Hello friends,
I am Mahida Bhumika , this blog is written about the "Indian Poetics". Our Sanskrit literature is considered as a oldest literature is the world of literature . Also we can say that "Sanskrit is a mother of all languages".
Then , let's begin with some introduction about the "Indian Poetics"...
⚫Introduction⚫
We know that Sanskrit is the language of the extensive liturgical works of the Vedic religion, while Classical Sanskrit is the language of many of the prominent texts associated with the major Indian religions, especially Hinduism, but also Buddhism, and Jainism.
Classical Sanskrit literature however exists in every field including epics, lyric, drama, romance, fairytale, fables, grammar, civil and religious law, the science of politics and practical life, the science of love and sex, philosophy, medicine, astronomy, astrology and mathematics, and is largely secular in subject-matter. And The Vedic literature that survives is entirely religious, dealing essentially in liturgical matters with prayers and hymns to the gods in the sacrifices.
There is some differences between Vedic Sanskrit and classical Sanskrit :
Vedic Sanskrit was a spoken vernacular language of its time, while Classical Sanskrit was a standardised version of the same language done later, during the age of Panini.
Vedic language, as we see, was spread across the whole of "Saptasindhu lands ", the Indus Valley, Doab, Punjab and even till Kabul in Afghanistan during Rigvedic period itself. It is natural that this language had varied dialects during this period.
The Vedic was so grammatically stable that it could remain as a standard language. But as simplification and evolution to suit the growing population followed, Vedic dialects began evolving at a fair manner over millennia, and by the time of Atharvaveda, we can see that the Vedic landscape had already turned to a multilingual place, with dialects getting deviated from the Vedic language.
Natyashastra is the earliest literature on music and drama – written somewhere around 500 BC by Bharata Muni. Comprising 6000 couplets in Sanskrit and spread over thirty-six chapters, Natyashastra’s focus was on dance and drama, with music as an aid. The title is a combination of two Sanskrit words – Natya and Shastra. Natya refers to technique of dance and drama, and shastra refers to science. It is the magnum opus that describes – relation between director and audience, structuring a play, acting techniques, costumes and make-up, music and musical instruments to be used, the dimensions of the stage and its decorations with lighting, and size of the hall and seating of audience. Directors and producers of plays mention that its relevance is high even in this date and age.
Bharata Muni stressed on a 22 swara octave. It is said he performed a large public experiment to demonstrate the 22 swaras. While the concept of a raga did not exist and was not named so, jaatis and murchanas made up for this lack of definition. Natyashastra defines these in detail in addition to explaining the organising of swaras as vadi, samvadi, anuvadi and vivadi for the jaatis and murchanas.
Chapters 28 to 33 dwell on music – vocal and instrumental and their deployment in drama . Thus, we may categorise Bharata Muni’s description of music as vocal, instrumental, vocal and instrumental, preliminary music as in before the drama begins or just at commencement of drama, and Dhruva music – authored by the director and set to music.
Natyashastra classifies instruments as “tata” – stringed, “avanadha” – covered percussion, “sushira” – hollow , and “ghana” – rhythm supports like cymbals. The text has even codified the dimensions of the instruments, the material to be used, treatment of the material before they are deployed, and the artisanship to convert the various parts into a single whole instrument. Artisans involved in making instruments today too follow the broad directions mentioned in Natyashastra.
The Natya Shastra talks at length of “natya”, a derivation from the word “nat”, meaning to dance or to act. The work provides the basic source of information on the intricacies of Indian theatre.
The mythic origin of dramatic art, the construction of playhouses, the detailed preliminaries, the treatment of “rasa” and “bhava”, the different types of abhinaya-aharya , vachika , angika and sattvika — dances, footsteps, songs, modes of address, classification of the story which form the body of the theatre, the sandhi division of the plot, et al. More…
From the ancient time of Bharta to this time so many books written in sanskrit explained that the nature of literature , like Aesthetics delight.
Let's begins with Bharata Muni's Rasa theory…
Muni enunciated the eight Rasas in the Nātyasāstra, an ancient work of dramatic theory. Each rasa, according to [Nātyasāstra]], has a presiding deity and a specific colour. There are 4 pairs of rasas. For instance, Hasya arises out of Sringara. The Aura of a frightened person is black, and the aura of an angry person is red. Bharata Muni established the following[1]:
Śṛngāram (शृन्गारं) Love, Attractiveness. Presiding deity: Vishnu. Colour: light green.
Hāsyam (हास्यं) Laughter, Mirth, Comedy. Presiding deity: Pramata. Colour: white.
Raudram (रौद्रं) Fury. Presiding deity: Rudra. Colour: red...more
In a discussion of aesthetics delight , There is Bharata Muni who was most Amazing treaties 'Natyashastra' has established the theory of Rasa , which has been called a "Rasa School".
Bharat Muni given some sanskrit explanation about Rasa theory… that is
"विभवानुभवव्याभिचारी संयोगाद्रसनिष्पति"
It means Rasa is born from the combination of Vibhava , Anubhava and Vyabhicharibhava.
⚫ Critical views on Rasa theory ⚫ The argument about Rasa theory is started by Abhinav Gupta in his comment upon Bharat's theory of Rasa : there is some explanation Which was given by some scholars to the concept of Rasa .
⚫ Dhvani Theory ⚫
Ānandavardhana is credited with creating the dhvani theory. He wrote that dhvani is the "soul" or "essence" of poetry ." "When the poet writes," said Ānandavardhana, "he creates a resonant field of emotions." To understand the poetry, the reader or hearer must be on the same "wavelength." The method requires sensitivity on the parts of the writer and the reader.
