Comedy of Menace

                         ' Comedy  of  Menace' :- 

' Thinking Activity ' :- 

Hello readers! Here I am going to write down one another blog. This blog is inspired by Yesha Ma'am - Department of English, Bhavnagar University. This blog is a part of our thinking activity. In this blog I am going to deal with the question about - ' Write a detailed note on the Characteristics of Comedy of Menace. ' 

    As we are Studying about Theatre of Absurd and Different types of comedies. There are mainly Seven types of Comedies and Comedy of menace is one of them.The types of comedies are given as below or under..

   1. Sentimental Comedy 

   2. Comedy of Humours 

   3. Comedy of Errors

   4. Farce 

   5. High comedy and Low comedy 

   6. Comedy of manners

   7. Comedy of Menace

 So, These are the important and major Seven types of comedies. Let's try to discuss in brief about each type of the comedies. 

(1). Sentimental Comedy :- Sentimental Comedy is an 18th century dramatic genre which Sprang up as a reaction to the immoral tone of English Restoration Plays. In sentimental Comedies middle class protagonists triumphantly overcome a series of moral trials. These plays aimed to produce tears rather than laughter.

(2). Comedy of Humours :- Comedy of Humours was introduced by Ben Jonson in English drama. The Comedy of Humours was the natural expression of his genius. The term humour as used by Ben Jonson is based on an Ancient Psychological theory of Four fluids found in the human body. Ben Jonson 's comedies are called comedy of Humours because the Principal characters in all the comedies are victims of one human or the other. For Example , he uses Comedy of Humours in his play - ' Every Man in his humour.' 

 (3). Comedy of Errors :- Comedy of Errors is also one of the important types. 

( 4 ). Farce :- Farce is a comedy that seeks to entertain an audience through situations that are highly exaggerated, extravagant, ridiculous, absurd and improbable. Farce is also characterized by heavy use of Physical humour , the use of deliberate absurdity or nonsense , satire, parody and mockery of real  life- situation, People, events and interactions.

 (5). High comedy and Low Comedy :- 

             High comedy or Pure Comedy is a type of comedy characterized by Witty dialogue, satire, biting humor, Wordplay or Criticism of life. The term High Comedy was coined in England in the Year 1877 by George Meredith for his Essay on Comedy.

          Low Comedy also known as lowbrow humor in association to Comedy is a dramatic or literary form of Popular entertainment without any Primary purpose other than to create laughter through boasting, drunkenness, Scolding Fighting , buffoonery and Other riotous activity. The term Low comedy was coined by John Dryden in his Preface to his Play - ' An Evening 's love'.

(6). Comedy of Manners :- Comedy of manners , Witty form of dramatic comedy that depicts and Often Satirizes the manners and affections of a contemporary society. A Comedy of manners is concerned with social usage and the question of Whether or not characters meet certain social standards.

      The Plot of Such a Comedy usually concerned with an illicit love affair or similarly scandalous matter is subordinate to the Play 's  brittle atmosphere , Witty dialogue on human foibles.

(7). Comedy of Menace :- Comedy of Menace is the body of plays written by David campton, Nigel Oennis , N.F.Simpson and Harold Pinter. The term was coined by drama critic Irving wardle who borrowed it from the subtitle of Campton' s play - ' The Lunatic View - A Comedy of Menace.' 

 

 

  Here The title - Comedy of Menace immediately brings contradictions to mind because comedy is generally something that makes people laugh and the word Menace implies something threatening. So, here one can easily understand that ; 

    • Comedy :- Laughter , Humour

    • Menace :- A Threatening fear in mind

     • Comedy + Menace = Comedy of Menace

 The term - The Comedy of menace is a tragedy with a  number of comic elements.It is a comedy which also produces an overwhelming tragic effect. Throughout the Play we are kept amused and yet throughout the Play we find ourselves also on the brink of terror. Some indefinable and vague fear keeps our nerves on an edge. We feel uneasy all the time even when we are laughing or smiling with amusement. This dual quality gives to the Play a unique character. 

   Now let us come back to our final question that what are the main and chief characteristics of the comedy of Menace. 

  • Chief characteristics of The Comedy of Menace :- 

 After Understanding the concept about Comedy of Menace we can also noticed that what are the chief characteristics of it. So here I observed some important points which one has to look upon while we are discussing about the term called - comedy of menace. 

 • Comedy of Menace is a type of humor that deals with dark subjects such as violence and suffering. 

   For Example:- In the Play - ' The Birthday Party ' by Harold Pinter. We can noticed the violence through the Characters of Goldberg and Macan.while Stanley weaber suffered because of that.

• It often features characters who are in Perilous or uncomfortable situations and uses irony, Sarcasm and Absurdity to create a sense of unease or discomfort in the audience while still being comedic.

• The humor in this type of comedy is often found in the contrast between the horrific subject matter and the absurdity of the situation.

 • The comedy of menace literally establishes the outer reality as a force of threatening to the inner space of an individual.

 • The situation and circumstances looks absolutely perfect and normal.

  • But One can find a kind of unsettling horror and uncomfortable feeling is set beneath the action in the Play. 

 • Language plays a significant role when it comes to the comedy of menace. 

  • It exposes the fear, Frustration and Violence of the characters through language.

 • The loss of Identity can be also observed in the comedy of menace. 

  For Example:- The powerful characters like - Goldberg and Macan attacks the weaker character for instance. Stanley Webber suffers from loss of Identity when he is attacked verbally. 

• The movement of facial expression and mental depression is depicted through comedy of Menace.

   Covering Comedy and Fear at the same time in a play that is a strange art practice in the comedies of menace. One of the most prominent authors who intermingles the two in his plays is - Harold Pinter. This type of comedies also known as Tragicomedy. Including Pinter's Play - The Birthday Party, there are some other works also by Harold Pinter which can be Categorised as a Comedy of Menace.

 1. ' The Room '  (1957) 

 2. ' The Birthday Party ' ( 1958)

 3. ' The Dumb Waiter ' ( 1960)

 4. ' The Caretaker ' (1960)

 5. ' The Homecoming '  ( 1965) 

 Among all this Plays by Harold Pinter. Let us discuss his Play - 'The Birthday Party' which can be seen as one of the best example of Comedy of menace. 

 • The Birthday Party as a Comedy of Menace :- 

Before we start discussion about how this play considered as a Comedy of menace , First it is very much important to know  about the author and his Play. 

 Harold  Pinter :-  Harold Pinter was a British Playwright, Screenwriter,  Director and actor. He was born on 10th October in the year 1930. A Nobel prize winner Pinter was one of the most influential modern British dramatists with a writing career that spanned more than 50 years. Harold Pinter also directed or acted in radio, stage, television and film productions of his own and Other's works. 

His Plays are noted  for their use of understatement, Small talk , reticence , and even silence to convey the substance of a character's thought. In the year 2005 Pinter won Nobel prize for literature. 

  ' The Birthday party ' :- 

The Birthday Party ( 1957) is the first full - length Play by Harold Pinter. This play first published on 28th April in the year - 1958. Originally written in English language. It is one of his best - known and most frequently performed plays. 

The Play has been classified as a Comedy of menace, Characterised by Pinteresque elements such as ambiguous identity, Confusion of time and Place and dark political Symbolism. 

 • Elements of Comedy of Menace in the Play ' The Birthday party'  :- 

One can find Comic as well as terrific elements in Harold Pinter 's play The Birthday party. This play has been described as a comedy of menace because the consistent flow of fear and horror is symbolically presented in Characters mind. ' Pinter actually exposes the State of modern man and the idea of fear that exists in human mind.' 

Stanley weaber who is a protagonist of this play. He is such a character who tries to protect himself from the outer society. Printer's play often does not give a brief description of the past of character 's life. As we also don't know that what happened with Stanley weaber in his past. The fear of Stanley is noticeable throughout the Play. 

 When Meg discovers that two strangers will come to stay at boarding house at that time Stanley behaved violently to Meg's announcement. Stanley actually reflects  modern man Isolation and a kind of fear that exists in modern man from being exposed to outer reality. The outer reality becomes a threat to their inner space which they like to avoid and disconnects easily.

 When Goldberg and Maccan asking questions to Stanley at that time also they were not giving Stanley a chance for even answering the questions. So that is how we can understand that how they both verbally attacked on Stanley weaber. As a audience and as a viewer we felt some kind of fear and Threatening effect that what will happen in the very next movement. Through their acting Characters what to create comic atmosphere but Inside they are very much in stress and in depression like our Protagonist- Stanley weaber. So that is how Comic + Terrible and fearful effect in one's mind that is one of the main Characteristics in this play.  

     

   The Feeling of Fear is very common in Harold Pinter 's plays. and especially In The Birthday Party the existential fear is very Present. Stanley Webber does not want to step out from the house because he had a fear of something which already happened in the past.  

 

  Let's sum up...

