Indian Poetics

Hello readers, I'm writing this blog as a response to Dr. Dilip Barad sir's task. We had an expert lecture of famous gujarati poet, writer and literary critic Vinod Joshi from 5th to 13th January 2023. He taught Indian Poetics to us. He discussed various schools of Indian Poetics like Rasa, Dhvani, Auchitya, Vakrokti, Riti and Alamkar. Here, In this blog, I try to give an overview of these sessions.

Indian Poetics:

What is Indian Poetics? We know the thing(વસ્તુ) but not the thingness(વસ્તુતા). We ignore many types of knowledge. Why do we read literature? Just for story or narrative comprehension? to have fun. How can literature give pleasure? What are its components? What are the ingredients or components of Literature? How are the ingredients combined? We are students of literature. It is our responsibility and we are answerable. We have to go deep into the mysteries of literature. As a sculptor can look at an image in stone, can we see something more than what we see? This is a matter of moving from the gross to the subtle in which the idea of turning back to the object, not just the object, is predominant. If we read any novel, we should interpret it according to our understanding. Literature's pleasure is relative. And what you will understand, others will not understand. When we think of concern we become cautious. The realization of art is a personal matter. Literature transforms our emotions into thinking. 

Bharata, Anandavardhana, Kuntaka, Mammat, Vamana, Bhamah show a great difference. Western Criticism talks more about the influence of literature. Eastern or Indian Poetics contemplates its process. Indian Poetics is more subtle. Have to concentrate more. It is difficult to connect with it.

The motifs of Indian literary mimansa are rasa, dhvani, alamkar, vakrokti, and riti.

1.  Rasa:

Why is literature broadly interested in art? Why get pleasure? How to get it? Find out the reasons.  Why do we like poetry? Why do we like some poems so much?  Let's find out...

Indian Mimansa does this. Why interest occurs was first discussed by Bharat. Bharatamuni wrote a treatise called Natyashastra. Chapter 6 does Ras Mimansa.  Bharata has given the formula Kehtak has defined Rasa. The most personal thing in the world is 'ભાવ'. The emotion (ભાવ) is natural. Broadly speaking, the value of dislike is expressed in the group as well. Literature and Literature only helps us to understand life. Bharatamuni has analyzed these 'ભાવ'. Those inherent emotions cannot be eradicated. It can be stopped, if anger comes it can be stopped but it cannot be eradicated. Love, anger, hatred, lust, compassion are all emotions.

Synopsis of Bharata's Natyashastra is:

विभावानुभावव्यभिचारी संयोगात रसनिष्पत्ति:।

अर्थात: ભાવ, વિભાવ, અનુભાવ, તથા વ્યભિચારી ભાવના સંયોગથી રસનિષ્પત્તિ થાય છે.

Vibhav:

The reason through which Rasa comes out is called Vibhav.

 There are two types of vibhav

 1.  Aalamban Vibhava ~ inclined

 2.  Uddipana Vibhava ~ stimulus / catalyst

Uddipana is also very much needed in life. Poet Kalidasa composed Uddipana to evoke the feeling of love in Kehtake. This concept applies everywhere.

Anubhav (Reaction - પ્રતિક્રિયા):

Nothing happens from action, everything happens from reaction. Anubhava is followed by action.

An event of Kalidasa's Kumarasambhava, Parvati dances. शैलाधिराज तनया...

Shivaparvati's affection is felt.  The beauty of both is revealed. लीला कमल पत्राणि...

Rasa is accomplished by the combination of vibhav, anubhav and sansaribhav

Sthayi Bhav (સ્થાયીભાવ):

It simply floats within each one of us.

સ્થિરભાવ is shown as સ્થાયીભાવ.

Sthayi Bhava is explained by Bharata through commentary. आहार निद्रा भय मैथुनश्च। Bharata has described eight emotions. Mammat introduced the ninth rasa.

