Thinking Activity - Indian Poetics

 This Blog is a response of thinking activity on Indian Poetics given by our professor Dr.Dilip Barad Sir.

Every year Indian Poet Dr.Vinod Joshi Sir comes to our department, and Students of English Department and Gujarati Department get the chance of studying for seven days with Sir.

 

Sir talked about વિચાર, ભાષા, ક્લા, ભાવજગત, નાટ્યશસ્ત્ર, રસ, ધ્વનિ, ઔચિત્ય,વક્રોક્તિ, રીતિ, and અલંકાર.

Introduction of Indian poetics:-

Indian poetics is a vast and diverse field that encompasses the traditional systems of poetry and literary criticism in Indian literature. These systems, known as alankaras, are based on the principles of rhetoric and aesthetics, and are central to the study and appreciation of Indian poetry and literature.

One of the earliest and most influential Indian poetics texts is the Natyashastra, written by the ancient Indian sage Bharata Muni. This text, which dates back to the 2nd century BCE, lays out the basic principles of Indian poetics, including the concept of rasa (emotional flavor), which holds that a work of art should aim to elicit a particular emotional response in the audience.

Indian poetics also includes the concept of dhwani, which means "suggestion" or "implication," and refers to the use of literary devices to create a particular emotional or aesthetic effect. This can include the use of metaphor, simile, and other figures of speech.

Another important concept in Indian poetics is alamkara, which means "ornamentation" or "decoration." This refers to the use of literary devices such as alliteration, rhyme, and metre to enhance the beauty and impact of a work of literature.

In addition to these concepts, Indian poetics also includes a wide range of other literary devices and techniques, such as the use of imagery, symbolism, and narrative structure, that are used to create a rich and varied literary landscape.

Overall, Indian poetics is a complex and multifaceted field that has played an important role in shaping Indian literature and culture for centuries.

Indian poetics means Kavya which is written in India, In Indian language. In Indian poetics we find six schools of theory.

1) The Rasa(aesthetic pleasure) theory

2) The Alamkara (poetic figures) theory

3) The Dhvani(suggestion) theory

4) The Vakrokti(obliquity) theory

5) The Riti(style) Theory

6) The aucitya(propriety) theory

1) The Rasa(aesthetic pleasure) theory:-

शृंगार करुण वीर

         रौद्र हास्य भयानक।

बिभत्स्यद्रभुत शांतश्व

          नव नाट्य रसा: स्मृता।।

                    - अभिनव गुप्त 

१) करुण - Sorrow

२) भयानक - Terror

३) रौद्र - Anger

४) शृंगार - रति - love

५) वीर - उत्साह - Energy

६) हास्य - Mirth

७) बिभत्स - जुगुप्सा - Disgust

८) अदभुत - विस्मय - Astonishment

९) शांत - निर्वेद - Calm

આ ઉપરાંત અનેક ભાવો છે.પણ ઉપર મુજબ ના સ્થાયી ભાવો છે. ઘણા ભાવો જે આવે અને તરત જતા રહે તેને સંચારી ભાવ કહેવાય છે.

Ex સમુદ્રનું પાણી એ સ્થાયી ભાવ કહેવાય પણ તેના આવતા મોજા સાંચરીભાવ કહેવાય.

Sir also told us that,

ભાવ દ્વારા રસની રચના કરવામાં આવે છે.ભાવ એ વચિક્રમને બદલે છે.

અનુભાવ - પ્રતિક્રિયા (reaction)

સંચારી ભાવ - ક્ષણિક હોય તેવો ભાવ

Rasa theory is a concept in Indian aesthetics that refers to the emotional flavors or "essences" that are evoked in the audience by a work of art, literature, or performance. The theory has its roots in the ancient Indian texts known as the Natyashastra and the Abhinavabharati, and it is an important aspect of Indian classical performing arts such as dance and theater. The Natyashastra describes eight primary rasas, which are:

Shringara (romantic/erotic love)

Karuna (pathos/sorrow)

Hasya (mirth/comic)

Veera (heroism/boldness)

Bhayanaka (terror/horror)

Adbhuta (wonder/amazement)

Bhava (sentiment)

Shanta (tranquility/peace)

The Rasa theory is also used as a metaphor in various spiritual and philosophical contexts, to describe the emotions and feelings evoked by spiritual practices, and the ultimate goal of spiritual realization.

