When we talk about Indian poetics the very first and common thing came in our mind is that, "Indian poetics refers to the literary traditions and forms of poetry found in the Indian subcontinent, including the present-day countries of India, Pakistan, Bangladesh, and Nepal. These traditions have a rich history dating back to ancient times and include a variety of forms such as the epic poem, the lyric, and the drama. Many of these forms are based on traditional Indian principles of aesthetics, such as rasa (emotional flavor) and dharma (ethical and moral principles). Indian poetics also includes the study of poetics in Indian languages such as Sanskrit, Bengali, Hindi, and Urdu."
Generally indian literature is known as a Indian poetics. As specially the ancient Sanskrit literature like Vedas, Purana, Upnishad, and the poetry. Aristotle gave definition of poetics, according to him poetics means Kavya. And Indian poetics means Kavya which is written in India, In Indian language. In Indian poetics we find six schools or theory.
1) The Rasa theory
2) The Alamkara theory
3) The Dhvani theory
4) The Vakrokti theory
5) The Riti Theory
6) The aucitya theory
Rasa means emotional state of mind. Rasa theory was established by Bharata. He gave the process of Rasa sequel, for that he wrote that,
"विभावानुभावव्यभिचारी संयोगात रसनिष्पति:।"
This sentence taken from sixth part of natyasastra. The sentence made up by four words,
१) विभाव :- Object
२) अनुभाव :- our response / outer expressions.
३) व्यभिचारी भाव :- Transitory emotions
४) संयोग :- Combination of all this.
In short,When Object, our Emotions and expression comes together, at that time Rasa energize. According to Bharata, Rasa is of nine kind.
१) करुण - Sorrow
२) भयानक - Terror
३) रौद्र - Anger
४) शृंगार - रति - love
५) वीर - उत्साह - Energy
६) हास्य - Mirth
७) बिभत्स - जुगुप्सा - Disgust
८) अदभुत - विस्मय - Astonishment
९) शांत - निर्वेद - Calm
2) Alamkar Theory:
Bhamaha is the first who introduced alamkara poetics. The second and third chapter of KAVYALLAMKARA deals with 35 figures of speech.
Mammata enumerates sixty-one figures and groups them into seven types like…
1. Upma= simile
2. Rupaka= Metaphor
3. Aprastuta Prasmsa =Indirect description
4.Dipaka= Stringed figures
5.Vyatreka =Dissimilitude
6.Virodha =Contradiction
7.Samuccaya= Concatenation
3] Dhvani Theory :
Language is the central theme of the Dhvani theory; it is viewed in terms of phrase or word meaning. Power of suggestion and verbal persuasion. Understanding the meaning behind what is said is crucial. It's possible that what's said doesn't imply what it actually does. However, it gives off a different vibe. When someone says, "You are a lion," for instance.
The simple interpretation is that the human addressed by the sentence is a lion. However, it is not scientifically possible. However, if we have literary sense, language knowledge, and an understanding of meaning, we can easily assume that the person wishes to say, YOU ARE A BRAVE OR YOU ARE A COURAGEOUS. Language is always a liar. And Dhvani is infatuated with language. And it is all about how one interprets it.
Anandavardhana wrote in his treatise "Dhvanyavloka" that Kavya is a result of words and their meaning. He went on to say that Dhvani is Kavya's soul. Language does not have its own meaning. However, it is embedded in language. Dhvani generally refers to the esoteric meaning of what is being told or said. Dhvani is split into two parts.
1) Prakrata Dhvani :-
Prakrata dhvani is a sound of norms. Or we can say meaning behind meaning. For example if I say, A girl with moon face. Means a girl is beautiful.
2) Vaikrta Dhvani :-
The actual sound of what is spoken is called vaikrta dhvani. For example if I say, A girl with a moon face. Means a girl has a moon in place of face.
Dhvani is divided into three major types.
1) Vastu dhvani
2) Alankaara dhvani
3) Rasa dhvani.
