Alankara, also referred to as palta or alankaram, is a concept in Indian classical music and —Natya Shastra Bharata Muni ( BCE CE). Here are . Search found 2 books and stories containing Alamkarashastra, Alaṃkāraśāstra, Alaṃkāra-śāstra, Alankarashastra or Alankara-shastra. You can also click to the. Alankara Sastra Parichiti. Mishra, Bhabagrahi and Mishra, Santilata () Alankara Sastra Parichiti. Friends Publishers, Cuttack.

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Alankara Sastra Parichiti

Svabhavokti as expression dominated by the Gunas is that when there is none of the figures beginning with Upama, the only thing the expression possesses is the Gunas. Gradually this figure became intellectual and njo wonder, it begot the new subvariety called S’astra- samasokti. Rupaka – an Abheda-pradhana Alankara of the Aropa-garbha Group 19 9.

It had its day when it loomed large in the fields, eclipsing Alankara, which was poor in numbers. It is not one principle of classifi- cation that gives us these four styles.

The Candraloka is the only Alan- kara work which treats of Laksana as a feature like Alahkara, of The second line of thought which connects Laksanas with Sandhyahgas was first alnakara scious of its suicidal suggestion. The poet is like the Rsi who brings through the power of his vision the past and future into the present. Why were ye not awake?

See also the Vrtti on these ; also my Ph. But to write such figures, the poet must be lost in Rasa and must have infinite Pratibha. In the Natya S’astra we see the Laksana des- cribed as Bhusana.


The Guna of Kanti is similarly of a alankada nature. In the anthologies, there are some brilliant Anyapades’a verses. He adds that he will indicate the other recension also then and there. The poetic expression is, generally speaking, heightened or made striking by an out-of- the-way-ness, which is called Vakrokti or Alahkara. This is one group of ideas, taking inspiration from the metaphor of Samudrika-laksana.


Sangharakkhita and his Indebtedness to Bhamaha and Dandin 50 When this is great, the mind naturally flies to the metaphor as a more concentrated form of expression, represent- ing many thoughts in a few words. Of the definitions, eight alabkara common to both, those of Aoankara, Aksara sanghata, S’obha, Gunakirtana, Manoratha, Prccha, Sams’aya and Prapti ; the definition of Karya of the Upajati list is the same as that of Garhana in the Anustubh list ; five definitions agree in substance, those of Udaharana, Nirukta, Siddhi, Padoccaya and Drstanta ; the difinition of Anuvrtti of the Upajati list agrees sastraa substance with that of Daksinya of the Anustubh list.

Vagbhata, Son of Nemikumara, follows Dandin, etc.

He says that in Arthavyakti only those aspects of an object are presented which form its permanent distinguishing attributes, Sarvakalikam rupam, whereas in Svabhavokti those aspects which are manifest as a result of a particular mood or situation, Avasthasu jayamanam rupam, are presented.

Relative Importance of the Upamana and the Upameya 59 7. The sastrq Svabhava of thing wall be the scientific facts about an object, its attributes as pertaining to a class ; a bald statement of these as in etc. alankada

Kavi-Karnapura’s Contribution 52 But many of these later Alahkaras have their counterpart in Aastra nas. Taking the figures as such, the best definition we can give of them is that, in a great poet, they form the inevitable incarnations in alankqra ideas embody themselves. He defines it towards the close of the sixth varga, in a single verse: This will help us make recommendations and send discounts and sale information at times.


A, Vya— Sarasvatlkaijthabharanavyakhya of Bhatta Nrsimha. If the poet had worked it out, Abhinava says, it would have been very improper — ‘ll?!.

Under it come Rasas, Vrttis, Ritis and Laksanas. This view differen- tiates Laksana on this score: S’aradatanaya, in his Bhavaprakas’a, deals with Laksanas in Chapter 8. Bhatta Tauta has taken that the manifoldness of Alahkara is achieved by combining Alahkaras with the Laksanas. Rupana is Abarya 39 Somewhat similar to this, there are the two apprehensions of an object by a poet endow’ed with penetrating imagination and by an ordinary man.

Full text of “Studies On Some Concepts Of The Alankara Sastra”

The other class have a great volume of thought, but less well-defined ; more fervour and less temper- ance of feeling, more abundant and vivid imagery, more w ealth of colour, sasta less sharpness of definition.

Excerpts from some Select Opinions: Vidyanatha follows Ruyyaka 52 Vanivilas Press, Sri- rangam S’. Some pre-Bhamaha writer must have made it an Alahkara. S’inga- bhupala and his followers call it Bhusana. Stevenson What is Art?

Dandin ex- pounds in the first chapter the Vaidarbha Marga which was considered the best style. First, it is against the partiality for the VaidarbhI and the aversion for the Gaudi. I, Part 1, p.