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This blog is a part of Thinking activity which is the task of INDIAN POETICS...
◾️ Introduction to Indian Poetics and Aesthetics:
➡️ Indian poetics and aesthetics are deeply rooted in ancient traditions and focus on the beauty, meaning, and emotional impact of art, especially literature and drama. They explore how poetry and performance evoke feelings in the audience and create an artistic experience.
In Our Subject Indian poetics, more learning by "Vinod Joshi Sir ", he has a very hectic schedule in spite he teach us. Their Teaching skill is a very good and heart touching their every, example is how connect with concept we don't know, he teach us many important concept of indian poetics and aesthetic.
🔸15/01/2025 Lecture Synopsis
In First lecture, us learned the language as own expressive tool. And later what is the vowel sounds and what is consonants. 'Robert Brill's' quote - "we know the language but we don't about the language. "
Example :- 'જૂનું ઘર ખાલી કરતાં'
One of the most important concepts in Indian aesthetics is Rasa, introduced by Bharata in Natyashastra. Rasa refers to the emotional essence or mood that an artwork creates, such as love, sorrow, or heroism. Another key idea is Dhvani, which emphasizes the deeper, suggestive meaning of words beyond their literal sense. Thinkers like Anandavardhana and Abhinavagupta further developed these ideas, highlighting how poetry works on multiple levels of meaning.
Indian poetics also discusses the role of Alankara (figures of speech), Riti (style), and Vakrokti (unique expression) in making literature more artistic. These theories help in understanding why some works of poetry and drama remain timeless and powerful.
In short, Indian poetics and aesthetics provide a rich framework for analyzing and enjoying literature, focusing on how words, emotions, and artistic expression come together to create beauty and meaning.
🔸16/01/2025 Lecture Synopsis
Everyone knows the way of talking is by Language, but as we know how every word is effect on the daily talking the words are given by our Culture, in fact nobody who is able to speak other language when after born , in indian culture has a large part of the literature and Indian poetics. This is a originality of ancient time's philosophy is indian aesthetic and poetics. here,many Theorists gave own view and theory of indian poetics. In second lecture they give knowledge of Rasas.
So, now we are going to discuss about what is the Concept and theory of indian poetics. Here, we find it.
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Now, we are going to discuss this and first is a Rasa School.
1) Rasa ➡️ Bharat muni
2) Dhvani ➡️ Anandvardhan
3) Vakrokti ➡️ Kuntak
4) Alankar ➡️ Bhamha
5) Riti ➡️ Vamana
6) Auchitya ➡️ Ksemendra
7) Ramniyata ➡️ Jagannath
🔷 1. School of Rasa :- by Bharata muni
"Rasa is the soul of poetry, and Dhvani is its heartbeat."
In Ancient times of india, a great indian Poetic mind is known as Bharatamuni, his time duration is 200 BCE – 200 CE. And He us the one of pioneer of indian poetics also, The essence of poetry lies in evoking emotions (Rasa). There are 9 Rasas (Śṛṅgāra, Hāsya, Karuṇa, etc.).
Rasas are created by bhavas the state of mind.
