Indian Poetics

 Indian poems are based on Sanskrit poetry. Sanskrit poetry developed in all directions, like " Ramayana " and " Mahabharata ". Ramayana is written by "Valmiki" as the first poem in Sanskrit. Ramayana is not only hard work of valmiki but also composition of many different things. This way Mahabharata ,Slokas , Parvas , Vedas , Upnishadas are also very important in literature. 

In Indian Poetic Bharatmuni ,Panini,Kalidas,Kuntaka , Bhamaha and many other great poets who wrote about the history and about the culture of India. In the sense of poetry means both type of meanings - to be read, to be heard and drama which is to be seen.here poetic of Indian form in that first In SANSKRIT languge Poem divived to many forms and that some Holy book and popular of in Sanskrit languageNamely Was ‘KAVASHASTRA’ in this book poem divide regarded as :





                                  In this chart we saw that many poet use of own language of literal work of form and creative works of them writing of poetry. Here every in part of poetry which organize of own main characteristics of own fingers.


                            Categorize Indian poetic theory very important and useful to us understanding of Indianpoetic. Every form and construct of very inserting finding of literary poet of poetry and play or drama. Herecatalog of central idea of every branch development of them:



                                                   Here many source evolution of theory and many typesformatting of poetic construct of literacy text and words. What is basic structure of poem that found many branches of literature?In this branches are not only divide to get oppositemeanings but main aim they have been put of different way to poem’s heart and poetry meanings.In chiefly six branches are very famous of literature and that theory was very useful to understating to history were how to create of over poet define various type poetry.


                                         Indian poetics creation time many concepts like which establishment on that time. Indian poetry and Indian literature in general, has a long history dating back to Vedic times. They were written in various Indian languages such as Vedic Sanskrit,Classical Sanskrit. Poetry in foreign languages such as Sanskrit and English also has a strong influence on Indian poetry. The poetry reflects diverse spiritual traditions within India. In particular, many Indian poets have been inspired by mystical experiences.Poetry is the oldest form of literature and has a rich written and oral tradition.Indian aesthetics is a vast field. Any attempt to discuss it in such a brief space as this can only be sketchy and deal with the broad tendencies. Hence, here I have only attempted to give its brief overview with reference to major trends. Many Theory Growth in medieval day. They classified regards …  


Let’s have a brief look on the Alamkaraschool, Dhvani school, Riti school, Vakrokti school and Auchitya school.



1)  Alamkara School 


               Alamkara refers to “the figures of speech”- The word alamkara stands for a thing of beauty. The rhetoricians deal with the alamkaras in detail and the poet use them profusely in their works. Alamkara has an ancient origin. The alamkara is the earliest and most sustained school which studies literary language and assumes that the focus of literariness is in the figure of speech in the mode of expression in the grammatical accuracy and pleasantness of sound. This does not mean that meaning is ignored. In fact structural taxonomies of different figures of speech are models of how meaning is cognized and how it is to be extracted from the text. 


Bhamaha is the first alamkarapoetician. In Kavyalamkara he described 35 figures of speech. Many other critics also continue this tradition and they were Dandi, udbhata, Rudrata and Vamana. Rhetoricians like Anadavardhana, Mammata and Visvanatha have directly stated the connections of alamkaras with rasa. They all were the Sanskrit Critics. Alamkara is used for beautifying the language. Many critics also said that we can use figure of speech but it must be used in limited way otherwise it may happen that the work of art will lose its charm.


The categories of alamkara have been classified by different poetician into different kind. Rudrata divides it into two types those based on phonetic form its called sabdalamkara and those who based on meaning its called Arthalamkara. Bhoja also divided it into seven parts,

1. Sadrasya 

2. Virodha 

3. Srnkhalabadha 

4. TarkaNyaya 

5. Lokanyaya 

6. Kavyanyaya and 

7. Gudharthapratiti. 

Mamata also divided alamkara into seven types:

1. Upama 

2. Rupaka 

3. AprastutaPrasnsa 

4. Dipaka 

5. Vyatiraeka 

6. Virodha and 

7. Samuccaya.


2) Dhvani school


Dhvani school of poetry was originated by Anandavardhana. He wrote “Dhvanyaloka” in the middle of the 19thcentury  which brought focus on the potential power of the word in Kavya.Anandvardhana in Dhvanyalokam takes up three main types of implicit sese: Vastudhvani, Alankaradhvani and Rasa dhvani.

Next only to the rasa theory in importance, the dhvani theory of anandavardhana considers suggestion, the indirectly evoked meaning as the characteristic property of literary discourse, the determinant that separates it from other rational discourses. Dhvani becomes an embracing principle that explains the structure and function of the other major elements of literature- the aesthetic effect (rasa), the figural mode and devices (alamkara), the stylistic values (riti) and excellences and defects (guna-dosa).


In Dhvayyaloka, Ana presented a structural analysis of indirect literary meaning. He has classified different kinds of suggestion and defined them by identifying the nature of suggestion in each. According to V. S. SeturamnDhavani means "That kind of poetry, where in the meaning renders itself secondary or the word renders its meaning secondary and suggests the implied meaning is designated by the learned as 'Dhavani' or 'suggestive poetry'.


