Welcome to my blog.This blog is a response to the thinking activity assigned by Dr. Dilip Barad. Its focused on Indian Poetics. Throughout this discussion, I am going delve into several concepts of Indian Poetics, including Rasa, Riti, Vakrokti, Alankara, Dhvani, and Auchitya. Notably, these lectures on Indian Aesthetics were delivered by the eminent Gujarati Writer, Poet, and Critic, Prof. Vinod Joshi.
Indian Poetics:
Indian poetics, known as Alankara Shastra, is a profound tradition deeply influencing the literary landscape of the Indian subcontinent. Rooted in ancient Sanskrit texts, it offers a holistic understanding of poetry and literature through branches like Kavya Shastra, Alankara Shastra, Dhvani Theory, and Rasa Theory. Key to Indian poetics is 'rasa,' evoking emotional experiences in audiences. It also explores language's nuances, using literary devices to enrich expression. Indian poetics merges artistic theory with philosophical inquiry, inviting contemplation of human experience and existence's mysteries.
Rasa:
The Rasa theory in Bharata's Natyashastra is a fundamental concept in Indian aesthetics and performance arts. According to Vinod sir Joshi, the Rasa theory is central to understanding the emotional impact of artistic performances.
In the Natyashastra, attributed to Bharata Muni, Rasa refers to the aesthetic essence or flavor evoked by a work of art, particularly in the context of performing arts like dance, music, and drama. The term 'Rasa' literally means "juice" or "essence," indicating the distilled emotional experience that the audience derives from the performance.
According to the Rasa theory, there are nine primary emotional states .
"श्रृंगार करुण वीर
रौद्र हास्य भयानका।
बिभत्सादभूत शांतश्व
नव नाट्ये रसा: स्मृता ।।"
1. Shringara (Love/Beauty):
This Rasa embodies the emotions of love, romance, and beauty. It encompasses feelings of attraction, devotion, and admiration.
2. Hasya (Laughter):
Hasya represents the sentiment of humor and laughter. It includes light-heartedness, joy, and amusement.
3. Karuna (Compassion):
Karuna evokes feelings of sympathy, empathy, and compassion. It encompasses emotions such as pity, sorrow, and empathy towards others' suffering.
4. Raudra (Anger):
Raudra is the Rasa associated with anger, fierceness, and aggression. It expresses emotions of wrath, fury, and indignation.
5. Veera (Courage):
Veera represents the sentiment of courage, heroism, and bravery. It includes feelings of valor, strength, and determination.
6. Bhayanaka (Fear):
Bhayanaka elicits emotions of fear, terror, and anxiety. It embodies feelings of dread, apprehension, and vulnerability.
7. Bibhatsa (Disgust):
Bibhatsa evokes the sentiment of disgust, revulsion, and aversion. It includes feelings of repulsion, loathing, and distaste
8. Adbhuta (Wonder):
Adbhuta represents the sentiment of wonder, astonishment, and awe. It encompasses feelings of amazement, marvel, and fascination.
9. Shanta (Peace/Tranquility):
Shanta is the Rasa associated with peace, tranquility, and serenity. It embodies feelings of calmness, contentment, and harmony.
These Rasas are elicited by the combination of various elements within the performance, including the portrayal of characters (bhavas), the mood or sentiment (sthayi bhava), the expression (abhinaya), and the accompanying music and rhythm.
According to the Natyashastra, the goals of theatre are to empower aesthetic experience, deliver emotional rasa. The text states that the aim of art is manifold. In many cases, it aims to produce repose and relief for those exhausted with labor, or distraught wit
h grief, or laden with misery.
Critics and Criticisms of Rasa Theory
Bhatt Lolltt:
Criticism: "Where does the essence truly lie?"
Interpretation: Bhatt Lolltt's perspective, termed as "Utpativad", questions the fundamental nature of rasa and its essence.
Shree Shankuk:
Criticism: "Rasa is a speculative concept, lacking empirical evidence."
Interpretation: Shree Shankuk's viewpoint, referred to as "Anumitivad, suggests that rasa is merely a theoretical construct without tangible existence.
Bhatt Nayak:
Criticism: "Rasa is commonplace, not extraordinary."
