major paper 13 assignment[rudri upadhyay]

NAME :  Upadhyay Rudri Virendrabhai

 

YEAR: ty [sem-5]

MAIN SUBJECT: English

PAPER NAME: Exploring Indian knowledge system : texts ,                                          tradition and woldviews.

ASSIGNMENT TOPIC: class assignment-  ppt on rasa theory

                                        home assignment-  Dhvani  theory

                                        essay assignment-siddhartha

                                                                                -Herman Hesse

TEACHER'S NAME: Rachna ma'am Dave

                     CLASS  ASSIGNMENT 📘📖

Introduction

The Vakrokti Theory is a major concept in ancient Indian literary criticism. It was propounded by Kuntaka, a 10th-century Sanskrit scholar, in his work Vakroktijīvita.

• Vakra means crooked, indirect, or unique.

• Ukti means expression or utterance.
  Together, Vakrokti means “oblique or striking expression.”
  Kuntaka argued that poetry becomes beautiful not merely by meaning but by the distinctive, creative twist in expression.

Core Idea

According to Kuntaka:

“Poetry is the soul of vakratā (obliqueness).”
Ordinary language is straight and plain, but poetry shines when the poet uses unusual, imaginative turns of phrase—unique word choice, style, and arrangement—that delight the reader.
This special mode of expression is what transforms a simple thought into kāvya (true poetry).

Levels of Vakrokti

Kuntaka identified six levels (or kinds) of vakratā, each adding beauty:

1. Varṇavinyāsa-vakrata (Phonetic/Letter-level)

   • Beauty in sound and arrangement of syllables.

   • Example: Alliteration or melodious rhythm that pleases the ear.

2. Pada-pūrvārddha-vakrata (Word-level)

   • Unusual choice of words or surprising epithets.

   • Example: Calling the moon “the night’s lotus” instead of simply “moon.”

3. Pada-parārddha-vakrata (Phrase-level)

   • Creative use of compounds or word combinations.

   • Example: Inventive metaphors like “thunder of silence.”

4. Vākya-vakrata (Sentence-level)

   • Distinctive sentence structure, inversion, or striking syntax.

   • Example: Rearranging word order to heighten drama or emphasis.

5. Prakaraṇa-vakrata (Sectional/Contextual)

   • Unique presentation in a scene, act, or episode.

   • Example: Introducing a character or event in an unexpected way.

6. Prabandha-vakrata (Whole-composition level)

   • The overall originality in theme and organization of the entire work.

   • Example: An epic where plot, style, and treatment show a new artistic vision.

These levels move from micro (sound/word) to macro (entire composition).

Difference from Other Theories

• Unlike Rasa theory (Bharata/Abhinavagupta), which stresses emotional experience, or Dhvani theory (Anandavardhana), which highlights suggested meaning,

• Vakrokti theory focuses on how something is expressed—the creative twist in language itself.

Illustrative Example

A simple statement: “The sun set.”
A vakrokti poet might write: “The crimson chariot of the day slipped behind the dusky hills.”
The second version delights through imaginative expression, not just the literal meaning.

Significance

• Celebrates the artist’s originality and linguistic creativity.

• Encourages poets to craft language that surprises and pleases.

• Shows that poetic beauty lies as much in style as in substance.

                                    

1. Title and Meaning

• Vakroktijīvita literally means “The Life (Jīvita) of Vakrokti (Oblique Expression)”.

• The title itself suggests that the very life-breath of poetry is vakrokti—creative, indirect, or uniquely twisted expression.

2. Author and Period

• Author: Kuntaka, a 10th-century Sanskrit literary critic and poet.

• He was one of the later thinkers in Indian poetics, coming after Bharata (Rasa theory) and Ānandavardhana (Dhvani theory).

3. Central Idea

Kuntaka argues that:

“Poetry (kāvya) attains beauty and power through vakratā—a distinctive turn of expression at every level of language.”

• Unlike the Dhvani theory (which stresses suggested meaning or rasa), Vakroktijīvita focuses on style, wording, and artistic presentation.

4. Structure of the Work

The text is divided into six chapters (ullāsas).
Each chapter explains a different level at which vakratā—or striking expression—can occur:

1. Varṇavinyāsa-vakratā – Phonetic level (beauty of sounds, alliteration, rhythm).

2. Pada-pūrvārddha-vakratā – Word choice (fresh, surprising words).

3. Pada-parārddha-vakratā – Phrase/compound level (inventive compounds, metaphors).

4. Vākya-vakratā – Sentence level (special syntax or order).

5. Prakaraṇa-vakratā – Episode/section level (creative scene construction).

6. Prabandha-vakratā – Whole composition (original plot and design).

These move from the smallest unit of sound to the entire literary work.

