Indian Aesthetics
This blog is a response to the exploration of Indian Poetics and the Rasa theory. In this unit, we benefit from expert lectures by Vinod Joshi, a respected Gujarati poet, critic, and professor.
Indian Poetics is among the oldest, with its roots in the Rasa Theory introduced by Bharatmuni in the monumental "Natyashastra." It categorizes the world into two aspects: conviction and opinion.
In Indian Poetics we found six distinct schools or theory
- Rasa Theory by Bharatmuni
- Dhvani Theory by Anandvardhan
- Vakrokti Thoery by Kuntaka
- Alankara by Bhamah
- Riti Theory by Vaman
- Auchitya by Ksemendra
Rasa Theory
Bharat Muni explained the theory of Rasa in the ancient Sanskrit text Natyashastra, focusing on the art of drama or Natya. Although the idea is rooted in this text, its most comprehensive exploration in drama, songs, and other performance arts can be found in the writings of the Kashmiri philosopher Abhinavgupta.
Emotions or "Rasa" originate from our life experiences, are stored in our minds, and are triggered when we read or watch a play.
સાહિત્ય જ આપણી ભાવસૃષ્ટિને વિચારસૃષ્ટિમાં ફેરવે છે.
Bhav is something that is independent and abstract, we can only feel. We can expresses these emotion through action in form of love, anger, and kindness. Emotion are known only to individual, he/she can only what they are feeling. Emotions are complex and are reaction of action.
One of the major difference between Western Poetics and Indian Poetics is that, Western talks about How, and Indian Poetics talks about What. Indian Poetics tent to go into the roots.
There are nine Rasa in Indian Poetics,
- Shrungar Rasa (Love)
- Karun Rasa (Compassion)
- Veer Rasa (Heroic)
- Raudra Rasa (Anger)
- Hasya Rasa (Laughter)
- Bhayanak Rasa (Horror)
- Bibhatsa Rasa (Disgust)
- Adhbhut Rasa (Wonder)
- Shanta Rasa (Peace or Tranquality)
We feel the essence of the Rasa, not Rasa it self. For Example, we remember jealousy but forget Lago from Shakespeare's play Othello, and if we take example from Sanskrit, we remember the love between King Dushyant and Shakuntala not the character. This how Rasa appeals to our mind and hard.
Bharatmuni's definition of Rasa Nishpatti,
Rasa can be further divided into three parts,
- Vibhav
- Anubhav
- Vyabhichari Bhav
Dhavani Theory
- Abhidha Shakti: Abhidha is the primary power of words, forming the foundation for the other two powers. It can be described as the ability of words to convey the standard or literal meaning of an expression.
- Lakshana Shakti:Lakshana is the second power of words, known as Indication Power. It involves the external features of an expression that hint at a deeper meaning.
- Vaynjana Shakti: Vyanjana is the third power of words, denoted as Suggestive Power. It provides a direct meaning, yet it remains incomplete. We have to seek the meaning which is not said.
- Vastu Dhavani: In Vastu Dhvani, the central focus is on thought, where one can observe and comprehend its significance.
- ઘરમાં દીવો બળે છે રાતભર. = Simply a lamp is burning. Means Someone inside is waiting, anxious, awake
- Alankar Dhavani: In this type of Dhavani some Alankara (Figures of Speech) is suggested.
- પ્રેમ તો સાગર છે, હું તો એક ટીપો.
- માં તો વહાલ નો દરિયો (Uses of metaphor)
- Rasa Dhavani: Not of this world, above all and most important
- Click here for poem, You can explain this poem in brief as an example as discussed in classroom.
- Vastu Dhvani =idea hidden inside.
- Alamkara Dhvani = ornament hidden inside.
- Rasa Dhvani = emotion hidden inside.
Pratiyaman Artha (Implied/Suggested Meaning/Dhavni)
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Poetry has two kinds of meanings:
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Laukika Artha (ordinary / conventional meaning) = what we all understand directly.
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Alaukika Artha (extraordinary / poetic meaning) = hidden suggestion, deeper meaning.
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This alaukika artha is what Dhvani theory is all about.
# Laukika Artha = Abhidha (literal) & Lakshana (secondary/indirect)
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Abhidha = direct meaning. Example: “Lotus blooms in the pond.” = literal fact.
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Lakshana = secondary meaning when literal doesn’t fit.
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Eg: “The village is on the Ganga.” Literal impossible = so it means “on the banks of Ganga.”
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From these two, two smaller types of Dhvani arise:
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Alamkara Dhvani = when suggestion points to a figure of speech (simile, metaphor).
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Vastu Dhvani = when suggestion points to an idea/thought.
# Alaukika Artha = Vyanjana (suggestion)
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Here, words go beyond literal/secondary and awaken Rasa.
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Rasa Dhvani = when poetry suggests an emotional relish (Karuna, Shringara, Veer, Shanta etc.).
Vakrokti
# Varna Vinyas Vakrata (Phonetic)
Varna Vinyasa Vakratā means the artistic arrangement of sounds/letters in a line of poetry.
It makes the verse sweet, musical, and beautiful to the ear. It creates rhythm and harmony (like music inside poetry) and gives aesthetic charm (śabda-saundarya = beauty of sound) even without deep meaning, the sound pattern itself feels pleasant.
Here, Vakrokti comes not from meaning but from the phonetic play of sounds. Sound arrangement itself is the “twist” that makes poetry beautiful.
Figures of Speech that Show This
Anuprasa (Alliteration): Same consonant sound repeated.
Example: “पीत पाट पर पतित पावन” → repetition of p sound.
ચાલને ચૈત્રની ચાંદની રાતમાં ચાલીએ
“She sells seashells on the seashore.”
Yamaka (Repetition): Repetition of words/syllables for beauty.
Example: “रामो रामो रामो” → repeated word gives rhythm.
“Twinkle, twinkle little star.”
Varna Vinyasa Vakrata is beauty of sound arrangement in poetry. Works through repetition, alliteration, and musical flow of words. that makes poetry pleasant like music, even before we grasp the meaning.
#Pad Purvardh Vakrata
The whole statement is depended on first letter. It includes stylistic choice in vocabulary, extended metaphors and power of adjectives. This is the beauty that comes when words are used in fresh, figurative, or creative ways rather than plain, routine speech.
પાન લીલું જોયું ને તમે યાદ આવ્યા
Rudhi Vichitratā (Figurative Use of Words): Using words in a sense other than the usual.
Example: “दिल पत्थर हो गया है” → Heart cannot literally be stone; figurative usage.
Paryāya (Synonyms): Using synonyms for freshness instead of repeating one word.
Example: For “water” → jal, salil, toya, payas.
“नदिया चले चले रे धारा” – Instead of only saying “pani,” words like nadi, dhara, toya enrich the imagery.
In poetry: keeps expression varied & musical.
Upacāra (Metaphorical Extension): Using a word in a transferred/metaphorical sense.
“चाँद सी महबूबा हो मेरी” → Beloved compared to the moon.
Example: “चाँद का मुँह टेढ़ा है” → Moon’s face crooked (personifying the moon with human qualities).
Viśeṣaṇa (Exaggeration / Hyperbole): Using words with extra force/qualities.
“तुम्हीं हो बंधु, तुम्हीं सखा” (You are my brother, my friend, everything).
Example: “तुम दया के सागर हो” → “You are an ocean of kindness.”
Sāmnoy (Personification): Attributing human actions to non-human objects.
Example: “समय किसी का इंतजार नहीं करता।” → Time waits for none.
#Pad Parardh Vakrata
It includes rich variety of words, cleaver arrangement or special grammatical choices which leads to beauty and uniqueness. The whole statement is depended on a letter after any of the first letters.
Kāl (Tense) – Creative shifts in time
Normal: “He loves her.”
Vakrata: “He loved, loves, and will love her forever.” → timeless effect.
Gujarati example: “તું હતો, છે, અને હંમેશા રહેશે.”
Case Usages – Using cases for artistic emphasis
Sanskrit/poetry often bends rules for beauty.
Example: “रामं वन्दे” (I bow to Rama) vs. “रामाय नमः” (salutation to Rama) – both convey reverence but the change in case gives variety.
Number: Singular/Plural – Using plural for grandeur, singular for intimacy
Example: “हम” (we) instead of “मैं” (I) in royal speech → plural gives majesty.
Kings say “हम फ़रमान सुनाते हैं” instead of “मैं कहता हूँ”.
Gujarati: Saints often use plural “આપણે” to include intimacy and humility.
Paryāya (Synonyms) – Using many words for richness
For “love”: prem, sneha, anurāga, bhakti.
Instead of repeating one word, synonyms give freshness.
