Name:
Divya parmar
Paper:
Literary theory & criticism & Indian aesthetic
Roll number: 5
Enrollment number:
4069206420210024
Email id:
divyaparmar07012@gmail.com
Batch:
2021-23 M. A. Gardi department of English Maharaja krishnakumarsinhji Bhavnagar university.
➡️ Points to ponder:
What is poetics?
What is Indian poetics?
Some schools of Indian poetics.
Indian poetics
Indian poetics is the great heritage of India. Indian poetics is a part of literature and literature is the most important aspect of our life. So let's read about poetics.
What is poetics?
According to the Oxford dictionary, poetics means 'art of writing poetry'. In other words we can say that, poetics means the study of linguistic techniques in poetry and literature.
Traditionally, the term poetics has been interpreted as an inquiry into the laws and principles that underlie a verbal work of art and has often carried normative and prescriptive connotations. It first appears in the form of systematic inquiry around 350 BC in Aristotle’s work Poetics and has since exercised enormous influence on attempts to define the structural and functional principles of works of art predominantly, but not exclusively, in the verbal medium. Some slippage is evident as early as the first chapter of Aristotle’s Poetics where Aristotle discusses dance and music in terms of mimesis alongside poetry proper.
persisted into the twentieth century in the work of the Russian Formalists, New Criticism, and structuralism until challenged by post-structuralist approaches to language where writing becomes an all-pervasive metaphor not structured by distinctions (literary vs. non-literary, ordinary vs. poetic use of language) which poetics as a science takes for granted. Any discussion of the term poetics will also have to come to terms with the question of intermediality–that is, with the relationship between the different media and genres in a diachronic and synchronic manner.
➡️What is Indian poetics?
Poetry is the verbal form of transmitting the reflection of the poet. This reflection comes out from the penetration of the poet. This is obtained through his observation of the phenomenal and nominal world. The process of that transmission on its technique or the science may be considered as Alankara Sastra or Sahitya Vidya Alankara Sastra or Sahityavidhya is the name of the treatises on literary criticism. It is the judgment of poetry, artistic framework of remarkable thoughts and speculations on poetic compositions. The origin of Indian can be traced back to the Vedas, which are the oldest and the first literary compositions not only of India but also of the world. But the Vedas do not contain any systematic discussion or scientific classifications on the poetical theories. Certain things such as Rasas, Alaṃkāras which form some of the important content of poetics can be found in the Ṛgveda and other Vedas. Such things in subsequent literary led to enquire of their nature, origin and importance and then finally resulted in the development of important branch of learning i.e. Poetics, Alaṃkarasastra etc. Rajshekhara etymologically defines it as Sahitya Vidhya Which he calls as the seventh Vedanga (discipline auxiliary of the Vedas), fifteenth branch of knowledge and fifth discipline, which is the soul of other disciplines.
After a digression Rājaśekhara incorporates a charm full fable relating to the origin of poetry (birth of Kavya-purusha) Although, the Alaṃkarasastra examines Alankaras Kavya and Kavi, the utility causes and effects, Rasas, Gunas, Dosas and Ritis of Kavya, it comes within the scope of Sanskrit poetics. These subjects of poetics may be helpful for the writer and poets to bring up proficiency in their works or writings. But Rājaśekhara in his Kāvyamīmāṃsā describes the other elements of poetry on numerous matters with mixed up the topic of Kavi-śikṣā with poetic proper. There he prescribed various kinds of things which can be very much helpful for the aspiring poet to write good poetry. He doesn’t describe much about the various elements of poetry but he also concentrated on the matter of the proper poet, the creator of poetry.
➡️ Different schools of Indian poetics:
Rasa theory/school :
Rasa Theory asserts that entertainment (in the drama/performance) is expected to evoke Rasa or joy (artistic) but that is not the primary goal. The primary goal is instead to create parallel life in front of the audience to experience a sense of one’s own (i.e. Consciousness, spiritual and moral question). Bharatamuni believes that the dramatic form of aesthetic experience is the most perfect fruition of aesthetic activity because drama is the synthesis of all arts.
According to Abhinav Gupta (one of the famous critics of Natyashastra), Rasa is the simplest and most we bewildering expression in the Sanskrit language. Anyone can experience it but cannot define it precisely.
Features of rasa theory:
1.Rasa means aesthetics, juice, essence, taste in performance.
2. Rasa is an undefinable realization and intense feelings with detachment.
3. It is the flavor (general) or aesthetic emotion (metaphorical).
4. It is the soul of poetry.
5. Rasa is an emotion and cannot be described in opposition to Aristotle.
Originally, Rasa means juice, essence or elixir.
6. It is the pleasure experienced by each class of people.
7. No other word can define Rasa completely.
8. It is the impression created on the mind of the sympathetic audience by the expressions of Bhavas (emotions) and it’s experienced by it.
9. Rasa is not experienced in common situations but only in the art form.
Rasa’s Foundation is laid upon a particular view of psychology that holds our personality and according to which a few primary emotions live in the conscious and subconscious state of our being. These emotions are vast, amusing, pathetic, heroic, passionate, fearful, disgusting and wonderful. Later on peaceful, intellectual and devotional were also added.
