Indian Poetic by Prof. Vinod Joshi Sir

Indian Poetics

This blog is an assignment provided by Dr. Dilip Barad on Indian Poetics, a subject taught by Vinod Joshi Sir. Here is the link to the teacher’s blog

Indian Poetics Unit by Vinod Joshi Sir

Lecture Summary

15/01/2025

Despite his busy schedule, Vinod Joshi Sir began teaching the Indian Poetics subject. On the first day, he focused on making us comfortable and started with some fundamental concepts, such as the relationship between nature and literature.

Key Discussion:

• Literature Challenges Nature – Sir discussed how literature interacts with nature.

• Robert Brill’s Quote: “We know the language but not about the language.”

• Two Gifts of Humans by Birth:

1. Vowel (Swar)

2. Movement (Halanchalan)

• Language is implied, and anything implied can be changed, including language itself.

Examples Used:

• Poem by Makrand Dave - 'જૂનું ઘર ખાલી કરતા'

• Sir explained that when we move from one house to another, we take our belongings but not the emotions and memories associated with the old house.

• Example of a Newborn Baby

• A newborn cannot speak but can express sounds using swars.

16/01/2025

The lecture began with a discussion on emotions and feelings, leading to the topic of Rasa Mimansa and Natyashastra by Bharata Muni.

Six Schools of Indian Poetics:

1. Rasa – Bharata Muni

2. Dhvani – Anandavardhana

3. Vakrokti – Kuntaka

4. Alankar – Bhamaha

5. Riti – Vamana

6. Auchitya – Ksemendra

7. Ramaniyata – Jagannatha

1) Rasa Sampradaya – Bharata Muni

• Kalidasa’s Abhijnana Shakuntalam was discussed as an example of aesthetic beauty and emotional depth.

• Sthayi Bhavas (Permanent Emotions) and their role in drama were explained.

• Definition of Drama: A combination of aesthetic pleasures that evoke emotional responses in the audience.

Nine Sthayi Bhavas and Corresponding Rasas:

1. Rati (Love) → Shringar Rasa (Romance, Beauty)

2. Shoka (Grief) → Karuna Rasa (Compassion, Tragedy)

3. Utsaha (Enthusiasm) → Veera Rasa (Heroic Spirit)

4. Krodha (Anger) → Raudra Rasa (Fury, Terror)

5. Hasya (Laughter) → Hasya Rasa (Comedy, Humor)

6. Bhay (Fear) → Bhayanaka Rasa (Horror, Dread)

7. Jugupsa (Disgust) → Bibhatsa Rasa (Repulsion, Ugliness)

8. Vismaya (Wonder) → Adbhuta Rasa (Marvel, Surprise)

9. Shama (Peace) → Shanta Rasa (Tranquility, Serenity)

Types of Drama:

1. Drishya Nataka (Visual Drama) – Performed with acting, expressions, and stagecraft.

2. Shravya Nataka (Auditory Drama) – Based on dialogues and musical elements.

3. Padya Nataka (Poetic Drama) – Incorporates poetry along with dramatic narration.

17/01/2025

Concept of Rasa in Drama and Literature

Bharata Muni’s definition of Rasa:

"विभावानुभावव्यभिचारिसंयोगाद् रसनिष्पत्तिः"

Elements of Rasa Formation:

1. Vibhava (Determinants) – Causes of emotion

• Alambana Vibhava – The main subject (e.g., Shakuntala and Dushyanta in Abhijnana Shakuntalam)

• Uddipana Vibhava – External stimulants (e.g., natural environment, birds, creepers)

2. Anubhava (Consequents) – Expressions of emotion (gestures, speech, body movements)

3. Vyabhichari Bhava (Transitory Emotions) – Momentary emotions that enhance the primary emotion

• Mammat, in Kavyashastra, identifies 33 Vyabhichari Bhavas.

Example Used:

• Sthayi Bhava is like a deep lake, while Vyabhichari Bhava is like waves in the ocean.

Sir emphasized that even if all elements are present, Rasa won’t be achieved unless they are properly unified.

