INDIAN POETICS:
the best opportunity to learn the rich and varied subjects from an excellency. I ardently acknowledge the efforts of Prof. Dr. Dilip Barad Sir, Dean of Arts Faculty and Head of the English Department, M. K. Bhavnagar University, for carrying out technology and implementing Digitality for the student majoring in English Literature at Department as well as his endeavor for providing us the knowledge from ‘the best of brains’ by arranging ‘Expert Lectures’. Secondly, I am thankful to Prof. Vinod Joshi Sir for introducing ‘Indian Poetics’ in the syllabus of Literary Criticism and Theory.
Introduction
As we know that Vinod Joshi is one of the famous poet. Also, we have learnt so many poems of vinod Joshi. Which were in our syllabus but without part of syallabus we mostly like to listen the poem of Professor Vinod Joshi . let's come to the some biography of poet...who will teach to us so many things.
Which will give benefit to us because we are student of literature but we must have some knowledge of literature.so let us see the Life of vinod Joshi.
Vinod Joshi ...
(born 13 August 1955) is an Indian poet, writer and literary critic in Gujarati language from Gujarat, India. His notable works include Parantu, a collection of Geet (lyric poetry), Shikhandi, a long narrative poem based on Shikhandi, a character from the Mahābhārata, Radio Natak: Swarup ane Siddhant (Radio Drama: Form and Theory, an abridged Ph.D. thesis), Tundil-tundika, a form of padyavarta, a Gujarati medieval literary genre, and Zalar Vage Zoothadi, a collection of poems.
- He nominated for many awards like :
♧ Jayant Pathak Puraskar ( 1985 )
♧ Critic's Award ( 1986 )
♧ Kavishwar Dalpatram Award ( 2013 )
♧ Sahitya Gaurav Puraskar ( 2015 )
♧ Narsinh Mehta Award ( 2018 )
♧ Kalapi Award ( 2018 )
Early life..
Vinod Joshi was born on 13 August 1955 in Bhoringda, a village of Amreli district of Gujarat state. His family is a native of Botad. His father, Hargovinddas Joshi, was a Sanskrit scholar, and served as a Panchayat Mantri in rural Saurashtra. Joshi has been influenced by the folkloric Gujarati language of his mother, Lilavati Joshi.
Joshi completed his preschool education at Mohanlal Motichand Balmandir, Gadhada. He completed his primary education at the Government School of Turkha, a village in Botad district, from 1960 to 1966. He received secondary schooling from the N.T.M Government High School, Surendranagar (1967–1968); Sarvoday Vidyalaya, Lathidad (1969), and from the Government High School, Botad (1970).[1]
Joshi earned his Bachelor of Arts degree in Gujarati literature at the Kavishri Botadkar Arts and Commerce College, Botad, in 1975. He completed his Master of Arts at the Gujarati Anusnatak Kendra (Gujarati Postgraduate Centre) at Saurashtra University, Bhavnagar (1976), and the Gujarati Bhasha Sahitya Bhavan (Gujarati Language and Literature Department) at Saurashtra University (1977). He earned a Ph.D. in 1980 from the Gujarati Bhasha Sahitya Bhavan, Saurashtra University, for his research thesis Radio Nataknu Kalaswaroop Ane Gujaratima Teno Vikas (The Art of Radio Drama and its Development in the Gujarati Language) under the supervision of Ishwarlal R. Dave.
He is married to Vimal Joshi, and they have a son, Aditya.
Indian Poetic theory is very old and the most interesting literary as well as philosophical and cultural discussion of Indian or better to say Sanskrit Literature. Sanskrit is regarded as ‘Dev-Vani’ (the language of gods), not all folk can possess the ability to understand and read Sanskrit literature. Earlier, great Sanskrit scholars had expertise in describing things that are usually hard to observe in nature.
