Study of appropriatatness of Schools of Indian poetics with reference of different scholars.
M.K. BHAVNAGAR
UNIVERSITY
Department
Of English
Sem : 2
Name: Bhumi
V Joshi
Roll No : 3
Enrollment
No: 14101020
Paper Name :
Literary Criticism / Theory
Assignment
Topic :
Study of
appropriateness of different schools of
Indian poetics with reference of different scholars.
Preface :
Kavya is not subjected to
serious interetation . It is to be experienced and enjoyed.
It is
possible to classify the literary theories on the basis of what aspect of
literary composition is central to them.So, let’s
study all different schools in details.
LITERARY THEORY
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Schools
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Thinker(s)
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Text(s)
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Time
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1.
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Rasa
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Bharata
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Natyasastra
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Second C. B.C
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2.
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Alamkara
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Bhamaha
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Kavyalamkara
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Sixth C.A.D
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3.
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Riti
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Vamana
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Kavyalamkarasutra
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Ninth C.A.D
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4.
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Dhvani
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Anandavardhana
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Dhvanyaloka
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Ninth C.A.D.
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5.
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Vakrokti
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Kuntaka
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Vakroktivijit
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11th C.A.D
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6.
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Aucitya
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Ksemendra
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Aucityavicarcarca
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11th C.A.D.
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We have noted that Indian literary
theories carry out a sustained analysis of how meaning is constituted in
language of forms and devices , of how. Beauty is assumed to consist in
alamkaratva, the craft or rhetoric of composition . We shall now describe the
major theories.
1. Rasa School :
The rasa theory
originates with Bharata in Natyasastra. The major questions being discussed by
Bharatmuni in his theory “ The Natyasastra” are how was drama born? How should
one built a theatre , dance like…….’ Tandavas’ The different varities , prosody
music employed in drama , the nature of Rasa and Bhava etc. He has given an
analytical theory as far as Rasa is concerned.
Natyasastra also known as “ Pancham Ved.” Bharatmuni wrote Natyasastra through the
advice of Brahma because common people wanted some aesthetic delight or
pleasure in between their regular or common life.
Abhinavagupta notes that some people did not recognize nine
Rasa but only eight and that in old mass.
OldBharat wrote a work in 12000 Granthas a part of which is
now available, while Bharat produced the “Natyasastra” in 6000 Sloks.
It states that Shiva ordered
Nandikeswar to teach NatyaVed to Brahma before whom appear Bharata with
five pupil to whom Brahma said : ‘ Bear
this NatyaVeda’.
The Kavyaprakash
quotes from Bharata the Sutra. It appears that there was a work called Vartika
on Natyasastra. It was composed by one Sri Harsa.
“ Rasa in
Bharatmuni is nothing but the exposition
of the structure of human experience.”
It claims that the object or meaning that is sought to be
conveyed in literary compositions is in the nature of an emotional effect of
diverse human experience on man’s mind and heart.
“ Natyasastra is foundation of fine arts in India.”
What is Rasa ?
“ A blending of various Bhavas
arise certain emotion , accomplice by thrill and a sense of Joy is Rasa.”
Rasa is created only because of Vibhav ,
Anubhav and Vyabhicharibhava. VIBHAV is
just like pilar of it and because of it Bhvak feels Rasa.Bharatmuni describes
33 Sancharibhava in Natyasastra.
Vibhav :
Emotion arise because of Vibhav
Anubhav : Reaction of Bhavak
Sancharibhav : Come and go
Sthayibhav :
like…. Love, Mirth, Sorrow ,etc….
Bharatmuni explained nine Rasa in
Natyasastra.
According to critic Mohan Thamps ………..
“ Majority
of the traditionalist; considers that nine rasas are enough to cope with
infinite varity of literary production.”
Bharatmuni has mentioned these and Rasa. He
elaborated states for each its colour , diety , the vibhav , anubhav and
sancharibhav and how they should be acted.
Types of Rasa :
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Sentiments
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Bhavas
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God
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Colours
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1.
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Erotic
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Attractiveness
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Vishnu
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Light Green
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2.
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Comic
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Mirth
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Pramata
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White
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3.
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Furious
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Furg
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Rudra
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Gray
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4.
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Pathetic
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Tragedy
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Yama
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Red
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5.
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Odious
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Aversion
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Mahakal
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Blue
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6.
