Indian Poetics :

This blog assigned by Dilip Barad sir. It is about Indian Poetics which unit taught by Prof. Vinod Joshi sir for further information Click here.

Vinod Sir said that language is the medium of literature, and he started with this. He then explained that Indian poetics involves learning the process, and the poet's nature is shaped by this.

He also mentioned that when a child is born, there are two things they receive: 1. Sound (Swar) 2. Movement (Halanchalan).

This captures the essence of what you mentioned, focusing on how language and its connection to poetry and literature are central to the poetic process in Indian aesthetics.

Swar has two types: instrumental music and dance. After that, he provided information about 'Vastu' (object) and 'Vastuta' (objectivity), where he also discussed the material world and the emotional world. He gave an example illustrating that,

"મો ભાંગ્યો વિંધાતા, મન ભાંગ્યો કાવેણ, ઘોડો ભાંગ્યો ઠેકટા, નહીં સાંધો નહીં રહે."

Another example is from મકરંદ દવે  poem 'જૂનું ઘર ખાલી કરતા.'

Discussion on Natyashastra and Ras Mimansa :

He also introduced us to Natyashastra, which was composed by Bharat Muni, and Ras Mimansa, also developed by him.

Furthermore, he explained the six major schools (Sampraday) of Indian Poetics:

1. Rasa Sampraday – Bharat Muni

2. Dhvani Sampraday – Anandavardhana

3. Vakrokti Sampraday – Kuntaka

4. Alankar Sampraday – Bhamaha

5. Riti Sampraday – Vamana

6. Auchitya Sampraday – Ksemendra

7. Ramniyata Sampraday - jagannath

He said that those who promote the school of Rasa are called "Vadio" – Rasa Vadio. then he gave the example of Tradition and Individual Talent by T.S Eliot. After that, he said that emotions are natural, and when a favorable situation arises, emotions become awakened. In the sixth chapter of the Natyashastra, emotions lead to Rasa.

The nine Sthayi Bhavas (Permanent Emotions) are :

1. Rati – Love
2. Hasya – Laughter/Joy
3. Shoka – Sorrow
4. Krodha – Anger
5. Utsaha – Enthusiasm
6. Bhaya – Fear
7. Jugupsa – Disgust
8. Vismaya – Wonder
9. Shaanta – Peace

There are three types of drama:

1. Drushya Natak – Visual Drama (Performed and seen)
2. Shravya Natak – Audible Drama (Heard, like radio plays)
3. Pathya Natak – Readable Drama (Meant for reading)

The Concept of Rasa in Dramatic and Literary Tradition :

        The essence of drama lies in the interplay of Rasa, which is beautifully illustrated in Abhijnana Shakuntalam. Even in war (Yuddha), Rasa is present, as heroism (Veera Rasa) and tragedy (Karuna Rasa) emerge through conflicts and resolutions.

      In contrast, literary theorist Mammata in Kavyashastra discusses how poetry, language, and a poet’s expression are infused with the Navarasas (nine Rasas). He differentiates between two types of creation:

     Brahma’s Creation – The natural world, which consists of six primary tastes (Rasas) such as bitterness, spiciness, sourness, etc.

   Poet’s Creation – The artistic world, which is enriched with the nine Rasas that evoke deeper emotions in literature and drama.

"विभावानुभावव्यभिचारिसंयोगाद् रसनिष्पत्तिः"

The Process of Rasa Formation: Vibhava, Anubhava, and Vyabhichari Bhava.

According to the Natyashastra, Rasa (aesthetic experience) is produced through the combination of Vibhava (determinants), Anubhava (consequents), and Vyabhichari Bhava (transitory emotions).

1) Vibhava – The Cause of Emotion :

 Vibhava refers to the stimulus or determinant that evokes a particular emotion. It is divided into two types:

Aalamban Vibhava – The main subject or character responsible for the emotion.

Uddipan Vibhava – The surrounding factors that enhance the emotion.

 For example, in Abhignana Shakuntalam, the elements such as the bee, creepers, birds, and the natural environment serve as Uddipan Vibhavas (external stimulants), while Shakuntala and Dushyanta act as Aalamban Vibhavas (the primary emotional subjects). Together, these create the foundation for Rasa Nishpatti (the realization of aesthetic sentiment).

2) Anubhava – The Reaction or Expression of Emotion :

Anubhava refers to the physical or verbal expressions that result from an emotion. These include gestures, facial expressions, speech, and body movements.

Examples : Ramnarayana Pathak's poetry is "Khemi", and another example is

"वादिया मेरा दामन, रास्ते मेरी बाँहें, जाओ मेरे सिवा तुम कहाँ जाओगे।"

Then he spoke about experiential response and said a line: 

"સૌ મને તાકી તાકી જોઈ રહ્યા, પાંપણ માત્ર અમને ઢાળી." 

