Indian Poetics

This blog task is given by Barad Dilipsir for the expert lecture of Dr.Vinodsir's Indian poetics. 

15 January:

Vinod sir began the session with a profound statement: "Language is not our choice; thoughts are the true ornament. A person is not born with a language." This highlights the idea that while language is a tool we inherit, our thoughts and expressions are what truly define us.

Gujarati Language Basics: Swar and Vyanjan

In Gujarati (and other Sanskrit-based languages), the alphabet is divided into two main categories:

1. Swar (સ્વર) – Vowels: These are sounds that can be pronounced independently.

The Gujarati vowels are:

અ, આ, ઇ, ઈ, ઉ, ઊ, ઋ, એ, ઐ, ઓ, ઔ, અં, અઃ

2. Vyanjan (વ્યંજન) – Consonants: These sounds require the support of a vowel to be pronounced. They are further classified based on where and how they are produced in the mouth.

Classification of Consonants (Vyanjan):

Consonants are grouped based on their place of articulation:

1. Kanthya (કંઠ્ય) – Guttural Sounds: Produced from the throat.

Letters: ક, ખ, ગ, ઘ, ઙ

2. Talavya (તાલવ્ય) – Palatal Sounds: Produced by touching the tongue to the hard palate.

Letters: ચ, છ, જ, ઝ, ઞ

3. Murdhanya (મૂર્ધન્ય) – Retroflex Sounds: Produced by curling the tongue backward to touch the roof of the mouth.

Letters: ટ, ઠ, ડ, ઢ, ણ

Language and Literature:

Vinod sir shared a quote by Robert Brill: "We know the language, but we don’t know about language. "This emphasizes that while we use language daily, we often lack a deeper understanding of its structure and significance. Language is the medium through which literature and art are expressed.

He also introduced the concept of "Abhijnanashakuntalam" by Kalidasa, a classic Sanskrit play that explores themes of love, separation, and reunion, showcasing the power of language in storytelling.

The Nature of Skills and Language:

Vinod sir explained that anything unnatural can be changed, but a person’s skills and arts are the result of their efforts. At birth, humans are gifted with two fundamental abilities: sound (voice) and movement. Over time, voice evolves into language, which becomes a tool for communication and expression.

Music and Fundamental Notes:

In music, the basic notes are Sa, Re, Ga, Ma, and so on. These notes form the foundation of melody and rhythm, much like how vowels and consonants form the foundation of language.

Concept of "Vastu" and "Vastuta":

1. Vastu (વસ્તુ): Refers to the material or physical world—the tangible reality we interact with.

2. Vastuta (વાસ્તવતા): Refers to the essence or deeper reality of existence—the truth behind what we perceive.

The Five Senses (Panch Indriya):

Our experience of the world is shaped by five senses:

1. Vision (Eyes – Aankh)

2. Hearing (Ears – Kaan)

3. Smell (Nose – Naak)

4. Taste (Tongue – Jeebh)

5. Touch (Skin – Sparsh)

Two Realms of Experience:

1. Vastu Jagat (Material World): The physical world we perceive through our senses.

2. Bhav Jagat (Emotional/Spiritual World): The inner world of thoughts, emotions, and experiences.

Vinod sir emphasized that without emotion (Bhav), there can be no harmony or unity (Talmel or Sayujya). Meaningful connections and understanding arise only when emotions are present.

16 January: 

• Aesthetic Theory and Literary Criticism

1. Benedetto Croce and the Nature of Art

Benedetto Croce, an Italian philosopher, argued that aesthetics is the study of expression. He believed that art is an innate human ability—a natural power (Nesargik Shakti)—to intuitively experience and express emotions. According to Croce, every individual is born with the capacity to feel and convey emotions, making art a fundamental part of human existence.

