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 :-
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 .,
Sadness and the pain by tears (practical)
Happiness by smiles (practical)
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 :-
Vibhav
Anubhav
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 -
physical expression.
Bhava.
Perspiration
Paralysis
Fainting
Trembling
Change of Voice
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 :-
The denotative function (abidhâ) :- In this we get simple or direct meaning
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
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.,
Vastu Dhvani
Alankar Dhvani
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 .,
Varna Vinyas Vakrata
Padpurvarth Vakrata
Padpararth Vakrata
Vakya Vakrata
Prakarana Vakrata
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 :-
underline an integral part of a literal meaning;
to nourish the literal meaning to its climax;
to beautify the expression and give a different meaning
to achieve excellence by its own splendour; and
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 :-
śabdārthālankāras (figures based on sounds or verbal figures and meaning).
sadraśyamulakālankāras (figures based on similarity),
virodhagarbhālankāras (figures based on the difference),
nyāyamulakālankāras (figures based on logic),
śraṁkhalāmulakālanakāras (figures based on the chain),
gudarthapratitimulakalanakaras (figures based on inference or hidden meaning),
vargīkaraṇ-bahirgatālanakaras (admixture of figures),
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.
rhythm, rhyme, and metre facilitated by phonemes and syllables
lexical items— usage, synonym, transference, adjective, pronoun, indeclinable or compounds, particle and verb etc
grammatical items—tense, case, number, person, voices, affixes etc.
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 :-
Vaidarbhi
Gaudi
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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