Sir also give his own definition -

રસ છે એ વ્યક્તિગત આવેભાવ છે અને એ અનેક પરિણામો પર આધારિત રાખે છે. 

2) The Alamkara (poetic figures) theory:-

Bhamaha is the first who introduced alamkara in Indian poetics .

The study of alamkara is an essential part of the study of Indian poetics and is still studied and used by poets and writers .

The Alamkara theory is part of Indian poetics, and its earliest reference is found in Natyashastra, written by Bharata Muni. Natyashastra is considered as the scripture of Indian dramatic art.

The use of alamkaras in literature is considered an important aspect of creating an aesthetically pleasing work. However, it is also important to use alamkaras in a balanced way so as not to overpower the content of the work.

Alamkara is a theory of literary ornamentation in Indian aesthetics. It is a set of literary devices used in Sanskrit poetry and drama to enhance the beauty and expressiveness of a work. These devices include metaphors, similes, and other figures of speech, as well as other stylistic elements such as sound patterns and wordplay. The theory of alamkara is an important part of the Indian tradition of literary criticism and is still studied and used by poets and writers today.

ભામ: અલાંકરશાસ્ત્ર કાવ્યપ્રકાશનો ઉલ્લાસ 10 માં અલંકાર વિશે કહ્યું છે.

In Indian aesthetics, alamkara is a theory of literary ornamentation and a set of literary devices used in Sanskrit poetry and drama to enhance the beauty and expressiveness of a work.

 Alamkara is not indispensable but necessary, it enhances the beauty of the language. 

 The word alamkara is derived from the Sanskrit word alam, meaning “ornament” or “decoration”, and kara, meaning “making” or “doing.”

The theory of alamkara is an important part of the Indian tradition of literary criticism and is still studied and used by poets and writers today. According to the theory, there are 32 different types of alamkaras, which can be grouped into four main categories: sabda (sound), artha (meaning), rasa (emotion) and dharma (morality). 

Rasa: evoking emotions in the reader or audience, such as love or horror.

Sabda: using various literary devices such as alliteration, assonance, and onomatopoeia to create pleasing sounds.

Dharma: using literary devices to convey moral or ethical lessons.

Artha: using literary devices to convey meaning, such as metaphor and simile.

 ભામ: - કલામાં/ કાવ્યમાં / સાહિત્યમાં અલંકાર છે એવી ખબર પડી જાય તો એ કાવ્ય j નથી, અલંકાર જ નથી.

જે અલંકાર પ્રયોજન નથી જાણતો એ કવિ, કવિ જ નથી.

Ex. (1)બીજ માંથી સીધી પૂનમ દઇદે

            સહેજ નમેલી પાંપણ ખોલી નાખ

                                     - મનોજ ખંડેરિયા 

                  (2) ભાલણનાં નળાખ્યાનમાં દમયંતીનું વર્ણન.

3) The Dhvani(suggestion) theory:-

ધ્વનિ એટલે શું?

અર્થઘટન

मुख्यर्धबाधेतधोगेरुढितोऽथ प्रयोजनात्।

अन्योर्थ लक्ष्यते यत्सालक्षणारोपीता: किया:।।

In Indian poetics, Dhvani is considered to be an important aspect of the emotional impact of a piece of literature. It is said to be the "echo" or "resonance" of the emotions expressed in the work, and is believed to be capable of evoking a similar emotional response in the audience.

Dhvani is closely related to the concept of Rasa, which refers to the emotional state or sentiment evoked in the audience by a literary or musical work. Rasa is considered to be the ultimate goal of Indian poetics, and Dhvani is seen as the means by which this goal is achieved.The Natyashastra, an ancient Indian treatise on performance arts, describes eight primary Rasas

In Indian poetry, Dhvani is created through the use of figures of speech and literary devices such as metaphor, simile, and alliteration. Poets also use the concept of Dhvani to create emotional resonance in their work. For example, in music, dhwani is created through the use of specific melodic patterns, rhythms, and musical forms.

આનંદવર્ધન દ્વારા રૂપક આપવામાં આવ્યું.

