Indian poetics refers to ancient Indian literary criticism. Indian criticism, found in classical Sanskrit texts, can be considered one of the oldest criticisms. Indian poetics deals with readers experience as well as the technical aspects of writing. Indian criticism aims to understand how literature evoke emotions in the readers and leave a lasting impact. In this blog, we shall try to understand the concepts from Indian Poetics like Rasa, Dhvani, Auchitya, Vakrokti, Riti, and Alankaar. This blog is a thinking activity assigned by Barad Sir. You can get more information about it here - Indian Poetics.
Rasa Theory
Rasa, a Sanskrit term, embodies the emotional essence stirred by artistic expressions like poetry, drama, or music. Each rasa is discrete, seamlessly transitioning into the next, symbolizing the interconnectedness of human experiences. Just as history and nature intertwine, individuals are interdependent, each influencing the other. Emotions constitute the nine rasas, each embodying a distinct sentiment.
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Dhvani
Dhvani theory, as expounded in "Dhvanyaloka" by Anandavardhana, places language at its core. Within this framework, language is dissected into its constituent phrase and word meanings. The essence of Dhvani lies in discerning the underlying significance of what is uttered. It acknowledges that the explicit meaning of words or phrases might not convey their true implications; rather, they emanate a distinct atmosphere or resonance, enriching the overall poetic experience.
Dhvani theory emphasizes the importance of suggestion and resonance in poetry. It highlights the power of language to transcend its literal meanings and connect with readers or listeners on a deeper, more profound level, eliciting profound emotional and aesthetic responses.
Dhvani is divided into three major types.
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.
Mamat explains dhvani in three fold functions.
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. Inferior meaning of what is spoken is taken. 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.
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Vakrokti
Vakrokti theory was developed by the Kashmiri poet and literary critic Kuntaka in his work “Vakrokti Jivita” which means “The Vital Force of Poetic Imagination”. Vakrokti for Kuntaka is synonym for the principle of beauty underlying all kinds of poetic language.
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'.
Riti
The term ‘Riti’ translates to ‘style’ in Sanskrit. This theory, developed by Sanskrit poet and critic Vamana, is the concept of style or mode of expression in poetry. It originates from “Kavyalankara Sutravrutti”. Riti theory provides a guideline for the poets for choosing the appropriate style of expression based on the theme, mood, and intended effect of their poetry. the emphasis on the importance of adapting language to suit the content and context of the literary work is seen here.
There are mainly two types of categories in the Riti Theory. They are:-
1. Gaudi Riti:
This style is characterised by simplicity. This style is used to emphasise the grace and beauty in language. An example of this is Kalidasa’s ‘Meghduta”.
2. Vaidarbhi Riti:
This style is characterised by complexity and ornamentation in Expression. This style is used to emphasise magnificence in language. An example of this is the Indian epic “Mahabharata”.
This theory was further developed by Bhamaha, Aanandvardhana and Abhinavgupta.
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Auchitya
Auchitya theory was presented by Ksmendra, in his “Auchitya Vicharcharcha”. This is called the theory of propriety or appropriateness. It emphasises the importance of selecting the right words, phrases, and expressions to convey meaning effectively and harmoniously within a literary work. Ksmendra wrote that Auchitya is the soul of the poem.
Translation:-
“The Acharyas (teachers) declare that which is suitable as similar to it (the subject matter). That sentiment which is appropriate to the context is called Auchitya.”
This verse emphasizes that Auchitya is determined by what is appropriate or suitable for the subject matter and context, as recognised by learned scholars.
Auchitya is classified it into 27 categories. You can check them out in the picture given above.
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Alankaar
Alankara, which literally means ornaments, embellishes literary language through figures of speech or metaphors to enhance its attractiveness. According to Bhamaha, there is no poetry without the use of Alankara. But he also said that if Alankara becomes apparent in poetry, the poet has failed in their endeavor. Instead, Alankara should be subtly integrated to provide pleasure without being easily identified.
In “Sahityadarpana”, Vishwanath identifies 96 Alankaras, among which some key ones include: Upama (Simile), Rupaka (Metaphor), Atishayokti (Epithet), Anuprasa (Alliteration), Vakrokti (Irony) and Dwani (Suggestion).
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