ThAct: Indian Poetics: Summaries & Key Takeaways of Expert Sessions by Prof. Vinod Joshi sir

 Indian Poetics

This blog is part of a thinking activity. Which was given by Dr. Dilip Barad, sir. We have to explain all lectures that were taken by Pr. Vinod Joshi as expert lectures.

  15/01/2025,

Introduction :

Indian poetics, deeply rooted in ancient Sanskrit traditions, encompasses a rich and diverse literary theory that explores aesthetics, emotions (rasa), and the creative process. Originating from foundational texts like Bharata’s Natyashastra (2nd century BCE–2nd century CE), which introduced the concept of rasa (emotional essence) and later developed by thinkers like Anandavardhana (Dhvanyaloka) and Abhinavagupta (Locana), Indian poetics emphasizes suggestion (dhvani), ornamentation (alankara), and the transformative power of literature. It has influenced various literary traditions in Sanskrit, Tamil, Hindi, and other regional languages, integrating philosophy, mythology, and aesthetics to shape India’s vast literary heritage.

Croce's theory: Cricis of Literature

• Two things we have got from birth.

1. Movement: Dance

2. Voice: Music

 

• Pursuits of feelings 

When the whole is attained, language ceases (talks are made through feeling and experience without a medium).

Ugliness is covered up in front of value, and beauty is born in its original object.

  

16/01/2025,

• Natyshashtra : Bharat Muni

Nāṭyaśāstra, written by Bharata Muni, is an ancient Indian text that serves as the foundational guide for classical dance, drama, and theater. Composed between 200 BCE and 200 CE, it covers various aspects of performance, including emotions (rasa), acting techniques (abhinaya), music, dance, and stagecraft. The text has greatly influenced Indian classical dance forms and theater, providing principles that are still followed in performances today.

• Seven Schools in Natyashashtra

7 schools	Creators
1. Rasa	Bharat Muni
2. Dhvani	Anand
3. vakrokti	Shree kuntak
4. Alamkara	Bhamah
5. Riti	vaman
6. Auchitya	kshemendra
7. Ramaniyata	Jagannath

• Bharat Muni : Emotions

Emotions are natural; their awakening occurs under favorable circumstances. (ex: crying at the time of death, laughing at a joke).

Natyashashtra : 6 chapters

• Values ​​make us feel interested.
• Stable values ​​are activated by favorable circumstances

Permanent Emotions	Rasa
1. Rati	1. Beauty
2. mourning	2. Pathetic
3. Enthusiasm	3. Veer
4. Anger	4. Rodra
5. Laughter	5.Laughter
6. Fear	6. Horror
7. Jugubtsa	7. Nasty
8. Vismay	8. Wonderfull
9. Sham/nirved	9. calm

17/01/2025,

"विहवनुभवव्यभिचारिसंयोगात् रस् निष्पतिः",

विहवनुभव (Vihavanubhav): The diverse or varied experiences.

व्यभिचारिसंयोग (Vyabhichārisanyoga): The conjunction or association of mixed, fluctuating, or varied emotions.

रस् निष्पतिः (Rasa Nishpatiḥ): The manifestation or emergence of the essence, usually referring to rasa, which in Indian aesthetics refers to the emotional essence that is evoked in art, drama, or experience.

 18/01/2025,

Critics & Commentors of the Bharat Muni's Rasasutra:

Bharata Muni's Rasasūtra, part of the Nāṭyaśāstra, is one of the foundational texts in Indian aesthetics, particularly focusing on the theory of rasa (the emotional flavor or essence) in performance arts like dance, drama, and music. Since its composition, Rasasūtra has been interpreted, commented upon, and critiqued by various scholars and critics over the centuries. Below are some prominent critics and commentators of this important work:

Bhatt Lollata (Ancient)

Contribution: Bhatt Lollata was a key commentator on the Nāṭyaśāstra, expanding on Bharata Muni's rasa theory. His work clarified how emotions (bhavas) and their outward expressions (anubhavas) combine to create rasa in performance, highlighting the role of bhava in evoking emotional responses.

View on Rasa: Lollata's approach was technical, focusing on how emotions are conveyed through gestures, expressions, and actions. He believed that the precise combination of bhavas, vibhavas (determinants), and anubhavas (consequents) is essential for creating rasa and triggering the intended emotional reaction in the audience.

The Rasa is not already there; it is created. Rasa is also to create in audience. 

Sankuka (Ancient)

• Contribution: Sankuka is considered to be one of the earliest scholars who discussed the rasa theory. His commentary is believed to have contributed to the understanding of the ways in which different emotions manifest through performance.

