[I could not arrange the topics in a sequential order (krama) . You may take these as random collection of discussions; and, read it for whatever it is worth. Thank you.]
The Indian Poetics over the centuries was known by different names at different stages of its development. Valmiki in his Epic, Ramayana, refers to Poetics as Kriya-kalpa (kriya-kalpa vidashcha kavyavido janan– Uttara Kanda. 93.7). Lalitavistara Sutra a Buddhist text believed to belong to the first or second century explains the term Kriya–kalpa as the rules for creating poetic works (Kavya-karana-vidhi) ; and says that the term means Kavya-alamkara , the poetics (kriya–kalpa iti kavya-karana-vidhi kavya-alamkara ithyarthaha). Vatsayana (Ca. second century) in his famous Kama sutra , while enumerating the fourteen types of arts (Kala) that a cultured urbane person (Nagarika) should cultivate , also uses the terms chando-jñānam; Kavya-kriya-kalpa to denote the Poetics (Kamasutra 1.3.15).
Jayamangala , in his commentary on Kamasutra, explains the term Kriyakalpa as the science that determines the nature of poetry (Kriyakapa iti Kavya-karana-vidhi , Kavya-alamkara ityartha). The poet Dandin (6th-7th century) in his Kavyadarsha, a handbook of classical Sanskrit Poetics, calls Poetics as Kriyavidhi, the rules of poetry ( vācāṃ vicitra-mārgāṇāṃ nibabandhuḥ kriyāvidhim // 1.9 //)
But, by the time of Bhamaha (Ca.6-7th century) the term Alamkara or Alamkara shastra was in wide use. he opens his work with words Kavya-alamka ityeshu yatha buddi vidiyate; and, follows it with the phrase Kavya-lakshana. Dandin also uses the term Kavya-lakshana. It was believed that Alamkara the figurative speech or ornamentation was the principle virtue that lent Kavya its grace and brilliance (Kavya-shobha-karaan dharman alamkaran prachakshte). The titles of the books, of his period and thereafter , on Poetics, therefore, were centered upon the term Alamkara , such as: Kavyalamkara (by Bhamaha, Ca.6- 7th century) ; Kavya-alamkara-sara- Samgraha (by Udbhata-8th century) ; Kavya-alamkara- sutra-vritti (by Vamana Ca. 8th ) and Kavya-alamkara (by Rudrata – c. 9th-century) .
The tendency to describe Poetics in terms of Alamkara went on for a considerable period of time. Though Alamkara was the general name for Poetics, the term Alamkara referred both to one of the principles of Poetics and also to the specific expressions of figures of speech like Anuprasa, Upama etc. And the concepts of Rasa, Guna, and Riti were also brought under the overall ambit of Alamkara principle.
Rajashekhara (9th -10th century) the poet and scholar treated Poetics as a Shastra; and , he named Poetics as Sahitya Vidya; the finest essence of all the four Vidyas . And the poets who followed Rajasekhara began to describe Poetics as Sahitya. For instance; Vishwanatha named his book on Poetics as Sahitya-darpana ; Ruyyaka titled his book as sahitya-mimamsa ; and, Bhojaraja called Poetics as Kavya shastra.
[Sahitya derived from the root ‘Sahita‘ – being together or united – suggests a system that binds together Sabda (word) and Artha (its meaning).That relation is natural – Nisarga siddha sabda-artha sambandha.
And, Sahitya generally represents the notion of literature – everything preserved in writing, or even in speech; but, here, practically it was a synonym for Kavya. (Perhaps Vangmaya – things made of language) could be a better term) ]
Thus, over the long period, from time to time, the Shastra of Poetics had been called variously as Kriya-kalpa; Kavya-karana-vidhi; Kavya-kriya-kalpa; Kriya-vidhi; Alamkara Shastra; Sahitya Vidya and Kavya shastra.
The terms Kriya–kalpa, Kavya–vidhi etc went out of use quite early. And, the scope of the term Alamkara, since the time of Anandavardhana (Ca.10th century) got restricted to one of the elements of poetry , which is the ornamentation and figures of speech like Anuprasa , Upama etc ; and, it was scarcely used in its wider sense of poetics.
The term Sahitya which etymologically means to put together in the sense of composition , coordination , balance , concord and contact , in recent times, is used to cover all forms of literature (vangmaya) . It covers even Grammar, philosophy, logic, etymology, technical subjects like medicine , Law etc; apart from prose, poetry drama etc.
Therefore, the scholars generally opine that for Poetics, the term Kavya shastra seems more suited ( though some employed the grandiose term Kavya Mimamsa) ; particularly since the term Kavya includes prose, poetry, Drama and all other forms of creative writings. Besides, the suffix Shastra (Sahsanath shasanam) signifies the theory of practice as also the practice of theory. Further, the term Kavya Shastra sounds better than Kriya, Kapla, and Vidhi etc. And, Kavya Shastra was therefore used by writers like Bhamaha, Dandin, Vamana, Rudrata, Rajasekhara and others to denote Poetics. Since the Indian Poetics began to take a systemic form during the times of Bhamaha and Dandin, attempting to expound the essence of Kavya, its aesthetics and style and lucidity of composition etc, we may as well adopt their nomenclatures. That is one view. And, there are other views too.
According to Dr. Ganesh Tryambak Deshpande (Bharathiya Sahityashastra, The Indian Poetics), the Indian Poetics developed in stages over a period of about two thousand years. During these long centuries , the Indian Poetics attained maturity. He enumerates six stages of development : Kriyakalpa (around 2nd century BCE) ; Kavyalakshana (from Bharata up to 6th century AD) ; Kavya-alankara (600 AD to 850 AD) ; Sahitya (say from 850 to 1100 AD); and, Sahitya-paddathi (1100 AD – 1650 AD).
Bharata’s Natyashastra , according to Dr. G.T. Deshpande , represents the first stage of Indian poetics (Kriyakalpa) where the diverse elements of arts, literature, music, dance, stage management and cosmetics combined harmoniously to successfully produce an enjoyable play- Drshya-kavya.
During the next (second) stage (Kavyalakshana) the poetics grew independent of the theater. The discussions during this period were mostly regarding the general nature of Kavya. This period is marked by the works of Bhamaha and Dandin, say up to 600 AD.
In the third stage (Kavya-alankara) stretching from Bhamaha and Dandin up to Rudrata, say from 600 AD to 850 AD, the concepts of Alankara (embellishments) Gunas (characteristics) and Rasa gained a little more clarity. The characteristic beauty (Saundaryam or Shobha) associate with poetry and the means of creating highly enjoyable poetry came into discussion.
The fourth stage (Sahitya) was the period of analysis and understanding the basic concepts of literature and Grammar. This was the period from Mammata to Anandavardhana (say from 850 to 1100 AD). The questions raised during this period, basically, were : ‘What is truly Sahitya (literature)?’ ; ’Does it merely mean a combination of words and meanings? Or, is there anything more to it?’ ; ‘What are the special features of poetry?’ ; ‘ Do the words in the poetry convey the same meaning as anywhere else?’ ; and , ‘How is the meaning (Artha) of poetry conveyed?’ etc.
It is in this period, the poetics (Kavya) became independent of the earlier concepts of Alamkara, Dvani etc.
And, the sixth stage (Sahitya-paddathi) was the methodical study of the poetry in all its aspects . It was the period that stretched from 1100 AD – 1650 AD, say ending with Jagannatha Pandita.
Main concerns – Sabda and Artha
One of the problems that engaged attention of the Grammarians and the philosophers alike was the subtle relation between the linguistic element (Sabda) and its meaning (Artha). Sabda can roughly be understood as word, a sound, a meaningful unit of speech. Patanjali explained the term Sabda as that which when articulated gives out the meaning or intent the of the speaker. And, Mandana Misra, in his Sphotasiddhi said: Sabda is the cause that produces the intended meaning.
According to Bhartrhari (4th or 5th century) “There is no cognition without the operation of words. All knowledge is illumined through words’’. In Bhartrhari’s scheme of things, the problem of meaning is basic. It is through the meaning conveyed by the words that knowledge is experienced.” “It is only the thought as expressed in words that can be understood, communicated and criticized. A language grows with the thought; or rather the thought grows with language. In the ultimate analysis they might even be identical.”
