti, it exposes in detail Kuntaka’s theory of Vakrokti and makes its critical analysis in relation to various literary concepts-alankara, svabhavokti, rasavadalankara, marga and rasa.

Vakrokti theory is a useful framework for stylistic analysis of literature.

Vakrokti, emanating from the creative faculty of the poet, endows poetic language strikingly and causes aesthetic delight to the reader. The word Vakrokti consists of two components – ‘Vakra’ and ‘Ukti’. The first component means ‘crooked, indirect or unique’ and the second means ‘poetic expression speech’.

6. Auchitya:-

We can say that Kshemendra is the founder of Auchitya School. The other nearest meaning of this word is' Perfect' or we can also say 'Complete'. It is true that nature functions itself but only we human beings try to make perfect or try to add perfection in almost all the things.

 In literature, Auchitya plays a vital role. If Auchitya is missing in the work of art then that work of art will not be able to create that much effect. And for that it is compulsory that the meaning or we can say that the words used by the author must be conventional. The theory of property or appropriateness 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 as such, it has affinities with Longinus's theory of the sublime.

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.