Kavya Aatma

What makes a kavya- kavya. What makes it different from any other piece of writing
• Basis of its very existence
• The main attraction/ most important element
• Equivalent to soul of a living being. Which adds life to otherwise a body of Shabda and Artha
• Beauty, attraction, delight (BAD.. add wherever words required)

Knowing this element is important for experiencing literary pleasure (साहित्यिक आनंद अनुभूति).

Various scholars have attributed various elements of poetry as its soul. This led to various schools of poetry
in Sanskrit kavya literature.
Poetic literature begins with Bharat muni. Bharat muni and scholars after him have tried to describe various
elements of poetry, and standards of a poem. Whichever element appeared most attractive to them, they
described it as the soul of poetry.
The 6 schools of poetry are—
1. Rasa (aesthetic pleasure)
a. Advocates regarded that main objective of a poem is to generate rasa or emotions or feelings
and consequent happiness in the minds of reader.
2. Alankara (poetic figures)
a. It decorates/ adds attraction/ makes attractive to a mere body of Shabda and Artha.
3. Reeti
a. The spl or peculiar arrangement of words is the reason behind beauty of kavya.
4. Dhvani (suggestion)
a. The meaning that is suggested, which is different from literal meaning. That is the most imp.
5. Vakrokti (obliquity)
a. The beauty, attraction due to spl meaning generated/ indicated by the words (different from
the literal meaning of Shabda or artha).
6. Auchitya (propriety)
a. Scholars regard it the most imp. For BAD
 Rasa school (founder/ originator/ advocate/ प्रवर्तक- bahrat muni)
1. rasa- bharat, bharat sutra- sutra
• Basic- what is rasa. Its form. Types vyakhya
• Evolution, views of other scholars - valmiki
2. no of rasa/ sthyai bhav
• Literary criticism 3. most imp rasa

Founder ?
• Bharat- Natyashastra- described rupak and rasa both. Hence regarded the foremost propounder
• Reason-
o Bharat
▪ न हि रसादृिे कत्चिदर्थ: प्रविथिे - natyashastra
• Poetic pleasure generated through appealing emotions of reader.
▪ Although, at that time natya and kavya were not separately defined. Hence, “अष्टौ
नाट्िरसा:” – 8 rasa, as propounded by bharat, can be considered for both kavya and
natya.
• Who else supported- importance of rasa. not rasa school. These belonged to dhvani school.
o Abhinavgupta, anandvardhan.

In Sanskrit, rasa- several meanings. In poetic literature, by term rasa, shringar etc rasa are denoted.
Bharat had derived these rasa from vedas. Especially Atharvaveda.

How to add weight to/ emphasize/ promote rasa school of poetry-

• For this, generally example of Valmiki Ramayana is given. In it, Valmiki visits banks of tamsa river
for bath. There he finds that a hunter (व्याध ) has shot deadक्रौञ्ि bird who was in love. (काम से मोहिि
क्रौञ्ि पक्षी). His beloved क्रौञ्िी bird cries for him in pain. Seeing this, Valmiki experiences feeling of
intense grief. And he utters few words, which take the form of shlok.
• With this rasa only was made possible the beginning of poetry. Hence Ramayana is known as आहद
काव्ि- karuna rasa Pradhan (dominated). But other rasa also present.

Define rasa acc to poetics. Give rasasutra of bharat

Bharat→ Natyashastra→ 6th part (adhyay)→ rasasutra.

ववभावनुभावव्िभभिाररसंिोगाद् रसतनष्पवि:

i.e. vibhav, Anubhav, vyabhichari—the aapropriate conjunction (sanyog) of these generates rasa. Later
scholars too, based their arguments about generation of rasa, to this very sutra.
Eg. Mammat- kayaprakash- karananyath karyani…. Rasah smritah ( Pg 235)
Eg. Vishvanath- sahityadarpan- vibhavenanubhaven…sachetsam (Pg 235)

Explaination of natyasutra-
1. Vibhav- means excitant
a. The elements that instruct/ provoke/ spark feelings like love, separation pain etc.
 b. 2 types- आलंबन and उद्िीपन
i. आलंबन – hero, heroine etc characters. Because, on the basis of their actions only, or
on associating with these only, rasa is generated.
ii. उद्िीपन – Those elements that suggest (उद्िीपन) certain emotions- love etc. again 2
types
a. Eg. Hero, heroin etc characters, or their acts, speech, dressing etc.
b. Eg. Moon rise, river, season etc type.
c. Aalamban- sthayi bhav is generated. Udyeepan- sthayi bhav is suggested.

