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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Then comes the first means which applies to the ideas with which the story is worked out ; the Arthas should be striking and exalted enough to capture the imagination. Even among the Laksanas, he gives with definitions and illustrations, only a few. It is really surprising how there can be any beauty sastr figure in such an unpoetic expression as Parisarhkhya which can never be a spontaneous utterance.

Alankara Sastra Parichiti – OaOb

A further carrying out of these ideas gives rise to the S’abdalankara of Anuprasa of different varieties. It had its day when it loomed large in the fields, eclipsing Alankara, which was poor in numbers.

And it is because Jati concerns itself directly with the thing as it is, without any great s’abda vaicitrya, that Bhoja counts J ati as an Arthalah- Jcara and that, the first. 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. The works on dramaturgy alone a few of them treat of it and these take Laksanas to be features of drama like the Sandhyahgakas.


And Vakrata is Vakrokti. Whether the poet exalts or does the opposite, Alankara alankzra to help him. I III, ii, 3. Of these 73 have already been puplished and the rest is awaiting early publication. Anyapades’a is a type of literature that can never be written at a sitting, by As’ukavis, but must be written on occasions, must be made alqnkara accumulate into a collection in the course of the sastea life of a poet, full with experience.

So also the first effect a verse on its mere reading or hearing produces, holds the mind to the end. The Artha- gunas are comprehensive and reach up to Rasa. Visvesvara-the Last Best Alankarika All poetic w ritihg is accepted because it is adorned by Vakrokti.

De sometimes speaks of Svabha- vokti as having a dubious existence in Bhamaha though in Vol. Why this complacent creation of geographical names was in fashion amongst these writers cannot be guessed.

The poet did not pick out any particular, subtle or prominent defect of humanity to criticize, or good quality to praise. Some others think that situations or points in the plot of the drama or the Sandhyahgakas are called Laksana. The Kavya, Bharata says, should have 36 Laksanas. But even this is possible in a way, says Ananda: IV Laksana has changed its name in its history. Schopenhauer condemns indefiniteness, vague words and enveloping trivial ideas in the most outlandish, artificial and rarest phrases.

For the later writers, the Bhavika was what Bha- maha gave them through Udbhata. A statement of this unavoidable Svabhava cannot be an Alah- kara.


The mere excellences of Bandha are S’abda gunas ; Riti there is at its lower level. Pope Essentials of Criticism: It defines only a few of them with illustrations.


Mammata – 8 Varieties only The Laksanas are and in their combi- nations with each Alankara, they produce many varieties. After Aristotle, some were speaking of alankars styles, Grave, Medium and Attenuate, to suit the threefold purpose of oratory, moving, pleasing and pleading. Ruyyaka shows how Bhavika differs from Prasada guna also. Considering the way in which figures are expressed: IIreferring evidently to Vamana, IV.

The Alankara-sastra is collateral with the Classical Sanskrit Literature 3 2. Pratiharenduraja actually says that Bhavika refers both to the poet and to the Sahrdaya between whom a circuit of experience is completed. In the discussion and counsel that follow, one must look for the other features, and Says the Jayamahgala: This latter is, as contrasted with the Sarvakalika svarupa, an Agantuka svarupa. Used with restraint, it can be charming and effective. Similarly a Laksana in both the lists of Bharata, can be seen in its stage of transition into Alahkara in Bhamaha and Dandin.

I, Part 2, Ch. The Das’arupa follows the Upajati recension.