This blog deals with Indian Poetics- ભારતીય કાવ્ય મીમાંસા, response to Dilip Barad sir’s task. Being a literature student it’s a curiosity to know about literature of another language and so our syllabus includes a unit about Indian aesthetics in which we study about the various schools like Rasa, Dhvani, Auchitya, Vakrokti, Riti and Alankaar, in this blog I am going to give basic understanding about this school.
INDIAN POETICS
We got a wonderful chance to learn Indian Poetics from a recognized Indian poet, Prof. dr. Vinod Joshi Sir. We had his wonderful sessions for 8 days in our Department, Dept. of English, MKBU Bhavnagar.
Let us discuss seven schools of Indian poetics:
Rasa Theory:
Rasa theory originated by Bharata Muni in the sixth chapter of Natyashastra. He gives ‘Rasa Sutra’. In Indian aesthetics rasa literally means "nectar, essence or taste". It refers to the emotional flavors/essence crafted into the work by the writer and enjoyed by a 'sensitive spectator' or one can connect to the work with emotion, without dryness. Rasa is felt by various Bhavas (state of mind).
विभावानुभावव्यभिचारिसंयोगातरसनिष्पत्ति।
विभाव, अनुभाव, व्यभिचारी (संचारी), संयोगात, रसः निष्पत्तिः।
Rasa is produced from a combination of Determinants (vibhava), Consequents (anubhava) and Transitory States (vyabhicaribhava).
— Natyashastra 6.109 (~200 BCE–200 CE), Translator: Daniel Meyer-Dinkgräfe
Vibhav (object), Anubhav (reaction), vyabhichari bhava (not a permanent feeling) when all these three elements combine, rasa (juice, interest) is/ can be developed. Satisfaction, specific feelings or catharsis can be felt.
श्रृंगारकरूणवीररौद्रहास्यभयानका।
बीभत्साद्भूतशांतश्च नवनाट्येरसास्मृता।।
- भरतः नाट्यशास्त्र (छंद अनुष्टुप)
ભરતમુનિ ના આ મત ને પડકારનારા ચાર વ્યાકરણશાસ્ત્રી (મીમાંસકો) છે.
1)ભટ્ટ લોલ્લટ : [ઉત્પત્તિવાદ]
ભટ્ટ લોલ્લટ માનવું છે કે નાટકમાં રસ હોતો નથી પણ તેને ઉત્પન્ન કરવો પડે છે. અને એ રસ નો પ્રથમ અનુભવ નટ અને નટીને થાય છે. ચાલો હું સરળ રીતે ઉદાહરણ સાથે સમજાવું -જેમકે કવિ કાલિદાસ નું પ્રસિદ્ધ નાટક અભિજ્ઞાનશાકુન્તલમ જેમાં દુષ્યંત નું પાત્ર ભજવનારા આપણા શેરીના રમેશ ભાઈ, એ તો કરીયાણાની દુકાન ચલાવે છે, અને શકુંતલા એ તો આપણા રમાબેન, એ પોતે શિક્ષિકા છે હવે એ બને થીએટર માં એમના વ્યવસાયના વિચારો લઈને જશે તો એમને રસની અનુભૂતિ શું થઇ શકે? જો કલાકાર જ રસ નિષ્પન્ન કરવામાં નિષ્ફળ જાય તો ભાવક ને તે રસો ની પ્રતીતિ થઇ ના શકે.
(2) ત્રિશંકુક: [અનુમિતિવાદ]
ચાર પ્રકરની પ્રતીતિઓ દ્વારા આપણે રસનું અનુમાન કરવું પડે કે, ધારવો પડે. ૧) યથાર્થ પ્રતીતિ, ૨) મિથ્યા પ્રતીતિ ૩) સંશય પ્રતીતિ ૪) સાદ્રશ્ય પ્રતીતિ.
