THINKING ACTIVITY ON INDIAN POETICS

 

Thinking Activity on Indian poetics

 

Hello! friends this is new blog given by Dr.Dilip Barad this is related expert lecture arrange in over department on the Indian poetics the guest lecture Dr .Vinod Joshi serve us his excellent knowledge on the Indian poetics.

 

Introduction of Dr.Vinod joshi

 

 READ ABOUT VINOD SIR

 

Poetic theory is very old and the most interesting literary as well as philosophical and cultural discussion of Indian or better to say Sanskrit Literature. Sanskrit is regarded as ‘Dev-Vani’ (the language of gods), not all folk can possess the ability to understand and read Sanskrit literature. Earlier, great Sanskrit scholars had expertise in describing things that are usually hard to observe in nature. The prosperous tradition of Indian aesthetics is said to have begun from Bharat Muni in and around 1st century.

 

As there is ‘Western Criticism’ and can be called ‘Poetics’ as a proper canon, similarly, in Sanskrit there is a particular canon of Sanskrit Criticism which is usually bannered as ‘Kavya Mimamsa’ and which acts like an umbrella for various schools developed by scholarly thinkers. The various schools or theories in Indian Aestheics are-

 

 

Rasa Sampradaay

 

Bharata is the first among all critics who pioneered in Indian aesthetics. Some of the noteworthy critics of Sanskrit literature are-

 

 

Bharata is pioneer of Rasa theory he was give idea of Nine Rasa in his book Naatyashashtra

Rasa Or Bhava is natural it is feel individual. Bharatamuni is the one who first gave Indian Mimansa.Acoording to him, language and voice are very different and just because of this it is impossible to settle everything in language as language is immortal while emotions/Bhavas are mortal. Rasa is spine of the poetry. Rasa theory is superior among all theories. What is RASA?

“A blending of various Bhavas arise certain emotion, accomplice by thrill and a sense of joy is Rasa.” In the sixth chapter of Natyashashtra he explains NATYARASA and RASA as the soul of poetry.  विभावानुभावव्याभिचारी संयोगात रसनिष्पत्ति ।

 

He has mentioned nine Rasas in Natysastra with its colour and god.

श्रृंगार-वीर-करुणाद्भुत-हास्‍य-भयानका: ।

बीभत्‍सरौद्रौ शान्‍तश्‍च रसा: नव प्रकीर्तिता: ।।

 

 

 

RASA	BHAVA	COLOUR	GOD
SRINGARA	PLEASURE	LIGHT GREEN	VISHNU
HASHYA	TO LAUGH	WHITE	SHIVA
RUDRA	ANGER	RED	SHIVA
KARUNYA	SORROW	GREY	YAMA
BHAYANAK	FEAR	BLACK	SHIVA
BIBHATSA	DISGUST	BLUE	SHIVA
VIRA	PERSEVERANCE	SAFFRRON	INDRA
ADBHUTAM	AMAZEMENT	YELLOE	BRAHMA

 

There are many sanskrit scollar define Rasa with various aspect.

1.Bhatt Lolatt

2.Shri Shankuk

3.Bhatt Nayak

4.Abhinavgupta

Four Critics of RASA theory
Bhatta Lollata	Creationism
Shree Shankuka	Permissiveism
Bhatta Nayaka	Nepotism
Abhinavagupta	Expressionism

 

Vibhav		Anubhav	Sancharibhav	Sthayibhav
	Emotions arises because of Vibhav	Reaction of Bhavaka	Comes and go	Mirth, love, sorrow etc.

 

Dhvani Sampradaay

Anandvardhana give Dhvani sampradaay it is about meaning and he says whole world is Prtiyamaan (meaning) 

विभातिलावणयमिवाङ्गनासू।

 

विभाति- Decorated

लावण्य- Beauty

इव- like or similar

अङ्गनानाम्-Lady

 

Meaning is like beauty of woman and thats create amazingness in literature Anandvardhana in his book धवनयालोक he gives statement ध्वनि काव्यस् आत्मा। there are three types of Dhvani 1.Vichar Dhvani 2.Alankar Dhvani 3.Rasa Dhvani. Dhvani means The suggestive quality of poetic language. Another regards to this sense of poetry next school of thinkers, known as SCHOOL OF DVANI headed by Anandbardhan. He points that it is not the literal, simple or direct and referential meaning that poetry properly expresses, but it suggests indirect and emotive meaning. Hence, through the words of a poem must be given their due importance and the same with regard to the literal sense the denote, yet both the words and their direct meaning to express itself. The theory proposed in Dhvnyaloka by Anabdvardhana is known as the name of “Dhvani”. ‘Dhvnyaloka’  is itself a huge compendium of poetry and poetics.

 

Mammat in his book Shabdashakti he gives the Dhvani is important for literary career also the meaning of the work and word he give three aspects

 

(1)Abhidha – Direct meaning

(2)Lakshna – We have direct meaning but we have to take another one.

(3)Vyanjana – There is the existence of direct meaning yet we have to use another meaning of word.

 

Vakrokti Sampradaay

 

वकौकितजिवीत- Book by Kuntaka best word in best order he give statement विशिष्टभंगीभणिति Kuntakawas 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.

 There are several type of Vakrokti

1.VARNVINYASA.

2.PADPURVADHA.

3.PADPARADHA.

4.VAKYAVAKRATA.

5.PAKRANVAKRATA.

6.PRABANDHAVAKRATA.

Alankaar Sampradaay

Bhamaha define Alankaar as teal ornament of language and this 

Alankaar is make Kavya poem beautiful and everything we speak is 

also in Alankaar.

T. S. Eliot also describe objective Correlative it helps to create beautiful literature.

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

Alankara
Arthalamkara	Shbdalamkara
Vastava (Realistic)	Swdt (Eluviation)
Anupamaya (Comparison)	Slesa (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)

 

Riti Sampradaay

 

Vaamana was the scollar of Riti he hiva the statement शिले भवा शैली। metter-method-all words. Matter is more important than method. Riti is belong to reaction every literature have different Riti Or style.

There are five Shelly or Riti in ancient time

1.Vaidarbhi

2.Panchali

3.Goadi

4.Laati

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.

 

 Auchitya Sampradaay

Ksemendra was pioneered of this sampradaay it is like resembles of language 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 literarinmess. He defines aucitya as the property of an expression being an exact and appropriate analogue of the expressed.

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