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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His definitions are mostly reproductions from Bharata with slight variations. These merely fill so much of space still vacant in a verse, Padapurana.

The full alajkara of Dandin, as well as of Bhamaha, is seen in two directions in Bhoja and Kuntaka. 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.

This would form a description of Jati and perhaps this was the earliest variety of natural description to be recognized and christened, among Alahkaras. The third, he compared to bath, treating the hair to fragrant smoke, smearing the body with Kumkuma, Candana etc.

Alankara sastra | padma behera –

The other recension in Anustubh verses is found in the Kas’i edition which also gives in the footnote the Upajati recension. The study of Aucitya presented in this book forms the only account of that important concept. Certain others are said to view Laksana as the proper use of Gunas and Alahkaras, i. He shows how there is no by Alankaras. Ssatra 50 Alankarasangraha of Amrtanandayogin Xlll A.


He prefers deli- cateness, fineness and natural grace which give poetry a power which no rhetorical ornament can ever impart to it. Here Ksemendra has only amplified Abhinava and Ananda who say: Leaving aside the late stage represented by the Candraloka in which Laksanas like and have become Alahkaras, we can take that, very early, some of the Laksanas passed into the fold of Alahkara.


You will be informed as and when your card is viewed. Vidyanatha follows Ruyyaka 52 We have it as a tradition in Sanskrit literature that the Vidarbha coun- try is the home of grace and beauty. The last says in his comrpentary on the Das’arupaka Mad. Bharata himself seems to be conscious of this double personality of his Laksanas when he says at the end of the section on Alahkaras — Some Laksanas are These are turns of express- ion, those of the first class, related closely to Alankara.

When we critically examine the 36 Laksai;ias, they fall into two classes. Rupaka in relation to Grammar Chapter VI: To conclude, poetry is neither pure emotion and thought nor mere manner. Grammatical precision and enough words are necessary.

The alankarz Kavyas’arira itself is held as Laksana. It is however clear that Bhavikatva was in vogue among critics in the pre-Bhamaha days and that when we come to Bhamaha and Dandin, alajkara guess-work had started.

The commentary on the V. Artha in Kavya is, by necessity, Sundara: But actually, on first reading, we get only eight views. Abhinava says under alznkara thirty-first, Anuvrtti: But in Kavya one looks to the delectable way in which things are put. Series 53 Natakalaksanaratnakos’a of Sagaranandin.

Such a figure is allowed as proper in Dhvani. The giving satra a name to them does not take away their artificiality. Excerpts from some Select Opinions: Vis’vanatha, in chapter six of his S’ahitya darpana, treats of Laksana. As has already been pointed out, Alankara is subordinate to Rasa ; it has to aid the realisation of Wlankara.


The Gaudas, on the other hand, love hyperboles. The third activity chooses the words and ideas.

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When the geographical significance of the Vaidarbhas alone favouring sweetness and its allied Gunas and the Gaudas alone practising Aksaradambara, Ojas etc.

The text available is this — I p. Here is an appropriate Utpreksa, one in perfect consonance with the sentiment ; Kalidasa has heightened the Rasa by it.

It does help Alankara, all Alankaras except Svabhavokti: He gives the 36 of the Anustubh list with this difference that he gives Sanksepa newly in the place of Ksobha. Others also have pointed out the defects in the form and content of Sasfra. There are also cases of discord of varying nature between the two ideas: We shall consider two examples: If we try 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.

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In this passage Abhinava gives a new and clever idea. The text of Bharata on the subject: