"Indian Poetics and Aesthetics "
" Indian Poetics and Aesthetics... "
This blog is the part of thinking activity task of Indian Poetics. 
In the rich tapestry of Indian poetics, Sanskrit literature and criticism intertwine, offering profound insights into the art of expression and interpretation. From the exploration of Rasa to the analysis of Vakrokti and Alamkara, Indian poetics unfolds a nuanced understanding of literary creation and appreciation. As language serves as a vocal symbol, criticism expands our vision, enabling a deeper exploration of artistic endeavors. This classification of Indian poetics illuminates the diverse facets of literary theory, guiding scholars and enthusiasts on a journey of discovery and enlightenment.
1. Rasa theory by Bharata
2. Dhvani theory by Anandvardhan
3. Vakrokti theory by Kuntaka
4. Alamkara by Bhamaha
5. Riti by Vaman
6.Auchitya by Kshemendra
1.Rasa theory by Bharata:
The theory of rasa is described in detail whole blog..... https://mayabatiya333.blogspot.com/2024/03/indian-poetics.html?m=1
2. )Dhvani theory :
Dhvani theory was coined by Anandvardhan in his book dhvanyaloka.
Dhvani 's meaning is not as noise
Dhvani is a Aatma of kavyashastra
Any language is not lie ,if you understand it.
Dhavni is spred of its own meaning.
Example:-
તમારી લાલ પેન્સિલ મને આપો.
Shade of meaning.
the phrase "Your pencil, red pencil, give, and give it to me" based on pronunciation, syllable emphasis, word placement, etc.:
Chinese and Japanese languages, known for their symbolism, highlight the richness of interpretation. Therefore, "Dhavni" can be expressed in diverse ways, allowing for a multitude of meanings.
For simple understanding Dhvani is voice which helps us to complete a word; ક્ + અ = ક here અ is Dhvani which completes ક્.
विभाजित लावण्यम् इव अंगनाशु ।।
Dhvani adorns poetry and beauty adorns women
Catch to dhvani is very complicated task, so we would be behave with દ્રવ્ય , ક્ષેત્ર, કાળ, ભાવ.
- શબ્દ અને અર્થ both are understand to compontent .
वागथ -shavd and અર્થ - સાયુજ્ય .
Dhavni become with two stambh
Shabda’(letter) + ‘Arth’(Meaning)= Dhvani
All dhavni have Shakti said by mamat.
ધ્વનિ એટલે પ્રતીયમાન અર્થ
.Getting new meanings through the same words is Dhvani- apparent meanings. That is the soul of poetry
Construction of Dhvani
Acarya Mammata devides Dhavni in three parts.
शक्तिःकावितवबीजरूपे संस्कारविशेसप्राप्ते याम्विना काव्य न प्रसरित ।
In the beginning of Raghuvansh, Kalidasa says that ...
वागर्थाविव सम्पृक्तौ वागर्थप्रतिपत्तये ।
जगतः पितरौ वन्दे पार्वतीपरमेश्वरौ ॥
Kalidas emphasizes the significance of the union between Shabda and Artha, likening it to the divine pairing of Lord Shiva and Parvati. Before delving into Anandvardhan's definition of Dhvani, let's explore the interplay of Shabda and Artha through three "Shabda Shaktis."
1. अभिधा (Abhidha) - Literal Meaning of the word
2. लक्षणा (Lakshana) - Characteristically Meaning of the word
3. व्यंजना (Vyanjana) - Poetic & Metaphysical Meaning of the word
• types of dhavni :
1.vashu dhavni
2. Alankaar dhavni
3. Rasa dhavni
The pinnacle of competition between words and meanings is reached when experiencing Rasa Dhavni, as exemplified in the Gujarati poems "જૂનું ઘર ખાલી કરતા" and "સ્થિર થયેલા અહલ્યાના ધબકારા."
The Dhvani theory, centered on meaning and symbolism, elevates poetry of suggestion as the most esteemed form of poetic expression.
3. ) Vakrokti theory :
This theory of vakrokti is given by Kuntaka.
Vakroktijīvitam,' Kuntaka introduces the concept of Vakrokti Siddhānta, also known as the theory of Oblique Expression. The term Vakrokti is derived from 'vakra,' signifying 'crooked, indirect, or unique,' and 'ukti,' referring to 'poetic expression or speech.'