The Western Literature we find by Plato, Aristotle and many others, but in indian poetics we can find so many hard and critical thinking mind like, " Bhasha, Kalidas, Magha, Kuntak, Bharata, Ksemendra, Shudrak, Dandi, Vamana, Jagannath and Anandvardhan.... " Many others but, one of the great MAGHA is different from other for his writing style, and concept so,
" माघे सन्ती: त्रयो गुणाः।। "
But, in indian poetics Saying that the evry human being is live with NINE RASA, Which is Pointed by Bharatamuni in his 'NATYASHASTRA', here many part of english literature based on writing is,
🔹Poetry 🔹Fiction 🔹 Drama 🔹Essay
Lyric Biography Monologue
Dramatic Autobiography Soliloquy
Narrative Novel
Short Story
In, Natyashastra Bharatuni Devide Drama in three parts - 1. Visual drama, 2. auditory drama, 3. Lyrical drama, in every play a director has many kind of feeling and visibility of characters when he write a play, whether it is a Tragic ya Comic. Poet Bharti is give a Theory of Rasa like,
" भारती वाणी नव रस रुचि राम्। "
🔹Nine Rasas (Navarasa) and Examples
| Rasa (Emotion) | Example from Literature/Drama |
|---|---|
| 1.Śṛṅgāra (Love, Romance) | Shakuntala by Kalidasa (Romantic scenes between Dushyanta and Shakuntala) |
| 2. Hāsya (Humor, Laughter) | Mṛcchakaṭika by Śūdraka (Comedic elements in dialogues) |
| 3. Karuṇa (Compassion, Sorrow) | Ramayana (Sita’s exile and separation from Rama) |
| 4. Raudra (Anger, Fury) | Mahabharata (Bhishma taking his lifelong vow) |
| 5. Vīra (Heroism, Courage) | Ramayana (Rama’s battle with Ravana) |
| 6.Bhayānaka (Fear, Horror) | Meghaduta (Fear of separation and loss) |
| 7. Bībhatsa (Disgust, Aversion) | Mahabharata (Ashvatthama’s brutal acts in war) |
| 8. Adbhuta (Wonder, Amazement) | Mahabharata (Krishna’s Vishwaroop Darshan) |
| 9. Śānta (Peace, Tranquility) | Bhagavad Gita (Krishna’s teachings on detachment) |
Then,
🔸17/01/2025 Lecture synopsis
🔹Rasa Theory: Vibhāva, Anubhāva, and Vyabhicārī Bhāva
" विभावानुभावव्यभिचारिसंयोगाद रस निष्पत्ति ।। "
Bharata’s Rasa Theory, as described in the Natya Shastra, explains how emotions (Rasas) are evoked in an audience through a combination of three key elements:
Vibhāva (Determinants) – These are the causes or stimuli that generate emotions. They include characters, situations, and settings that provoke a particular feeling. For example, in Śṛṅgāra Rasa (Romance), a beautiful environment and the presence of a beloved person act as Vibhāva.
Anubhāva (Consequents) – These are the physical expressions or reactions that manifest as a result of the emotion. In the case of Śṛṅgāra, these could include smiling, loving glances, or sweet words. For Raudra Rasa (Anger), expressions like red eyes, trembling, and aggressive speech become Anubhāva.
Vyabhicārī Bhāva (Transitory Emotions) – These are fleeting emotions that support and intensify the primary emotion. They add complexity to the overall aesthetic experience. For example, in Vīra Rasa (Heroism), determination, confidence, and enthusiasm act as supporting emotions, whereas in Karuṇa Rasa (Compassion, Sorrow), emotions like anxiety, despair, and regret enhance the effect.
When Vibhāva, Anubhāva, and Vyabhicārī Bhāva interact harmoniously, they produce Rasa, which is the ultimate emotional experience that a work of art, poetry, or drama aims to evoke in its audience. This theory highlights how emotions are not just told but experienced, making Indian aesthetics deeply immersive and effective.
🔹How Rasa is Created :
- Vibhāva provides the foundation (the cause of emotion).
- Anubhāva shows the outward expression.
- Vyabhicārī Bhāva enhances the experience by adding depth.
- When these elements work together, they create Rasa, which is the ultimate emotional experience for the audience.
This structure makes Rasa Theory a detailed framework for understanding emotions in poetry, drama, and art.
In, Fourth lecture on Different theory of Rasas by different poetic mind and concept that time I was absent.
🔸 20/01/2025 Lecture synopsis
🔷 2. School of Dhvani :- by Anandvardhana
➡️ Dhvani Theory in Indian Poetics:
The Dhvani Theory was introduced by Ānandavardhana in his 9th-century work Dhvanyāloka. It emphasizes the idea that the true essence of poetry lies in suggestion (Dhvani) rather than just explicit meaning. According to this theory, the most powerful form of poetic expression is not direct but rather implied, suggested, or resonant in the mind of the reader or listener.
The phrase "Dhvaniḥ Kāvyasya Ātmā" ("ध्वनिः काव्यस्य आत्मा") was introduced by Ānandavardhana in his 9th-century treatise Dhvanyāloka. It means "Dhvani (suggestion) is the soul of poetry."
