Literary Theory & Criticism and Indian Aesthetics

Expert Lectures on Literary Theory & Criticism and Indian Aesthetics by Prof. Vinod Joshi siFrom January 15 to 28.

15-20 January: Absent 

21 January: 

"શૃંગાર કરુણ વીર રૌદ્ર હાસ્ય ભયાનકા । બીભત્સાદ્ભૂત શાંતશ્ચ નવ નાપ્યે રસા: સ્મૃતા ।।"

શૃંગાર: Shringara - The erotic/romantic sentiment.

કરુણ: Karuna - The pathetic/compassionate sentiment.

વીર: Vira - The heroic/valorous sentiment.

રૌદ્ર: Raudra - The furious/wrathful sentiment.

હાસ્ય: Hasya - The comic/humorous sentiment.

ભયાનકા: Bhayanaka - The terrible/frightful sentiment.

બીભત્સાદ્ભૂત: Bibhatsa-adbhuta - Combining bibhatsa (disgusting/repulsive) and adbhuta (wondrous/marvelous) sentiments. Here, it seems to be listing them together.

શાંતશ્ચ: Shantashcha - And the peaceful/tranquil sentiment (shanta rasa).

નવ નાપ્યે રસા: સ્મૃતા: Nava napye rasah smrita - The nine sentiments are thus remembered/acknowledged.

                 "The erotic, pathetic, heroic, furious, comic, and terrible; the disgusting, wondrous, and peaceful - these nine sentiments are thus remembered."

Key Difference and Relevance:

This version explicitly lists nine rasas, including raudra (furious) and bibhatsa (disgusting) separately, and then adbhuta (wondrous) and finally shanta (peaceful). The previous version you shared mentioned shishubodhakrut (created for children) and suggested that the ninth rasa (shanta) might not be as relevant for that audience.

This new verse appears to be a more standard enumeration of the nine classical rasas in Indian aesthetics. It highlights the comprehensive range of emotions and sentiments that art (especially literature and drama) can evoke in the audience.

It's interesting to see both versions. The first one might have been contextualizing the rasas specifically for children's literature, while this one presents the complete traditional framework.

22 January:

 "ધ્વનિ: ધ્વનિ વાક્યનો જીવ છે. અર્થાત્ ધ્વનિ દ્વારા જ વાક્યમાં ચમત્કૃતિ આવે છે."

     : "Sound (Dhvani): Sound is the life of a sentence. That is, it is through sound that a sense of wonder/strikingness arises in a sentence."

     Possible Relevance: This seems to be introducing the concept of Dhvani in literary theory. In Sanskrit poetics (which has influenced many Indian languages), Dhvani refers to the suggestive power of language, where the intended meaning goes beyond the literal or expressed meaning. It's the soul or essence that creates aesthetic delight.

 "→ ધ્વનિ ત્રણ પ્રકારનું તત્ત્વ ગણાય છે:"

     : "→ Dhvani is considered an element of three types:"

     "વિશિષ્ટાવ્યંગ્યાર્થસૂચક ધ્વનિ":

         : "Dhvani indicative of a specific suggested meaning."

         Possible Relevance: This refers to instances where the Dhvani clearly points towards a particular implied meaning.

     "વસ્તુના વાચ્યાર્થની જેમ (ધ્વનિ) ગૌણ બને છે.":

         : "Like the literal meaning of a thing, (Dhvani) becomes secondary."

         Possible Relevance: This might describe situations where the suggestive element is present but less prominent than the literal meaning.

     "ભાવ કે રસને વ્યંજિત કરે તે ભાવધ્વનિ":

         : "That which suggests a feeling or sentiment is Bhavadhvani (sentiment-Dhvani)."

         Possible Relevance: This specifically links Dhvani to the evocation of bhavas (emotions/psychological states) and rasas (aesthetic sentiments), which we discussed earlier.

 "ઉદાહરણાર્થ: 'ગંગામાં ગામડું'":

     : "For example: 'A village in the Ganges.'"

     Possible Relevance: This is a classic example used to illustrate Dhvani. Literally, it's nonsensical. However, the suggested meaning (Vyangyartha) is that the village is on the banks of the Ganges, implying purity, serenity, and perhaps a certain cultural or religious significance.

