2023-04-05 13:08:30 by ramamurthys
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एकेनानेकार्थस्य युगपदुक्ति:तिः श्लेषः । वा. का. ४
एकोच्चारणापह्नुतभेदत्वं श्लेष । अ. शे. ४.१
<headword>संसृष्टि संकर</headword>
संसृष्टिः संकर:रः Saṃsṛṣṭiḥ: Saṃkaraḥ :
Conjunction of figures :
Though it is very difficult to make a successful anatomy of poetic
diction still rhetoricians and critics always try to explore the lin-
guistic as well as artistic qualities and deficiencies of poetry. Some
Sanskrit rhetoricians are in the habit of searching and analysing all
poetic expression through the concept of alaṃkāra. Therefore, it is
quite possible that any such expression may contain two or more
figures. In the heritage of classical language, Sanskrit is conspicu-
ously analytico-sythetic due to its phonetic and morphological fea-
tures and for this reason we find here innumerable varieties of allit-
erative and paronomastic pattern in poetry and prose too.
Conjuction and commixture of two or more figures are known
as Saṃsṛṣṭi Saṃkara respectively. These two terms (sam √sṛj ktin
and sam √kṛ ach) literally mean union, combination, association, mix-
ture, amalgam etc. Such combination happens in two ways :
(i) by independent relation (saṃyoga) and
(ii) by dependent relation (samavāya)
Combination or co-existence of two or more figures in a single
sentence through independent relationship is known as Saṃsṛṣṭi.
Such union is compared to the combination of tila-taṇḍula (ie mix-
ture of sesamen and rice) or ādarśa-chāyā (ie mirror and its reflec-
tion). According to Kuntaka Saṃsṛṣṭi happens with the syntax of a
sentence where various words are separately associated and have
separate importance of their own, but ultimately appear as a com-
plete unity and express a combined sense. Here the difference
between the figures is prominent and the amalgam happens in
three ways: in an explicit way, in an implicit way and in both ways.
Saṃsṛṣṭi is threefold:
(i) Combination of the figures of sound,
एकोच्चारणापह्नुतभेदत्वं श्लेष । अ. शे. ४.१
<headword>संसृष्टि संकर</headword>
संसृष्टिः संक
Conjunction of figures :
Though it is very difficult to make a successful anatomy of poetic
diction still rhetoricians and critics always try to explore the lin-
guistic as well as artistic qualities and deficiencies of poetry. Some
Sanskrit rhetoricians are in the habit of searching and analysing all
poetic expression through the concept of alaṃkāra. Therefore, it is
quite possible that any such expression may contain two or more
figures. In the heritage of classical language, Sanskrit is conspicu-
ously analytico-sythetic due to its phonetic and morphological fea-
tures and for this reason we find here innumerable varieties of allit-
erative and paronomastic pattern in poetry and prose too.
Conjuction and commixture of two or more figures are known
as Saṃsṛṣṭi Saṃkara respectively. These two terms (sam √sṛj ktin
and sam √kṛ ach) literally mean union, combination, association, mix-
ture, amalgam etc. Such combination happens in two ways :
(i) by independent relation (saṃyoga) and
(ii) by dependent relation (samavāya)
Combination or co-existence of two or more figures in a single
sentence through independent relationship is known as Saṃsṛṣṭi.
Such union is compared to the combination of tila-taṇḍula (ie mix-
ture of sesamen and rice) or ādarśa-chāyā (ie mirror and its reflec-
tion). According to Kuntaka Saṃsṛṣṭi happens with the syntax of a
sentence where various words are separately associated and have
separate importance of their own, but ultimately appear as a com-
plete unity and express a combined sense. Here the difference
between the figures is prominent and the amalgam happens in
three ways: in an explicit way, in an implicit way and in both ways.
Saṃsṛṣṭi is threefold:
(i) Combination of the figures of sound,