Indian Poetics

 Thinking Activity

Indian Poetics

This blog is written in response to the thinking activity assigned by Dr. Dilip Barad sir, Department of English, MKBU on Indian Poetics. In this blog I will deal with various concepts of Indian Poetics like Rasa, Riti, Vakrokti, Alankara, Dhvani, and Auchitya. The lectures of Indian Aesthetics were taken by a prominent Gujarati Writer, Poet and Critic Prof. Vinod Joshi sir. 

Introduction:- 

              Indian poetics is being considered as the earliest(ancient) criticism. Many scholars of India tried to define various literary theories very closely and if we pick any one theory, we will say this is right and at the same time we pick up other theories we would realise that they are also right. But what are those chief characteristics that distinguish as well as give prominent space to all of them in literary theories. We all have three kinds of imagery: 1. Dream 2. Land of memory and 3. Imagination. We can't change Dream and Memory or can't even interrupt it as there is no scope of it. The only thing that is in our hands is "IMAGINATION". This imagination is the only facet that leads oneself to create literary art. To understand Indian literary criticism, it is significant to understand that  in literature, we always try to visualise ourselves. So it can be said that literature is our own reflection. In Indian Aesthetics, there are various schools and each of them tries to elaborate the significant part of poetics. These are

1. Rasa theory by Bharata

2. Dhvani theory by Anandvardhan

3. Vakrokti theory by Kuntaka

4. Alankara by Bhamah

5. Riti by Vaman

6. Ramaniyata by Jagganatha 

1. Rasa theory:- Click here to read about Rasa theory

2. Dhvani Theory:-

Kavyasya atma Dhvani

              

1. The sound structure of words
2. The semantic aspect of shabda
3. The revealed or suggested meaning

Dhvani theory is a theory of meaning, of symbolism, and this principle leads to the poetry of suggestion being accepted as the highest kind of poetry.

 Dhvani theory was coined by Anandvardhan in his book dhvanyaloka. To understand Dhvani ‘Shabda’(letter) and ‘Arth’(Meaning) and its interpretation is important.

The Combination of  ‘Shabda’(letter) and ‘Arth’(Meaning)is dhvani itself.

 ‘Shabda’(letter) + ‘Arth’(Meaning)= Dhvani

In the beginning of Raghuvansh, Kalidasa says that,

वागर्थाविव सम्पृक्तौ वागर्थप्रतिपत्तये ।

जगतः पितरौ वन्दे पार्वतीपरमेश्वरौ ॥

Here Kalidas gives importance to the combination of Shabda and Artha by comparing it with the couple Lord Shiva and Parvati.

Before looking at the definition of Dhvani by Anandvardhan, let’s first try to understand the relation of Shabda and Artha by three “Shabda Shaktis”.

1. The denotative function [Abhidha(અભિધા)]:-

When we take and have to take basic on direct or the very first interpretation of anything is called as Abhidha. Here we don’t have to look for another hidden meaning but rather the surface meaning is enough to have understanding.

2. The indicative function[Lakshana(લક્ષણા)]:- When we can’t take direct meaning or any sentence, text or anything and we have to take nearer or another interpretation is called as Lakshana. Idioms, Phrases are categories under this Shabda Shakti. For Lakshana, Mammat says that,

मुख्यार्थबाधे तद्योगे रूढ़ितोऽथ प्रयोजनति्।

अन्योऽर्थों लक्ष्यते यत् सा लक्षणारोपिता क्रिया॥

3. The suggestive function [Vyanjana(વ્યંજના)]:-

  When there is a direct meaning or we don’t have to interpret this basic meaning and take another meaning, it is called Vyanjana.

Ex. મીઠા મધુને મીઠા મેહુલા રે લોલ એથી મીઠી છે મોરી માત રે 

Shabda Shakti	Example
અભિધા	મીઠા મધુ(Sweet Honey)
લક્ષણા	મીઠા મેહુલા(Sweet rain)
વ્યંજના	મીઠા માત(Sweet Mother)

What Anandvardhan says is to look at Prayojana(Purpose) of any said or written piece of literary art. 

