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.
विभावानुभाव व्यभिचारी संयोगाद्र रस निष्पति :
According to Vinod Sir,
We can suppress our emotion but we can not altogether escape from it, and human emotions are the only pure thing in the universe, and this emotional world is the purest.
"ભાવ સૃષ્ટિ એ પૂર્ણરૂપે શુદ્ધ 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,
" Vibhavanubhava- Vyabhicari - Samyogad Rasa-Nispattih"
Rasa can be further divided into three parts,
- Vibhav
- Anubhav
- Vyabhichari Bhav
And combination of these three give us Rasa, this is the reqson behind the every emotion we feel.
ભાવ ના આગળ જતા બે પ્રકાર પડે છે.
સ્થાયી ભાવ અને સંચારી ભાવ.
સ્થાયી ભાવ: નવ રસ એ સ્થાયી ભાવ છેં. આ ભાવો હંમેશા રહે છે.
સંચારી ભાવ: આ ભાવ એવા છે જે ક્ષણિક હોઈ છે, તેને આપણે ભાવો નો આવેગ કહી શકીએ. આ ભાવો આસ્થાયી હોઈ છે.
ઉપરાંત એક બીજો પ્રકાર પણ પડે છે જે સાત્વિક ભાવ તરીકે ઓળખાય છે. આ ભાવો પ્રગટ થતા નથી પરંતુ ખબર પડે છે.
Between all this Vinod Sir said one interesting thing that,
"In Sanskrit, the overall meaning of a sentence is not significantly affected by jumbling its parts due to the language's flexibility in word order."
"After Bharatamuni presented his Rasa theory, four scholars emerged, each offering their distinct opinions and perspectives on the concept."
Bhatt Lollatt: Bhatt Lollata argues that rasa is not inherent but rather produced. This concept, known as 'ઉત્પત્તિવાદ' (Utpattivada), is attributed to his viewpoint.
Shree Shankuk: Shree Shankuk argues that rasa neither exists nor is produced, but rather, it can only be supposed. This concept, attributed to Shree Shankuk, is known as 'અનુમતિવાદ' (Anumativada), and it involves four types of suppositions.
Bhatt Nayak: Bhatt Nayaka argues that rasa does not inherently exist, nor can it be produced or supposed. Instead, it is experienced or simplified. According to him, the realization of rasa occurs when it is expressed by the performer, and it is then perceived by the audience through observation of the performance.
Abinavgupta: He contends that the generation of Rasa occurs when both the Nat (performer) and Nati (audience) collectively anticipate the Bhavas (emotional states) and actively engage in them. This mutual prediction and complete involvement lead to the manifestation of Rasa.
Dhavani Theory
This theory is proposed by Anandvardhan, in his text "Dhavanayalok". It highlights the significant emphasis on the potent power of words within a Kavya (poetry or literary work).
According to Anandvardhan,
"Dhvani: Kavyasya Atma"
emphasizes the idea that the evocative power of suggested meaning, rather than the literal meaning, is the essence of poetic expression.
Anandavardhana's Dhvani theory, crucial in literary criticism, gained prominence. Abhinavagupta elaborated on Dhvanyaloka, explaining its significance with examples from Sanskrit literature. The collaboration of Anandavardhana and Abhinavagupta overcame opposition, earning universal admiration and acceptance among later theorists.
Anandavardhana, unlike earlier Sanskrit rhetoricians focused on mechanical devices, introduced broad principles of poetry rooted in an understanding of human psychology. He emphasized that poetry is more than ornate language, it's about evoking emotions and suggestions. Anandavardhana's Dhvanyalok, explaining the linguistic and logical aspects of Dhvani, gained recognition as a definitive guide in literary matters. His work marked a shift in Sanskrit poetics, dividing criticism into old and new schools and laying the foundation for modern approaches.
Moreover, Anandvardhan talks about Shabda Shaktis,
- 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.
