Second language acquisition theory by David nunan

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Name: Jethwa Monali A

Paper no: 7 Indian poetics

Unit: 4

Assignment topic: Brief Introduction to Major Literary 

theories of Indian poetic

EmaliId: monalijethwa19@gmail.com

SEM – 2 M.A

Submitted: Dept. Of .English

Bhavnagar University

Brief Introduction of all Indian poetic theories

Introduction:-

• Indian poem based on the Sanskrit poetry. Indian poetics creation time many concepts like which established on that time Indian poetry and Indian literature in general has a long history dating back to vadic times.
• Indian art evolved with emphasis on inducing special spiritual or philosophical states in the audience or with representing them symbolically.
• Categorized Indian poetic theory very important and useful to us understanding of Indian poetics.

Short introduction of major literary Theory:-

SCHOOL	ALL INDIAN POET
Rasa	Bharata Dhanika-Dhananjaya
Alamkara	Bhamah Dandin Udbhata Rudrata
Riti	Vamana
Dhvani	Anandavardhana Abhinavagupta Mahimabhatt
Vakrokti	Kuntakka
Guna-Dosa	Dandin Also Bhamaha
Aucitya	Ksemendra

• We shall now briefly described the major theories.

1- RASA :-

• The rasa theory originated with bharata and natyasastra. It claim that the object or meaning that is sought to be conveyed in literary composition is in the nature of an emotional effects of devese human experiences on man’s mind and hearts.
• Bharata, the first enourcer of the theory give the most comprehensive analysis of its sourses, nature and its categories.
• The major commentators in Dhanika – Dhananjajaya who re-examined Bharata's typology of Drama and added to the typology of Uparupakas , subplays , playwith in play and one act play.
• The rasa theory has been accepted as the core literary theory by all major poeticians both before and after Abhinavgupta.

2- ALAMKARA :-

• The earliest and most sustained school its studies literary language and assume that literary figure of speech in the modwe of figurative expression the grammatical accuracy and pleasantness of sound.
• Bhamaha talks of pleasure of multiplicity of meaning inherent in certain Alamkara such as Arthantara nyasa, vibhavna , samasokrti.
• Bhamaha is the first Alamkarika poetician. Anandavardhana alamkarika was sought to be integrated with dhvani and rasa.
• The categories of Alamkara have been classified by different potician into different types of system .Rudrata divided in two types 1- Sabdalamakara, 2- Arthaalamkara.
• Bhoja did not provied a fresh classification but added the third catagory , Ruyyka casified alamkara into the seven classes on the basied of their contant. 1- sadrsya ,2- virodha ,3- srikhalabadha 4- tarka nyaya 5- lokanyaya 6- kavyanayaya 7-gudhartha pratiti.
• Bharata 's original four to sixty-one distinguinished by Mammata.this taxonomy is not mere ingenuity it represent globel and local toxonomies, the diffrent calssification based on diffrent types of parameters. 1-objects compared 2- objects with which compared 3- values of figure 4- semiatic based such as similarity 5- Grammer 6- coherence with non facts or other wise 7- syntax.

3 – Riti

• Riti is theory of language of literature. Though is described the for the first time in Bharata,s natyasastra its self under the rubic of vrrtti, it is vamana who developed it into a theory.
• Two other words used for riti are marga and urtti.Dandin use term marga and talks of two margas. Mammata destignates the different theorists :-

Theorist	Categories
Dandin	Vaidarbhi , gaudiya
Vamana	panchali
kuntaka	madhyama
mammata	Prasada, komala
Anandvavardhana	Samasa

• Ritis correlate with 1) themes 2) effect on the heareres 3) sentiments.
• Riti may be called diction particular when guna/ dosa become a part of dicussion but riti is much more than just diction.

4 – Dhvani :-

• next only the rasa theory in importance the dhvni theory of Anandvardhana consider suggesition,in Dhvanyaloka dhavni become an all-embracing principle that explain the structure and fuction of the other major elements of literature esthetic effect , figural mode and devices , sylistic velues and excellence and defects.
• All the subsecequent literary theoriest in the traditation found the combination of rasa and dhavani both adequate and sufficient to analysis of the constitution and sufficient.
• Anandvardhana used the term dhavni to designate the universe of suggestion – Kavyasya atma dhavni.

Anandavrdhana is openly indebted to Bhartrhari's spotha theory and aknoledges it in dhavanaloka,he has choosen the term of the dhavni following the definate use the of that terms to denotes
1) The sound structure of the words
2) The sematic aspect of sabda
3) The revealed or suggested meaning as such and the proses of suggestion involved.

