Sunday, 22 January 2023

Transcendentalism

 Hello Friends, I'm a student of the Department of English,M.K.B.U. This blog is a part of a thinking activity which is assigned by Megha Ma'am. This blog is based on Transcendentalism and also on a movie which is based on Transcendentalism.



Introduction:-



Transcendentalism is an American literary, philosophical, religious, and political movement of the early nineteenth century, centred around Ralph Waldo Emerson. Other important transcendentalists were Henry David Thoreau, Margaret Fuller, Lydia Maria Child, Amos Bronson Alcott, Frederic Henry Hedge, Elizabeth Palmer Peabody, and Theodore Parker. Stimulated by English and German Romanticism, the Biblical criticism of Herder and Schleiermacher, and the scepticism of Hume, the transcendentalists operated with the sense that a new era was at hand. They were critics of their contemporary society for its unthinking conformity, and urged that each person find, in Emerson’s words,


 “an original relation to the universe”. 


Emerson and Thoreau sought this relation in solitude amidst nature, and in their writing. By the 1840s they, along with other transcendentalists, were engaged in the social experiments of Brook Farm, Fruitlands, and Walden; and, by the 1850s in an increasingly urgent critique of American slavery.



  • Basic Information about Transcendentalism :-



TRANSCENDENTALISM is a very formal word that describes a very simple idea. People, men and women equally, have knowledge about themselves and the world around them that "transcends" or goes beyond what they can see, hear, taste, touch or feel.

 

This knowledge comes through intuition and imagination not through logic or the senses. People can trust themselves to be their own authority on what is right. A TRANSCENDENTALIST is a person who accepts these ideas not as religious beliefs but as a way of understanding life relationships.


The poets and a critic created a group called Transcendental club which consists of Ralph Waldo Emerson, Walt Whitman, Henry David Thoreau and Margaret Fuller. They reacted against the ideals of Puritanism and its orthodoxy rigidity on society. They were non-conformists and believed in self-reliance and detachment from any political and religious views. They thought that religious point of view are subjective in nature and the subject of God varies from person to person and hence it completely depends on the notion of individual perspectives and their experiences with God.

 

The individuals most closely associated with this new way of thinking were connected loosely through a group known as THE TRANSCENDENTAL CLUB, which met in the Boston home of GEORGE RIPLEY. Their chief publication was a periodical called "The Dial," edited by Margaret Fuller, a political radical and feminist whose book "Women of the Nineteenth Century" was among the most famous of its time. The club had many extraordinary thinkers, but accorded the leadership position to RALPH WALDO EMERSON.



Presentation based on the major Transcendentalists. Like., Ralph Waldo Emerson,Henry David Thoreau, Margaret Fuller. :-


Henry David Thoreau, Walden


"Our life is frittered away by detail. Simplify, simplify, simplify! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumb-nail."




Characteristics of the Transcendentalism :-


1) The Transcendental believed that the power of divine or God can be known through the power of emotion and intuition. They rejected the rational and logical entity of mind to know God and reacted against the ideals of Unitarianism. They relied on intuition for all the answers and believed that knowledge comes from within and intuition resides within an individual. They wanted to go beyond or transcend the limitations of human senses and based their knowledge of spiritual and other knowledge by their emotions and inner voice rather than sensory perceptions.


2)They championed the idea of individualism and believed in the idea of self-reliance. They thought that individual entity is the spiritual center of the universe where the prime importance of individual presence on society is established to make progression and development. They critique the society and political aspects which destroy human mind and corrupt their souls. Hence, they believed in the independent of every individual and one should listen to their own mind and soul.


3).The other important philosophy is the philosophy of over soul. It is about the soul’s connection with God where every other souls are connected to God who is the over soul. It means to emphasize that God is omnipresent and is everywhere and hence there are no clear distinction between human soul and nature as the study of nature will help in better understanding the laws of nature which will lead them to understand God and other aspects of soul.


4)The nature also plays an important role in their philosophy as nature is the scared place of solitude and peace which the English Romantics finds it too. It is through nature one can understand God , self and soul which resides within us. They emphasized that man should spend time on nature and study nature which will enable them to attain spiritual guidance and morality than religious texts as God is omnipresent to them and studying nature will guide them to understand God and its relationship.


