Classification of Idaian Poetic

Paper 7 : Literary theory & Criticism 

Topic:

◙Classification of Idaian Poetic

Name: Sagar G.Ladhva 
Roll No: 25
Semester : M.A. -2
Enrollment No: 14101022
Email.id: sagarladhva5507@gmail.com

  Submitted To: 

Smt.S.B.Gardi

Department  of English

MK.B.U. - Bhavanagr Universtity

Preface:

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 …  

Literature Theory

Categorize Indian poetic theory very important and useful to us understanding of Indianpoetic. Here we disuses of theory in Indian poetic and got example of their theory.

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.

“rasa is realization of one’s own consciousness as colored by emotions”

“rasa and emotions cannot be expressed directly through words, their essence being immediate experience; so they can be only suggested by words”

 -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)

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:

 While not being applied to the fine arts and spatial arts per see, it is felt to have potentials there as well, the supreme aim of all arts being the communication of delight.Rasa can be roughly translated as aesthetic emotion or relish which is contained in a work of art and which gets communicated to the competent reader or viewer. This view assumes that the ultimate aim of any work of art is to provide aesthetic delight to the perceiver, a delight which is communicated through the aesthetic emotions presented in a work. Here most important thinks of rasa theory is consider for only rasa and also in addition on which their rasa is decided to bhavh and very great expose to all of poet things are get provide to knowledge and some other related things. Their theory is consider of poet’s min and which make to him for image create that will create main aim of all of thoughts. 

v Structure of rasa theory:

                                     Rasa is an emotion experienced by the audience created by the facial expression or the Bhava of the actor. Our discussion will focus only on following sthayibhavas(स्थायीभाव).

NINE RASA

v Rasa theory: the experience of rasa:

Rasa can be experienced individually or collectives

                                            Where as feelings and emotions when get up by linguistic means are conditioned responses, moods are not, and this is also a fundamental aspect of rasa; rasa is based on conditioned responses, but in itself is something higher: we may call it unconditional or cultivated response. In their many assumption of literature writing something are good and different type of emotions and filings arise of audience and reader. There most important things is that their if rasa arising of human heart than Poet creations not  only simply way but very powerful thought and that so many  kind work of soul and his fallings. In Sanskrit language acharyaMamat in his Kavyaprakash on own believe of Poet word so very wonderful lien says in Guajarati:

Here most of things related to human nature of emotions and human honesty work describing of creations and all over idea of poem and play. There is good thought use of structure in rasa theory of literature. Many follow to rule of this theory and some critics also believe that the play/poem soul is Rasa. However many critics and most of allAlmakarsttriy wasincidental or coincidental favors of Rasa theory and believe that Rasa is Poem’s chief to psyche.

v Rasa theory and the audience:

                    Level of response depends on aesthetics sense of an individual a group determined by their world view of the people. ( KapilKapoor links it to Sanskar and explains cab drives story in Chekov’s writings)

                                                 In this chart when show that audience is very vital role of rasa school and that rasa followers believe of if poet creative writing made by poet is not common language .There is idea of poet in this school use of famous words but feelings was more reliable and different type of language. Finally, I would like to briefly mention about the papers brought together in this special section on Indian Aesthetics. The papers compiled here, though small in number, do justice to the theme; and I must thank the contributors for writing them for this journal.when generalized objects and situations are presented in poetry they awaken the generalized emotions which are felt in an impersonal and contemplative manner. They do not relate specifically to any individual person or any object. However, all this depends upon the dissolution of the practical self, and this in its turn depends upon many factors, some relating to the poetry which is to be appreciated, others to the nature of the appreciator's mind. Thus if there is too much of naturalism (i.e., topicality or verisimilitude) and too little of impersonality, the autobiographical elements, including the author's own

Dispositions and opinions, being manifest, there will be naturalistic responses, Again if the reader is too much of a matter-of-fact person seeking information('news'), instruction, or sensation from poetry, his practical realistic attitude cannot wholly be suspended even by good poetry full of idealization.

v Rasa theory in action:

                                                 Here example of KaviKalidas epic ‘ABHIGAYANSHAKUNTALM’in kalidas how can draw Shakutala character in love than rasa and bhava  release to in literature. 

Þ   Shakuntala – Falls in love:

While on hunt in Jangales, King Dushyanta the most powerful king of his time meet Shakuntala and instantly fell in love with her.When he expressed his love for her, he realized that Shakuntala too reciprocated his feelings.