સ્થાયીભાવ:

રતી > શૃંગાર 

શોક > કરુણ 

ઉત્સાહ > વીર 

ક્રોધ > રૌદ્ર

હાસ > હાસ્ય 

ભય > ભયાનક 

જુગુપ્સા (ચિતરી) > બિભત્સ્ય

વિસ્મય > અદભુત 

શમ > શાંત 

श्रृंगार करुण वीर रौद्र हास्य भयानक 

बिभत्यद्भुत शान्तश्च नव नाट्ये रासा: स्मृता ।।

अर्थात्: ખેવના, ચીવટ, દાનત, તાત્પર્ય, એકાગ્રતા, જિજ્ઞાસા તમે જે કલા શીખો છો તેની દ્રષ્ટિ પરખવાની હોવી જોઇએ.

Rasa and Dhavanya are two schools of Sanskrit tradition.

Sanchari Bhav(સંચારિભાવ - વ્યભિચારીભાવ):

When emotions are Come and go immediately, they are known as Sancharibhav. Acharya Mammat has given 33 Sanchari Bhav.

Sanyog:

Bharata used the word 'સંયોગ'. A combination of bhav, vibhav and anubhav. What is Ras Anubhav?  Who is called? It is not compromise but involvement that brings acceptance.  We don't like many things in life but we do carry on. Don't feel the burden of acceptance. Acceptance is the emotion of receiving. Acceptance is સંયોગ.

Anti-critics talk about Sanyog. Among the many commentators(ભાષ્યકાર) four Acharyas did:

૧. ભટ્ટ લોલ્લટ 

૨. શ્રી શંકુક 

૩. ભટ્ટ નાયક

૪. અભિનવ ગુપ્ત

Bhatt Lollat:

Bhatta Lollat says, "Interest does not exist, interest has to be produced." How is interest generated?  In the play, the interest is through the character.  Sringararas has been expressed for the exaltation of the eternal spirit named Rati. Lollat talked about the character created by the poet and the pursuit of that character. The principal's interest has to be endorsed. Bhatta Lollat's entire argument is known as derivationalism(ઉત્પતીવાદ)

Shree Shankunk:

Rasa is neither created nor generated, rasa is only perceived or inferred.

There are 4 types of Pratithi

 1.  True conviction (યથાર્થ પ્રતીતિ)

 2.  False conviction (મિથ્યા પ્રતીતિ)

 3.  Suspicious conviction (સંશય પ્રતીતિ)

 4.  Similar conviction (સાદૃશ્ય પ્રતીતિ)

Based on these four pratithi, we infer character.

Bhatt Nayak:

He has given the principle of normalization (સાધરણીકરણ). When Nut feels the feelings of the original character in himself and the audience also feels this feeling through Nut, it is called generalization. The intensity of the perception of interest increases as that interest is enjoyed.  There is no conviction until interest is experienced.

Abhinav Gupta:

It is not enough to enjoy but churning should be done.  Tastes and juices are different.  Chew it and feel the sensation when it is absorbed. Bharata has said Rasa Nishpatti, Disruption of Rasa, Rasabhasa, Peya points.

 "પ્રકાશાનંદમય જ્ઞાનની પ્રતીતિ, અનુભૂતિ કરાવે તેનું નામ રસ"

                                                              -અભિનવ ગુપ્ત

2.  Dhvani:

Anandvardhan, the originator and pioneer of soundism. Sampradaya Dhavanyaloka Where there is motion there is Dhvani. Motion is the cause of Dhvani.

The medium of literature is language. But why is criticism possible without linguistics? Word has no meaning. Meaning is imputed. Imposed meaning. In language we attach meaning. Someone is late and you say, "Why are you early today?" This is Dhvani. We are always in a rush to catch this Dhvani. Not all understand the same. 

Example of Abhijyan Shakuntala, Dushyanta abandons Shakuntala, playing with the lion cub Sarvadaman (Shakuntala's own son) in sage Marichi's ashram. Dushyant is worried. At the same time, Shakuntala comes out of the cottage. A tapasi asks to bring shankut (sarang / peacock). "शंकुत: लावन्यम प्रेक्षस्व:।" If the elegance of this Shakuntala. This is the power of the word. The joy of literature comes to us through its fulfilling Dhvani.