2. Anubhav-
a. अनप ु चिाि ् भवत्ति इति अनभु ाव:
b. They follow vibhav
c. Vibhav- love etc sthayi bhava generated, suggested. Now the feelings are expressed in
several forms. Those actions (karya) that present (prakashit) these sthayi bhava . called so
because they can be felt/ experienced.
d. 2 types
i. Physical actions of characters. Eg. Eye contact of hero, heroine.
ii. Perspiration (sweating or स्वेद) due to nervousness being felt by characters- hero or
heroine.
e. These are 8. Perspiration, shivering, tears, fainting etc.

3. Vyabhichari
a. Unstable conditions of mind (अत्स्र्र चििववृ ििााँ ). Transient. Generated due to vibhav and
Anubhav. Eg.
b. 33 in number. Eg guilt, doubt, excitement, pride etc.

4. Sthayibhaav
a. Durable psychological states of a person. Whatever a person sees/ feels/ hears in his or her
life, it leaves a permanent impression on mind. Hence durable.
b. Bharat- described 8 such states of mind. Accordingly 8 rasa.
i. Each sthayibhaav- manifests in the form of a particular rasa.
सिज प्रववृ ि / natural tendencies Conditions of mind (मन संवेग )
1 Run away due to fear () Fear (bhay)
2 Desire to fight war Anger (krodh)
3 Fun and enjoyment Laughter (haas)
4 Search for food Hunger (bhukh)
th
c. The 4 one not related to literature though.

Natural tendency→ condition of mind→ sthayi bhaav→ rasa generation

Sthayi bhaav Rasa
1 bhaya Bhayanak
2 krodh Roudra
3 haas haasya
4 ghrina jugupsa Beebhatsa
5 vatsalya vatsalta vatsal
 6 garva utsah veer
7 dainya nirved shant
8 Desire for love rati rati shringar

Bharat- 8 sthayi bhaav hence 8 rasa.

• Prime- shringar, Raudra, veer, beebhatsa SRVB
• Subordinate- hasya, karuna, adbhut, bhayanak. HKAB- Hak Ab

Later times, as the no of rasa increased, as did no of sthayi bhaav.

Eg. Mammat- regarded तनवेद too as sthayi bhaav. Hence 9th rasa- shant rasa.. (indifference)

There are 8-11 rasa acc to different scholars- add bhakti, vatsal

Conclude
What is rasa- that sthayibhav manifested due to conjunction of vibhav, Anubhav, vyabhichari.

DOMINANT/ prime RASA (PRADHAN RASA)

• 8-11 rasa. However, among these too, scholars have regarded some as dominant and others as
subordinate. (प्रधान, गौण). That is some rasa are considered basic, foundational.
o Bhoja- sringar rasa
o Bhavabhuti- karuna rasa
o Abhinavagupta- shant rasa
o Etc
• Bharat-
o Hasya is obtained from sringar
o Karuna from Raudra
o Adbhut from veer
o Bhayanak from beebhatsa.
o Hence, shringar, Raudra, veer, beebhatsa are dominant/ prime rasa. Others are subordinate.
▪ Dhananjay too- above 4 prime rasa.
• Some other scholars- one particular rasa as prime. Others are obtained from it. Eg. Bhavabhuti-
karuna, Abhinavagupta- shant, Bhojraj- sringara, Narayan- adbhut
• Bhavabhuti
o Eko rasah karuna eva nimittbhedaad; bhinnah prithak prithagivaashrayate vivartaan (Pg 246-
footer)
▪ i.e. There is only one rasa i.e. karuna rasa. From that itself, other rasa generated.
• Abhinavagupta- shant rasa
o Rasa is related with the ultimate goal of human life- moksha. Bcoz the experience generated
by any kind of poem is divine, aesthetic pleasure. IT feels the same as meeting with the
supreme god Brahma.

