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.
|Published (Last):||6 August 2012|
|PDF File Size:||13.16 Mb|
|ePub File Size:||12.65 Mb|
|Price:||Free* [*Free Regsitration Required]|
The function of Alankara is to heighten the effect ; it is to aid the poet to say more pointedly. As a matter of fact, Dandin treats of the S’abdalahkaras only sastrw.
Tatacharya has, it seems, committed an excess while trying to prove that Bhamaha accepted Svabhavokti. This recension enumerates the Laksanas in Upajati metre ; the other recension, in Anustubh metre.
As such, these Alankaras should flow out of Rasa. There is at least a strong tendency to wax figurative in forceful situations.
Please satsra that your card will be active in the system for 30 alanksra. Of these Alahkaras, we shall here speak in particular about a few select ones. Pratiharendu no doubt alqnkara some comments on the illustration but what a far cry from the great concept of aesthetics that Bhavika is to him and to what is said to be illustrated in this verse! This topic directly leads Mahimabhatta to an examination of Svabhavokti Alankara. The text on Gunas followed by Abhinava is not the one followed by Mahgala, whose fragments on the concept of Guna are available in Hemacandra and Manikya- candra.
He casts off the old names which have geographi- cal associations, dead for a long time, alnakara forges new nomenclature on the basis of a fundamental classification of the manners of expression, on the basis of the more prevail- ing tendencies among masters in Sanskrit literature.
Rajanaka Alaka, in his commentary on Ratnakara’s Hara- vijaya, has occasion to speak of Laksana. Kuntaka is the greatest exponent of the Riti. It is reasonable to believe that the first and earliest variety, Jati, was extended as name to the rest also.
We cannot get much out of his vague explanation of the nature of Laksanas as ; but we see that he followed Bharata and held them as features of Kavya and not of Nataka only. Explicit use of et al. This view seems to be like the first in making Laksana the Aalnkara. At his hands the concept reached its widest interpretation.
Datilla discussed 13 alankarasBharata Muni presented 33, Sarngadeva described 63 alankaraswhile mid medieval scholars presented numerous more.
Upajati list of 1. Kavi-Karnapura’s Contribution 52 If the poet gets a simile and gives it natural expression which is in harmony with Rasa, there is really effect and beauty in its employment.
It is simply natural for one who has obtained facility in illustrating his ideas to overdo the matter at times and to carry his art so far as to illustrate that which has been sufficiently illustrated or is itself illustrative.
The first line here is an instance of an utterance which as a whole, Samudaya abhidhana, is bereft of any Sasra ; and this is what is called Varta, news. 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 sastga ealth of colour, but less sharpness of definition.
: nindi punj : Free Download, Borrow, and Streaming : Internet Archive
All poetic w ritihg is accepted because it is adorned by Vakrokti. The fourth view, instead of restricting the Laksanas to Vakyas or points in the plot, lifts them to the position of — characteristics of different kinds of poems. S’ihgabhupala also says that Varta is a welfare-enquiry: The mere excellences of Bandha are S’abda gunas ; Riti there is at its lower level.
Their style we characterise as chaste or classic. Essay on the Definition of Poetry, published in the J. Difference between Tadrupya and Tadatmya 18 7. After Aristotle, some were speaking of three styles, Grave, Medium and Attenuate, to suit the threefold purpose of oratory, moving, pleasing and pleading.
S’rlharsa, Naisadha, VI, 1. The form of the form itself must be beautiful, must have a music and flow.
Alankara Sastra Parichiti – OaOb
The literature on the subject — IV. These two are and p. Aksarasahghata and S’obha involve S’lesa. This view differen- tiates Laksana on this score: