Indian Poetics:-

From the ages, different scholars have tried to defined Kavya in different manners. Among them all, scholars have tried to discover soul of Kavya. Kavya is just like that one cannot easily define or give any punctuation marks indeed it is the experience of enjoyment. Aristotle has defined in his Poetics but it rather deals with simply two aspects or Rasas pity and fear, while Indian Poetic is easy and yet much deeper Poetics. Different Scholars have introduced various mimansas about poetics. Western Poetics deals with the result of the poetry while Indian Poetics deals with process of poetry. In Indian Poetics, external tools can help to understand poetry. According to Indian Poetics “Literary Criticism is Literary Philosophy.”

The Sanskrit word for literature is SAHITY, which etymologically means coordination, balance, concord and contact. In the Indian Poetics definition of literature defined as kavya as Aristotle defines “Poetics”. It enhances beauty and worth but there is spine line difference between Indian Poetics and Western Poetics.

Indian poems are based on Sanskrit poetry. Sanskrit poetry developed in all directions, like " Ramayana " and " Mahabharata ". Ramayana is written by "Valmiki" as the first poem in Sanskrit. Ramayana is not only hard work of valmiki but also composition of many different things. This way Mahabharata ,Slokas , Parvas , Vedas , Upnishadas are also very important in literature.

In Indian Poetic Bharatmuni ,Panini,Kalidas,Kuntaka , Bhamaha and many other great poets who wrote about the history and about the culture of India.

Schools	Founder	Text In which School is introduced
School Of RASA	Bharatamuni	Natyashashtra
School of ALAMKARA	Bhamaha	Kavyalamkar
School of RITI	Vamana	Kavyalamkarasutra
School of DVANI	Anandvrdhana	Dhvnyaloka
School of VAKROKTI	Kuntaka	Vakroktijivit
School of AUCITYA	Kshemendra	Aucityavichara

(1) School of Alamkara

Bhamaha is the first who introduced alamkara poetics. Second and third chapter of KAVYALLAMKARA deals with 35 figures of speech.

Previously the science of poetics was known as alamkara-shastra. Though there were rasa ,guna, riti, the importance was given to almkara and thus the whole science was called as alamkara-shastra. When the dhvani school becomes dominating this name seems to be improper. Then this science called as 'Sahityshastra.

The original meaning of the word alamkara is ornament and the same meaning is reflected in this term alamkara- shastra or kavyashastra “ the science of that particular element which adorns the poetry.”

Alamkara as a school:

Bhamaha is considered as a founder of this school. Udbhatta, Dandi, Rudrata, Jayadeva all these are the followers of this school. This school believes that there is rasa(emotion), riti ( a special style of writing) in the kavya (poetry) but the alamkara is dominating feature of it.

Definition of alamkara:

The word is derived from the root Kr with the prefix alam. Which means to decorate, to adorn. {Alamkaroti iti alamkarah.

- Various definitions of Alamkara

Þ Vamana says in his “Kavyalamkarasutra”, “Saundaryam Alamkarah”{Beauty is alamkara}.

Þ Dandi says in his “Kavyadarsha”, “ Kavya shobhakaran dharman alamkaran prachakshate”. (Those things which decorate the poetry are called alamkara.)

In this definition of almakara has described that there was use of language its idea about poet and poetry of art and many concept of magician of language and very important part of literature. Some critic believe that poet psyche is ‘ALMAKAR’ and there followers rely trust of use of almakara language. Poem does not interest without Almkara.

" Bhamaha " is the first Alamkara poetician. In chapters 2 and 3 of " Kavyalamkara "he describes 24 figures of speech. There are two types of Alamkaras.

*Alamkara*
*Arthalamkara*	*Shbdalamkara*
*Vastava (Realistic)*	*Swdt (Eluviation)*
*Anupamaya (Comparison)*	*Slesa (paronomasia)*
*Astisaya (Exaggeration)*	*Citra (Pectoris)*
*Slesa (Coalescence)*	*Yamaka (Repetition)*
	*Anuprasa (Alliteration)*

Mammata enumerates sixty-one figures and groups them into seven types like…

1.Upma(simile)

2.Rupaka(Metaphor)

3.Aprastuta Prasmsa(Indirect decription)

4.Dipaka(Stringed figures)

5.Vyatreka(Dissimilitude)

6.Virodha(Contradiction)

7.Samuccaya(Concatenation)

(2)School of Riti

Riti is the way of presentation or the style of presentation. He is one who developed it into a theory of “Vishista Padrracana” . Riti is a formation of arrangement of marked inflected constructions. Vamana’s scheme of the Gunas can tabulated thus:

Sabda Gunas	Artha Gunas
*Ojas or compactness of word structure*	*Ojas or maturity of conception*
*Prasad or laxity of structure*	*Prasads, clearness of meaning by avoidance of superiority*
*Kanti or brilliance*	Kanti or prominence of Rasas

four types of styles.

