Alamkaras mentioned by Vamana
by Pratim Bhattacharya | 2016 | 65,462 words
This page relates ‘Alamkara-shastra according to Vamana (8th century)� of the study on Alamkaras (‘figure of speech�) mentioned by Vamana in his Kavyalankara-sutra Vritti, a treatise dealing with the ancient Indian science of Rhetoric and Poetic elements. Vamana flourished in the 8th century and defined thirty-one varieties of Alamkara (lit. “anything which beautifies a Kavya or poetic composition�)
7: Alaṃkāra-śāstra according to 峾Բ (8th century)
峾Բ (c. 8th cen.�9th cen. A.D.) is the first rhetorician to point out the supreme importance of īپ in 屹ⲹ. This īپ, he adds, has to be �ṇāt첹� or consisting of the poetic merits that determine the quality of a 屹ⲹ. He has also put forth a detailed discussion on the classification of ṇa and their basic difference with ṃk.
峾Բ’s concept of ṃk deserves very special attention. He follows his predecessor 峾 when he announces the unassailable importance of ṃk in a 屹ⲹ.
He opines that poetry is acceptable on the account of ṃk�
屹ⲹ� ⲹṃk
—Kāvyālaṃkārasūtravṛtti (of 峾Բ) 1.1.1.
峾Բ defines ṃk in two-folds�
a) Anything which beautifies a 屹ⲹ is to be recognised as an ṃk. Therefore, ṃk is beauty in general�
saundaryamṃk�/
—Kāvyālaṃkārasūtravṛtti (of 峾Բ) 1.1.2
This is the �峾Բⲹ ṣaṇa� of ṃk. By this definition 峾Բ has explained the term ṃk as primarily synonymous with ‘embellishment� or with ‘the act of embellishing�, thus including in itself all the general elements of beautification in a 屹ⲹ such as ṇa, īپ, ṃk, rasa, ṣaīԲٱ etc.
峾Բ also asserts that this beauty is to be attained by avoiding ṣa and employing ṇa and ṃk�
sa ca doṣaguṇālaṃkārahānādānābhyām/
—Kāvyālaṃkārasūtravṛtti (of 峾Բ) 1.1.3.
b) In the secondary instrumental sense the term ṃk is identified to that which embellishes or ‘the means of embellishment�. By this definition of ṃk, the conventional figures of speech like ܱ貹, ū貹첹 etc have been also termed as ṃk. This is the �śṣa ṣaṇa� of ṃk and it includes all the �ṣi첹� or traditional figures of speech mentioned by the Sanskrit rhetoricians.
As far as the importance of ṃk in a 屹ⲹ is concerned 峾Բ describes ṃk such as ܱ貹 etc as �anitya dharma� of 屹ⲹ while ṇa as �nitya dharma�. Thus he asserts that �ṇatmaka īپ� is the soul (ٳ) of a 屹ⲹ while ṃk only embellish the body of poetry, i.e, ś岹 and artha.