LITERARY WORK OF POET COL MUHAMMAD KHALID KHAN – CRITICAL ANALYSIS
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LITERARY WORK OF POET COL MUHAMMAD KHALID KHAN – CRITICAL ANALYSIS BY: AIZAZ KHAN YOUSAFZAI SOURCE: www.mehrpoetry.com
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Paper no.:7 Literary Theory and Criticism
1) The document discusses the Dhvani theory and Alamkara in Sanskrit poetics. It describes Dhvani as referring to suggestion and being considered the essence of poetry according to Anandavardhana.
2) It outlines two main divisions of Dhvani - Avivekshitavachy or the expressed sense, and Vivekshitavachy or the illustrated sense.
3) Alamkara refers to ornaments or embellishments used in classical music and poetry to enhance beauty. It describes two broad categories of Alamkara - Varnalankar based on syllables and Shabdanulankar based on sound production techniques.
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This document provides information about the literary terms Dhvani and Vakrokti. It discusses Anandavardhana's theory of Dhvani, which views suggestive meaning as the soul of poetry. It also examines Kuntaka's theory of Vakrokti, which sees artistic turns of phrase that mark both words and meaning as a source of literary beauty. The document serves to introduce these two important concepts in Indian poetics from different schools of thought.
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This document discusses Dhvani and Alamkara in Indian poetics. It explains that Alamkara are devices used for aesthetic form in poetry related to both sound and meaning. It states that Gunas are more intrinsic to poetry while Alamkaras are external ornaments. Dhvani is described as the sole meaning intended by the poet and realized by the reader, regarded as the essence that gives life to literary beauty including Gunas, Riti, Alamkara and Vrtti. The document also discusses Anandavardhana's contribution to Dhvani theory and how Dhvani and Rasa together form an explanatory framework for interpreting texts.
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This document discusses the Dhvani theory of Indian poetics. It explains that Dhvani theory focuses on suggestion and symbolism in poetry rather than direct meanings. The Dhvani school was formulated by Anandavardhana in the 9th century, who argued that aesthetic pleasure or rasa in a poem is experienced through suggestion rather than the literal meaning of words. There are three types of implicit meanings - vastu dhvani implies rare ideas, alankara dhvani suggests figures of speech, and rasa dhvani evokes aesthetic emotions. Words have three powers - abhidha is the basic meaning, lakshana indicates deeper meanings, and vyanjana is what is suggested
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Vakrokti is a theory of Sanskrit poetics developed by Kuntaka that describes the essence of poetry as a "strikingness of expression". According to Kuntaka, vakrokti is the source of beauty in poetry and manifests through six levels including the phonetic, lexical, grammatical, sentential, contextual, and compositional. Kuntaka believes beautiful and miraculous aspects of poetry result from vakrokti, which he defines as an expression that is opposite to a literal description. Vakrokti must delight readers and contribute to their aesthetic enjoyment for a work to be considered poetry.
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The document discusses the Theory of Dhvani proposed by Sanskrit critic Anandvardhan. Dhvani refers to suggestive meaning in poetry where the literal meaning of words takes a subordinate position to suggest deeper ideas, figures of speech, or emotions. Anandvardhan categorized poetry into three types based on dhvani - Uttama uses extensive dhvani, Madhyama uses moderate dhvani, and Adham uses little dhvani. Dhvani can be of three types - Alankara Dhvani relates to figures of speech, Rasa Dhvani relates to emotions, and Vastu Dhvani relates to the subject matter. Anandvardhan believed
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1) The document discusses the Dhvani theory and Alamkara in Sanskrit poetics. It describes Dhvani as referring to suggestion and being considered the essence of poetry according to Anandavardhana.
2) It outlines two main divisions of Dhvani - Avivekshitavachy or the expressed sense, and Vivekshitavachy or the illustrated sense.
3) Alamkara refers to ornaments or embellishments used in classical music and poetry to enhance beauty. It describes two broad categories of Alamkara - Varnalankar based on syllables and Shabdanulankar based on sound production techniques.
Dhvani - Vkrokti : school
This document provides information about the literary terms Dhvani and Vakrokti. It discusses Anandavardhana's theory of Dhvani, which views suggestive meaning as the soul of poetry. It also examines Kuntaka's theory of Vakrokti, which sees artistic turns of phrase that mark both words and meaning as a source of literary beauty. The document serves to introduce these two important concepts in Indian poetics from different schools of thought.