Vakrokti is aesthetic.
Kuntaka was talk about vakrokti in his grantha name " वक्रोक्तिजीवित ".
Talk about Shabd and artha based on rise aesthetic.
शब्दार्थौ सहितौ वक्र कवि व्यापारशालिनि।
बन्धे व्यवस्थितौ काव्यं तद्विदाह्लादकारिणी।।
In "Vakrokti-jivitam," Kuntaka highlights the transcendence of worldly expressions. Vakrokti, defined as 'वैदग्ध्य भंगी भनिति,' emerges from poetic expertise, presenting statements distinct from ordinary speech (Loka-varta). This concept is intricately linked with Aesthetics theory.
Example:-
એક સુરજ ઉગાડવા માટે કેટલા બધાને રાતો પડાવી પ પડે છે .
- રમેશ પારેખ
Vakrokti can be divided in six categories:
1.વર્ણવિન્યાસ- the phonetic level,
2.પદપૂર્વાર્ધ- the lexical level,
3.પદપરાર્ધ- the grammatical level,
4.વાક્યવક્રતા- the sentential level,
5.પ્રકરણ- the contextual level and
6.પ્રબંધ- the compositional level
4. )Alankar Theory:
Alankaar theory coined by Bhamah
Acharya Bhamah, credited as the first to define poetry, introduced the concept of alankar or ornaments, emphasizing its role in adorning and enhancing the beauty of poetic expression. He delved into the interpretation of 39 metaphors, recognizing metaphor as a fundamental element in poetry.
Mamat give 24 types of upama alamakara
In sahitya darpan 96 types of upama by vishvanath.
•Main two type of alamakara
1. Shabdalankar(શબ્દાલંકાર):
It came from two word:
Shabda (Word) + Alankar (Ornaments))
Certain specific words that create an ornamental effect in a verse/poem.
2. Arthalankar(અર્થાલંકાર):-
Arthalankar came from two words:
Artha (Meaning) + Alankar (Ornaments)
The meaning of words that creates the required enhancement.
"ફાસ્ જરાસી વાગી ગઈ અને વાંસ જેટલું ખટકે છે કંઈક અંદર અંદર".
Alankar, akin to a non-natural element, is exemplified in sentences such as 'Her face is like the moon.' This figurative language integrates seamlessly into the linguistic fabric, creating a homogeneous mixture of expression.
Moral - alankaar come in poetry so that giver of beauty.
" Miles to go before I sleep"
- Robert forst.
5.) Riti theory :
The theory of riti is given by Vaman.
रीतिरात्मा काव्यस्य; विशिष्टापदरचना रीति: |'
Riti means rit , style, શૈલી.
Riti means style. Kavyalankasutra is the poetic work of Acharya Vamana, where he talks about riti. For Vamana, that formless, indeterminate essence of Kavya is Riti.Vamana said; the essence of Kavya is Riti (रीतिरात्मा काव्यस्य); just as every body has Atma, so does every Kavya has its Riti.The explanation offered by Vamana meant that the verbal structure having certain Gunas is the body of Kavya, while its essence (soul) is, Riti.
6.) Auchitya Theory:
Kshemendra in Kavikanthabharana introduces to auchitya school.
It means justification, propriety, decency
उचितं प्राहुराचार्याः सदृशं किल यस्य यत्।
उचितस्य च यो भावस्तदौचित्यं प्रचक्षते॥
He emphasized that Auchitya, embodying appropriateness, is the life force of Kavya, which is enriched with Rasa (Aucityam rasa siddhasya sthiram kavyasya jivitam).
He asserted that Auchitya is the cornerstone of Rasa, highlighting its crucial role. Auchitya is gauged by the consonance between uttered sounds and the evoked Rasa, representing a commendable virtue that infuses delight into poetry. Kshemendra concurred, defining Auchitya as the aptness or perfect match between elements.
Shaimend said about Auchitya,he said Auchitya present in poetry is necessary.
It is a total beauty that's Auchitya.
Example:-
" એક ટેબલના ચાર પાયા હોય પરંતુ એક પાયો ટુંકો હોય તો તે ઔચિત્ય નથી. "
It should be complete that Auchitya.
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