2. Bharata Muni and the Natyashastra

Bharata Muni, an ancient Indian scholar, authored the Natyashastra around 2000 years ago. This text is one of the earliest works on Indian poetics and dramatic theory. Central to the Natyashastra is the Rasa Theory, which explains how art evokes emotional responses in its audience. The nine Rasas (aesthetic emotions) are:

1. Shringara– Love and Beauty

2. Hasya– Laughter and Joy

3. Karuna – Compassion and Sorrow

4. Raudra – Anger and Fury

5. Veera – Courage and Heroism

6. Bhayanaka – Fear and Horror

7. Bibhatsa – Disgust and Aversion

8. Adbhuta – Wonder and Amazement

9. Shanta – Peace and Tranquility

These Rasas form the emotional core of artistic expression in Indian aesthetics.

3. Schools of Indian Poetics

Indian literary criticism is rich with diverse theories proposed by various scholars. Some of the key schools include:

1. Dhvani (Theory of Suggestion) – Anandavardhana

Meaning lies not just in words but in what is implied or suggested.

2. Vakrokti (Twist in Expression) – Kuntaka

Beauty in poetry arises from creative and indirect expression.

3. Alankara (Figures of Speech) – Bhamaha

Focuses on rhetorical devices like simile, metaphor, and alliteration.

4. Riti (Style of Composition) – Vamana

Emphasizes stylistic elegance and structure in poetry.

5. Auchitya (Appropriateness)– Kshemendra

Aesthetic beauty comes from the proper alignment of content and context.

6. Ramaniyata (Charm and Beauty) – Jagannatha

Poetry should be inherently pleasurable and beautiful.

4. Arya and Dravid in the Maurya Period

During the Mauryan era (321–185 BCE), discussions on social and cultural identities emerged, including the Arya-Dravidian distinction. This concept is primarily historical and linguistic, rather than a rigid racial division, reflecting the cultural diversity of ancient India.

5. Aristotle vs. Bharata Muni: East and West in Literary Criticism

Aristotle(Western Criticism): In his work Poetics, Aristotle focused on tragedy, plot structure, and mimesis (imitation). Western aesthetics tends to emphasize form, structure, and logic.

- Bharata Muni (Indian Criticism): In the Natyashastra, Bharata emphasized Rasa(emotional experience) and performance. Indian aesthetics prioritizes emotional response and the experiential aspect of art.

This contrast highlights the differing approaches of Eastern and Western literary traditions.

6. Sthayi Bhava: The Foundation of Rasa

Sthayi Bhava(स्थायी भाव) refers to the permanent, deep-seated emotions that form the basis of an individual’s emotional response to art. These emotions are stable and enduring, unlike fleeting feelings. When expressed artistically, Sthayi Bhava transforms into Rasa, creating an aesthetic experience.

The eight primary Sthayi Bhavas correspond to the eight Rasas (with Shanta Rasa added later, associated with Shama or equanimity).

7. Forms of Literature

Literature can be categorized into several forms, each with its unique purpose and impact:

1. Poetry (કાવ્ય): Expresses emotions and beauty through rhythm and verse. Example: *Shakuntala* by Kalidasa.

2. Drama (નાટક): A performance-based form involving dialogue, characters, and action. Example: Macbeth* by Shakespeare.

3. Essay (નિબંધ): A structured, analytical piece on a specific subject. Example: Essays by Francis Bacon.

4. Fiction (કથાસાહિત્ય): Narrative storytelling, including novels and short stories. Example: Godaan by Premchand.

8. Types of Drama (Natak – નાટક)

Drama is classified into three types based on its presentation:

1. Drushya Natak (દૃશ્ય નાટક) – Visual Drama: Performed on stage with actors, costumes, and props. Example: Sanskrit dramas like Abhijnanasakuntalam.

2. Shravya Natak (શ્રાવ્ય નાટક) – Audio Drama: Heard rather than seen, such as radio plays or folk ballads.

3. Pathya Natak (પાઠ્ય નાટક) – Reading Drama: Written for reading rather than performance. Example: Some Greek tragedies.