5) They believed in the idea of non-conformity and hence argued to restrain from any social and political doctrines. They clearly wanted to detach themselves from the set principles and conventions led by the society and urges every individual to become self reliant and independent. They believed that these set of principles destroy mankind and one cannot understand God from it and hence one should not conform to such rules and regulations constructed by the society.


6) They believed in the simplicity of life and sought to restrain from the materialistic and worldly desires. They detached themselves from the urban life and settled in the lap of nature to find solace and calmness instead of the material values which are easily accessible in the urban and city life.




Interpretation of the movie Based on Transendentalism :-


Summary of this movie :-




Dead Poets Society :-





In the movie Dead Poets Society, the literary philosophy of Transcendentalism is portrayed through the teachings of Mr.. Keating, a transcendentalist, at Walton, a private school grounded on conformity and Institution. The movie does not look at the school as a whole, but one can recognize the engagement concerning the transcendentalists and conformists In the movie when observing the fluctuations and activities taken by the group of boys who call themselves the Dead Poets Society. The Dead Poets Society is an organisation of a select few students who aspire to discover inspiration through appraisal of poetry.


The movie will address the doctrines of transcendentalism as they pertain to three key transcendentalist writers, relating them to the characters in the film and their particular discovered vocations. The vital indication is that the doctrines of transcendentalism from the 1 9th century persist definitely in the beliefs of American people, as is evident in this movie. Various transcendentalist ideologies frequently relate to each character, principally when in concern with individuality.


Transcendentalism asserts that every individual Is capable of discovering higher truth on his or her own through intuition. Transcendentalists believe that self-reliance and Individualism must outweigh external authority and blind conformity to custom and tradition. Qualities of transcendentalism are revealed in the scenes when Mr.. Keating tells Nell to talk to his father about being in the play, when Charlie makes up a “phone call from God” and does not give in to Mr.. Nolan, and when Knox goes to Chris’ school to make her accept his affection for her.


In the scene when Mr.. Keating tells Neil to discuss being in the play with his father, Mr.. Keating assumes the role of father and comrade to Neil the night before the play. This example is one of the exhibitions of the relationships that Keating has generated with his students. This scene represents Mr.. Keating as much more than Just a teacher. Mr.. Keating intended to help Neil with his struggle against conformity and tradition. Knell’s father is a very potent example of someone opposed to transcendentalism, a conformist or institutionally.


Keating listens and asks Nell If he has ever been as sincere with his own father to which Nell responds, “l can’t talk to him that way” to which Keating asks, “Have you ever told your father what you just told me? About your passion for acting. Have you ever shown him that? ” And Neil says sadly “I can’t. ” Seating’s words encourage Nil’s individualism, and self-reliance: “Then you’re acting for him, too. You’re playing the part of the dutiful son. I know this sounds impossible, but you have to talk to him. You have to show him who you are, what your heart is. Neil does not tell his father and lies to Keating. Mr.. Seating’s advice to Neil emulates the principle of civil disobedience as described in Henry David Thoreau excerpt from Civil Disobedience and Other Essays, “If the Injustice is part of the necessary friction of the machine of overspent, let it go, let It go: perchance It will wear smooth–certainly the machine will wear out… But If It Is of such a nature that It requires you to be the agent of Injustice to another, then say, break the law. Let your life be a counter-friction to stop the machine.What I have to do is to see, at any rate, that I do not lend myself to the wrong which I condemn. ” 


Unfortunately, Nil’s father does not give into son, Neil. In contrast, Charlie is a fugitive in the movie that does stimulate some progress against idealism. Furthermore, in the scene when Charlie makes "a phone call from God”, Henry David Thoreau principle of civil disobedience is also exemplified. Charlie’s uprising is to put out an article under the name of the Dead Poets Society demanding that girls be allowed to attend Walton. This is Charlie’s best moment. A general assembly is called and Mr.Nylon’s speech follows “In this week of Welter’s Honor there appeared a profane and unauthorised article. Rather than spend my valuable time ferreting out the guilty persons and let me assure you I will find them – – I’m asking any and all students who know anything about this article to make themselves known here and now. Whoever the guilty persons are, this is your only chance to avoid expulsion from this school. ” The sound of a phone ringing can be heard. It’s a false phone that Charlie has arranged. Charlie picks up a telephone and answers “Walton Academy. Hello. Yes, he is.Just a moment”. Charlie stands up, holding a phone and bell in his hands. “Mr.. Nolan, it’s for you. It’s God. He says we should have girls at Walton. ” This scene pools nonconformity, revolt counter to the institution, self- reliance and, notably, a non-transcendental theme, humour, a retreat liberator of free speech. Charlie’s boldness and intrepid outburst in this scene best emulates Henry David Thoreau ideology of civil disobedience as observed in the excerpt from Civil Disobedience and Other Essays ``Is a democracy, such as we know it, the last improvement possible in government?