As there is ‘Western Criticism’ and can be called ‘Poetics’ as a proper canon, similarly, in Sanskrit there is a particular canon of Sanskrit Criticism which is usually bannered as ‘Kavya Mimamsa’ and which acts like an umbrella for various schools developed by scholarly thinkers. The various schools or theories in Indian Aestheics are-
As there is ‘Western Criticism’ and can be called ‘Poetics’ as a proper canon, similarly, in Sanskrit there is a particular canon of Sanskrit Criticism which is usually bannered as ‘Kavya Mimamsa’ and which acts like an umbrella for various schools developed by scholarly thinkers. The various schools or theories in Indian Aestheics are-
Bharata is the first among all critics who pioneered in Indian aesthetics. Some of the noteworthy critics of Sanskrit literature are-
The elements of Poetics or Kavya-agama are said to be ten:
1 Kavya-svarupa (nature of poetry); causes of poetry, definition of poetry, various classes of poetry and purpose of poetry;
2 Sabda-Shakthi, the significance of words and their power;
3 Dhvani-kavya , the poetry suggestive power is supreme ;
4 Gunibhuta-Vangmaya-kavya , the poetry where suggested (Dhvani) meaning is secondary to the primary sense;
5 Rasa: emotive content;
6 Guna: excellence of poetic expression ;
7 Riti ; style of poetry or diction;
8 Alamkara : figurative beauty of poetic expressions ;
9 Dosha ; blemishes in poetic expressions that need to be avoided; and ,
10 Natya-vidhana the dramatic effect or dramaturgy.
Sir explained to us the power of one's imaginative abilities as well as discussed with us the primary framework of #IndianPoetics. The first and foremost point of Sir's addressing was the following words and explanation of its significance-
“कवि: करोति_काव्यानि_रसं_जानाति_पंडित:”
The subject is very interesting and deep as well. The lessons of the day-
#Criticism according to the Indian context.
- a brief note on #Poetics.
- Reference of Plato, Aristotle, Longinus, Eliot, Arnold, Croce, and other Sanskrit Scholarly
- Critics Bharat Muni, Abinav_Gupt, Kuntak, Rajshekhar, Anand Vardhan.
- Tools which helps to understand Poetry in the best possible way and the great scholar and his work Bharat Muni and 'Natyashashtra'
Importance of Language
- First, There is Language
- Second, Behind Language we can see meaning
- Third, Behind every meaning there is deep emotion.
So Ultimately we use language to express our emotions and feelings. First there are five sense or instinct from which we can experience the things. But slowly and steadily with our growth we learn language and then we started thinking in that particular language and also interpret and analyse our thoughts in language and because of language our expression became limited because we can't put every emotion in words. So language is artificial and man made tool which we are using for expressing our own experiences.
Six School of Indian Poetics
રસ સંપ્રદાય - ભરતમુની
In the sixth chapter of "Natyashastra" Bharatmuni give the definition for nine kinds of Rasas…
" विभावानूभावव्यभिचारी
संयोगात रस निष्पति।।"
There are mainly four kinds of Emotions which are….
- विभाव
- अनुभाव
- संचारी भाव (व्यभिचारी भाव)
- संयोग
Rasa is present in every work of literature. The nine prominent Rasas originate from their respective #Sthaýibhav
Sthaýibhav | Rasa |
રતિ | શૃંગાર રસ |
શોક | કરુણ રસ |
ઉત્સાહ | વિર રસ |
ક્રોધ | રૌદ્ર રસ |
હાસ | હાસ્ય રસ |
ભય | ભયાનક રસ |
જુગુપ્સા | બિભત્સ રસ |
વિસ્મય | અદ્ભુત રસ |
શમ/ નિર્વેદ | શાંત રસ |
Rasa: emotive content;
We can't remove or completely destroy the Sthayibhav. It only can be controlled. And all Rasa born from that particular emotion. Rasas are incomparable and supreme. There are four critics who fulfill and also expand the views of Bharatmuni.
श्रृंगारकरूणवीररौद्रहास्यभयानका।
बीभत्साद्भूतशांतश्च नवनाट्येरसास्मृता।।
- भरतः नाट्यशास्त्र (छंद अनुष्टुप)
1)ભટ્ટ લોલ્લટ : [ઉત્પત્તિવાદ]Theory of Creationism
ભટ્ટ લોલ્લટ માનવું છે કે નાટકમાં રસ હોતો નથી પણ તેને ઉત્પન્ન કરવો પડે છે. અને એ રસ નો પ્રથમ અનુભવ નટ અને નટીને થાય છે. ચાલો હું સરળ રીતે ઉદાહરણ સાથે સમજાવું -જેમકે કવિ કાલિદાસ નું પ્રસિદ્ધ નાટક અભિજ્ઞાનશાકુન્તલમ જેમાં દુષ્યંત નું પાત્ર ભજવનારા આપણા શેરીના રમેશ ભાઈ, એ તો કરીયાણાની દુકાન ચલાવે છે, અને શકુંતલા એ તો આપણા રમાબેન, એ પોતે શિક્ષિકા છે હવે એ બને થીએટર માં એમના વ્યવસાયના વિચારો લઈને જશે તો એમને રસની અનુભૂતિ શું થઇ શકે? જો કલાકાર જ રસ નિષ્પન્ન કરવામાં નિષ્ફળ જાય તો ભાવક ને તે રસો ની પ્રતીતિ થઇ ના શક.