🔺Meaning and Importance of Dhvani
Ānandavardhana argues that the true essence of poetry lies in its suggestive meaning (Dhvani) rather than just the literal or figurative meanings. A poem is not merely beautiful because of its words and metaphors but because of the deeper, implied emotions and ideas it conveys.
"विभातिलावण्यविवङ्ग्नसु"
(Vibhātilāvaṇyavivaṅgnasu)
This phrase is not commonly found in classical texts like Dhvanyāloka or Nāṭyaśāstra, but it seems to be a compound describing the essential qualities of poetry. It appears to be an extended or specific form of Vibhāvatva, Lāvaṇya, and Vivagna.when Anandvardhana saying it અંગનાના લાવણ્યની જેમ શોભે છે.
🔸21/01/2025 lecture synopsis
🔹Possible Meaning and Explanation
Breaking it down:
Vibhāti (विभाति) – "That which shines or is expressive."
- This could relate to Vibhāvatva, meaning the ability of poetry to evoke emotions powerfully and vividly.
Lāvaṇya (लावण्य) – "Grace, elegance, charm."
- This refers to the natural beauty and smoothness in poetry, making it pleasing and melodious.
Vivaṅgna (विवङ्ग्न) – Possibly related to "Vivagna" (subtlety or suggestiveness).
- It represents Dhvani (suggestion), where deeper meanings are implied rather than explicitly stated.
Su (सु) – A prefix meaning "good" or "excellent," enhancing the overall meaning.
- This suggests a perfect blend of these three qualities in the finest poetry.
A great poem should have:
- Expressiveness (Vibhāti / Vibhāvatva) – The ability to paint emotions vividly so the audience feels them.
- Grace (Lāvaṇya) – A natural flow and elegance that makes the poem melodious and appealing.
- Subtlety (Vivaṅgna / Vivagna) – Implied meanings that engage the reader’s imagination and emotions.
Thus, "Vibhātilāvaṇyavivaṅgnasu" represents the highest form of poetic beauty, where expressiveness, grace, and subtlety come together to create an impactful artistic experience.
🔸 22/01/2025 Lecture synopsis
🔹Key Elements of Dhvani Theory
- Vācyārtha (Literal Meaning) – The direct, surface-level meaning of a word or phrase.
- Lakṣyārtha (Indirect Meaning) – The figurative or secondary meaning, often used in metaphors and similes.
- Vyangyārtha (Suggested Meaning / Dhvani) – The deeper, implied meaning, which creates emotional and aesthetic depth in poetry.
Dhvani, or the suggestive meaning, is considered the most refined and artistic form of poetic expression and language is applied.
🔹Types of Dhvani
Vastu Dhvani (Ideational Suggestion) – When the suggested meaning conveys an idea beyond the literal text.
- Example: "The lamp in her window still burns at midnight." (It suggests she is waiting for someone.)
- Example: પર્વત ખૂબ જ ઉચા છે.
Alankāra Dhvani (Figurative Suggestion) – When poetic figures of speech enhance the suggested meaning.
- Example: "Her eyes are the ocean where my heart drowns." (Suggesting deep love and emotional surrender.)
- Example: પર્વત આકાશ સમાન ઉચા છે.
Rasa Dhvani (Emotional Suggestion) – When the suggestion evokes deep emotions (Rasa), making it the highest form of poetry.
- Example: In Ramayana, when Sita sees the golden deer and desires it, the suggestion is not just curiosity but her eventual separation from Rama, leading to great sorrow (Karuṇa Rasa).
- Elevates Poetry – Dhvani makes poetry more expressive and emotionally powerful.
- Engages the Audience – The reader’s imagination plays a role in understanding the deeper meaning.
- Goes Beyond Words – True poetic beauty is not just in words but in what they suggest.
Ānandavardhana argues that Dhvani is the soul of poetry (Kāvyasya Ātmā Dhvaniḥ), and poetry without Dhvani is lifeless.