Is it not possible to take a step further towards recognizing and organizing the rights of man? ” The notion that there is a possibility for greater development within the school is what stimulates Charlie’s rebellious nature and outbursts. Mr.. Nolan reprimands Charlie demanding Ames of the members of the Dead Poets Society but Charlie does not capitulate. On that note, when Neil asks, “So what happened? ” Charlie replies, “I’m to turn everyone in, apologise to the school and all will be forgiven. ” On Nil’s inquiry, “So, what are you going to do? Charlie! Charlie’s response in keeping with his defiance is “Damn it, Neil, The name is Undead. '' signifying that Charlie does not and will not give in. He has a lot of resilience and is a true radical. Similarly, another character that actually takes initiative in the movie to perpetuate the essence of transcendentalism is Knox. Likewise, when Knox goes to Chris’ school to make her accept his affection for her; he implements the instructions of self-reliance by Ralph Wald Emerson. Knox overcomes his “calmness” and takes initiative by going to Chris’ school with flowers.


He says, “Please, accept these. Please. ” Chris replies “No. No– l, I can’t. Forget it” and walk away. Impervious, Knox follows and reads his poem. The classroom becomes noiseless as everybody heeds his brave and powerful message for Chris. Knox's actions are enthused by the Dead Poets Society and Knox reveals the self-confidence he gained from the Dead Poets Society. The Dead Poets Society gave Knox the knowledge of Transcendentalism, which is expressed in Ralph Wald Emerson, Self- Reliance, “Is it so bad, then, to be misunderstood?

Pythagoras was misunderstood, and Socrates, and Jesus, and Luther, and Copernicus, and Galileo, and Newton, and every pure and wise spirit that ever took flesh. To be great is to be misunderstood. ” The point articulated in this quotation is that one must not quarrel over the truths of their beliefs, but embrace them. Only once Knox learns to embrace his love for Chris Chris venerates his resolve and moves toward progression and rebirth. This scene reaffirms Knock's self-reliance.


Conclusion :-


In summary, the subject is the principles of transcendentalism from the 19th century, which were expressed in this movie. During the course of the movie, both destructive and constructive consequences of transcendentalism in a conformist, institutional setting transpire. Unfortunately, nothing essentially reformed with the institution, but the boys established knowledge that would supersede new ideas for coming generations. The movie itself provided quality entertainment for the untrained mind.




Friday, 20 January 2023

Indian Poetics

 Hello Everyone, I'm a student of the Department of English,M.K.B.U. This blog is a part of a thinking activity which is assigned by Dr. Dilip Barad. In this blog I'm going to write about Indian Poetics & Indian Aesthetics.


Points to Ponder :-

  • Introduction

  • Basic Information of Indian Aesthetics

  • Various Schools of Indian Politics and their Pioneer 

  • Rasa Theory 

  • Dhvani Theory

  • Vakrokti Theory

  • Alankar Theory

  • Riti Siddhānta

  • The Aucitya Siddhānta

  • Ramniyata Theory

  • Conclusion 


Introduction :-



Indian Poetics & Aesthetics is all about analysis of literature especially Poetries. There are several chief Indian Aesthetics & Poetics who came up with the various theories which we used alot in our literature as well as in our day to day life but we don't have any idea about that and that Poetics introduce us with those theories. 


Those theories include Rasa, Dhvani, Vakrokty,Alankara, Riti, Auchitya and Ramniyata. These all theories are in the Sanskrit Language.




Basic Information of Indian Aesthetics :-




Indian aesthetics is earlier than western aesthetics. Before Italian philosopher Croce there was no real aesthetics in the West. The first available book of this discipline in India is NatyaShastra, presumed to be authored by Bharata, who is thus accepted to be the first acharya (aesthetician) of the Sanskrit poetics. The last eminent acharya of this science is Panditraja Jagannatha, the author of Rasagangadhara, Bharata is believed to be belonging to between 5 c. BC to 2 B.C. The Sanskrit poetics thus is widespread over a period of one and a half or two thousand years.


The stand, regarding principles of poetry which were prevalent at the time of Bharata, changed during the period of Bhamah and Dandin, the authors of Kavyalamkārā and Kavyadarsha, belonging to 6th and 7 c AD. Bharata was an exponent of rasa, i.e, sentiment, while Bhamah and Dandin were of alankara, ie, embellishment or figurative beauty. According to both these acharyas, rasa was taken to be a mode.


In the 9 e. A. D. three acharyas by name of Vamana, Udbhata and Anandavardhana came into existence in this field They are the authors of Kavyalankara-sutra-vritti ,


Kavyalamkārāa-sara-samgraha 


and Dhvanyaloka in respective order. Among these Vamana, supporting riti (poetic diction or style), had declared it to be the amman (essence or soul) of poetry, while Udbhata, the follower of Bhamaha and dandin, was an adherent of alamkārāa, but Anandvardhana accepted dhvani (an aesthetic suggestivity) as the soul of poetry. 

On the basis of this theory he shifted the Sanskrit Poetics into a new direction. That is why he is said to be an epoch-making acharya. 


However for about two hundred years many aestheticians refuted the theory of dhvani Chief among them are Dhananjaya (10 c. A D) the author of Dasarupaka, who included dhvani into fatparya- vriti (the function of the words called purport), Kuntaka (10 & 11" c. A. D.), the author of Vakrotijivita (vakrokti clever speech or artful expression and Mahimabhatta (11 e A. D.), the author of Vyakti Viveka, who included divani into anumana (an inference).


But Mammata (11 c. A. D.) the author of Kavyaprakasa, through his profound exposition, refuting all the adversaries of divani, defended and re-established the theory of divani indisputably, and throughout six centuries ahead, this doctrine was accepted by all the acharyas Even Jayadeva (13 c. A. D.), who had accepted alankara to be an inseparable component of poetry, dealt with dhvani in his book Chandralekha Vishvanatha (14 c. A. D.) though established Rasa as an atman of poetry, yet, while treating the theory of dhvani with all its varieties and sub-varieties in his book Sahitya Darpan, accepted Rasa as an important variety of deviant. The last acharya Jagannath advocated this theory with full faith in it.



Various Schools of Indian Poetics and their Pioneer :-



Theories 

Indian Poetics 

Rasa (the theory of aesthetic pleasure)

Bharata

Alankarwad (the theory of poetic figure)

Bhamah

Riti Siddhant (theory of style)

Vamana

Dhvani Siddhant (the theory of suggestion)

Anandvardhana

Vakrokti (the theory of obliquity)

Kuntaka

Auchitya Vada (the theory of propriety)

Kshemendra



Rasa Theory :-

Rasa theory originates by Bharata , he writes about this theory in the sixth chapter of 'Natyashastra' ,Which is his work. 



Rasa theory is very deeply connected with our emotions. We can realise other people's emotions by their facial expressions. There are two types of emotions.,1.Practical and 2. Visible


For Example .,

  1. Sadness and the pain  by tears (practical)

  2.  Happiness by smiles (practical)

  3. anger (visible)


We all are individuals even though we are connected with our emotions. We can not imagine what a person is thinking about but we can see what kind of emotions he has and we can feel that .


Our literature is also a way of expressing  emotions ( bhavas) . With the help of literature we can be free from various bad emotions which can be harmful for us in future. It can be a way to express all of our emotions . which can be harmful for us in future. 


For Example :-  


 કુમરસંભવ :- શિવ - પાર્વતી 


In this we can see how Kalidas uses the language which represents bhava or emotions. When readers read that they also feel various emotions and they can easily imagine resa which Kalidas describes through the help of language.


Through this we can prove how language and bhavas or emotions are connected with each other.


Types of Rasa :-


  1. Vibhav

  2. Anubhav

  3. Vyabhichari (sanchari)



 Rasa is born out of the union of “ Vibhav”  “Anubhava” and “Vyabhichari bhavas”.


