Indian Knowledge system
Name: Jadeja Yoginiba Jagdishsinh
T.Y. B.A. Sem.5
Paper Name : Characters of The old man and The sea
Indian Knowledge system
Indian Knowledge system
Indian poetics refers to the study of the principles of literary aesthetics in Indian literature, especially in Sanskrit and classical Indian languages. Its development spans several centuries and has influenced not just literature, but also drama, performance, and philosophy.
1.Vedic and Pre-Classical Period (1500 BCE – 200 BCE):
Brahmanas and Upanishads: Early texts discuss the mystical and philosophical aspects of speech and sound (e.g., the concept of Vak or speech as divine).
Roots in the Vedas: Indian poetics finds its earliest expressions in the Rigveda, where poetic composition was associated with divine inspiration and ritual function
Natyashastra by Bharatamuni (2nd century BCE):
Often considered the foundational text of Indian poetics and dramaturgy. Introduced the concept of Rasa (aesthetic flavor/emotion), which became central to all later theories. Discussed elements of drama, dance, music, and performance
2. Classical Period (200 BCE – 1200 CE):
This is the golden age of Indian poetics, marked by the rise of various schools of literary theory. Rasa School – Bharata (expanded later by Abhinavagupta): Rasa refers to the aesthetic emotion experienced by the audience (e.g., love, heroism, sorrow). Abhinavagupta’s commentary (Abhinavabharati) further developed rasa theory, linking it to the experience of universal consciousness. Alankara School – Bhamaha, Dandin: Focused on figures of speech (alankaras) and the embellishment of poetry. Emphasized stylistic beauty over emotional depth. Dhvani School – Anandavardhana: Introduced the concept of Dhvani (suggestion), arguing that suggestion, not literal meaning, is the soul of poetry. His work Dhvanyaloka (9th century) became a milestone in Indian literary theory. Vakrokti School – Kuntaka: Proposed Vakrokti (oblique expression) as the essence of poetry. Emphasized creative use of language and stylistic deviation. Auchitya School – Kshemendra: Highlighted the importance of propriety or suitability in poetic expression (auchitya). Rīti or Guna-Dosa School – Vamana, Namyaka: Discussed poetic style (rīti) and qualities (gunas) that define great poetry.
3. Medieval Period (1200 – 1800 CE) :
Poetic theories expanded into regional languages like Tamil, Kannada, Telugu, Bengali, and Persian-Urdu literary cultures. Bhakti movement influenced poetry by focusing on devotion and emotional expressiveness. Poetics became increasingly didactic and devotional, moving slightly away from classical aesthetics
4. Modern Period (1800 CE – Present):
Colonial impact introduced Western literary criticism and comparative aesthetics. Modern Indian writers like Rabindranath Tagore, Sri Aurobindo, and others blended classical Indian poetics with Western theories. Contemporary scholarship has revived interest in classical poetics, with scholars like S.K. De, Krishna Raghavan, and Sheldon Pollock contributing to the global understanding of Indian aesthetics.
Key Concepts in Indian Poetics
Rasa – Emotional essence or mood
Dhvani – Suggestion or implied meaning
Alankara – Figures of speech
Vakrokti – Stylistic deviation or twist in expression
Auchitya – Appropriateness or propriety
Rīti – Style or mode of expression
(Eassy)
Kuntak's Vakrokti Theory
About the Chapter:
This module is about famous Sanskrit rhetorician, literary theorist Kuntaka and his theory of poetry. He belongs to Vakrokti school of Sanskrit or ancient Indian poetics. This module briefly talks about Kuntaka, his contemporary theorists, his role in poetics and linguistics. This module also discusses about famous book, Vakrokti-Jivitam by Kuntaka. In conclusion, this module talks about Kuntaka’s position in Indian literary theory.
Introduction:
Kuntaka is the originator of the Vakrokti school of Sanskrit literary theory. He came after Anandvardhan of the 9th century and before Abhinavagupta of the 10th century. His time was the time of high merit of Indian poetics. Dhananjaya and Rajashekhara were his contemporary theorists. The theorists who appeared in the time of Kuntaka contributed a lot to what is in different shape is considered as modern theories of literature and language. In this context, Ganesh Devy says that Vakrorkti and the Alamkara are two Indian schools which are very close to two Western schools of thought, formalism and new criticism.
Ganesh Devy commented, “Vakrokti is a theory of poetry which perceives poetry essentially as terms of the language of its expression. It sees the poetic language as a language of metaphor and suggestive communication”. Hence, Kuntaka’s contribution in poetic thought is not only the matter of poetry or literature but it is about understanding the language, language of poetry and its difference with the language of the common. Kuntaka’s opinions on language of poetry and overall his study on language makes his position many steps further to the future. He is considered as one of the early language theorists in India.