5. Key Contributions

• Emphasis on Expression: It asserts that what makes poetry delightful is how something is said, not just what is said.

• Celebration of Originality: It praises the poet’s imaginative power to twist ordinary language into something striking.

• Influence: Though not as globally famous as Rasa or Dhvani, it remains a cornerstone in Indian poetics for its focus on style.

6. Illustrative Example

Plain statement: “Night fell over the village.”
Vakrokti style: “The dark veil of the goddess night gently draped the quiet village.”
The second sentence shows vakratā—an artistic turn that pleases the ear and mind.

Conclusion

Vakroktijīvita is Kuntaka’s masterpiece that defines poetry as vakrokti, the art of making language vibrant through creative twists at every level.

                HOME ASSIGNMENT🏠

-Meaning of Dhvani

• In poetics, it refers to the suggestive power of words that go beyond their literal (denotative) and implied (connotative) meanings to reveal a deeper essence.

•         1. Dhvani as “Resonance”

• • Just as a sound creates an echo that continues even after the original sound has stopped, in poetry the words create meanings and emotions beyond what is directly spoken.

  • This resonance is silent yet powerful—it lingers in the heart of the listener                                                                                    2. Beyond Literal Meaning

  Ānandavardhana explains three levels of meaning in words:

  1. Abhidha – direct, literal meaning (dictionary meaning).

  2. Lakṣaṇā – indicated meaning (figurative/metaphorical).

  3. Vyañjanā (Dhvani) – suggested meaning (the essence).

             3. Dhvani and Rasa

  • The highest form of dhvani is Rasa-dhvani (suggestion of rasa/emotion).

  • When a poet uses words, the real goal is not to inform but to evoke a rasa experience in the reader.

  • For example:

    • Saying “The lotus closed as the sun set” directly states a fact.

    • But when suggested in poetry, it can awaken the feeling of separation, longing, or melancholy—this unspoken essence is dhvani.

  Thus, Dhvani is the gateway to rasa, the heart of Indian aesthetics.

  4. Philosophical Depth

  • Dhvani is not just a literary device but a bridge between language and consciousness.

  • It shows that words are limited, but their echo can touch the infinite—our emotions, imagination, and inner world.

  • Poetry is alive because of dhvani; without it, it is only ornament or information

  • - Dhvani one line:

• Dhvani is the subtle, unspoken resonance of language that awa

• kens rasa, making poetry transcend words and touch the soul.

Types of Dhvani Theory

Ānandavardhana classifies dhvani into three main types;

1. Vastu-dhvani (Suggestion of an Idea or Fact)

• Meaning: Here, words suggest some idea, fact, or truth that is not directly expressed.

• The literal meaning (abhidhā) is not enough to capture the deeper intent, so the suggestion awakens another layer of understanding.

• This type of dhvani is often used in subtle arguments, moral hints, or political references in poetry.

Example:
A poet might write:

“The jasmine blooms at night while the lotus sleeps.”

• Literal meaning: Jasmine opens at night, lotus closes.

• Suggested idea: Two lovers are unable to meet because one is awake when the other rests.

• The vastu (idea) of separation is suggested indirectly.

Importance: Vastu-dhvani adds depth to poetry by layering it with hidden meanings, intellectual suggestions, or symbolic truths.

2. Alaṅkāra-dhvani (Suggestion of a Figure of Speech)

• Meaning: Here the suggested element is a poetic ornament (alaṅkāra) such as simile, metaphor, irony, etc.

• The ornament is not directly stated but emerges through suggestion.

• Unlike ordinary alaṅkāras, which are explicit, alaṅkāra-dhvani makes the beauty of the figure subtle and indirect.

Example:
A poet writes:

“The moon wanders across the night like a white swan upon a dark lake.”

• Literal meaning: Moon moves across the sky.

• Suggested ornament: A simile (upamā alaṅkāra) between the moon and a swan emerges naturally without being directly declared.

• This type of dhvani shows how poetic figures can be hinted at rather than plainly displayed, giving poetry elegance and charm.

3. Rasa-dhvani (Suggestion of Emotion / Aesthetic Experience)

• Meaning: The highest and most celebrated form of dhvani, where the real suggestion is not an idea or ornament but a rasa (aesthetic emotion such as śṛṅgāra/love, karuṇa/compassion, vīra/heroism, etc.).

