Hello friends,
I am Nidhi Jethava and today I am going to write one blog on the Indian poetics. So It is Said that Our Sanskrit Literature is one the Oldest literature among all the Literature. Sanskrit is the mother of every language.
So, Let’s put some light on some of the important topics of Indian Poetics.
Introduction :-
From the critical thinking point of view one cannot put aside the immense value of Sanskrit literature which has provided the most dominant views on literary criticism. From the ancient time of Bharata to the present time, a lot many books have been written in Sanskrit explaining the nature of literature i.e. aesthetics delight.
While discussing the topic of Indian Aesthetics how can we forget the Rasa theory of Bharat moni. So let's discuss the Rasa theory by Bharata muni.
RASA-THEORY :-
While aesthetics delight is concerned, it was Bharatamuni, who in his most wonderful treatise ‘ NATYASHASTRA’ has established the theory of the RASA, which has been called a founder of the RASA School.
Basically speaking, RASA theory was an attempt to learn the emotional effect of drama i.e. the nature of enjoyment experienced by the spectators. The basic purpose of RASA Theory was to found the aesthetic thoughts of any literary work.
Bharatamuni has given maxim for explaining more about the RASA theory, is that
“विभावानुभावव्यभिचारि संयोगाद्रसनिष्पत्तिः।”
It means the RASA is born out of the combination of Vibhava, Anubhava and Vyabhicharibhava.
In order to learn the mentioned statement, it would be better to learn the exact meaning of certain terminology.
They are :-
THE BHAVA :-
They are the element very much needed for the RASA anything. They directly appeal to the heart of the readers. They can produce RASA and they stand for emotions and hoods. They can be Sthayi, Vibhava, Anubhava, Vyabhichari and Satvik.
THE VIBHAVA :-
-Vibhava is the objective condition producing an emotion .
-Vibhava may be of two kind (i) ALAMBANA VIBHAVA (ii) UDDIPANA VIBHAVA
( i) ALAMBANA VIBHAVA :-
Alambana-Vibhava means a person or person with reference to whom the emotion is manifested.
(i) UDDIPANA VIBHAVA :-
Uddipana-Vibhava means the circumstances that have excited emotion.
EX. A man may feel attracted to a woman if the circumstances are cooperating with it. It is easier for a man to be attracted to a woman of young age if they are thrown alone and there is a beautiful scenery before them, the moon peeping through the clouds, the fragrant breeze blowing, and the like. Any one of the circumstances may be regarded as Uddipana Vibhava, whereas both the man and woman are Alamabana-Vibhava to each other.
THE STHAYI BHAVA :-
They are in relation with the past experience which are also known as the SAMSKARA or VASANA.
They are of nine kinds convinced by all human beings.
Rati ( love)
Utsaha (energy)
Jugupsa (disgust)
Krodha (anger)
Hasa (mirth)
Vismaya ( astonishment)
Bhaya ( fear)
Soka (sorrow )
Santa (serenity )
Sthayi Bhava is directly related with the structure of any work. When emotion aesthetically exited in the mind, this outcome is known as RASA.
ANUBHAVA :-
It means bodily expression by which the emotion is expressed. Thus the arch glances of a lady ,her inviting smile may be regarded as ANUBHAVA.
VYABHICHARI BHAVA :-
It means a series of diverse emotions that feed the dominant emotion.
There are thirty-three types if vyabhicāribhāva defined:
nirveda (discouragement),
glāni (weakness),
śaṅkā (apprehension),
śrama (weariness),
dainya (depression),
augrya, ugratā (cruelty),
cintā (anxienty),
trāsa (fright),
īrṣyā (jealousy),
asūyā (envy),
amarṣa (indignation),
garva (arrogance),
smṛti (recollection),
maraṇa (death),
mada (intoxication),
supta (dreaming),
nidrā (sleaping),
vibodha (awakening),
vrīḍā (shame),
apasmāra (epilepsy),
moha (distraction),
mati (assurance),
alasatā (idleness),
ālasya (indolence),
āvega (agitation),
tarka (deliberation),
avahitthā (dissimulation),
vyādhi (sickness),
unmāda (insanity),
viṣāda (despair),
utsuka (restless/anxious),
autsukya (impatience),
capala (inconsiderate).
These are also known as sañcāribhāva (saṃcāribhāva) which was translated as ‘transitory emotion or mood’.
EX. A woman in love anxiously waiting at the rendezvous to meet her lover may feel disappointed that he is not coming , may be anxious that something might have happened with him, may be jealous that he might have been courted by another woman, may feel delight in remembering the sweet words that he had whispered into her ear, and so on.