विभाति लावण्यमिवाऽगनासु।

विभाति लावण्यम् ईव अऽगनासु॥

Dhvani is divided into three major types.

1.વસ્તુ ધ્વનિ:- Sudden blast of meaning.

2. અલંકાર ધ્વનિ:- Alankar make dhvani more beautiful or thriller.

3.રસ ધ્વનિ:- Indirect meaning of sentence. Which is more interesting.

Mammta explains dhvani in three fold functions.

1) Abhidha (અભિધા - સીધો અર્થ મળે)

2) Lakshana(લક્ષણા - સીધો અર્થ મળતો નથી માટે નજીકનો અર્થ લેવો)

3) Vyanjana (વ્યંજના - સીધો અર્થ મળે છતાં તેના બદલે બીજો અર્થ લેવો)

Ex. મીઠાં મધુ - અભીધા

      મીઠાં મેહુલા રે લોલ - લક્ષણા

      એથી મીઠી તે મોરી માત રે - વ્યંજના

Dhvani is a concept that emphasizes the emotional impact of literature and music, and is considered to be an essential aspect of Indian poetics. It is closely related to the concept of Rasa and is used by poets and musicians to create emotional resonance in their work.

4) The Vakrokti(obliquity) theory:-

 શ્રુતિને આનંદ આપે તે વક્રતા.

વક્રોક્તિ જ કાવ્યને જીવાડે છે. - કુંતક 

   In the whole range of Sanskrit poetics, the term Vakrokti took altogether a new significance and the highest position as the all-pervading poetic concept in Kuntaka'sVakroktijivita. Presenting the major schools of Sanskrit poetics, the book gives a general definition of vakrokti and its multi- dimensional implications. Vakrokti means the hidden meaning of the work of art.

The writer outs the message in the hidden way that at the first glance we will not be able to find the meaning of the poem or the sentence or any creative work of art. It is also a theory of language of literature. It claims that the characteristic property of literary language is its markedness'. Kuntaka made- Vakrokti a full-fledged theory of literariness.Vakrokti literally means deviant or marked expression. kuntaka's theory of vakrokti and makes its critical analysis in relation to various literary concepts-alankara, rasavadalankara, marga and rasa.

शब्दार्थो सहितौवक्र कविव्यापार शालिनी।

बन्धे व्यवस्थितौ काव्यम् तद्धिदाहलाद कारिणी॥

Ex. અમે વળીને જોયું અને તમે વળ્યાં વળાંક

There are six types of Vakrokti (વક્રતા)

1. વર્ણવિન્યાસ વક્રતા

2. પદ પૂર્વાર્ધ વક્રતા

3. પદ પરાર્ધ વક્રતા

4. વાક્ય વક્રતા

5. પ્રકરણ વક્રતા

6. પ્રબંધ વક્રતા

5) The Riti(style) Theory:-

વિશિષ્ઠ પદ રચના એટલે રીતિ . - વામન

Riti is the theory of language of literature. The word Riti was first used by Bharata'sNatyasastra' itself under the republic of vrtti. But it was Vamana who first developed it into a theory of VisistaPadaracanariti'. In the very simple words formation of or arrangement of marked constructions is riti.

Acharya Vamana is the propounder of riti theory and declared 'the riti to be the soul of poetry.' He makes his statement more clear by saying that the (word) Sabda and its Artha (sense) constitute the body of which the soul is 

the Riti. He defines riti as 'visistapada rachana' or particular arrangements of 

words.

The term Riti is derived from the root 'Ri' meaning to move. The identity of Riti with Atman | becomes complete when we take Dandin's metaphor of Gunas as Pranas. Just as the Atman is the Karana Sarira of a person, Riti is the Karana Sarira of a Kavya. The natural beauty or Sobha of a Kavya depends on the Gunas of its Soul which is Riti. "Riti is the Soul of a Kavya." 'RitiroatmaaKaavyasyaSareerasyeva'. Riti is to the Kavya what Atman is to the Sarira. It is necessary here to study the etymology of the terms Atman and Riti in order to realise the significance of Vamana's conception of the Soul of a Kavya. The word Atman is believed to have been derived from the root 'At' meaning to move constantly or from the root Anmeaning to live, or perhaps from both.

Vamana has mentioned three ways.