Types of styles

Vaidrbhi style

Panchali style

Gaudi style

Lati style

Vamana took the ten gunas of Bharata and Dandi but hr traced all gunas separately as belonging to the expression and as belonging to the meaning thus masking their number twenty. He defined them in his own way to suit his theory of Riti and stated that at the gunas existed clearly and fully in the Vaidarbha riti which only a few of them exited in other ritis.

To the early styles vaidarbha and gaudiya style of ancient writers. Vamana added a third one called Panchali all these are geographical names and suggest the style popular in those regions and he defines these ritis in his own way:

i. Vaidarbha: According to vamana vaidarbha is that style which is untouched by even the slightest blemish, which is full of all the qualities and which is a scoot as the lute.

ii. Gaudiya style: The gaudiya style is characterized by Ojas and Kanti but it devoid of madhurya and saukumaryo it is full of long compound and bombastic words.

iii. Panchali : Panchali is the style which has the qualities of Madhurya and saukumarya and is devoid of ojas and kanti. It is soft and resemble the puranic style.

In their all of over things like that very interesting way of vamanna explain that how can poet make in common to different way of thinking. The Riti School developed by vamana was a serious attempt in this direction on all later critics.There theory is also useful to poetic version of totally depend not on one things but many things and some abstract is very important Role of model.

(3) School of Dvani

Dhvani means The suggestive quality of poetic language. Another regards to this sense of poetry next school of thinkers, known as SCHOOL OF DVANI headed by Anandbardhan. He points that it is not the literal, simple or direct and referential meaning that poetry properly expresses, but it suggests indirect and emotive meaning. Hence, through the words of a poem must be given their due importance and the same with regard to the literal sense the denote, yet both the words and their direct meaning to express itself. The theory proposed in Dhvnyaloka by Anabdvardhana is known as the name of “Dhvani”. ‘Dhvnyaloka’ is itself a huge compendium of poetry and poetics.

. Dhvani is inoexiatent.

· Dhvani is something beyond the realm of words.

· Dhvani is a product of inference and is to be include under Lksana.

(1)Abhidha – Direct meaning

(2)Lakshna – We have direct meaning but we have to take another one.

(3)Vyanjana – There is the existence of direct meaning yet we have to use another meaning of word.

Here very most important things these theory of basic idea about which sound and words use of equally to create to poet that time ones things growth to in his poetry and play. It is symbolical language of sound and words and music is also including them. Andhvardahn very naturally decreeing of upper or lower division of sound or words to spoken by man.

Their division are beautifully contrast of Anandvardhana abd he has main chiefly explain that all poetry and literature when writing that w.riter was establish his naturally something’s with different type use of language and then time all three things are developing .

The intonation adds a layer of suggested meaning to the directly expressed meaning of an utterance:

(4)School of Vakrokti

Kuntaka is known as the orinator of this Sanskrit literary theory. Vakrokti is a theory of poetry which perceiveives poetry essentially in terms of the language of its expressions. Here Vakrokti turns into beauty.

Vakrokti is theory of language of literature. KUNTANK was father of this theory and development of idea about simple and different way of performance.

Vakrokti :- Vakra + Ukti

Vakra :- Crooked indirect or unique.

Ukti :- Poetic expression or speech

According to Kuntaka it would be too fastidious to expect any single standard applicable to the appeal of all poetry because there can be a hundred and one different reason for the peal of different poems to men of taste.For kantaka even dhvani may be one of the important features for the expression of the poets’ Pratibha or genius.

Vakrokti of kuntaka is a synonym for the principles of beauty underlying all kinds of poetic language. It is also strongly connected with vaichitrya (streakiness) and vichchitti (beauty).

