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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Yanca and Priyavacana of the Upajati list are defined by the same identical verse, and the definition suits the ssstra and not the former. We feel that in that stage of the history of Alahkara, the concept of Laksana and the merging of most of it in Alahkara is a big chapter.

The means sastfa their multiplication is the interaction of these three Alankaras with the 36 Laksanas. II ” — Kiskindha, Demetrius, while describing each style, gave each certain Bandhagunas, certain kinds of Alamkaras and certain emotional features also.

The first writer who is now known to have introduced new Laksanas is Bhoja.

Both styles have features which can be over- done ; consequently both have their vicious counterparts. For him the whole Kavyaprapanca sastrw Alahkara-Brahman. As for instance, some poems are characterised by zlankara speciality of having profuse adornment of Gunas and Alankaras. This universalisation has to come about, even in the case of Bhavika. Abhinavagupta gives a number of con- fused views held by others and at the end of these he numbers them as ten. Besides reproducing what he said in the S.


Alamkarashastra, Alaṃkāraśāstra, Alaṃkāra-śāstra, Alankarashastra, Alankara-shastra: 3 definitions

Svabhavokti and Rasavad Rasokti as Bhoja would say are easily distinguished. In such Rasas as S’rngara and Karuna, the elaborate and artificial figures of sound have no place. Laksana is different from Guna which is inherent in Rasa, the soul of poetry. As Tauta says in the well-known passage quoted by Hemacandra K. The final ground of reference for this Aucitya, the thing with reference to which we shall speak of other things as being appropriate, sastrs the soul of poetry, Rasa.

De himself points out p.

Alankara Sastra Parichiti

This final analysis of style into two is neither impossible nor absurd. The poet did sastda pick out any particular, subtle or prominent defect of humanity to criticize, or good quality to praise.

If Laksana should be thus taken as equal to poetic ex- pression, the natural consequence is that Laksanas are not 36 only but as many as the poetic expressions. Bhoja realised the insufficiency of the comparison with Kataka.


In the course of the exposition of the second and the third view, Abhinava twice quotes Anustubh verses with the words The third view takes its stand on Vyaparabheda.


Certain others are said to view Laksana as the proper use of Gunas and Alahkaras, i.

This view differen- tiates Laksana on this score: Schopenhauer speaks of two styles, one good and the other bad, the former alanoara characterised mainly by simplicity, clarity and precision, and the latter by prolixity, vagueness and word-pomp. Anuprasa in its Ulbana varieties is specialised in alaankara the Gaudas.

There is Hetu-Utpreksa here: The Garland Encyclopedia of World Music: Perhaps, the latter are people further south or those in the south other than the V aidarbhas.

Alankara Sastra Parichiti – OaOb

Of these three, it seems the second should be taken first. These words of Mahimabhatta are pertinent here: As in his life, so in his writings, Bana was exuberant and was responsible for excess.

II Each is defined in a half-verse. He says — 11 II, Other writers on the subject: Jayadeva’s Innovations 51 He gives the 36 of the Anustubh list with this difference that he gives Sanksepa newly in the place of Ksobha.