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A Handbook of Classical Sanskrit Rhetoric
the stage of beginning during the time of Bharata (cir 100-300 AD)
we do not find any theory about alamkāra, guna or dosa, which are
the most common topics of discussion for almost all rhetoricians of
Sanskrit. We can easily assume that literary criticism or alamkāra-
śästra as a special branch of knowledge (ie vidya) developed long
before Bhamaha and Dandin (600-700 AD). The term alamkāra, on
the one hand, has been very broadly used to signify the art of
poetry by which poet's language and expression become invested
with beauty ie saundarya which is synonymous with cãruta (sweet-
ness), mādhurya (grace), camatkāra (taste), ramaṇīyatā (charm)
and, on the other hand, is commonly used to denote the figures of
speech. The treatment of numerous rhetorical figures shows that
these varieties of figurative expression are concerned with musical
qualities, linguistic pattern, sound and sense, poetic diction, ele-
gance of thought etc. About hundred books were written on
Sanskrit poetics and many of them used the word alamkāra in the
title. The earliest books on poetics by Bhamaha, Vamana and
Rudraţa are entitled kāvyālamkāra. According to Rajasekhara the
ancient tradition called it sahityavidyä (sähitya means combination of
word and meaning, and vidyā is branch of knowledge). The other terms
are: Mirror of Poetry (kavyādarśa or sahityadarpaṇa), Interpretation
of Literature (kāvya-mīmāṇsā) or Rules and Regulations of Poetry
(kāvyānuśāsana).
Poetry is the best expression of the strongest experience of the
innermost feeling, deepest sentiment, wisest sense and sensuality
in metaphor. Poet's language is symbolic and, therefore, far
removed from ordinary speech. Sanskrit critics of poetry have
attempted to delve deep into the philosophy of poetic art. The
Rāmāyaṇa myth insists on the expression of the strongest sentiment
of pathos (which may be compared to Aristotle's catharsis) as the
basis of the origin of poetry. It was an expression of deep sorrow
from the heart of the poet-seer Vālmīki who became charmed and
enraptured by his own outpourings and asked himself: what a won-
der is this which is arranged in metre, regulated by syllables and set on
rhythm and timbre! The Agnipurāṇa compares the poet or the cre-
ator of poetry with God, the omnipotent, omnipresent and omnis-
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Original from
UNIVERSITY OF MICHIGAN
A Handbook of Classical Sanskrit Rhetoric
the stage of beginning during the time of Bharata (cir 100-300 AD)
we do not find any theory about alamkāra, guna or dosa, which are
the most common topics of discussion for almost all rhetoricians of
Sanskrit. We can easily assume that literary criticism or alamkāra-
śästra as a special branch of knowledge (ie vidya) developed long
before Bhamaha and Dandin (600-700 AD). The term alamkāra, on
the one hand, has been very broadly used to signify the art of
poetry by which poet's language and expression become invested
with beauty ie saundarya which is synonymous with cãruta (sweet-
ness), mādhurya (grace), camatkāra (taste), ramaṇīyatā (charm)
and, on the other hand, is commonly used to denote the figures of
speech. The treatment of numerous rhetorical figures shows that
these varieties of figurative expression are concerned with musical
qualities, linguistic pattern, sound and sense, poetic diction, ele-
gance of thought etc. About hundred books were written on
Sanskrit poetics and many of them used the word alamkāra in the
title. The earliest books on poetics by Bhamaha, Vamana and
Rudraţa are entitled kāvyālamkāra. According to Rajasekhara the
ancient tradition called it sahityavidyä (sähitya means combination of
word and meaning, and vidyā is branch of knowledge). The other terms
are: Mirror of Poetry (kavyādarśa or sahityadarpaṇa), Interpretation
of Literature (kāvya-mīmāṇsā) or Rules and Regulations of Poetry
(kāvyānuśāsana).
Poetry is the best expression of the strongest experience of the
innermost feeling, deepest sentiment, wisest sense and sensuality
in metaphor. Poet's language is symbolic and, therefore, far
removed from ordinary speech. Sanskrit critics of poetry have
attempted to delve deep into the philosophy of poetic art. The
Rāmāyaṇa myth insists on the expression of the strongest sentiment
of pathos (which may be compared to Aristotle's catharsis) as the
basis of the origin of poetry. It was an expression of deep sorrow
from the heart of the poet-seer Vālmīki who became charmed and
enraptured by his own outpourings and asked himself: what a won-
der is this which is arranged in metre, regulated by syllables and set on
rhythm and timbre! The Agnipurāṇa compares the poet or the cre-
ator of poetry with God, the omnipotent, omnipresent and omnis-
Digitized by
Original from
UNIVERSITY OF MICHIGAN