Here main important point out that this theory is assumed the Poetry is soul is ‘Vakrokti’.And that time founder of this theory Kunatank & Bhamah believe that many make of language does appreciate and collaboration to connected to words and vocabulary.

Kuntaka has classified forms of vakrokti in six fold.

1. Varna: shabdalankaras & avana - guna

2. Padopurvardha: suggestive use of linguistic elements & gunas

3. Pratyaya: suggestive use of affixes etc....

4. Vakya: figures of sense

5. Prakarama: episode in plot with unity and originality

6. Prabandha: whole plot

Here in Vakrokti " Six Gunas " ( Qualities ) are identified in literary style.

1. Aucitya

2. Saubhagya

3. Madhurya

4. Prasada

5. Lavanya

6. Abhijatya

In the conclude that this theory approach was many controversies work of art and literature that Acharya Bhamah to be noted than:

सैषा सर्वत्र वक्रोक्तिरनयाsर्थो विभाव्यते ।

यत्नोsस्यां कविना कार्यं कोsलंकारोsनया विना ।।

Here this Sanskrit Sentence get meaning of that vakrokti theory is subdivision of Almakara school so Fact that there theory is depended upon to Almakara theory.

(5)School of Aucitya

Kshemendra’s discussions of the principle of Aucitya is from the point of view of both the writer and the reader and is articulated in its given cultural and philosophical context. Kshemendra made aucitya spine elements of literarinmess. He defines aucitya as the property of an expression being an exact and appropriate analogue of the expressed.

The concept of propriety with reference to custom, subject, characters and sentiment recourse in almost all theorists and is often discussed in association with figures of speech, guan, dosa and rites.

Acharya Ksemendra was main founder of this theory and his books ‘AUCHITYAVICHARCHRCHA’ that his acceptable of ‘Poem Atama’s as a Achitya’.

That means poetry should be made by vastu,rasa,dhvani,and all over things were important but only for appreciable Achitya. If the poetry repentance of without almakara, guna, that not for good qualities but very poor things of reproduce. Anandavardhana relates this principle specifically to rasa. It has been used for propriety in delineating bhavas according to character and in the choice of margas.

(6)School of Rasa

Bharatamuni is the one who first gave Indian Mimansa.Acoording to him, language and voice are very different and just because of this it is impossible to settle everything in language as language is immortal while emotions/Bhavas are mortal. Rasa is spine of the poetry. Rasa theory is superior among all theories.

T. N. Shreekantaiyya says that, “The principle of Rasa is the very central part of Indian poetics. It is the nectar that founders or thinkers have obtained after churning the ocean of poetry.”

What is RASA?

“A blending of various Bhavas arise certain emotion, accomplice by thrill and a sense of joy is Rasa.” In the sixth chapter of Natyashashtra he explains NATYARASA and RASA as the soul of poetry.

विभावानुभावव्याभिचारी संयोगात रसनिष्पत्ति ।

He has mentioned nine Rasas in Natysastra with its colour and god.

श्रृंगार-वीर-करुणाद्भुत-हास्‍य-भयानका: ।

बीभत्‍सरौद्रौ शान्‍तश्‍च रसा: नव प्रकीर्तिता: ।।

Sentiments	Bhavas
*Erotic*	*Attractiveness*
*Comic*	*Mirth*
*Furious*	*Furg*
*Pathetic*	*Tragedy*
*Odious*	*Aversion*
*Heroic*	*Heroic Mood*
*Bhayanaka*	*Horror*
*Adbhutam*	*Wonder*
*Shantam*	*Peace*

Worthy to note that RASA comes out only because of these four BHAVAS Vibhav, Anubhav, Sancharibhav, Sthayibhav and Sthayibhav. Natysastra is foundation of fine arts in India.

Vibhav	Anubhav	Sancharibhav	Sthayibhav
*Emotions arises because of Vibhav*	*Reaction of Bhavaka*	*Comes and go*	*Mirth, love, sorrow etc.*

There are four critics of Bharatmuni’s Rasa theory and they have increased this concept.

Four Critics of RASA theory
*Bhatta Lollata*	*Creationism*
*Shree Shankuka*	*Permissiveism*
*Bhatta Nayaka*	*Nepotism*
*Abhinavagupta*	*Expressionism*