જેમાં શબ્દ અને અર્થ ગૌણ બની જાય અને જે પ્રતીયમાન અર્થ પ્રગટે તેને ધ્વનિ કહેવાય.

This pratiyaman artha is that When there is nothing described and we understand it by hidden meaning. So Anandvardhan describes this hidden meaning as Dhvani. 

For Example, 

Darkness spread over his home.

From this sentence we can get two meanings. First, it is Night and second, one of his family members died or a family member sank in a big problem. This second meaning is described by Ananadvardhan as “Dhvani”.

  

Dhvani is of three types:

	Dhvani	Example
1.	વસ્તુંધ્વનિ  (Thought is at the centre)	તું જ્યાં છો ત્યાં મારો બીજો જન્મ થજો.
2.	અલંકાર ધ્વનિ(Figures of speech is at the centre)	And looked down one as far as I could
3.	રસ ધ્વનિ (Rasa ia at the centre)	It stimulates various bhavas

3. Vakrokti Theory:- 

               In this world each and every natural element has a kind of Vakrata(curvature) which gives charm to it. So this Vakrokti gives charm to language and thus to the Literature. For example,

અમે વળીને જોયું અને તમે વળ્યા વાક,

ગલીનો હોય કે પછી નજરનો છે વાક.

In this example we can get an idea that how poet has used certain words to depict meaning in an ambiguous way.

शब्‍दार्थौ सहितौ वक्र कवि व्‍यापारशालिनि।

बन्धे व्‍यवस्थितौ काव्‍यं तद्विदाह्लादकारिणी।।

Vkrokti is both words and meanings marked by artistic turn of speech. It generally means 'Markedness'. T.N.Srikantiya rightly points out that Kuntaka’s Vakroktijivita is ‘nothing but a treatise on the function of imagination in Poetry’ and Vakrokti, is a linguistic manifestation of the basic obliquity of the poet’s creative process.

Vakrokti is of 6 types:

"phonetic, [varnavinyasavakrata]. lexical, [padapurvardhavakrata], grammatical [pratyaya vakrata], sentential [vakyavakrata], contextual, [prakaranavakrata] and compositional [prabandhavakrata]"

	Types of Vakrokti	Explanation	Example
1.	वर्णविन्यास वक्रता-phonetic	Charm of using words. Basically alliteration	Peter Piper picked a peck of pickled peppers. Sally sells seashells by the sea shore. Fair is foul, and foul is fair
2.	पदपरार्ध वक्रता- grammatical	The whole statement is depended on first letter	તમે મારા દેવાના દિધેલ છો ‘We will proceed no further in this business’
3.	पद पूर्वार्ध वक्रता- lexical	The whole statement is depended on a letter after any of the letters	ગઢને હોકરોતો કાંગરા ય દેશે, ગઢમાં હોંકારો કોણ દેશે   Glamis hath murder’d sleep; and therefore Cawdor  Shall sleep no more-Macbeth shall sleep no more.
4.	वाक्य वक्रता-sentential	A miraculous or enchanting description of an object	मेरे पास माँ है ।
5.	प्रकरण वक्रता- contextual	Taking a part of any literary art or legend and enlargement of it by poet’s own interpretation	The Myth of Sisyphus by Albert Camus Hamlet by Shakespeare સૈરન્ધ્રી by Vinod Joshi ઉર્મિલા by Umashankar Joshi અતિજ્ઞાન by Kant
6.	प्रबन्ध वक्रता- compositional	One linear meaning of a whole text or any literary art.	Hamlet: To be or not to be  Ramayana: Victory of Truth

Thus, Vakrokti theory is a useful framework for stylistic analysis of Literature.

4. Alankara Theory:-

                 Bhamah has discussed Alankara in detail in his book “Alankarshstra”. Alankar generaly means Ornaments. These ornaments are not of natural beauty but rather beauty is applied. In most of the literary art we will find so many examples of these ornaments applied to the language. 