Definition of rasa (स्वरूप). Acc to various texts like Natyashastra, sahityadarpan, etc.

1. Sringar (eroticism)
 • Arises from sthayi bhav of love.
o Love means anything which is bright, pure, beautiful.. it is associated with love.
• Alamban vibhav- hero and heroine- lead characters of noble character.
• Udyeepan vibhava- seasons, garlands, ornaments, music etc.
• Anubhav- frowning, side glances etc.f
• Satvik Anubhav- perspiration, adventure etc.
• Vyabhichari bhaav- Shyness, curiosity etc.
• Sthayi bhav generated- eroticism/ rati
• If love in separation
o Anubhav- physical weakness, worry, fatigue, lifelessness, death.
• Shringar rasa- 2 types-
o Sanyog
o Vipralambh
• Bhojraja has held it as the supreme rasa. Synonym of self and ego. Accordingly he creates
attachment of a person with himself.
o Not false pride or arrogance. But self respect, self consciousness, self confidence.
o When beautiful woman looks at a person with love, he feels gratified as his existence is
justified. Regards himself fortunate. This self love is rasa.
o Ahankara is synonym of both rasa and sringara.
o Believs that all emotions ultimately for self gratification. One experiences love, sorrow, anger
etc only to gratify own senses.
o This ahankara is src of rati or love. Supreme aim of poetry is to generate sense of ‘I’ness.

2. Karuna rasa
• Bharat: compaasion/ sorrow that comes from primary rasa of rudra or furious. The result of furious-
aesthetic experience of compassion. i.e. ra=udra is primary rasa of karuna.
• Ramayana, Mahabharata.
• Aalamban vibhav- loss/ destruction of what one wants; achievement of what one doesn’t want
• Udyeepan vibahv- talking about the loved one. Or recalling him.
• Anubhav- crying, breathlessness
• Sthayi bhav- sorrow/ shoka
• Vibhav- curse, separation from dear ones or their downfall, loss of wealth, death etc.
• Some argue that it does not provide rasa but agony. However, aesthetic experience is different from
actual worldly experience.
o We do not like painful situations in real life. But we do so in poems. And it does provide a
peculiar type of pleasure.
• Madhusudan Saraswati- pleasure experienced from all sources. Only the degree differs.