• Ānandavardhana and Abhinavagupta declare Rasa-dhvani as the soul of poetry because its purpose is to evoke aesthetic experience in the reader.

Example:
A poet says:

“She stood at the doorway, eyes fixed upon the path, though no one came.”

• Literal meaning: A woman is waiting.

• Suggested meaning: The deep rasa of longing (vipralambha-śṛṅgāra) is evoked—her love and pain of separation are felt by the reader without being directly named.

•  Rasa-dhvani is the very essence of poetry, because poetry lives not in statements or ornaments but in the awakened experience of rasa in the reader’s heart.

Hierarchy of Dhvani Types

• Ānandavardhana says that among the three:

  • Rasa-dhvani is supreme.

  • Alaṅkāra-dhvani is secondary.

  • Vastu-dhvani is useful but not essential.

This hierarchy exists because the ultimate purpose of poetry is not to teach or decorate, but to evoke rasa, the aesthetic bliss that uplifts human consciousness.

In Summary (Long Form)

1. Vastu-dhvani → Suggestion of an idea/fact (hidden truth, symbolic idea).

2. Alaṅkāra-dhvani → Suggestion of a poetic ornament (indirect simile, metaphor, irony).

3. Rasa-dhvani → Suggestion of rasa (aesthetic experience/emotion) → Highest form.

---

             ESSAY ASSIGNMENT📋

  Novel:  'Siddhartha'

                           -Hermann Hesse 

#About the author

Hermann Hesse (1877–1962)

 About his Life:

• Born on 2 July 1877 in Calw, Germany.

• Parents were Christian missionaries with strong ties to India.

• Grew up surrounded by books, religion, and cross-cultural ideas.

• Early schooling was difficult—he often clashed with authority, showing his independent spirit.

Career, Writing and Awards:

• Began as a bookseller and later turned to full-time writing.

• His works reflect themes of individuality, spirituality, and the search for meaning.

• He was deeply influenced by German Romanticism, psychoanalysis (Freud & Jung), and Indian philosophy (Hinduism, Buddhism).

• Nobel Prize in Literature (1946) – for The Glass Bead Game and his lifelong literary achievements.

• His works gained special popularity in the 1960s counterculture movement, when youth sought spiritual alternatives to materialism.

Major Works:

1. Peter Camenzind (1904) – His first novel, about a sensitive outsider.

2. Demian (1919) – Psychological novel about self-discovery and breaking social norms.

3. Siddhartha (1922) – His most famous work, inspired by Indian philosophy and the life of the Buddha.

4. Steppenwolf (1927) – A novel about the conflict between individuality and society.

5. Narcissus and Goldmund (1930) – Explores the tension between a life of the mind and a life of the senses.

6. The Glass Bead Game (1943) – A futuristic philosophical novel; won him the Nobel Prize in Literature (1946).

Philosophy & Themes:

• Central question: “How can a person find meaning and authenticity in life?”

• Believed in the individual’s inner journey over rigid social rules.

• Explored:

  • Spirituality and enlightenment

  • Conflict between intellect and emotion

  • Self-identity and alienation

  • Influence of Eastern thought on Western culture       

Later Life & Death:

• Lived much of his later life in Montagnola, Switzerland, painting and writing.

#Introduction

Died on 9 August 1962 in Montagnole, Switzerland.Siddhartha is a philosophical novel written by German-Swiss author Hermann Hesse and first published in 1922. Set in ancient India during the time of the Buddha, the novel tells the story of Siddhartha, a young Brahmin’s son, who embarks on a lifelong spiritual journey in search of truth, peace, and enlightenment. Dissatisfied with traditional teachings and rituals, he explores various paths including asceticism, sensual pleasures, and material success, before realizing that true wisdom cannot be taught but must be experienced within. Blending Eastern philosophies of Hinduism and Buddhism with Hesse’s Western literary style, the novel emphasizes the importance of self-discovery, unity of life, and inner awakening. Today, Siddhartha is considered one of the most influential spiritual classics of the 20th century.   

   #characters

Siddhartha – the seeker

• Govinda – the faithful friend

• Gautama – the Buddha, symbol of wisdom

• Kamala – love and desire

• Kamaswami – materialism

• Vasudeva – the wise ferryman, guide

• Siddhartha’s son – symbol of attachment and suffering

  1. Siddhartha

  • Protagonist of the novel.

  • A Brahmin’s son who leaves home in search of truth and enlightenment.

  • Goes through different stages: student, ascetic, lover, businessman, father, and finally enlightened man by the river.

  2. Govinda

  • Siddhartha’s loyal friend and companion.