Like Pictures in a cinematograph, emotions of diverse sorts may be passing in quick succession and may all at the same time be continuing the constitution of the same emotions.
When a young man falls in love with a young woman and his whole frame is shaken, we cannot speak of him as being the subject of srinagar rasa,or when his son is dead and he is crying in tears, we cannot speak of him as he is the Karuna rasa. Rasa is an emotion excited by artistic circumstances or situation.
NINE RASA AND THEIR STHAYI BHAVA :-
रतिहासश्च शोकश्च क्रोधोत्साहौ भयं तथा।
जुगुप्सा विस्मयश्चेति स्थायिभावाः प्रकीर्तिताः॥
Śṛṅgāraḥ (शृङ्गारः): Romance, Love, attractiveness. Presiding deity: Vishnu. Colour: light green
Hāsyam (हास्यं): Laughter, mirth, comedy. Presiding deity: Shiva. Colour: white
Raudram (रौद्रं): Fury. Presiding deity: Shiva. Colour: red
Kāruṇyam (कारुण्यं): Compassion, mercy. Presiding deity: Yama. Colour: grey
Bībhatsam (बीभत्सं): Disgust, aversion. Presiding deity: Shiva. Colour: blue
Bhayānakam (भयानकं): Horror, terror. Presiding deity: Yama. Colour: black
Veeram (वीरं): Heroism. Presiding deity: Indra. Colour: saffron
Adbhutam (अद्भुतं): Wonder, amazement. Presiding deity: Brahma. Colour: yellow
Śāntam: Peace or tranquility.[24] deity: Vishnu. Colour: perpetual white.
Rati (Love)
Hasya (Mirth)
Soka'(शोक)' (Sorrow)
Krodha (Anger)
Utsaha (Energy)
Bhaya (Terror)
Jugupsa (Disgust)
Vismaya (Astonishment)
Santa ( serenity )
CRITICAL VIEWS ON RASA THEORY :-
The real discussion of RASA was started by Abhinavgupta in his commentary on Bharata’s maxim on RASA. The real point of discussion and diversity of opinion on the two words SAMYOGAHA and RASA-NISPATTIHI. Now, the question that puzzled the old ALAMKARA writers was this :
HOW CAN OUR DOMINANT EMOTIONS BE AROUSED BY AESTHETIC MEANS ?
There are few scholars who have explained the concept of RASA.
1. BHATT LOLLATA’S ‘UTPATIVADA’ :-
-Mammata, the follower of Abhinavagupta rejected BHATT LOLLATA’S views.
- LOLLATA’S view that RASA is related to the vibhavas in the relation of the produced and the producer as effect and cause.
-He says that the Vibhava are to be regarded as cause they must be regarded as the cause of agency or the efficient cause( NIMITTA-KARANA)
-but in the case of NIMITTA-KARANA, we know that an action may remain intact even when the efficient agent is destroyed.
-There cannot be ant RASA unless there is also the Vibhava and Anubhava.
-The Vibhava etc. cannot also be regarded as a communicative agent, for a communicative agent presupposes the existence of the thing to be communicated but RASA does not exist before.
-BHATTA LOLLATA cannot also explain the method as how the RASA produced in the player can infect the audience.
2. SAMKUKA’S ‘ ANUMITIVADA’ :-
-SAMKUKA believed that the maxim word ‘NISPATTIHI’ IS ‘ ANUMITI’ and ‘SAMYOGA’ words with reference to ‘ ANUPAYA-ANUMAPAKA’.
-According to SAMKUKA Vibhavas are ANUMAPAKA and Rasa is ANUMAPYA.
- SAMKUKA introduced the similitude of painting to explain the enlightenment of aesthetic emotion.
-He said that just as a painted horse can be said that it is not a horse and that it is a horse, so of an aesthetic experience we can say that it is both real and unreal.
3.BHATTA NAYAKA’S ‘BHUKTIVADA’ :-
-BHATTA NATAKA believes ‘Nispatti’ as ‘ Bhoga’ or ‘ Bhukti’.
-According to Bhatta Nayaka RASA is neither produced nor suggested or created by anything.
-He have three words to clarify RASA
(i) ABHIDHA
It is a commonly accepted power of literary or primary sense.
(ii) BHAVAKTVA
It is a feeling related to poetic language through which the Vibhava and others are grasped in a universal way.
(iii) BHOJAKATVA
The Sthayi Bhava is enjoyed without considering rajas and tamas in the mind of the spectators.
-The enlightenment of RASA is not the subject of ordinary psychology but of aesthetic psychology .
-BHATTA NAYAKA is short for BHAVKATVA and BHOJKATVA RASA and aesthetic experience cannot be explained.
