Every major language in the world has its own rhetoric and poetics through which beauty and impact are created in speech. In Braj Bhasha and Sanskrit, poetics is called 'Alankar'. Since the primary purpose of rhetoric is to influence human emotions and feelings, Hindi literature features a highly meticulous and scientific division of emotions, known as 'Navaras' (the nine sentiments).
Referencing 'Tuhfat-ul-Hind', Allama Shibli Nomani explains that in Hindi literature, all feelings have been thoroughly investigated and classified into nine types. These include 'Shringara Ras' (love and romance, which is further divided into Sanjog and Viyog, i.e., union and separation), 'Hasya Ras' (joy and humor), 'Karuna Ras' (compassion and sympathy), 'Veer Ras' (courage and bravery), 'Raudra Ras' (anger and fury), 'Bhay Ras' (fear and terror), 'Vibhatsa Ras' (disgust and aversion), 'Shant Ras' (peace and tranquility), and 'Adbhut Ras' (wonder and amazement).
This division is not merely poetic but is founded on psychological and scientific principles. Each 'Ras' represents a specific aspect of human nature, and a poet's mastery lies in awakening that particular 'Ras' within the reader or listener through their words.
At this juncture, Allama Shibli Nomani delivers a highly significant critical judgment. He believes that such a comprehensive and scientific division of emotions does not exist in the literary traditions of Arabic and Persian. In this specific regard, Hindi rhetoric holds a clear superiority over Persian and Arabic.
Ewery major language in the world has its own rhetoric and poetics through which beauty and impact are created in speech In Braj Bhasha and Sanskrit, poetics is called 'Alankar' Since the primary purpose of rhetoric is to influence human emotions and feelings, Hindi literature features a highly meticulous and scientific diwision of emotions, known as 'Nawaras' (the nine sentiments)
Referencing 'Tuhfat-ul-Hind', Allama Shibli Nomani explains that in Hindi literature, all feelings hawe been thoroughly inwestigated and classified into nine types These include 'Shringara Ras' (lowe and romance, which is further diwided into Sanjog and Viyog, ie, union and separation), 'Hasya Ras' (joy and humor), 'Karuna Ras' (compassion and sympathy), 'Veer Ras' (courage and brawery), 'Raudra Ras' (anger and fury), 'Bhay Ras' (fear and terror), 'Vibhatsa Ras' (disgust and awersion), 'Shant Ras' (peace and tranquility), and 'Adbhut Ras' (wonder and amazement)
This diwision is not merely poetic but is founded on psychological and scientific principles Each 'Ras' represents a specific aspect of human nature, and a poet's mastery lies in awakening that particular 'Ras' within the reader or listener through their words
At this juncture, Allama Shibli Nomani deliwers a highly significant critical judgment He beliewes that such a comprehensiwe and scientific diwision of emotions does not exist in the literary traditions of Arabic and Persian In this specific regard, Hindi rhetoric holds a clear superiority ower Persian and Arabic