17 January: 

• Kavyaprakash by Mammata and the Dynamics of Rasa Theory

1. Mammata’s Kavyaprakash: A Pillar of Indian Poetics

Mammata’s Kavyaprakash is a seminal work in Indian literary criticism (Kavya Shastra). It delves into the essence of poetry, its structure, and its emotional impact. Building on Bharata Muni’s Natyashastra, Mammata expands the Rasa Theory, offering deeper insights into how aesthetic experiences are created and perceived.

2. Rasa: The Heart of Aesthetic Experience

The formation of Rasa (aesthetic emotion) is explained through the famous shloka:

"Vibhavanubhav vyabhichari sanyogat rasnishpattihi"

(વિભાવાનુભાવ વ્યભિચારિ સંયોગાત્ રસ નિષ્પત્તિઃ)

This means that Rasa emerges from the interplay of three key elements:

1. Vibhava (Catalyst for Emotion) – The cause of the emotional experience.

2. Anubhava(Expression of Emotion) – The visible reaction to the emotion.

3. Vyabhichari Bhava (Transient Emotions) – Supporting feelings that enhance the main emotion.

3. Elements of Rasa Formation

1. Vibhava (Catalyst for Emotion)

- Aalambana (અલંબન): The primary subject or character that evokes emotion (e.g., a hero or heroine in a love story).

- Uddipana (ઉદ્દીપન): External factors that intensify the emotion (e.g., moonlight in a romantic scene).

2. Anubhava (Expression of Emotion)

This refers to the visible reactions to emotions, such as facial expressions, gestures, or body language.

Example: The line "Sau mane taki takine joi Ramya chhe" by Manoj Khanderi describes how people admire someone, showcasing their reactions (Pratikriya) to beauty.

3. Vyabhichari Bhava (Transient Feelings)

These are fleeting emotions that support and enrich the dominant emotion (Sthayi Bhava). They add depth and realism to the aesthetic experience.

4. The Nine Rasas and Their Emotional Flavors

Just as tastes are distinct, the nine Rasas evoke different emotional flavors:

1.Shringara – Love and Beauty

2. Hasya – Laughter and Joy

3. Karuna – Compassion and Sorrow

4. Raudra – Anger and Fury

5. Veera – Courage and Heroism

6. Bhayanaka– Fear and Horror

7. Bibhatsa – Disgust and Aversion

8. dbhuta – Wonder and Amazement

9. Shanta – Peace and Tranquility

5. Sanchari Bhava: The Flowing Emotions

Sanchari Bhava (સંચારી ભાવ) refers to transient, unstable emotions that arise momentarily and support the Sthayi Bhava (dominant emotion). These emotions flow and fade, much like a staircase that helps you move between levels but doesn’t remain fixed.

Mammata lists 33 Sanchari Bhavas in Kavyaprakash, including:

1. Nirveda – Disinterest

2. Glani– Weakness

3. Shanka – Doubt

4. Asuya – Jealousy

5. Harsha – Joy

6. Dainya – Misery

7. Chinta– Worry

8. Krodha – Anger

9. Smriti – Memory

10. Moha – Delusion

These fleeting emotions add layers of complexity and realism to poetry and drama.

6. The Aesthetic Process

The aesthetic experience is a process, not a tangible result. Rasa is felt internally and cannot be measured externally.

Example: The story of Khemi by Ramayana Pathak explores how emotions unfold in literature without leading to a fixed conclusion.

7. Sanyojan and Mishran: The Art of Blending

1. Sanyojan (સંયોજન): The structured arrangement of literary and emotional elements to create artistic impact.

Example: Organizing a poem’s rhythm and metaphors for maximum effect.

2. Mishran (મિશ્રણ): The blending of different emotions, styles, or themes to enhance meaning.

Example: Combining love and tragedy in *Romeo and Juliet*.

8. Adodad vs. Autprot: Structured vs. Spontaneous

1. Adodad (અડોઅડ) :  A logical, structured combination of elements.

Example: A meticulously planned poetic rhythm.