Two main concerns of the Sanskrit Poetics seemed to be: the word, and its meaning. The first one concerns how the word is treated in the text; and, mainly how it is formally used. It could be the elaborate embellishments (Alamkara) artistically arranged to enhance the beauty of the presentation; or it could be the elegance of the diction or even oblique ways of twisting. The other is about the shades or the layers of meaning that the word is capable of revealing. Generally, it was about the ways (vyapara) of achieving the objectives (phala) of the poet and his poetry.
The late-tenth-century philosopher and literary theorist Abhinavagupta felt that Kavya is not just about meaning, it is something more than that ; and, he put it directly: “It is not the mere capacity for producing meaning as such that enables a text to be called Kavya. And that is why we never apply that term to everyday discourse or the Veda.”
Raja Bhoja (1011–1055) in his Srngaraprakasha says, that of the things made of language (Vangmaya) Kavya is one species. The elements that make the language are the words and meanings. And, word and meaning when harmoniously composed (sahitau) constitute Kavya. . Thus Kavya is a composition ( unity , sahitya) of word and meaning.
Then he goes on to say:
What, however, does the word “word” signify? It is that through which, when articulated, meaning is understood, and it is of twelve sorts, starting with base and affix and ending with sentence, section, and whole work.
“Meaning” is what a word gives us to understand, and it is of twelve sorts, starting with action and tense and ending with word-meaning and sentence-meaning.
And last, “composition” signifies the coordinated relation between word and meaning; and it, too, is of twelve sorts, starting with denotation and implication and ending with avoidance of faults, employment of expression-forms (guna), connection with factors of beauty (alañkara), and presence of rasa.
King Somesvara III (around 1130) of the Kalyana Chalukya dynasty in his Manasollasa, an encyclopedic work, says:
Words make up the body of a literary text, meaning is its life-breath, tropes its external form, emotional states and feelings its movements, meter its gait, and the knowledge of language its vital spot. It is in these that the beauty of the deity of literature consists.
The scholars of Poetics, of course, need to be concerned with the beauty and elegance of expression; but, at the same time they also need to be exercised over the sense that such arrangements of words would produce. The Poetic-scholars realized that neither logic (Nyaya) nor Grammar (Vyakarana) would provide them with right answers. The position, simply put, is :
poetry in any of its forms does need words; and the arrangements of those words, however clever or elegant, do have to convey a sense or meaning. The poetic beauty does not solely dependent on the strict order of words or other conventions. It in fact goes beyond regulated regimens. It is only the right or judicious combination of the two – Sabda and Artha- that produces relishing aesthetic expressions and suggestive poetry. The ultimate merit of a Kavya is in its enjoyment (Rasa) by the Sahrudaya the reader endowed with culture and taste.
Now, regarding words: according to Indian Poetics, a word has three functions: it signifies or denotes (abhida); it indicates (lakshana); and it suggests (vyanjana). The meaning that is comprehended immediately after the word is uttered is its primary meaning (mukhya-artha). The meaning thus conveyed and its relation to the next word and its own meaning is a mutual relation of the signifier and the signified (vachya-vachaka). The power that creates the relation among words is Abhida-vyapara, the power of denotation or sense. The suggestive power of the word is through Vyanjana-artha.
The meaning of a word or a sentence that is directly grasped in the usual manner is Vakyartha (denotation or literal sense); and, the power of the language which conveys such meaning is called Abidha-vritti (designating function). The term Sabdabodha ‘verbal comprehension’ or ‘verbal cognition’ is also used at times. It is intended to denote meaning of a sentence as understood by the listener.
In certain cases where a particular word is not capable of conveying the desired sense, another power which modifies that word to produce the fitting or suitable meaning is called Lakshana-vritti (indicative function).
The primary sense Vakyartha is the natural (Svabhavokti) and is the easily comprehended sense of the word. When the perception of the primary sense is obstructed, the word conveys the sense other than the primary sense; but, the two meanings (somehow) seem related. Thus, the secondary sense (lakshana) could even be called an unnatural meaning (Vakrokti) of the word.
For instance; when the word Purusha is uttered, one immediately understands it as a reference to a male member of the human race. It is the primary sense of the word. It might refer to an individual or to a generic attribute. In any case; the word Purusha and its meaning are related. It is a signified–signifier relationship; one pointing towards the other. This relationship is termed Abhida.
However, in the world we live, we do not always use a word only in its primary sense. Many times, the word in its primary sense may not be adequate. Then, we attempt to attribute a sense to the word that is different or distinct from the primary sense. This would be secondary sense – lakshanika or lakshyartha – of that word. The word in its secondary sense is called lakshana. The relationship between the secondary sense and the word is described as lakshya-lakshya sambandha
Such process of superimposition (aropita) is called lakshana or indication. The three: the obstruction caused due to incompatibility of primary sense; the connection between the primary and the secondary sense; and, the convention (rudi) – are all interrelated. Here, there ought to be some justification for switching over to the un-natural meaning of the word; and, it should be generally acceptable (or should have gained currency in the common usage).
The indication (lakshana) is thus of two types: one, sanctioned by usage (rudi-lakshana); and , the other , where the speaker uses it for a specific or a specialized purpose (prayojanavato lakshana).
As regards the Grammarians’ point of view, of the three functions of the word, the secondary or the indicative Lakshana-vritti is the most important and popular. Three conditions for Lakshana are generally accepted by all schools of Grammar.
The first is the incompatibility or inconsistency of the primary meaning in the context, which produces a break in the flow of thought, forcing the listener to think in order to understand what the speaker would really have meant by the uncommon usage and why he has used the word in an irregular way. The inconsistency could be either because of the impossibility of associating the normal meaning with the other word meanings of the sentence ; or it could be because of the normal meaning’s unsuitability in the context.
The second condition is about the kind of relation between the primary (normal) meaning of the term and its meaning as intended by the speaker in a given context. This relation can be one of proximity to the alternate ( contrary) meaning or one of similarity or of mixed quality. The latter type is called Gauni Lakshana which the Mimamsakas treat as an independent function called Gauni. According to Mimamsakas, the real Lakshana is only of the first type, a relation of proximity with contrariety (oppositeness).
The third condition could either be acceptance of its meaning in common usage ; or it could be a meaning derived from the root of the word (Dathu) for a special purpose intended for introducing the Lakshana. All faded metaphors (nirudha lakshana) fall into the former category, and metaphorical usages, especially by the poets, fall into the latter.
[The common examples given here are of Pankaja which in common usage means lotus; but literally means something born out of slush. The other is the Ashva-karna a type of leaf , but literally the ears of a horse. In all such cases , it is the meaning in common usage that is generally accepted ; and the literal meaning is treated as faded metaphor.]
[The Great Grammarian Panini did not accept Lakshana as a separate function in language. He did not consider the incompatibility etc., on which the Lakshana was based by other Grammarians as quite relevant from the point of view of Grammar. The sentences such as:’ He is an ass’ and ‘He is a boy ‘are both correct grammatically. Panini’s Grammar provides some popular examples of Lakshana; like ‘the village on the river’ (gangayam ghosah) by considering proximity as one of the meanings of the locative case. Similarly, Panini does not mention or provide for the condition of yogyata or consistency, which is considered by the later Grammarians as essential for unity of sentence. The expression Agnina sinchati (He sprinkles with fire) is grammatically correct, though from the semantic point of view it may not be quite proper, because sprinkling can be done only with liquid and not with fire.]
It does not mean that some words are merely vachaka and certain others are only Lakshya, and so on. The use of words, their role and the intended effect are context sensitive. The same word could be employed in any number of ways; each performing its role its own context. All the shades of meaning are necessary and relevant in poetry; but, each in its own context.
Similarly, Riti, as put forward by Vamana, is an arrangement of words and meanings characterized by various Gunas. A particular Guna might be appropriate in a particular context. The verbal compositions could be tight knit and high flowing in a given context; but , a simple , lucid narration might be appropriate in an another situation. One may admire grandeur in one situation; and simplicity in another. It is the context that decides appropriateness of style.
Rajasekhara, therefore, says: A sentence is an arrangement of words which embodies the content that the speaker wishes to convey
(pada-nama-abidhita-arthagrathanakarah sandarbhah vakyam – Kavyamimamasa (22) of Rajasekhara).