Interpretation: Bhatt Nayak's stance, known as "Sadharankaranvad", asserts that rasa is a commonplace experience rather than a profound phenomenon.
Abhinavgupt:
Criticism: "The realization of rasa emerges when creativity, contemplation, and dissemination converge."
Interpretation: Abhinavgupt's perspective emphasizes the transformative power of creativity and reflection, culminating in the appreciation and understanding of rasa.
Dhvani:
The Dhvani theory, as expounded by Anandavardhana, posits suggestion or Dhvani as the quintessence of poetry. Anandavardhana's seminal work, 'Dhvanyaloka,' elucidates that poetry thrives on the interplay of suggestion and the nuances of language. He emphasized the critical role of poets in crafting suggestive verses, harnessing the power of words and sounds to evoke profound emotions and ideas.
"Language is not wrong if understood," Anandavardhana declared, highlighting the significance of interpretation in poetry.
In essence, Dhvani encapsulates the synergy between words and their implied meanings, transcending the literal to evoke deeper sentiments and insights. This symbolic resonance enriches poetry, infusing it with layers of significance beyond surface-level understanding.
Acarya Mammata further classified Dhvani into three categories:
1. Abhidha: Direct meaning.
2. Lakshana: Indirect or suggested meaning.
3. Vaynjana: Secondary meaning with subtle nuances.
Each type of Dhvani contributes to the intricate tapestry of poetic expression, allowing poets to weave subtle meanings and emotions into their verses.
Now, let's delve into the three facets of Dhvani:
1.Vastu Dhvani:
The essence of Dhvani lies in the expression of thought through sound, where words become vessels for conveying deeper truths and sentiments.
2. Alankar Dhvani:
This aspect focuses on the use of literary devices or ornaments to embellish poetry, enhancing its aesthetic appeal and evocative power.
3. Rasa Dhvani:
the ornamentation of poetry takes a backseat to the unexpected revelation of emotions or Rasas, amplifying the impact of verse through profound emotional resonance.
In summary, Dhvani serves as the soul of poetry, transcending mere words to evoke profound thoughts and feelings. It is through Dhvani that poetry attains its true essence, resonating with readers on a profound level, leaving an indelible imprint on the soul.
Vakrokti:
Vakrokti theory, attributed to the pioneering insights of Kuntaka, illuminates the intricacies of poetic language and expression in Indian literary tradition. Kuntaka's conceptualization of Vakrokti, a fusion of "Vakra" meaning crooked or unique, and "Ukti" referring to poetic speech, unveils a realm where poetry transcends mere words.
For Kuntaka, every poem possesses an individual allure, beckoning to diverse tastes with its distinct charm. Central to his philosophy is the notion that even the subtlest hint or resonance, termed "dhvani," serves as a conduit for the poet's ingenuity. Vakrokti, in Kuntaka's vision, becomes synonymous with the very essence of aesthetic beauty inherent in poetic discourse. This concept intertwines seamlessly with vaichitrya (streakiness) and vichchitti (beauty), forming a tapestry of nuanced expression. Kuntaka's meticulous categorization of Vakrokti into six-fold classifications offers a structured lens through which one can delve into the depths of poetic expression, unraveling its manifold layers of meaning and significance.
Kuntaka's Vakrokti theory is a significant milestone in Indian literary tradition, offering a nuanced understanding of poetic expression. His six-fold classification system categorizes Vakrokti into Upama (Comparison), Rupaka (Metaphor), Dhvani (Suggestion), Yamaka (Wordplay), Rasa (Aesthetic Flavor), and Guna (Quality). These categories delve into the intricacies of poetic language, exploring techniques like similes, metaphors, suggestion, wordplay, emotional resonance, and aesthetic appeal. Through this framework, Vakrokti enriches poetry by adding layers of meaning and complexity, elevating its beauty and richness. Kuntaka's contribution remains highly regarded in the realm of Indian poetics, continuing to inspire scholars and poets alike.
Alankara:
In the poetic theory, Alamkara-shastra once reigned supreme as the foremost discipline of poetics. Despite the simultaneous presence of rasa, guna, and riti, Alamkara held sway, lending its name to the entire field. However, with the emergence of the Dhvani school as a dominant force, this nomenclature began to appear inadequate, leading to the adoption of the broader term "Sahityashastra."