વાતાવરણને અનુલક્ષીને

ભૂમિને અનુલક્ષીને

 સર્જકને અનુલક્ષીને

6) The aucitya(propriety) theory:-

The theory of propriety or aucitya was propounded by crya Kshemendra in the 11th century. Bharata recognizes it in the context of performance (say, the aptness of acting to the context, social stature of the hero, etc.). nandavardhana discusses it and so does Kuntaka. But it gets central focus in the hands of Kshemendra who highlights the fit among the elements, the subject, the contexts, and so on. Again, here is a concept that can extend without much modification to the various art forms. In simple words, there must be a fit between theme and form and this is so in all aesthetic fields.  

"Auchitya is a Hindi word taken from Sanskrit, It means justification, propriety, decency "

Propriety can be defined in this contact as the details of rules of behaviour conventionally considered to be correct. Or that which is correct,appropriate and fitting. The word 'Auchitya' also contains the Hindi word "उचित" which in English means "appropriate".

According to Kshemendra - "Auchitya is a soul of the Poem"

Famous Poetics Works on Auchitya:-

• Auchitya Vichar Charcha
• Kavilanthabharana
• Suvrottatilaka

Words:- 2066

Photos:-7

Thinking Activity - The Waste Land

 This Blog is a response to the thinking activity on 'The Waste Land' given by professor Dr.Dilip Barad Sir.

T.S.Eliot:-

T.S. Eliot (1888-1965) was a highly influential modernist poet, playwright, and literary critic from the United States. He was born in St. Louis, Missouri and later moved to England, where he became a British citizen in 1927.

Eliot's early poetry, such as "The Love Song of J. Alfred Prufrock," is known for its intricate and allusive style, as well as its exploration of themes of alienation and modern urban life. He is also known for his use of fragmented, non-linear narrative and collage-like techniques.

In 1922, Eliot published "The Waste Land," which is widely considered to be one of the most important poems of the 20th century. The poem is a dense and complex work that explores themes of disillusionment, war, and the decay of modern civilization.

Eliot's work as a literary critic is also highly regarded, particularly his essays on the nature of poetry and the relationship between poetry and society. He is also known for his promotion of traditional literary forms and his criticism of modernist experimentation.

In 1948, Eliot was awarded the Nobel Prize in Literature "for his outstanding, pioneer contribution to present-day poetry." He died in London in 1965.

Introductory paragraphs on Waste Land :

1] The Burial Of the Dead

2] A Game Of Chess

3] The Fire Sermon

4] Death By Water 

5] What The Thunder Said.

The Waste Land is a long poem by T.S. Eliot, first published in 1922. The poem is considered to be one of the most important and influential works of modernist poetry. The Waste Land is a complex and dense work, drawing on a wide range of sources and references, including classical literature, world mythology, and contemporary events. The poem is divided into five sections, each of which explores a different theme or subject matter.

The first section, "The Burial of the Dead," introduces the themes of death and rebirth, and sets the stage for the rest of the poem. The second section, "A Game of Chess," explores the theme of sexual desire and its destructive consequences. The third section, "The Fire Sermon," deals with the theme of spiritual and moral decay, and the fourth section, "Death by Water," explores the theme of death and rebirth through the imagery of water. The final section, "What the Thunder Said," brings the various themes and images of the poem together in a powerful and apocalyptic vision.

Eliot's use of allusion, symbolism, and imagery in The Waste Land is central to its meaning and impact. The poem is known for its references to a wide variety of literary and historical sources, and for its use of symbols and imagery that are open to multiple interpretations. The Waste Land has been widely studied and analyzed, and is considered to be one of the most important and influential poems of the 20th century.

1) What are your views on the following image after reading 'The Waste Land'? Do you think that Eliot is regressive as compared to Nietzche's views? or Has Eliot achieved universality of thought by recalling mytho-historical answer to the contemporary malaise?

Yes , Eliot is regressive and progressive as compared to Nietzche's views.T.S. Eliot's views and literary works have been the subject of much critical debate and interpretation. While some have characterized him as regressive in comparison to the views of philosophers like Nietzsche, others argue that he achieved a universality of thought through his use of myth and historical allusions in his poetry.