For instance; take the word Mother. The word in its primary sense is woman who has given birth to a child. In the specific context when one says ‘Kausalya is the mother of Rama’ you are referring to a particular person. And when one says , ‘necessity is the mother of invention’, one is not referring to a physical mother but to suggest the sense of ‘origin’. Here, the primary sense of the term does not work. Similarly, when the Saint Ramaprasad calls out to Devi in anguish as Mother, it suggests the intensity of his devotion and the depth of his longing for her love and protection. Devi is not the physical mother but a projection of the universal Mother principle as also the specific Mother deity. It is said; the vibrations of the suggested meaning of the word are indeed truly powerful.
Then, there is the most interesting and much debated Vyanjana-artha which is the suggested sense or the essence of the word. This is founded in the principle that the meaning of word is not limited to its literal sense; the word has the power to reach far beyond the obvious. In poetry, the word acquires another power Vyanjana-vritti the suggestive function. It is the power which activates the potential hidden in the word. And, the word acquires a new glow. Through the suggestive function of the word, a new meaning emerges, transcending the obvious literal sense, far more beautiful and sensitive.
The word which connotes the suggested sense (through the suggestive function Vyanjana –vritti) is named Vyanjaka. The relationship between the suggestive word and the suggested meaning (Vyanjana-artha) is described as vyangya-vyanjaka sambandha.
The suggestive word, the suggested meaning, the power of suggestion; and their mutual relationship are virtually the lifeblood of Indian poetics. In fact, this is what that distinguishes poetry from other forms of literature.
The suggested sense Vyanjana-artha, which, though not explicit, becomes the object of awareness is regarded the essence of poetry. The Dhvani School put forward by Anandavardhana, brought focus on the potential power of the word in a Kavya. Here, the word (Sabda) together with its literal sense (Vakyartha ) is said to form the body of Kavya , it is its cloak . But, the essence of poetry is elsewhere; it is not directly visible; and, that essence is the suggested sense of the word (Vyanjana-artha).
It other words: it is not the direct literal and obvious meaning that is explicit in poetry, but it is the suggested, indirect and emotive meaning that matters. Hence, though the words of a Kavya and their the literal sense must be given their due importance , they are but a medium for emotive and indirect meaning flash forth . In good poetry, this suggested meaning dominates over the words and their literal meaning. As Anandavardhana put it: The latter are compared to a woman’s body and the former to her grace and beauty which is a subtler manifestation and a more profound meaning of the womanhood.
The primary meaning can be understood by all. But, the suggested meaning is understood only by those who are gifted with some imagination and a sort of intuition.
Here, the mere knowledge of the word alone is not enough to understand and enjoy the poetic import or the essence of the Kavya. It needs intuition or Prathibha. Mammatacharya calls Prathibha as – nava-navaonvesha-shalini prajna – the ever inventive and resourceful intellect. Prathibha is also called, at times, as Vasana. Only those endowed with Prathibha can truly enjoy the essence and beauty of Kavya. That is why, it is remarked, the Grammarians (unlike the goodhearted cultured reader the Sahrudaya) cannot truly appreciate and enjoy the Rasa of good poetry. They are incapable of looking beyond what appears obvious.
Anandavardhana, therefore, says that such suggested sense is not apprehended (na vidyate) by mere knowledge of Grammar (Sabda-artha-shasana-jnana) and dictionary. It is apprehended only (Vidyate, kevalam) by those who know how to recognize the essence of poetic meaning (Kavya-artha-tattva-jnana) – Dhv.1.7
It is said; in the highest class of Kavya, the denoted meaning (Vakyartha ) and the denoting meaning (Lakshyartha) is subservient to revealing the suggested sense word (Vyanjana-artha); and , it is called Dhvani by the scholars – Dhv.1.13
The suggested sense of the word designated as Dhvani (resonance or tone or suggestion) is regarded Anandavardhana as the soul of Kavya : Kavyasya Atma Dhvanih.
[The concept of Dhvani was said to be inspired by the ancient doctrine of Sphota. The term Sphota signifies: bursting; opening; expansion; disclosure; the eternal and imperceptible element of sound and words; and , is the real vehicle of the idea which bursts or flashes on the mind when a sound is uttered.