2. Autprot (આઉટપ્રોટ): A spontaneous, free-flowing blending of elements.

Example: The raw, unfiltered emotions in a lyrical poem.

9. The Interplay of Emotions in Literature

Mammata’s poetics highlight that literature is not just about words but about the dynamic interplay of emotions. The combination of:

- Sthayi Bhava (dominant emotion),

- Sanchari Bhava (transient emotions),

- Sanyojan (structure), and

- Mishran (blending)

18 January 

• Bharata Muni’s Rasa Theory and Its Four Critics

1. Bharata Muni’s Navarasa (Nine Rasas)

Bharata Muni’s Natyashastra introduces the Nine Rasas (Navarasa) through the shloka:

"Shrungar Karuna Viral Raudra Haasya Bhayanaka, Vibhatsadbhut Shantashva Navnatyre Rasa Smruta"

This means the nine aesthetic emotions are:

1. Shringara – Love and Beauty

2. Karuna– Compassion and Sorrow

3. Veera – Courage and Heroism

4. Raudra– Anger and Fury

5. Hasya – Laughter and Joy

6. Bhayanaka– Fear and Horror

7. Vibhatsa – Disgust and Aversion

8. Adbhuta – Wonder and Amazement

9. Shanta – Peace and Tranquility

2. Four Critics of Bharata’s Rasa Theory

1. Bhatt Lollata (Utpatti-vad)

Lollata argued that Rasa is not pre-existing but is generated (Utpann) during a performance. This is similar to Bertolt Brecht’s Alienation Effect, where the audience is aware they are watching a drama, yet emotions are intentionally evoked.

Example: A well-performed tragedy makes the audience feel sorrow, even though they know it’s not real.

2. Shri Shankuka (Anumiti-vad)

Shankuka believed that Rasa is inferred (Anumiti) by the audience, not created on stage. The actors and stage are merely mediums, and the real aesthetic experience occurs in the spectator’s mind.

Analogy: Michelangelo’s idea that every stone contains a sculpture within, and the artist simply removes excess stone to reveal it. Similarly, the audience perceives the deeper meaning of art.

Example: In Shakuntala, when Dushyanta forgets Shakuntala due to a curse, the audience knows it’s fiction but still feels the pain of separation.

3. Bhatta Nayaka (Bhoga-vad)

Nayaka introduced the concept of Bhoga (Aesthetic Enjoyment). He argued that Rasa is neither created (Utpatti) nor inferred (Anumiti) but experienced as a transcendental emotion beyond logic. The audience enjoys Rasa without personal involvement (detached enjoyment).

Example: A person watching a tragic play doesn’t suffer in real life but enjoys the emotional depth.

4.Abhinavagupta (Abhivyakti-vad)

Abhinavagupta refined Bharata’s theory, stating that Rasa is expressed (Abhivyakta) rather than created or inferred. He emphasized the role of the Sahṛidaya(Sensitive Audience)—only those with refined taste can truly experience Rasa.

Example: A sensitive viewer feels the depth of poetry and art, while an untrained person may not.

20 January

• Bhatta Nayaka’s Sadharanikaran and Bhogvad

1. Sadharanikaran (Universality of Emotion)

Bhatta Nayaka introduced the concept of Sadharanikaran, where individual emotions become universal, allowing every spectator to relate to the artistic expression.

2. Bhogvad (Aesthetic Enjoyment)

Nayaka argued that Rasa is not created (Utpatti) or inferred (Anumiti) but experienced as Bhoga (enjoyment).

Example: When Kalidasa writes a play, he first experiences a mental reflection (Pratikruti) of emotions before transforming them into words.

3. Aswadikaran (Aesthetic Experience)

The highest goal of art is Aswadikaran—deep aesthetic enjoyment. One must not only see or hear art but experience it profoundly.

Example: A viewer of Meghadutam doesn’t just read about longing but feels the separation of the lovers.

