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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 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 ṣaṇaof ṃk and it includes all the �ṣi첹or 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.

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