 Conclusion :- To conclude one can understand that Comedy of menace means the audience knows nothing about the characters and their past. But while watching it creates the atmosphere of suspense and menace. 

 I hope that this blog will be helpful to you..

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 Thanks for visiting..✨

Indian Poetics

                                     Thinking Activity 

' Indian Poetics ' 

welcome readers! Here I am going to write down one blog on  the topic of Indian Poetics. This blog is inspired by Dr. Dilip barad sir - Department of English, Bhavnagar University. This blog is also a part of our thinking activity. As a Student of literature it is very much Intresting to know about the Study of Indian aesthetics and Indian poetics. In this Particular blog I am going to share my basic  understanding about this topic. 

As we have the Paper of Literary Theory &  Criticism and Indian Aesthetics in our syllabus of M.A Semester- 2. we all got a chance to attend Vinod sir Joshi's lecture From 5th to 13th January at English Department. It is an honour and Opportunity for all of us that we can learn about this interesting topic as well as other things which is  related to language and literature from a very recognised and respected professor, Poet, Dr.Vinod sir Joshi. We also invited the students from Gujarati Department as well. Overall, we all had such a wonderful sessions by sir and Spent good  time together. 

 For the Floral welcoming of sir  We decided  One student from our Department and another one from Gujarati Department and that is how two students welcomed sir by giving them Flower and greeting card. 

    

 One of my Classmate - Avni Jani had done Anchoring for the very first day of  Guest lecture and I gave a very brief Introduction of Vinod Joshi Sir. 

 So, Here are some Glimpses of the very First day of Guest lecture.

 • What is Indian poetics? 

  Oxford English Dictionary defines Poetics as ' Art of Writing Poetry ' Or ' the Study of Poetry '.

Poetics is a Study of  such work of art individually or collectively. Literature differs from other writing in its use of language. Indian Scholars were aware about the Uniqueness of language used in literature.They knew and there was a general agreement that sound and sense are the two important elements blending of which makes  Poetry what it is. The different schools or sampradays - સંપ્રદાયો of Indian Poetics emerged out of different speculations about the way in which the blending of sound and sense takes place.

 Poetics is both Science as well as Philosophy. Indian poetics Starts with Bharata's Natyashastra, Passes through Bhamaha Dandin, Vamana and attains vastness in the Writings of Anandvardhana, Abhinavgupta, Vishwanatha, and Pandit Jagannatha. 

 Sanskrit Word for Poetics is Kavyashastra. Another word used for Poetics is Kavyamimansa. Mimansa means Study, discussion and Inquiry. The word Kavyamimansa was first Used by Rajasekhara - a tenth century Poet from Kashmir.

 In Indian poetics we found six different schools or theories which are given as below or under. 

 

1. Rasa theory by Bharatamuni 

2. Dhvani theory by Anandvardhana

3.Vakrokti theory by Kuntaka

4. Alankara theory by Bhamah

5. Riti by Vaman 

6. Auchitya by Ksemendra

Let us try to discuss and Understand them in detail.

 1. The Rasa theory :- 

In Indian aesthetics, a rasa ( रस) literally means ' nectar, essence or taste.' It connotes a concept in Indian arts about the aesthetic Flavour of any visual , literary or musical work that evokes emotion or feeling in the reader or audience but cannot be described. Rasas are created by bhavas, the state of mind. Bharata Muni is regarded  the Father of Indian Rasa theory. He gave major statement in his book ' Natyashastra.' 

 Bharata the great rhetorician has tried to explain that how this aesthetic Pleasure takes  place. He has tried to give the theory of rasa in one Sutra as he says that ; 

 નાટય‌ શાસ્ત્રના છઠ્ઠા અધ્યાયમાં ભરતમુનિએ રસમીમાસા કરી. 

   " विभावानुभाव व्यभिचारी संयोगाद्र रस निष्पति : | " 

 • વિભાવ , અનુભાવ , વ્યભિચારી ભાવ અથવા સંચારી ભાવ અને સંયોગ. ( આ ચાર શબ્દો ખૂબ અગત્યનાં છે કે જે રસની વ્યાખ્યામાં આવે છે.)  

 સ્થાયી ભાવ અને સંચારી ભાવ એ બંને શબ્દો ભરતમુનિએ એ‌ આપ્યા છે. જે સમજવા પણ જરૂરી છે. 

 • સ્થાયી ભાવ :- આપણામાં જે ભાવો છે તે બઘા સ્થાયી ભાવો કહેવાય છે. સાહિત્યની અને કલાની જરુર એટલા માટે પડે છે કે જે ભાવોને Sustained કર્યા છે તેને બહાર કાઢવાનું કામ કરે છે. 