       1.  Vibhav (Determinants/causes): Physical conditions for aesthetics reproduction, an indication of time place and other ways.


                  a. Alambana Vibhav - Substantial Determination - Shringara or Erotic rasa alambana could be lover and hero or heroine, nayak or nayika, without this the erotic sentiments would be difficult to imagine.


                  b. Uddipina Vibhav - Excitant Determination - the moon, the sandalwood essence, ornaments, perfume, clothing and jewellery or isolated space in the garden.


        2. Anubhav - specify unconventional means of producing emotions like gestures, holding hands, kissing, etc.


        3. Sanchari and Vyabhichari bhavas - Emotional status (Bharta mentioned 33 of them) There range from agitation, depression, tiredness, shame, joy, etc. One that is not loyal even in the saddest of the place there is humour He uses an example of a recipe. e.g. sugar in Kerala is used in their food.


Finally, there are listed 8 involuntary bodily responses they are called Sattvika - 


  1. physical expression.

  2. Bhava.

  3. Perspiration

  4. Paralysis

  5. Fainting

  6. Trembling

  7. Change of Voice

  8. Change of Colour


Bharta speaks of 8 sentiments RASA (to which a widely accepted 9th sentiment has been added by later writers):-


श्रृंगार करुण वीर,

रौद्र हास्य भयानक।

बिभत्सात्भुत शांतस्य,

नव नाટ્ये रसा: स्मृता ।।

  • अभिनवगुप्त (अनुष्टुपछंद)



*   Shringara (शृङ्गारं) Love, Attractiveness. Presiding deity: Vishnu. Colour: green.

*   Hasya  (हास्यं) Laughter, Mirth, Comedy. Presiding deity: Ganesha. Colour: white.

*   Rudra (रौद्रं) Fury. Presiding deity: Rudra. Colour: red.

*   Karuna (कारुण्यं) Compassion, Tragedy. Presiding deity: Yama. Colour: dove coloured.

*   Bibhatsa  (बीभत्सं) Disgust, Aversion. Presiding deity: Shiva. Colour: blue

*   Bhayānak (भयानकं) Horror, Terror. Presiding deity: Kala. Colour: black

*   Vīra (वीरं) Heroic mood. Presiding deity: Indra. Colour: wheatish brown

*   Adbhuta (अद्भुतं) Wonder, Amazement. Presiding deity: Brahma. Colour: yellow

*   Śhant  Peace or tranquillity. deity: Vishnu. Colour: white


A 9th rasa was added by later authors. It functions as an equal member of the set of rasa’s but is simultaneously distinct as being the clearest from the aesthetic bliss. It is hinted as being as good as but never equal to the bliss of self-realisation experienced by yogis.



The rasa siddhānta (theory of aesthetic experience) of Bharata (5th century ) is based on the four kinds of abhinaya (acting/expression).


*   āngika abhinaya (voluntary non-verbal expression) to depict emotions/feelings of a character being played by the actor.

*   vācika abhinaya (verbal expression) to express emotions/feelings, tone, diction, the pitch of a particular character.

*   āhārya abhinaya (costume and stage expression) to enhance expression.

*   sāttvika abhinaya (involuntary non-verbal expression) expressed by the presence of tears, a mark of horripilation, change of facial colour, trembling of lips, enhancing of nostrils) to express the deepest emotions of a character.


Thus the main topic dealt with in the Nātyaśāstra is the harmonious and creative use of language-- both verbal and nonverbal—which makes the expression the highest kind of poetry. Bharata puts this harmonious and creative use of language.




                   Dhvany Theory :-

Dhvani Siddhant originated by Anandvardhana in his scripture scripture (ગ્રંથ) Dhvanyaloka .


Dhvani was initially written for poetry but by time, it's used in the art also for its suggestive meaning. In art, the sphotvad (blast of words) is the tone. The tone has a meaning itself. Tonal variations i.e. tint and shades can give or change the meaning of the subject.


(Rasa Dhwani) When listening to something gives you some feeling of joy or sadness.

Mahima Bhatta states, vyanjanā is always latent. As we delve deep into abhidhā (primary meaning), we get the meaning of vyanjanā (tertiary or suggested meaning).


