Name:- Hinaba D. Sarvaiya
M.A. SEM 2
Paper no:-109 Literary Theory and Indian Aesthetics
Roll no:- 09
Enrollment no:- 4069206420210032
Email ID:- hinabasarvaiya1711@gmail.com
Submitted by:- S.B. Gardi Department of English MKBU
Q:- Discuss the Classification of Literary Theories under Indian Poetics.
Introduction:-
From the ages, different scholars have tried to defined Kavya in different manners. Among them all, scholars have tried to discover soul of Kavya. Kavya is just like that one cannot easily define or give any punctuation marks indeed it is the experience of enjoyment. Aristotle has defined in his Poetics but it rather deals with simply two aspects or Rasas pity and fear, while Indian Poetic is easy and yet much deeper Poetics. Different Scholars have introduced various mimansas about poetics. Western Poetics deals with the result of the poetry while Indian Poetics deals with process of poetry. In Indian Poetics, external tools can help to understand poetry. According to Indian Poetics “Literary Criticism is Literary Philosophy.”
The Sanskrit word for literature is SAHITY, which etymologically means coordination, balance, concord and contact. In the Indian Poetics definition of literature defined as kavya as Aristotle defines “Poetics”. It enhances beauty and worth but there is spine line difference between Indian Poetics and Western Poetics.
Six major School of the Indian Poetics:
1. School of Rasa
2. School of Dhavani
3. School of Vakrokti
4. School of Alamkara
5. School of Riti
6. School of Auchitya.
Let's discuss about the Literary Theories under Indian Poetics:-
1.Rasa Theory:-
Traditional considers the 'Naryasastra' as an additional Veda, so important has it been in the history of indian literary thought. A version of the Naryasastra' had been in existence before the third century but by the third century, it had taken a definitive shape, as the references of later critics indicate. The authorship of 'Natyasastra' is ascribed to Bharatmuni the author of this great work, ever existed.
The Natyasastra is a fondaments of performed arts, drama, music, dance. The Natyasastra was used through the fifteen hundred years of Sanskrit literary theory as the bedrock of literary theory. Whether it was Abhinavgupta, Mammata or Viswanath, discussing poetry and literature during the subsequent centuries, they inevitably turned to Bharata's formulations as the polar star of indian aesthetics. Bharata has been the maker of the Rasa theory.
There are many renderings of the Naryasastra's and parts of it in modern Indian languages. It does not make easy reading for the non-Sanskritsts. The Natya is depiction and communication of the emotions.
"Occasionally Piety, Occasionally sport, Occasionally Wealth, Occasionally Peace of mind, Occasionally laughter, Occasionally fighting, Occasionally Sexual passion, and Occasionally slaughter."
Natya based on the action of men, high, middling and low, this Natya will produce wholesome instruction. Natya, will be an imitative presentation of all the seven Island. The eight rhetorical sentiments recognised in drama and dramatic representation are named: Comic, Heroic, Erotic, pathetic, terrible, odius, Furious, marvelous.
According to Bharatmuni defination of The Rasa Theory:
"विभावानुभावव्याभिचारी संयोगात रसनिष्पत्ति ।"
Bhava:-
The Bhavas bring about poetic content through words, physical gestures and movements and psycho-Physical representation, hence, the name Bhavas. The Bhava is so called as it brings about the inner idea of the poet and makes it pervade the mind of the spectator through the representation of words, physical gesture, colour or emotional expression of the face, and through the acting which is the result of complete concentration and absorption.
Emotion States (Bhava) rising from,
-The Abiding (sthayin)
-Transient (Sancari or vyabhicari)
-Psycho-physical conditions (sattivika)
The Abiding (sthayin):-
Eight sthayin bhava like: love, laughter, sorrow, anger, energy, fera, disgust and astonishment. Vidhava has the meaning of distinct, specific knowledge. Video bhave means Karana (cause), nimitta (instrument), hetu are synonyms. Physical guestures and the psycho physical acting connected with the representation of stable.
Transient (Sancari or vyabhicari)
Thirty three are Transient Bhavas like: Weakness, jealousy, pride, anxiety, shame, joy agitation despair, thoughtfulness, death, fight. The sense of movement or motion because they move towards creating the poetic sentiments in a variety of ways. Connected with speech, body and concentrated mind, lead to the spectator, actual dramatic performance.
Psycho-physical conditions (sattivika):-
Sattivika Bhavas like paralysis, voice breaking, fainting, tears, perspiration ect.. this are originates in the mind. It was also called on account of the equipoised state of mind. Sattva is described for Natya as the latter imitates human nature.
Ranson Speck about this Theory " aesthetically organised language" and according to krishnamoorthy, " the whole field of Sanskrit alamkarasatra or Poetics maybe regarded as one continued attempt to unravel the mystery of beauty in poetic language".
The Alankara Theory:-
Bhamah is considered as a founder of the school. This school believes that there is Rasa and riti in kavya but the Alamkara is dominating feature of it. When the Alamkara is depends on the word. It means if we change the word it does not appear then. Hemchandra 'Kavyanusasana', Mammata 'Kavya Prakash', Visvanatha 'Sahityadarpana' alread mention of the Alankara. Bhattikavya the purpose of which was to narrate a story in verse and to supply examples for rules of grammar and Poetics had devoted considerable attention to the entire set of alakaras in vogue at the time. Alankara meaning several changes with the course of time. Dancing say that " come to designate any factor that produces poetic beauty". Vamana say that, term synonymous with entire beauty in poem (Sundarya).