• સંચારી ભાવ‌ :-  સંચારી ભાવ એટલે એવા ભાવ જે આવે અને તરત ક્ષમી પણ જાય. જે ક્ષણભંગુર તરીકે પણ ઓળખાય છે. 

      Vibhav :- An Object

     Anubhav :- Our Response or We can say Reactions

      Vyabhichari :- Transitory Emotion 

         Samyog :- Combination of all this.

 During the Lectures, On the very First day when sir was discussing about Rasa theory he told us that ; 

 ' ભાવોને  દમન એટલે કે રોકી શકાય છે પણ નિર્મૂળ કરી શકાતા નથી. ' 

   "शृंगार करुण वीर रौद्र हास्य भयानका |

बिभत्सादभूत शांतश्रच नव नाटये रसा: स्मृता || " 

                                           _ अभिनव गुप्त। ( अनुष्टुप 

                                                                             छंद )

So, From this Sutra we can get total 9 rasas.

       १. शृंगार  रस ( Love ) 

  २.  करुण रस  ( Sorrow)

   ३. वीर रस  ( Energetic) 

    ४. रौद्र रस ( Anger ) 

    ५. बिभत्स रस  ( Disgust) 

  ‌‌‌६. शांत रस  ( Calm ) 

   ७. हास्य रस  ( Mirth ) 

   ८. भयानक रस  ( Terror) 

    ९. अद्भुत रस  ( Astonishment) 

 

 • Shringar rasa - Erotic Sentiments

 Represents Love, beauty and Romance.

Colour :- Light Green 

• Karuna rasa :- Pathetic Sentiments

Represents Sadness, Pity and grief .

  Colour:- white , Grey 

  • Veer rasa :- Heroic Sentiments

Represents Courage , bravery and Pride

 Colour - Saffron 

 • Raudra rasa :- Furious Sentiments

Represents anger and Fury. 

Colour :- Red

 

 • Hasya rasa :- Comic Sentiments

Represents Laughter, Joy and Mirth.

 Colour:- White 

  • Bhayanaka rasa :- Terrific and Terrible Sentiments

Represents horror, Terror, or one kind of Fear and anxiety. 

 Colour :- Black 

• Bibhatsa rasa :- Odious Sentiments

Represents Disgust and aversion

 Colour:- Blue 

   

 • Adbhuta rasa :- Marvellous Sentiments

Represents Wonder, Mystery or Curiosity.

 Felling of Amazement

  Colour :- Yellow

 

   • Shanta rasa :- Relaxation Sentiments

Represents Peace and the State of Calmness.

   Colour :- Perpetual white

In Response to Bharatamuni 's Rasa theory Four Scholars emerged and they gave their different Opinions and Point of views.

 1. Bhatt Lollatt :-  Bhatt Lollatt argues that there is no rasa. But,rather it is being Produced. This Concept of Bhatt Lollatt considered as  'ઉત્પત્તિવાદ'. 

 2. Shree Shankuk :- Shree Shankuk argues that there is no rasa nor it is produced. But one can only Supposed it. These Supposition are of total Four types. This Concept of shree Shankuk Considered or known as ' અનુમતિવાદ'.

१. यथार्थ प्रतिती |

 २. सादृश्य प्रतिती |

 ३. संशय प्रतिती |

 ४. मिथ्या प्रतिती  |

 3. Bhatt Nayaka :- Bhatt Nayaka argues that there is no rasa. It can not being Produced and it can not even supposed. But, It is experienced or Simplified. અભિનય કરનારમાં રસનું સાઘારણીકરણ  થવું જોઈએ ત્યારબાદ પ્રેક્ષકોમાં થાય છે. 

• સાઘારણીકરણ :- ઓતપ્રોત  Or Total, Complete Involvements .

4. Abhinavgupta :- Abhinavgupta argues that Rasa can be generated only when Nat - Nati, Audience and creator Predict Bhavas and then shows total Involvements in it. 

 •'  પ્રકાશાનંદમય જ્ઞાનની પ્રતિતિ  , અનુભૂતિ કરાવે તેનું નામ રસ.' 

          - અભિનવગુપ્ત 

- રસ‌ એ વ્યક્તિગત આવિર્ભાવ છે. જે અનેક પરીમાણો પર આધાર રાખે છે. આ ઉપરાંત વિભાવ, અનુભાવ , સંચારી ભાવ અને તેમના સંયોગથી રસ નિષ્પત્તિ થાય છે.

