Literary terms: Alamkara School, Dhvani School, Vakrokti School

 Name: Vaishali Hareshbhai JasoliyaRoll No. : 28Enrollment no.: PG14101019Topic: Literary Terms: Alamkara School,       Dhvani School And Vakrokti SchoolPaper No.: 7 Literary Theory & CriticismEmail-Id: jasoliyavaishali@gmail.comSubmitted to: MAHARAJA KRISHNAKUMARSINHJIBHAVNAGAR UNIVERSITYDEPARTMENT OF ENGLISH   

∎Introduction:

        First of all we can say that, we have noted that Indian literary theories carry out a sustained analysis of how meaning is constituted in language, of  forms and devices, of How. Beauty is assumed to consist in alamkaratva, the craft or rhetoric of composition. We shall now briefly describe the major theories as like, Alamkara, Dhvani and Vakrokti. Alamkara is the earliest and most sustained school, it studies literary language and assumes that the locus of literariness is in the figures of speech, in the mode of figurative expression, in the grammatical accuracy and pleasantness of sound. Bhamaha is the first alamkarika poetician. Dhvani theory is given by Anandavardhana. Vakrokti is also a theory literature.

 ∎Alankara:

            The term alankara {meaning ornament} in Sanskrit stands for the principal of poetic beauty itself, in which sense of this general meaning, this entire science of criticism is so name [Alankarashashtra]. Alankara in a restricted sense also means any trope or figure of speech that adorns a literary composition. There is a detailed treatment of such figures of speech from Bharata, the author of natyashastra[2^nd C, B. C to 2^nd C. A. D] to Mammata regarding their definition, classification and numbers; difference between the excellence [gunas] that are so extensive with poetic beauty and figures of speech, as also the position of figures in the theories of rasa and Dhavani. Sanskrit is a highly scientific language. It is  endowed with innate musical and rhythmic elements in it sound patterns. It is also possessed of diversities arising from the mono-syllabic meaning, meanings of the stem and suffix, multi-meanings of words, etc – which present its multidimensional meaning pattern. All these modes and varieties of ornamentation due to sound and sense have been carefully defined analysed by ancient rhetoricians.

            By about the 12^th century their individual characteristics, mode of ornamentation and their rightful place in the total concepts of poetic beauty pertaining to thematic content and emotional contexts were fixed. A summary of this vast contribution related to the figures of speech can be found in the history of Sanskrit poetics written individually by P.V. Kane and Sok. De, and in the primary alankara texts.

            The earliest work to lead with the figure in the encyclopaedia natyashastra. In this treatise, the beautiful speech patterns come under the vachikbhinaya , one of the four abhinayas, which comprehend the entire field of ancient Sanskrit drama. In the natyashastra, only four figures Are mentioned in 17^th chapter as like:

•Upama (Simile)

•Rupak (Metaphor)

•Dipaka (Illuminator)

•Yamaka (Rhyme)

            But there is another category called Lakshanas, 36 of which are available in the 17^th chap, in two realisms. Although  the Lakshanas as gradually faded out some of them like Hetu, Lesha and Ashis were incorporated in to the fold or figures of speech.

            A classification of figures that has been accepted by all alankarikas is of those based on sound and sense [ Shabda and Artha]. Bhoja [11thc. ] added a third type ‘Ubhaya’ comprehending both shabda and artha. A more rational classification adopted by Ruyyaka [11thc. Kashmir] based on similarity [samya] superimposition [aropa]; apprehention [adhyavasaya] difference [bheda] etc has been followed by many later writers in the field.

            A correct appreciation of the position of early theorists in regard to alankara is necessary to understand their idea of Shabda and Artha, which forms the starting point for all semantic investigation. Their outspoken emphasis on Vakrakti, or departure from the everyday use of language, as the underlying principle of all alankaras point to their realisation of the fact that poetic language is fundamentally distinct from everyday speech [varta] on the one hand and the language of science [shastra] on the other and they happened to give this distinct feature the name of alankara whose field was theoretically as wide as to embrace all shades of felt beauty in poetry.

            Naturally all the possible meanings in duly discourse and scientific writing, the informative or literal the secondary or metaphorical and, the affective or emotive, were not only included but imaginatively coloured so as to become aesthetic, in their illustrations of artha alankara. In their Scheme, svabhavakti or Sensitive description of nature as it is, Can be termed alankara only by way of exception; and emotional states [chittavritti] become alankara only when they are rasa i.e., when they have undergone imaginative trans figuration.

            Anandavardhana made an epoch making analysis of the functions of language on the one hand and the content of poetry on the other in his monumental work dhvanyaloka. He formulated the theory that dhvani or suggestion is the soul of poetry and such an expression can apply to the idioms, form, matter content and emotional Context under this Scheme the figure of speech in a great poet is an inevitable incarnation in which ideas embody themselves.

            By its very nature the figure too,like the decorations for a young girl, may be only external Anada vardhana therefore formulates some rules for the proper emploment of figures so that they enhance the intrinsic beauty of a poem:

[a] Alankaras shall be intended to suggest rasa.

[b]It shall be born along with the poet’s delineation of rasa.

[c]It shall be naturally and easily introduced and,

[d] The poet shall not stop to make a fresh and extra effort to effect it.

            A perusal of figures may give an impression that they are somewhat artificial, elaborate, and intellectual exercises requiring some effort in turning them out effecting for a master-poet. With him as emotion increases, expression swells and figures foam forth. Only then, the figurative expressions become significant.