Kuntaka and Vakrokti-Jivitam:
Anjalika Mukhopadhyay informs in her Bangla translation of Kuntaka’s Vakrokti-Jivitam that, the manuscript of Kuntaka’s Vakrokti-Jivitam was appeared as final version with the initiative and immense work done by Sushil Kumar Dey in 1922. This manuscript was found as incomplete in four chapters. Some scholars assume this book has its fifth chapter also but it is not proved yet. Scholars assume that Kuntak was a Kashmiri, because some hints were found in this regard. It is also assumed that Kunataka was alive in the time between Anandavardhana and Abhinavagupta. He appeared before Mahimbhatta, as Mahimbhatta mentioned about him in different Slokas. If Mahimbhatta came in between 1020-1060 then Kuntaka was there in between 1000-1030. Kuntaka never mentioned Abhinavagupta and Abhinavagupta also never mentioned Kuntaka; though he talked about Vakrokti. It means either they were contemporary to each other or Kuntaka came after Abhinavagupta. Mahimbhatta, Hemachandra and Bhoja told that Kuntaka was the author of the Karika and Britti of his Vakrokti-Jivitam, though some scholars have doubt on this because the style of language found in the Karika and the Britti is completely different.
Compositional figurativeness (Prabandha vakrata).
Kuntaka’s Idea of Sahitya :
Kuntaka explains the idea of Sahitya in his Vakrokti-Jivitam. He said,
"Sahityamanayo Shobhashalitang Prati kapyasou
Anyunyatiriktatwamanoharinyabasthiti "
Kuntaka’s above statement means that the mode of union is literature. When the word and the meaning exists together and united with each other but do not lose their own identity, characteristics but their union is so heavenly, so spiritual that do not cross the limits of each other’s boundary then they together create the beauty and that beauty is Sahitya (literature). As word and meaning meet with each other in a heavenly mode, there is no need for additional claims of Alamkara or ornament in literature. Hence, Kuntaka did not feel there was any need for Alamkara as a necessary component of literature.
Marga or Riti or Style and Guna:
According to Kuntaka, 'Sukumara Marga’ is an essential condition of Kavya. Beside Sukumara Marga, he talks about Bichitra Marga and he explains the characteristics in ten Karikas. There are another Marga which is created by the characteristics of both the above said Margas, and that is Ubhayatmak Marga.
Kuntaka talks about four kinds of Guna. Those are Madhurya, Prasada, Lavanya and Abhijatya. For example he took references from Kalidasa. Later he mentioned two more Guna, Auchitya and Soubhagya and these Gunas are common to all the above three margas.
Conclusion :
Kuntaka after Bhatrihari, is the most brilliant and rare talent who contributed enormously on the discourse of language study and also on the discourse of poetic language or literary language. In his understanding vakrokti is the vaidagdhyam bhangi or it is deviated or alternative to the speech act of the common people. With his study of poetic language he suggested the how of the birth of beauty. He is that genius in Indian poetics who extends himself from language study to aesthetics to adaptation theory, to translation theory what we deal with now can be rooted in Kuntaka’s work also. The different types of Vakrokti that he classified are methods of criticism of literature also. It is actually literary discourse proposed by him. He suggested a complete structure of literary study. But not only limited into that he was concerned about the reader’s response, though it is the major concern of all the Sanskrit rhetoricians. Vakrokti is Kavi-Kushalata, art and talent of the poet and poet’s creativity is termed as “Kavi-vyapara-vakrata, or art in the poetic process and this is the primary condition of a successful poetry” and therefore rasanubhuti comes into the mind of Sahridaya or the readers (Rao, Sreenivas;). Kuntaka has balanced between the poet’s role and reader’s role in appreciation of poetry. The point of view of the poet and the reader’s accomplishment both are necessary for the emergence of rasanubhuti, according to Kuntaka.
Summary:
In this module we have learnt about Kuntaka and his contribution to Indian poetics. We have discussed a historical study on the term of Vakrokti and how Kuntak has successfully theorised the term and made it a primary condition of a successful poem. Kuntak’s theory is not only a theory of cherishing poetry but he contributed his thoughts to guide the future poets with his understanding of how to write a poem. We have discussed the differences of thoughts on the term Vakrokti with the reference of Kuntaka and his predecessors. We have also discussed about Kuntaka’s concept of different styles or riti of poetry and his conception about Sahitya in this module.