શબ્દ શક્તિ એ કવિત્વ ના બીજ સ્વરૂપ એ છે
Dhavani
જેમાં શબ્દ અને અર્થ ગૌણ બની જાય છે અને જે પ્રતિયમાન અર્થ પ્રગટે તેને ધ્વનિ કહેવામાં આવે છે. '
'All the sayings are examples of use of Dhavani.'
Further Dhavani has three parts;
- Vastu Dhavani: In Vastu Dhvani, the central focus is on thought, where one can observe and comprehend its significance.
- Alankar Dhavani: In this type of Dhavani some Alankara (Figures of Speech) is suggested.
- Rasa Dhavani: Not of this world, above all and most important
Pratiyaman Artha simply means,"Kahi Pe Nigahe, Kahi Pe Nishana"
Vakrokti
Vakrokri is associated with aesthetics.
According to Kuntaka,
કાવ્ય નું જીવિત સ્વરૂપ વક્રોકતી છે
He said that, the concept of beauty was not cultivated but it lies there, it is already there.
In our world, every natural element possesses a unique curvature, adding charm to its appearance. Similarly, Vakrokti, or artistic expression, bestows charm upon language and, consequently, literature. In poetry, the emphasized or highlighted meaning is called Vakrokti.
શબ્દો અને અર્થ ની વક્રતા દ્વારા સુંદરતા સર્જવાનો હેતુ વક્રોકતી નો છે.
Aacharya Kuntak has emphasized on Vakrokti in his text "Vakroktijivitam".
शब्दार्थसहितौ वक्रकविव्यापारशालिनि।
व्यवस्थितौ काव्यं बन्धे तद्विदाह्लादकारिणी।।
तद्विदा:- The one who is acquainted with
ह्लादकारिणी:- Gets happiness
There are six types of Vakroktis according to Kuntaka,
1.वर्णविन्यास वक्रता
2. पद पूर्वार्ध वक्रता
3. पदपरार्ध वक्रता
4. वाक्य वक्रता
5. प्रकरण वक्रता
6. प्रबन्ध वक्रता
Alankara
The school of Alankara is formulated by Bhamaha, in his work 'Alankarashastra'. Alankara is basically a figure of speech in language. Alankara means ornaments, and using of Alankara beautifies the language. Alankara is always imposed on the language. Here is a paraphrase of the statement:
While the use of figure of speech (Alankara) is not compulsory, it is essential to employ language in a way that makes a literary work appealing and captivating. Crafting language with charm and eloquence is necessary to create an engaging and artful piece of literature.
For example,
ન્હાયા પછી નખ જેવા કુણા
સખી, એવા છે મારા સાજણ સગુણા.
There two types of Alankara, 1. Shabdalankara 2. Arthalankara
અલંકાર કાવ્ય માં આવે ત્યારે સુંદરતા આપતો હોવો પડે
For example, 'Miles to go before sleep'
Auchitya
The idea of appropriateness, known as aucitya, has been acknowledged in Sanskrit poetry theory since early times. Bharata, an ancient critic, extensively discussed the fittingness of speech, voice modulation, musical tones, and attire, all aligned with the emotions conveyed (Rasa and Bhava). Recognizing appropriateness as crucial, it has been deemed the key to the success of both dramatic performances and poetic creations.
Auchitya refers to the idea of appropriateness and harmony in literary works. It involves achieving a perfect balance among different elements in poetry, like words, figures of speech, suggested meaning (dhvani), and aesthetic mood (rasa). This principle ensures that each part suits the overall composition. Theorists such as Bhamaha, Dandin, Rudrata, Anandvardhana, Kuntaka, and especially Ksemendra, extensively discussed auchitya.
Ksemendra even described it as the "life-breath" of poetry. According to him, auchitya is when everything fits harmoniously, creating a balance between primary and supporting elements. This appropriateness applies to all aspects of poetry, including language, structure, and style. In the context of evoking aesthetic experiences (rasanispatti), maintaining aucitya with vibhavas, anubhavas, and other rasa elements is crucial. Aucitya is considered essential for effectively conveying deeper meanings through literary devices.
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