• Dhavani is a theory of symbolism and this principle leads to the poetry of suggestion being accepted as the highest kind of poetry.

Anandvardhana propose the three level of meaning : 1 Abhidha
2 Lakshana
3 vyanjana

• This vynjana the literary meaning maybe comunicated by words, sentence ,fdiscoures, contextual factors , intonation ,gestures and even sound.
• Anandverdhana integrates rasa theory with his dhavni theory .Dhavani is the method , the means for achiving or evoking rasa , which is the effec t of suggestion.
• Bhaattnayak who clearly assereted that rasa is experience of rasa is matter of influendce.
• The Dhvani theory of meaning came in for criticism at hands of nyaya and mimamsa thinkers. The opponents said that 1) Dhvani is nonexistents 2) dhavni is product of inference and is to be includes under lakshana, 3) Dhvni is somethoing beyond the realm of words .
• Mahimabhatta is the most well-known critic of this theory.but dhavni is not Lakhsna – it can be evoked by an idea a figure of speech or even emotion.
• Dhvani theory of verble symbloism enrichedd the indian system of interpretation of texts by marking possible a method of symbol exegesis.

5 – Vakrokti :-

• vakrokti a throry of language of literature. It claim that the characteristic property of literary language is its ' Markedness '.
• Kuntaka made vakrokti a full-fledged theory of the literariness. His defation of vakrokati is “ both wors and meaning marked by artist turn of speech” .
• Kuntaka classified vakrokti unnder the six heads : 1) in syllabules ,or their arrengements ,2) in the base substantives , 3 ) In inflected forms of substantives , 4) in intence , includind figure of speech , 5 ) in topic and section , 6 ) in the whole composition.
• The three margas ,style ,sukumara , vicitra , madhyama as devise of expression are to be treated as example of vakrokati.
• Six gunas are identified in literary style : aucitya( propriety ) , saubhagya ( splendour ) , madhurya ( sweetness) , Prasada ( petspicuity) , lavanya ( grace ) , Abhijitya ( classicality).
• Vakrokati was not discusses sapretly by later theorists but it has always been discuess ed as an important elements.The principle of vakrokti has affinities with modren formalist theories of literarature which consider the language of literature as deviant language.
• Vakrokti is a usefull freamework for stylistic analysis of literature.

6 – Guna / Dosa :-

• The theory examines literary composition in terms of qualities and defects both of form and meaning. But it is Dandin and subsequently , udbhata who make guna / dose the peimery features, the locus of literariness.
• Bhamaha ,who was a also a logician concern himself only with defects.in two chepters ,he enumerates and disscusses the general defacts of expreassion and forms and defects sprinings froms failure of logical thinking vamana also concern himself with idealqualities of literary composition and the short comings.
• Dandin takes a more wholistic view and assmilation the concept of rasa and riti in his concepetion of guna and dosa.In this sense in dandin ,guna and dos are primery attributes of literary compositions.
• After Dandin ,Udbhata tried to correlate guna/ dosa with both Alamkara and riti and claimed that exellence and defects are not independents features which can be distinguished in isolation in fact guna and dosa are properties of figural composition.
• The guna and dosa concept always reminded an important component theory of literary theory but it did not acquire the status of a major literary that could account for all aspect of literary composition.

7- Aucitya :-

• the theory of propriety or appropriateness claim that in all aspect of literary composition there is possibility of a perfects the most appropriates choice – of subjects ,of ideas , of words , of devices .
• The concepts of the propriety with reference of custom ,subjects , character and sentiments recurs in all most in theorists and is often discusses in association with figure of speech guna/ dosa ,and riti.
• Ksemendra made aucitya the centreal elements of the literariness.He define aucitya as an properti of an expression being an exact and analogue of the expressed.
• Aucitya is pertinent :like : pada , vakya , prabandharatha , guna , alamkara , rasa karka, kriya, linga, vacana , visesana ,nipata , kala, desa ,rula, this all are the limbs or constitutes of literary composition according to Kesmendra and belongs to different level of dormines of the languages and ideas of creativities , of encyclopedic information of the poetic devices of grammar.

• Conclusion :-
• Finally there are all theory property their condition may be true. And the Indian poetics in such a concept of the very valuable of the evolution of the work of the art here ew can solve the all theories. And classified the literary theories on the busied of what aspect of the literary composition is central to them.
• Language name like alamkara , style namely guna/rasa, verbal symbolism namely dhvani ,asthetic expression namely rasa , narrative namely mahavakya .discours namely like yuktis.

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