Scribd
Upload
329 views7 pages

Indian Poetics: Alamkara, Dhvani, Riti

The document provides an overview of key schools in Indian Poetics, including Alamkara, Dhvani, Riti, Vakrokti, and Auchitya. Each school emphasizes different aspects of poetry, such as figures of speech, suggestion, style, hidden meanings, and appropriateness in literary composition. The text highlights the historical context and contributions of various scholars to the development of these poetic theories.

Uploaded by

jasmeetsinghkohli00
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
329 views7 pages

Indian Poetics: Alamkara, Dhvani, Riti

The document provides an overview of key schools in Indian Poetics, including Alamkara, Dhvani, Riti, Vakrokti, and Auchitya. Each school emphasizes different aspects of poetry, such as figures of speech, suggestion, style, hidden meanings, and appropriateness in literary composition. The text highlights the historical context and contributions of various scholars to the development of these poetic theories.

Uploaded by

jasmeetsinghkohli00
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd

Short note:

Alamkara,Dhavani, Riti,
Vakrokti and Auchit
Short note: Alamkara, Dhavani, Riti,

Vakrokti and Auchitya school

Introduction
It is customary to begin the history of Indian Poetics with

Natyashastra. Out of its thirty six chapters, two chapters deal with Rasa-

bhava and Alamkara-guna. By and large the text relates to dramaturgy in

its practical applications. The aspects of Poetics that appear in text are

not directly related to Kavya. In Natyshastra the nature of poetry as

outlined in it is incidental to the discussion on Drama and it does not

have an independent status. Bharat’s Natysastra is the earliest known

treatise on Poetics and dramaturgy. His Natyasastra mentions four

Alamkaras (poetic figure), ten Gunas (excellences), ten Dosas (defects)

and thirty six Laksanas (characteristic) of poetic composition

(shodhganga).

In Indian poetics, scholars had different viewpoints, and they also

formed different school of [Link] chief schools are:

▪ Alamkara (poetic figure)

▪ Rasa (aesthetic pleasure)

▪ Riti (Style)

▪ Guna (attribute)
▪ Dhvani (suggestion)

▪ Vakrokti (obiliquity)

▪ Auchitya (propriety)

Let’s have a brief look on the Alamkaraschool, Dhvani school, Riti

school, Vakrokti school and Auchitya school.

1) Alamkara School

Alamkara refers to “the figures of speech”- The word alamkara


stands for a thing of beauty. The rhetoricians deal with the alamkaras in
detail and the poet use them profusely in their works. Alamkara has an
ancient origin. The alamkara is the earliest and most sustained school
which studies literary language and assumes that the focus of literariness
is in the figure of speech in the mode of expression in the grammatical
accuracy and pleasantness of sound. This does not mean that meaning is
ignored. In fact structural taxonomies of different figures of speech are
models of how meaning is cognized and how it is to be extracted from
the text.

Bhamaha is the first alamkarapoetician. In Kavyalamkara he described


35 figures of speech. Many other critics also continue this tradition and
they were Dandi, udbhata, Rudrata and Vamana. Rhetoricians like
Anadavardhana, Mammata and Visvanatha have directly stated the
connections of alamkaras with rasa. They all were the Sanskrit Critics.
Alamkara is used for beautifying the language. Many critics also said
that we can use figure of speech but it must be used in limited way
otherwise it may happen that the work of art will lose its charm.
The categories of alamkara have been classified by different poetician
into different kind. Rudrata divides it into two types those based on
phonetic form its called sabdalamkara and those who based on meaning
its called Arthalamkara. Bhoja also divided it into seven parts,
1. Sadrasya
2. Virodha
3. Srnkhalabadha
4. TarkaNyaya
5. Lokanyaya
6. Kavyanyaya and
7. Gudharthapratiti.
Mamata also divided alamkara into seven types:
1. Upama
2. Rupaka
3. AprastutaPrasnsa
4. Dipaka
5. Vyatiraeka
6. Virodha and
7. Samuccaya.

2) Dhvani school

Dhvani school of poetry was originated by Anandavardhana. He wrote


“Dhvanyaloka” in the middle of the 19thcentury which brought focus on
the potential power of the word in [Link] in
Dhvanyalokam takes up three main types of implicit sese: Vastudhvani,
Alankaradhvani and Rasa dhvani.
Next only to the rasa theory in importance, the dhvani theory of
anandavardhana considers suggestion, the indirectly evoked meaning as
the characteristic property of literary discourse, the determinant that
separates it from other rational discourses. Dhvani becomes an
embracing principle that explains the structure and function of the other
major elements of literature- the aesthetic effect (rasa), the figural mode
and devices (alamkara), the stylistic values (riti) and excellences and
defects (guna-dosa).
In Dhvayyaloka, Ana presented a structural analysis of indirect literary
meaning. He has classified different kinds of suggestion and defined
them by identifying the nature of suggestion in each. According to V. S.
SeturamnDhavani means "That kind of poetry, where in the meaning
renders itself secondary or the word renders its meaning secondary and
suggests the implied meaning is designated by the learned as 'Dhavani'
or 'suggestive poetry'.

3) Riti School

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.

Two other words are used for riti are Marga and Vrtti. Later, around
ninth century AD Anandavardhana distinguished this styles on the basis
of the use of particular kinds of compounds. The Gunas have their
potential being in this permanent source which Vamana regarded as the
Atman of the Kavya and called it Riti. Hence the thesis "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.

