ThAct Indian Poetics

 Indian Poetics 

Hello learners!  I am a student. I am writing this blog as a part of thinking activity assigned by Dilip Sir. In which  i have tried to write about various schools like Rasa, Dhvani, Auchitya, Vakrokti, Riti, and Alankaar.

Introduction :

       Indian poetics has a rich tradition deeply rooted in ancient texts like the Natya Shastra and Kavya Shastra. It encompasses various poetic forms, emphasizing the aesthetic and emotional impact of language. Concepts like 'rasa' (emotional essence) and 'alankara' (ornamentation) play crucial roles, shaping the expressive and artistic dimensions of Indian poetry. 

         Various schools like Rasa, Dhvani, Auchitya, Vakrokti, Riti, and Alankaar,These schools of thought have significantly influenced the development of Indian poetics, providing frameworks for poets to explore the depth and beauty of their literary connections. 

 Click here to read blog of Dilip Barad   Indian Poetics

1. Rasa : 

       Rasa, a fundamental concept in Indian aesthetics, represents the emotional essence or flavor conveyed by a work of art, particularly in the context of literature and drama. The concept finds its roots in the ancient Indian text, the Natya Shastra, attributed to Bharata Muni.

      Rasa refers to the emotional essence or flavor created by a literary work. There are nine rasas, including love, anger, and wonder.

     The nine Rasas are the essential emotional flavors or sentiments that form the foundation of Indian aesthetic theory, particularly in the context of literature and performing arts. Here they are:

      Shringara (Love):Represents the emotion of love, romantic or otherwise. It encompasses feelings of attraction, passion, and devotion.

       Hasya (Laughter):Hasya is the emotion of joy and laughter. It includes humor, wit, and comedic elements, aiming to bring mirth to the audience.

     Karuna (Compassion):Conveys a sense of empathy and compassion. This rasa involves emotions related to sorrow, empathy, and a deep emotional connection.

     Raudra (Anger):Represents the emotion of anger or fury. It involves expressions of intense emotions, often associated with power and aggression.

   Vira (Heroism):Elicits the sentiment of heroism, courage, and valor. It is often associated with epic tales and the portrayal of heroic characters.

      Bhayanaka (Fear):Evokes the emotion of fear and suspense. It includes elements that create a sense of dread or anticipation in the audience.

       Bibhatsa (Disgust):Conveys the emotion of disgust or repulsion. This rasa explores themes that provoke a visceral reaction of aversion.

     Adbhuta (Wonder):Represents the emotion of wonder and amazement. It involves elements that evoke a sense of awe and marvel.

       Shanta (Tranquility):Elicits the emotion of tranquility and peace. It represents a serene and harmonious emotional state.

     These nine Rasas provide a comprehensive framework for understanding and appreciating the diverse range of emotions portrayed in classical Indian literature, theater, dance, and other forms of artistic expression.

“rasa and emotions cannot be expressed directly through words, their essence being immediate experience; so they can be only suggested by words”

 -Bharatmuni

"विभावनुभावव्यभिचारी संयोगादरसनिष्पति"

~भरतमुनि

2.Dhavani : 

     The Dhvani theory of Anandavardhana considers suggestion “Dhvani” as the essence of poetry and ” “vyanjana” as the medium of literary creation and communication its propagator Anandavardhana carried forward tradition elevating the level of discussion on the essence of the poetry.

       The most important point is this theory main concept found of ‘Anandvardhana’ and his book – ‘Dhvanyalok’ is very naturally clarify that poem and play vital role of dhvani and words sounds. Andandvardhan has critically principal in that poet kind of in poem and he was use of term dhvani to designed the universe of suggestion.

  Abhidha:Literal Meaning:Abhidha refers to the literal or primary meaning of a word. It is the straightforward, direct interpretation of the word without any additional layers of meaning or metaphor.

 Lakshana:Secondary Meaning:Lakshana is the concept of suggestive or implied meaning beyond the literal interpretation. It involves a secondary meaning that goes beyond the explicit sense of the words. 

        Lakshana is further classified into two types:

Ajahalakshana: The secondary meaning arises due to the absence of a literal connection with the words.

Jahallakshana: The secondary meaning coexists with the literal meaning.

