Name :Mehal J. Pandya
Sem :2
Roll no. 13
Enrollment no. 2069108420200029
Subject : literary criticism
Assignment Topic: Indian poetics
Batch:2019-2020
E-maid:mehalpandya252@gmail.com
Submitted to: Department of English
M. K. Bhavangar University
Preface:
Indian poetic basically related with the Sanskrit language and also it's root going through the two great epic poems 'Ramayana' and 'Mahabharata'. In Sanskrit language there are so many great poets like Kalidas and other writer like Bhavbhuti, Dandi.
In Indian poetic we can see the different theories and theory schools. So, let's study on different school of theories in details.
Literary theory
When we are going to study about theory, it is important to know the names of them.This theory are given by the great thinker and they also talk about them in details in their work so here is the table in which I put the detail about the theory.
Rasa school :
“ Rasa in Bharatmuni is nothing but the exposition of the structure of human experience.”
Rosa theory is very important in Indian poetics. Rosa is said to arise when the Sthayabhava in individuals is awakened by his perception of the Vibhava, Anubhava, Vyabhicharibhava and Sattvic bhava. 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’.
We can find the Sthayabhavas in each individual and they will never die. Here are names of Sthayabhavas :
1 Shringar
2 Karun
3 Veer
4 Raudra
5 Hasya
6 Bhayanak
7 Vibhatsa
8 Adabhut
9 Shant
Bharatmuni give a sloka in his Natyashastra
शृंगार करूणवीर
रौद्र हास्य भयानक
विभत्साद्भूतशांतश्व
नव नट्ये रसा स्मृता।।
Bharatmuni:
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
Vibhava (विभव),
Sthayabhava (स्थायीभाव),
Sancaribhava ( संकरीभाव),
Anubhava (अनुभव) and
Sattvikabhava (सात्विकभाव
Riti School:
This school's exponent Vamana.He is author of Kavyalankara Sutravritti. According to Vamana Riti or Style or mode of expression is the soul of poetry.It is arrangement of words. This is based on Gunas or on qualities like figure of speech. Both sound and sense which have a role to play to enhance the aesthetic of poem.
Style is distinction between this two:
1 Vaidarbha style
2 Gaudya style
In Dandin we find the earlier partiality for Vaidarbha style and aversion to Other style named Gaudya style. According to Dandin Vaidharbha style is best for poetry and he says this style contains ten poetic qualities which are gives properly balance. They are mentioned here:
1.Ojas: strength through the use of long compounds
2. Prasad: clarity & lucidity
3. Shlesha: well knittedness
4. Samata: evenness of sound within a line
5. Samadhi: ambivalence through the use of metaphors
6. Madhurya: sweetness
7. Sukamarata: softness & delicacy
8. Udaratva: exaltation
9. Arthavyakti: lucidity of meaning
10. Kanti: grace
From all these, Phase, Madhurya and Prasad are very important.
(A. ) Vaidarbha: According to vamana vaidarbha is that style which is untouched by even the slightest blemish, which is full of all the qualities and which is a scoot as the lute.
(B) Gaudiya style: The gaudiya style is characterized by Ojas and Kanti but it devoid of madhurya and saukumaryo it is full of long compound and bombastic words.
(C) Panchali : Panchali is the style which has the qualities of Madhurya and saukumarya and is devoid of ojas and kanti. It is soft and resemble the puranic style
Dhvani school
Dhvani theory is a theory of meaning, of symbolism, and this principle leads to the poetry of suggestion being accepted as the highest kind of poetry.This is also very important theory next to the Rosa theory. Anandvardhan talk on Dhvani theory. He also wrote about in his work ' Dhavnyaloka'. Dhvani explains the structure and function in literature about the aesthetic effect the figural mode and devise.The stylistIc values and also Dvani explain about excellent and defeat which means Gunas and Dosha.
We can see that all the subsequent theories in literary theory, there are theory traditions this both theories Rasa and Dhvani, combination adequate and sufficient to analyse the constitution of meaning in literature.
Anandvardhan uses the term Dhvani to designate the universe of suggestion.Two part of Dhvani are :
1 Sphotak
2 Vyanjana
He also give three levels of meaning through
1Abhidha
2Lakshna
3Vyanjana
4 Alankara :
Alankara means ornament when we wear ornament and they make us more beautiful as it is, the Alankara beauty the poetto. This alankara school is the earliest and most sustained one. We can find information about the Alankara from the 'Alankarasutra'.
" Bhamaha " is the first Alamkara poetician. In chapters 2 and 3 of " Kavyalamkara "he describes 24 figures of speech. There are two types of Alamkaras.