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Heroic
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Heroic mood
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Indra
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Yellowish
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7.
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Bhayanaka
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Horror
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Kala
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Black
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8.
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Adbhutam
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Wonder
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Brahma
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Yellow
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9.
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Shantam
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Peace
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-
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White
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According to T.N. Shreekantaiyya :
“ The
principale of Rasa is the very central part of Indian poetics. It is the nectar
that our thinkers have obtained after churning the ocean of poetry.”
“All poetry express some one’s feelings and
attempt to awaken the corresponding emotions in the heart of others. That it
should be an attempt to communicate a genuine emotion is first condition of
poetry.”
-
E.A.
Greening Lambor.
We all know that language itself one of the
ornaments . Alamkara increases the beauty of poem or poetry because of it
poetry never die.Figure of speech is also objective
Co-relative . Alamkara sometimes discardable from the poetry.
2. Alamkara School :
Bhamaha is the first alamkara poetician . In ch-2 and ch-3 of
Kavyalamkara , he describes 35 figures of speech.
Bhamaha
talks of the pleasure of multiplicity of meaning inherent in certain alamkaras
such as Arthantatanyasa, Vibhavana and Samasokti, other those who continued the
tradition are Dandin , udbhata ,Rudrata and Vamana. Finally , in Anandvardhana
, alamkara was sought to integrated with Dhvani and Rasa.
It is a
figure of speech external to poetry or is it an integral part of
conceptualization and of the way the poet visualizes.
Example of
Metaphor :
“See how the moonlight sleeps on the
bank.”
Mammta also did the detail discussion of
Alamkara into Kavyapraksh Ullas -10. We feel Almakara in poetry but can’t see.
Alamkara is the supporting part of poetry . It is auxilural factors to poetry.
The categories of alamkara have been classified by different poeticians into
different kinds of systems.
Rudrata divides all alamkaras into two
types :
1. Phonetic Form ( Sabdalamkara)
2. Meaning Form ( Arthalamakara)
1. Sadsya
2. Virodha
3. Srnkhalabadha
4. Tarkanyaya
5. Lokanyaya
6. Kavyanyaya
7. Gudhartha Pratiti
“ It is only such
Alamkaras as lend themselves easily to the development of Rasa that should fine
a proper place in poetry.”
According to Critic and Philosopher
Mallam’s :
“ And this harmony between feelings
and imagination is important ; for when it is absent, when the imagination is
working out for itself; the result may be ornamental but not illuminative . For
this kind of imagination, which is called fancy, does not strive to realize the
truth and beauty of things by an image, or it get at the essence of a thought
and picture it. The subject only interests as being something to hang finery
on.”
Mammata
envmerates sixty –one figures and groups them into seven types.like…….
1. Upama
( Simile)
2. Rupaka ( Metaphore)
3. Aprastuta Prasamsa ( Indirect
decription)
4. Dipaka ( Stringed figures)
5. Vyatreka ( Dissimilitude)
6. Virodha ( Contradiction)
7. Samuccaya (Concatenation)
Bharata’s original four to sixty –one distinguished by
Mammata .This taxonomy is not mere ingenuity; it represents global and local
taxonomies , a refined analysis and classification of what ultimately are modes
of perception. The different classificatory systems can be seen to be based on
the following parameters.
1. Objects Compared
2. Objects with which compared
3. Value of Figures
4. Semantic basis, such as simplicity
5. Grammar
6. Coherence with known facts or
otherwise
7. Syntax.
Examples:
1. Upama
-Our Soldiers are as
brave as lions.
- He is as cunning as a fox.
2. Rupaka
- Her voice is music to
her ears.
- She is all states ,
and all princies,I.
Thus , we describe and discuss the
Alamakara school with different views of different scholar . But Bhamaha established Alamakra as
the soul of the poetry.
3. Riti School :
Riti is a theory
of language of literature. Though it is described for the first time in
Bhartmuni’s Natyasastra itself under the rubric of Vrtti. It is Vamana who
developed it into a theory as the theory of “ Vishista Padracana” .Riti is a formation of or arrangement of marked inflected
constructions .
Two other words used for riti are Marga
and Vrtti.Dandin uses the term Marga and talks of two Margas. Mammata designates the different modes
as Vrttis.
