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PRAKRUTI B BHATT                12              SEM 2               2013        VAKROTI,RITI,AUCITYA  LITERARY THEOREY AND...
VAKROKTI
TYPES OF VAKROKTI1) VARNAVINYASA : (The phonetic level) – Shabdalankaras and   lavanya-guna;2) PADPURVARDDHA : (The lexica...
EXAMPLE :  The famous play MUDRARAKSHASA BY VISHAKHADATTAembodies a very striking vakrokti or evasive speech by Shiva, whe...
aUCITYa• KSEMENDRA made aucitya the central element of literariness.• In verses 8-10 of his book (Aucityavicaracarca), Kse...
7) Karaka (case-ending),        19) Sattva (inherent self)8) Kriya (verb),                20) Abhipraya (motive)9) Linga (...
RITIThe “RITI” school of poetics is represented fully by its chief exponent VAMAN. RITI correlate with: (1) themes,       ...
ThANK YOUSOURCES:-“ENCYCLOPAEDIC DICTIONARY OF SANSKRIT LITERATURE”
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Auchitya, vakrokti, and riti

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  • Hi..prakruti your ppt is very well and very help full for me to understand the indian poetic.i think u cover all the topic of riti,rasa,aucitya. so thank u so much for sharing..............
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  • Hi...
    you put good chart. you also describe the types of Vakrokti through the easy language. The types,you have describe two bifferent language english and sanskrit also. You also put some good example.
    Thanks for sharing...
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Auchitya, vakrokti, and riti

  1. 1. PRAKRUTI B BHATT 12 SEM 2 2013 VAKROTI,RITI,AUCITYA LITERARY THEOREY AND CRITICISM
  2. 2. VAKROKTI
  3. 3. TYPES OF VAKROKTI1) VARNAVINYASA : (The phonetic level) – Shabdalankaras and lavanya-guna;2) PADPURVARDDHA : (The lexical level) – Suggestive use of linguistic elements and gunas;3) PADAPARARDDHA : (The grammatical level) – Suggestive use of affixes, etc., and gunas;4) VAKYA : (The sentential level) – Figures of sense and gunas;5) PRAKARANA : (The contextual level) – Episode in plot with unity and originality and gunas;6) PRABANDHA : (The compositional level) – whole plot (well-knit and original) and gunas;
  4. 4. EXAMPLE : The famous play MUDRARAKSHASA BY VISHAKHADATTAembodies a very striking vakrokti or evasive speech by Shiva, when onefine morning he comes home with Ganga on his head to the utterconcentration of Parvati. He is caught on the wrong foot by the jealouswife, and Shiva manages to escape unsullied only by his artful anddodging replies:o PARVATI : Who is this blessed damsel on your crest?o SHIVA : Shashikala (the crescent of the moon, or a lady’s name).o PARVATI : oh, is that the name of the lady?o SHIVA : surely! How is it you have forgotten her name, though soo PARVATI : My query is about the lady and not the moon.o SHIVA : Let then Vijaya, the lady-in attendance, reply and not themoon.
  5. 5. aUCITYa• KSEMENDRA made aucitya the central element of literariness.• In verses 8-10 of his book (Aucityavicaracarca), Ksemendra enumerates the areas, locations or sites of literary compositions where the concept of Aucitya is pertinent:1) Pada (phrase),2) Vakya (sentence),3) Prabandhartha (meaning in whole composition),4) Guna (excellences, qualities),5) Alamkara (poetic figure),6) Rasa (state of being),
  6. 6. 7) Karaka (case-ending), 19) Sattva (inherent self)8) Kriya (verb), 20) Abhipraya (motive)9) Linga (gender or marking), 21) Svabhava (nature)10) Vacana (number), 22) Sara samgraha (essential properties)11) Visesana (qualification), 23) Pratibha (innate ability)12) Upasarga (prefix), 24) Avastha (condition)13) Nipat (redundancies), 25) Vicara (thought)14) Kala (time, tense), 26) Nama (name)15) Desa (country), 27) Asirvada (blessings)16) Kula (family),17) Vrata (custom),18) Tattva (truth),
  7. 7. RITIThe “RITI” school of poetics is represented fully by its chief exponent VAMAN. RITI correlate with: (1) themes, (2) effect, (3) sentiment BhARATA has all the three in mind in his discussion of vrttis : (1) kaisiki, (2) bharti, (3) sattavati, (4) arbhatti
  8. 8. ThANK YOUSOURCES:-“ENCYCLOPAEDIC DICTIONARY OF SANSKRIT LITERATURE”

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