2023-03-30 13:42:13 by ramamurthys
This page has been fully proofread once and needs a second look.
Citra is twofold:
(i) sabda-citra (based on sound or word) and
(i) artha-citra (based on meaning).
The first variety is either akṣara-citra (based on syllables of vocal
and consonantal structure or word-structure) designing verses in
numerous shapes resembling lotus, umbrella, cross, chowry,
pitcher etc, or gati-citra (based on similar devices through drawings
giving shapes of moving patterns like horse, elephant, cow. Such
types of phonetic structure (as we find in alliterative pattern) or
word arrangement (which we find in various patterns of yamaka) are
undoubtedly very attractive, but sometimes excessive patternisation
through phonetic acrobatics or verbal jugglery (such as the use of
single, double or triple vowels or consonants in successive order)
becomes very dull and montonous.
It is important to note that in Sanskrit literature a variety of
poetic composition (kāvya) is termed as citra-kāvya which, according
to the critics, is designated as third grade poetry (adhama kāvya).
Perhaps this term was first applied to this particular figure of our dis-
cussion and then it was shifted to a class of poetry as a whole, which
was specially cultivated by some epic writers as well as a few over-
enthusiastic poets with the sole intention of exhibiting their skill in
the composition of artful poetry, specially in dealing with Anuprāsa
(Alliteration), Yamaka (Assonance) and Śleṣa (Pun). Ānandavard-
hana remarked that such type of composition can be called poetry
very loosely and found to be written by ordinary poets. Mammaṭa also
says that such composition is very unfortunately called poetry.
eg 1. yamaka-citra or wonder of Assonance:
sa me samāsamo masaḥ sā me māsasamā samā.
yo yātayā tayā yāti yā yātyāyātayā tayā.
That month seems to me a year,
Which passes when my love is gone;
That year seems to me a month,
Which fades after her return.
2. Wonder of triple consonants:
devānāṃ nandano devo nodano veda-nindanām.
divaṃ duddāva nādena dāne dānava-nandinaḥ.
(i) sabda-citra (based on sound or word) and
(i) artha-citra (based on meaning).
The first variety is either akṣara-citra (based on syllables of vocal
and consonantal structure or word-structure) designing verses in
numerous shapes resembling lotus, umbrella, cross, chowry,
pitcher etc, or gati-citra (based on similar devices through drawings
giving shapes of moving patterns like horse, elephant, cow. Such
types of phonetic structure (as we find in alliterative pattern) or
word arrangement (which we find in various patterns of yamaka) are
undoubtedly very attractive, but sometimes excessive patternisation
through phonetic acrobatics or verbal jugglery (such as the use of
single, double or triple vowels or consonants in successive order)
becomes very dull and montonous.
It is important to note that in Sanskrit literature a variety of
poetic composition (kāvya) is termed as citra-kāvya which, according
to the critics, is designated as third grade poetry (adhama kāvya).
Perhaps this term was first applied to this particular figure of our dis-
cussion and then it was shifted to a class of poetry as a whole, which
was specially cultivated by some epic writers as well as a few over-
enthusiastic poets with the sole intention of exhibiting their skill in
the composition of artful poetry, specially in dealing with Anuprāsa
(Alliteration), Yamaka (Assonance) and Śleṣa (Pun). Ānandavard-
hana remarked that such type of composition can be called poetry
very loosely and found to be written by ordinary poets. Mammaṭa also
says that such composition is very unfortunately called poetry.
eg 1. yamaka-citra or wonder of Assonance:
yo yātayā tayā yāti yā yātyāyātayā tayā.
That month seems to me a year,
Which passes when my love is gone;
That year seems to me a month,
Which fades after her return.
2. Wonder of triple consonants:
divaṃ duddāva nādena dāne dānava-nandinaḥ.