In terms of his literary style, Eliot's use of allusions to classical literature, mythology, and other historical texts in his poetry is often seen as a way of grounding his work in a timeless, universal context. Some critics have interpreted his use of these references as a way of providing a deeper understanding of the contemporary world and its problems, rather than as a retreat from modernity.

On the other hand, some critics have argued that Eliot's work reflects a conservative, traditionalist perspective that is at odds with the views of philosophers like Nietzsche, who championed individualism and the rejection of traditional values. They have also criticized his work for promoting a patriarchal and elitist worldview.

Overall, the views of Eliot on these matters are complex and multifaceted, and it is important to consider different interpretations of his work.

2) Prior to the speech, Gustaf Hellström of the Swedish Academy made these remarks:

What are your views regarding these comments? Is it true that giving free vent to the repressed 'primitive instinct' lead us to happy and satisfied life? or do you agree with Eliot's view that 'salvation of man lies in the preservation of the cultural tradition'?

It is true that free vent to the repressed ‘primitive instincts’ lead us to happy and satisfied life’ but it will be upon the person that how is he or she giving that space to own self. Because it can create a problem or can say anarchy which Arnold used in his essay Culture and Anarchy. There we can see a chapter about. 'Doing as one like'.

     According to Eliot, if there is any kind of anarchy there we can find its solution from preserving culture or from tradition as well.    

        So when we talk about free vent it depends on the person that he will not misuse it otherwise it will create chaos. As Eliot says that we can peep into the back, to preserve culture it will help and balance the thing. 

3) Write about allusions to the Indian thoughts in 'The Waste Land'. (Where, How and Why are the Indian thoughts referred?)

"The Waste Land" by T.S. Eliot is a complex and dense poem that makes extensive use of allusions to a wide range of literary, mythological, and cultural sources. Among these, allusions to Indian thoughts and myths play a significant role in the poem's themes and imagery.

One of the most prominent references in the poem is to the Hindu god Shiva, who is associated with destruction and rejuvenation. The line "Shantih shantih shantih" at the end of the poem is a traditional Hindu blessing that roughly translates to "peace, peace, peace." This allusion serves to suggest the theme of destruction and rejuvenation in the poem. The poem portrays the desolation and barrenness of the modern world that is in need of spiritual rejuvenation.

There is also a reference to the legend of the Fisher King, a figure from Arthurian legend who is associated with the grail quest. In the poem, the Fisher King is a symbol of the barrenness and sterility of the modern world, which is in need of spiritual redemption.

Another reference is to the Upanishads, a collection of ancient Indian texts that contain spiritual and philosophical teachings.

Eliot also references the Hindu goddess Kali, who is associated with destruction and death. This allusion is used to convey the theme of the destructive nature of modern civilization, and the need for spiritual renewal.

In addition, the poem references the Indian epic poem the Ramayana, which tells the story of the prince Rama and his quest to rescue his wife Sita from the demon king Ravana. This allusion is used to convey the theme of the search for meaning and purpose in a world that is full of suffering and injustice.

Eliot also references the Indian concept of Maya, which is the idea that the physical world is an illusion and that true reality is spiritual. This idea is reflected in the poem's portrayal of a world that is empty and meaningless, suggesting that the material world is not enough to bring fulfilment and satisfaction.

In the poem, there are references to the Indian Epic poem the Mahabharata and the God Vishnu, who is associated with preservation and protection.

Another allusion to Indian thought in the poem is the use of the Buddhist concept of the "Wheel of Life" (Samsara), which represents the cycle of birth, death, and rebirth. This concept is reflected in the poem's portrayal of a world in which the past, present, and future are inextricably intertwined, and in which there is no escape from the cycle of suffering.

Overall, these allusions to Indian thoughts and myths serve to add depth and complexity to the poem's themes and imagery, and the search for redemption and to create a sense of universal relevance for the poem's message about the human condition in the modern industrialised world.

4) Is it possible to read 'The Waste Land' as a Pandemic Poem?

It is possible to interpret "The Waste Land" by T.S. Eliot as a pandemic poem, as it deals with themes of death, decay, and societal collapse that could be seen as paralleling the effects of a pandemic. However, it is important to note that the poem was written in 1922, before the widespread occurrence of pandemics in the 20th century, so any similarities may be coincidental. Additionally, the poem is widely considered to be a commentary on the societal and cultural upheaval of the post-World War I era, rather than a specific reference to a pandemic.