1. Shabdalamkara :- Shabda + Alamkar (The meaning of sound.)
2. Arthalamkara :- Artha + Alamkar ( The meaning of word & thoughts.)
In this school Bharata give four figure of in his work Natyashastra, he mentioned this four figure in the 17th chapter;
1 Upama
2 Rupak
3 Dipak
4 Yamak
Acharya Mammat gave his views and he worked on this as well. He enumerates sixty one figures and group them into seven types:
Upama (simile)
Rupaka (metaphor)
Aprastut prasansa (indirect speech)
Dipaka (stringed figure)
Vyatireka( dissimilitude)
Virodha (contradiction)
Samuccaya (concatenation)
Vakrokti
This is also a important school in Indian poetic. Kuntak is the founder of Vakrokti school.He is author of Vakroktijivit'.
The word of vakrokti consist two words-Vakta and another one is Ukti. Vakra means zigzag not straight and Ukti means poetic expression speech.
Vakrokti :- Vakra + Ukti
Vakrokti manifested at six levels
1 The phonetic level
2 The lexical level
3 The grammatial level
4 The sentiment level
5 The contextual level
6 The compositional level
Vakrokti theory is a useful framework for stylistic analysis of literature.
Kuntak made Vakrokti a full -fledged theory of literariness. According to him Vakrokti is - "Both words and meanings marked by artistic turn of speech "
Auchity school
Auchitya in literary criticism had not appeared all of sudden but literary critics collect ingeniously materials from older literature and build their theories on them. Ksemendra likewise found the concept of Auchitya in earlier literature which he developed into an elaborate thesis.
According to Kuntak Auchitya as guna a quality on account of which any Charming expression bring the excellence of the subject described.
According to Ksemendra Auchitya resides in twenty eight place and also he appears to have been more or less inspired by approach of Kantaka in listing the place where vakrokti resides.
The concept of Auchitya could , perhaps, be understood as the sense of proportion between the whole (Angin) and the part (Anga) and harmony on one side; and, appropriateness and adaptation on the other.
It said; be it Alamkara or Guna, it will be beautiful and relishing if it is appropriate (Uchita) from the point of view of Rasa; and, they would be rejected if they are in- appropriate . And, what is normally considered a Dosha (flaw) might well turn into Guna (virtue) when it is appropriate to the Rasa
But, many are hesitant to accept Auchitya as the Atma of the Kavya. They point out that Auchitya by its very nature is something that attempts to bring refinement into to text; but, it is not an independent factor. And, it does not also form the essence of Kavya. Auchitya is also not a recognized School of Poetics.
Some special features in Indian poetic
1 The theory of suggestion :
That t poetry Works By suggestion has been opted by Shelley received and I recharged but the Indian as they have studied at length the way the suggestion works the words and sentence of a poem have a differential or direct meaning through which the emotive meaning Express itself and overshadows the former good poetry does not influence emotional like music that does not say anything it present a referential meaning as well as an emotion attitude image from the letter with sufficient uniformity and distinctness so get the emotive attitude thirst suggested or evoked may be called emotive meaning. there is another way of suggesting the emotive meaning in there's the Raho Trickle construction of words and sentence instead of describing certain characters their behaviour and surroundings suggest certain emotions.
2 Permanent and transitory emotions
Emotions are vacant in poetry are of two classes 1 class dominates a poem wild other are transient and subservient to them. Thus the pervading emotion or the prevailing mood in a poem. Ex Romeo and Juliet. May be love which is served by such transitory emotions as longing, rashness, anxiety sadness, joy, self-pity, cruelty, stupefaction etc.
Now the emotions that may be employed to strike the dominant not of poem are the more elemental powerful and pervasive in human nature such as the love, fear and wonder each of these manifest itself through a number of less element tell and powerful emotion which appear and disappear in quick succession in the poem.
Abhinavagaupta is very rigid in these matters; he enumerate nine motion that can function as permanent one, and does not admit any others. He lays down that only these,when depicted by appropriate suggestive means and through their proper auxiliary emotions, can produce Rosa or aesthetic delight.
Conclusion :
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. Here most important that we are not evolution to only for in one theory. All of theorist has right and true of his own view and poetry and literature creator got idea that all over theory possible to use of most kind of work.
Work citation:
Chodhary Dev, Glimpse of Indian Poetic. New Delhi :Sahitya Academy 2002.
Deshpande G. T. "Indian literature" Bhartiya Sagittarius Shastra,2016
Patel,Manilal H. and Pandit Harish.Sahitya Mimansa. Amdavad:Parshva ,2014
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