21 January

•  Anandavardhana’s Dhvani Theory

1. Dhvani (Suggestion)

Anandavardhana’s Dhvanyaloka introduces the concept of Dhvani (suggestion or implied meaning). He believed that literature’s power lies not in direct meaning but in what is suggested beyond words.

2. Vyanjana (Power of Suggestion)

Dhvani operates through Vyanjana (suggestion), not explicit description.

Example: In Henrik Ibsen’s A Doll’s House, Nora’s departure symbolizes women’s independence, not just a personal choice.

3. Three Aspects of Dhvani

1. Smruti (Memory): Literature evokes past experiences.

2. Swapna (Dream): Art creates dream-like imagery.

3. Kalpana (Imagination): Art stimulates creative interpretation.

22 January

• Dhvani as the Soul of Poetry

1. "Dhvaniḥ Kavyasya Ātmā"

Anandavardhana declared, *"Dhvani is the soul of poetry." This means the true essence of poetry lies in suggestion (Vyanjana ), not direct meaning.

2. Mammata’s Kavya-Sphota

Mammata, in Kavyaprakash, introduced Kavya-Sphota (Poetic Explosion), stating that language alone cannot fully express meaning. Poetry bursts with meaning when suggestion (Dhvani) is applied.

3. Three Functions of Language

1. Abhidha (Denotation): Literal meaning.

2. Lakshana (Indication) :Figurative meaning.

3. Vyanjana (Suggestion): Implied meaning.

4. Three Types of Dhvani

1. Vastu Dhvani: Ideational suggestion.

2. Alankara Dhvani: Suggestion through poetic devices.

3. Rasa Dhvani: Emotional suggestion.

Key Takeaways:

- Rasa Theory: Explains how emotions are evoked and experienced through art.

- Dhvani Theory: Highlights the power of suggestion in literature.

- Sadharanikaran: Universalizes emotions for broader audience connection.

- Aesthetic Enjoyment: The ultimate goal of art is to evoke profound emotional experiences.

24 January

• Laukik and Alaukik – The Mundane and the Transcendent

1. Laukik (Worldly) vs. Alaukik (Transcendent)

- Laukik: Refers to ordinary, everyday experiences.

- Alaukik: Refers to extraordinary, transcendent experiences that go beyond the mundane.

Anandavardhana’s view: Dhvani (suggestion) bridges the gap between the two. It originates in the real world Laukik) but elevates to higher meanings (Alaukik).

Example: In Les Misérables by Victor Hugo, Jean Valjean stealing bread is a Laukik event, but its deeper themes of justice, redemption, and morality are Alaukik.

2. Three Types of Dhvani (According to Anandavardhana)

1. Vastu Dhvani (Ideational Suggestion): When an idea is subtly conveyed.

Example: "Wherever you go, I will follow." – Suggests deep loyalty.

2. Alankara Dhvani (Suggestion through Poetic Devices): When figurative language adds depth.

Example: "Without you, life feels like burning coal." – The metaphor enhances the emotion.

3. Rasa Dhvani (Emotional Suggestion): When emotions are deeply felt through subtle suggestion.

Example: "Wherever you go, I will be reborn." – Evokes eternal love or devotion.

Rasa Dhvani is considered the highest form of poetic beauty because it creates a profound emotional connection between the audience and the art.

3. Vakrokti: The Beauty of Stylistic Deviation

Kuntaka’s Vakrokti theory emphasizes that beauty in poetry lies in its unique expression (Vakrokti).

Example: Pablo Picasso’s cubist paintings do not depict reality directly but through abstract forms, making them Alaukik(beyond the ordinary).

25 January:

•  Kuntaka’s Vakrokti in Poetry

1. Kuntaka’s Definition of Poetry

Kuntaka defines poetry as:

"Poetry is a composition where words and meanings are uniquely arranged to give joy to the connoisseur."

This highlights that beauty in poetry lies in its unique expression (Vakrokti), not just its literal meaning.

