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Component-I (A) – Personal Details Component-I (A) – Personal details: Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati Prof. R. Thiagarajan Presidency College, Chennai. Prof. R. Thiagarajan Presidency College, Chennai. Prof. N. Veezhinathan University of Madras, Chennai 1 Component-I (B) – Description of module: Subject Name Indian Culture Paper Name Indian Aesthetics and Fine Arts Module Name/Title History and Development of Poetics-3 Module Id I C / IAFA / 03 Pre requisites Objectives To know about Vakrokti, To know the Importance of Kavyamimamsa, To know the Anti –Dhvani school, To know the later Poeticians and decadence of Poetics Keywords Alankara/ Kavyamimamsa/ Poetics E-Text (Quadrant-1)Abhinavabharati and Dasarupaka Abhinavabharati is an excellent work of the 10th century. This commentary is a major analysis on all matters discussed in Bharata's treatise It is the oldest commentary available on the Natyasastra. The Abhinavabharati was written by Abhinavagupta.In this monumental work, Abhinavagupta explains the rasasutra of Bharata in consonance with the theory of abhivyakti(expression) propounded in Anandavardhana ‘s work Dhvanyaloka ("aesthetic suggestion"), as well as the tenets of the Pratyabhijna philosophy of Kashmir. According to Abhinavagupta, the Aesthetic experience is the manifestation of the innate dispositions of the Self, such as love and sorrow, by the self. It is characterised by the contemplation of the bliss of the self by the connoisseur. It is akin to the spiritual experience as one transcends the limitations of one's limited self because of the process of universalisation taking place during the aesthetic contemplation of characters depicted in the work of Art. Abhinavagupta maintains that this rasa(literally, taste or essence, the final outcome) is the summum bonum of all literature. During this period another important work on drama Dasarupaka was composed by Dhananjaya, which deals with the various forms of Sanskrit drama. Natyasastra and the above mentioned two treatises are considered to be the greatest contribution to drama and dramatic theory. The Dasarupaka, consisting of four chapters called Prakasas, deals completely with the topics of dramaturgy. but the fourth and last Prakasa contains a treatment of the theory of Rasa. The first Prakasa distinguishes Nrtya, defines the five Artha- prakrtis and the Sandhis (with their Angas), and concludes with definitions of Vishkambhaka, Pravesaka and other dramatic devices. The second Prakasa is devoted to the topic of Nayaka and Nayika, their characteristics, their adjuncts, and considers the four dramatic Vrttis and their Angas. The third Prakasa is concerned with the Prologue and other requisites of the ten kinds of Rupaka. In the fourth Prakasa there is an exposition of its peculiar theory of Rasa in which, instead of the relation of Vyangya-vyanjaka Bhavya-bhavaka is Mentioned, 2. Kavya kautuka Kavyakautuka of Bhatta Tauta is yet another important work belonging to the 10th cent.A.D. This work is now lost, and its existence is attested only by the references in later works such as Abhinavabharati and Aucityavicaracarca of Kshemendra. 3. Kavyamimamsa 2 The famous Kavyamimamsa of Yayavariya Rajasekhara, belonging to the 10th century deserves special mention. The popularity of the Kavyamimamsa is indicated by the extensive use made of it by Kshemendra, Bhoja. Hemacandra and Vagbhata. Hemacandra. for instance, literally copies long passages while Vagbhata borrows many portions. Rajasekhara himself is indebted to many old writers and cites directly the opinions of Vamana and Rudrata and others besides unnamed authors who are cited under ihe general designation Acharya Kavyamimamsa is not a work composed with the intention of subscribing to a particular poetic theory. Though such concepts like Rasa and Riti are discussed here and there, this work does not attempt to build any critique of poetry on their basis. Consequently this does not take the usual form of a treatise on poetic theory. However, this work discusses a variety of subjects which have direct bearing on poetry, and this supplies a wealth of valuable information. 4. Vakrokti Jivita (anti - dhvani) The 11th century was another period of great significance in the history of Sanskrit poetics. Many important works were written and at least two main theories of poetry sprang up during this period. This may be considered a period in which emphasis was more on poetry than on drama. One of the outstanding works belonging to this century was Vakroktijivita of Kuntaka. This treatise is of particular significance because it postulates the Vakrokti school of Sanskrit poetics. The title of the work itself suggests the theory it is subscribing to. This particular theory was also an attempt to demolish the teachings of the Dhvani theorists and to explain poetry by an extended concept of Vakrokti borrowed from the theorists of old. Thus, this was an attempt to channel the flow of poetic theory on conservative lines. 