ThAct: Indian Poetics: Summaries & Key Takeaway of expert Sessions by Prof. Vinod Joshi Sir
This task is given by Dilip Barad Sir, Teacher's Blog
In this blog I share my notes of Indian poetics. I took these notes from an expert lecture by Vinod Joshi Sir.
Date 15-1-25
"Literature is the medium through which we express our happiness."
The meaning of poetry is reflected in literature.
Poetry - Poetry includes drama, and drama within poetry.
Art creator - Literature stands as a counterpart to nature, allowing us to ponder.
Man is born - to face GANGA-movement.
Musician - The support of music is a musical peak.
An artist and their art are two parts of a single whole.
We can achieve a barrier-free understanding of our experiences through literature.
(Aesthetic creation is offered by the artist.)
"Literature enlarges feelings."
Date 16-1-2025
School of rassa
Natyashastra- Bharatmuni
Dhvani sampraday- Anandvardhan
Vakrokti sampraday- Kuntak
Alankar sampraday- Bhamah
Riti sampraday- Vaman
Auchitya sampraday- kshemendra
Ramaniyata- Jagannath
Bhartiya rasamimansa ( Indian theory of rasa) is advancing it is 2500 years old.
Emotions are natural and inherent
Present in the entire universe
Emotions awaken with favorable conditions such as love and enthusiasm
Emotions in dormant state awaken due to circumstances
Bharata Muni, in the 6th chapter of Natyashastra, stated that emotions (bhava) evoke the experience of rasa (aesthetic pleasure) in us, and these emotions are called 'sthayi bhava' (stable emotions).
Stable emotions:
Rati - Shrungar bhav
Shok - Karun bhav
Utshah - Veer rasa
Krodh - Raudra bhav
Hash - Hasya rasa
Bhaya - Bhayanaka
Jugupsa - Bibhatsa
Vismay - Adbhut
Sham - Shant or Nirved
The nine emotions exist throughout the entire universe.Emotions can be suppressed, but not eliminated.
When the stable emotion called Rati (love) reaches its peak, and with the help of determinants (Vibhava), consequents (Anubhava), and transitory states (Sanchari Bhava), the emotion of Shringara (romance) emerges.
Bharata Muni, in his book on drama, said that there are three ways to enjoy a play:
By watching it (visual drama)
By listening to it (auditory drama)
By reading it (scriptural drama)
For a play to be effective, it needs to engage the audience, and its purpose is to create a connection (empathy) with the viewers.
Date: 17-1-2025
Mammat, in his work Kavya-Prakasha, states that the poet's speech which achieves success is the speech that is enriched with the nine rasas (emotions). Such speech is delightful.
Rasa is not permanent. The mind experiences it repeatedly. Compared to the rasa of Brahman, it is the poet's speech that attains success.
"भारती कवियों रूचिरः"
It means : Rasa is produced through the combination of Vibhava, Anubhava, and Sanchari (Vyabhichari) Bhavas.
That which serves as the basis and is taken as the support in communication is called Vibhava. There are two types of Vibhava: Alambana Vibhava and Uddipana Vibhava.
When both Alambana (supporting) and Uddipana (stimulating) Vibhavas combine, Rasa is produced. Often, Rasa can surpass even the Uddipana (stimulus) to such an extent that it can be depicted beyond it.
Anubhava: Expression in response to expression.
Sanchari Bhava: Sanchari Bhava refers to those emotions that come and go, and do not remain steady. Mammat has described 33 Sanchari Bhavas that appear and disappear in favorable or unfavorable ways according to the Rasa.
Sthayi Bhava is like a lake, while Sanchari Bhavas are like the waves in the sea. R.V. Pathak
There should always be a constructive perspective for rasa.
Date: 18-1-2025
The creation of interest in actors and actresses is not inherently generated; rather, it is produced through imitation. The essence of drama is not solely derived from actors and actresses but also from the playwright, director, and audience. Shankuka has stated that the audience makes inferences and is free to think in various ways. He introduced the 'Chitratourag Nyaya' (the analogy of the painted horse) to explain this concept. According to Shankuka, there are four types of perceptions:
Correct perception or realistic perception, e.g., "This is Dushyant."
False perception, e.g., "This is not Dushyant."
Doubtful perception, e.g., "This might be Dushyant."
Analogous perception, e.g., "This resembles Dushyant."
Shankuka's significant contribution lies in interpreting 'Rasa Nishpatti' (the manifestation of aesthetic flavor) as the inference of rasa, thereby establishing the theory of imitation or inferentialism. According to his inferentialism, determinants (vibhavas) act as causes, consequents (anubhavas) as effects, and transitory states (vyabhichari bhavas) as accompanying factors. Through deliberate effort, actors portray these elements. When presented in a play, despite being artificial, they do not appear so due to the inherent beauty of the subject matter, creating an illusion of authenticity. The audience, through inference, perceives the imitated stable emotions (sthayibhavas) of characters like Rama. This inferred stable emotion is termed as rasa. The comprehension of determinants occurs through poetry, consequents through training, and transitory states through experiential knowledge. The perception of the stable emotion is not achieved through poetry alone. This concept is illustrated by the 'Chitratourag Nyaya' (the analogy of the painted horse). In a painting, a depicted horse is perceived differently—correctly, falsely, doubtfully, or analogously. Similarly, in the context of actors, a specific cognition of characters like Rama arises. Shankuka's perspective is unique in this regard.
Date: 20-1-2025
Shri Shankuka's theory is known as 'Anumitivada' (Theory of Inference). He interpreted 'Rasa Nishpatti' (the manifestation of aesthetic flavor) as the inference of rasa, thereby establishing the theory of inference or inferentialismAccording to Shankuka's inferentialism, determinants (vibhavas) act as causes, consequents (anubhavas) as effects, and transitory states (vyabhichari bhavas) as accompanying factors, which are portrayed by actors through performance.
Bhāṭṭa Nāyaka proposed the 'Sādhāraṇīkaraṇa' theory, also known as the 'Generalization Theory'. According to him, aesthetic enjoyment (rasa) is realized when the emotions depicted by the actors, the creators, and the audience align in a universalized manner. This process of universalization allows the audience to experience the emotions portrayed in literature or performance as their own, leading to aesthetic relish. For instance, in the phrase "The vast swing is tied to the sky," the imagery is universalized, enabling the audience to connect with the emotion conveyed. This concept of sādhāraṇīkaraṇa is central to the realization of rasa.
Abhinavagupta introduced the 'Abhivyakti-vāda' (Theory of Expression), emphasizing that aesthetic experience is a manifestation of the innate dispositions of the self, such as love and sorrow. He described this experience as a state of resting in self-revealing knowledge, transcending ordinary experiences. Abhinavagupta's theory synthesizes various earlier perspectives, proposing that rasa is often experienced as an illusion (rasa-ābhāsa). In this context, the connoisseur (sahridaya) relishes the aesthetic experience.
It's noteworthy that the concept of universalization in aesthetics is not exclusive to Indian poetics but is also present in Western poetics. Both traditions recognize the process by which specific emotions or situations are presented in a generalized manner, allowing audiences to connect and resonate with the artistic expression.
Date: 22-1-2025
Dhvani is the soul of literature – Ānandavardhana.
Alankara (Figures of speech) are external embellishments of literature.
विभातिलावण्यभिवाङगनासु |
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