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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Type of the Secondary Function of a Word applicable to Rupaka I, Part 2, Ch. It is regrettable that after Bharavi and Magha, these became part of the definition of Mahakavya. The two recensions differ in their enumeration as well as in the definition of each Laksana. Visaya-aucitya began to regulate the nature of Riti in the several parts of a poem. Once more here sfefe: He says in it that the Pancall is the style in which S’abda aalnkara Artha are evenly matched.
How an insightful and intensive survey of even a single Alankara like rupaka can become a substantial contribution to the study of an alsnkara concept is well evidenced in this work.
I was very pleased with the meticulous method of shipping. Surely, poetry must give Upades’a ; the sublime thoughts, the deep philosophies — all these the poet must give expressioa to ; but this S’astrasamasokti alanakra harldly that.
It relates to thought and the mode of its expression. The Camatkara- candrika of VisVes’vara Mad. Others are These are related to Bhavas and form the second class.
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Ordinary talk, legal expressions, and scientific writings are examples. This long passage and discussion on Laksana is found only in the Nirnaya Sagar edition of Raghava Bhatfa’s commentary and of the S’akuntala. For instance, ia the verse: These S’abda Vrttis Upanagarika etc.
Besides this implied and traceable connection between the Gunas and the two Margas, there is no definite mention, in Bhamaha, of Gunas as the constituting elements zlankara a Marga.
The Candraloka actually mentions Mala as an ‘element helping many Alahkaras. II of that work in the MS.
The example given here for such poem, i. Rama weeping on the loss alajkara Sita in the closing cantos of the Aranyakanda is left to itself to appeal to us with its own grandeur and beauty. Even as the ordinary ornament, the jewels, putting them on or laying them dowm, suggest to us the mental state of the person, so also does figure suggest the Bhava.
In the definition of the Abhyantara Natya prayoga, we find ideas similar to those by which Bhamaha defines Bhavikatva.
He defines it towards the close of the sixth varga, allankara a single verse: From these verses of Bhamaha on the two styles, we can gather that in his time, some writers had held the Vaidarbhi as the better style and the Gaud! The third activity chooses the words and ideas. If we xastra to arrive at a clear definition of poetry with an objective differentia, certainly the definition will revolve round the concept of Alankara, the word Alaiikara being taken here in the widest sense of that term in which Bhamaha, Dandin and Vamana understood it.
Kalidasa in his Raghuvams’a especially delights in such innocent assonances: Certain others are said to view Laksana as the proper use of Gunas and Alahkaras, i.
A far-fetched idea suggest- ing some great quality of the king or God which quality is left to hide itself in one small alanakra is elaborated and the whole verse is burdened with a new picture which is a world by itself.
If the poet had worked it out, Abhinava says, it would have been very improper — ‘ll?!.
From the three Ritis in Vamana, we pass to the four in Rudrata. A, verse on the difference between Svabhavokti and Arthavyakti. It had its day when it loomed large in the fields, eclipsing Alankara, which was alanjara in numbers.
Artha in Kavya is, by necessity, Sundara: Nor does he make any attempt to differentiate them from Alahkaras.