Introduction to Kāvyaśāstras
The juice of life or rasa, pervades every aspect of a rasika’s life. And kāvya is an expression of that rasa in its highest form. Bhārata has had a long, rich and structured tradition of kāvya, many of which are unfortunately not known as widely as they should be. This course will shed light on the various schools of kāvyaśāstras, and engage the learner in a delightful journey of soundaryabodha.
Overview
यदि शब्दाह्वयं ज्योतिरासंसारान्न दीप्यते ॥
Alaṅkāra sampradāya: Bharatamuni describes only 4 alaṅkāras that enhance the beauty of kāvya. Bhāmaha titled his own work as Kāvyālaṅkāra, thus propounding the view of his own school. It is interesting to note that with the passage of time, the number of alaṅkāras even crossed hundred. According to this school, the essence of poetry is not rasa but alaṅkāra. In the words of Bhāmaha, even the lovely face of a lady does not give joy in the absence of ornaments (न कान्तमपि निर्भूषं विभाति वनितामुखम्). Then, what to say about kāvya without alaṅkāras? Daṇḍin and Jayadeva are other famous ācāryas of this school.
यथास्मै रोचते विश्वं तयेदं परिवर्त्तते ।।
Contents
Day 1
Introduction to the uninterrupted tradition of Indian poetics (Kāvyaśāstra) :
This session will delve into the essence of Indian poetry and its continuity throughout the ages past. It will serve as a primer into aspects on rasa, alaṅkāra, vakrokti, dhvani, and aucitya.
Day 2
Introduction to the Rasa school and Nāṭyaśāstra :
Rasa is evoked when the vibhava, anubhava and vyābhicāribhava are in conjunction (saṃyoga). This session will discuss the congruence of ideas between rasa school and Nāṭyaśāstra.
Day 3
Alaṅkāra sampradāya :
This lecture will cover the perspectives of Bhāmaha and Daṇḍin, who were the main exponents of this school. They believed that alaṅkāras are more important than rasa.Daṇḍin writes, "काव्यशोभाकरान्धर्मानलङ्कारान्प्रचक्षते," meaning all the devices adding charm to literature are alaṅkāras. Bhārata talked about four alaṅkāras, and Appayya Dīkṣita enumerated more than 100.
Day 4
Rīti and Guṇa sampradāya :
This lecture will cover the guṇa (poetic excellences) and dośa (defects) of words and meaning for maintaining the flawless poetic style, as espoused by Vāmana. Vāmana writes, "रीतिरात्मा काव्यस्य" and "विशिष्टा पदरचना रीतिः" signifying that this is the mode or style of literary expression.
Day 5
Vakrokti sampradāya :
This lecture will explore the 6 types of vakrokti, or oblique speech, which is figurative speech, espoused by Kuntaka.
Day 6
Aucitya sampradāya :
This lecture will discuss the aucitya or propriety in ideas, words and expression are intended. An improper use of alaṅkāra, guṇa, or even rasa, makes the literary piece un-aesthetic and sometimes disgusting. The theory of propriety or appropriateness is propounded by Kṣemendra in his "औचित्यविचारचर्चा.
Day 7
Dhvani sampradāya :
This lecture will dwell upon the threefold classification of dhvani or the suggestive power of words, as espoused by Ānandavardhana. It doesn't negate any school but is regarded as an extension of all the theories of poetics.
Session Recordings
Day 1
Introduction to the uninterrupted tradition of Indian poetics (Kāvyaśāstra)
Day 2
Introduction to the Rasa school and Nāṭyaśāstra
Day 3
Alaṅkāra sampradāya
Day 4
Rīti and Guṇa sampradāya
Day 5
Vakrokti sampradāya
Day 6
Aucitya sampradāya
Day 7
Dhvani sampradāya
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Key Takeaways
Definition
Ability to define kāvya and explain its salient features.
Knowledge
Knowledge of various schools (sampradāyas) of literary criticism.
Learning
Learn to apply the theories to enjoy literature.
Pride
Take pride in the perennial tradition of kāvyaśāstra in Bhārata.
Contrast
Compare and contrast Bhāratīya poetics with the Greek poetics.
Who is this course for?
- Poetry weaves beauty into life. The course is intended for everyone who wants to better understand the fundamentals of kāvya and rasa, and be able to enjoy the vast richness of Kāvyaśāstras. Anyone interested in knowing the theories of literary criticism, especially students of languages and literature, are also recommended to join. The theories hold good for all regional languages of India along with Saṃskrita.
Know your Instructor
Dr. Gauri Mahulikar
Dr. Gauri Mahulikar is the academic director at Chinmaya International Foundation and former dean at Chinmaya Vishwa Vidyapeeth. A luminary of Saṃskrita studies, she is a recipient of the Adi Shankar Fellowship by the Acharya Shakar Samskritik Ekta Nyas, Ministry of Culture, Madhya Pradesh. A recipient of numerous awards, she has a rich academic background and has published over 90 articles in English, Saṁskrita, Marathi and Hindi. She also holds the Maneckji Limji Gold Medal for her dissertation on ‘Ancient Greek Dramas and Bharata’s Naṭyaśāstra’ from Mumbai University. She has mentored over eighteen Ph.D. scholars, initiated transformative courses, and led a UGC-funded project on manuscript preservation.
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