2. The Dhvani theory :- 

The Dhvani school of poetry was Formulated by Anandvardhana who wrote 'Dhvanyaloka'

in the middle of the 9th century. It brought Focus on the Potential Power of the Word in a Kavya. Here, the word together with its literal Sense forms the body of kavya. 

 According to Anandvardhana :- 

" ध्वनि : काव्यस्य आत्मा  | " અર્થાત્, ધ્વનિ એ કાવ્યનો આત્મા  છે.

According to Anandvardhan :- ' શબ્દ અને ‌‌‌‌‌‌અર્થ એ બંને સાથે હોવા જોઈએ. એ બંને એક જ છે.' 

 

Let us look at the Definition given by Mammat :- 

                      मुख्यार्थबाधे तद्योगे रूढ़ितोऽथ प्रयोजनात |

                     अन्योऽर्थों लक्ष्यते यत् सा लक्षणारोपिता  क्रियाः | 

              અર્થાત્, મુખ્ય અર્થનો બાધ કરવાનો અને અન્ય અર્થને લક્ષિત કરવાનો છે. 

 For more and better understanding about Anandvardhana 's Dhvani theory Let us look at three ' Shabda Shaktis ' . 

 1. અભિધા શબ્દશકિત. ( Abhidha ) 

 2.  લક્ષણા શબ્દશકિત.  ( Lakshana ) 

 3.  વ્યંજના શબ્દશકિત.  ( Vyanjana ) 

1. Abhidha :-  Abhidha is the first and basic shabda Shakti. Other two Shaktis rest upon it. Abhidha may be defined as that Power of words which Conveys the Conveys the Conventional meaning or the literal meaning of the expression. 

‌

2. Lakshana :- Lakshana is the Second Shabda Shakti. It is Indication Power. It consists in the external characteristics of the expression which are indicative of something deeper. 

3. Vyanjana :- vyanjana is the third Shabda Shakti which means suggestive. In Vyanjana we get direct meaning but it is incomplete. So we have to take another  meaning that is called Vyanjana. 

૧. અભિધા શબ્દશકિત	સીધો અર્થ લેવાનો છે.
૨. લક્ષણા શબ્દશકિત	સીધો અર્થ મળતો નથી એટલે નજીક નો અર્થ લેવાનો છે.
૩. વ્યંજના શબ્દશકિત	સીધો અર્થ મળી જાય છે. પરંતુ લેવાનો નથી.

 

Abhidha Shabda Shakti	Ex :- અંઘારુ થયું ને અજવાળું ગયું.
Lakshana Shabda Shakti	Ex :- મારું ઘર હાઈકોર્ટ રોડ પર છે.
Vyanjana Shabd Shakti	Ex :- મીઠા મધુર ને મીઠા મેહુલા રે લોલ..એ થી મીઠી છે મોરી માત રે..

• પ્રતિયમાન અર્થ :- શબ્દમાંથી નીકળતા પ્રતિયમાન અર્થને આનંદવર્ધન ધ્વનિ તરીકે ઓળખાવે છે. રસ એ ભાવ પર આધારીત છે. જ્યારે ધ્વનિ સંપ્રદાય એ શબ્દ અને અર્થ પર આધારીત છે. 

  

Let us have a look on the definition of it :- 

        ' જેમાં શબ્દ અને અર્થ ગૌણ બની જાય છે અને જે પ્રતિયમાન અર્થ પ્રગટે તેને ધ્વનિ કહેવામાં આવે છે. ' 

One Metaphor also used for Dhavani theroy. 

     ' विभाति लावण्यम् इव अङ्गनासु | ' 

 સ્રીના સૌંદર્ય ની જેમ ધ્વનિ શોભે છે.  

There are total three types of Dhavani :- 

1. Vastu Dhvani :- This is the very first type of Dhvani. In Vastu Dhvani some rare of Idea is implied. In Vastu Dhvani one can see and understand that Thought is at the centre. This type of Dhvani also known as વિધેયાત્મક ધ્વનિ.

2. Alankara Dhvani :- This is the Second type of Dhvani. In Alankara theory some Alankara or figure of speech is suggested. 