  • Follows him in the early part of the journey but later becomes a disciple of the Buddha.

  • Represents devotion to teachers, unlike Siddhartha who insists on self-discovery.

  3. Gautama Buddha

  • Historical Buddha, known as “the Illustrious One.”

  • Siddhartha meets him, admires his serenity and teaching, but chooses not to follow him.

  • Symbol of perfected wisdom, but also a reminder that enlightenment cannot be simply taught.

  4. Kamala

  • A beautiful courtesan who teaches Siddhartha about love and sensual pleasure.

  • Represents worldly desires and attachment.

  • Later becomes the mother of Siddhartha’s son.

  5. Kamaswami

  • A wealthy merchant who teaches Siddhartha about business and material success.

  • Represents worldly wealth, greed, and superficial living.

  • Through him, Siddhartha experiences but also rejects materialism.

  6. Vasudeva

  • The humble ferryman who becomes Siddhartha’s spiritual guide.

  • Teaches Siddhartha to learn wisdom from the river, which symbolizes eternity and the unity of life.

  • Helps Siddhartha reach enlightenment.

  7. Siddhartha’s Son

  • Child of Siddhartha and Kamala.

  • Spoiled and rebellious; leaves Siddhartha, causing him pain.

  Through this suffering, Siddhartha learns about love, attachment and letting go

  
  #Themes
  

  1. The Search for Self and Enlightenment

  • The central theme of the novel.

  • Siddhartha leaves behind family, rituals, teachers, and even the Buddha’s path to discover truth on his own.

  • Message: True wisdom cannot be given—it must be experienced personally.

  2. The Limitations of Teachers

  • Siddhartha respects many teachers (Brahmins, Samanas, Buddha, Kamala, Kamaswami) but does not remain with them.

  • He realizes that each person must walk their own path.

  • Theme: No teacher can hand over enlightenment; it is an inner journey.

  3. Unity of All Life

  • The river symbolizes the eternal flow of existence.

  • Opposites like joy/sorrow, life/death, gain/loss are shown as interconnected.

  • Theme: Enlightenment comes from seeing the oneness of all things.

  4. Balance Between Spiritual and Material Life

  • Siddhartha explores both extremes: severe asceticism and indulgence in wealth and pleasure.

  • Neither extreme satisfies him.

  • Theme: The middle path—embracing life fully without attachment—leads to peace.

  5. Love, Attachment, and Suffering

  • Through Kamala and his son, Siddhartha learns about love and pain.

  • His suffering as a father teaches him compassion and acceptance.

  • Theme: Love is part of the human journey, but attachment causes suffering.

  6. The River as a Symbol of Wisdom

  • The river teaches Siddhartha timeless truths: life is eternal, ever-changing, and yet always the same.

  • Represents continuity, patience, and unity of existence.

  • Theme: Nature as a source of spiritual insight.

#Summary

Siddhartha, the son of a Brahmin, is intelligent and respected but feels dissatisfied with traditional religious teachings. Seeking deeper truth, he leaves home with his friend Govinda to join the wandering ascetics called Samanas. Through self-denial and meditation he gains discipline, but still does not find enlightenment.

They later meet Gautama Buddha. Govinda becomes his disciple, but Siddhartha decides that enlightenment cannot be taught—it must be discovered personally. He chooses his own path.

Siddhartha enters the world of pleasure and success. Guided by the courtesan Kamala, he learns about love, and through the merchant Kamaswami, he experiences wealth and luxury. After years of indulgence, he realizes that material life is empty and meaningless. Filled with despair, he contemplates suicide, but the sacred word “Om” saves him.

He then meets the humble ferryman Vasudeva, who becomes his true teacher. Living by the river, Siddhartha listens to its voice and discovers the unity of all existence—the eternal flow where joy and sorrow, life and death, all merge as one. Through this insight, Siddhartha attains enlightenment.

At the end, Govinda visits him again. Although Govinda has spent his life as a monk, he has not found peace. Siddhartha shares his silent wisdom, and Govinda finally experiences a glimpse of the profound truth.

#conclusion

Hermann Hesse’s Siddhartha is not just a story of one man’s life, but a universal reflection on the human search for truth, peace, and self-realization. Through Siddhartha’s journey—from the disciplined world of rituals, through asceticism, pleasure, wealth, despair, and finally the wisdom of the river—the novel shows that true enlightenment cannot be taught by teachers or scriptures, but must be discovered through personal experience. It emphasizes the importance of balance, unity, and harmony in life, where opposites such as joy and sorrow, gain and loss, and life and death are understood as part of a greater whole.

text from

more informations and photos