In response, he quoted Manoj Khanderiya's line: 

"બીજમાંથી પૂનમ દઈ દે, સેજ પાંપણ નમેલી ખોલી નાખ."

A metaphor often used :

Sthayi Bhava (permanent emotion) is like a lake – stable and deep.

Sanchari Bhava (transitory emotions) are like waves in the ocean – constantly changing but enhancing the overall experience of Rasa.

The Concept of Rasa :

The Natyashastra identifies nine Rasas, each associated with a corresponding Sthayi Bhava:

1. Rati (Love) → Shringara Rasa (Romantic/Beauty)

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

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

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

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

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)

Critics and Commentators of Bharatmuni’s Rasasutra :

1) Bhatt Lollata is recognized as a proponent of Utpattivada.
He states that Rasa does not exist inherently; it is produced.

2) Shree Shanku Shankuka explained Rasa using the concept of conviction through four types of Pratiti (Cognition). Let’s apply them to King Dushyant from Abhijnana Shakuntalam as we discussed in class. 

1. Samyak Pratiti (सम्यक् प्रतितिः) – True Conviction

Meaning: Direct and accurate perception of reality.

Example: "This is Dushyant."

2. Mithya Pratiti (मिथ्या प्रतितिः) – False Perception

Meaning: A completely mistaken belief.

Example: "This is not Dushyant " 

3. Sanshay Pratiti (संशय प्रतितिः) – Doubtful Perception

Meaning: A wavering or uncertain perception.

Example: Looking at the actor playing Dushyant and thinking—

"Is this Dushyant or not?" 

4. Sadrush Pratiti (सदृश प्रतितिः) – Resemblance-Based Conviction

Meaning: A convincing resemblance that creates aesthetic experience.

Example: "This is like Dushyant." 

3)  Bhatt Nayaka introduced a more refined perspective by shifting the focus to the audience’s role in experiencing rasa.He argued that rasa is not just an imitation or extension of emotions but an independent, transcendental experience (bhoga).This experience is detached from worldly concerns, allowing the audience to enjoy it aesthetically rather than being burdened by personal emotions.

4) Abhinavagupta He believed that rasa is experienced when personal emotions are generalized and the audience connects with the artistic essence rather than the literal narrative.

"પરપોટો ઉંચકીને કેડ વાળી ગઈ, હવે દરિયો લાવું તો કેમ લાવું?"

Dhvani Sampradaya (Theory of Suggestion) :

The Dhvani Sampradaya (Theory of Suggestion) was introduced by Anandavardhana in his famous work, Dhvanyaloka. He believed that Dhvani (suggestion) is the most important element in poetry and that Rasa (emotion) is conveyed through suggestion rather than direct statements.

According to him, Dhvani is the soul of poetry, and the literal meaning of words is less important than their deeper, implied meanings. He explained that the beauty of poetry comes not from what is explicitly said but from what is subtly suggested.

Anandavardhana also compared Dhvani to a woman's beauty, stating that just as charm is not found in any single feature but in an overall graceful presence, the true essence of poetry lies in its unspoken and implied meanings rather than in its direct words.

विभाति लावण्यं इवाङ्गनासु

Dhvani as an Expression of Rasa :

Dhvani (suggestion) plays a crucial role in evoking Rasa (emotion) in poetry. It is often considered an essential means of conveying deeper meanings beyond direct expression.

As stated in the famous phrase, "ध्वनिः काव्यस्य आत्मा"—"Dhvani (suggestion) is the soul of poetry."

Just as Bhava (emotion) leads to Rasa (aesthetic experience), language (Bhasha) gives rise to Dhvani (suggestion).

Shabdshakti (Power of Words)

Shabdshakti refers to the ability of words to convey meaning effectively. It is broadly categorized into three main types.

Three Types of Shabdshakti (Power of Words) :

1. Abhidha (Primary Meaning) – This is the direct and literal meaning of a word. It conveys the common, straightforward sense.

   • Example: "The Ganga is a river."
     • Here, "Ganga" simply refers to the river Ganges.

2. Laxana (Secondary Meaning) – When the literal meaning does not fit the context, a word takes on a secondary meaning.

   • Example: "Taking a bath in the Ganga."
     • Here, "Ganga" does not just mean the river but refers to its holy water, symbolizing purification.

3. Vyanjana (Implied Meaning) – This refers to the deeper, indirect meaning suggested by words.

• Example: "The Ganga has not become impure yet."
• The hidden meaning is that moral values in society are still intact.

After that, he explained the three types of Dhvani (Suggestion) :

1. Vastu Dhvani – Suggestion related to content or meaning.
2. Alankara Dhvani – Suggestion based on poetic ornaments (figures of speech).
3. Rasa Dhvani – Suggestion that evokes aesthetic emotion (Rasa).