Dominant Bhava: utsaha, rati

Dominant Rasa: veera, shringar

Þ   Shakuntala – cursed by a rishi:

   

}  After Dushyanta's departure from the ashram, Shakuntala spent much time dreaming about him and was often in her own dream world, neither eating nor sleeping properly. One day, rishi Durvasa, who was infamous for his nasty temper, came to the ashram. Lost in her thoughts, Shakuntala failed to notice the sage and did not greet him properly.

}  Enraged by this insult, Durvasa cursed Shakuntala, saying that the person of her dreams would forget about her altogether. As he was about to depart, one of Shakuntala's friends explained to him the real reason behind Shakuntala's distraction and that it was never her intention to insult the rishi.

}  Understanding Shakuntala's state and realizing that she was truly innocent; Durvasa modified his curse saying that the person who had forgotten Shakuntala would recall everything if she showed him a personal token of love that had been given to her.

Dominant Bhava: krodh, shoka

Dominant Rasa:  raudra, karuna

                                                                 In last conclusion  that:

                                    “rasa is based on conditioned responses, but in itself is something higher: unconditional or cultivated response.

                                                   This theory is usefully to with a view of emotions and fallings get to provide of creative things and creations work of own properly strong intentions and right way use of figuratively language. There chiefly reconstruction of language thorough and use with words of proper time and place very good understands of his meaning or concept.

(1)  Alamakara :

}  History of Alamkara – shastra:

                                       Previously the science of poetics was known as alamkara-shastra. Though there were  rasa ,guna, riti, the importance was given to almkara and thus the whole science was called as alamkara-shastra.  When the dhvani school becomes dominating this name seems to be improper. Then this science called as 'Sahityshastra.

The original meaning of the word alamkara is ornament and the same meaning is reflected in this term alamkara- shastra or kavyashastra “ the science of that particular element which adorns the poetry.”         

}  Alamkara as a school:

                                      Bhamaha is considered as a founder of this school. Udbhatta, Dandi, Rudrata, Jayadeva all these are the followers of this school. This school believes that there is rasa(emotion), riti ( a special style of writing) in the kavya (poetry) but the alamkara is  dominating feature of it.

}  Definition of alamkara:

The word is derived from the root Kr with the prefix alam. Which means to decorate, to   adorn. {Alamkaroti iti alamkarah}.

- Various definitions of Alamkara

Þ   Vamana says in his “Kavyalamkarasutra”, “Saundaryam Alamkarah”{Beauty is alamkara}.

Þ   Dandi says in his “Kavyadarsha”, “ Kavya shobhakaran dharman alamkaran prachakshate”. (Those things which decorate the poetry are called alamkara.)

                  In this definition of almakara has described that there was use of language its idea about poet and poetry of art and many concept of magician of language and very important part of literature. Some critic believe that poet psyche is ‘ALMAKAR’ and there   followers rely trust of use of almakara language. Poem does not interest without Almkara.

" 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.)

                                           When the alamkara is depends on the word it means if we change the word it does not appear then it becomes shabd-alamkara and when it depends on the meaning it is called as arth-alamkara. Generally we are also very well known about idea of Amkara theory and sometime suddenly identify to Alamakar and which were used to in contrast.

               Mammata described sixty-one figures of speech and  groups them    into seven types:

(1)   Vyatiraeka (dissimilitude)

(2)   Aprastuta  Prasnsa ( indirect description)

(3)   Samuccaya ( Concatenation )

(4)   Rupaka ( Metaphor)

(5)   Upama ( Simile)

(6)   Dipaka ( Stringed Figure)

(7)   Virodha(contradiction)

                          Bhamaha describes 35 figures of speech in ‘kavyamkara’. Others who continued the tradition are Dandin, Udbhata, Rudrata and Vamana. Finally in ‘Anandavarahana’, Alamkra was sought to be integrated with Dhavni and Rasa.

                  

                                  Alamkara is the dharma of poetry and not a mere embellishment. The categories of ‘Alamkara’ have been classified by different poetic into different kinds of systems. For example, Rudrata divides all Alamkara into two types those based on phonetic form and those based on meaning and then further sub classification of these leads to a total of sixty –eight Alamkara. Bhoja did not provide a fresh classification but added the third category – Ubhayalankara- to the two major types of Rudrata. Ruyyaka classified Alamkara into seven classes on the basis of how meaning is constituted.

