Indian Poetics and Aesthetics

 Indian Poetics and Aesthetics 

This blog is the part of thinking activity task of Indian Poetics. 

In ancient time in India literary criticism main works were in Sanskrit. It is also called Sahityasastra, Alamkarshastra, Kavyashstra,  and Kavyamimansa. Poetry's main purpose is to attain pleasure from Rasanubhuti. 

Indian poetics is the ancient poetics especially sanskrit poetics. Every literature has roots and beginnings so as Sanskrit literature. Sanskrit literature and poetics worked hand in hand eastablished various theory of poetics. Rasa, Vakrokti, Alamkara, Auchitya, Riti etc. are branches of Indian poetics. Inadian poetics provides deeper understanding-तलावगाहन for literature.

Language is vocal symbol and experience based interpretations are limited. So, criticism makes vision broder in evaluating work of art.  Basically there is classification of Indian Poetics. It is devided in below catagories. 

1. Rasa theory by Bharata

Indian Poetics Blog( Visit this link)

2. Dhvani theory by Anandvardhan

3. Vakrokti theory by Kuntaka

4. Alamkara by Bhamaha

5. Riti by Vaman

6.Auchitya by Kshemendra

7. Anumiti Theory

Dhavni Theory by Anandvardhna

 

 The Dhvani Theory found its first systematic expression in Ānandvardhan's 'Dhvanyāloka'. For simple understanding Dhvani is voice which helps us to complete a word; ક્ + અ = ક here અ is Dhvani which completes ક્. It is basically a branch of linguistic. For example this sentence has different meaning if we emphsized upon different words.

 તમારી લાલ પેન્સીલ મને આપો. 

Your pencil, red pencil, give, and give it to me. This all interpretations can be possible while doing this practice. Possibilty of multiple interpretations based on pronounciation, syllable, placing of words etc.

Chainese and Japanize languages are more symbolic in this sense. So Dhavni is, 

विभाजित लावण्यम् इव अंगनाशु ।।

Dhvani adorns poetry and beauty adorns women. Dhavni is made of Varna-alphabet and makes Artha. It leads to arthasphota, while we are speaking work "tree" there is arthsphota and one recognizes the tree. 

ધ્વનિ એટલે પ્રતીયમાન અર્થ..

Getting new meanings through the same words is Dhvani- apparent meanings. That is the soul of poetry. Morover, it is symbolic.

Acarya Mammata devides Dhavni in three parts.

शक्तिःकावितवबीजरूपे संस्कारविशेसप्राप्ते याम्विना काव्य न प्रसरित ।

In Raghuvansh Kalidas compared Shabda and Artha to Shiva-Parvti. It is united in that sense.

वागर्थाविव सम्पृक्तौ वागर्थप्रतिपत्तये ।

जगतः पितरौ वन्दे पार्वतीपरमेश्वरौ ॥

Dhavni is coding and Artha is decoding. Meanings are imposed on words. Idioms are also example of Dhavni. 

તું અજાણી ભાષા, તારો સમજુ કેવળ સાદ,

  પછી રૂદયમાં સંગોપીને કરું સહજ અનુવાદ.

अभिधा (Abhidha) - Literal Meaning of the word

लक्षणा (Lakshana) - Characteristically Meaning of the word

व्यंजना (Vyanjana) - Poetic & Metaphysical Meaning of the word

When words and meanings are competing with each other reaches to its zenith at that time Rasa Dhavni is experienced. The gujrati poem "જૂનું ઘર ખાલી કરતા' and "સ્થિર થયેલા અહલ્યાના ધબકારા" are example of feeling the rasa dhavni. 

Vakrokti theory by Kuntaka

शब्‍दार्थौ सहितौ वक्र कवि व्‍यापारशालिनि।

बन्धे व्‍यवस्थितौ काव्‍यं तद्विदाह्लादकारिणी।।

Kuntaka in his book "VAkrokti-jivitam" emphasized extra wordly statement. Vakrokti means वैदग्ध्य भंगी भनिति. In a way it is born out of poetic proficiency. That means statements strikingly different from the Loka-varta [ordinary speech] named as it. It is connected with the theory of Aesthetics.

