Hello Beautiful People,
Name :Bhatt Riddhiben D.
riddhi28bhatt@gmail.com
Sem :2
Roll No. :15
PG year :2020-2022
PG Enrollment No. :3069206420200004
Paper Name :109 (Literary Theory and Criticism and Indian Aesthetics)
Topic Name :Indian Aesthetics and Modern Literary Theory : Alankar
Submitted to :Smt. S.B.Gardi Department of English
Indian Aesthetics and Modern Literary Theory : Alankar
✅Introduction:
Alamkāra or figure of speech is a very important component of literature.WithoutAlamkāra it is difficult to imagine that a literary writer can create literary texts.As students of literature, we must have deeper insights into the nature and function of thefigures of speech. We are sure that you have some knowledge about the figures ofspeech, at least about some of the important figures of speech like Simile, Metaphor, and Alliteration. Although Bharata , in his Natyashastra mentions four components of Alamakara (upamā rūpakaṃ caiva dīpakaṃ yamakaṃ) as related to Drama, he does not elaborate on it.
upamā rūpakaṃ caiva dīpakaṃ yamakaṃ tathā । alaṅkārāstu vijñeyā catvāro nāṭakāśrayāḥ ॥ NS.6. 41॥
The alaṁkāra siddhānta (theory of figures) of Bhamah (6th century) defines kāvya togetherness of sound and meaning. According to Bhamah, alaṁakāra (poetic figure) is the essential element of poetry and it consists in the striking manner of putting a striking idea in an equally striking word. Anandavardhana view in Dhvanyāloka that “alaṁkārās (poetic figures) are those elements which, depending upon word and meaning, minister to the generation of poetic charm” also certifies the creative use of language in literature. Here we discuss Bhamah's Alankar theory.So let’s start…
✅What is alamkāra? :
The Alamkara School , therefore, is said to take off effectively from the works of Bhamaha and Dandin. It appears , the two scholars were not separated much either in time or in location; and yet, it is hard to ascertain whether they were contemporaries. But, they seemed to have lived during a common period (6th or 7th century) or the time-interval between the two was not much. But, it is difficult to say with certainty who was the elder of the two, although it is assumed that Bhamaha was earlier . Generally, it is believed that Bhamaha lived around the late sixth century while Dandin lived in the early seventh century.
It could be said that the early history of Sanskrit poetics started with the theory of Alamkara that was developed into a system by Bhamaha and later by Dandin. It is however fair to recognize that their elaborations were based in the summary treatment of poetics in the 16th chapter of Natyashastra. The merit of the contributions of Bhamaha and Dandin rests in the fact that they began serious discussion on Poetics as an independent investigation into the virtues of the diction, the language and Alamkara (embellishments) of Kavya; and, in their attempt to separate Kavya from Drama and explore its virtues. The word Alamkāra is derived from the root √kr with the prefix alam, which means ‘to decorate’, ‘to adorn’: “alankaroti iti alankārah.”According to Achārya Dandin, “Kāvya.
It is also propounded that the figures of speech, especially those relating to the play of words like alliteration, provide certain pleasantness of sound i.e. euphony, and thus lead to poetic experience and pleasure. But we must remember that the appropriateness and significance of meaning should not be ignored altogether merely for the sake of embellishment. In this connection Bhāmaha, the great exponent of the Alamkāra theory believes that figures of speech provide pleasure of meaning inherent in ceratain alamkāras such as arthāntaranyāsa, vibhāvana and samāsokti.
The poet uses alaṁkāras (figures) with a view to
increasing the beauty,
enhancing the qualities,
depicting the nature,
heightening the feelings,
delineating the action or activities, circumstances,
exposing the internal state,
delineating the character,
describing the physical beauty,
exhibiting the objective.
depicting the scene,
characterizing the spontaneous movements, and
putting thoughts in tune with feelings.
Alamkāra (figure) is used to
underline an integral part of a literal meaning;
to nourish the literal meaning to its climax;
to beautify the expression and give a different meaning
to achieve excellence by its own splendour; and
to express some impossible meaning.
✅ALAMKĀRA AS POETIC THEORY :
Alamkāra is definitely a part of poetic theory and the above mentioned exponents of the theory believe that figurative expression does lead to the beauty of a literary composition and does contribute to aesthetic delight. They realize and agree that poetic language is fundamentally different from everyday speech on the one hand and the language of science on the other. As such, the field of Alamkāra becomes theoretically very vast. It includes not only all the meanings in language- literal or informative, metaphorical or emotive, but also leads to the aesthetic delight that is inherent in a literary experience.
As we have already discussed, Ānandavardhana’s perception of Alamkāra is that
figurative expression adds to the suggestiveness of meaning and suggestion is evoked by figures of speech. He believes that itleads to the realization of aesthetic delight. Therefore, Alamkāra is an important literary theory.
Generally, it is propounded that Alamkāras only provide ornamentation to a literary composition, just as ornaments enhance the external charm of a woman. But a deeper comprehension of the theory would lead us to the conclusion that Alamkāra is integral to literature, since it adds to the suggestiveness and beauty of expression of a poetic text. It has been said: “… there is no poetry apart from Alamkāras as there can be a damsel’s body in life, apart from her ornaments like the ring and the bracelet.” Kuntaka, in fact, considers Alamkārasto be rasavat ( like rasa) as they produce the dual effects in poetry : “ Just as rasa produces delectability in poetry as well as the aesthetic delight of refined readers, so also Alamkāras like simile produce both these effects.” From the above discussion, we may conclude that Alamkāras should not be treated as mere external adornment to poetry. Their relevance in poetry is independent of all other considerations. When used with a sense of propriety, they become intrinsic to poetry and justify their existence completely.