These emotions are running in a permanent manner and may in the sense be called dominant emotions. (Sthaibhavas).
These prominent states that determine particular internal temperaments are regarded as the dominant characteristics of those emotional states.
According to Bharatmuni, the realization of Rasa results from the Union of Vibhavas, Anubhavas, and Vyabhikaribhavas. When Sthaibhavas unite with others, the three Bhavas, one attains the quality of Rasa.
Bhavas in Rasa theory
Shantibhavas :
These are the permanent or dominant moods.
They are 8 in number- Rati (love), Hasya (humorous), soka (sorrow), krodha (anger), utsaha (enthusiasm), bhaya (fear), jugupsa (disgust) and vismaya (wonder).
Later on, passiveness was added by Abhinavgupta and Anandvardhana.
Sthaibhavas are the basis of Rasa and are supreme among all Bhavas which are 49 in number.
Sthaibhavas constitute the principal theme of a composition.
They run all emotions like garland and cannot be overpowered by them. Rather the latter feed and strengthen them and help them emerge as Rasa.
Vibhavas :
They are the situations which are responsible for bringing out Sthaibhavas. Vibhavasu has two aspects- Alambana and Uddipana. The person in whose mind Sthaibhavas runs is known as Allambana Vibhavas. The moonlit, spring, soft breeze, and fragrance of flowers are Uddipanana Vhibahavas. In other words, they are stimuli.
Anubhavas
They are their effect seen upon the character after the emotions arise in the actor(s). They make spectators feel or experience Abhinaya by words and gestures.
Vyabhikaribhavas
They are the transitory and temporary mental states.
They strike mind and become the cause of experiencing a permanent mood.
They are 33 in numbers. Some of them are a weakness, depression, anxiety, despair, etc.
They spring out of principal emotion and ultimately merge into it.
They are like waves and bubbles that appear and disappear as the mighty stream of dominant emotion flows on, smiling and replying and dancing.
The realization of Rasa is the result of the union of Sthaibhavas, Vibhavas, Anubhavas, and Vyabhikaribhavas. Rasa theory draws a clear distinction between real-life experience and art experience- unordinary. In order to realize Rasa that must possess an adequate degree of intellectual and emotional equipment.
Dhvani Theory:
Anandvardhan was a well-reputed Kashmirian poet and philosopher. Kahlana, the celebrated author of Rajtarangini mentioned him as one of the ornaments adorning the court of King Avantivarman. Thus, on the evidence of Rajtarangini, Anandvardhan attained fame during the reign of Avantivarman (in the 9th century A.D.)
In the evolution of Alamkara literature, Dhvani or Vyanjana occupies a paramount place. The medieval Alamkarikas felt that for the purpose of aesthetic experience and Rasānubhuti, the aid of Dhvani must exist because the Rasa experience is never possible on Vakya Bhumi.
The Dhvani Theory found its first systematic expression in Anandvardhan's 'Dhvanyaloka'. His theory dominated Indian Poetics from the 9th to 12th century A.D.
Grammatical Definitions
ध्वनति इति ध्वनि: - That which suggest both word and meaning is Dhvani
ध्वन्यते इति ध्वनि - That which is suggested is Dhvani
ध्वननं ध्वनि: - Process of Suggestion is Dhvani
ध्वनि समुदाय: ध्वनि: - Entire Literature is Dhvani
"That kind of poetry, wherein the (conventional) meaning renders itself secondary or the (conventional) word renders its meaning secondary and suggests the (intended or) implied meaning; is designated by the learned as Dhvani or 'Suggested Poetry'"
Meaning
That meaning which wins the admiration of refined critics is decided to be the soul of the poetry. It has two aspects:
Explicit
Implicit
Explicit is commonly denoted by various figures of speech. But the implicit aspect is quite different. In the words of first-rate poets, it shines supreme and towers above the beauty of the striking external constituents even as a charm in ladies.
Construction of Dhvani
The communication of proper meaning through words requires a proper arrangement of sounds. Language basically can be written or spoken which has words as their foundation. Sanskrit critic has described three types of words:
अभिधा (Abhidha) - Literal Meaning of the word
लक्षणा (Lakshana) - Characteristically Meaning of the word
व्यंजना (Vyanjana) - Poetic & Metaphysical Meaning of the word
In this way, the third word Vyanjana reaches the soul and gives the suggested (extraordinary) meaning of the word. It is also called 'dhvani'. Basically, Dhvani is created by Pada (पद) which combines to form Vakya (वाक्य) and from Vakya, Rasabhava () is generated.
Conclusion:
Thus to conclude we can say that to write poetry is not an easy thing. There are so many theories and rules to write poetry in the proper way.
Word count:
Reference:
“The Chicago School of Media Theory Theorizing Media since 2003.” The Chicago School of Media Theory RSS, https://lucian.uchicago.edu/blogs/mediatheory/keywords/poetics/.
Www.wisdomlib.org. “Part 1 - The Origin of Indian Poetics.” The Origin of Indian Poetics [Part 1], 6 July 2021, https://www.wisdomlib.org/hinduism/essay/kavyamimamsa-of-rajasekhara-study/d/doc628237.html.
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