Examples of it.

"હું ચાહું છું સુંદર ચીજ સૃષ્ટિની,

અને જે અસુંદર કરી મુકું સુંદર ચાહી ચાહી."

વિનિપાત કૃતિ ધૂમકેતુની

"જેવા નાહ્યા પછીના નખ કૂણાં, સખી મારા સાજન એવા સલુણાં"

"કાગળો શે લખવા ? વેરાન આંગળીઓ તો રહીને છાણે પાદર વચાળ "

As T. S. Eloit highlights the importanced of leraned scholar for writing poetry or even reading poetry, similarly Kuntka told this. Only learned men can enjoy the real essence of the poetry.

Vakrokti can be divided in six categories:

વર્ણવિન્યાસ- the phonetic level:

Repetation of varna and music in it.

नव कंज लोचन कंज मुखकर कंज पद कन्जारुणम ।

પદપૂર્વાર્ધ- the lexical level: 

હરિવર મુજને હરિ ગયો મેં તો કઈ હેત કીધું નોતું 

કામિની કોકિલા કેલી કૂજન કરે 

તને ખોટું ના લાગે તો એક વાત કહું, આજથી તારામાં હું રોજ રોજ રહું.

All this examples reflecting the lexical level. 

પદપરાર્ધ- the grammatical level:

The whole statement is depended on first letter

વાક્યવક્રતા- the sentential level: 

A miraculous or enchanting description of an object  

"To be or not to be, that is the question."

"સંપ ત્યાં જંપ"

"You too Brutus ! "

પ્રકરણ- the contextual level: 

Taking a part of any literary art or legend and enlargement of it by poet’s own interpretation.

Antony's speech in Julier Caesar, Chakdol prasang in  Malela Jiv, Viti Abhignan in Abhijnan Shankuntalm are examples of it. If we remove this then whole work would be meaningless. 

પ્રબંધ- the compositional level : 

One linear meaning of a whole text or any literary art. 

1. Ramayan- સદબુદ્ધિ અને લોકકલ્યાણ 

2.મહાભારત- દુઃખ સનાતન સત્ય 

3.હિતોપદેશ અને પંચતંત્ર ની વાર્તા

4.વેવિશાળ- માર્ટા મુખે પ્રતીક્ષા નું પાણી 

Detailed Explanation : 

1. Varna Vinyasa Vakrata

• Meaning: Varna Vinyasa Vakrata refers to the arrangement of sounds or syllables (varna) in a beautiful, artistic, and effective manner. The emphasis is on the musicality and beauty of expression.

• Function: By placing words and sounds in the right order, it creates rhythmic harmony, musical sweetness, and aesthetic pleasure.

• Relation to Vakrokti: Vakrokti means “oblique expression” or “deviation from ordinary speech.” In this context, Varna Vinyasa Vakrata is about the phonetic charm that arises through repetition, alliteration, and specific sound patterns.

• Examples:

  • Figures of speech:

    • Anuprāsa (alliteration) – repetition of consonant sounds.

    • Yamaka (repetition of words or syllables) – artistic play on repetition.

    • Komala (soft sounds), Purusha (strong sounds), Upanagika (harmonious blend).

  • Illustration: “कुन्तल कटक कटु घन निनदन” – repetition of sounds produces aesthetic effect.

• Scholar’s Note: According to Ramaniyata, beauty in poetry is significantly dependent on sound arrangement.

2. Pada Paryay Vakrata (Prakṛti-Vicchitti Vakrata)

• Meaning: This form of vakrata is concerned with the use of words (pada) in novel, creative, and figurative ways.

• Aspects:

  1. Rudhi Vichitratā – Using words in uncommon or figurative meanings.

  2. Paryaya (Synonyms) – Employing synonyms for variety and freshness. Example: Instead of using ‘jal’ always for water, one may use ‘toya’, ‘payas’, or ‘salila’.