Bhamaha is revered as the progenitor of the Dhvani school, followed by luminaries such as Udbhatta, Dandi, Rudrata, and Jayadeva. This school extols the significance of rasa (emotion) and riti (distinctive style) in poetry, yet it maintains that Alamkara remains the foremost feature.
1. Shabdalamkara:
This embellishes the auditory aspect of language, drawing attention to the beauty of sound to evoke aesthetic delight.
2. Arthalamkara:
Here, the focus lies on enriching the meaning of words and thoughts, elevating them to convey deeper layers of significance.
Among the specific forms of Alamkara, numerous examples abound:
Upama (Simile):
This figure of speech draws parallels between disparate entities, enriching the text with vivid imagery. For instance, likening the moon's beauty to a shimmering silver coin ("ચંદ્રની સુંદરતા એવાં જ હતી જેવી સોનુંનું સોનીયું આકાશમાં મહિરતા કરતું") evokes a striking visual image.
Rupaka (Metaphor):
Rupaka metaphorically describes one entity in terms of another, enriching the poetic tapestry.
For example, likening laughter to a melodious tune "તેની હસીને તુંન નાચણની અનહદની સાજાળી મેળવી દીધી" adds depth and resonance to the description.
Anuprasa (Alliteration):
Through the repetition of initial sounds or letters, Anuprasa creates a rhythmic cadence, imparting a musical quality to the verse.
For instance, the repetition of the "સ" (sa) sound in successive words enhances the poetic flow "સુંદર સારી સુંદરતા સે સાજાળી થઈ હતી".
Vakrokti (Irony):
Vakrokti employs indirect or twisted expression, often through suggestion, irony, or metaphor, enriching the text with layers of meaning.
For instance, the use of Vakrokti in the phrase "મરણ જરૂર નહિ, જીવન આવશ્યક નહિ" subtly conveys the idea that life is more than mere survival.
Dhvani (Suggestion):
Dhvani, stemming from classical music theory, embellishes poetic expression through various techniques such as gamakas and meend, adding complexity and beauty to the verse.
In sum, Alamkara, within the broader canvas of Sahityashastra, continues to enrich poetic discourse with its myriad forms and nuanced expressions, perpetuating the legacy of literary excellence.
Riti:
The Riti School of poetics finds its chief advocate in Vamana, whose distinctive style is echoed in the literary tradition of South India, as seen in the works of Dandi, the author of Kavyadarsha. Even in the earliest writings, like those of Bhamaha, there was recognition of the differences between the Vaidarbha and Gaudiya styles. Bhamaha noted that both styles had their merits, though he leaned towards praising Vaidarbha and criticizing Gaudiya. However, Dandin, influenced by his theory of Riti, elevated Vaidarbha and diminished Gaudiya. He believed that Vaidarbha style embodied all virtues perfectly, while Gaudiya style emphasized grandeur at the expense of sweetness and delicacy.
Vamana expanded this classification by introducing a third style, Panchali, named after geographical regions. According to him:
1.Vaidarbha Style:
This style epitomizes perfection, free from any flaws, and embodies all desirable qualities, akin to a finely-tuned musical instrument.
2.Gaudiya Style:
Characterized by grandeur and brilliance, the Gaudiya style lacks the sweetness and delicacy found in Vaidarbha. It tends to use long, elaborate words.
3.Panchali Style:
This style combines the sweetness and delicacy (Madhurya and Saukumarya) while lacking the grandeur and brilliance (Ojas and Kanti) seen in the Gaudiya style. It has a softer, more refined quality reminiscent of ancient epics.
Auchitya:
Kshemendra introduced the concept of "Auchitya," defining it as the quality of an expression perfectly matching what it represents. This theory of appropriateness suggests that in every aspect of writing, there exists an ideal choice of subject, ideas, words, and techniques. It shares similarities with Longinus's theory of the sublime, which emphasizes the highest form of literary excellence.
The idea of propriety, concerning customs, subjects, characters, and emotions, is discussed by many theorists. It's often explored alongside figures of speech, qualities, flaws, and styles. In simpler terms, Auchitya underscores the importance of choosing the most fitting words and elements in writing to accurately convey the intended meaning and evoke the desired response from the audience.
Thank you.
.jfif)