Rasaon ki sukh-dukh rupta

Criticism- rasa as the soul of poetry
Rasa is the soul of the poetry, the most important element. Alankaras, guna etc act upon it to enhance it.
Bharat muni was the first to propound it. Although from natya point of view. However, till that time no
difference in external skeleton of both. He says.. न हि रसाद ऋिे कत्चिदर्थ: प्रविथिे i.e. nothing can be
experienced w/o rasa. Bharat
Abhinavgupta Vishvanath
Bhojraj Panditraj jagannath
Agnipurana
Later scholars too accepted rasa as the soul of poetry. Anandvardhan
 • Agnipurana- In a poem, there is delicate arrangement of various types of feelings/ emotions.
o Agnipurana- there is no rasa without feeling (bhaav), nor feeling devoid of rasa.
o i.e. bhaav is necessary for rasa, make it experiencable.
o न भाविीनो अत्स्ि रसो न भावो रसवत्जथि:। .... (Pg 251)
• Anandvardhana- although proponent of dhvani school which held dhvani as the soul of poetry.
o कावयस्य आत्मा ध्वनि: | dhvani but rasa dhvani most imp
o But regarded rasa dhvani as the most important.
o He has regarded rasa dhvani as the soul of even dhvani.
o रसभाविदाभास… (Pg 251)
• Other scholars of dhvani school too- dhvani as soul. Rasa most imp dhvani.
• Bhatt taut (भट्टर्ौर् ) in kavyakautuk- Rasa is the soul bcoz it brings about a sense of happiness.
Hence rasa belongs to natak. In a poem- only when a subject could be experienced as if it is real,
just like a natak, only then it could be felt by reader.
• Pratiharenduraj- in his commentary ‘Laghuvritti’- Although he himself belongs to alankar
school, but held rasa as the soul. Only a poem which is composed of rasa- can stay alive.
• Abhinavgupta- commentary = Lochanteeka of dhvanyalok.
o In a kavya, rasa is always suggested (व्िंग्ि). Which is experienced only by dhvani- hence
called rasa dhvani. This rasa dhvani is the soul.
o स ि काव्िव्िापरैकगोिरो … (Pg 251- 6- footer section)
• Post abhinavagupta too, scholars held rasa as soul.
• Bhojraj- saraswatikanthabharan (Saraswati-kantha-bharan)- shringar is the most important
element that makes a poem beautiful/ delightful. He says absence of shringar makes a poem boring
(neeras)
o रसो अभभमािो अहंकार: शंगार इनर् गीयर्े|
यो अर्त: र्स्य अन्वयार् ् काव्यम ् कमिीयत्वम ् अश्िर्
ु े|| (Pg 260- 1)
• Similarly, Ruyyak, Mahimbhatt, RAjashekhara- rasa is the soul
• Mahimbhatt- rasa is soul as held by dhvani scholars. Only difference- rasa is not suggested; it is
inferred. (abhinavagupta- suggested)
• Vishwanath- वाक्िं रसायमकम काव्िम ् Baharat- na hi rasadrite...
Agnipurana- na bhaavaheeno rasah
o Hence held kavya as the most imp. Anandvardhan- kavyasya aatma dhvani
abhinavagupta too- rasadhvani
• Similarly, Karnapur, Bhudev, keshavamishra held rasa as aatma. (change
Bhatt taut too words- aatmasthaniya.
i.e. titular position etc) Bhojraj- shringar- raso abhimano ahankarah
Ruyyak, Rajshekhara
• Panditraj Jagannath- Those whose subject is rati etc., undisguised,Vishwanath-
self consciousness is rasa.
vakyam rasatmakam kavyami.e. rasa
Jagannath- consciousness and rasa same.
and consciousness are one. And such consciousness- is soul.
kavina prabandham upnibadhnata sarvana
Hence, rasapartantrena bhavitavyah

Rasa→ primacy, delightfulness→ most scholars from ancient times of poetics to modern times—rasa
as soul.
Not only scholars of poetics. But poets like kalidasa, bhavabhuti too.
Hence, Anandvardhan- rasa most imp element.. hence poet should base his poem on rasa and give spl
attention to it.

कववना प्रबंधम ् उप-तनबध्निा सवाथयमना रसपरिंत्रेण भवविव्िम ् |

Add negative points- alankara/ reeti etc.

 अलंकार संप्रदाय
Second position after rasa school.

History/ Beginning:
‘na hi rasadrite kashchidarthah pravartate..’- Bharat held rasa as essential element of kavya. Hence the most
important. Element of primacy. However considered natya and kavya as not separate but one.
However, Bhamah and scholars after him- Dandi etc- rasa is the most imp, but only in case of natya. But for
kavya- alankara most imp (अंगी). Rasa etc only associates/ subsidiaries (अंगरूप).

Bhamah-
Despite being beautiful, a woman does not look good w/o ornaments. Similarly, a kavya, despite
consisting of rasa, but it looks good only due to alankara.
vibhati- attractive

न कांिमवप तनभष
ूथ म ् ववभाति वतनिामख
ु म् |
kaanta- woman
w/o ornaments, beautiful woman doesn't look attractive.

This way, he considered rasa, feelings, emotions etc as part of alankara itself.
After Bhamah, the scholars continued to hold alankar as the soul, till anandvardhan.
Anandvardhan- established dhvani as soul. Hence borught about a change/ turn in the history of Sanskrit
poetics.
However, still, alankaras continued to hold imp place.