Laukik Dhvani is of two types :

1. Vastu Dhvani (Conceptual Suggestion)

2. Alankara Dhvani (Figurative Suggestion)

Alaukik Dhvani has one type :

Rasa Dhvani goes beyond the literal meaning of words and creates a deep artistic or emotional experience.

Although Anandavardhana does not explicitly say that Rasa Dhvani is the most important, he strongly suggests its significance, considering it the highest expression of poetic beauty.

3) Vakrokti Sampradaya – Kuntaka’s Theory  :

Vakrokti (वक्रोक्ति) is an important concept in Sanskrit poetics, introduced by Kuntaka in his work Vakroktijīvita. The term comes from two words:

• Vakra (वक्र) – meaning indirect, twisted, or unique.
• Ukti (उक्ति) – meaning expression or speech.

Together, Vakrokti refers to a distinctive or artistic way of expressing ideas.

 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.

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॥

Six Types of Vakrokti (According to Kuntaka) :

1. Varṇavinyāsa Vakrokti (Phonetic Obliqueness) – Creativity at the sound level using techniques like alliteration, rhyming, and wordplay.

2. Pada-pūrvārddha Vakrokti (Obliqueness in the First Part of a Word) – A unique expression where the twist or artistic touch appears in the first part of a compound word.

3. Pada-parārddha Vakrokti (Obliqueness in the Second Part of a Word) – Similar to the previous type, but the artistic expression occurs in the latter half of a compound word.

4. Vākya Vakrokti (Sentence-Level Obliqueness) – The uniqueness in how a sentence is structured, making it more expressive or artistic.

5. Prakaraṇa Vakrokti (Episode-Level Obliqueness) – A creative arrangement of events in a specific part of a story, making it more engaging or unexpected.

6. Prabandha Vakrokti (Composition-Level Obliqueness) – The entire literary work has a unique and artistic style, making it stand out as a whole.

4) Alankāra Sampradāya – Bhāmaha :

The Alankāra School of literary theory was founded by Bhāmaha, who highlighted the importance of figures of speech (Alankāras) in poetry. He believed that the beauty of poetry comes from using rhetorical and decorative elements, making it more expressive and appealing.

Bhāmaha was one of the earliest Sanskrit literary critics. In his work "Kāvyālaṅkāra," he described different literary techniques like similes and metaphors that enhance the impact of poetry.

5) Riti (Style): Vaman : 

Riti refers to the distinct styles that each poet or work may possess. Every poet or literary piece has its own unique style. For example, Dandi's "Dashakumaracharita" showcases a particular style of narration.

The place (sthal) also determines the style, and the style based on the place is considered more significant, like Vamana's style, which is influenced by the location.

Type of Riti :

Panchali Rīti

Gaudiya Rīti

Vaidarbhi Rīti 

6) Auchitya Sampraday - Khemendra :

Khemendra introduced the concept of Auchitya (propriety) as the essence of poetry. He emphasized that every aspect of poetry—theme, words, emotions, and figures of speech—must be appropriate to the context, situation, and character.

He believed that Auchitya and modernity cannot coexist—where there is propriety, modernity is absent, and where modernity exists, propriety is lost. This idea relates to E. M. Forster’s "Aspects of the Novel," which also stresses the importance of balance and suitability in literature. Without proper balance, a literary work loses its impact.

7) Ramaniyata Sampraday – Jagannatha :

Jagannatha, in his work Rasgangadhar, emphasizes Ramaniyata (aesthetic beauty) as the heart of poetry. He believes that poetry should be elegant, expressive, and emotionally engaging to truly delight the reader.

Key Idea: The beauty of poetry (Rāmanīyatā) comes from a blend of Rīti (style), Alankāra (figures of speech), Auchitya (propriety), and Dhvani (suggestion).

Indian poetics balances form, meaning, and emotion, making poetry both artistic and powerful. While Rasa and Dhvani became central ideas, other literary traditions also enriched poetic expression. Even today, these concepts influence modern literary criticism and aesthetics.

रमणीयार्थप्रतिपादकः शब्दः काव्यम्।

Conclusion : 

In Indian poetics, the essence of poetry lies in its aesthetic beauty (Ramaniyata), propriety (Auchitya), suggestion (Dhvani), and artistic expression (Alankāra and Rīti). Scholars like Jagannatha, Kṣemendra, Bhāmaha, and Anandavardhana contributed to refining poetic theory, emphasizing balance, meaning, and emotional depth.

These literary traditions continue to shape modern literary criticism, proving that the principles of harmony, elegance, and impact in poetry remain timeless and relevant.

Thank You !