The complete Dhvanyaloka together with Abhinavagupta's commentary on it has been translated into English by the eminent Sanskritist Daniel H.H. Ingalls and his collaborators.
Anandavardhana was the author of Dhvanyaloka, or A Light on Suggestion, a work articulating the philosophy of "aesthetic suggestion". The philosopher Abhinavagupta wrote an important commentary on it, the Locana, or The Eye.
Modern Sanskritists have a very high opinion of Anandavardhana. Commenting on Anandavardhana's Dhvanyaloka, P.V. Kane writes that "the Dhvanyaloka is making work in the history of Alaṅkara literature. It occupies the same position in poetics as Paṇini's Astadhyayi in grammar and Śaṅkarācarya's commentary on Vedānta". And Daniel H.H. Ingalls calls Ānandavardhana 'the most brilliant of all Sanskrit critics'.
⚫The Dhvanyaloka of Anandavardhana with the Locana of Abhinavagupta ⚫
For nearly a thousand years the brilliant analysis of aesthetic experience set forth in the Locana of Abhinavagupta, India’s founding literary critic, has dominated traditional Indian theory on poetics and aesthetics. The Locana, presented here in English translation for the first time, is a commentary on the ninth-century Dhvanyaloka of Anandavardhana, which is itself the pivotal work in the history of Indian poetics...more
Anandavardhana's Dhvanyaloka, or, Theory of suggestion in …
This material is prepared by me based on the recordings. The Dhvanyaloka revolutionized Sanskrit literary theory by proposing that the main goal of good poetry is the evocation of a mood or "Rasa" and that this process can be explained only by recognizing a semantic power beyond denotation and metaphor, namely, the power of suggestion. Author of Dhvanyaloka, a treatise on the nature of aesthetic enjoyment in literature, Anandavardhana wrote in Sanskrit.
Buy The Dhvanyaloka of Anandavardhana with the Locana Of …
Anandavardhana's Dhvanyaloka, the locus classicus of Sanskrit Poetics, has been studies hear both in retrospect and prospect. An attempt has been made to give a complete sketch of the theory of dhvani as outlined in the Dhvanyaloka with some reference to the sources from which it is derived and in relation to the rhetorical tenets then prevalent. The Dhvanyaloka revolutionized Sanskrit literary theory by proposing that the main goal of good poetry is the evocation of a mood or "flavor" (rasa) and that this process can be explained only by.
The Dhvanyaloka Of Anandavardhana With The Locana Of Abhinavagupta. beloved reader, following you are hunting the the dhvanyaloka of anandavardhana with the locana of abhinavagupta store to approach this day, this can be your referred book.
This material is prepared by me based on the recordings. The Dhvanyaloka revolutionized Sanskrit literary theory by proposing that the main goal of good poetry is the evocation of a mood or “flavor” (rasa) and that this process can be explained only by recognizing a semantic power beyond denotation and metaphor, namely, the power of suggestion. Author of Dhvanyaloka, a treatise on the nature of aesthetic enjoyment in literature, Anandavardhana wrote in Sanskrit.
⚫ Theory of Dhvani ⚫
The central principle of the theory dhwani is that words in their capacity of conveying sense the three topics are known As ABHIDHA , LAKSHANA and VYANJANA.
⚫ABHIDHA OR VACHYA
The primary meaning of that word is that which is ascribed by convention through the accepted usage of the word .
⚫LASYA
The indicated is an extended meaning from word Under certain process.
⚫ VYANGYA
The sense is that which obtained from a word it's indicated senses and it's addition to them the function and indication of exhaustion of their capability of Expression.
⚫RITI THEORY
Vamana called the first section of his work as Sarira-adhikaranam – reflexions on the body of Kavya. After discussing the components of the Kavya-body, Vamana looks into those aspects that cannot be reduced to physical elements. For Vamana, that formless, indeterminate essence of Kavya is Riti.
Vamana, therefore, accorded Riti a very high position by designating Riti as the Soul of Kavya – ritirnameyam atma kavyasya / sarirasyeveti vakyasesah Riti is to the Kavya what Atman is to the Sarira . Here, it is explained that in his definition of Riti, Pada-rachana represents the structure or the body while Riti is its inner essence. Through this medium of Visista Pada-rachana the Gunas become manifest and reveal the presence of Riti, the Atman.
⚫AUCHITYA
Kshemendra – wrote a critical work Auchitya-alamkara or Auchitya-vichara-charcha , and a practical handbook for poets Kavi-katnta-abharana calls Auchitya the appropriateness or that which makes right sense in the given context as the very life-breath of Rasa – Rasajivi-bhootasya.
⚫ ALAṄKARA SCHOOL
Alamkara denotes an extraordinary turn given to an ordinary expression; which makes ordinary speech into poetic speech ; and , which indicates the entire range of rhetorical ornaments as a means of poetic expression. In other words, Alamkara connotes the underlying principle of embellishment itself as also the means for embellishment.
According to Bhamaha, Dandin and Udbhata the essential element of Kavya was in Alamkara. The Alamkara School did not say explicitly that Alamkara is the soul of Poetry. Yet, they regarded Alamkara as the very important element of Kavya. They said just as the ornaments enhance the charm of a beautiful woman so do the Alamkaras to Kavya: shobha-karan dharman alamkaran prakshate . The Alamkara School, in general, regarded all those elements that contribute towards or that enhance the beauty and brilliance of Kavya as Alamkaras. Accordingly, the merits of Guna, Rasa, and Dhvani as also the various figures of speech were all clubbed under the general principle of Alamkara.
⚫ CONCLUSION
Indian Poetics is a infinite topic … we can say that it is an ocean of literature ...
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12280
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