✅ALAMKĀRA AND WESTERN AESTHETICS:
In western aesthetics, figures of speech are analyzed in Rhetoric, which literary means, “the science of the orator” According to Jeremy Taylor “Rhetoric is nothing but reason well-dressed, and argument put in order.” In simple terms, it means the art that helps to make language more forceful, touching and moving, more readily comprehensible. Its function is to make language effective, be it spoken or written. Rhetoric deals with various figures of speech. A figure of speech has been defined as “a departure from the simplest form of statement with a view to heightening or specializing the effect.” It refers to the use of a word or phrase in a manner which transcends its literal interpretation. In poetic language especially we have to take recourse to figures of speech because simple words used in their literal sense may not have the power to convey the
idea clearly and forcefully. So literary writers often make use of rhetorical figures to achieve special effects and convey meanings in fresh, unexpected ways. In literary language, any intentional deviation from literal statement or common usage can be termed as a figure of speech. Figures of speech not only contribute to the embellishment and persuasiveness of style, but they also throw fresh light upon a subject by presenting it in a new and unexpected form.
✅CLASSIFICATION OF ALAMKĀRA :
Different theorists have classified different categories of Alamkāra into different kinds of systems. For example, Bharata identifies only four Alankāras – upamā (simile), rūpaka (metaphor), dīpaka (stringed figures) and yamaka (repetition). Rudrata divides all alamkāras into two types: (i) śabdālamkāra (based on phonetic form) and (ii) arthālamkāra (based on meaning) and then further divides each into five and four subtypes respectively. Bhoja added the third category – ubhayālamkāra to the two major types of Rudrata. Generally, scholars give more emphasis on the arthālamkāras than on the śabdālamkāras. Prof. Kapil Kapoor has discussed the classification of ālamkāras in
the following manner:
Alankaras:
Sabdalamkara
Vakrokti (equivocation)
Ślesa (paranomasia)
Chitra (pictorial)
Anuprasa (alliteration)
Yamaka (repetition)
Arthalamkara
Vastava (realistic)
Aupmeya (comparison)
Ati aya ś (exaggeration)
Ślesa (coalescence)
The alaṁkāras have been further classified by Rudrata in the following way:
śabdārthālaṁkāras (figures based on sounds or verbal figures and meaning).
sadraśyamulakālaṁkāras (figures based on similarity),
virodhagarbhālaṁkāras (figures based on the difference),
nyāyamulakālaṁkāras (figures based on logic),
śraṁkhalāmulakālaṁakāras (figures based on the chain),
gudarthapratitimulakalamakaras (figures based on inference or hidden meaning),
vargīkaraṇ- bahirgatālaṁakaras (admixture of figures),
ubhayālaṁakāra (hybrid figures).
Mammata enumerates sixty-one figures and groups them into seven types:
Upamā (simile),
Rūpaka (metaphor),
Aprastuta prasamsā (indirect description),
Dīpaka (stringed figures),
Vyatireka (dissimilitude),
Virodha (contradiction), and
Samucchaya (concatenation
According to the Sanskrit theoreticians, śabda (word) and artha (meaning) are the two basic elements of poetry. From this it follows that the basic classification of the embellishments would be:
i. Śabdālamkāra (verbal),
ii. Arthālamkāra (ideational), and
iii Ubhayālamkāra (including both).
✅Conclusion:
Literature has its genesis in language – it is a verbal discourse. It has certain features which make it different from the other discourses like the language of day-to-day conversation or the language of science. And, Alamkāra is an integral part of literary language. In Indian and Western aesthetics, the figures of speech play a very important role in investing language of literature with ‘literariness’. They perform many functions – embellishment, emphasis, elucidation, deviation etc. They render literary language unique and interesting. As such their importance for a student of literature cannot be underestimated.
In this unit, some of the significant aspects of the Alamkāra Siddhānta were discussed. In the Introduction, some of the pertinent questions related to the figures of speech were raised. The main objective was to provide you a clear understanding of the tenets of this theory. In the section, “Meaning of Alamkāra”, there was an analysis of the word ‘Alamkāra’ so as to make you understand the literal meaning of the term. In this context, various definitions given by prominent Sanskrit scholars were discussed. Alamkāra school of thought is one of the earliest and most sustained schools in Indian aesthetics. In the present unit, an attempt was made to trace the historical development of this theory. In this context, the contribution of the significant Alamkāra theorists was discussed.
The issue of Alamkāra as a distinct poetic theory has been much debated. Generally, Alamkāras are treated as mere external embellishment, as the analogy of a lady decked with ornaments would lead us to believe. But, after the discussion on the significant aspects of this theory, you must have realized that Alamkāras are integral to literary expression. They not only add to the beauty of the style, but also contribute to the suggestiveness of meaning and lead us towards the experience of aesthetic delight (rasa). The classification of Alamkāras is also a complex issue- different theoreticians have classified Alamkāras into different kinds of systems. You were informed about various systems of classifying figures of speech. However, to keep things simple, and avoid further complications, only two broad/basic divisions were discussed . To give you a practical understanding of some significant Alamkāras in Sanskrit, illustrations have also been provided with. After going through the contents in this unit, you must have got a clearer and better understanding of the Alamkāra Siddhanta, which is an important part of Indian aesthetics.
✅References:
- Deshpande, G.T. Indian Poetics Trans. Jayant Paranjpe. Mumbai: Popular
Prakashan, 2009.
- Devy, G.N. Indian Literary Criticism: Theory and Interpretation. Hyderabad:
Orient BlackSwan, 2002.
- Gerow, Edwin. A Glossary of Indian Figures of Speech. The Netherlands:
Mouton& Company, 1971.
- Kapoor, Kapil. Literary Theory: Indian conceptual Framework. New Delhi: EWP, 1998
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