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This document discusses Dhvani and Alamkara in Indian poetics. It explains that Alamkara are devices used for aesthetic form in poetry related to both sound and meaning. It states that Gunas are more intrinsic to poetry while Alamkaras are external ornaments. Dhvani is described as the sole meaning intended by the poet and realized by the reader, regarded as the essence that gives life to literary beauty including Gunas, Riti, Alamkara and Vrtti. The document also discusses Anandavardhana's contribution to Dhvani theory and how Dhvani and Rasa together form an explanatory framework for interpreting texts.
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This document discusses the Dhvani theory of Indian poetics. It explains that Dhvani theory focuses on suggestion and symbolism in poetry rather than direct meanings. The Dhvani school was formulated by Anandavardhana in the 9th century, who argued that aesthetic pleasure or rasa in a poem is experienced through suggestion rather than the literal meaning of words. There are three types of implicit meanings - vastu dhvani implies rare ideas, alankara dhvani suggests figures of speech, and rasa dhvani evokes aesthetic emotions. Words have three powers - abhidha is the basic meaning, lakshana indicates deeper meanings, and vyanjana is what is suggested
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This document is a student paper submitted to Bhavnagar University discussing Dhvani theory and Alamkara in Sanskrit poetics. It provides an introduction to Dhvani theory as proposed by Anandavardhana, discussing concepts like Prakrata Dhwani, vaikrta Dhwani, and how Dhvani theory elevates discussion on the essence of poetry. It also discusses the different meanings of Dhvani and the two main divisions of Dhvani theory. Finally, it defines and discusses concepts of Alamkara, including different types like Varnalankar and Shabdanulankar.
Vakrokti as a Theory : Criticism & Indian aesthetic
Vakrokti is a theory of Sanskrit poetics developed by Kuntaka that describes the essence of poetry as a "strikingness of expression". According to Kuntaka, vakrokti is the source of beauty in poetry and manifests through six levels including the phonetic, lexical, grammatical, sentential, contextual, and compositional. Kuntaka believes beautiful and miraculous aspects of poetry result from vakrokti, which he defines as an expression that is opposite to a literal description. Vakrokti must delight readers and contribute to their aesthetic enjoyment for a work to be considered poetry.
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This document summarizes Kuntaka's theory of vakrokti, or oblique expression in poetry. It discusses Kuntaka as a Kashmiri Sanskrit poet and theorist who lived around 950-1050 CE. According to Kuntaka, vakrokti manifests at six levels of poetic expression: phonetic, lexical, grammatical, sentential, contextual, and compositional. Each level involves different types of figurative language and deviations from normal speech patterns to create striking poetic effects. The document provides examples to illustrate each of the six levels of vakrokti.
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This document summarizes Kuntaka's theory of Vakrokti, or oblique expression, which he considers the hallmark of creative literature. Vakrokti involves expressing things in a striking way that goes beyond direct description. Kuntaka believes Vakrokti is the source of beauty in poetry. He discusses the origins and definitions of Vakrokti provided by other theorists like Bhamaha and Dandin. Kuntaka also compares his view of Vakrokti to Anandvardhana's theory of Dhvani and provides classifications of Vakrokti, including six types.
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Literature broadly is any collection of written work, but it is also used more narrowly for writings specifically considered to be an art form, especially prose fiction, drama, and poetry. In recent centuries, the definition has expanded to include oral literature, much of which has been transcribed. Literature is a method of recording, preserving, and transmitting knowledge and entertainment, and can also have a social, psychological, spiritual, or political role.
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The literature of Kashmir dates back to many centuries and it revolves mainly around three languages, Sanskrit, Persian, and Kashmiri besides Urdu, Hindi, and other languages.
Jammu Kashmir has a very rich literary history as it has contributed a lot to the field of literature and produced eminent poets and writers. Works of Kashmiri writers have been accolade internationally.
The dawn of Kashmiri literature started 2500 years back when it started with Sanskrit and other languages. However, original literature in the Kashmiri language started 750 years ago.