Vastu dhvani and Alankaara dhvani can be expressed by direct meaning or by suggestions. But Rasa dhvani is more important. It is not expressed directly. But it come out through emotions or suggestions.
1) vastu dhvani :- Sudden blast of meaning.
2) Alankaara dhvani :- Alankar make dhvani more beautiful or thriller.
3) Rasa dhvani :- Indirect meaning of sentence. Which is more interesting.
Mammta explains dhvani in three fold functions.
1) Abhidha
2) Lakshana
3) Vyanjana
1) Abhidha :-
Abhidha means denotation. Which give direct meaning of what is spoken. For example Darkness eats him every day. It simply means darkness eating a man. Which is not possible scientifically but if we look for direct meaning, we get this.
2) Lakshana :-
Lakshana means indication. or Inferior meaning of what is spoken.where we are not able to take direct meaning, we understand the sentence by inferior meaning.
3) Vyanjana :-
Vyanjana means suggestions, when we are able to get direct meaning of words and still we don't take it and look for another meaning is called vyanjana.for example, when we say, Darkness eats him every day. It simply means darkness is eating him. But indirect meaning is he is in pain and sorrow. And when we understand this meaning which is not even spoken. that is called vyanjana.
4) Vakrokti Theory
Karnataka is known as the originator of this Sanskrit literary theory. Vakrokti theory is a literary theory found in the Indian tradition of poetics, specifically in the ancient Indian language of Sanskrit. The theory states that the meaning of a word or phrase can be conveyed in a twisted or indirect way, rather than a straightforward manner. The theory posits that the use of figurative language and imagery can create a more powerful and evocative effect on the reader or listener. The vakrokti theory is one of the key principles in Indian poetics and is used to analyze and appreciate poetry, particularly in the context of the Indian epic poem, the Ramayana. It is also used to understand and analyze other forms of Indian literature such as drama and lyric poetry.Vakrokti is a theory of poetry that perceives poetry essentially in terms of the language of its expressions. Here Vakrokti turns into beauty.
"विशिष्टभंगीभणिति"
- कुंतक
Vakrokti means specifically stated. Vakrokti is something which is not told directly, but it gives indirect meaning. Or we can say sometimes it is similar to taunting. According to Kuntaka, beauty is not in directness, but it is in sarcasm.
5] Riti Theory :
Vamana represents the Riti school of poetics. He wrote Kavyalankar sutravritti treaties. Riti was also defined by him. He wrote that it means like a character's expression. He also stated in his writing, This means that our appearance can reveal both our strengths and weaknesses. He went on to say that riti is a literary / poetic identity. And riti is always associated with one's reaction after reading or listening. Riti theory is a concept in Indian poetics that refers to the literary style or manner of expression used in a work of literature. The term "riti" is derived from the Sanskrit word for "style" or "manner," and it is used to describe the various ways in which an author can convey meaning and emotion through language. In Indian poetics, riti is considered to be one of the most important elements in the creation and interpretation of literature, as it is believed to be the key to understanding the author's intent and the overall meaning of a work. Riti theory is a part of the Natyashastra, an ancient Indian treatise on aesthetics, which discusses the different ritis in detail.
In a nutshell, we can interpret riti as a unique style of writing, speaking, and performing.
6] Auchitya Theoy:
Ksmendra presented Aucitya theory in his Aucityvicaracarca treaties. Aucitya's general meaning is justification, propriety, decency, or reasonableness. However, according to Ksmendra Aucitya, the term generally refers to poetic harmony.
"Aucitya is the soul of the poem," wrote Ksmendra. The theory of Aucitya is the only theory that is universally accepted by all poets. Ksmendra classified Aucitya into twenty-seven categories.
Kshemendra’s discussions of the principle of Aucitya are from the point of view of both the writer and the reader and are articulated in its given cultural and philosophical context. Kshemendra made aucitya spine elements of literariness. He defines aucitya as the property of an expression being an exact and appropriate analog of the expressed.
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