🔸24/01/2025 lecture synopsis
🔷 3. School of Vakrokti :- by Kuntak
➡️ The Vakrokti Theory was developed by Kuntaka in his work Vakroktijīvita (10th century CE). The term "Vakrokti" (वक्रोक्ति) વક્ર + ઉક્તિ = વક્રોક્તિ, means "oblique or twisted expression" (Vakra = twisted, Ukati = expression).
Kuntaka argued that the beauty of poetry lies in its deviation from ordinary speech, making it artistic and aesthetically rich. Unlike simple, straightforward expression, Vakrokti gives poetry a unique charm by using figures of speech, metaphors, and creative linguistic twists.And in VAKROKTIJIVIT By Kuntak he gives a unique meaning of this term. Also he put a shlok of વૈદૃગધ્ય based on how writer once to feel Illusion in their text.
" शब्दार्थौ सहितौ काव्यव्यापारशालिनी।
बन्धे व्यवस्थितं काव्यं तदाह्लादकारिणि॥ "
"કાવ્ય એ શબ્દ અને અર્થનો સંયોજન છે, જે રચનાત્મક રીતે બંધારણમાં ગોઠવાયેલું હોય અને આનંદકારક અનુભવ આપતું હોય."
🔺Key Ideas of Vakrokti
Vakrokti = Poetry's Essence
- Kuntaka states that poetry is beautiful only when it has Vakrokti—a deviation from everyday language.
- Example: Instead of saying "The moon is bright," a poet might say, "The moon sprinkles nectar upon the earth."
Difference from Dhvani
- Dhvani (Ānandavardhana) emphasizes suggested meaning.
- Vakrokti (Kuntaka) emphasizes creative, artistic expression.
- Example:
- Dhvani: "Tears glisten in her eyes." (suggesting hidden sorrow)
- Vakrokti: "Pearls tremble in the ocean of her eyes." (artistic, indirect way of saying the same)
- Six Levels of Vakrokti (Types of Twisted Expression)Kuntaka categorizes poetic beauty into six Vakrokti levels:
Type of Vakrokti Meaning Example Varṇa-Vakrokti Beauty in letter/sound patterns Use of alliteration, rhymes Pada-Vakrokti Unique word choices "Night’s queen" instead of "moon" Vākya-Vakrokti Unique sentence structure "The lotus wakes at the sun’s command." Prakaraṇa-Vakrokti Creativity in descriptions Using metaphors for nature Prabandha-Vakrokti Overall poetic composition Kalidasa’s style in Abhijnana Shakuntalam
🔹"वैदग्ध्यभङ्गीभणिति" (Vaidagdhyabhaṅgībhaṇiti)
This term is related to Vakrokti (oblique expression) in Indian Poetics, particularly from Vakroktijīvita by Kuntaka. It refers to a poetic style that blends intelligence (Vaidagdhyā), elegance (Bhaṅgī), and refined speech (Bhaṇiti).
🔹Explanation :
"વૈદગ્ધ્યભંગીભણિતિ" એ કાવ્યની એક વિશેષ શૈલી છે, જેમાં ત્રણ મુખ્ય તત્વો હોય છે:
- વૈદગ્ધ્ય (Vaidagdhyā) – કવિની ચાતુર્યતા અને કાવ્યાત્મક કૌશલ્ય.
- ભંગી (Bhaṅgī) – શબ્દોની મનોહર ગોઠવણી અને શૈલીની સૌંદર્યમયતા.
- ભણિતિ (Bhaṇiti) – નિપુણ અને કલાત્મક ભાષા.
આ શૈલી કાવ્યને વધુ આકર્ષક અને કલાત્મક બનાવે છે, જે વાંચકને રસપ્રદ અનુભવ આપે છે.
"Vaidagdhyabhaṅgībhaṇiti" is a special poetic style that includes three key elements:
- Vaidagdhyā – The poet’s intelligence and artistic skill.
- Bhaṅgī – The elegance and beauty of word arrangement.
- Bhaṇiti – The refined and artistic language used in poetry.
This poetic style enhances the charm of poetry, making it more engaging and aesthetically pleasing to the reader.and તદ્દ + વિદૃ = "तद्" (Tad) – meaning that or divine/ultimate knowledge.