  3. Upacara (Metaphorical Extension) – Use of words in transferred sense. Example: “चाँद का मुँह टेढ़ा है” (The moon’s face is crooked).

  4. Viśeṣaṇa (Exaggeration) – Words used with heightened qualities. Example: calling someone “ocean of kindness.”

  5. Samnoy (Personification) – Attributing human qualities to non-human things. Example: “Time waits for none.”

  6. Prayoga (Idiomatic Usage) – Using phrases in their idiomatic beauty. Example: “आसमान सर पर उठाना” (to create chaos).

  7. Bhūti, Nāma, Kriya – Creative play with naming, attributes, and actions.

3. Pada-Prachurya Vakrata

• Meaning: Vakrata that emerges from the abundance, richness, and arrangement of words.

• Examples:

  • Kaal (Tense) – Artistic shifts between past, present, and future.

  • Karakas (Case usages) – Using cases creatively for emphasis.

  • Vachana (Plural and Singular) – Poetic use of plural for grandeur or singular for intimacy.

  • Paryaya (Synonyms) – Varied choice of words for elegance.

  • Upagraha – Use of minor linguistic embellishments.

  • Prayoga – Employing colloquial or special usage for charm.

4. Vākya Vakrata

• Meaning: Vakrata that lies in the construction of sentences rather than individual words.

• Characteristics:

  • Sahajata (Naturalness) – Sentences should appear effortless and flowing.

  • Saubhavatā (Gracefulness) – The sentence must carry a smooth elegance.

  • Ābhāṣa (Illusion of Simplicity) – Although artistic, it should appear natural.

  • Alankāra (Figures of Speech) – Simile, metaphor, and other devices enrich the sentence structure.

5. Prakaraṇa (Plot/Structure of Episodes in a Work)

• Meaning: Prakaraṇa deals with the episode construction in literature, especially in dramas and epics.

• Key Features:

  1. Bhavyam Condition – Episodes must create emotional richness and depth.

  2. Upapadya Navarasa – Episodes should allow liberty in evoking different rasas (sentiments).

  3. Usefulness of Episodes – Each episode should be connected to the main action; unnecessary digressions must be avoided.

  4. Avoidance of Excessive Episodes – Overcrowding makes the narrative heavy.

  5. Detailed Descriptions – Descriptions of important and interesting events must be provided.

  6. Illustrations – Use of metaphor, imagery, and examples enhances clarity.

  7. Eloquence – Episodes must have rhetorical beauty.

  8. Sequential Order – Events must follow a logical sequence.

  9. Intersectionality – Different storylines should meet meaningfully.

6. Prabandha (Composition as a Whole)

• Meaning: Prabandha refers to the entire literary composition, with emphasis on structure, transformation, and narration.

• Aspects:

  1. Transformation of Original Story – While retelling myths or epics, poets add creative variations to make them unique.

  2. Protagonist Enhancement – Central characters are elevated to highlight virtues, flaws, or struggles.

  3. Namkaran Vakrata (Renaming or Retitling) – Through re-telling, poets often give new titles and new perspectives to age-old stories, thus ensuring freshness.

These six aspects—Varna Vinyasa, Pada Paryay, Pada Prachurya, Vākya, Prakaraṇa, and Prabandha—cover the different levels of vakrata (poetic obliqueness) that make literature aesthetically beautiful, structurally sound, and emotionally rich.

Alamkara by Bhamaha :

 

 Almkara is literally means ornaments. In literature figures of speech is used or metaphor for making language more attractive. Bhamaha said that Almkara is imposed in the Kavya, if it reveles as Almkara then  poet failed there. 

There must be melting use of Almkara so that it is not identified and gives plesure. In Sahityadarpna Vishvnath considered 96 Almkaras. 

Upama or Simile: 

Upama is a type of Alankara that involves comparing two different things to create a similarity between them. For example, “She was as beautiful as a rose” is a simile that compares a woman’s beauty to that of a rose. 