Upagraha (Minor embellishments) – Tiny tweaks that add sweetness
Adding particles, euphonic sounds.
Example: instead of “aankh”, saying “naina” = softer, more lyrical.
# Vakya Vakrata (Sentential Figurativeness)
Vakya Vakrta means a charming sentence. It is the figurative twist, rhythm, grace, and depth that makes a sentence more than just plain communication. Like a painter’s brushstroke, the sentence shines because of how it is said, not just what is said. It is simple yet impactful.
Permeating presence : It runs through every part of the sentence.
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Illusion of simplicity : Appears simple but holds depth.
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Figurative richness : Uses simile, metaphor, irony, paradox, etc.
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Aesthetic effect : Creates beauty, wonder, or emotional power.
Some Examples
Shakespeare (Macbeth):
“Out, out, brief candle! Life is but a walking shadow…”
Life compared to a shadow and a poor actor. It gives a tragic, philosophical depth.
Example of plain vs. Vakrata:
Plain: “Life is short.”
Vakratā: “Out, out, brief candle! Life is but a walking shadow…”
Shakespeare (Hamlet):
“To be, or not to be, that is the question.”
Looks like a simple choice, but suggests deep existential doubt.
Shakespeare (Julius Caesar):
“You too, Brutus?”
A short sentence, but loaded with betrayal, shock, and pain.
Example: “The moon is a silver lamp lit in the sky.” – simple words, but enchanting imagery.
In this kind of vakrata the charm and figurativeness that arises not from a single word or sentence, but from the entire episode, scene, or context. The situation becomes striking and memorable.
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Bhavyam Condition : Episodes must create emotional richness (fear, wonder, compassion, joy).
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Upapadya Navarasa : Scenes should allow scope for different rasas (tragic, comic, heroic, romantic).
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Usefulness of Episodes : Each scene should serve the main story (no unnecessary digressions).
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Avoidance of Excess : Too many episodes spoil the flow.
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Detailed Descriptions : Important events must be described vividly.
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Illustrations : Use of metaphors, symbolism, and imagery within episodes.
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Eloquence : Episodes should be aesthetically pleasing in narration.
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Sequential Order : Events should follow logically.
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Intersectionality : Subplots must merge meaningfully with the main plot.
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Shakespeare’s Macbeth
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Witches’ prophecy: Sounds simple but contextually figurative (double meanings → Birnam Wood, Macduff’s birth).
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Sleepwalking scene: Lady Macbeth’s guilt made vivid.
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Macduff’s birth: Figurative twist in prophecy resolution.
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Shakespeare’s Hamlet
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Ghost scene : contextual figurativeness creates suspense and moral dilemma.
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“Play within the play” : drama itself reveals truth indirectly.
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Mahabharata
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Draupadi’s disrobing: not just words, but the whole context creates karuna rasa (pathos).
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Bhishma’s fall on the bed of arrows: context heightens grandeur and tragedy.
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# Prabandha Vakrata (Compositional Figurativeness)
The whole literary work (story, drama, epic, or poem) holds figurative beauty, charm, uniqueness. It is not about a single word, sentence, or episode, but about how the entire composition is structured, retold, and given fresh meaning.
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Transformation of Original Story
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When poets adapt myths, legends, or epics, they add twists, variations, or fresh perspectives.
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Example: Ramayan has many versions (Valmiki, Tulsidas, folk Ramayans) – each retells the same story with creative differences.
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Protagonist Enhancement
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The central character is made bigger than life – either more virtuous, more tragic, or more flawed – to increase emotional impact.
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Example: In Shakespeare’s Macbeth, King Duncan is shown as a noble old man (though in Holinshed’s Chronicles he wasn’t as impressive) = makes his murder look more shocking.
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Renaming/Retitling
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Giving a new title or perspective changes the meaning of an old story.
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Example: Mahabharat retellings titled “Jaya,” “Kurukshetra,” “Parva,” or even “Mrityunjay” (novel about Karna) = each new title highlights a fresh angle.
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Moral or Allegorical Meaning
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The entire composition should suggest a deeper moral or message.
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Example: Hitopadesha and Panchatantra = animal fables, but moral allegories.
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Mahabharat = not just war, but lesson that duḥkha (sorrow) is eternal truth.
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Adaptation of an old story into something strikingly new.
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Deletion of unnecessary details.
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Expansion of minor incidents into important turning points.