3) Riti School


              Riti is the theory of language of literature. The word Riti was first used by Bharata'sNatyasastra' itself under the republic of vrtti. But it was Vamana who first developed it into a theory of VisistaPadaracanariti'. In the very simple words formation of or arrangement of marked constructions is riti.


Two other words are used for riti are Marga and Vrtti. Later, around ninth century AD Anandavardhana distinguished this styles on the basis of the use of particular kinds of compounds. The Gunas have their potential being in this permanent source which Vamana regarded as the Atman of the Kavya and called it Riti. Hence the thesis "Riti is the Soul of a Kavya." 'RitiroatmaaKaavyasyaSareerasyeva'. Riti is to the Kavya what Atman is to the Sarira. It is necessary here to study the etymology of the terms Atman and Riti in order to realise the significance of Vamana's conception of the Soul of a Kavya. The word Atman is believed to have been derived from the root 'At meaning to move constantly or from the root Anmeaning to live, or perhaps from both.


The term Riti is derived from the root 'Ri' meaning to move. The identity of Riti with Atman | becomes complete when we take Dandin's metaphor of Gunas as Pranas. Just as the Atman is the Karana Sarira of a person, Riti is the Karana Sarira of a Kavya. The natural beauty or Sobha of a Kavya depends on the Gunas of its Soul which is Riti.


4)  Vakrokti School 


                In the whole range of Sanskrit poetics, the term Vakrokti took altogether a new significance and the highest position as the all-pervading poetic concept in Kuntaka'sVakroktijivita. Presenting the major schools of Sanskrit poetics, the book gives general definition of vakrokti and its multi- dimensional implications. Vakrokti means the hidden meaning of the work of art. The writer outs the message in the hidden way that at the first glance we will not be able to find the meaning of the poem or the sentence or any creative work of art. It is also a theory of language of literature. It claims that the characteristic property of literary language is its markedness'. Kuntaka made- Vakrokti a full-fledged theory of literariness.Vakrokti literally means deviant or marked expression. kuntaka's theory of vakrokti and makes its critical analysis in relation to various literary concepts-alankara, rasavadalankara, marga and rasa.


5) Auchitya School

                      

           We can say that Kshemendra is the founder of Auchitya School. The other nearest meaning of this word is Perfect' or we can also say that 'Complete'. It is true that the nature functions itself but only we human beings tried to make perfect or tried to add perfection in all most all the things.


 In literature, Auchitya plays a vital role. If Auchitya is missing in the work of art then that work of art will not be able to create that much effect. And for that it is compulsory that the meaning or we can say that the words used by the author must be conventional. The theory of property or appropriateness claims that in all aspect of literary composition. There is the possibility of a perfect the most appropriate choice of subject of ideas, of words, of devices as such, it has affinities with Longinus's theory of the sublime.




Short Introductions of Major literary Theory:


When we are reads Indian Poetic there many questions abut Poem And‘Kavaya’. Its they’re many concept arising for literature and some other forms that like many mentions that such describing of poetry and poet intestines or comfortable joyfully read of poem. First disuse here major theory of Indian poetics:

(1)     Rasa:

In this Theory Founder Bhartamuni Main Slog with definition of Rasa:




                                                   Rasa theory finds its root in late vedic period in Atharvaveda( 200 BC-100 BC)Bharatmuni (F.c.AD approx.) gave major statement in his Book ‘Natyashastra’. Natyashatra is Indian treatise on the performing arts, encompassing theatre, dance and music. Here defend that Indian poetic main concept of rasa theorist. 




Indian Poetic rasa Theory’s father of ‘BHARATMUNI’and his book ‘NATYASHATRA’ in describing  that what is main theme of play and sub-play act were by than more and more relatives things provided to audience that called in rasa.


Bhartamuni also says in his book definition of Rasa and next will be all theory development of those things many critics write them nearly of their principle of theory as a like:

(vibhavnubhavVabhichasayogarasanishpati)

Here this sentence meanings that ‘Vibhav’ And ‘Anubhav’ emotions are coincidental than Rasa has been increase of play and some kind of things. The Rasa theory is built around the concept of bhava which is subdivided into:

}  Vibhava (विभव),

}  Sthayibhava (स्थायीभाव),

}  Sancaribhava ( संकरीभाव),

}  Anubhava (अनुभव)  and

}  Sattvikabhava (सात्विकभाव). 


Accepted as the core literary theory by all major dramatists as well as theoreticians including Abhinavgupta, Viswanatha, Pt. Jagananatha and KapilKapoor who have contributed towards a more subtle understanding of this theory.

Equated with words like – flavour, sentiment, passion, mood or no translation at all.


The reference of Sanskrit Acharya name was 'MAMAT 'Says that Rasa is provided to many emotions of human beings that Brhama’s world six rasa on the universe but after than defend that Poet world not only six rasa but nine rasa on his creations and every can delightful experience of this poem and his rasa creations. So Bahataexplain to nine rasa in Sanskrit sentence very famous of literature:



Finally, there are all theory properly their condition may be true and right of his way through writing of literature. Indian poetics in such concepts of very valuable tools of evolution of work of art and some other related things.


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