  Vyanjana:Suggestion or Implication:Vyanjana refers to the suggested or implied meaning that is not explicitly expressed but is conveyed through suggestion. It involves the power of suggestion that enhances the overall impact and depth of expression.

  3.Vakrokti : 

    Vakrokti, in the context of Indian poetics, is a literary concept that emphasizes the use of "twisted" or indirect expression in poetry. This idea is associated with the philosopher-poet Kuntaka and is a key element of the Vakrokti literary tradition. 

   Vakrokti is a literary concept that celebrates the art of twisted or indirect expression in poetry, contributing to the richness and complexity of Indian poetic traditions.

शब्‍दार्थौ सहितौ वक्र कवि व्‍यापारशालिनि।

बन्धे व्‍यवस्थितौ काव्‍यं तद्विदाह्लादकारिणी।।

    Vakrokti of kuntaka is a synonym for the principles of beauty underlying all kinds of poetic language. It is also strongly connected with vaichitrya (streakiness) and vichchitti (beauty).

4. Alamkara : 

     Alamkara, a fundamental concept in Indian poetics, can be likened to the exquisite jewelry adorning the language of literature. Translating to "ornament" or "embellishment," Alamkara refers to the artful use of figurative language, metaphors, and other literary devices that elevate the aesthetic appeal of expression.

        Shabdalankara (related to words and expressions) and Arthalankara (related to content or meaning), Alamkara enriches poetry and literature by providing a palette of linguistic adornments. Metaphors, similes, alliteration, and personification are among the many tools that poets employ to go beyond plain expression, creating a tapestry of beauty that captivates the audience. Alamkara serves as the poetic jeweler's craft, enhancing the intrinsic elegance of language and contributing to the nuanced and resonant experience of literature.

Types of Alamkar: 

Upama (Simile):Involves a direct comparison between two different things using "like" or "as" to highlight similarities.

Rupaka (Metaphor):Implies a comparison between two unrelated things without using "like" or "as." It suggests a resemblance to evoke a deeper meaning.

Anuprasa (Alliteration):Involves the repetition of consonant sounds at the beginning of words in close proximity, creating a rhythmic and melodious effect.

Yamaka (Rhyme):Involves the repetition of sounds at the end of words, enhancing the musical quality of poetry.

Atisayokti (Hyperbole):Involves deliberate exaggeration for emphasis or effect. It heightens the impact of the expression.

Yamakokti (Pun):Involves the use of words with double meanings or a play on words, often leading to humor or a deeper layer of meaning.

Shleshokti (Double Entendre):Involves the use of words that can have more than one interpretation, adding complexity and ambiguity to the expression.

Vakrokti (Twisted Expression):Involves indirect or oblique expressions, contributing to a more nuanced and thought-provoking impact.

Anuvada (Narration):Involves expressing an idea in a new and fresh way, avoiding clichés and conventional expressions.

5.Riti : 

           The "Riti" school, in the context of Indian poetics, specifically refers to the literary theory associated with the concept of "Riti." Riti can be translated as style or manner of expression. This school of thought, developed by the Sanskrit poet Vamana, focuses on the appropriate use of language and style according to the subject matter.

Vaidarbhi Riti:

Origin: Vaidarbhi Riti is named after the region of Vaidarbha, which corresponds to present-day Vidarbha in Maharashtra, India.Characteristics: This style is known for its simplicity and directness in expression. It often employs straightforward language, avoiding elaborate ornamentation.

Gaudi Riti:

Origin: Gaudi Riti is associated with the region of Gauda, which historically included parts of Bengal and Bangladesh.Characteristics: Gaudi Riti is characterized by its elaborate and ornamented style. It often involves the use of rich metaphors, vivid imagery, and intricate linguistic embellishments.

Panchali Riti:

Origin: Panchali Riti is named after the region of Panchala, which was situated in Northern India, encompassing areas like present-day Uttar Pradesh.Characteristics: Panchali Riti is considered a balanced style that combines elements of both simplicity and ornamentation. It aims for a harmonious expression, striking a middle ground between the directness of Vaidarbhi and the ornate nature of Gaudi.

6.Auchitya : 

         Kshemendra made ‘Auchitya’ the defines Auchitya as the property of an expression being an exact and appropriate analogue of the expressed. 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.

   Auchitya emphasizes the importance of using language and style in a manner that is suitable, proper, and harmonious with the context and subject matter of the literary work.

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