मुख्यार्थबाधे तद्ध्योगेरुढीतोड्य प्रयोजनात्।

अन्योडर्थोलक्ष्यते  यत्सालक्षणारोपिता किया: ।।

  • आचार्य मम्मट 

(સીધો અર્થ નહિ પણ તેની નજીકનો અર્થ લેવો)


Three Types of SHABDA SHAKTI :-


  1. The denotative function (abidhâ) :- In this we get simple or direct meaning


  1. The indicative function (laksnâ)  :- We cannot get a direct meaning, that's why we have to take a meaning which is related to the sentence.

  • All the Idiom are written in this function 


  1. The suggestive function (vyanjanâ) :- In this we can get direct meaning but we haven't taken that.


E.g., :- 


મીઠા મધુને (abidhâ) મીઠા મેહલા (laksnâ) રે લોલ,

એથી મીઠી તે મોરી માત રે(vyanjanâ) …….


According to Aanandvarthan there are three parts of Dhvani Which are like.,

  1. Vastu Dhvani

  2. Alankar Dhvani

  3. Ras Dhvani 


E.g., :- 1. Vastu Dhvani (અવિચિત્ર)

  • તુ જ્યા છે ત્યા મારો જન્મ થજો (પ્રેમની અભિવ્યક્તિ, ઇચ્છા ની અભિવ્યકિત,)


2. Alankar Dhvani(વિચિત્ર)

  • દમયંતીનું મુખ ચંદ્ર જેવું છે ( comparison, Surrealistic Imagery)

 

3. Ras Dhvani (અલૌકિક)

  • સાવરિયો રે મારો સાવરિયો હું તો ખોબો માગું ને દઈ દે દરિયો (ભાવને ઉદ્દીપક કરે)



Vakrokti Theory :-

વક્ર + ઉકિત = વક્રોક્તિ 


This theory originated from Kuntaka. Vakrokti is a very important part of literature, especially Poem. 


For Example :-


અમે વળીને જોયું અને તમે વળ્યા વાક,

ગલીનો હોય કે પછી નજરનો છે વાક.



शब्दार्थोसहितो वक्र

कविव्यापार शालिनी।

बन्धे व्यवस्थितौ काव्यम्

तद्विदाह़लाद कारिणी ।।


According to Bhâmaha, all poetic speech is marked by a roundabout turn of expression or vakrokti as opposed to straightforward expression of everyday language. It seems these theorists were obsessed with the problem of differentiating poetic language from ordinary language. In the hands of Kuntaka, the term became enlarged in import. 


  • According to Kuntaka there are six part of Vakrokti Which are like .,


  1. Varna Vinyas Vakrata

  2. Padpurvarth Vakrata

  3. Padpararth Vakrata

  4. Vakya Vakrata

  5. Prakarana Vakrata

  6. Prabandh Vakrata 


1.Varna Vinyas Vakrata :- The beauty of the words is expressed.


e.g., નવ કંજ લોચન કંજ મુખપર કંજ પદ કંજારુનમ


2. Padpurvarth Vakrata  :- The preceding part of the preposition conveys the full meaning .


e.g., તમે મારા દેવના દીધેલ છો,

 તમે મારા માગી લીધેલ છો.


3. Padpararth Vakrata  :- There is a suffix which represents the whole meaning of the sentence.


e.g., ગઢને હોકારો તો કાંગરોય દેશે,

પણ ગઢમાં હોકારો કોણ દેશે ?

  • રમેશ પારેખ 


4. Vakya Vakrata :-  It depends on 'be or not to be'.


e.g., 'વહુએ વગોયા મોટા ખોરડા રે લોલ' 


5. Prakarana Vakrata :- The original literary work was composed but with the use of one particular part of that a writer creates a new literature that is considered as Prakran Vakrata.


e.g., કવિ બોતાદકર રચિત 'ઊર્મિલા' (રામાયણ)

કાન્ત રચિત 'અભિજ્ઞાનકાવ્ય' {(મહાભારત) (સહદેવ પર આધારીત)}


6. Prabandh Vakrata  :- The whole structure indicates or gives a message at the end of the story.

  • All the Panchatantra and Hitopadesha  stories are considered as Prabandh Vakrata 



e.g., રામાયણ :- 'અસત્ય પર સત્યનો વિજય'

Hemlet :- ' Destiny is almighty'



Alankar Theory :-

The Alankāra siddhānta (theory of figures) originated by Bhamah, he describes this theory in his work 'Alankara Shastra'.