 "→ નાગાના ઝઘડાનું વર્ણન":

     : "→ Description of the quarrel of Nagas (snake deities/ascetics)."

     Possible Relevance: This looks like a potential topic or example being discussed, possibly related to a literary work or a cultural context.

 "→ ઊંડે પાણી વ્હેણ સ્વરની મદદ વિના જાણી શકાય નહીં.":

     : "→ The deep flow of water cannot be known without the help of sound."

     Possible Relevance: This seems like an analogy, perhaps suggesting that the deeper meaning (Dhvani) in language cannot be understood without paying attention to the nuances and suggestive power of words (the "sound").

 "શબ્દશક્તિ:":

     : "Word power (Shabdashakti)."

     Possible Relevance: This introduces another key concept in Indian poetics, referring to the different functions or powers of words to convey meaning.

     "વ્યાખ્યાનકાર્યની ધ્વનિ માટે ચોથી શબ્દ શક્તિ પ્રયોજવી પડે છે.":

         : "For the function of explanation/interpretation of Dhvani, a fourth word power has to be employed."

         Possible Relevance: This suggests that understanding Dhvani might require going beyond the three primary shabdashaktis (Abhidha - denotation, Lakshana - indication, Vyanjana - suggestion) and perhaps considering a fourth level of interpretation.

     "ભાષા સ્પષ્ટ માધ્યમ છે તે સંપૂર્ણપણે વ્યક્ત કરી શકાતું નથી.":

         : "Language is a clear medium, yet it cannot express everything completely."

         Possible Relevance: This highlights the inherent limitations of language in fully conveying meaning, which is why concepts like Dhvani (suggested meaning) become important.

 "→ ભ્રમર – ભમરડો જેવો આકાર ધરાવતું ચક્રાકાર શબ્દ.":

     : "→ Eyebrow - a circular word having a shape like a spinning top."

     Possible Relevance: This seems to be an observation about the shape or visual representation of the Gujarati word for "eyebrow" (bhramar).

 "યાંત્રિક શબ્દ શક્તિ: અભિધા, લક્ષણા, વ્યંજના, તાત્પર્ય.":

     : "Mechanical word power: Denotation (Abhidha), Indication (Lakshana), Suggestion (Vyanjana), Implication (Tatparya)."

     Possible Relevance: This lists the different types of shabdashakti. Abhidha is the literal meaning, Lakshana is the figurative or indicative meaning, Vyanjana is the suggested meaning (Dhvani), and Tatparya refers to the intended overall meaning or purport of a sentence.

 "• અભિધા: સીધો અર્થ મળે.":

     : "• Denotation (Abhidha): Direct meaning is obtained."

 "• લક્ષણા: સીધો અર્થ ન મળે તેથી અન્ય અર્થ લેવો પડે.":

     : "• Indication (Lakshana): Direct meaning is not obtained, therefore another meaning has to be taken."

 "• વ્યંજના: સીધો અર્થ અને લક્ષ્યાર્થ ગયા પછી ત્રીજો વ્યંગ્ય અર્થ નીકળે.":

     : "• Suggestion (Vyanjana): After the direct meaning and the indicative meaning are gone, a third suggested meaning emerges."

 "• તત્પર્ય: દરેક વાક્યનો ગર્ભિત મુખ્ય અર્થ હોય છે.":

     : "• Implication (Tatparya): Every sentence has an implicit main meaning."

 "પ્રતીયમાન અર્થ – વ્યંજના (ધ્વનિ દ્વારા થતો કાવ્ય)":

     : "Understood meaning – Suggestion (poetry that happens through Dhvani)."

     Possible Relevance: This reinforces the idea that Dhvani (suggestion) is crucial in creating poetic meaning and aesthetic experience.

 "→ ભાષા વગર પણ ઇશારાથી વ્યક્ત કરી શકાય.":

     : "→ Can be expressed even without language, through gestures."

     Possible Relevance: This might be a contrasting point, perhaps suggesting that while language is a powerful tool for Dhvani, even non-verbal communication can convey suggestive meanings.

This page delves into the fascinating world of how meaning is created and understood in language, particularly through the lens of Indian literary theory with concepts like Dhvani and Shabdashakti. It highlights that meaning is not always just literal but can be layered and suggestive, contributing to the richness and depth of communication and art.

