Indian Poetics

Thinking Activity: Indian Poetics

Introduction:

Indian Poetics is all about understanding poetry in Indian literature. It covers various types of poetry, from traditional ones like kavya to modern ones like ghazals. In this study, we explore things like metaphors, similes, and different styles of Indian poetry. The Natyashashtra, written by Bharata Muni, is a crucial book that laid the foundation for Indian drama. Many people, such as Bharata, Bhamaha, and others, played important roles in shaping Indian poetry. There are also six different schools of thought in Indian Poetics, each with its own way of looking at and understanding poetry.

Six schools of thought:

1.The Rasa ( aesthetic pleasure ) Theory 

2.The Dhvani (suggestion) Theory 

3.The Vakrokti (Obliquity) Theory 

4.The Riti (Style) Theory 

5.The Auchitya (Propriety) Theory 

6.The Alankara (Poetic figure) Theory 

The Rasa ( aesthetic pleasure ) Theory 

Rasa Theory, introduced by Bharata Muni in Natyashastra, delves into the world of emotions in art. It revolves around three key elements: Vibhav (the cause of emotion), Anubhav (expressions), and Vyabhichari Bhava (transient emotions). When these elements join forces, they create what we call Rasa – the very essence or emotional flavor within a work of art. Vibhav, which can be a person (Alamban) or an external stimulus (Uddipan), acts as the trigger for emotions. Anubhav involves expressions like gestures and smiles, painting a vivid picture of the characters' inner feelings. Vyabhichari Bhava, on the other hand, are fleeting emotions that intensify the primary emotion. In simpler terms, Rasa Theory suggests that artists skillfully use these components to evoke nine fundamental emotional responses in their audience, making the artistic experience richer and more resonant.

          ( crafted with the help of ChatGpt)

The concept of rasa theory is associated with Bharat, a wise figure believed to have lived between the 1st century BCE and the 3rd century CE. Abhinavagupta, a philosopher and rhetorician, further developed this theory, applying it to a wide range of theatrical and poetic expressions. According to Bharat, fundamental human emotions like delight, laughter, heroism, and astonishment can be transformed into various rasas, including erotic, comic, pathetic, furious, heroic, terrible, odious, marvelous, and quietistic when contemplated. These rasas form the essential elements of aesthetic experience. The ability to savor rasa is seen as a reward for past merit in a previous existence.

The Dhvani (suggestion) Theory 

Dhvani, in its simplest sense, refers to the voice that helps complete a word. Acharya Anandvardhana advocated the Dhvani Theory, where Dhvani embellishes poetry much like beauty enhances women. In essence, Dhvani means perceiving a hidden meaning through the same words, known as apparent meanings. This is the essence, or soul, of poetry. Effective communication of meaning through words relies on well-arranged sounds. Language, whether written or spoken, is built on words. A Sanskrit critic delineates three types of words, which are essentially three functions of a word: denoting (abhidha), indicating (laksana), and suggesting (vyanjana).

Abhidha - literal meaning of the word

Lakshana - characteristically meaning of the word

Vyanjana - poetic & Metaphysical meaning of the word

For instance, the phrase 'the ball is in your court' has a literal meaning (vachyarth) that the ball is in the addressed person's court. However, in laksana, it suggests that the responsibility lies with the person to take the next step or make a decision. Poetry's essence lies in vyanjana, which imparts suggested meaning. While the literal meaning is akin to the outer body of poetry, the soul is the suggested meaning, vyanjana. In a Gujarati poem example, the words કરતાલ, થાનક, and તળેટી create multiple meanings, transforming simple lines into great poetry.

હજો હાથ કરતાલ ને ચિત્ત ચાનક 

તળેટી સમીપે હજો ક્યાંક થાનક. 

Thus, we generate various meanings through a single word, and the third word, vyanjana or dhvani, penetrates the soul, offering suggested meanings. Dhvani is likened to the soul of poetry, breathing life into it. The Dhvani theory underscores meaning and symbolism, elevating the poetry of suggestion as the highest form of art.

The Vakrokti (Obliquity) Theory 

In the realm of Sanskrit poetics, Kuntaka's "Vakroktijivita" holds a prominent position, giving a fresh and profound meaning to the term Vakrokti. This concept becomes a central poetic idea, cutting across various schools of Sanskrit poetics. Vakrokti, as defined in the book, refers to the concealed meaning within a work of art. The author strategically embeds the message in a way that it remains hidden initially, requiring a closer look to unravel the true meaning of a poem, sentence, or any creative piece.

Beyond its surface, Vakrokti is not just a poetic device but also a theory of literary language. It argues that the distinctive quality of literary language lies in its 'markedness.' Kuntaka elevates Vakrokti into a comprehensive theory of literariness, where it becomes synonymous with deviant or marked expression.

Kuntaka's exploration of Vakrokti involves a critical analysis, connecting it to various literary concepts such as alankara, rasavadalankara, marga, and rasa. In essence, "Vakroktijivita" unveils a nuanced understanding of literary expression, where hidden meanings and marked language contribute to the richness and depth of artistic creations.

The Auchitya (Propriety) Theory 

Kshemendra is credited as the originator of the Auchitya School, a term synonymous with 'Perfect' or 'Complete.' In our quest for perfection, humans intervene to enhance the natural order. Auchitya, closely tied to literary excellence, becomes crucial in artistic creations. Without Auchitya, a work of art may fall short of creating a profound impact.

Literature thrives on Auchitya, emphasizing the necessity of conventional and fitting language choices made by authors. The theory of appropriateness asserts the possibility of achieving perfection in all aspects of literary composition – be it the choice of subject, ideas, words, or devices. This concept aligns with Longinus's theory of the sublime, where the pursuit of excellence in expression resonates across both. In essence, Auchitya emerges as a guiding principle, ensuring that the harmony between words and ideas not only perfects the art but also amplifies its impact on the audience.

The Alankara (Poetic figure) Theory 

Alamkara, often referred to as "figures of speech," is a term signifying beauty in language. This concept, with ancient roots, focuses on the aesthetic aspects of literary expression. Rhetoricians extensively explore and poets frequently employ alamkaras in their works, viewing them as essential tools for crafting beauty in language.

Bhamaha, the inaugural alamkara poet, outlined 35 figures of speech in "Kavyalamkara." Following his lead, subsequent critics like Dandi, Udbhata, Rudrata, and Vamana continued this tradition. Anadavardhana, Mammata, and Visvanatha, Sanskrit critics, emphasized the connection of alamkaras with rasa, adding depth to their significance.

The application of alamkara aims to enhance language aesthetics, emphasizing grammatical accuracy and pleasant sound. Critics caution against excessive use, as an overdose of figures of speech may dilute the charm of the artistic work. Different scholars, such as Rudrata and Bhoja, classify alamkaras into subcategories based on phonetic form (sabdalamkara) and meaning (arthalamkara). This classification offers insights into how these devices contribute to the cognitive and expressive dimensions of literary language.

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