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Weaving the whole composition into an allegory of human values, morality, or philosophy.
# Listen/read for: unusual/region-specific words, insults, proverbs, local idioms. The single word (or two), who uses it, and what extra meaning it brings.
Example : Does a word immediately localize the story? Does it reveal a character’s class, caste, or attitude?
# Watch for: objects, compound words, symbolic phrases (e.g., kamarbandh, certain ritual words). The phrase/object and the scene where it is used; note its symbolic function (honour, shame, love).
Example : How does the object function beyond its literal meaning? Does it become a motif?
Example : Is the sentence construction making the line ambiguous or ironic? Does it manipulate another character?
# Observe: how the film begins and the order of scenes (does it open with politics, song, violence?). One structural element (opening shot, a recurring transition) and why it sets tone.
Example : Does the opening immediately place us in a different cultural world? Is a scene placed early to foreshadow?
Example: How does changing a kingdom to a mafia-political world alter the theme of jealousy or honour?
- Varna Vinyas Vakrata – Example of songs, sound play in dialogues.
- Pad Purvardh Vakrata – Word choices (local idioms, slang, abuses).
- Pad Parardh Vakrata – Symbolic phrases (e.g., kamarbandh).
- Vakya Vakrata – Key dialogues showing manipulation or emotion.
- Prakram Vakrata – How the opening and sequencing sets Indian tone.
- Prabandha Vakrata – The overall adaptation: Othello = Omkara.
Task: Article Writing Assignment
You have already learned the six types of Vakrokti (sound, words, phrases, sentences, beginning/sequence, and whole composition).
Your task is to watch Omkara carefully and then write an article explaining how each type of Vakrokti is used in the film.
This is not just a summary of the movie. It is about showing how Vishal Bhardwaj uses oblique/striking expression (Vakrokti) to adapt Shakespeare’s Othello.
Structure of the Article
Students should follow a clear structure :
1. Introduction (1–2 paragraphs)
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Explain briefly what Vakrokti means (oblique or striking expression).
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Mention the six types (just name them, don’t define in detail again).
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Introduce the film Omkara as an adaptation of Shakespeare’s Othello.
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State your aim: “This article studies how Bhardwaj uses the six types of Vakrokti in Omkara.”
2. Main Body (Six Sections)
Each section should focus on one type of Vakrokti, with examples from the film.
a) Varna Vinyas Vakrata (Sound/Phonetic beauty)
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Explanation: Vakrokti at the level of sound (rhythm, rhyme, repetition).
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Example from Omkara: Songs like “Beedi Jalaile” create a raw rhythm that matches the rustic setting. The sound itself communicates energy and desire beyond ordinary language.
b) Pad Purvardh Vakrata (Word choice)
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Explanation: Vakrokti through the choice of individual words.
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Example: Langda Tyagi’s use of rustic idioms, proverbs, and slang instead of plain Hindi makes his speech memorable and character-specific.
c) Pad Parardh Vakrata (Compound words/phrases)
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Explanation: Vakrokti through striking phrases or symbolic terms.
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Example: The kamarbandh (waistband) replacing Othello’s handkerchief. It becomes a symbol of chastity, love, and betrayal in Indian culture—more powerful than just saying “cloth.”
d) Vakya Vakrata (Sentence/Dialogue level)
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Explanation: Vakrokti through special sentence construction.
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Example: Omkara’s suspicious dialogues to Dolly are shaped in indirect, heavy phrasing. Instead of simply saying “I doubt you,” the dialogues carry hesitation, pauses, and layers of meaning.
e) Prakram Vakrata (Beginning/Sequence)
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Explanation: Vakrokti in how the story begins or how scenes are arranged.
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Example: Instead of Othello’s courtly introduction, Omkara opens with a rustic political setting. This immediately transforms the mood and makes the story fit Indian reality.
f) Prabandha Vakrata (Entire composition/Plot)
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Explanation: Vakrokti in the whole structure and adaptation.
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Example: The complete shift from Shakespeare’s Venetian court to Uttar Pradesh’s political-crime nexus. The film retains Shakespeare’s theme of jealousy and betrayal but re-expresses it in a new cultural language.
3. Conclusion (1 paragraph)
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Summarize: Omkara is not a copy of Othello but an oblique re-creation (Vakrokti).
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State that Vakrokti makes the adaptation more powerful because it connects Shakespeare’s universal themes with Indian culture, politics, and emotions.
