Indian Poetics and Aesthetics

Indian Poetics and Aesthetics 

Hello readers,

This blog is based on Thinking activity which is assigned by Dr. Dilip Barad sir.

In ancient India, Sanskrit was the language of literary criticism, known as Sahityasastra. It encompassed various aspects like Alamkarshastra, Kavyashastra, and Kavyamimansa, all aimed at understanding poetry's purpose of evoking pleasure (Rasanubhuti).

Indian poetics, especially Sanskrit poetics, laid the groundwork for literary analysis. Concepts like Rasa, Vakrokti, Alamkara, Auchitya, and Riti emerged, offering deep insights into literature.

Criticism in Indian poetics widened perspectives on artworks since language is limited in expressing experiences. Simplifying complex ideas, Indian poetics classified various aspects, enhancing our understanding of literature.

It is devided in many catagories:

1. Rasa theory by Bharata

2. Dhvani theory by Aanandvardhan

3. Vakrokti theory by Kuntaka

4. Alamkara theory by Bhamaha

5. Riti by Vaman

6. Auchitya theory by Kshemendra.

Rasa theory by Bharata

Bharata refers to the human soul as Bhava-Jagat, translating to "the world of emotions." He extensively explored the theory of Rasa, which holds significant importance in both concept and context. Rasa is instrumental in creating a delightful atmosphere around feelings and emotions, drawing inspiration from the references found in the Upanishads. Through his work, Bharata delved into the diverse expressions within the realm of human experience, shaping our understanding of the intricate interplay between emotions and the world around us.

The theory of rasa is expounded in Chapter 6 of the Natya Shastra, an ancient Sanskrit text ascribed to Bharata Muni. Bramha's Srirti(world) is of Shad Rasa. (6 rasa)

ભાવનું ઉર્ધ્વીકરણ એટલે રસની પ્રાપ્તિ.

विभावानुभावव्यभिचारिसंयोगाद्ररस निष्पत्ति:।

"Rasa is produced from a combination of Determinants(Vibhava), Consequents(Anubhava) and Transitory States(Vyabhicharibhava)."

According to Sahitya Darpan, Sthayi Bhavas intertwine with Vibhav, Anubhav, and Vyabhicharibhav to evoke Rasa. These Sthayi Bhavas serve as the foundation, leading us to Sanchari Bhavas, of which there are 33 kinds, akin to the fleeting tides of the ocean, reflecting facial emotions or Mukhavaivarnya.

Satvik Bhavas, though often imperceptible, play a crucial role. For instance, in Kumarasambhav, when Narad conveyed Shiva's proposal to Parvati, her drooping eyelids exemplified Satvik Bhavas.

The line "બીજ માંથી પૂનમ દઈ દે સહેજ પાપં નમેલી ખોલી નાખ" by Manoj Khanderiya also exemplifies Satvik Bhavas, portraying subtle yet profound emotions.

Sthayi Bhavas : 

Bharat in Natyashastra describes eight rasas. Later on Abinavgupta add one more rasa namely "shanta" in it. 

"श्रृंगार करुण वीर

        रौद्र हास्य भयानका।

बिभत्सादभूत शांतश्व

         नव नाट्ये रसा: स्मृता ।।"

Table of Rasa :

Vibhav : 

Rasa emerges through the interaction between characters or elements within a narrative. For instance, in Abhijnanasakuntalam, the relationship between Dushyant and Shakuntala exemplifies Alambana Vibhava or Uddipana Vibhava. Similarly, in the story of Romeo and Juliet, they serve as Vibhava-Excitants, driving the emotional dynamics of the narrative.

 

Anubhav :

Places like the Tamala tree where Dushyant and Shakuntala met, the oak tree, and the garden in Romeo and Juliet serve as examples of Anubhav. However, Khemi by Ra. Vi. Pathak stands out as an exception in Anubhav because, for the arousal of Shringara Rasa, there needs to be a Yathochit or proper atmosphere. Another illustration is the Gujarati movie "Karsandas - Pay and Use."

Vybhichari Bhav :

Anubhav is akin to Sanchari Bhavas, representing transitory feelings born out of emotions themselves. For instance, depression can stem from sorrow. At times, these feelings are intertwined with more than one emotion; for instance, sickness, despair, and remorse may arise from sorrow.

Samyog :

The poet must synchronize elements in such a way that they seamlessly blend, much like sugar melting in milk, where they become indistinguishable from each other.

Dhvani school

Dhvani school of poetry was originated by Anandavardhana. He wrote “Dhvanyaloka” in the middle of the 19thcentury which brought focus on the potential power of the word in Kavya.Anandvardhana in Dhvanyalokam takes up three main types of implicit sese: Vastudhvani, Alankaradhvani and Rasa dhvani.

Next only to the rasa theory in importance, the dhvani theory of anandavardhana considers suggestion, the indirectly evoked meaning as the characteristic property of literary discourse, the determinant that separates it from other rational discourses. Dhvani becomes an embracing principle that explains the structure and function of the other major elements of literature- the aesthetic effect (rasa), the figural mode and devices (alamkara), the stylistic values (riti) and excellences and defects (guna-dosa).

In Dhvayyaloka, Ana presented a structural analysis of indirect literary meaning. He has classified different kinds of suggestion and defined them by identifying the nature of suggestion in each. According to V. S. SeturamnDhavani means "That kind of poetry, where in the meaning renders itself secondary or the word renders its meaning secondary and suggests the implied meaning is designated by the learned as 'Dhavani' or 'suggestive poetry'.

Riti School

              Riti is the theory of language of literature. The word Riti was first used by Bharata'sNatyasastra' itself under the republic of vrtti. But it was Vamana who first developed it into a theory of VisistaPadaracanariti'. In the very simple words formation of or arrangement of marked constructions is riti.

Two other words are used for riti are Marga and Vrtti. Later, around ninth century AD Anandavardhana distinguished this styles on the basis of the use of particular kinds of compounds. The Gunas have their potential being in this permanent source which Vamana regarded as the Atman of the Kavya and called it Riti. Hence the thesis "Riti is the Soul of a Kavya." 'RitiroatmaaKaavyasyaSareerasyeva'. Riti is to the Kavya what Atman is to the Sarira. It is necessary here to study the etymology of the terms Atman and Riti in order to realise the significance of Vamana's conception of the Soul of a Kavya. The word Atman is believed to have been derived from the root 'At meaning to move constantly or from the root Anmeaning to live, or perhaps from both.

The term Riti is derived from the root 'Ri' meaning to move. The identity of Riti with Atman | becomes complete when we take Dandin's metaphor of Gunas as Pranas. Just as the Atman is the Karana Sarira of a person, Riti is the Karana Sarira of a Kavya. The natural beauty or Sobha of a Kavya depends on the Gunas of its Soul which is Riti.

Vakrokti School 

                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'sVakroktijivita. Presenting the major schools of Sanskrit poetics, the book gives general definition of vakrokti and its multi- dimensional implications. Vakrokti means the hidden meaning of the work of art. The writer outs the message in the hidden way that at the first glance we will not be able to find the meaning of the poem or the sentence or any creative work of art. It is also a theory of language of literature. It claims that the characteristic property of literary language is its markedness'. Kuntaka made- Vakrokti a full-fledged theory of literariness.Vakrokti literally means deviant or marked expression. kuntaka's theory of vakrokti and makes its critical analysis in relation to various literary concepts-alankara, rasavadalankara, marga and rasa.

Auchitya School

                               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 that 'Complete'. It is true that the nature functions itself but only we human beings tried to make perfect or tried to add perfection in all most 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 aspect 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.

Thank you...