Nagesha Bhatta identifies Vedic Sage Sphotayana, mentioned by Panini in one of his rules, as the originator of Sphota theory. Bhartrhari, however, states that Audumbarayana (mentioned by Yaska) had put forth views similar to the Sphota concept. In any case, the original idea of Sphota seems to go back to the Vedic age when Vak or speech was considered to be a manifestation of the all – pervading Brahman , and Pranava (Aum) was regarded as the primordial speech sound from which all forms of Vak were supposed to have evolved.
It was Bhartrhari (around 485 AD) in his great work Vakyapadiya (all about sentence and word) elaborated and established the Sphota doctrine in the realm of Grammar and in Philosophy.
According to Bhartrhari, the perfect perception is that in which there is identity between the object ( namely, words or the letters of sounds ) and the form of its cognition (namely, the Sphota) . This special kind of perception is held to be function of mind, rather than of the external senses.
This is a major subject; and deserves to be discussed separately.]
But, when one begins to talk of words (Sabda), naturally, it leads to Grammar (Vyakarana), which concerns itself with the arrangement of words into sentences. It does not account for the pattern of meanings. The poetry on the other hand is not much concerned with the arrangement of words. But, it does strive to convey a meaning.
In the case of poetry, the arrangement of words (Sabda or pada) might be logical but not necessarily grammatical. That is because; the poetic beauty does not solely dependent on the strict order of words or other conventions. It , in fact, goes beyond regulated regimens. The unique virtue of poetry is that it provides space for experimentation, and to introduce hitherto unknown or unusual terms and expressions, regardless of their grammatical correctness. And at the same time , it was recognized that the poetic beauty does not merely depend on ornate figures of speech or on the twisted or unusual expressions ; but , it is primarily in the intrinsic merit of the poetry itself.
The combination of words or arrangement of words expressing the idea or the content which the poet intends to convey at a ‘single stroke’ is the sentence (Vakya) in the poetry. A sentence is defined by Rajasekhara as an arrangement of words which embodies the content that the speaker wishes to convey (pada-nama-abidhita-arthagrathanakarah sandarbhah vakyam – Kavyamimamasa (22) of Rajasekhara).
The meaning of a sentence expresses a complete idea. The sentence in poetry is called Vachana (Vakyam vachanam vyavaharanti – Kavyamimamsa). In poetry the terms Vakya, Vachana and Ukti are synonymous. A characteristic turn of expression attains the status of poetry (Ukti-visesah kavyam).
[Among the ancient Grammarians, neither Panini nor Gautama defined the sentence. Katyayana was perhaps the first to define a sentence. He called it ekatin, that which has one finite verb. Panini, however, seems to have held that a sentence can have many more than one finite verb. The later Grammarians also seemed to accept Panini’s view. But, from Katyayana’s point of view such a sentence may be considered as a complex sentence made up of two or more sentences, but fundamentally forming one single sentence.]
The relation between Grammar and poetry is interesting. Poetry, in the Indian traditions, is often called vyakaranasya puccham – the tail piece or the appendix of Grammar. The Grammar determines the correctness of the words and their arrangement within a sentence. The poetry is however more concerned with the appropriateness and mutual relations among the words. The poetry, as far as possible, follows Grammar. But , when it finds the rules of Grammar too constrained or suffocating , it switches over to other means of expressions that are more appropriate or conducive to its natural flow; or , it invents its own means. At times, when those inventive expressions of poetic suggestions are so charming and become so popular, they walk into Grammar per se; and, the Grammar must necessarily accept poetic inventions (svikara avashyakah).
Sources and References
Glimpses of Indian Poetics by Satya Deva Caudharī
Indian Poetics (Bharathiya Kavya Mimamse) by Dr. T N Sreekantaiyya
Sahityashastra, the Indian Poetics by Dr. Ganesh Tryambak Deshpande
History of Indian Literature by Maurice Winternitz, Moriz Winternitz
A History of Classical Poetry: Sanskrit, Pali, Prakrit by Siegfried Lienhard
Literary Cultures in History by Sheldon Pollock