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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He simply says that he has pointed out five kinds of Upama and that the intelligent must take other varieties from Kavya and Loka. Without endless com- pounds and jingle of sounds, no prose was possible after a time.

Alankara Sastra Parichiti

Alankaga also have pointed out the defects in the form and content of Simile. Even then this tract must have dealt with Riti and Vrtti only as accepted in the scheme of Rasa and Dhvani. This attitude is very logical, since many of the Laksapas are either Alahkaras sasttra Bhavas. Thus, an examination of Dandin shows that the Margas are characterised not merely by a set of fixed features which pertain to collocation alone.

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

Of what use are ornaments on a carcass? Abhinava realises this when allankara describes Laksanas as and This class of Laksanas is really a supple- mentary list to the three Alahkaras of Bharata. With reference to this Mahima says: Aristotle Poetry as Representative Art: See the Tarka here: Even as their ideas, their expression also has to be beautiful.


I, Part 2, pp. An emphasis on the relation of style to the author makes it impossible to speak of style in general or define its features. The definitions he gives for some of these are from S’ingabhupala.

Apart from the word poetry, there is only one word for Dandin, viz, Alarhkara. Hence does Bana say that Jati has to be Agramya.


De sajns in his Skr. We find it in Ch. But soon, poets with neither originality nor restraint, began to repeat images ; the same three or four objects, the sun, the moon, the PadminI, the KairavinI, the Praci and the Pratici diks were exploited for saxtra verses together, the points of attraction dwindling to trifles, and with variety almost non-existent.

Demetrius added two more, the Elegant and the Forcible.

To guide such poets, not gifted with S’akti enough to possess an innate sense of Aucitya, Ananda lays down his rules for the employment of Alankara. By this time, the names had not yet become non-geograph ical ; for Dandin often refers only to the people of the east and the south, while referring to the two styles and not, like later writers, to the stereotyped modes of style without any geographical significance. He says — 11 II, As one w ho cares for the greater virtues of good poetry in general, he says that he accepts such composition as possesses those good qualities.

Rasaksipta, Aprthag yatna nirvartya. In the history of the concept of Svabhavokti, the names of Kuntaka and Mahimabhatta stand out prominently.


He gives this ias a quality of a master of style. Thus, Laksanas of one class are clearly Alahkaras or approximations to Alahkaras or light shades of Alahkaras to be mixed with many a major Alahkara.

In interpreting particular Laksanas and their definitions given by Bharata, Abhinava adopts the other views related to these views. The natural grace of a verse even in the absence of Alankara as in the verses of Amaruka is due to Laksana.

An Upama is an Alankara.

Alankara – Wikipedia

They tend to be ornate saetra profuse in manner, eager in temper ; they often produce larger and deeper effects, but they lack restraint and suavity. Laksana is Kavya itself while Alahkara is extraneous orna- ment, Prthaksiddha, Vastvantara.

Bhoja means to say that saetra as the first Laksana involves Gunas and Alahkaras, so also the others and it is this that differentiates Laksanas from Sandh- yahgas which do not involve Guna or Alahkara. It is very difficult to combine these virtues ; but when one achieves it, he is a great writer indeed.

Thank you so much. Bhoja, S’aradatanaya, S’ihgabhupala and Vis’vanatha accept their difference from Sandhyahgas, but mention them only in Nataka and never as being sastga comprehensively to poetic expression itself.