23 January: Absent 

24 January: 

 "વસ્તુધ્વનિ અને અલંકાર ધ્વનિ થી પણ વધારે સૂચક હોઈ શકે.":

     : "Object-Dhvani (Vastudhvani) and Figure of Speech-Dhvani (Alankaradhvani) can be even more suggestive."

     Possible Relevance: This suggests a hierarchy or degree of suggestiveness, where Dhvani related to the subject matter or the use of figures of speech can carry a stronger implied meaning.

 "ઉત્તમ કાવ્યમાં ત્રણેયનું સમન્વય હોય છે.":

     : "In excellent poetry, there is a synthesis of all three (likely referring to the three types of Dhvani discussed earlier, or perhaps Vastudhvani, Alankaradhvani, and Bhavadhvani)."

     Possible Relevance: This emphasizes the ideal integration of different types of suggestive meaning in high-quality poetry.

 "→ વૈદિકમાં લક્ષણા નો અભાવ હોય છે.":

     : "→ In the Vedas, there is an absence of Indication (Lakshana)."

     Possible Relevance: This is an interesting point about the language of the Vedas, suggesting a more direct or literal mode of expression compared to later literary works that heavily employ figurative language.

 "→ તું ત્યાં ગઈ ત્યારે મારું સુખ ગયું. શૃંગાર રસ ધ્વનિ.":

     : "→ When you went there, my happiness left. Dhvani of the erotic sentiment (Shringar Rasa)."

     Possible Relevance: This is an example illustrating Dhvani evoking the shringar rasa (erotic/romantic sentiment) through the implied feeling of loss and longing upon the beloved's absence.

 "→ તું ત્યાં ગઈ ત્યારે મારી આંખો ભીની થઈ. કરુણ રસ ધ્વનિ.":

     : "→ When you went there, my eyes became wet. Dhvani of the pathetic sentiment (Karuna Rasa)."

     Possible Relevance: This is another example, this time showing Dhvani evoking the karuna rasa (pathetic/compassionate sentiment) through the implied sadness and sorrow of separation.

 "→ રસનો ભાવ વ્યંજિત થતાં શબ્દો, પર્યાયી શકાય નહીં. ધ્વનિનું હાર્દ.":

     : "→ Words that suggest a sentiment (Rasa), cannot be substituted. This is the essence of Dhvani."

     Possible Relevance: This highlights the irreplaceable nature of words in creating Dhvani related to rasas. The specific choice of words is crucial in evoking the intended emotion, and synonyms might not carry the same suggestive power. This gets to the heart of why Dhvani is so important in appreciating the artistry of language.

 " એક પંક્તિ: સૌંદર્ય દ્રષ્ટિ પરત્વેનું રહે છે.":

     : " One line/verse: Beauty resides in the perspective of the beholder."

     Possible Relevance: This seems like a general statement about the subjective nature of beauty, possibly related to the appreciation of art and literature, including the experience of Dhvani.

 "ગ્રંથ: વક્રોક્તિ જીવિત - કુંતક":

     : "Treatise: Vakrokti-Jivita - Kuntaka"

     Possible Relevance: This identifies a significant work in Indian poetics, Vakrokti-Jivita by the theorist Kuntaka. Vakrokti refers to "oblique expression" or "strikingness" in language, and Kuntaka considered it the very "soul of poetry." This connection suggests that these notes might be drawing parallels or distinctions between Dhvani and Vakrokti theories.

This page continues to explore the intricacies of Dhvani, linking it to the evocation of rasas and contrasting it with the concept of Lakshana. The mention of Kuntaka's Vakrokti-Jivita adds another layer to the discussion, suggesting an exploration of different perspectives on the suggestive power and strikingness of language in poetry. The examples provided beautifully illustrate how Dhvani works to create emotional resonance.

 25 January: 

શબ્દ અને અર્થ સાથે વક્ર સૌંદર્યથી વિશિષ્ટ રીતે બંધાયેલું કાવ્ય તેને જાણકારને આહલાદ આપે છે.

"Poetry that is bound in a special way with word and meaning through oblique beauty gives delight to the connoisseur."

This Gujarati sentence describes the essence of a key concept in Indian poetics, particularly associated with the theorist Kuntaka: Vakrokti.