2. The Poet as a Creator

"In the world, the poet is like Brahma (the creator)."

Poets do not merely describe reality; they create new worlds through their art.

Example: Samuel Beckett’s Endgame creates an existential reality where words and actions carry deeper meanings beyond their literal sense.

3. Six Types of Vakrokti

1. Varnavinyasa Vakrata (Phonetic Beauty): Arrangement of sounds for rhythm.

2. Pada-Purvardha Vakrata (Word-Level Deviation): Creativity in the first half of a phrase.

3. Pada-Parardha Vakrata (Unique Wordplay): Creativity in the second half of a phrase.

4. Vakya Vakrata (Sentence-Level Beauty): Stylistic beauty in sentence structure.

5. Prakarana Vakrata (Thematic Deviation): Unique treatment of a theme.

6. Prabandha Vakrata (Structural Innovation): Creativity in the overall composition.

Example: Picasso’s cubist paintings restructure reality into abstract forms, showcasing Prabandha Vakrata.

27 January:

•  Bhama’s Concept of Alankara (Figures of Speech)

1. Bhama’s View on Alankara

Bhama, in Alankarshastra, emphasized that Alankara (figures of speech) enhances literary beauty but is not the soul of poetry.

"If a creation has no meaning, the creator becomes an object of mockery."

Emotion (Bhava) is essential, and Alankara is its ornament.

2. Mammata’s View (Kavyaprakash)

Mammata argued that Alankara enhances Vakrokti(stylistic beauty) but is not the essence of poetry.

"What is not naturally stylistic becomes Alankara."

3. Examples of Alankara in Literature

1. Kadambari by Banabhatta : Rich in similes (Upma) and imagery (Utpreksha).

2. Sahityadarpan by Vishwanath: Classifies 92 types of Alankara.

4. Two Types of Alankara

1. Shabda Alankara (Sound-Based): Beauty from word arrangement.

Example: "The bangles jingled melodiously."

2. Artha Alankara (Meaning-Based): Enhances meaning through comparison or symbolism.

Example: "Your eyes are like moonlight."

28 January: 

• Riti, Auchitya, and Ramaniyata

1. Riti (Style) by Vamana

"Style is the soul of poetry."

Vamana identified different stylistic traditions:

- Vidarbha Shaili (Vaidarbhi Riti): Kalidasa’s refined, elegant style.

- Panchal Shaili: More intense and expressive.

Example: Banabhatta’s Kadambari showcases an elaborate and sophisticated style.

2. Auchitya (Appropriateness) by Kshemendra

Auchitya refers to the fitness of expression in literature.

Example: In a tragedy, excessive humor would be inappropriate.

Modernist and absurdist literature often reject Auchitya for artistic experimentation.

3. Ramaniyata (Aesthetic Charm) by Jagannath

"Poetry is the arrangement of words that conveys beauty."

Jagannath emphasized that literature should evoke joy and aesthetic pleasure.

Key Takeaways:

- Dhvani: Suggestion bridges the mundane (Laukik) and the transcendent (Alaukik).

-Vakrokti: Stylistic deviation makes poetry unique and impactful.

- Alankara: Enhances literary beauty but is not the essence of poetry.

- Riti, Auchitya, Ramaniyata: Style, appropriateness, and aesthetic charm are central to poetic excellence.

Conclusion:

Indian literary aesthetics, rooted in concepts like Dhvani, Vakrokti, Alankara, Riti, Auchitya, and Ramaniyata, emphasizes the balance between form, emotion, and meaning. Dhvani (suggestion) bridges the mundane and transcendent, while Vakrokti (stylistic deviation) adds uniqueness to poetry. Alankara (figures of speech) enhances beauty, but emotion (Bhava) remains central. Riti (style) defines poetic elegance, Auchitya (appropriateness) ensures harmony, and Ramaniyata (aesthetic charm) evokes joy. Together, these principles reveal that great literature transcends time, blending tradition and innovation to create profound artistic experiences.