• View on Rasa: Sankuka emphasized the importance of character portrayal and the evocation of specific emotions through the artist's performance. He was one of the earliest to systematically classify the various rasas (emotional flavors), and his interpretation was foundational in shaping subsequent understandings of the rasa theory.

A Rasa is not created in the audience, but it is gased by the audience (according to condition). Just not only gased byt need to conviction.

Types of Conviction.

• Samyak 
• Mithya 
• Sanchay
• Sadashya

 

 20/01/2025,

Bhatt Nayaka (Ancient)

Contribution: Bhatt Nayaka was a key commentator on the Nāṭyaśāstra, expanding on earlier interpretations of rasa. His work focused on the philosophical and spiritual aspects of rasa, linking it to metaphysical concepts and the ultimate spiritual experience, broadening its understanding as a means for emotional and spiritual transcendence.

View on Rasa: Bhatt Nayaka viewed rasa as more than an aesthetic experience; he saw it as a means to achieve higher consciousness and connect to the divine (Brahman). He emphasized rasa's transformative power, elevating both the performer and audience to a spiritual experience.

• Emotions are being tasted.
• Devotionalism: When all the senses (writer - writing time, audience-show time, actors-acting time) enjoy the same level, it is called enjoying the taste.

Abhinavagupta (10th–11th century CE)

• Contribution: Abhinavagupta was a Kashmiri Shaiva philosopher and aesthetician, who provided one of the most important commentaries on the Nāṭyaśāstra, particularly in his work Abhinavabhāratī. His commentary is highly regarded for its philosophical depth, linking the concept of rasa with spiritual experience.

• View on Rasa: Abhinavagupta expanded on the idea of rasa, emphasizing its spiritual significance and connection to the ultimate reality (Brahman). He argued that rasa is not only an aesthetic experience but a means of experiencing the divine and the transcendental. His interpretation focuses on the inward, meditative experience that arises from performing or viewing art.

                                                                                                    

  21/01/2025,

The Sound : (Dhvani)

Types of Dhvani:

In Indian aesthetics and poetics, Abhida, Lakshana, and Vyanjana are three key concepts used to explain different layers of meaning in language, particularly in the context of dhvani (suggestion or implied meaning). These concepts are foundational in understanding how words and expressions convey deeper or hidden meanings beyond their direct or literal sense.

Abhida is the literal or direct meaning of words.

Lakshana is the secondary or indicative meaning, which suggests or points to something beyond the literal meaning.

Vyanjana is the suggestive or implicative meaning, which relies on the context and leaves room for interpretation or emotional resonance.

1. Abhida (Literal or Direct Meaning):

• Abhida refers to the direct or primary meaning of a word or expression, the literal meaning. It is the straightforward interpretation, where there is no ambiguity or suggestion of a deeper meaning. In the context of language, it’s when a word conveys exactly what it represents without any hidden or implied meanings.
• For example, when a politician says, “We need to improve the economy”, the direct meaning is simply the desire to improve the economy. There are no hidden meanings or suggestions beyond this literal statement.

Example in politics: A politician stating, “We will build infrastructure and create jobs”—this is a direct promise about a policy agenda.

2. Lakshana (Secondary or Indicative Meaning):

• Lakshana refers to the secondary or figurative meaning of a word or expression. It suggests or points towards something beyond its literal interpretation. Lakshana is used when a word or phrase hints at an additional layer of meaning that is not explicitly stated but inferred through context.
• This kind of meaning is more context-dependent, and it helps in understanding things indirectly, offering deeper significance.

Example in politics: When a politician says, “We will eliminate corruption from the system,” the literal meaning is about addressing corruption, but the underlying meaning may suggest a promise to improve governance, to root out inefficiency, or to bring accountability, even if those aren’t explicitly stated.

3. Vyanjana (Suggestive or Implicative Meaning):

• Vyanjana is the most subtle and complex form of meaning. It refers to the suggestive or implied meaning, where words do not directly or even indirectly convey the message, but through association, context, or deeper implication, they evoke certain feelings, thoughts, or ideas. This is the essence of Dhvani — a suggestion or an indirect implication that communicates something without explicitly saying it.
• It’s often employed in poetry, literature, and oratory to evoke emotion or to leave room for interpretation.

Example in politics: A statement like “The country is ready for change” might not directly suggest anything specific but could imply dissatisfaction with the current state of affairs, an invitation to reform, or an underlying criticism of the present leadership, depending on the context and tone.

 22/01/2025,

According to Anandvardhan: Dhvani

• Sound is paramount in the work.
• The third sense is sound, which conveys a meaning different from what is said.
• A person who understands even though it has not happened.