5. Vyaktiviveka ( Anti -Dhvani) Another theorist belonging to the 11th century who attempted to contradict the progressive Dhvani theory was Mahimabhatta whose work is known by the name Vyaktiviveka. Herein, his attempt was to establish that there was no separate function called Dhvani in poetry; and what Dhvani-theorists postulated as the novel function of suggestion was none other than the logical process of inference. He strove to build a critique of poetry based on this concept of logical inference, and took great pains to prove that what the Dhvani-theorists considered as cases of suggestion were mere instances of inference perished. Mahimabhatta showed that this was a function not confined to poetry alone. This theory of Mahimabhatta is known in Sanskrit as Anumitivada. However, as this was not a comprehensive analysis of poetry but merely an attempt to nullify the Dhvani theory, this theory does not merit recognition as a separate school of Sanskrit poetics. In his thesis Mahimabhatta gained no support from any subsequent author and in itself it was not capable of overriding the Dhvani theory. However, Vyaktiviveka remains a monument to its author's aggressive logical argument 6. Sringaraprakasa of Bhoja King Bhoja of Dhara was a scholar of repute (11th cent.A.D) His Sringaraprakasa is a voluminous work dealing with all known concepts of poetic theory in Sanskrit Poetics. It deals with both Poetics and Dramaturgy. The first eight chapters are devoted to word and its sense as the means of expression, and the theory of vrtti. The ninth and the tenth chapters describe blemishes and excellences of expression (dosha and guna) . The eleventh and twelfth chapters deal respectively with Mahakavya and the drama. The remaining twenty four chapters treat exclusively of the Rasas, of which the Sringara or love in its various aspects. Bhoja is noted for his view that there is only one Rasa in literature and that is Sringara This work derives its name from this view of Bhoja. 3 Apart from this, Bhoja is also credited with another work entitled Sarasvatikanthabharana. Also assigned to this century is Sringaratilaka by Rudrabhatta-an investigation of kavya with emphasis on Rasa, particularly Sringara. 7. Works of Kshemendra The next important writer who lived in the 11th century was Kshemendra, a pupil of Abhinavagupta .He was the author of three works on poetry, viz. Aucityavicaracarca, Suvrttatilaka and Kavikanthabharana. Out of these, Aucityavicaracarca deserves special mention because of the exposition of the concept of Aucitya contained therein. Kshemendra borrows the concept of Aucitya expounded by the Dhvani theorists and attempts to build up an approach to poetic criticism with that as the 'life' of poetry. Aucityavicaracarca is a comparatively short work with most of its space devoted to illustrations and counter-illustrations to various aspects of Aucitya propounded by the writer. 7.1 Fusion period of Poetic theories With the concept of Aucitya, the appearance of new theories in Sanskrit poetics draws to a close Aucitya being the last of the schools of critical thought. Hence, Kshemendra's work marks the end of the creative phase in this Sastra. Henceforth, the attempt of the thinkers on poetics was to organize and systematize the theories so far propounded into comprehensive synthetic theory of poetry. Consequently, the centuries following Kshemendra can be called the period of Fusion in Sanskrit poetic theory. 8. Kavyaprakasa of Mammata Works of the brightest luminary in this phase of the Sastra was Mammata, (11th centA.D) the author of Kavyaprakasa, Mammata was a staunch follower of the Dhvani School and his critique of poetry is founded on the basis of this theory. Mammata's work takes the form of a handbook on the subject with all the concepts and theories woven into one organic and compact whole. This treatise occupies an outstanding position in the history of Sanskrit poetics because of its intelligent interpretation and synthesis of the theories and the great literary acumen exhibited therein. Kavyaprakasa is a profound work and many were the commentaries that subsequent writers composed to elucidate the teachings contained therein. Although Mammata did not seek to expound any novel theory, his is undoubtedly a very intelligent and comprehensive study in Sanskrit aesthetics. 9. Hemacandra, Vagbhata and Ruyyaka Kavyanusasana of Hemacandra who is believed to have flourished at the end of the 11th or the beginning of the 12th cent A.D. can be reckoned as another attempt at compiling a compact handbook of the Sastra based on existing knowledge. Another writer contemporaneous with Hemacandra and who deserves mention is Vagbhata-the author of Vagbhatalankara. This too is a work designed to traverse the entire field of poetic theory. It was in the 12th century that Ruyyaka composed his treatise Alankara-sarvasva which is devoted to a study of poetic figures. He was also the author of Natakamimamsa-a treatise on dramaturgy. 10. Natyadarpana, Bhavaprakasa etc During the 12th, 13th, and 14th centuries attention was focused on drama and dramatic theory.
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