4.ABHINAVAGUPTA'S ‘ ABHIVYAKTI VADA’ :-
-Of the point of view of Abhinavagupta ‘NISPATI’ means ‘Abhivyakti’ and ‘SAMYOGA’ means ‘Vyangya-vyanjaka’ relation, Abhinavagupta focuses more on intuition.
-The emotion is understood and intuited and when they are excited aesthetically, they become RASA. For RASA, it is necessary to have Sthayi Bhava.
- The Sthayi bhava stands dermant in the form of vasana. When the reader reads any Vibhavas, Anubhava and Sancharibhava, their latent impressions are evoked and developed to such a pitch that they are realised in their universal form devoid of personal or individual qualities. In this state the feelling are always pleasurable and are enjoyed in the form of RASA.
In short, mentioned scholars have explained various ways of evoking Rasa.
RASA VINGHNA/ OBSTACLES IN RASA REALIZATION:-
1.Inability to get the meaning :-
-It arises from the impossibility of the presented. It readers to the present. It refers to the lack of imagination on part of the poet in the presentation of an event which is not known to the spectators; or the lack of sahradhyalva on the part of the audience.
-In the absence of imagination, the poet cannot create a relishable poetic experience and the reader cannot perceive the same.
2 and 3. SUBJECTIVE AND OBJECTIVE LIMITATION OF TIME- PLACE.
-Sometimes the audience or the readers fail to attain that level of generalization which is necessary for aesthetic relish.
-This happens because they are unable to view the aesthetic situation objectively.
4. INFLUENCE OF PERSONAL JOYS AND SORROWS :-
-This kind of Vighna arises when the spectators or readers approach the work in such a state when his mind is already in his personal joy or sorrow.
-This preoccupied state of mind creates a barrier between him and the aesthetic experience.
5. LACK OF CLARITY DUE TO INSUFFICIENT STIMULUS :-
-The mind does not get result satisfaction if the knowledge is based on influenced or verbal symbols (UPMA) instead of direct experience and the experience of RASA depends on the clear cognition of determinants and Vibhava and Anubhava and the knowledge depends on direct experience.
-As such the lack of clarity in expression also proves to be a hindrance in the process of aesthetic appreciation.
6. SUBORDINATION OF THE PRINCIPLE :-
-The Sthayi Bhavas are of primary importance in the aesthetic perception. If they do not get the due importance, the secondary things may again prominence.
-As result the reader’s attention is diverted and the aesthetic experience may be obstructed.
7. DUBIOUSNESS OF PRESENTATION :-
-The impediment arises with the determinants and the consequences are not combined in a proper way.
-The situation, mimetic changes and transient emotions, have no clear meaning in isolation from each other.
eat
-If they are taken up separately, they may cause great doubts in the minds of the spectators and cause RASH VIGHNA.
DHVANI THEORY :-
Anandvardhana, a Kashmiri poet, historian and philosopher found the theory of DHVANI. Anandvardhana belonged to the 9th century. In his ‘DHVANYALOKA’ he threw light on the suggestion power of DHVANI.
The book DHVANYALOKA consists of four chapters, the work included the definition of Dhvani and an explanation of the various terms involved in the term and its Dhvani theory.
THE ORIGIN OF THE DHVANI THEORY { SPHOTA VADA }
-Anandvardhana’s theory of Dhvani changed Indian poetics in its essence. Anandvardhana made a great discovery by stating that every part of speech and small factors like cause endings, and particles can at the touch of imagination became pregnant with poetics meaning.
-Anandvardhana and his followers dearly mention that they have derived inspiration for the DHVANYALOKA from the SPHOTAVADA of the grammarians. Therefore, it is worthwhile to examine the shpotavada of the vaiyakarni’s and their concept of SPHOTA and DHVANI.
-In ordinary the word Dhvani means ‘sound’ or ‘tone’. In language sound carries the meaning. The basic grammatical argues that letters are not the ultimate cause of meaning. They assert that a simple arrangement of letters cannot lead to a sense for various reasons.
-The Sanskrit grammarian discovered 'SPHOTA’. They argue that meaning is indeed signified by the second which becomes the meaning by the sound which becomes the meaning of the word.
-Now.Sphota is not suggested by all letters but the last one in the sequence, because the last one has the impression of all the previous letters. Though every letter has a role in the production of Sphota it is never realized and remains until the utterance of the last letter makes meaning clear and significant.