In general sense , we all have
same behavior but we are thinking differently. In this creation of poetry creator
involved his characteristics or himself. In general way, we can say that ………
“
Every writer has own style to write with own originality.”
So, this
Self- identification also known as ……….”
Riti.”
Vamana lays down in clear
terms; ‘Ritiratma Kavyasya’- Riti is the
soul of poetry and working out this figurative description he points out that
the word and its sense constitute the body of which the soul is the “ Riti.”
Riti correlate with… Themes , Effect on
the viewers, Sentiments. Bharata in Natyasastra has all the three in mind in
his discussion of Vrttis:
· Kaisiki
· Bharati
· Sattavati
· Arbhatti
“ Style is a man.”
Vamana’s
scheme of the Gunas may be tabulated thus:
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Sabda Gunas
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Artha Gunas
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1.
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Ojas , or compactness of word structure
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Ojas or maturity of conception.
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2.
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Prasada or laxity of structure
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Prasads , clearness of meaning by avoidance
of superfluity
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3.
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Kanti or brilliance
e.g.
Richness of words
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Kanti or prominence of Rasas.
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Riti may be called ‘diction’
particularly when guna/dosha become part of discussion .But riti is much more
than just diction. Basically it is a theory that handles the psycho phonetic
fitness of language for speakers, themes, and sentiments and therefore becomes
a study of craftsmanship and psychology of speech.
4. Dhvani School :
The theory proposed in Dhavnyaloka by Anabdvardhana is known
as the name of “ Dhvani”. ‘Dhvnyaloka’ itself a huge compendium of poetry and
poetics styles. Dhvani means……
“ The suggestive
quality of poetic language.”
Anandvardhana
established element Dhvani as the soul of poetry . In Anandvardhana’s view it
is this structure , which is the total effect of the suggestive quality of
language that distinguishes poetry from the ordinary usage language. His theory
, appropriately exerted an abiding influence on the succeeding generations of
theoreticians in India.
Dhvani; Structure of
poetic meaning soul of poetry is suggestion, some would ever its non-
existence, some would regard it.
“
Dhavnyaloka’ is the mile stone Grantha of Indian poetics.”
Anandvardhana saw
the essence of poetic meaning in the suggested or implied sense rather than in
the literal meaning of the words of the poem.In the end of the poetry- Theory
of suggestion prevailed and together with the classification of poetic
en\motions formed the key-stone of almost all the important works on poetics
after 12th century.
To define Dhvani, it
is very necessary that we have language and language plays with us through
words. Bhavas are more important to feel poetry, enjoy poetry than any other
things.In “ Dhvanyaloka”, Anandvardhana has presented a structural
analysis of indirect literary meaning.
According to
V.S.Seturaman ,
“ That kind of poetry, where in the meaning renders itself
secondary or the word render itself meaning secondary and suggests the implied
meaning is designed by the learned as ‘Dhvani’ or’ Suggestive Poetry.’
Anandvardhana says
that this term is taken directly from the grammarians , just as the sounds of
utterance reveals the integral linguistic sign so also a good poem with its
sound , as well as reveals over and above the literal sense, a charming sense
which has great aesthetic valley considered as suggestive poetry.
“ Suggestion is the
soul of poetry.”
Moreover he says that
beautiful ideas in poetry are of two kinds:
1. Literal
2. Implied
The grammarians define “
Dhvani” with the use of “ Sphotta” theory. Briefly stated ‘Sphotta’ is a ‘linguistic’ sign in its aspect of meaning.
Dhvani theory is a theory of meaning, of symbolism , and thid
principle leads to the poetry of suggestion being accepted as the highest kind
of poetry.Anandvardhana integrates Rasa theory with his Dhvani theory . Dhvani
is the method , the means , for achieving or evoking Rasa , which is the effect
of suggestion.
Abhidha : Direct meaning
Lakshana :
We have direct meaning but we have to take another one.
Vyanjana :
There is the existence of direct
meaning yet we have to use another meaning of word.
Example :
“ I would be rather born as tree,
stanted and shorn of leaves in the forest that as a generous but poor person in
this world of men.”
The expressed ideas in this
example convey the uselessness of the life of a person who is generous but poor
and praise of the life of a bare ,stanted tree suggestively , however comparison is intended between the above
mentioned tree and the person to bring out the idea that such a man deserves
for more pity than the free in the vegetable kingdom. This type of distinction
between two objects described is called Vyatiraka or contrast and than fancied
contrast between the tree and the man is suggested here.
