
Indian Literary Criticism refers to the body of thought and analysis surrounding literature in the context of Indian culture, philosophy, and aesthetics. It has evolved over thousands of years and encompasses various forms and schools of thought, from ancient traditions like Sanskrit poetics to modern literary theories that engage with contemporary issues.
Indian literary criticism has its roots in ancient Indian texts and was largely influenced by Sanskrit literature and classical aesthetics. Some key concepts and works are:
Natyashastra (2nd century BCE to 2nd century CE): Written by the sage Bharata, it is a foundational text in Indian dramatic theory and performance. It outlines the concepts of rasa (aesthetic experience), bhava (emotional states), and the role of dramaturgy in conveying these emotions to the audience. The theory of rasa remains central to Indian literary aesthetics.
Kavyashastra (Theory of Poetry): Works like Kavyalankara by Bhamaha and Kavya-prakasha by Mammata were key texts in the development of poetics. They define the rules of composition, rhyme, meter, and style in classical poetry.
Rasa Theory: The concept of rasa (aesthetic flavor) is perhaps the most significant contribution of ancient Indian criticism. According to Bharata, the goal of a work of art is to evoke rasa in the audience, thereby facilitating an emotional and spiritual connection to the performance or poem.
Medieval and modern Indian literary criticism saw a shift towards integrating Western literary theories while continuing to uphold traditional Indian values.
Bhakti Poetry: In the Bhakti movement (7th-17th centuries), the focus shifted to the personal, emotional, and devotional aspects of literature. Poets like Kabir, Mirabai, and Tukaram expressed deep emotional states and emphasized the personal connection with the divine. The interpretation of these works often combines elements of literary, philosophical, and spiritual readings.
Influence of Western Thought: In the colonial and postcolonial periods, Indian literary criticism began to engage with Western literary theories. Scholars like Aurobindo Ghose and Mulk Raj Anand blended European traditions (like Romanticism, Marxism, and Structuralism) with Indian aesthetics and traditions.
Rasa: As mentioned, rasa is the core of Indian poetics. It refers to the emotional essence or flavor that a work of art evokes in its audience. There are nine classical rasas: shringara (love), hasa (laughter), karuna (sorrow), raudra (anger), veera (heroism), bhayanaka (fear), bibhatsa (disgust), adbhuta (wonder), and shanta (peace).
Dhvani (suggestion): This concept, especially emphasized by Anandavardhana, argues that meaning in literature is not always explicit but often suggested through subtle nuances, symbolism, and allusion.
Alankara (figures of speech): This refers to stylistic devices or ornaments used in poetry to enhance meaning and beauty, such as metaphors, similes, and personification.
Aesthetic Experience: Indian literary criticism often centers on the concept of an aesthetic experience (rasa) as the highest form of enjoyment that transcends mere intellectual understanding.
Postcolonial Criticism: After India's independence in 1947, literary criticism increasingly addressed the effects of colonialism, nationalism, and identity. Theories of postcolonialism, particularly from figures like Frantz Fanon, Edward Said, and Gayatri Spivak, became influential in Indian literary discourse. Critics like R. Parthasarathy, K.K. Aziz, and others explored how colonialism shaped Indian literature and how Indian writers responded to it.
Marxist Criticism: Marxist literary criticism, with its focus on class, power, and material conditions, also found expression in Indian literary studies. Writers like Mulk Raj Anand and Ismat Chughtai engaged with themes of social justice, class struggle, and economic exploitation.
Feminist Criticism: Feminist literary criticism in India has been growing in recent decades, focusing on how gender roles and patriarchy are represented in literature. Critics like Shashi Tharoor, Kamala Das, and Githa Hariharan address the subjugation and empowerment of women through their writings.
Poststructuralism: Poststructuralist literary criticism, which emerged in the West in the late 20th century, influenced Indian critics like Homi Bhabha, who worked on theories of hybridity, identity, and cultural negotiation in postcolonial India.
Indian literary theory and interpretation have often been concerned with understanding the relationship between language, meaning, and the emotional impact on the audience or reader. A few key aspects of this interpretative process are:
The Role of the Audience: In Indian criticism, the audience's emotional and intellectual involvement in a work is vital. The concept of rasa hinges on the audience's ability to experience and interpret the emotional essence of the work.
Cultural Context: Indian literary criticism is deeply rooted in the cultural and philosophical contexts of the society in which it is produced. This means that interpretation is often guided by the values and belief systems, such as Hindu philosophy, Jainism, and Buddhism, that shape the literature.
Interdisciplinary Approach: Indian literary criticism often draws from various fields of knowledge, including religion, philosophy, art, and history. The works are interpreted not just as literary creations but as spiritual, political, and social commentaries.
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