           It is not mandatory to use Alankara, but it is necessary to make language and thus a piece of literary art charming. Like in our day to day lives, it is not mandatory to wear ornaments but it is necessary for outer beauty. Its usage gives us happiness. Alankara is IDENTIFICATION. Mammat in part 10 of Kavyaprakash talks about Alankara;

 तददोषौ शब्दार्थौ सगुणावनलंकृती पुनः क्वापि। 

          Bhamaha says that Alnakar gives poetry enchanting ways of expression. In alankara, the way the syllables are combined is important. 

          Anandavardhana in Dhvanyāloka says that “alankārās (poetic figures) are those elements which, depending upon word and meaning, minister to the generation of poetic charm” and also certifies the creative use of language in literature. Alankaras are used to underline an integral part of literal meaning as well as to make the expression beautiful and give it a different meaning. It expresses some impossible meanings which are laid behind words. 

' નાહ્યા પછી નખ કુણા

સખી રે, મારા સાજન છે એવા સલોણા

      Bhamaha also says that all alankaras have their neutral existence but when it is merged in writing it gives charm to it. 

તાટસ્થ્યપૂર્વકનું તાદાત્મ્ય 

Alankaras can be broadly classified into two groups:

1. Shabdalankar(શબ્દાલંકાર): 

          It came from two word:

 Shabda (Word) + Alankar (Ornaments)) 

       Certain specific words that create an ornamental effect in a verse/poem.      

Shabdalankara is basically or majorly of three types:

	Alankara	Explanation	Examples
1.	अनुप्रास (Alliteration)	The repetition of usually initial consonant sounds in two or more neighbouring words or syllables.	★Peter Piper picked a peck of pickled peppers ★तरनि-तनूजा तट तमाल तरुवर बहु छाए। ★કામિની કોકિલા કેલિ કુંજન કરે.
2.	यमक (Homonym	Each of two or more words having the same spelling or pronunciation but different meanings and origins.	★આ તપેલી તપેલી છે, ત્યાં તું તપેલી ક્યાં આવી?
3.	श्लेष (Pun)	It includes a play of words that have more than one meaning or those that sound alike. Among the figures of speech, pun can be said to be the most intriguing and amusing.	★Rabbit : Can you tie a knot? Piglet : I cannot. Rabbit : Ah, so you CAN knot.

2. Arthalankar(અર્થાલંકાર):-

Arthalankar came from two words:

 Artha (Meaning) + Alankar (Ornaments) 

      The meaning of words that creates the required enhancement.

Arthalankara is basically or majorly of three types.

	Alankara	Explanation	Examples
1.	उपमा (Simile)	A simile is an expression which describes a person or thing as being similar to someone or something else. It majorly contains words like (as & like in English)(જેવું, સમ, સરીખું in Gujarati) (सम, समान… इन Sanskrit)	★As innocent as a lamb. ★He eats like a pig.  ★पीपर पात सरिस मन ड़ोला। ★દમયંતીનું મુખ ચંદ્ર સમું છે.  चन्‍द्र: इव मुखरम्‍यम्।
2.	रूपक (Metaphor)	A metaphor is a figure of speech in which a word or phrase denoting one kind of object or action is used in place of another to suggest a likeness or analogy between them.	★He is a shining star. ★पायो जी मैंने राम रतन धन पायो। ★મારે મન લાયબ્રેરી લોકશાહીનું મંદિર છે.
3.	अतिशयोक्ति (Hyperbole)	Hyperbole is the exaggerated statements or claims not meant to be taken literally. It is used to show intensity of a particular thing or situation.	★I'm so hungry I could eat a horse. ★ભીમે ગદા ઉપાડી ત્યાં તો બધા ભોય ભેગા થઈ ગયા. ★વૈશાખ મહિનો હતો, સીમમાં આગ ઝરતી હતી. ★देख लो साकेत नगरी है यही। स्वर्ग से मिलने गगन में जा रही।

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