Photo:-1

Total Words :- 1537

Comedy of Menace

 Thinking Activity Comedy of Menace 

This Thinking Activity on For Comedy of Menace task was assigned by Yesha Bhatt Ma'am Department of English MKBU. In this task, we have to write down the Answer to Anyone one question,and I am writing on movie reviews.

It is the story based on the play by Harold Pinter of A man in his late 30s nammedStanley Webber (Robert Shaw) a mysterious and private man who takes up lodging in a rundown British seaside house. He rents an upstairs room from Mr. and Mrs. Bowles (Moultrie Kelsall, Dandy Nichols) who are quite odd themselves. One day two men dressed in black suits (Patrick Magee, Sydney Tafler) come to pay Stanley a visit. They know something about Stanley’s past and their presence frightens him to the extent that it causes him to have a nervous breakdown.

The film and sets look great, although things begin to get a bit claustrophobic as the action never moves from the main room or the kitchen, for the most part. Sydney Tafler & Patrick Magee are excellent as the two mysterious men, and you're really never sure of their purpose. 

Thinking Activity Trends and Movements

 This Blog is a response to the Thinking Activity on the Trends and Movements.This Blog is also about the 20th Century's Three movements Surrealism, Expressionism and Dadaism.

Surrealism:- 

Surrealism was an artistic, intellectual, and literary movement led by poet André Breton from 1924 through World War II. The Surrealists sought to overthrow the oppressive rules of modern society by demolishing its backbone of rational thought. To do so, they attempted to tap into the “superior reality” of the subconscious mind. “Completely against the tide,” said Breton, “in a violent reaction against the impoverishment and sterility of thought processes that resulted from centuries of rationalism, we turned toward the marvellous and advocated it unconditionally.

Surrealism is more than an artistic style—it’s an artistic movement.

Unlike other creative movements, which can be characterised by themes of imagery, colour choices, or techniques, defining Surrealist art is slightly harder to do.

Surrealist artists—like Joan Miró, Salvador Dalí, Pablo Picasso, or Michael Cheval, among many others—seek to explore the unconscious mind as a way of creating art, resulting in dreamlike, sometimes bizarre imagery across endless mediums. The core of Surrealism is a focus on illustrating the mind’s deepest thoughts automatically when they surface. This thought process for creating art is known as “automatism.”

"Lullaby of Uncle Magritte" (2016), Michael Cheval, Surrealism, Surrealist Art

“Lullaby of Uncle Magritte” (2016), Michael Cheval

Over the years, Surrealism has resulted in a fascinating collection of artwork ranging from mythical landscapes, to obscure sculpture arrangements, to intriguing depictions of people and animals.

Expressionism:-

Expressionism is a modernist movement, initially in poetry and painting, originating in Northern Europe around the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas.

Expressionism, In the visual arts, artistic style in which the artist depicts not objective reality but the subjective emotions that objects or events arouse. This aim is accomplished through the distortion and exaggeration of shape and the vivid or violent application of colour.

Expressionism emerged simultaneously in various cities across Germany as a response to a widespread anxiety about humanity's increasingly discordant relationship with the world and accompanying lost feelings of authenticity and spirituality. In part a reaction against Impressionism and academic art, Expressionism was inspired most heavily by the Symbolist currents in late-19th-century art. Vincent van Gogh, Edvard Munch, and James Ensor proved particularly influential to the Expressionists, encouraging the distortion of form and the deployment of strong colours to convey a variety of anxieties and yearnings.

The classic phase of the Expressionist movement lasted from approximately 1905 to 1920 and spread throughout Europe. Its example would later powerfully inform many individuals, and groups such as: Abstract Expressionism, Neo-Expressionism, and The School of London.

Dadaism:-

Dada (or Dadaism) is an avant-garde literary and artistic movement of the 20th Century, developed between 1916 and 1922, as a revolutionary and critical rejection of the brutality of the First World War.

The origins of the term are still unclear and there are various interpretations under consideration: Dada could derive from the non-sense onomatopoeic expression ‘dada’, one of the first words used in children’s language, recalling the absurd and playful roots of the movement.