Here's a breakdown of the sentence in English and its implications:

 "શબ્દ અને અર્થ સાથે" - "With word and meaning": This emphasizes the fundamental elements of poetry – the language used (words) and the sense it conveys (meaning). Vakrokti operates on both these levels.

 "વક્ર સૌંદર્યથી વિશિષ્ટ રીતે બંધાયેલું કાવ્ય" - "Poetry that is bound in a special way with oblique beauty": This is the core of the idea.

     "વક્ર સૌંદર્ય" (vakra saundarya) translates to "oblique beauty" or "striking charm". The term "vakra" signifies a deviation, a twist, or an artful turn away from the ordinary or the straightforward. It's not just about being indirect, but about a deliberate and imaginative way of expression that creates aesthetic appeal.

     "વિશિષ્ટ રીતે બંધાયેલું" (vishisht rite bandhayelun) means "bound in a special way" or "uniquely constructed". This suggests that the arrangement of words and the conveyance of meaning are not conventional but are crafted with a specific artistic intention to achieve this "oblique beauty."

 "તેને જાણકારને આહલાદ આપે છે." - "It gives delight to the connoisseur.": This highlights the effect of such poetry.

     "જાણકારને" (janakarne) refers to "the connoisseur," "the knowledgeable one," or "the discerning reader/listener." It implies that the appreciation of Vakrokti requires a certain level of literary sensitivity and understanding.

     "આહલાદ આપે છે" (aahlad aape chhe) means "gives delight," "provides pleasure," or "evokes joy." The artful obliqueness and the unique construction of the poetry are what create this aesthetic pleasure for those who can recognize and appreciate them.

In essence, this sentence describes Vakrokti as the art of poetry where words and their meanings are intentionally arranged in a striking and unconventional way, deviating from the ordinary to create beauty and evoke delight in those who understand and appreciate the artistry.

Vakrokti, according to Kuntaka, is the very "life" or "soul" of poetry. It encompasses various figures of speech, stylistic choices, and unique expressions that move beyond the literal and the commonplace, adding layers of meaning and aesthetic charm to the poetic experience. The "oblique beauty" arises from this artful deviation and is what makes poetry captivating and enjoyable for those with literary taste.

26 January: Republic Day

27 January: 

 "પદ - વાક્યમાં વપરાતો શબ્દ પદ બને છે. તે યોગ્ય સ્થાન દર્શાવે છે.":

     : "Pada (Inflected Word) - A word used in a sentence becomes a Pada. It indicates the proper case/relation."

     Possible Relevance: This is a basic grammatical concept in Sanskrit and related languages, where a word needs to be inflected (have suffixes added) to show its function and relationship with other words in a sentence.

 "પ્રકરણવક્રતા: પ્રકરણ - પ્રસંગ, ઘટના":

     : "Prakaranvakrata: Prakaran - episode, event"

     Possible Relevance: This introduces a specific type of Vakrokti related to the unfolding of events in a narrative.

     "એવી કોઈ ઘટના ઘટે છે જેના દ્વારા વાતાવરણ કે પ્રસંગ બદલાય જાય અથવા જોનારાને વિચારવા પ્રેરે તે.":

         : "Any such event occurs through which the atmosphere or the episode changes, or it inspires the viewer/reader to think."

         Possible Relevance: This defines Prakaranvakrata as a turn of events that shifts the mood, alters the situation, or provokes contemplation in the audience. It's a Vakrokti at the level of the plot or narrative structure.

 "કાવ્યરૂપેક્ષિતા - રવીન્દ્રનાથ ટાગોર":

     : "Kavyarupekshita - Rabindranath Tagore"

     Possible Relevance: This seems to be a term or concept associated with the literary perspective of Rabindranath Tagore.

     "પ્રકરણ મૂળમાંથી લઈ ને પોતાની રીતે તેમાં સુંદરતા દર્શાવી અથવા વક્રતા ઉમેરી અથવા આલેખન કરવું.":

         : "Taking the episode from the original source and in one's own way showing beauty in it, or adding Vakrata, or depicting it."

         Possible Relevance: This might be Tagore's view on how a writer can engage with existing narratives, adding their own artistic touch, including Vakrata, to enhance or reinterpret them.