'ચાંદને રસ્તો મળે એ આશમાં,

હું દિવા કરતો રહ્યો આકાશમાં.'



The alaṁkāra siddhānta (theory of figures) of Bhamah (6th c) defines kāvya togetherness of sound and meaning. According to Bhamah, alanakāra (poetic figure) is the essential element of poetry and it consists in the striking manner of putting a striking idea in an equally striking word.


Anandavardhana views in Dhvanyāloka that “alankārās (poetic figures) are those elements which, depending upon word and meaning, minister to the generation of poetic charm” also certifies the creative use of language in literature.


  • Alankāra (figure) is used to  :-


  1. underline an integral part of a literal meaning;

  2. to nourish the literal meaning to its climax;

  3. to beautify the expression and give a different meaning

  4. to achieve excellence by its own splendour; and

  5. to express some impossible meaning.


' નાહ્યા પછી નખ કુણા

સખી રે, મારા સાજન છે એવા સલોણા'



  • The alankāras have been further classified by Rudrata in the following way :-


  1. śabdārthālankāras (figures based on sounds or verbal figures and meaning).

  2. sadraśyamulakālankāras (figures based on similarity),

  3. virodhagarbhālankāras (figures based on the difference),

  4. nyāyamulakālankāras (figures based on logic),

  5. śraṁkhalāmulakālanakāras (figures based on the chain),

  6. gudarthapratitimulakalanakaras (figures based on inference or hidden meaning),

  7. vargīkaraṇ-bahirgatālanakaras (admixture of figures),

  8. ubhayālanakāra (hybrid figures).




Riti Siddhānta  :-


"શૈલીએ જ કાવ્યની ઓળખ છે"

  • વામન


The rīti siddhānta (theory of style) of Vaman (8th c) is also based on three types of styles of the creative use of language


In this theory Vaman tries to describe the style of different writers . According to him ,all the writers or even all the individual people differentiates with their style.


  • Through the use of these elements the writers are differentiated from each other which we called Riti or Style.


  1. rhythm, rhyme, and metre facilitated by phonemes and syllables


  1. lexical items— usage, synonym, transference, adjective, pronoun, indeclinable or compounds, particle and verb etc


  1. grammatical items—tense, case, number, person, voices, affixes etc.


  1. structural items or word powers—denotation, connotation, suggestion



e.g., :-

તમે આવજો જ.

તમે જ આવજો. 


The words of both the sentences are the same but the structure is different. That's why both the sentences represent different meanings.


Three types of Riti :-


  1. Vaidarbhi

  2. Gaudi

  3. Panchala


To sum up, rīti (style) mainly depends upon the fact how the meaning of kāvya (poetry) is imparted in consonance with rasa (sentiment).




The Aucitya Siddhānta   :-


The aucitya siddhānta ( theory of propriety) propounded by Ācārya Kshemendra (11th century)


Aucitya or appropriateness is another such concept which needs a brief mention here. Bharata recognizes it in the context of performance (say, aptness of acting to the context, social stature of the hero, etc). Ânanda discusses it and so does Kuntaka. But it gets central focus in the hands of Ksemendra who highlights the fit among the elements, the subject, the contexts and so on. 


For Example :- 


Ramayana , the story is originally told by Shiva and Parvaty or we can say that it is a kind of conversation between Shiva and Parvati but It focuses on the life of Rama and The life of Rama is described here as a main part of the story instead of the story or conversation of Shiva-Parvati.


Again, here is a concept that can extend without much modification to the various art forms. In simple words, there must be a fit between theme and form and this is so in all aesthetic fields.



Ramniyata Theory :-


"બદલાતી વિભાવના એટલે રમણીયતા " 

  • જગન્નાથ


This Theory is originated by Jagganath. This Theory is based on the concept of newness of the literature.


क्षणे क्षणे नवताम् ऊपयती।

तद एव रुपम रमणीयता ।।

जगन्नाथ 


e.g., એ જ ભેજ , એ જ તેજ , એ જ સેજ (લગા..લગા)

  • નિરંજન





Conclusion :-


To sum up, these are the theories of Indian Aesthetics and Poetics. Through the Aestheticians we got the information how theories are used in literature as well as in our day to day life. 




Word Count :- 2590

Images :- 3



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