Indian Poetics & Aesthetics (ThAct)

 Greetings!! Everyone This blog is a part of thinking activity on Indian Poetics; given by Dr. Dilip Barad sir. 

Indian poetics stands as one of the earliest forms of literary criticism, tracing back to ancient times. Throughout India's scholarly history, numerous attempts have been made to define literary theories meticulously. Interestingly, each theory seems to hold its own validity, presenting a challenge in singling out a definitive one. Yet, amidst this diversity, certain key characteristics emerge, distinguishing and granting prominence to each theory within the realm of literary discourse.

A fundamental notion within Indian literary discourse revolves around the tripartite nature of imagery: dreams, the realm of memory, and imagination. Dreams and memories are immutable, beyond alteration or interruption. However, it is the realm of imagination that emerges as the pivotal force, offering a canvas for literary creation. This imaginative faculty serves as the cornerstone for the genesis of literary art, wielding the power to transcend boundaries and manifest intricate narratives.

Delving into Indian literary criticism necessitates an appreciation for the intrinsic connection between literature and self-reflection. Literature becomes a mirror through which we endeavor to envision ourselves, a profound exploration of the human experience. Within the framework of Indian Aesthetics, diverse schools of thought endeavor to elucidate various facets of poetics, each contributing to the rich tapestry of literary discourse.

> There are six schools of Indian poetics,...

1. Rasa theory by Bharata

   { For more information about Rasa                        theory CLICK HERE }

2. Dhvani theory by Anandvardhan

3. Vakrokti theory by Kuntaka

4. Alamkara by Bhamaha

5. Riti by Vaman

6.Auchitya by Kshemendra

FOR MORE DETAIL CLICK HERE

1. Dhvani Theory by Anand-vardhan:-

Dhvani theory is a fundamental concept in Indian poetics, particularly in the Sanskrit tradition, which elucidates the multilayered significance and aesthetic experience of poetry. Dhvani, literally meaning "suggestion" or "resonance," goes beyond the literal meaning of words to convey deeper emotions, sentiments, and aesthetic experiences to the reader or listener.

The significance of Dhvani theory lies in its ability to elevate poetry from mere linguistic expression to a profound aesthetic experience. It acknowledges that the beauty and power of poetry lie not only in its surface meaning (vachya artha) but also in its suggestive or evocative meaning (dhvani). This theory recognizes the subjective response of the reader or listener, emphasizing the role of suggestion and resonance in evoking emotions, creating imagery, and conveying the poet's intended message.

Anand-Vardhan was the originator critic of Dhvani theory and he wrote a book on Dhvani named "Dhvanyalok".

Simply we can say that "Dhvani" means with help of this theory one can complete a word or produce sound and make a whole word. One example of Dhvani theory,

                            "તમારી લાલ પેન્સીલ મને આપો."

> According to Dhvani theory; given example we can interpret like this,

1. 1. Emphasis on "Your":-

2. 
   

3. "Your pencil, red pencil, give, and give it to me" could imply that the speaker is addressing someone about their pencil, which happens to be red, and they're requesting it be given to them.

4. 
   

5. 2. Emphasis on "pencil":-

6. 
   

7. "Your pencil, red pencil, give, and give it to me" might suggest that there are multiple items being mentioned, such as two pencils, one of which is red. The speaker then requests that one of the pencils be given to them.

8. 
   

9. 3. Emphasis on "red":-

10. 
    

11. "Your pencil, red pencil, give, and give it to me" could indicate that there are multiple pencils, but one is specifically red. The speaker might be expressing a preference for the red pencil and requesting it be given to them.

12. 
    

13. 4. Emphasis on "give":-

14. 
    

15. "Your pencil, red pencil, give, and give it to me" could imply a sense of urgency or insistence on the action of giving. The speaker may be emphasizing the act of giving the pencil to them.

16. 
    

17. 5. Emphasis on "it":-

18. 
    

19. "Your pencil, red pencil, give, and give it to me" could suggest that there is something specific about the pencil being referred to, perhaps its color or its condition. The speaker is requesting that particular pencil be given to them.

20. 
    

21. 6. Emphasis on "me":-

22. 
    

23. "Your pencil, red pencil, give, and give it to me" might imply that the speaker is emphasizing who the pencil should be given to, asserting that it should be given to them specifically.

"Acharya Mammata devides Dhavni in three parts."

शक्तिःकावितवबीजरूपे संस्कारविशेसप्राप्ते याम्विना काव्य न प्रसरित।

> In Raghuvansh Kalidas compared Shabda and Artha to Lord Shiva-Parvti.

वागर्थाविव सम्पृक्तौ वागर्थप्रतिपत्तये ।

जगतः पितरौ वन्दे पार्वतीपरमेश्वरौ ॥

> Three types of Dhvani:-

1. अभिधा (Abhidha) >> It refers to direct or literal meaning. It is the straightforward interpretation of words or expressions without any implied or suggested meaning.

2. लक्षणा (Lakshana) >> Lakshana refers to suggested or implied meaning. It involves understanding the intended meaning beyond the literal interpretation of words or expressions. It includes figures of speech, metaphors, similes, etc.

