2023-03-29 18:11:00 by ambuda-bot
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depends upon some aspect of their grammatical, phonemic, or
metrical form, and not upon the idea they convey. (2) B 1.15-16,
D 3.186, V 1.1.1, 4.1.1 (vṛtti), U 5.12, AP 342.18-19, R 2.13, M 103C.
(5) See artha. The common examples of śabdâlamkāra are anuprāsā
(alliteration), yamaka (word play, cadence), certain kinds of punning
(śleşa), prehelikā (conundrum), and the citra, or verses arranged in
imitation of visual forms. Only the Agni Purana deviates significantly
from this canonical list, by adding six figures which have no parallel
except in much later works (Sarasvatīkanthabharaṇa). They are (a)
chāyā, imitation of specific verbal styles, (b) mudrā, the poet's
ability to translate his intentions into plausible situations. (c) ukti,
use of injunctions, (d) yukti, figurative usage, (e) gumphanā, ability
to construct the narrative, and (f) vākovākya, conversation. These
notions, which have to do with the technical skills of the poet, are
matched by certain stylistic figures which the Agni Purāṇa treats
under śabdârthâlamkāra and which relate to the congruence and
appropriateness of the different aspects of the poem to one another
(see praśasti, kānti, aucitya, samkṣepa, yävadarthatā, and abhivyakti).
These irregular notions of poetic style have been incorporated into
the traditional treatment of the figures. Anuprāsa and the others are
treated as the seventh, eighth, and ninth śabdâlamkāra. The five
figures aksepa, aprastutastotra, samāsökti, apahnuti, and paryäyökta
are considered subtypes of abhivyakti. The arthålamkāra are the
usual ones, mainly based on simile. A fusion of several different
systems is indicated also by the fact that the Agni Purāṇa, despite
this incorporation of style into the figures, treats at length (though
again with innovations) the traditional topic of style (kavyaguna).
One figure (yathāsamkhya) finds its way into this category. This
early attempt at broadening the notion of verbal figure was not,
however, viewed with favor by later writers. With the triumph of
the dhvani school, an eclipse of the śabdâlamkāra is evident, at least
among the poeticians. Mammaţa goes so far as to view even yamaka
as a citra. The previously elaborate classifications of yamaka and
anuprāsa are reduced or are even ignored entirely (Rasagañgâdhara).
This is doubly curious, since the poetry written during this period
(eleventh-sixteenth centuries) is, for the most part, alleged to depend
upon such verbal devices.
GLOSSARY
Sabdârtha
Sabdârtha, 'word-sense': (1) a generic term used to indicate those in-
depends upon some aspect of their grammatical, phonemic, or
metrical form, and not upon the idea they convey. (2) B 1.15-16,
D 3.186, V 1.1.1, 4.1.1 (vṛtti), U 5.12, AP 342.18-19, R 2.13, M 103C.
(5) See artha. The common examples of śabdâlamkāra are anuprāsā
(alliteration), yamaka (word play, cadence), certain kinds of punning
(śleşa), prehelikā (conundrum), and the citra, or verses arranged in
imitation of visual forms. Only the Agni Purana deviates significantly
from this canonical list, by adding six figures which have no parallel
except in much later works (Sarasvatīkanthabharaṇa). They are (a)
chāyā, imitation of specific verbal styles, (b) mudrā, the poet's
ability to translate his intentions into plausible situations. (c) ukti,
use of injunctions, (d) yukti, figurative usage, (e) gumphanā, ability
to construct the narrative, and (f) vākovākya, conversation. These
notions, which have to do with the technical skills of the poet, are
matched by certain stylistic figures which the Agni Purāṇa treats
under śabdârthâlamkāra and which relate to the congruence and
appropriateness of the different aspects of the poem to one another
(see praśasti, kānti, aucitya, samkṣepa, yävadarthatā, and abhivyakti).
These irregular notions of poetic style have been incorporated into
the traditional treatment of the figures. Anuprāsa and the others are
treated as the seventh, eighth, and ninth śabdâlamkāra. The five
figures aksepa, aprastutastotra, samāsökti, apahnuti, and paryäyökta
are considered subtypes of abhivyakti. The arthålamkāra are the
usual ones, mainly based on simile. A fusion of several different
systems is indicated also by the fact that the Agni Purāṇa, despite
this incorporation of style into the figures, treats at length (though
again with innovations) the traditional topic of style (kavyaguna).
One figure (yathāsamkhya) finds its way into this category. This
early attempt at broadening the notion of verbal figure was not,
however, viewed with favor by later writers. With the triumph of
the dhvani school, an eclipse of the śabdâlamkāra is evident, at least
among the poeticians. Mammaţa goes so far as to view even yamaka
as a citra. The previously elaborate classifications of yamaka and
anuprāsa are reduced or are even ignored entirely (Rasagañgâdhara).
This is doubly curious, since the poetry written during this period
(eleventh-sixteenth centuries) is, for the most part, alleged to depend
upon such verbal devices.
GLOSSARY
Sabdârtha
Sabdârtha, 'word-sense': (1) a generic term used to indicate those in-