3. Rasa Dhvani :- This is the third and last Part of Dhvani. In Rasa Dhvani rasa is evoked. 

 

Three types of Dhvani	What is at the Centre
Vastu Dhvani	Thought is at the centre
Alankara Dhvani	Figure of Speech is at the centre
Rasa Dhvani	Rasa is at the centre

 

૧. વસ્તુ ધ્વનિ	ઉદાહરણ :- ' તું જ્યાં છે ત્યાં મારો બીજો જન્મ થજો.'
૨. અલંકાર ધ્વનિ	ઉદાહરણ :- ' દમયંતી નું મુખ ચંદ્ર જેવું છે.'
૩. રસ ધ્વનિ	ઉદાહરણ :- 'સાંવરિયો રે મારો સાંવરિયો હું તો ખોબો માંગું ને દઈ દે દરિયો! '

3. The Vakrokti Theory :- 

The Indian poetics hs always deliberated on the meaning of words in literature. Another school we found that emphasized meaning in poetry is Vakrokti. Sanskrit word Vakrokti is a compound of two words. 

  

   • Vakra :- Crooked, bent 

    • Ukti :- Saying or expression

 • Vakra + Ukti :- Vakrokti

So Vakrokti means Oblique expression. Let Us understand this with one very beautiful example. 

                   ' અમે વળીને જોયું અને તમે વણ્યા વણાંક 

          ‌‌       ગલીનો હોય કે પછી નજરનો છે વાંક '

In this example , we can get idea that how Poet used the words to create one Particular meaning in a very different way. 

  • ' વળાંક નું પણ એક અલગ જ સૌંદર્ય હોય છે.' 

• ' વક્રોક્તિ એ એક એવી વિભાવના છે કે જેમાં સર્જનાત્મકતા હોય છે. ' 

Kuntaka is Credited for the Propagation of this theory. He lived between 950 - 1050 AD. His Vakroktijivitam ( वक्रोक्तिजीवितम ग्रंथ ) is a landmark work in Indian poetics, In which he talked about Vakrokti theory. 

    • "  शब्दार्थो सहितो वक्र  

कविव्यापार  शालिनी | 

बन्धे व्यवस्थितौ काव्यम्  

तद्विदाह्लाद  कारिणी |" 

અર્થાત્ , જે કાવ્ય જાણે છે, તેને જાણનાર ને જ તે આહ્રલાદ એટલે કે આનંદ આપી શકે છે. 

      • तद्विद :- તેને જાણનાર

      • आहलाद :- આનંદ

According to Kuntaka , Vakrokti is of 6 types. 

   1. वर्णविन्यास वक्रता | 

 ‌‌‌  2. पद पूर्वार्ध वक्रता | 

   3. पदपरार्ध वक्रता | 

   4. वाक्य वक्रता | 

   5. प्रकरण वक्रता | 

   6. प्रबन्ध वक्रता | 

Let us try to understand this six different types of Vakrokti with the help of one table.

Varna Vinyas Vakrata	At the level of Phoneme.
Pada Purvardha Vakrata	Lexical Obliquity or at the level of the word.
Pada Parardha Vakrata	At the level of the grammatical form like tense etc.
Vakya Vakrata	Sentential Obliquity at the level of sentence.
Prakarana Vakrata	Obliquity at the level of episodes or Incidents.
Prabandh Vakrata	At the level of the Whole Composition.

Types of Vakrokti	Explanation	Examples
वर्णविन्यास वक्रता |	જેમાં વર્ણનું સૌંદર્ય હોય છે અને તે શબ્દ પર આધારીત છે.	From Shakespeare's Macbeth - " Fair is Foul and Foul is Fair."
पद पूर्वार्ध वक्रता |	જેમાં પદ પહેલા આવે છે તે‌.	ગઢને હોકરોતો કાંગરા ય દેશે, ગઢમાં હોંકારો કોણ દેશે
पदपरार्ध वक्रता |	કોઇ પ્રત્યય લાગેલો હોય છે.	તમે મારા દેવના દીધેલ છો.
वाक्य वक्रता |	વાક્ય વક્રતા એ હંમેશા ઉદ્દગારોમા જ હોય છે.	Hamlet :- To be or not to be!
प्रकरण वक्रता |	પરંપરામાંથી કોઈ કાવ્ય લઈને કવિ પોતાની રીતે તેનું અર્થઘટન કરે છે.	સૈરન્ધ્રી by Vinod Joshi અતિજ્ઞાન by Kant
प्रबन्ध वक्रता |	આખી રચના પોતે જ કંઈક સૂચવતી હોય છે.‌ અને કૃતિ ના અંતે કોઈક બોધપાઠ મળતો હોય છે.	Ramayana :- અસત્ય પર સત્યનો વિજય.

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