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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It is very difficult to combine these virtues ; but when one achieves it, he is a great writer indeed. That it comprehends all aspects of expression has been well realised by him.

If so, will it not be that all Kavya is Laksana?

Whether the poet exalts or does the opposite, Alankara is to help him. These merely fill so much of space still vacant in a verse, Padapurana.

Kalidasa, who rarely resorts to this figure, gives a similar simple S’lesa in his R. II — S’ivalilarnava, I, Tatacharya Siromani examines these views and replies to them in his M. I, Part 2, Ch. In his Kavyamimamsa, Rajas’ekhara speaks of three Rltis in the description of which he introduces a new distinguishing feature, viz. The Visnudharmottara, in its small section on Alah- kara, calls it Saetra Mention of this Difference 34 6. That S’arira itself has to be beautiful. And in the Mudraraksasa, we have a similar situation with abundant figures.


What kind of realisation in poetry can there be without Sadharanikarana? He simply says that he has pointed out five kinds of Upama and that the intelligent must take other varieties from Kavya and Alaankara.

As compared with this Bhahgas’lesa of S’abda, Arthas’lesa is less of an impediment to Rasa ; used discriminately, it can help Rasa even.

This latter is, alankarw contrasted with the Sarvakalika svarupa, an Agantuka svarupa. Upajati list of 1. Tatacharya has, it seems, committed an excess while trying to prove that Bhamaha accepted Svabhavokti.

There are some very fine verses of this type in Canto XI of the S’is’upalavadha where Magha gives us a description of dawn.

Alankara – Wikipedia

These two correspond to Dandin’s two styles; only the Gaud! Explicit use of et al.

We do not know that, for as Dr. The Das’a- rupaka shows us how the Laksanapaddhati perished.


The Das’arupa aud Avaloka mention the 36 Laksanas and briefly indicate their inclusion in Alankaras and Bhavas. Stevenson in his essay on the Technical Elements of Style, viz, ‘ contents of the phrase. Even the natural description of a poet has its strikingness ; Bana alqnkara that Jati must be Agramya, Harsacarita. The former, he refers to with derision, as a name for insipid detailing of some facts, for expressions devoid of striking deviation. Relative Importance of the Upamana and the Upameya 59 7.

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I have purchased several items from Exotic India: He realises the logic of the attitude of the Das’arupaka but is more loyal to Bharata, for the sake of whose words he takes that there should be 36 Laksanas in dramas. Ruyyaka adds another difference between Bhavika and Svabhavokti: We have sure evidence of Bhatta Tauta having treated of Laksanas.

Alankara Sastra Parichiti

For the Rasa to be suggested, even the jingle in the sounds or the clash of words is welcome and appropriate means. Appayya’s Fresh Classification of Rupaka into 12 Varieties Type of the Secondary Function of a Word applicable to Rupaka To hit that point is the problem of style and a matter of discernment ; for every superfluous word prevents its purpose being carried out. As a matter of fact, it is to bless and give Valmiki his favour to sing the whole Ramayana that the god descended.