"विद्" (Vid) – meaning to know or one who possesses knowledge.
Kuntaka, in Vakroktijīvita, explains that poetry becomes beautiful when language is used in an artistic and oblique manner. He classifies Vakrokti (oblique expression) into six levels:
1. Varṇa-Vakrokti (वर्ण-वक्रोक्ति) – Beauty in sound, phonetics, and alliteration. For example, using repetitive or rhythmic sounds to enhance poetic charm, like "चक्री चकितचेतशः" (repetition of 'च' sound). Example : "नवकंज लोचन कंज मुखकर, कंज पद कन्जारुणम्।।"2. Pada-Vakrokti (पद-वक्रोक्ति) – Unique word choices that add elegance. For instance, instead of simply saying "moon" (चन्द्रः), calling it "रजनीनायकः" (leader of the night). Example : "જૂનું તો થયું રે, દેવળ જૂનું તો થયું;
મારો હંસલો નાનો ને, દેવળ જૂનું તો થયું."3. Pada-Parārdha Vakrokti (पद-पदार्थ वक्रोक्ति) - Kuntaka, in Vakroktijīvita, discusses Pada-Padārtha Vakrokti, which refers to obliqueness or artistic beauty at the word (Pada) and meaning (Padārtha) levels. This type of Vakrokti makes poetry more aesthetic by using unique word choices and innovative meanings.
📌 એ કાવ્યમાં શબ્દ (પદ) અને અર્થ (પદાર્થ) બંનેમાં કાવ્યાત્મકતાનો ઉપયોગ કરવાનું એક શૈલીશાસ્ત્ર છે. આ વાક્ય એનું ઉત્તમ ઉદાહરણ છે.
In Simple Terms:
Vakrokti enhances poetry by using creative sounds, unique words, twisted sentences, beautiful descriptions, deep storytelling, and structured composition. It makes poetry artistic, engaging, and emotionally powerful.
- Adds Artistic Beauty – It makes poetry more aesthetic and engaging.
- Enhances Emotional Impact – Twisted expression creates a stronger emotional effect.
- Separates Poetry from Prose – Ordinary speech is direct; poetry must be artistic and creative.
According to Kuntaka, "Vakrokti is the very life (Jīvita) of poetry." Without it, poetry would be dull and lifeless.
🔷 4. School of Alankar :- by Bhamaha
The Alaṅkāra School in Indian poetics believes that the beauty of poetry comes from figures of speech (Alaṅkāras). This school focuses on how words and meanings are artistically decorated to make poetry more appealing.
📌 Key Theorists:
- Bhāmaha (Kāvyālaṅkāra) – First to explain Alaṅkāras in detail.
- Daṇḍin (Kāvyādarśa) – Further developed the concept of poetic beauty.
- Udbhaṭa – Expanded the list of Alaṅkāras and refined poetic expressions.
📌 Two Main Types of Alaṅkāras:
1. Shabda Alaṅkāra (Verbal Ornaments) – Based on sound, rhyme, and repetition.
Example: Anuprāsa (Alliteration) – "પવન પથ પર પંખી પર્છાયાં" (Repeated ‘પ’ sound).
2. Artha Alaṅkāra (Meaning-Based Ornaments) – Based on ideas and comparisons.
🔹Example:
Upamā (Simile) – "Her face is like the moon."
Example: "दमयंती चन्द्रवत् शोभते।" (Damayanti shines like the moon.)
Rūpaka (Metaphor) – "Her face is the moon itself."
Example: "दमयंती चन्द्ररेखा एव।" (Damayanti is the moonbeam itself.)
"साधर्म्योपमा भेदाः तु मुख्यतया चार प्रकाराः भवन्ति – रूपक, उपमा, उत्प्रेक्षा, विभावना।"
📌 "અલંકાર શાળા એ કાવ્યમાં અલંકારો દ્વારા સૌંદર્ય વધારવાની શાખા છે. ભામહ, દંડિન અને ઉદ્ભટ આ શાળાના મુખ્ય આચાર્યો છે. અલંકાર બે પ્રકારના હોય: શબ્દ અને અર્થ."