3. व्यंजना (Vyanjana) >>  Vyanjana refers to the suggested meaning that arises from the implication or suggestion within the context. It involves understanding the subtle nuances or connotations of words or expressions beyond their literal meaning.

2. Vakrokti Theory by Kuntaka:-

शब्‍दार्थौ सहितौ वक्र कवि व्‍यापारशालिनि।

बन्धे व्‍यवस्थितौ काव्‍यं तद्विदाह्लादकारिणी।।

In his work "Vakrokti-jivitam," Kuntaka highlighted the significance of transcendent expressions. Vakrokti, which embodies a poetic finesse, entails statements that diverge significantly from ordinary speech, known as Loka-varta. This concept is intricately linked with the aesthetics theory, emphasizing the artistry and uniqueness of poetic utterances.

> Example:-

"જેવા નાહ્યા પછીના નખ કૂણાં, સખી મારા સાજન એવા સલુણાં"

> Vakrokti can be divided in six categories:-

1.વર્ણવિન્યાસ- the phonetic level:-

Repetation of varna and music in it.

नव कंज लोचन कंज मुखकर कंज पद कन्जारुणम ।

2. પદપૂર્વાર્ધ- the lexical level:-

હરિવર મુજને હરિ ગયો મેં તો કઈ હેત કીધું નોતું 

3. પદપરાર્ધ- the grammatical level:-

The whole sentence is depended on first letter.

4. વાક્યવક્રતા- the sentential level:-

An enchanting description of an object.  

"To be or not to be, that is the question."

"સંપ ત્યાં જંપ"

5. પ્રકરણ- the contextual level:- 

Taking a part of any literary art or legend and enlargement of it by poet’s own interpretation.

Antony's speech in Julier Caesar and Viti Abhignan in Abhignan Shakuntalam are examples of it. If we remove this then whole work would be meaningless. 

6. પ્રબંધ- the compositional level :-

One linear meaning of a whole text or any literary art. 

1. રામાયણ- સદબુદ્ધિ અને લોકકલ્યાણ 

2.મહાભારત- દુઃખ સનાતન સત્ય 

3.હિતોપદેશ અને પંચતંત્ર ની વાર્તા

3. Alankara by Bhamaha:-

Bhamaha thinks that there can be no alamkara without vakrokti since this is the factor that differentiates between the language of poetry and the language of ordinary life. Poetical language aims at being striking and arresting. It is Vakrokti that provides poetry with the strikingness of both language and thought. According to Bhamaha strikingness of meaning is at the root of all poetic figures. Although some scholars before Bhamaha considered Varta and Swabhabokti as alamkara but Bhamaha thinks that such matter of fact statements comprise of words that are only news and as such cannot be called Kavya.

Almkara, which translates to "ornaments," serves as a literary embellishment. Figures of speech or metaphors are employed in literature to enhance language's allure. According to Bhamaha, if Almkara is glaringly obvious in a poem, the poet has faltered. The art lies in subtly weaving Almkara into the text, ensuring its presence is not overt yet adds pleasure to the reading experience. Vishvnath, in Sahityadarpna, delineates 96 such Almkaras.

1. Upama or Simile

2. Rupaka or Metaphor 

3. Atishayokti or Epithet 

4. Anuprasa or Alliteration

5. Vakrokti or Irony

6. Dhwani or Suggestion

4. Riti by Vamana :-

The concept of Riti was highlighted by Dandin and Vamana. Theory of Riti relates to the particular arrangement of sounds combined with poetic excellence. Riti is the going or the flowing together of the elements of a poem. The language and its structural form lead us to the inner core of poetry.

'रीतिरात्मा काव्यस्य; विशिष्टापदरचना रीति: |'

Riti, in essence, embodies style. Acharya Vamana's poetic masterpiece, Kavyalankasutra, delves into the concept of riti. According to Vamana, riti represents the formless, indeterminate essence of poetry. He asserts that, akin to the soul within every body, every piece of poetry possesses its own distinct riti. Vamana succinctly declares that riti is the very soul of poetry (रीतिरात्मा काव्यस्य), encapsulating the profound connection between form and substance in literary expression.

Different patterns or styles often dictate the writing style, influencing the form in which a piece is crafted. For instance, a sonnet typically adheres to the structure of 14 lines, while a drama is usually presented in dialogue form. Kalidasa is renowned for his mastery of the 'Vaidarbhi Shaili,' a particular style of writing. Other notable styles include Panchali, Gaudi, Lati, and Vaidarbhi, each contributing unique characteristics to literary compositions.

5. Auchitya by Kshemendra

उचितं प्राहुराचार्याः सदृशं किल यस्य यत्।

उचितस्य च यो भावस्तदौचित्यं प्रचक्षते॥

He remarked that Auchitya breathes life into poetry (Kavyasya jivitam), which is adorned with Rasa. Auchitya, he emphasized, stands as the cornerstone of Rasa. It is demonstrated by the seamless alignment between the conveyed sounds and the evoked Rasa. Furthermore, he defined Auchitya as the commendable quality that enriches poetry with joy. Kshemendra posited, "Auchitya is when one element aptly fits or harmonizes with another; it's what defines appropriateness."

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