Indian Poetics

Thinking Activity : 

 Indian Poetics

This blog is based on Thinking Activity which is assigned by Dilip Barad Sir in which I am going to talk about the topic of Indian Poetics and I am going to discuss the Rasas' Dhavani' Alankar; Dhavni etc.

 

Rasa in Sanskrit it means "essence"; "taste"; or "Flavour"; literary.

In this blog I will deal with various concepts of Indian Poetics like Rasa, Riti, Vakrokti, Alankara, Dhvani, and Auchitya.in this blog I am going to give basic understanding about this school. The lectures of Indian Poetics were taken by a most prominent Gujarati Writer, Poet and Critic as well as Prof. Vinod Joshi sir in department of English m.k.b.u.

Introduction:

Ancient Indian literary criticism predominantly flourished in Sanskrit, encompassing disciplines such as Sahityasastra, Alamkarshastra, Kavyashstra, and Kavyamimansa. Poetry, aiming for Rasanubhuti or aesthetic pleasure, played a central role in this rich tradition.

Sanskrit poetics, an integral part of Indian poetics, laid the foundations for various theories, including Rasa, Vakrokti, Alamkara, Auchitya, and Riti. These branches collectively offer a profound understanding, serving as the bedrock for literary analysis.

In the realm of language, considered a vocal symbol, interpretations based on experience have inherent limitations. Criticism, by broadening one's vision, becomes a vital tool for evaluating works of art. Indian Poetics, with its classifications and categories, serves as a deep wellspring for exploring the nuances of literature.

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

 Let's explore each of these literary theories along with examples:

1. Rasa Theory by Bharata: 

Bharata Muni, an ancient Indian sage, developed the Rasa theory, which focuses on the emotional responses evoked in the audience through literature, particularly in Sanskrit drama. According to Bharata, there are nine rasas or aesthetic experiences: love (shringara), laughter (hasya), sorrow (karuna), anger (raudra), energy (veera), fear (bhayanaka), disgust (bibhatsa), wonder (adbhuta), and peace (shanta). Each rasa is associated with a dominant sentiment or emotion that the audience feels while experiencing the work. For example, in the play "Shakuntala" by Kalidasa, the portrayal of romantic love evokes the shringara rasa in the audience.

2. Dhvani Theory by Anandavardhana : 

Anandavardhana, a Kashmiri philosopher and literary theorist, developed the Dhvani theory, which focuses on the suggestive power of language and the emotional impact it has on the audience. According to Dhvani theory, the primary purpose of poetry is to evoke a dhvani or suggested meaning beyond the literal words. This suggested meaning can be understood through the use of suggestive language, imagery, and symbols. For example, in the poem "The Road Not Taken" by Robert Frost, the choice of the less-traveled road serves as a metaphor for life decisions and the idea of forging one's own path.

3. Vakrokti Theory by Kuntaka: 

Kuntaka, a Kashmiri poet and critic, developed the Vakrokti theory, which emphasizes the use of indirect or oblique speech in poetry. According to Kuntaka, vakrokti or twisted expression is essential for creating aesthetic pleasure in poetry. This twisted expression involves the use of figures of speech such as metaphor, simile, irony, and paradox to convey deeper meanings and evoke emotional responses in the audience. For example, in Shakespeare's "Sonnet 18," the speaker compares the beloved to a summer's day, using metaphor to convey the enduring beauty of the beloved.

4. Alamkara by Bhamaha : 

Bhamaha, an ancient Indian scholar, developed the concept of Alamkara, which refers to the ornamentation or embellishment of language in poetry. According to Alamkara theory, the beauty of poetry lies in its use of figurative language, such as simile, metaphor, personification, and hyperbole, to enhance the aesthetic experience of the reader. For example, in Emily Dickinson's poem "Hope is the thing with feathers," the comparison of hope to a bird using metaphor serves as an alamkara, enriching the poem with symbolic meaning.

5. Riti by Vamana:

 Vamana, an ancient Indian critic, developed the concept of Riti, which refers to the style or manner of expression in poetry. According to Riti theory, the effectiveness of poetry depends on its appropriate use of language, diction, and rhythm to convey the intended mood or emotion. Different styles of expression are associated with different literary traditions and genres. For example, the lyrical style of expression in Romantic poetry, characterized by vivid imagery and emotional intensity, reflects a particular riti or style.

6. Auchitya by Kshemendra: 

Kshemendra, an Indian poet and critic, developed the concept of Auchitya, which refers to the appropriateness or propriety of expression in poetry. According to Auchitya theory, the success of a literary work depends on the suitability of its language, imagery, and style to the subject matter and context. For example, in a poem about love and romance, the use of tender language and romantic imagery would be considered appropriate, whereas in a poem about war and conflict, more martial language and imagery would be expected.

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