-In short sound that manifest sphota are termed as ‘Dhvani’
THEORY OF DHVANI :-
The central principle of the theory Dhvani is that words in their capacity of conveying sense, possess a threefold function and consequence express a three fold sense. The three functions are known as ABHIDHA, LAKSANA and VYANJANA and correspondingly the three sense conveyed are
ABHIDHA OR VACYA ( UTTAM KAVYA )
LASYA ( MADHYAM KAVYA )
VYANGYA ( ADHAM KAVYA )
1.ABHIDHA OR VACYA :-
The primary meaning of the word is that which is ascribed to it by convention through the accepted usage of the word.
EX. सदा सील तुम सरद के दरस हर तरह खास।
सखा हर तरह सरद के सर सम तुलसीदास II
2.Lasya
The indicated is an extended meaning derivable from a word under certain conditions.
“मुख्यार्थ बाधे तद्योगे रूढ़ितोऽथ प्रयोजनात् |
EX.1. मेरे सिर पर क्यों बैठते हो
2. ‘मुख चन्द्रमा जैसा सुंदर है
3.VYANGYA
The suggested sense is that which is obtained from a word over and beyond its denoted or indicated senses and its addition to them the function of suggestion operates when the other two function -denotation and indication of exhaustion of their capability of exhaustion for expression.
EX.
चिर जीवो जोरी जुरै, क्यों न स्नेह गंभीर |
को घटि ये वृषभानुजा, वे हलधर के बीर ||
VAKROKTI THEORY :-
Kuntaka who is Kasmiri scholar who developed the theory of vakrokti in his treatise ‘ VAKROKTI JIVITA.
Vakrokti, emanating from the creative faculty of the poet endows poetic language with strikingness[Vaicitrya] and causes aesthetic delight to the reader. Etymologically, the word Vakrokti consists of two components - 'vakra' and 'ukti'. The first component means 'crooked, indirect or unique' and the second means 'poetic expression or speech'.
Kuntaka also gives quality of VAKROKTI
They are :-
MADHURYA :- It refers to the sweetness
PRASAD :- It refer to pleasure
LAVANYA :- It refers to softness.
ABHIJATYA :- It refers to the smoothness of the subject matter.
AUCHITYA :- It refers to magic of expression
SAUBHAGYA :- It refers to the magic of poetry.
KINDS OF VAKROKTI :-
VARNA-VINYASA - VAKRATA :- The phonetic level
PADA-PARVARDHA VAKRAKTA :- The lexical level
PADA-PARARD VAKRAKTA :- The grammatical level
VAKYA-VAKRATA :- The sentential level
PRAKARANA- VAKRATA :- The contextual level
PRABANDH- VAKRATA :- The compositional level
AUCITYA THEORY :-
Auchitya is a Hindi word taken from Sanskrit. It means justification, propriety, decency.
Propriety can be defined in this context as the details or rules of behavior conventionally considered to be correct. Or that which is correct, appropriate, and fitting. The word Auchitya also contains the Hindi word “Uchit” which in English means “appropriate”.
RITI THEORY :-
Vamana's investigation into the nature of a Kāvya is known as theory of Riti.]
Vamana's Kavyalankara Sutra is considered as the first attempt at evolving a philosophy of literary aesthetics. He regarded that riti is the soul of Kavya.[3] He presented his formulations in the form of Sutras.
ALANKARA SCHOOL :-
The word ALANKARA is derived from the word ‘Alan’ which means the elements related to decoration.
Bhamaha categorised Alankara into groups : SHABDALANKAR and ARTHALANKAR.
1.ANUPRASA :- Alliteration
EX.
Peter Piped Picked a Peck of Pickled Peppers.
Three grey geese in a field grazing. Grey were the geese and green was the grazing.
Betty Botter bought some butter, but she said this butter's bitter; ...
I need not your needs, They're needless to me,
2.YAMKA :- It indicates a defect in rhyme that produces supreme surprise in a poem.
EX.
कनक कनक ते सौगुनी मादकता अधिकाय।
या खाए बौरात नर या पाए बौराय।।
3.Rupak :- It is implied
EX.
बीती विभावरी जागरी !
अम्बर-पनघट में डुबो रही
तारा-घट ऊषा नागरी।
4.Upama :- It shows likeness between two different object, or events :-
EX.
You were as brave as a lion.
They fought like cats and dogs.
He is as funny as a barrel of monkeys.
This house is as clean as a whistle.
He is as strong as an ox.
Your explanation is as clear as mud.
Watching the show was like watching grass grow.
Bhamaha discusses more alankara but above is very important and well known ALANKARA.
CONCLUSION :-
In brief we can say that Indian Poetics is a never ending topic. It’s like a ocean. It gives a very immense idea about Sanskrit literature.
Characters :- 18553
Words :- 2835
Sentences :- 311
Paragraphs :- 270
No comments:
Post a Comment