2). શ્રી શંકુક :-Theory of Permissiveism
શ્રી શંકુક ભટ્ટ લોલ્લટના મત સાથે સહમત થતા નથી. શ્રી શંકુક કહે છે કે રસ હોતો જ નથી એ બરાબર પણ એને ઉત્પન્ન કરવો એનું અનુમાન કરવું પડે છે. આ અનુમાન જે થાય છે એની આપણે પ્રતિતિ થતી હોય છે. આ પ્રતિતિ ચાર પ્રકારે અનુમાન કરાવે છે :
• યથાર્થ પ્રતિતિ / સમયર્થ પ્રતિતિ
• મિથ્યા પ્રતિતિ
• સંશય પ્રતિતિ
• સાદ્રશ્ય પ્રતિતિ
શ્રી શંકુકના મતને અનુમીતિવાદ તરીકે ઓળખાય છે.
3) Bhatt Nayak-Theory of Nepotism - ભુક્તિવાદ નો સિદ્ધાન્ત.
4) Abhinav Gupt - Theory of Expressionism (અભિવ્યક્તિવાદ)
અભિનવગુપ્તના મત મુજબ નાટક રસાનુભવ કરાવે છે. પ્રકાશમય જ્ઞાનની અનુભૂૂૂતિ કરાવે છે.
According to the Natya shastra, the goals of theater are to empower aesthetic experience and deliver emotional rasa. Entertainment is an effect, but not the primary goal of arts according to Natya shastra. The primary goal is to create rasa so as to lift and transport the spectators, unto the expression of ultimate reality and transcendent values.
ધ્વનિ સંપ્રદાય - આનંદ વર્ધન
Steadily navigating to the #School_of_Dhvani as stated by #Anandavardhana, Sir explained precisely the aspects that should be taken into consideration while analyzing a work of art.
Language is made up with sound. Language is merely a tool to express our thoughts. If we know the meaning and Language both then there of possibility of effective communication. Language which is used in poetry is never suggest straight forward meaning. It has layer within layer which denotes multiple interpretation.
Word doesn't have meaning. It is applied by our imagination. The meanings of words changed with different contexts. So meanings are movable. Vinod Sir explained with varied verses from Gujarati Literature. Anandvardhan has described the importance of Dhvani in his most resourceful work ‘Dhvaniyaloka’. Acharya Kuntaka describes ‘Dhvani’ as the major element of Literature. He described different types of Dhvani and he also believes that ‘Dhvani is the soul of Literature’
ध्वनि: काव्यस आत्मा।
Furthermore, Sir provided an excellent discussion on three echoes of words-
👉Abhidha (denotation)
👉Laksana ( implication)
👉Vyanjana ( suggestion)
👉Laksana ( implication)
👉Vyanjana ( suggestion)
અભિધા એટલે કોઈપણ વાક્યનો સીધો અર્થ.
~ લક્ષણા એટલે કે કોઈપણ વાક્યનો સીધો અર્થ નહિ પરંતુ નજીકનો અર્થ.
~ વ્યંજના એટલે કે જે કહેવાયું છે તેનાથી તદ્દન ભિન્ન અર્થ.
" એક બિલાડી જાડી, તેણે પેરી સાડી,
સાડી પેરી ફરવા ગઈ, તળાવમાં તો તરવા ગઈ,
તળાવમાં એક મગર, બિલાડીને આવ્યા ચક્કર,
સાડીનો છેડો છુટી ગયો, મગરના મો માં આવી ગયો,
મગર બિલાડીને ખાઈ ગયો. "
● અભિધા :-Literal Meaning of the word
એક બિલાડી જાડી, તેણે પેરી સાડી. આ સીધું વાકય છેે. આનો બીજો કોઈ અર્થ થતો નથી. એટલે આ અભિધા શબ્દશકિત થઈ.
● લક્ષણા :-Characteristically Meaning of the word
સાડી પેરી ફરવા ગઈ, તળાવમાં તો તરવા ગઈ. તળાવમાં એક મગર, બિલાડી ને આવ્યા ચક્કર. આ વાક્યોમાં આપણે એક કરતાં વધારે અર્થની કલ્પના કરી શકીએ. એટલે આ લક્ષણા શબ્દશકિતનું ઉદાહરણ છે.
● વ્યંજના :-Poetic & Metaphysical Meaning of the word
સાડીનો છેડો છુટી ગયો, મગરના મો માંં આવી ગયો. મગર બિલાડીને ખાઈ ગયો. આ વાક્ય એકદમ આડકતરી રીતે મુકાયેલુું છેે. આ વાક્યને આપણે આધુુુુનિક સમયમાં થઈ રહેલા બળાત્કાર અને ગેંગરેેપના કેેેસો સાથે સરખાવી શકાય.
~ વ્યંજનામાં ચમત્કૃતિ હોય છે.
~ વ્યંજના સૌથી ચડિયાતી છે પણ એ અભિધા ઉપર આધારિત છે.
~ એવી જ રીતે લક્ષણા પણ ચડિયાતી છે પણ એ અભિધા ઉપર આધારિત છે.
Sir very precisely explained all the three #shabd_shakti and their components with detailed descriptions and interestingly live examples from surroundings.
For simple understanding Dhvani is voice which helps us to complete a word; ક્ + અ = ક here અ is Dhvani which completes ક્.
विभाजित लावण्यम् इव अंगनाशु ।।
Dhvani adorns poetry and beauty adorns women.
ધ્વનિ એટલે પ્રતીયમાન અર્થ..
Getting new meanings through the same words is Dhvani- apparent meanings. That is the soul of poetry.
● વસ્તુ ધ્વનિ
● અલંકાર ધ્વનિ
● રસ ધ્વનિ
~ જેમાં વિચાર મુખ્ય હોય એ વસ્તુ ધ્વનિ.
જેમાં અલંકારનો ઉપયોગ થયો હોય એ અલંકાર ધ્વનિ. ઉદાહરણ તરીકે,
" ચાંદો નીચોવી અમે વાટકા ભર્યા,
મેં એને મોગરાની કળીએ હલાવ્યા. "
~ જેમાં ભાવ કેન્દ્રમાં હોય એ રસ ધ્વનિ. ઉદાહરણ તરીકે,
" હરિ પર અમથું અમથું હેત,
હું અંગુઠા જેવી અને મારી વ્હાલપ બબ્બે વેંત."
વસ્તુ ધ્વનિ અને અલંકાર ધ્વનિ લૌકિક ધ્વનિઓ એટલે કે તેમનું વર્ણન થઈ શકે એવી ધ્વનિઓ છે.
જયારે રસ ધ્વનિ અલૌકિક ધ્વનિ છે.
આ સાથે સાથે વિનોદ જોશી સરે બીજી ઘણી બધી કાવ્યપંક્તિઓના ઉદાહરણ આપ્યા હતા. જેવાં કે,
" મેં નદીને જીવવાની રીત પુછી'તી
એ કશું બોલી નહિં, એ વહેતી રહી ખળખળ. "
" એક છોકરી ના હોય ત્યારે કેટલા અરીસાઓ,
સામટા ગરીબ બની જાય છે. "
" પ્રતિબિંબને નમણો ચહેરો ગમી ગયો,
ઘૂંઘટ જરી ખસ્યો તો અરીસો નમી ગયો. "
" વાયરો આવે ને ફૂલ ઝૂલતા રે,
જેમ કાનમાં ઝૂલે એરીંગ.
પાથરણા કેમ કરું પંડના,
હું તો થઈ ગઈ સરગવાની શીંગ. "
વક્રોક્તિ સંપ્રદાય - શ્રી કુંતક
" वैदग्ध्यभंगीभणिति इति वक्रोक्ति ।"
~ વિશિષ્ટ રીતે કહેવાયેલું એ વક્રોક્તિ.
~ શબ્દ અને અર્થને આધારે જ વક્રોક્તિ નિર્માણ પામે છે અને કાવ્ય સૌંદર્યનો અનુભવ થાય છે.
Vakrokti is a kind of Saundarya Shashtra used to create aesthetic and pleasure on readers mind. It creates visualization of images. Poet play with language and try to twist the language.
Kuntaka in his work ‘Vakroktijīvitam’ postulates the Vakrokti Siddhānta or theory of Oblique Expression. Etymologically, the word Vakrokti consists of two components - 'vakra' and 'ukti'. The first component means 'crooked, indirect or unique' and the second means 'poetic expression or speech'.