“ Poetry which does not contain any
suggested sense can not be considered as good poetry, however charming the
expressed sense may be.”
In poetry ,
of course we see the communication of a new meaning by the agency of Ironic
tone.
“ A good poet should be extremely
careful so far as that sentiment is concerned.”
The Dhvani theory of meaning came in for
criticism at hands of Nyaya and Mimamsa thinkers.The opponents said that……………..
1. Dhvani is inonexistent.
2. Dhvani is a product of inference and
is to be include under Lksana .
3. Dhvani is something beyond the realm
of words.
Dhvani is not Laksana. It can be evoked by an idea a figure
of speech or even emotion.
E.g.
Even in the absence of Laksana , the word Ganga can suggest
Purity and Sanctity.
The intonation adds layers of suggested meaning to directly
expressed meaning of an utterance.
“ He is good man” – can be uttered to assert
disagreement with the proposition, interrogation.
“ The poetry in which the suggested meaning dominates the
expresse, is poetry of the best kind, called ‘Dhvani’ by the learned.”
This focus on
meaning and the type of meaning in poetry must be considered as a major
contribution of Anandvardhana to Indian literary theory.
Dhvani theory has
both elucidated and strengthened the rasa theory , and the two together
constitute a powerful explanatory framework.
Finally , this
theory of verbal symbolism enriched the Indian system of interpretation of
texts by making possible a method of symbol exegeris.
5.Vakrokti School :
“ Both words and meanings marked by artistic turn of speed.”
It claims that the characteristic
property of literary language is its ‘markedness.’
Kuntaka is known as the
originator of Sanskrit literary theory. Vakrokti is a theory of poetry which
perceives poetry essentially in terms of the language of its expression. It
sees the poetic language as language of metaphor and suggestive communication.
The Sahitya or mutual coherence between
word and meaning in respect of beauty is nothing but a unique poetic usage ,
involving neither more nor less than exact form of word and meaning required to
make the whole beautiful.
“
Vakrokti turns into ‘Brauty’.”
All things which is belonged to Nature
is ‘Vakra.’
Kuntaka classifies Vakrokti into six
heads…………..
· In syllables , on their arrangements
· In the base substantives
· In inflected forms of substantives
· In sentences , including figure of
speech
· In topics or section
· In the whole composition.
Kuntka incorporates Rasa , alamkara, Riti, and guna theories
into his Vakrokti Sidhanta. Vakrokti was
not was not discussed as as separately
by later theorists but it has always been discussed as an important element.
Vakrokti theory is a
useful framework for stylistic analysis of literature.
Aucitya is harmony and in
one aspect it is proportion between the whole and the parts between the chief and the subsidiary . This
perfection is all the morals and beauty in art. At the final stage of its
formation as a theory explaining the secrect of poetic appeal. Aucitya is stated
to be the Jivita, life – birth of poetry.
The theory of propriety or
appropriatness claims that in all aspects of literary composition. There is the
possibility of a perfect , the most appropriate choice of subject, of ideas of
words , of devices.
Ksemendra made aucitya the central
elements of literarinmess . He defines aucitya as the property of an expression
being an exact and appropriate analogue of the expressed.
The conceot of propriety with
reference to custom, subject , character and sentiment recurs in almost all
theorist and is often discussed in association with figures of speech ,
guna/dosa and rities.
Ksemendra’s discussion of the principle
OF Aucitya is from the point of view of bith the writer and the reader and is
articulated in its given cultural and philosophical context.
Dhvani is Vyanjana , Rasa is a highway
of opticism not only for Indian literary but also for the study of European
literary , a sure and certain method.
Emphasizing Rasa , one school accepts
Dhvani or suggestion, while another school accept Rasa emphasizing Unnaya.
Dhvani , the later says , is a
sort of inference , a quick anticipatory
way of inference. These three run after Aucitya , Gunas ,Alamkaras, and Ritis,
these are emphasized in special ways.
Epilogue :
Thus, we discuss the
whole history of different schools of Indian poetics. It is very interesting
point that critics tried to found the soul of poetry . And each and everyone
has their own belief, their own counter point to convince the reader .And
though it is endless discussion about the soul of poetry.
“Which is the most important element into the
poetry?”
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