Eg Mammat- अनलंकृिी पन
ु : क्वावप

• On this, Jayadev offensively reacted- one who can consider a body of shaba-artha, devoid of
alankara, as kavya. Why doesn’t he consider fire as cold too..
अंगीकरोति ि:…. (Jaydev- chandralok. Pg 263- shlok 2)

Alankar school scholars

• Alankar most imp element
• All the elements of a kavya- which make it beautiful, interesting, delightful—all those were
considered within alankara.
• Dandi- Those characteristics of kavya that make it adorable/ beautiful…, those characteristics are
called alankara. Dandi
o Kavyadarsh- काव्ि-शोभकरान ् धमाथन ् अलंकारान ् प्रिक्षिे | Vaman

• Vaman- Soundarya is alankara. Only through alankara, can a poem be perceived.

o Kavyaalankarsutra- काव्िम ् ग्राह्िम अलंकाराि ् | सौंदययमलक
ं ार: |
•
Development of alankara school

• Alankar = कृ धािु + घञ ् प्रयिि – means that thing/ element by which something is beautified, its
beauty enhances, that element is called alankar.
o Similar to human body- beautified by necklace, earings etc ornaments.
o Similarly a body of shabd-artha- beautified by alankar
History:
• Ogn- Rigveda. Term अरम् instead of अलम् Rigveda- aram, use of upma, shlesh
brahmans, upanishads too.
First relation estab- nirukta-
describes upama, types of upama.
 o Several alankars used several times- upma, shlesh, atishayokti etc.
• Then brahamans, Upanishads too.
• But till now, specific relation not specified with poetics (kavyashastra)
• First relation establishement with kavyashastra- nirukrta
o Writer = yaska
o YAska-
▪ Gave expression (nirukti) to term ‘upama’.
▪ He described upama as-
• िदासाम ् कमथ ज्िािसा… (pg 263)
▪ He has further given several types of upama- कमोपमा, रूपोमा, अर्ोपमा etc.
• Later, at the time of Panini, alankaras were well defined in kavyashastra. He has used terms like
upama, sadrish, pratirup etc. in his sutras. Panini, KAtyayana- user terms like--

o Eg िर्ा सादृचिे ; उपमानातन सामातिविनै:

means well defined by now.
PAtanjali- describes term upma,
upamana etc- more detailed discussion
• Then Katyayana- इव term. but no scholastic / acadmeic one

• Patanjali- has described upma, upamana etc terms of panini.

o Eg. उपमान- मानं हि नाम अतनर्ज्ाथि-ज्ञान- अर्यम्….
• However, despite several indications of alankar. No specific scholastic description of alankar till
now. Shastriya vivechan Scholastic beginning
• First shastriya/ academic description- Bharat Natyashastra. But very little. 1. bharat- 4 alankara
2. bhamah
o Bharat- Upama, rupak, Deepak, yamak—described these 4 alankaras.
• After him, alankara school saw considerable evolution.
What do various scholars say— defining alankara
Bhamah- first to clearly describe
poetry, differentiated from rasa.
• Although Bharat- Natyashastra- bharat muni- 4 alankaras alankara as soul.
• But Bhamah- Eg- non make up wali woman
rasavad alankar
o first scholar-
▪ First to clearly describe what is poetry or kavya.
▪ Established alankar as soul.
o Bharat’s elements- rasa etc- considered within/ part of alankara- called by term ‘रसवद्
’alankara
o He says--
▪ Beautiful woman doesn’t look beautiful w/o them
▪ A phrase/ sentence—that conveys indirect meaning from Shabda and Artha- is called
alankara. Absence of indirect meaning = absence of alankar.
सैषा सवथत्र वक्रोत्क्ि: अनिा अर्ो विभाव्यते (pg 264- shlok 5,6) Bharat
Bhamah
• Dandi Dandi
Agnipurana
o All those elements/ qualities that make/ add to beauty of kavya = alankara. vamana
o Innumerable types Rudrat
Kuntaka
o Since rasa etc too add to beauty- considered them within rasavad alankar. Bhojraj: alankara =
beauty. may or may not
• Agnipurana be present
o A poem without Artha-alankara is similar to widow.
o अर्ाथलंकाररहििा ववधवेव सरस्विी
• Vaman- reeti is aatma
o But held- the utility (what solves the purpose of poem) of poem is due to its beauty- alankara
काव्िम ् ग्राह्िम अलंकाराि ्
• UDbhat-
 o Rasa = rasavat
o Samasokti alankara, paryayokt alankar etc- considered element of ‘indirect meaning’ within
these.
▪ पिाथिोक्िम िि ् अतिेन प्रकारे ण अभभधीििे ….
o Rudrat too- alankara as soul. Rasa etc within it. Hence named his work- kavyaalankar.
• Kuntaka (vakrokti founder)- vakrokti jeevit
o Alankara is important. alankar sahit ukti = kavyatva. otherwise no.
o Kavya definition- a saying or utterance or dictum (उत्क्ि ), which is accompanied or includes
alankara is kavya.
o The statement which has alankara, that is poetical (kavyatv).
▪ Pg 265 shlok 11, 12
o
• Bhojraj
o Alankaras add to beauty of kavya. This is the basic characteristic. Hence, if there is no beauty
then the alankar doesn’t exist.
o Hence alankaras called by term ‘vakrokti’
o Three types of alankaras- vakrotki, svabhaavokti, rasokti.
▪ If upma etc most imp element- vakrokti
▪ If guna more imp- svabhaavokti
▪ If rasa most imp- rasokti
This trend- that regarded alankar the most imp- was broken by Anandvardhan. He and other dhvani school
poets held that alankaras should be employed in kavya as associates of rasa, i.e. for generation/ enhancement
of rasa. not forcefully
Dhvani-
o Anandvardhan- enhance existing beauty/ rasa.
external beauty.
▪ वववक्षा ियपरयवेन न अंगी यवेन कदािन। hence secondary, associates to rasa
hence usage in accordance with
▪ िव अर्थम ् अवलंबतिे…. Pg 266-3rd shlok rasa. not independent.
Eg- anandvardhan, mammat
o What do dhvani school scholars say
▪ Anandvardhan, mammat, rajshekhar, Vishwanath, jagannath etc
▪ Dhvani is soul. Hence reeti, alankara etc should be according to and for this dhvani.
▪ Alankaras- alankaras subordinate status + associated with ext beauty of poem.
▪ Hence their need and employment should be based on requirement of rasa.
o Mammat – अनलंकृिी पुनः क्वावप