Rupaka or Metaphor: 

Rupaka is a type of Alankara that involves the use of a word or phrase to represent something else that it is not literally applicable to. For example, “He was a lion on the battlefield” is a metaphor that represents a person’s bravery and strength as that of a lion. 

Atishayokti or Epithet: 

Atishayokti is a type of Alankara that involves the use of a descriptive word or phrase to enhance the effect of a statement. For example, “The Great Wall of China” is an epithet used to describe the massive and magnificent wall built in China.

Anuprasa or Alliteration: 

Anuprasa is a type of Alankara that involves the repetition of the same sound or letter at the beginning of consecutive words. For example, “Peter Piper picked a peck of pickled peppers” is an example of alliteration.

Vakrokti or Irony: 

Vakrokti is a type of Alankara that involves saying something but meaning something else. Irony is the most common type of Vakrokti. For example, “Oh, what fine weather we are having today” said sarcastically on a rainy day.

Dwani or Suggestion:

Dwani is a type of Alankara that involves suggesting a meaning through the use of words or phrases. It involves conveying a message or idea that is not explicitly stated in the text. For example, “The silence in the room was deafening” suggests the intensity of the silence in the room.

Riti by Vamana :

'रीतिरात्मा काव्यस्य; विशिष्टापदरचना रीति: |'

Riti means style. Kavyalankasutra is the poetic work of Acharya Vamana, where he talks about riti. For Vamana, that formless, indeterminate essence of Kavya is Riti.Vamana said; the essence of Kavya is Riti (रीतिरात्मा काव्यस्य); just as every body has Atma, so does every Kavya has its Riti.

First pattern or style then it leads to writing style. Forms dictats the style, that means sonnet would be written in 14 lines or drama written in dailouge form. Kalidas is known for 'Vaidarbi Shaily.' other types of ritis are Panchali, Gaudi, Lati,Vaidarbhi etc.

Auchitya by Kshemendra

Kshemendra in Kavikanthabharana introduces to auchitya school. It means justification, propriety, decency

उचितं प्राहुराचार्याः सदृशं किल यस्य यत्।

उचितस्य च यो भावस्तदौचित्यं प्रचक्षते॥

He said Auchitya is the life of Kavya (Kavyasya jivitam) that is endowed with Rasa (Aucityam rasa siddhasya sthiram kavyasya jivitam).

The most essential element of Rasa , he said, is Auchitya. The test of Auchitya is the harmony between the expressed sounds and the suggested Rasa. And , he described Auchitya as that laudable virtue (Guna) which embalms the poetry with delight.

According to Kshemendra, “When one thing befits another or matches perfectly, it is said to be appropriate, Auchitya”. 

Anumiti Theory by Annambhatt : 

Meaning in Philosophy

• In Indian philosophy, Anumiti is recognized as one of the four kinds of pramāṇa (valid sources of knowledge or right experience).

• The other pramāṇas generally include pratyakṣa (perception), anumāna (inference), upamāna (comparison), and Sabda (verbal testimony).

• According to Annambhaṭṭa’s Tarkasaṃgraha, Anumiti specifically refers to inference-based knowledge.

• Buddhi (knowledge) is divided into two types:

1. Anubhava (Experience) – direct and immediate knowledge.

2. Smṛti (Recollection) – memory-based knowledge.

Meaning in Literary Criticism

• In the field of Sanskrit poetics, Anumiti has been adapted as a critical category.

• It denotes an inference-based approach to the theory of rasa (aesthetic experience).

• According to this theory, rasa is not directly manifested but is inferred (anumita) by the reader or audience from the poetic expressions.

• Thus, aesthetic relish (rasa-svādana) is considered a product of inference, not direct perception.

Thank You.

Workscited : 

Kapoor, Kapil. Text and Interpretation: The Indian Tradition. Indian Institute of

Advanced Study, 2005.

Varakhedi, Srinivasa, editor. Essence of Indian Knowledge Tradition. Bharatiya Vidya Bhavan, 2021.

Devy, G. N., editor. Indian Literary Criticism: Theory and Interpretation. Orient Blackswan, 2002.