The literature began with the work of
three main poets: –
Srikanth
Lalla Ded
Sheikh Noor-ud-Din
ShitiKanth’s prime work Mahayana Prakash is a graceful composition.
It was written in Twelfth-Century and consists of 94 lakhs each followed by translation and explanation in Sanskrit.
The greatest poet of the Kashmiri language so far is LalDed. She is the most abiding influence on Kashmiri literature.
She and her contemporary, Sheikh Noor-ud-Din Noorani have become famous literary icons in Kashmir. People have engulfed them in a great moss of myth and legend.
Sheikh was a missionary who used poetry as a medium of individual and social reform. Another rhetorical poetess, who used to sing her own verse, was HabbaKhaatoon, the wife of Mughal Emperor Yousuf Shah Chak.
Kashmir has a rich legacy of literary writers who contributed a lot to the world of literature. The following list of poets who accolade globally and won many awards.
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This document provides an overview of the Dhvani school of literary theory established by Anandavardhana. It defines Dhvani as the artistic enjoyment achieved not through direct meaning of words but through associations and ideas evoked. Anandavardhana considered suggestion, or indirectly implied meaning, as the distinguishing characteristic of literary works. He viewed Dhvani as the essence (atma) of poetry. Dhvani refers to both the sound structure of words that suggest meaning and the process of suggestion itself. The theory establishes poetry of suggestion as the highest form.
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The document discusses several key concepts in Sanskrit literary theory, including dhvani, rasa, alamkara, and their relationships. It provides definitions and explanations of these terms:
- Dhvani refers to suggestive or indirect meaning, as propounded by Anandavardhana, and considers it the characteristic of literary language over other forms of discourse.
- Rasa theory proposes that literature aims to evoke emotions or rasas such as love and humor in audiences. Figures of speech (alamkara) and dhvani are said to lead to evoking rasas.
- Alamkara refers to figurative language and speech that embellish a text but also shape how meaning
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1) Natyasastra by Bharata was the first written work on aesthetics in India.
2) Most Indian art had religious interpretations and was linked to religious thought and imagery.
3) Dhvani theory by Anandavardhana focused on suggestive meaning as the essence of literary works.
4) Alamkara theory by Bhamah defined poetry as a combination of sound and meaning using poetic figures.
5) Riti, Auchitya, and Vakrokti theories addressed stylistic aspects of literature and art.
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Literature broadly is any collection of written work, but it is also used more narrowly for writings specifically considered to be an art form, especially prose fiction, drama, and poetry. In recent centuries, the definition has expanded to include oral literature, much of which has been transcribed. Literature is a method of recording, preserving, and transmitting knowledge and entertainment, and can also have a social, psychological, spiritual, or political role.
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Jammu Kashmir has a very rich literary history as it has contributed a lot to the field of literature and produced eminent poets and writers. Works of Kashmiri writers have been accolade internationally.
The dawn of Kashmiri literature started 2500 years back when it started with Sanskrit and other languages. However, original literature in the Kashmiri language started 750 years ago.
The literature began with the work of
three main poets: –
Srikanth
Lalla Ded
Sheikh Noor-ud-Din
ShitiKanth’s prime work Mahayana Prakash is a graceful composition.
It was written in Twelfth-Century and consists of 94 lakhs each followed by translation and explanation in Sanskrit.
The greatest poet of the Kashmiri language so far is LalDed. She is the most abiding influence on Kashmiri literature.
She and her contemporary, Sheikh Noor-ud-Din Noorani have become famous literary icons in Kashmir. People have engulfed them in a great moss of myth and legend.
Sheikh was a missionary who used poetry as a medium of individual and social reform. Another rhetorical poetess, who used to sing her own verse, was HabbaKhaatoon, the wife of Mughal Emperor Yousuf Shah Chak.
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This document provides an overview of the Dhvani school of literary theory established by Anandavardhana. It defines Dhvani as the artistic enjoyment achieved not through direct meaning of words but through associations and ideas evoked. Anandavardhana considered suggestion, or indirectly implied meaning, as the distinguishing characteristic of literary works. He viewed Dhvani as the essence (atma) of poetry. Dhvani refers to both the sound structure of words that suggest meaning and the process of suggestion itself. The theory establishes poetry of suggestion as the highest form.