"विभाति भावव्यं इवाधनसु" ( Dhvani is beautifies like a The elegance of the organ)

• Rasa create from emothion.
• Emotion > Rasa - (Bharat Muni)
• Language> Sound - (Anandvardhan)

1. Abhidha : Get the direct meaning
2. Lakshana : To take another meaning because the direct meaning is not found
3. Vyanjana : Even if the direct meaning is found, another meaning is assumed.

24/01/2025,

Dhvani is present in 3 ways : 

1. Vastu Dhvani
2. Alankar Dhvani
3. Rasa Dhvani

Vakrokti : Kuntaka

The concept of Vakrokti is famously discussed by the Sanskrit scholar Kuntaka in his treatise "Vakroktijīvita" (meaning "The Life of Oblique Speech"). Kuntaka introduces Vakrokti as an important literary device in Sanskrit poetics. Vakrokti refers to "oblique speech" or "indirect expression" — where words or phrases are not used in their straightforward or literal sense but are instead conveyed in a more intricate, indirect, or figurative manner. This helps to add layers of meaning and artistic depth to language.

In Kuntaka's work, Vakrokti is often contrasted with more direct forms of speech, such as Abhidhā (literal meaning), and it plays an important role in enriching the aesthetic experience of literature and poetry

A Famous Example:

One of the most famous applications of Vakrokti in Sanskrit literature can be seen in the works of poets like Kalidasa, where oblique speech or figures of speech are used to elevate the emotional and aesthetic experience of the reader.

In the "Vakroktijīvita", Kuntaka emphasizes that Vakrokti is an essential part of eloquent and effective speech. It plays a major role in creating beauty and complexity in both poetry and rhetoric, offering more than just a surface-level meaning, but inviting deeper analysis and reflection from the audience.

Kuntaka's ideas influenced how literature and poetry were appreciated and analyzed, contributing to the richness of Sanskrit poetic traditions.

25/01/2025,

 

"शब्दार्थे सहिते वा क्रकाव्यव्यापारशोभिनी।
बन्धे व्यवस्थितो काव्यं तदिदाभाद करणि॥"

Translation:
"When words and meanings are combined in an oblique manner, it beautifies the entire poetic composition.
In a well-structured poem, this indirectness produces a radiant effect that adds beauty and depth to the work."

Explanation:

In this verse, Kuntaka is explaining that when words are employed with both their literal meaning (śabda) and figurative meaning (arth), and presented through oblique expression (Vakrokti), the result is an aesthetically beautiful piece of poetry. The indirect manner in which ideas are conveyed creates a multidimensional quality in the poem, making it more engaging and emotionally resonant. The organization of the poem (bandha) also plays a crucial role in creating this effect, where the structure is harmoniously arranged, further enhancing the work's charm and depth.

This verse is an important part of Kuntaka's theory, where he emphasizes the power of indirect speech or Vakrokti to elevate the poetic experience by adding complexity and beauty to language.

6 types of The Irony :

Varn Vinyas: 

 Phonetic arrangement of letters to create rhythm and meter in poetry.

Pad Purvah:

 The preceding word or structure in a sentence or verse.

Pad Parardh:

 The subsequent word in a sentence or verse, completing the meaning.

Vaky Vakrokti:

 The use of oblique or indirect speech to convey hidden or ironic meanings.

Prakaran: 

A specific section or chapter in a text that focuses on a particular theme or subject.

Prabandh:

 A narrative or composition, often with a connected story or moral.

1. Varn Vinyas (वर्ण विन्यास)

• Definition:

Varn Vinyas refers to the arrangement of letters or phonemes in a specific order in a word or verse. It involves the phonetic arrangement of sounds, which is critical for the rhythm, meter, and melody in Sanskrit poetry.

• Usage: 

In poetry, the Varn Vinyas influences how verses flow, whether they follow specific meters like Anushtubh or Trishtubh. The arrangement of vowels and consonants affects the overall aesthetic experience of the poem.

• Example:

In meters like Anushtubh, each line consists of 8 syllables with specific patterns of short and long syllables. The way the vowels and consonants are arranged plays a significant role in how the rhythm is perceived.

2. Pad Purvah (पद पूर्व)

• Definition: 

Pad Purvah refers to the preceding word or prior word that forms part of the syntactical structure in a sentence or verse. It concerns how words are ordered in a sentence to convey meaning or create emphasis.

• Usage:

 The order of words (pad) in a sentence or verse impacts the meaning. For example, Pad Purvah may refer to how a word leads into the next one and how this influences the overall interpretation of the sentence.

• Example: 

In Sanskrit, the meaning of a phrase can shift based on word placement. For example, the arrangement of words like "रामेण सह" (with Rama) vs. "सह रामेण" (with him, Rama) can change the interpretation.

3. Pad Parardh (पद पारर्ध)

• Definition:

Pad Parardh refers to the subsequent word or following word in a sentence or verse. It is the word that comes after the primary word in a syntactical sequence.