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.
4) Vakrokti School
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 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 [Link] 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.

5) Auchitya School

We can say that Kshemendra is the founder of Auchitya School.


The other nearest meaning of this word is Perfect' or we can also say that
'Complete'. It is true that the nature functions itself but only we human
beings tried to make perfect or tried to add perfection in all most all the
things.

In literature, Auchitya plays a vital role. If Auchitya is missing in the


work of art then that work of art will not be able to create that much
effect. And for that it is compulsory that the meaning or we can say that
the words used by the author must be conventional. The theory of
property or appropriateness claims that in all aspect of literary
composition. There is the possibility of a perfect the most appropriate
choice of subject of ideas, of words, of devices as such, it has affinities
with Longinus's theory of the sublime.

Common questions

Powered by AI

In Indian poetics, the Alamkara school focuses on 'the figures of speech', which are considered essential for beautifying the language in poetry. Alamkara is recognized for its emphasis on the literariness reflected in figures of speech, expression mode, grammatical accuracy, and pleasantness of sound . Bhāmaha, the first alamkara poetician, described 35 figures of speech which served as exemplars to understand and extract meaning from the text structures . Alamkara is classified into phonetic forms or Sabdalamkara and meaning-based forms or Arthalamkara .

Rīti, as outlined by Vāmana, functions as the style and construction of language arrangements in poetic works. It dictates how marked expressions are orchestrated to reflect the essence or soul of poetry, thereby determining the work's stylistic and structural attributes. Rīti's effective deployment shapes the aesthetic and grammatical beauty of poetry, essentially guiding the manner in which moods, ideas, and emotions are presented to achieve coherence and artistic eloquence in literature .

Vāmana asserts that 'Rīti is the Soul of a Kavya' to underscore that the stylistic arrangement and expression form the core of poetry, much like Atman or soul is to a body. The term 'Atman' is derived from roots meaning to move or to live, paralleling how Rīti embodies and animates poetry, serving as its intrinsic nature or essence. Therefore, Rīti occupies a central role in maintaining the natural beauty and expressive potential of poetic compositions, with each component and attribute (Gunas) contributing to the kavya's vitality .

The theory of Auchitya, proposed by Kshemendra, contributes to the effectiveness of literary works by ensuring appropriateness and propriety in every aspect of composition. Auchitya insists on the perfect selection and arrangement of ideas, words, and devices to ensure that artifacts evoke a sense of completeness and harmony, enhancing their aesthetic and emotional impact on the reader. This notion is akin to achieving literary 'perfection,' ensuring that every element of the composition is apt and enhances the work's sublimity and coherence .

Vakrokti, as conceptualized by Kuntaka, refers to the marked or deviant expression that characterizes the literary style, giving rise to hidden meanings. Serving as a comprehensive literary theory, Vakrokti explains how creative deviations in expression and linguistic usage enhance the aesthetic and intellectual appeal of literary works. It effectively serves as a seminal framework connecting varied poetic concepts such as alamkara (figures of speech), rasavadalankara (emotion), marga (methods), and rasa (aesthetic essence), defining the distinctiveness of literary language in Sanskrit poetics .

The Vakrokti school, developed by Kuntaka, emphasizes 'deviant or marked expression,' distinguishing literary language from ordinary speech by focusing on the multi-dimensional implications of subtlety and markedness. Vakrokti implies a strategic choice of words or expressions that convey meanings not immediately apparent in a first reading, engaging readers to uncover hidden messages and appreciate the literary artistry that transforms simple language into profound art .

The Alamkara school is regarded as one of the earliest and most sustained traditions because it systematically examines literary language through the lens of figures of speech. While emphasizing the grammatical and expressive elegance of poetry, Alamkara does not overlook meaning. Instead, it structurally integrates figures of speech as models illustrating how meaning is interpreted and extracted from texts. This approach demonstrates the interplay between linguistic beauty and semantic depth, vital for comprehending the essence of poetry in literary discourse .

Ānandavardhana's 'Dhvanyaloka' expands the understanding of suggestion by systematically classifying the different kinds and dimensionalities of implicit meanings, known as Dhvani. By focusing on this suggestive aspect, Dhvanyaloka elevates the importance of suggestion over literal meaning, thereby significantly impacting how literary texts are interpreted. It shifts emphasis from direct narration to the subtle nuances and deeper emotional resonance conveyed through implied meanings, making interpretation a more immersive and intricate experience .

The Dhvani school, founded by Ānandavardhana, distinguishes suggestive poetry by its emphasis on suggestion or indirect meaning as the defining feature of literary discourse. Unlike other rational discourses, where direct meaning is primary, in Dhvani, the implied meaning takes precedence. Ānandavardhana classified suggestion into three main types: Vastudhvani, Alankaradhvani, and Rasa dhvani, highlighting how literature's emotional and aesthetic effects hinge on the power of suggestion .

In the Auchitya school, 'propriety' refers to the appropriateness of form and content in a literary work, ensuring that each element of the composition enhances its overall harmony and effect. This concept draws parallels to Longinus's theory of the sublime, wherein the most fitting and perfect choices elevate the literary art to evoke grandeur and elevate the experience. While both theories emphasize optimization, Auchitya is grounded in appropriateness and contextual harmony, whereas Longinus prioritizes transcendent expressive power .

You might also like