Vakrokti is ‘vakra’ which is something like a curve. Beauty has no pointed curve, do we find anything in nature that has a pointed curve? Vakrokti is ironic.
Poet or writer usually plays with diction. Sir also briefly explained the types of Vakrata as classified by Kuntaka-
Vakrokti can be divided in six categories:
વર્ણવિન્યાસ- the phonetic level,
પદપૂર્વાર્ધ- the lexical level,
પદપરાર્ધ- the grammatical level,
વાક્યવક્રતા- the sentential level,
પ્રકરણ- the contextual level and
પ્રબંધ- the compositional level
કુદરત ની સાથે કલાનું સંયોજન સૌપ્રથમ કુંતકે કર્યું. તેઓ કહે છે આ આખાં બ્રમ્હાન્ડમાં ખૂણા જેવું કઈ છે જ નઈ. બધે વળાંકો જ છે. એવી જ રિતે ભાષા માં પણ વક્રોક્તિ લાવવાથી સૌંદર્યનું સર્જન થાય છે.
"તળાવને વાગેલો પથ્થર
તરંગ થઈને તળાવને પંપાળે."
"ખીંટીએ ઓઢણીને પૂછ્યું કે ક્યાં ચાલ્યા
તો ઓઢણીએ કહ્યું 'ઉડવા'."
ભાષાની કાનસ કવિ પાસે છે. એ જેમ ઇચ્છે તેમ ભાષાને તોડી-મરોડીને વાપરી શકે છે. રાજશેખર 'કાવ્યમીમાંસા' માં બે પ્રકારની પ્રતિભાની વાત કરે છે…
કારયિત્રી પ્રતિભા - સર્જન કરવાની શક્તિ જે કવિ પાસે હોય છે.
ભાવયિત્રી પ્રતિભા - ભાવન કરવાની શક્તિ જે વાંચકો પાસે હોવી જોઈએ.
"જેટલું મહત્વ કારયિત્રી પ્રતિભાનું છે,
એટલું જ મહત્વ ભાવયિત્રી પ્રતિભાનું પણ છે"
-રામનારાયણ પાઠક
ત્રણ પ્રકારની અભિવ્યક્તિઓ
પ્રાસાદીકતા
ઓજસ
માધુર્ય
According to Kuntaka
vakroti is the source of beauty in kavya which is quite opposite to the description of a thing as it is.
According to Bhamaha
vakroti as a mode of expression because it is the fundamental principle of figurative expression.
According to Vamana
'Vakrokti as a special poetic figure based on Lakshna'
અલંકાર સંપ્રદાય - ભામહ
Alankar Theory:
Prof_Dr_Vinod_Joshi_Sir, with his expertise in #Indian_Poetics as well as Linguistics explained us the use and importance of Alankara or figures of speech in a work of art. Sanskrit Literature is varied and prosperous with figurative expressions. Along with the touch of Linguistics and its discussion like how Language is applied and what prominent part it plays when decorated with ornaments, Sir also referred the concept given by T. S. Eliot in his essay Objective Correlative.
Human being used to wear Ornaments to look beautiful in the same manner, poet use Figures of Speech to make their work attractive. Ornaments is necessary but not compulsory. In literature Alamkara is very important. Mammata used to say that…
"ક્યારેક અલંકાર વગરનું પણ
મોટાભાગે અલંકાર વાળું કાવ્ય."
There are mainly two kinds of Alamkara…
Arthalamkara
Shabdalamkara
Ornaments are not natural but applied.
ભામહ એ અલંકારવાદી વિવેચક ગણાય છે.
~ બોલવું એની સાથે વ્યકતિમતતા જોડાયેલી છે.
" तददोषो शब्दार्थौ सगुणं अलंकृत पुनःवाद: ।"
~ અલંકાર યથાસ્થાને વપરાયેલો હોવો જોઈએ.
~ અલંકાર ઓતપ્રોત હોવો જોઈએ, અડોઅડ નહીં.
Riti Theory
'रीतिरात्मा काव्यस्य; विशिष्टापदरचना रीति: |'
રીતિ એટલે કે " The way or style of presentation. "
~ સાહિત્યકાની પોતાની રીતિ હોવી જોઈએ.
~ વામન રીતિને પ્રાધાન્ય આપે છે.
Literature is not for mass, it is for class.
