Indian Poetics
Introduction
Rasa theory of Bharata—in Vedas, rasa means sap or essence—experience of the
supreme reality. Seers of the Vedas knew about the need for
‘Sahridayatwa’ to understand poetry. Valmiki’s sloka—overpowered by the intense
feeling of pathos—karunarasa of Ramayana—kraunca birds.
Bharata lived during the first or second part of the
first century B.C. deals with various aspects of dramaturgy. Drama was a much
developed art during his times. Gives a proper definition to rasa in his Natyashastra.
Ö Between Bharata and Anandavardhana –Bhamaha
who was more interested in style. He held much respect for alamkara
(embellishments). Believed that poetry must inculcate moral feelings.
Ö Dandin believed that lucidity, sweetness,
richness, and grandeur constituted poetry.
Ö Vamaha—style or ‘riti’ was the soul of
poetry.
Ö Anandavardhana—author of Dhwanyaloka formulated
the rasa theory in categorical terms—rasa cannot be directly expressed—only
through ‘dhwani’, rasa gets expressed
Ö Abhinavagupta was a commentator of Dhwanyaloka. He wrote
Locana and Abhinavabharathi. He believed that the sahridaya
realizes rasa which is alaukika—transcendental, ineffable, cannot be
experienced. Somewhat like the ‘sublime’ of Longinus.
Ö Kuntaka, a contemporary of Abhinavagupta believed
that vakrokti—a deviation from the ordinary mode of speech constitute the
essence of poetry—Vakroktijivita.
Ö Mahimabhatta—a powerful logician—founder of
the ‘anumana’ school—principle of suggestion.
Ö Kshemendra—auchityavichara—propriety.
Bharata—Natyashastra
Bharata explains samgraha, karika and nirukta (Digest,
memorial verse and etymology)
When subjects taught in detail have been compressed
and brought together in sastras and their bhasyas we can call it samgraha.