[1] Lokanyaya [popular logic]

[2] Gudhartha pratiti [Inferences of meaning]

[3] Kavyanyaya [Logic of poetry]       

[4] Viridha [opposition]

[5] Sadrasya [Similarly]

[6] Tarkanyaya [Reasoning, logic]

[7] Srnkhalabadha [Chain-bound]

                                             But Bharata's original 4 to 61 figures distinguished by Mammata. The difference classificatory  system  can be seen to be based on the following points :-

(1)   Grammar ( samasokti)

(2)   Value of figures

(3)   Objects with which compared (Upamana)

(4)   Syntax

(5)   Symantic basis, such as a similarity.

(6)   Objects compared (Upmeye)

(7)   Coherence with known facts or otherwise(Sangati)         

   So than after various Part Almakara so classified catalog of the below:

                                    In last The Almakara  school is very famous for Sanskrit literature so than kayvashstra had become called ' Almkarashstra’

  (3)  Vakrkoti :

            Vakrokti is theory of language of literature. KUNTANK was father of this theory and development of idea about simple and different way of performance.

Vakrokti :-  Vakra  +  Ukti

Vakra :- Crooked indirect or unique.

Ukti :- Poetic expression or speech

                               According to Kuntaka it would be too fastidious to expect any single standard applicable to the appeal of all poetry because there can be a hundred and one different reason for the peal of different poems to men of taste.For kantaka even dhvani may be one of the important features for the expression of the poets’ Pratibha or genius.

Vakrokti of kuntaka is a synonym for the principles of beauty underlying all kinds of poetic language. It is also strongly connected with vaichitrya (streakiness) and vichchitti (beauty).

                                                   Here main important point out that this theory is assumed the Poetry is soul is ‘Vakrokti’.And that time founder of this theory Kunatank & Bhamah believe that many make of language does appreciate and collaboration to connected to words and vocabulary.

Kuntaka has classified forms of vakrokti in six fold.

1. Varna: shabdalankaras & avana - guna

2. Padopurvardha: suggestive use of linguistic elements  & gunas

3. Pratyaya: suggestive use of affixes etc....

4. Vakya: figures of sense

5. Prakarama: episode in plot with unity and originality

6. Prabandha: whole plot

Here in Vakrokti " Six Gunas " ( Qualities ) are identified in literary style.

1. Aucitya

2. Saubhagya

3. Madhurya

4. Prasada

5. Lavanya

6. Abhijatya

                         In the conclude that this theory approach was many controversies work of art and literature that Acharya Bhamah to be noted than:

                                           Here this Sanskrit Sentence get meaning of  that vakrokti theory is subdivision of Almakara school so Fact  that there theory is depended upon to Almakara theory.

(4)   Dhvani :

                          Kavyasya Aatma Dhvani – Anandavardhana

                             The sole meaning intended by the poet at one hand and realized by the man of taste at the other Regarded as the very soul or vital essence that gives life to all the other aspects of literary beauty – be it guna, riti, alamkara, vrtti.

                       The Grammarians used the term to refer tohe sound ; and they spoke of two kinds of sound:

(1) Prakrta Dhwani 

(2) Vaikrta Dhwani

                                      The actual sounds of the words spoken belong to vaikrta Dhwani Prakrata refers to the pattern of the norm.

                                                 Rasa theory in importance,the Dhvani theory of  Anandavardhana considers suggestion  “Dhvani” as the essence of poetry and  ”  “vyanjana” as the medium of literary creation and communication  its propagator Anandavardhana carried forward tradition elevating the level of discussion on the essence of the poetry

                                                The most important point is this theory main concept found of ‘Anandvardhana’ and his book – ‘Dhvanyalok’ is very naturally clarify that poem and play vital role of dhavni and words sounds. Andandvardhan has critically principal in that poet kind of in poem and he was use of term dhavni to designed the universe of suggestion:

Of Spota and Vanjana

Poetic Processes

 What is Dhvani?

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. 

Rigveda also makes a distinction between the literal meaning and inter significance- “He sees, but sees not… one hears, but hears not.”

                            Here very most important things these theory of basic idea about which sound and words use of equally to create to poet that time ones things growth to in his poetry and play.  It is symbolical language of sound and words and music is also including them. Andhvardahn very naturally decreeing of upper or lower division of sound or words to spoken by man.