Riti means style. Kavyalankasutra is the poetic work of Acharya Vamana, where he talks about riti. For Vamana, that formless, indeterminate essence of Kavya is Riti.Vamana said; the essence of Kavya is Riti (रीतिरात्मा काव्यस्य); just as every body has Atma, so does every Kavya has its Riti.The explanation offered by Vamana meant that the verbal structure having certain Gunas is the body of Kavya, while its essence (soul) is, Riti.
Riti, a very high position by designating Riti as the Soul of Kavya – 'रीतिरात्मा काव्यस्य; विशिष्टापदरचना रीति:
આ ઉપરાંત તેમણે શૈલીના ચાર પ્રકારોની વિગતે ચર્ચા કરી હતી. આ ચાર પ્રકાર આ પ્રમાણે છે :-
1. વૈદરભી, 2. પાંચાલી, 3. ગૌડી, 4. લાટી.
The School of Riti seems to have some similarities with the modern linguistic theory called #Stylistics. It is said that,
“Style is a man”
Auchitya theory
ઔચિત્ય એટલે કે સમુચિત શબ્દ સમુચિત સ્થાને. ઉદાહરણ તરીકે,
" મેષ ન આંજુ રામ, લેશે જગા નહિં,
હાય સખી રે, નયન ભરાયો શ્યામ."
ક્ષેમેંદ્ર કહે છે કે , શબ્દના સંયોજનથી જ રસની/ આનંદની પ્રતિતિ થાય છે.
Kshemendra in Kavikanthabharana introduces to auchitya school. It means justification, propriety, decency
उचितं प्राहुराचार्याः सदृशं किल यस्य यत्।
उचितस्य च यो भावस्तदौचित्यं प्रचक्षते॥
He said Auchitya is the very life of Kavya (Kavyasya jivitam) that is endowed with Rasa (Aucityam rasa siddhasya sthiram kavyasya jivitam).
Furthermore, the theory of #Aucitya as proposed by #Kshemendra can be seen as having a connection with Coleridge’s “Best world in best order” which focuses on the appropriateness of literary composition. This theory has its origin in “Aucityavichar” of Kshemendra.
The six days of learning #IndianPoetics enhanced our observing skills to a very greater extent. Indian Poetics is a very deep and highly interesting subject which let us dive deep into its very ocean of aesthetics.
The most essential element of Rasa , he said, is Auchitya. The test of Auchitya is the harmony between the expressed sounds and the suggested Rasa. And , he described Auchitya as that laudable virtue (Guna) which embalms the poetry with delight.
The theory of propriety or aucitya was propounded by crya Kshemendra in the 11th century. Bharata recognizes it in the context of performance (say, the aptness of acting to the context, social stature of the hero, etc.). nandavardhana discusses it and so does Kuntaka. But it gets central focus in the hands of Kshemendra who highlights the fit among the elements, the subject, the contexts, and so on. Again, here is a concept that can extend without much modification to the various art forms. In simple words, there must be a fit between theme and form and this is so in all aesthetic fields.
"Auchitya is a Hindi word taken from Sanskrit, It means justification, propriety, decency "
Propriety can be defined in this contact as the details of rules of behaviour conventionally considered to be correct. Or that which is correct,appropriate and fitting. The word 'Auchitya' also contains the Hindi word "उचित" which in English means "appropriate".
According to Kshemendra - "Auchitya is a soul of the Poem"
Famous Poetics Works on Auchitya:-
Auchitya Vichar Charcha
Kavilanthabharana
Suvrottatilaka
According to Kshemendra, “When one thing befits another or matches perfectly, it is said to be appropriate, Auchitya”:
Acharya Vamana had given utmost importance to Riti in his work “Ritivichar” While discussing this theory, Sir referred to #Richard_Bach’s fable novella #Jonathan_Livingston_Seagul. Sir also explained in detail on four major Styles of Writing-
Conclusion
The Indian poetics is very different than the western culture, when we were attending the The Lecture of Indian poetics. Basically, we understood the exact theory of Indian poetics. so the all lecture were golden period for us .
Thus, above all information is about our whole Seven days discussion on Indian Poetic by Dr. Vinod Joshi sir. We enjoyed a lot whole Seven day. This memory always remain in my heart. I am very heartily thankful to Dr. Vinod Joshi sir as well as Dr. Dilip Barad sir for organizing this knowledge and wonderful session. Here I would like to put my photo with Dr. Vinod Joshi sir and autograph of Dr. Vinod Joshi sir. In future I will proudly says that I was studying to Dr. , poet, best professor Vinod Joshi sir.
Thank you
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