 "પ્રબંધ વક્રતા: રામ- લક્ષ્મણ ના પાત્ર દ્વારા લેખક અન્ય પાત્રમાં તેઓનો ભ્રાતૃસંબંધ દર્શાવે તેને પ્રબંધ વક્રતા કહે છે.":

     : "Prabandhavakrata: Through the characters of Ram and Lakshman, the writer shows their brotherly relationship in another character; this is called Prabandhavakrata."

     Possible Relevance: This defines another type of Vakrokti, this time at the level of the overall composition or theme (prabandha). It suggests an indirect way of highlighting a relationship (like the brotherhood of Ram and Lakshman) by mirroring or reflecting it in the interaction of other characters within the narrative.

 "અલંકાર:":

     : "Alankar (Figure of Speech):"

     "અલંકારશાસ્ત્ર - ભામહ ( અલંકાર સંપ્રદાય)":

         : "Alankarashastra - Bhamaha (Alankar School)"

         Possible Relevance: This introduces the school of Alankarashastra in Indian poetics, with Bhamaha as a key figure. This school emphasizes the importance of figures of speech (alankaras) in poetry.

     "વક્રોક્તિ પણ અલંકાર છે. અલંકાર ભાષા પર આધારિત સંપ્રદાય છે.":

         : "Vakrokti is also an Alankar. Alankar is a school based on language."

         Possible Relevance: This connects Vakrokti to the broader category of Alankaras, highlighting that both are concerned with the artistic use of language. However, it's important to remember that Kuntaka, the main proponent of Vakrokti, considered it more fundamental than just one among many Alankaras.

     "શબ્દ અલંકાર, અર્થ અલંકાર.":

         : "Shabd Alankar (Verbal Figure of Speech), Arth Alankar (Figure of Speech based on Meaning)."

         Possible Relevance: This categorizes Alankaras into those that primarily rely on the sound patterns of words and those that depend on the meaning of words.

     "ઉપમા અલંકાર ના ૯૨ પ્રકાર છે.":

         : "There are 92 types of Upama Alankar (Simile)."

         Possible Relevance: This gives a specific example of the extensive categorization within Alankarashastra. Simile (upama) is a common figure of speech with many variations.

     "અલંકાર આંગતુક અર્થાત્ લાદવામાં આવેલ હોય તો તેને અલંકાર કહી શકાય નહીં. શ્રુતિપાત્ર અલંકાર.":

         : "If an Alankar is adventitious, that is, imposed, then it cannot be called an Alankar. Shrutipatra Alankar."

         Possible Relevance: This suggests a distinction between genuine and artificial use of Alankaras. A true Alankar should feel natural and integrated into the expression, not forced or merely decorative. "Shrutipatra Alankar" might refer to an Alankar that is inherent in the very sound or form of the words.

This page delves into more specific types of Vakrokti and situates it within the broader framework of Alankarashastra. It also touches upon the grammatical concept of "Pada" and offers a perspective on artistic interpretation attributed to Rabindranath Tagore. The discussion on Alankaras provides a context for understanding Vakrokti's place within Indian literary theory, even while acknowledging Kuntaka's more central view of it.

28 January: 

 "વિશ્વનાથ - સાહિત્ય દર્પણ":

     : "Vishwanath - Sahitya Darpan (Mirror of Literature)"

     Possible Relevance: Vishwanath is a significant literary theorist, and his work Sahitya Darpan is a foundational text in Indian poetics, summarizing and synthesizing various earlier theories.

 "રીતિ - વામન (પ્રવર્તક)":

     : "Riti (Style/Poetic Diction) - Vamana (Propounder)"

     Possible Relevance: This introduces the concept of Riti (poetic style or manner) and identifies Vamana as its main proponent.

 "ઔચિત્ય - ક્ષેમેન્દ્ર":

     : "Auchitya (Propriety/Decorum) - Kshemendra"

     Possible Relevance: This introduces the concept of Auchitya (appropriateness, decorum, or harmony) and associates it with the theorist Kshemendra.

 "રમણીયતા - જગન્નાથ":

     : "Ramaniyata (Charm/Delightfulness) - Jagannath"

     Possible Relevance: This introduces the concept of Ramaniyata (poetic charm or aesthetic delight) and links it to the scholar Jagannath.

Main Notes:

 "રીતિ - style":

     : "Riti - style"

     Possible Relevance: A simple translation of the term.

 "રીતિના પ્રવર્તક વામન છે.":

     : "Vamana is the propounder of Riti."