                            This theory was well-known of all about theory of Indian poetic Dhvani is nonexistent. Dhvani is a product of inference and is to be included under laksana.dhvani is something beyond the realm of words. Mahimabhatta (vyaktiviveka) is the most well-known critic of this theory.

There term use poetic process that when understand of poet then three stages very important of rasa the according to are:

(1)  Cognition of the formal, intellectual elements of the poem , a means to the second stage.

(2)  Idealization of things in poetry or drama by the power of imagination in the reader/  speaker

(3)  Intensification of the inexpressible effective (emotional)  condition the reader/speaker

            In short we say that Anandavardhana’s three leveled meanings:

 Abhidha:   Direct meaning.

Lakshana:  not direct meaning.

Vanjana:    take direct meaning but not prominent idea.

                                      Their division are beautifully contrast of Anandvardhana abd he has main chiefly explain that all poetry and  literature when writing that w.riter was establish his naturally something’s with different type use of language and then time all three things are developing .

                                           The intonation adds a layer of suggested meaning to the directly expressed meaning of an utterance:

                                                Here this chart to Avivekshitavachya expressed sense and Vivekshitvachy expressed illustrated by the following that main concept about the dhavni.and next samlaksayarama vyangyaseprate to like that:

                                                          In vastu dhvani also parts of sub-plot of things and related to Dhvani. They part like –

Almakar Dhvani divide

 in also two parts like:-

  

(5)  Riti :

                                  The riti School of poetics is represented fully by its chief exponent Vamana, author of kavyalankar sutravritti, who flourished in Kashmir towards the close of the eight century A.D.Vanmna says in Kavyalankar  books write about Riti :-

ivi=Q4a  pdrcna irit‰ a ivi=qo g8oTma a

when dhvni theory’s anandvardhayan defined of poem soul is Dhavni that time Vamna oppositely put on view about own fillings and describe that guna and almakara is toytally different of each other. Vamana's riti is anticipated in the marga of the south Indian writer Dandi, author of kavyadarsha. The distinctions between the vaidarbha style and the gaudya style was known even to Bhamasha , the earliest important writer who was in against of praising the vaidarbha and condemning the gaudya , and said that both style have their own place in good literature.But in Dandin we find the earlier partiality for vaidarbha and aversion to gaudiya given great prominence. He takes the vaidarbha style as the best and says that it contains all ten poetics qualities properly balanced. Those ten qualities are: -

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

                          Vamana took the ten gunas of Bharata and Dandi but hr traced all gunas separately as belonging to the expression and as belonging to the meaning thus masking their number twenty. He defined them in his own way to suit his theory of Riti and stated that at the gunas existed clearly and fully in the Vaidarbha riti which only a few of them exited in other ritis.

To the early styles vaidarbha and gaudiya style of ancient writers. Vamana added a third one called Panchali all these are geographical names and suggest the style popular in those regions and he defines these ritis in his own way:

        i.       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.

    ii.            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.

 iii.            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

              In their all of over things like that very interesting way of vamanna explain that how can poet make in common to different way of thinking. The Riti School developed by vamana was a serious attempt in this direction on all later critics.There theory is also useful to poetic version of totally depend not on one things but many things and some abstract is

very important   Role of model.

 (6)  Auchitya :

                                                    Ksemendra made ‘Auchitya’ the defines Auchitya as the property of an expression being an exact and appropriate analogue of the expressed. 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.

                                                      The concept of propriety with reference to custom, subject, characters and sentiment recourse in almost all theorists and is often discussed in association with figures of speech, guan, dosa and rites.

                                                       Acharya Ksemendra was main founder of this theory and his books ‘AUCHITYAVICHARCHRCHA’ that his acceptable of ‘Poem Atama’s  as a Achitya’  and also writes that’s defined of like:

AOicTy rsi3#3Sy iS9rkarSy «ittm\ a

 That means poetry should be made by vastu,rasa,dhvani,and all over things were important but only for appreciable Achitya. If the poetry repentance of without almakara, guna, that  not for good qualities but very poor things of reproduce. Anandavardhana relates this principle specifically to rasa. It has been used for propriety in delineating bhavas according to character and in the choice of margas.

                               According to the speaker, content and type of literary composition areas, locations or sites of literary compositions where the concept of Auchitya is pertinent.

TO Sum up:

                                         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.