18/01/2025

Different Theorists' Views on Rasa

1. Bhatta Lollata (Utpattivada – Theory of Rasa Production)

• Believes that Rasa is not pre-existing but must be produced by the actor’s performance.

2. Sri Shankuka – The Theory of Inference (Anumitivada)

• Opposes Bhatta Lollata’s view and argues that Rasa is not produced in the audience but is inferred.

• Example: When Parvati heard about Shiva’s proposal, she just smiled and plucked leaves—indicating an inferred 'yes.'

Four Types of Pratiti (Perception) According to Sri Shankuka:

1. Samyak Pratiti – Correct perception

2. Mithya Pratiti – False perception

3. Sanshaya Pratiti – Doubtful perception

4. Sadrashya Pratiti – Perception based on resemblance

20 Jan, 2025

3) Bhatta Nayaka – The Theory of Experience (Bhuktivād)
Bhatta Nayaka proposed that Rasa is not merely inferred but is truly experienced by the audience, making it an aesthetic enjoyment (Aswādayaka). This concept is known as Bhuktivād (Theory of Enjoyment). According to Bhatta Nayaka, Rasa should be experienced by both the actor and the spectator.

He introduced the idea of Sādhāraṇikaran (Universalization), which allows the audience to detach from personal emotions and experience the emotions of the characters as a universal sentiment. For example, in Abhijnāna Śākuntalam, the scene of Śākuntalā’s farewell (Vidyā Prasaṅga) evokes sadness not just for her but as a universal human emotion, making it relatable to the audience. This universalization leads to Rasa Niṣpatti (the realization of the aesthetic experience).

Thus, all three important persons— the writer, the spectator, and the actor—should experience the same level of experience through the work.

4) Abhinavagupta – The Theory of Expression (Abhivyānjanavād)
Abhinavagupta refined the Rasa theory by introducing Abhivyānjanavād (Theory of Expression). He argued that Rasa is not simply inferred (as Shankuka suggested) or merely enjoyed (as Bhatta Nayaka claimed), but it is expressed and revealed (Abhivyānjan) through the performance.

According to him, when an actor performs, the emotions are expressed in such a way that they transcend personal experience and become a part of a higher aesthetic realization. In short, while none of the earlier theorists were wrong, Abhinavagupta added that something crucial was missing in their definitions of Rasa. For Abhinavagupta, Rasa means Prakāśanandamaya Jñānī Viśrānti (blissful rest of the enlightened soul).

21 Jan, 2025

Dhvani – Anandavardhana
In the very first lecture on Dhvani, our instructor introduced us to the power of sound or tone, which lies in the power of words (also known as Śabdaśakti). The session helped us explore the concept of Dhvani by continuously presenting challenging questions and opinions.

The man who introduced Dhvani as the soul of poetry and illuminated this concept is Anandavardhana. He introduced the theory of Dhvani in his seminal work, Dhvanyāloka.

22 Jan, 2025

The lecture begins with a Sanskrit sloka:
ध्वनिः काव्यस्य आत्मा
Dhvani (suggestion) is the soul of poetry.

• Bhāva > Rasa > Bharatmuni

• Bhaśā > Dhvani > Anandavardhana

• Śabdaśakti (Power of Words)

1. Abhidha (Denotation or Primary Meaning)
   Abhidha is the direct and primary meaning of a word. It represents the literal sense in which a word is commonly used.

2. Lakṣaṇā (Connotation or Secondary Meaning)
   Lakṣaṇā occurs when the primary meaning of a word is set aside due to contextual necessity, leading to a secondary meaning.
   Example: "Taking a bath in the Ganga."
   Here, "Ganga" does not merely mean the river but implies its holy water, signifying purification.

3. Vyānjana (Suggestion or Implied Meaning)
   Vyānjana refers to the suggestive power of words, where the meaning is implied rather than directly stated.
   Example: "The Ganga has not become impure yet."
   The implied meaning (Vyānjana) could be that moral values in society are still intact.