(3) ભટ્ટનાયક: [સાધારણીયકરણવાદ]
મૂળ પાત્રો એ જે ભાવ જે કક્ષાએ અનુભવ્યો એ જ કક્ષાએ એ પ્રેક્ષક અનુભવે તો સાધારણીકરણ થાય ને ત્યારે રસનિષ્પત્તિ થાય
(4) અભિનવગુપ્ત: [અભિવ્યક્તિવાદ]
તેમણે કહ્યું કે પ્રકાશાનન્દમયઃ જ્ઞાન અને વિશ્રાંતિ ની અનુભૂતિ કરાવે તે ઉત્તમ કાવ્ય છે.
According to the Natya shastra, the goals of theater are to empower aesthetic experience and deliver emotional rasa. Entertainment is an effect, but not the primary goal of arts according to Natya shastra. The primary goal is to create rasa so as to lift and transport the spectators, unto the expression of ultimate reality and transcendent values.
Dhvani Theory:
The Dhvani Theory found its first systematic expression in Ānandvardhan's 'Dhvanyāloka'.
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.
ધ્વનિ એટલે પ્રતીયમાન અર્થ..
Getting new meanings through the same words is Dhvani- apparent meanings. That is the soul of poetry.
Construction of Dhvani
The communication of proper meaning through words requires a proper arrangement of sounds. Language basically can be written or spoken which has words as their foundation. Sanskrit critic has described three types of words:
अभिधा (Abhidha) - Literal Meaning of the word
लक्षणा (Lakshana) - Characteristically Meaning of the word
व्यंजना (Vyanjana) - Poetic & Metaphysical Meaning of the word
In this way, the third word Vyanjana reaches the soul and gives the suggested meaning of the word. It is also called 'dhvani'. Dhvani is considered to be the soul of the body, it gives life to poetry.Dhvani theory is a theory of meaning and symbolism which leads to the poetry of suggestion being accepted as the highest kind of poetry.
Vakrokti theory
Kuntaka in his work ‘Vakroktijīvitam’ postulates the Vakrokti Siddhānta or theory of Oblique Expression. 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'.
Vakrokti is ‘vakra’ which is something like a curve. Beauty has no pointed curve, do we find anything in nature that has a pointed curve? Vakrokti is ironic.
Vakrokti can be divided in six categories:
વર્ણવિન્યાસ- the phonetic level,
પદપૂર્વાર્ધ- the lexical level,
પદપરાર્ધ- the grammatical level,
વાક્યવક્રતા- the sentential level,
પ્રકરણ- the contextual level and
પ્રબંધ- the compositional level
Alankar Theory:
Direct meaning we easily understand through alankar is ornaments. It adorns and gives beauty to poetry. Acharya Bhamah was the first to define poetry and for the first time presented the interpretation of 39 metaphors while accepting the main element of poetry, metaphor.
Language is ornamental, and ornamental language is applied to language. Bhamaha categorized Alankara into groups : SHABDALANKAR and ARTHALANKAR.
Alankar is not natural. E.g.; ‘Her face is like the moon’. This sentence contains Alankar. Alankar mixes in language, like a homogeneous mixture.
Riti Theory
'रीतिरात्मा काव्यस्य; विशिष्टापदरचना रीति: |'
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.
Riti, a very high position by designating Riti as the Soul of Kavya – 'रीतिरात्मा काव्यस्य; विशिष्टापदरचना रीति:
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 said Auchitya is the very life of Kavya (Kavyasya jivitam) that is endowed with Rasa (Aucityam rasa siddhasya sthiram kavyasya jivitam).
The most essential element of Rasa , he said, is Auchitya. The test of Auchitya is the harmony between the expressed sounds and the suggested Rasa. And , he described Auchitya as that laudable virtue (Guna) which embalms the poetry with delight.
According to Kshemendra, “When one thing befits another or matches perfectly, it is said to be appropriate, Auchitya”:
I Hope this blog is useful to you. I have practically applied Indian aesthetics in my other blogs. Please visit it.
Thank you for visiting.
No comments:
Post a Comment