The Alaṅkāra School focuses on beautifying poetry with figures of speech. Bhāmaha, Daṇḍin, and Udbhaṭa are the key scholars. There are two main types: sound-based and meaning-based Alaṅkāras."
🔸28/01/2025 lecture synopsis
🔷 5. School of Riti :- by Vamana
The Rīti School of Indian poetics focuses on the arrangement of words (style) as the essence of poetry. It emphasizes how language, diction, and structure create poetic beauty rather than just meaning or emotions.
📌 Theorists:
Vāmana (Kāvyālaṅkārasūtra) – Founder of the Rīti School. He defined Rīti as the soul of poetry (रीतिरात्मा काव्यस्य).
Dandin – Classified poetic styles based on elegance and strength.
📌 Types of Rīti (Styles of Composition):
1️⃣ Vaidarbhi Rīti – Smooth, elegant, and soft style, used for beauty and emotion.
Example: Kalidasa’s poetry ( Abhigyanshakuntalam)
2️⃣ Gaudiya Rīti – Grand, powerful, and forceful style, used for strong emotions.
Example: Bharavi’s poetry (Kirātārjunīya).
3️⃣ Pañchālī Rīti – A mix of both, balancing elegance and power.
🔷 6. School of Auchitya :- by Ksemendra
The Auchitya School of Indian poetics focuses on appropriateness (औचित्य) as the key to poetic beauty. It emphasizes that words, emotions, and themes should be used in a manner suitable to the context, character, and situation in poetry.
📌 Theorist:
🔹 Kṣemendra (Auchityavicāracarcā) – Founder of the Auchitya School. He argued that Auchitya (appropriateness) is the essence of poetry and helps maintain balance and harmony in literary works.
📌 Importance of Auchitya in Poetry:
1️⃣ Language – Words should match the tone and theme.
2️⃣ Emotions (Rasa) – Bhāvas should align with the character and situation.
3️⃣ Characters – Speech and behavior should suit their personality.
4️⃣ Plot – Events should be logically and aesthetically fitting.
🔷 7. School of Ramniyata :- by Jagannath
The Rāmāṇīyaṭā School of Indian poetics emphasizes beauty (रमणीयता) as the essence of poetry. It suggests that poetry should delight the reader with its aesthetic appeal, charm, and grace.
📌 Theorist:
🔹 Viśvanātha (Sāhityadarpaṇa) – He argued that the true purpose of poetry is to create a sense of joy and aesthetic pleasure (रमणीयता).
📌 Core Ideas of Rāmāṇīyaṭā:
1️⃣ Beauty in Expression – Words and style should be pleasing.
2️⃣ Emotional Appeal – Poetry should evoke joy and admiration.
3️⃣ Aesthetic Perfection – The composition must be artistically refined.
4️⃣ Harmonious Language – Sound, rhythm, and meaning must blend beautifully.
🔷 Conclusion of Indian Poetics:
Indian poetics is enriched by various schools, each highlighting a key aspect of poetry. And this subject is very simple to understand how and why this is significant us learned by Vinod sir. Rīti focuses on style, Alankāra on figures of speech, Rasa on emotional experience, Dhvani on suggestive meaning, Vakrokti on creative expression, Auchitya on appropriateness, and Rāmāṇīyaṭā on aesthetic charm. Together, they define poetry as a perfect blend of expression, meaning, beauty, and emotional depth, making it both impactful and enjoyable.
🔹Reference:
“Indian Literary Criticism and Theory.” Introduction to Indian Poetics – Indian Literary Criticism and Theory, ebooks.inflibnet.ac.in/engp11/chapter/introduction-to-indian-poetics/. Accessed 8 Feb. 2025.
Barad, Dilip. “Indian Poetics.” Indian Poetics, 1 Jan. 1970, blog.dilipbarad.com/2022/02/indian-poetics.html?m=1.
“Indian Aesthetics and Fine Arts.” Schools of Poetry – Indian Aesthetics and Fine Arts, ebooks.inflibnet.ac.in/icp04/chapter/schools-of-poetry/. Accessed 8 Feb. 2025.
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