Abhidha:

Abhidha which gives the Direct meaning while reading. It gives real meaning. Literature is the combination of words and meaning. 

"શબ્દ અને અર્થ એ બંને સાથે હોવા જોઈએ, એ બંને એક જ છે." (આનંદવર્ધન)

Lakshana:

We have direct meaning but we have to take another one. 

Vyanjana: 

There is the existence of direct meaning yet we have to use another meaning of word.

Pratiyman (પ્રતીયમાન):

That which is not and understood is પ્રતીયમાન.

'શબ્દ માંથી નીકળતા પ્રતીયમાનને આનંડવર્ધન ધ્વનિ તરીકે ઓળખાવે છે'

In which the word and meaning become secondary and the pratiyman arth manifests it is called Dhvani.

For example:

અંધારું થયું:

- વચ્યાર્થ - પ્રકાશ ચાલ્યો ગયો.

- પ્રતીયમાન અર્થ - કોઈનું મૃત્યુ થયું.

विभातिलावण्यमिवांग्नासु।

अर्थात्: સ્ત્રીના સૌંદર્યની જેમ ધ્વનિ શોભે છે. 

There are three types of Dhvani:

Vastu Dhvani:

Based on thought is called vastu Dhvani.

For example: તું જ્યાં છે ત્યાં મારો બીજો જન્મ થજો.

Alankar Dhvani:

In which alankar is used is called Alankar Dhvani.

For example: દમયંતીનું મુખ ચંદ્ર જેવું છે.

Rasa Dhvani:

In rasa dhvani, emotion becomes the stimulus and emotion is made effective.

For example: "સાવરિયો રે મારો સાંવરિયો...  હું તો ખોબો માંગું ને દઈ દે દરિયો."

3.  Vakrokti:

Kuntaka is known as the originator of this Sanskrit literary theory. Vakrokti is a theory of poetry which perceives poetry essentially in terms of the language of its expressions. Here Vakrokti turns into beauty.

Kuntaka was a Sanskrit poetician and literary theorist of who is remembered for his work Vakroktijīvitam in which he postulates the Vakrokti Siddhānta or theory of Oblique Expression, which he considers as the hallmark of all creative literature. 

Six type of Vakrokti:

Varnvinyas Vakrata (વર્ણવિન્યાસ વક્રતા)

Padpurvardh Vakrata (પદપૂર્વાર્ધ વક્રતા)

Padparardh Vakrata (પદપરાર્ધ વક્રતા)

Vakya Vakrata (વાક્ય વક્રતા)

Prakran Vakrata (પ્રકરણ વક્રતા)

Prabandh Vakrata (પ્રબંધ વક્રતા) 

4.  Alamkara:

Bhamaha is the first who introduced alamkara poetics. Second and third chapter of Kavyallamkara deals with 35 figures of speech.

Types of Alamkara:

Arthalamkara

Shbdalamkara

Vastava (Realistic)

Swdt (Eluviation)

Anupamaya (Comparison)

Slesh (paronomasia)

Astisaya (Exaggeration)

Citra (Pectoris)

Slesa (Coalescence)

Yamaka (Repetition)

Anuprasa (Alliteration):

Mammata enumerates sixty-one figures and groups them into seven types like…

1.Upma(simile)

2.Rupaka(Metaphor)

3.Aprastuta Prasmsa(Indirect decription)

4.Dipaka(Stringed figures)

5.Vyatreka(Dissimilitude)

6.Virodha(Contradiction)

7.Samuccaya(Concatenation)

5.  Aucitya:

Kshemendra’s discussions of the principle of Aucitya is from the point of view of both the writer and the reader and is articulated in its given cultural and philosophical context. Kshemendra made aucitya spine elements of literature. He defines aucitya as the property of an expression being an exact and appropriate analogue of the expressed. 

6.  Riti:

Riti is the way of presentation or the style of presentation. He is one who developed it into a theory of “Vishista Padrracana” . Riti is a formation of arrangement of marked inflected constructions. Vamana’s scheme of the Gunas can tabulated thus:

Word count: 1605