Poetry as having a body which required to be ornamented. Two basis elements like,
Sound (Sabda)
Sence (Artha)
According Bhamah Kavya was the combination of those two elements. But of poetry they are essential never shine without proper ornaments in the form of poetic figure and hence they are essential. He say that Grammatic aspect in the literary composition was considered. Concerned only with beauty of sound and judged poetry by the effect it produced on the ear.
Kalidas, Bhatti, Bharavi, magha all are admired this theory. Bhamah give to Alamkara except the svabhavokti or Vakrokti. Dandi underline and beautified all alankaras and that is Atisayokti means Hyperboles. Abhinavgupta commenting on this " Atisayokti is the common property of all poetic figure.
Dhavni School:-
Dhavani Theory given by Ananbdvardhan presented in 'Dhanyaloka'. Dhavani means,
"The suggestive quality of poetic language"
Anadvardhana established element dhavni as the soul of poetry. Dhavni, it is very necessary that we have language and language bplays with us through words. Bhavas are more important to feel poetry, enjoy poetry than any other things. In fhanyaloka anadvardhana has presented a structural analysis of indirect literary meaning. The theory of Dhavani was very much in vogue in a femous circle of culture critics. Valuable treasure from generation to generation. Anadvardhana thought that he was rendering a salutory service. Dhavni is a type of poetry where in words and sense lose their primary signification in order to suggest other things.
The fhanyaloka divided vyanga sense into three varieties: Rasadi, Alanka Dhvani, vastu dhvani. Dhvani is essense of poetry. The rase of which so much has been spoken is also communicated by the dhvani. The holders of the doctrine of dhvani remained unconvinced and in the basis of their theory. They declared that the soul of poetry was not style or sentiment but tone. Dhvani by which they meant that an implied sence was the essence of poetry.
4. This school of Vakrokti:-
Vakrokti theory given by Kuntaka in his work " Vakroktijivita". Vakrokti is the theory of language and the formation of words, it is the formation of two words: Vakra +Ukti =Vakrokti.
The expressional Strikingness has been regarded in India Poetics as the based principal of all poetic language. The Indian theory of Vakrokti shows a remarkable divergence of views spelt out school Bhamah, Dhndin, Vamana, Kuntaka also. Kuntaka defined it as the 'Vital essense of poetry'. He attached so much importance to poetic expression that he devloped a whole treatise to this subject and tried to subsume under Vakrokti.
His Vakrokti is synonymous with poetry itself. He would call a beautiful expression without beautiful idea. Vakrokti Kuntaka means a certain striking or charming vicitra mode of expression. Vakrokti has been used in Sanskrit literature from can be found Subhandhu, Amaru, Bana. Bana used that sense of a "bantering humorous speech" "witty remark".
Dhandi belived that poetry is embellished words communicating the desire meaning but Kuntaka desnot with Dhandi and make then into poetry is the presence of Strikingness originating from Vakrokti. Kuntaka also remarks tha it is atisaya that is involved in Vakrokti vicitraya. Abhinavgupta remarked as Vakrokti are no less significant. Bhoja Vakrokti is put down as a general name for all figures beginning with simile. TS. Eliot for example writers: "the element of surprise is essential for poetry". The basic idea regarding strikingness of poetry expression keeps on appearing in Sanskrit Poetics in to form of Bharar's Loksana to Kuntaka's Vakrokti.
5 School of Riti:-
Acharya Vaman had given importance to Riti in his work 'Kavyalankarshashtra'. Vaman declared "The riti to be the soul of poetry". He makes his statment more clear by saying that the word and it sense constitute the body of which the soul is the riti. Dandi who named 'Marga' and Mammata, Visvanatha, karntaka, bhoja all are discussed riti. Anadvardhana appreciative. He say that he not explaine dhvani which brought about for the reason delited it and propounded riti in stend. Arrangment of words does not give any clear idea of riti because no end to which words could be sence. Three type of riti:- vaidarbhi, Gaudi, and panchali.
Visvanatha comments "By Vamana it is saide that riti is the soul of poetry. But it is not so. Riti is merely a special form of verbal collection, and verbal collocation bears the nature of arrengement of subordinate elements. The real souls is quite different from such an activity.
6 School of Auchitya:-
Kshrmendea's discussions of the principle of Auchitya is from the point of view of writer and reader. It is articulated in its given culture and philosophical context. Ksemendra considered it is the secret of poetic appeal. Auchitya is stated to be the jivita, life breath of poetry. The principle of propriety are area, sentence, meaning, figure of speech, Rasa, verb ect.. he explains the appropriateness and inappropriate of each of the above mentioned aspect are. He declares essentiality of Auchitya on poetry.
Indian crictis " Auchitya not only to be the internal part of the Kavya but Jivita of Kavya". The critics who deal with aucitya area like Aristotle, longinus, Horace and pope. Horace latin book 'Art Poetica' he says that aucitya is to be given proper attention. All school are obey to Auchitya rule of criticism. Auchitya should be considered as the excellent of every poetic element.
Conclusion:-
Here we known that the six mejor school in indian poetics like Rasa, Bharatmuni also appreciate to rase in important to all poetics and Dhvani also give to importance of the voice and Alamkara also give to importance of the works or sense because it very important ornaments of the poetry and another side Vakrokti believes in the striking mode of expression in important of the poetry. Riti say that the soul of poetry and aucitya is also believed that appropriateness in more important to poetry. All school give to very defence concept of the Indian Poetics and all poetics are more important of the Indian theories.
Words:- 1,861
References:-
Indian Literary Criticism, Theory and Criticism ed. By G.N. Devy
Studies in Indian Aesthetics and criticism, K. Krishna moorthy
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