∎ Alankara –Sara-Sangraha (10^th Century) Poetics by Udbhata:

        Alankara-Sara-Sangraha is a celebrated Sanskrit work on poetics by Udbhata of 10^th century. It is also called Kavyalankara-Sara-Sangraha or Kavyalankara-Sangraha. It defines 41 Alankaras in about 79 verses and illustrates them in about a hundred stanzas, taken from his own Kumarasambhava. Divided into six chapters, the work was commented upon by Pratiharenduraja about the middle of the 10^th century. The work, though closely follows Bhamaha in the treatment of Alankaras, expresses certain independent views, which three Bhamaha into ling obvilion.

∎ Dhvani:

            The Rasa theory in importance, the dhvani theory of Anandavardhana considers suggestion, the indirectly evoked meaning, as the characteristic property of literary discourses, the determinant that separates it from other rational discourses.

Here we can find the structure and function of other major elements of literature.

⇨ In Dhvanyaloka, Anandavardhana has presented a structural analysis 0f indirect literary meaning.

⇨ Definition of Dhvani:

♦ A, Category of medieval Indian  poetics, according to which the artistic enjoyment from literary works  is achieved not by the images that are created by the direct meaning of the words but by the associations and ideas that are evoked by these images like.

♦Dhvani theory is a theory of meaning, of symbolism, and this principle leads to the poetry of suggestion being accepted as the highest kind of poetry.

     ⇨ Dhvani as kavyasya Atma:

In Todorov’s views, Anandavardhana “ was perhaps the greatest of all theorists of textual symbolism”(1982, 12).

⟐ Anandavardhana uses term dhvani to designate the universe of suggestion- Kavyasya atma dhvani.

            Anandavardhana is openly indebted to Bhartrhari’s sphota theory and he acknowledges it in Dhvanyaloka.

           

⇨ Dhvani Denotes:

⦁ the sound structure of words (Sabda)

⦁ the semantic aspects of sabda, the vyanjakas or suggesters

⦁ “the revealed or suggested meaning as such and the process of suggetion involved”

∎ Anandavardhana’s Three Leveled Meaning:

This is Anandavardhana’s contribution, to add the third level- rather, to split the indirectly expressed meaning into two. For the Rgveda also makes a distinction between the literal meaning and the inner significance-“He sees, but sees not… one hears, but hears not”. Besides literal meaning, there is socio-cultural meaning dependent on the contexts and emotions.

This Vyanjana, the tertiary meaning, may be communicated by words, sentences, discourse, contextual factors, intonation, gestures and even sounds.

Similaly, it is not the ordinary significative functionof words,  viz, primary(abhidha), and secondary (Lakshana) that manyfest the suggested sense, but a third activity inherent in words and different from the two privious ones, known as suggestion (Vynjana). This is also called dhvani. According to Abhinavagupta, the word dhvani can stand for five different meanings.

1). The suggestive meaning (Vyanjakartha)

2). The suggestive Word (Vyanjashabda)

3). The function of suggetion  (Vyanjanavyapara)

4). The suggested content (Vyangya) and

5). Poetry as a whole (samudayakavya)

The last one, dhvanikavya, has been defined by Anandvardhana as that kind of poetry, where in the Conventional meaning or the word readers itself or its conventional which is secondary respectively and suggests the implied meaning.

∎ Vakrokti:

         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 kunyaka’s vakroktijivita. He revived the concept from more verbal poetic figure to the lessons of poetry. Further taking a close look at the views of different theorists on Vakrokti, it exposes in detail Kuntaka’s theory of Vakrokti and makes its critical analysis in relation to various literary concepts-alankara, svabhavokti, rasavadalankara, marga and rasa.

Vakrokti, emanating from the creative faculty of the poet endows poetic language with strikingness and causes aesthetic delight to the reader. The word Vakrokti consists of two components – ‘Vakra’ and ‘Ukti’. The first component means ‘crooked, indirect or unique’ and the second means ‘poetic expression speech’.

∎ Types of Vakrokti:

            It is manifested at six levels in language, the phonetic level, the lexical level [padapurvarddha], the grammatical level [padapararddha], the sentential level [vakya], the contexual level and finally the compositional level [prabandha]. Kuntaka anticipates much of the modern stylistic approach to literature and his 

stylisics encompasses imaginative language at the micro and macro levels.

            ⧈ Vakrokti is also a theory of language of literature. It claimes that the characteristic property of literary language is its ‘markedness’. It adeviates in identifiable ways from ordinary language in its form and in its constitution of meaning. Kuntaka made Vakrokti a full-fledged theory  of literariness. His definition of vakrokti is – “both words and meanings marked by artistic turn of speech”

⇨ Vakrokti literally means Vakra ukti, deviant or marked expression, and can also mean special denotation.

⇨ Six gunas (Qualities):

        Here, we find six gunas which are identified in literary style by Kuntaka.

            These are defined as kinds of language used to achieve particular effects. In a similar vein, Kuntaka incorporates rasa, alamkara, riti and guna theories into his vakrokti siddhnta.

∎ Conclusion:

        We can say that, there are many schools in rasa theory. Alamkara school, Bhamaha is the frist alamkarika poetician. Next only to the rasa theory in importance, the dhvani theory of Anandavardhana. The significance of Anandvardhana’s typology of verbal suggestion needs to be set out clearly. If we are able to explain how indirect meanings arise systematically, we are able to claim that all potential meanings are inherent in the text-all that the reader does is to exploitthis system of verbal symbolism to contruct a particular meaning. Dhvani is the method, the means, for achieving or evoking rasa,which is the effect of suggestion. And last school is Vakrokti. Vakrokti is also a theory of language of literature. Kuntaka made vakrokti a full-fledged theory of literariness. His definition of vakrokti is- “both words and meanings marked by artistic turn of speech.”

Thus, we can see that, this three school are more important for us.