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The document discusses several key concepts in Sanskrit literary theory, including dhvani, rasa, alamkara, and their relationships. It provides definitions and explanations of these terms:
- Dhvani refers to suggestive or indirect meaning, as propounded by Anandavardhana, and considers it the characteristic of literary language over other forms of discourse.
- Rasa theory proposes that literature aims to evoke emotions or rasas such as love and humor in audiences. Figures of speech (alamkara) and dhvani are said to lead to evoking rasas.
- Alamkara refers to figurative language and speech that embellish a text but also shape how meaning
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Kuntaka is known as the originator of the vakrokti school of Sanskrit literary theory. Vakrokti consists of two components - vakra meaning crooked or distorted, and ukati meaning figurative. Kuntaka defines vakrokti as a description of something in a way that is opposite to how it truly is. He divides vakrokti into six types based on variations in letters, sentences, words, topics, and overall composition. Vakrokti aims to bring beauty, pleasantness, softness, and propriety to poetic expressions.
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This document provides an overview of the five schools of Indian aesthetics:
1) Natyasastra by Bharata was the first written work on aesthetics in India.
2) Most Indian art had religious interpretations and was linked to religious thought and imagery.
3) Dhvani theory by Anandavardhana focused on suggestive meaning as the essence of literary works.
4) Alamkara theory by Bhamah defined poetry as a combination of sound and meaning using poetic figures.
5) Riti, Auchitya, and Vakrokti theories addressed stylistic aspects of literature and art.
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Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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Remote Sensing and Geographic Information Systems
9
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- 3. Colonel Muhammad Khalid Khan lives in Abbottabad. He did his FSc and BA from Government Post Graduate College Abbottabad afterwards he did his LLB, Masters in Educational Administration and Master in English Language and Literature from University of the Punjab Lahore, he also did Masters in TEFL and diploma in TEIL, he started his career as lawyer and then switched to PAKISTAN ARMY where he served for 25 year of his life . As an editor his appreciable work is in Pakistan Army Journal, Pakistan Defence Review, Army Green Book and The Rising Crescent...,His Seven books are already published as PA BE-GILL, ANAP SHANAP, FEELINGS, GULAB REHNAY DAY, CHAINS OF LIFE, RAFLIAN, KHAKE LAFAFA, DA MEENAY DASTAK and GOLDEN GLOW.
- 4. Colonel Muhammad Khalid Khan is a poet of sanguine sentiments and sensibilities enriched with profound personal experience. These strongly felt and internalized emotions find a natural expression in his poetry. Although he seems drugged and drowsy with the pain of living, he remains conscious of the vibes and vicissitudes that shape the events around him. That is why the passions do not cloud his consciousness, which continues to filter through the fog of feelings like beams of light. The imagery of songs and sounds, of darkening shades and half-light mystifies and beautifies his poetry at the same time. He feels caged like a bird but there is a strong urge to break it open and fly for a war into the sky where he dreams his destiny is.
- 5. However, while in the cage of life he finds strong solace and protection in his faith and love. (Preface to Feelings - Brig Dr. Safdar Ali Shah, PMA). Khan is a follower of rich traditions of classical poetry and so looks to be impressed by poets like John Donne, John Keats and Percy Bysshe Shelley. He is a true lover of God, humanity and his country, which is evident from his poems. It gives me immense pleasure to see that Khan, who has been my student, has created such a wonderful piece of work. My Department and University can be rightly proud of having students like Colonel Muhammad Khalid Khan. (Preface to Chains of Life - Professor Dr. Abdul Hafeez, AIOU). Mehr knows the art of writing poetry. His poetry is full of feelings, emotions and rhythm. His work is amalgamation of grief and sorrow, yearning and desire and fantasy and delight. His poetry pertains to his beloved.
- 6. His poetry is without any over embellishment and unnecessary decorations. He communicates his feelings beautifully. The language of his poetry is simple and fascinating which attracts audience. (Preface to Paba Gill - Iftikhar Arif Chairman PAL). Mehr is new to the world of humourous poetry. His work was being published in different magazines which I used to read. Now he has published a humourous Urdu poetry book and became an established member of society of humourous poets.(Preface to Anap Shanap - Dr Inam-ul-Haq Javed, AIOU)
- 31. LIFE SO SERIOUS