Anandavardhana introduced the term Pratīmanārtha (implied meaning) to describe the essence of Dhvani (suggestion) in poetry. He classified Dhvani into three types:

1. Vastu Dhvani

2. Alankāra Dhvani (Figurative Suggestion)

3. Rasa Dhvani (Emotional Suggestion)

24 Jan, 2025

Vakrokti – Kuntaka
Kuntaka, in his treatise Vakrokti-Jīvita, proposed that the essence of poetic beauty lies in Vakratā (deviation or artistic twist in expression). According to him, poetry is not just about what is said, but how it is said.

He discusses the concepts of Āścharya (wonder) and Vismaya (astonishment):

• Āścharya (Wonder): Something that initially surprises but is later understood or resolved.

• Vismaya (Astonishment): Something that remains unresolved and unexpected, leaving a lasting impact.

Kuntaka emphasizes that Vismaya (astonishment) is the foundation of Vakrokti, as it creates the most striking poetic effect. In his shloka, Kuntaka highlights how Vakrokti (artful expression) is the key to enhancing the beauty and impact of poetry:

शब्दार्थौ सहितौ वक्रः काव्यव्यापारशालिनी।
बन्धे व्यवस्थितं काव्यं तद्विदाह्लादकारिणी॥

Kuntaka asserts that poetry is not merely about meaning and words but about their artistic expression. The use of Vakrokti (stylized expression) in both sound (Śabda) and meaning (Artha) makes poetry delightful and aesthetically superior.

वेदाग्ध्यभङ्गी भाणिति
When something is expressed in a Vedāgdhya (distinguished or refined) manner, it means that words are arranged skillfully with profound meaning, giving joy to connoisseurs (Tadvidāḥ – those with refined taste and knowledge).

A poet creates imaginative imagery, shaping the world according to his vision. In this sense, a poet is like Brahma (the creator), crafting reality according to his taste and perception.

Six Types of Vakrokti (Stylistic Deviation)

1. Varṇavinyāsa Vakrokti

2. Pada-pūrvārddha Vakrokti

3. Pada-parārddha Vakrokti

4. Vākya Vakrokti

5. Prakaraṇa Vakrokti

6. Prabandha Vakrokti

27 Jan, 2025

Alamkara – Bhāmaha
Bhāmaha was one of the earliest Sanskrit literary critics, and his work Kāvyālaṅkāra explains various figures of speech, similes, and metaphors that enhance the expressive power of poetry. According to him, poetic beauty lies in the use of Alamkāras (rhetorical and ornamental devices), making poetry more effective and aesthetically pleasing.

Ex. Vakrokti itself is an Alamkāra.
He believed that literary ornaments should blend naturally into the text rather than appearing forced or overly noticeable.

28 Jan, 2025

1) School of Rīti – Vāmana
Rīti (poetic style or diction) is the soul of poetry (Kāvyasya Ātmā Rītiḥ – "Style is the soul of poetry"). The arrangement of words and phrases determines poetic beauty.

Types of Rīti:

• Pañchālī Rīti

• Gaudīya Rīti

• Vaidarbhi Rīti

2) School of Auchitya – Kṣemendra
Auchitya means appropriateness or suitability. Auchitya requires balance or measure in everything. When there is no balance or measure, there is no effective impact.

3) School of Ramaniyatā – Jagannātha
Jagannātha believed that poetry should possess aesthetic beauty and charm to be considered great. The essence of poetry lies in its ability to evoke pleasure and emotional resonance. Unlike the Rīti Sampradāya (which focuses on style) and the Dhvani Sampradāya (which emphasizes suggestion), the Ramaniyatā Sampradāya highlights the innate beauty and appeal of words and emotions in poetry.

रमणीयार्थप्रतिपादकः शब्दः काव्यम्
"Words that convey beautiful meaning are poetry."

Conclusion

This lecture series provided an insightful understanding of Indian Poetics and Rasa Theory. Bharata Muni’s Natyashastra lays the foundation for aesthetic experience in drama and literature. Different theorists offer varied perspectives on how Rasa is perceived and produced. The practical applications of these concepts in poetry, drama,