• Usage:

Like Pad Purvah, the Pad Parardh plays a role in how words combine to form meaningful structures and phrases. It’s essential in understanding compound words (samasa) and the flow of meaning across sentences or verses.

• Example: 

In a compound word like "राजपुत्र" (king’s son), "राज" (king) is the Pad Purvah and "पुत्र" (son) is the Pad Parardh, creating a single, compounded meaning.

4. Vaky Vakrokti (वाक्य वक्रोक्ति)

• Definition: 

Vaky Vakrokti refers to the use of oblique or indirect speech in a sentence. This is an important concept in Sanskrit poetics and rhetoric where the structure of a sentence or utterance conveys meaning beyond its literal sense.

• Usage:

Vakrokti involves irony, metaphor, or hidden meanings. It can make a sentence more complex and layered, allowing for multiple interpretations. This device is often used to convey subtle messages, criticism, or humor.

• Example:

If someone says “Such a lovely day to be stuck in traffic”, the literal meaning is positive, but the intended meaning is ironic and negative. This form of indirect expression is similar to Vakrokti in Sanskrit.

5. Prakaran (प्रकरण)

• Definition:

  Prakaran refers to a specific section or chapter in a text, often dealing with a particular topic or theme. It is used to categorize and structure larger works, such as epics, treatises, or philosophical texts.

• Usage: 

In classical texts like the Mahabharata or Ramayana, Prakaran could refer to specific sections that deal with individual characters, events, or concepts. It helps in organizing content thematically.

• Example: 

In the Mahabharata, the Bhishma Parva is one such Prakaran, dealing with the story of Bhishma’s role in the battle.

6. Prabandh (प्रबंध)

• Definition:

  Prabandh refers to a narrative structure or composition. It is often used to describe a connected story or tale, particularly in the context of prose or poetic compositions.

• Usage: 

In Indian literature, a Prabandh refers to a complete story or narrative, often with a moral or philosophical message. It is structured in a way that brings different elements together cohesively.

• Example:

  A Prabandh could be a narrative that tells a tale of love, war, or politics, such as the story of Harsha’s Ratnavali or Kalidasa’s Shakuntala, where different episodes are connected to form a coherent whole.

27/01/2025,

Bhamah : 

In Sanskrit poetics, the term "Alankara" (आलंकार) refers to a literary ornament or figure of speech used to enhance the beauty, meaning, or impact of a text. The concept is central to classical Sanskrit literature, where various figures of speech and rhetorical devices are identified to enrich the expression of thoughts.

"Bhamah" (भामह) refers to a specific type of alankara, often associated with the meaning of "glory" or "brilliance" in poetry. The term is also used in classical Sanskrit poetic theory to denote a rhetorical ornament that emphasizes the radiance or shine of a subject (sometimes a metaphorical sense of brilliance). The term Bhamah in some contexts refers to a type of ornament involving light or beauty in a figurative manner.

Main 3 Sects :

Summary of the Concepts:

1. Riti Sampraday (रीति सम्प्रदाय):

   • Focuses on style in poetry, ensuring that the structure, language, and poetic devices follow a particular tradition or method.
   • Concerned with rhythm, meter, and the overall artistic expression.

2. Aucitya Sampraday (औचित्य सम्प्रदाय):

   • Emphasizes appropriateness and suitability in poetry.
   • Ensures that the choice of words, themes, and characters is appropriate to the context, tone, and emotion of the poem.

3. Ramaniyata Sampraday (रमणीयता सम्प्रदाय):

   • Focuses on beauty and charm in poetry.
   • Prioritizes aesthetic appeal, pleasantness, and the sensory experience of reading poetry.

These three sampradays guide poets in crafting their works to ensure that they are structurally sound, emotionally appropriate, and aesthetically pleasing. They are foundational in classical Indian poetic theory and have influenced how poets and scholars view literary creation and criticism.

Conclusion:

In conclusion, Indian poetics is a rich and intricate tradition that blends aesthetics, emotion, and philosophy, deeply rooted in ancient Sanskrit texts like the Nāṭyaśāstra and works by thinkers such as Bharata Muni, Anandavardhana, and Abhinavagupta. Concepts like rasa, dhvani, alankara, and vakrokti form the backbone of Indian literary theory, emphasizing the power of suggestion, indirect speech, and artistic ornamentation in conveying deeper meanings. Through the exploration of key principles such as Riti Sampraday, Aucitya Sampraday, and Ramaniyata Sampraday, Indian poetics guides poets to create works that are structurally sound, contextually appropriate, and aesthetically beautiful. This framework continues to influence various literary traditions and remains integral to understanding the transformative power of language and art in Indian culture.

   Thank you !!!