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.
'The beauty of poetry does not lie in literal meaning but in suggestive meaning'
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.
તું અજાણી ભાષા, તારો કેવળ સમજુ સાદ પછી હ્રદય માં સાંગોપી ને કરુ સહજ અનુવાદ.
Let us take one example, અંધારું થઈ ગયું
This short sentence on surface/literal level means that there is no more light/electricity or night is approaching but what if I say this sentence in context of any person. Then this sentence would have a different meaning and that would be of suggesting someone's demise. So this other meaning/suggestion is our Dhavani.
Not literal but something more suggestive/special meaning that we understand that is dhavani. And it is not directly stated in the sentence.
સીધા અર્થ સિવાય ના પણ ઘણા અર્થ હોઈ છે એનું નામ ધ્વનિ
विभाजित लावण्यम् इव अंगनाशु ।।
As beauty adorns woman, similar way Dhavni adorns poetry.
Moreover, Aachary Mammat 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.
Example. બારણા બંધ means close the doors of any room. The literal meaning nothing else.
ભૂલી જવાશે ઓ અભાગીયા
ભૂલી જવાશે પ્રીત ની રીત
નહિ રે ભૂલાય એક આટલું:
કોક દન કરી'તી પ્રીત
- Pannalal Patel
- 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.
Example. આંખ થી આંખ મળી means to fall in love with someone. We cannot take this sentence literally.
'ચકલી ની ચાંચ માંથી સૂરજ નીકળ્યો' means સવાર પડી not the literal sun came out from sparrow's beak.
- 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.
Example. વન માં ઊગ્યો ચાંદલિયો અને મારા મન સૂરજ થઈ લાગ્યો
કાપડ ઓછું છે તો ગજવા હટાવતું,
ઝભ્ભો મારો કોલર વાળો બનાવતું
- Madhusudan Patel
शक्तिःकावितवबीजरूपे संस्कारविशेसप्राप्ते याम्विना काव्य न प्रसरित ।
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.
- 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.
Anandavardhana says the true soul of poetry is not in words or ideas, but in the Rasa Dhvani, the emotion that lingers after reading.
Pratiyaman Artha (Implied/Suggested Meaning/Dhavni)
This alaukika artha is what Dhvani theory is all about.
# Laukika Artha = Abhidha (literal) & Lakshana (secondary/indirect)
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.).
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.
'તને જોઈ જોઈ તોય તું અજાણી જાણે બીજને ઝરૂખડે જુકીતી પૂર્ણિમા જાજેરો ઘૂમતો તાણી'
'સાવરિયો રે મારો સાવરિયો હું તો ખોબો માંગુ ને દઈ દે દરિયો'
'પરપોટો ઊંચકીને કેડ વળી ગઈ હવે દરિયો લાવું તો કેમ લાવું'
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. Before understanding the meanings of the lines we get the aesthetic pleasure of the verse. Sometimes these verse are so charming and beautiful that we do not bother to get into meaning.
શબ્દો અને અર્થ ની વક્રતા દ્વારા સુંદરતા સર્જવાનો હેતુ વક્રોકતી નો છે.
'ફરકતું પડે જ્યારે ભૂરી હવામાં, ઝીણા શિલ્પ કંઈ કોતરી જાય પીછું'
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
# 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.
A miraculous description of an object
Example: “The moon is a silver lamp lit in the sky.” – simple words, but enchanting imagery.
# Prakarana Vakrata (Contextual Figurativeness)
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.
Key Features
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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.
Literary Examples
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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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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.
Prakaraṇa Vakrata simply means figurative beauty of the episode or context. Not just words, but the situation itself creates aesthetic power. Seen in prophetic twists, symbolic events, climaxes, and emotionally loaded scenes.
# 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.
Key Aspects
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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.
Features of Prabandha Vakrata (Kuntaka’s View)
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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.
# Vakrokti and Film Studies
Understanding vakrokti through Vishal Bhardwaj's creative adaptation of Shakespeare's Othello: "Omkara" (2006)
Things to observe while watching the movie.
# Repeated sounds, rhymes, songs, musical motifs, the rhythm of a character’s speech. The line or song phrase, who says/sings it, and how the sound creates mood.
Example : Does the song’s rhythm create desire, menace or irony? Are there repeated sounds that make dialogue memorable?
# 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?
# Notice: lines with strange word order, rhetorical questions, pauses, covert meaning, double-entendres. The full line (or as close as possible), who speaks it, and the implied meaning.
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?
# How the overall plot, setting, or tone differs from Othello and why. One major adaptation decision (e.g., setting in UP gangland, marriage customs, political backdrop) and how it changes interpretation.
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.
[Note: You are not to summarise the plot. Your job is to spot examples of the six Vakrokti types in the film and record evidence + one-line explanation for each example.]
Task: Article Writing Assignment
Understanding the Task
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.
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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