Thus, Bhamar etc alankar school proponents- alankar is the most imp in kavya (regarded it as अंगी)।
Contrary, dhvani school- derived their importance from rasa- अंग

• Sahityadarpan- However, contrary to them, alankaras may or may not be present in poem. They may
or may not influence rasa generation. Hence,

अलंकारा अत्स्र्रा इति न एषां गण

ु वदावचिकी त्स्र्ति:
Conclusion: after bharat, before ananvardhan→ alankaras as angi. Dhvani proponents- regarded as the agent
to enhance the beauty of kavya. Not angi. But गौण स्र्ान. Secondary position. And held that alankaras
should be used keeping rasa in mind. Post them, poetics criticism—the dhvani school is primarily accepted.

About alankaras:

Bharat: 4 alankaras in Natyashastra- उपमा, रुपक, दीपक, िमक.

Centureis later, Bhamah- kavyalankar- more broad and scientific explaination.

• 38 alankaras- He did not categorise them, but as per current understanding- can be divided into 2
categories- 2 shabd alankar, 36 arth alankar
• शब्दालंकार – अनप्र
ु ास, िमक
• अर्ाथलंकार – उपमा, रुपक etc.

Then Dandi- 37. Further held, total number of alankaras cannot be ascertained. Bcoz they are of many many
types.
Later more alankara types were added to the list. It even reached 125 at some point of time.
Categorisation of alankaras
2 names imp- rudrat, ruyyak
The first scholar to focus on categorisation- Rudrat-
• 4 essential elements (mul tatva) of alankara. Hence 4 types of alankara
o वास्िव, औपम्ि, अतिशि, चलेष |
• Further, he divided only arthalankar. Considered shabdalankar separate.
Ruyyak- divided them on the basis of their nature (prakriti). More scientific.

• Primarily 2 types- शुद्ध, भमश्र

• शुद्ध → शब्दालंकार , अर्ाथलंकार
o शब्दालंकार – मूल ियव = पुनरुवि । punarukti of 5 types. Hence 5 types of shabdalanakr
o Arthalankar→ 7 types. Again on basis of 7 mul tatva- सादृचि,ववष्लेषण, etc
▪ These 7 were then further divided.
However, later, dhvani scholars did not give much attention to categorising alankaras. Bcoz many of them
considered atishayokti as one essential element. All came under it. Eg anandvardhan and mammat
However, current position- 2 types- Shabda and Artha.