     Possible Relevance: Reinforces Vamana's key role in the theory of Riti.

 "રીતિ કાવ્યનો આત્મા છે.":

     : "Riti is the soul of poetry."

     Possible Relevance: This echoes Kuntaka's view of Vakrokti but applies it to Riti, highlighting its fundamental importance in poetic essence according to Vamana's school of thought.

 "વિદર્ભમાં રહેનાર કાલિદાસની વૈદર્ભી શૈલી.":

     : "The Vaidarbhi style of Kalidasa, who lived in Vidarbha."

     Possible Relevance: This connects a specific poetic style (Vaidarbhi) with a renowned poet (Kalidasa) and a geographical region (Vidarbha), suggesting that regional influences contributed to stylistic variations. The Vaidarbhi style is often characterized by its sweetness, clarity, and grace.

 "પાંચાળમાં રહેલી પાંચાળી શૈલી.":

     : "The Panchali style prevalent in Panchala."

     Possible Relevance: Another regional poetic style, likely with its own distinct characteristics.

 "ગૌડમાં રહેલી ગૌડી શૈલી.":

     : "The Gaudi style prevalent in Gauda."

     Possible Relevance: A third regional poetic style, often associated with more elaborate and complex language.

 "પ્રદેશ અથવા સ્થળ પ્રમાણે શૈલી બદલાઈ છે.":

     : "Style has changed according to region or place."

     Possible Relevance: This summarizes the idea that geographical factors influenced the development of different poetic styles in ancient India.

 "કાદંબરી: બાણભટ્ટ":

     : "Kadambari: Banabhatta"

     Possible Relevance: Identifies Banabhatta as the author of the famous Sanskrit romance Kadambari, known for its ornate and descriptive prose style.

 "કવિ ભાલણે કાદંબરીનું સંકૃત ભાષા માંથી ગુજરાતી ભાષામાં સૌપ્રથમ વાર અનુવાદ કર્યું હતું.":

     : "The poet Bhalan was the first to translate Kadambari from Sanskrit into Gujarati."

     Possible Relevance: This provides a historical note about the translation of a significant Sanskrit work into Gujarati literature.

 "ઔચિત્ય: ક્ષેમેન્દ્ર ( ઉચિત, યોગ્ય)":

     : "Auchitya: Kshemendra ( उचित - proper, યોગ્ય - appropriate)"

     Possible Relevance: Reinforces the meaning of Auchitya as propriety or appropriateness and its association with Kshemendra.

 "જ્યાં સંપ્રમાણતા નથી ત્યાં અખિલતાનો અનુભવ નથી.":

     : "Where there is no proportion, there is no experience of wholeness."

     Possible Relevance: This statement likely reflects Kshemendra's view on Auchitya, suggesting that harmony and proportion are essential for a complete and satisfying aesthetic experience.

 "રમણીયતા: જગન્નાથ":

     : "Ramaniyata: Jagannath"

     Possible Relevance: Re-emphasizes Jagannath's connection to the concept of Ramaniyata.

 "કાશ્મીરના રાજાના રાજપંડિત જગન્નાથ હતા.":

     : "Jagannath was the court scholar of the king of Kashmir."

     Possible Relevance: Provides biographical information about Jagannath.

 "रमाणियार्थ प्रतिपादक शब्दः काव्यम् ।":

     : "ramaniyartha pratipadaka shabdah kavyam." (Sanskrit) - "A word that presents a charming meaning is poetry."

     Possible Relevance: This is Jagannath's famous definition of poetry, emphasizing the role of words that evoke ramaniyata (charm, delight).

 "નીગરણ – ઓગળી જવું કે ભળી જવું":

     : "Nigaran - to melt away or merge,"

     Possible Relevance: This seems like a definition of a specific term, possibly related to aesthetic experience or the way meaning is absorbed.

 ", વિલિન થઇ જવું.":

     : ", to become dissolved/vanished."

     Possible Relevance: Further clarifies the meaning of "Nigaran."

This page introduces a range of important concepts and figures in Indian literary theory, moving beyond Vakrokti to explore Riti (style), Auchitya (propriety), and Ramaniyata (charm). It also provides historical context and definitions, offering a glimpse into the rich tradition of analyzing and appreciating literature in India.