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xii
A Handbook of Classical Sanskrit Rhetoric
third group, recognised by others, is known as figures of word and
meaning or sound and sense (sabda-artha-alamkāras). But Bhoja
recognises these so-called divisions of alamkāras by different names
such as external (bahya), internal (abhyantara) and external-internal
(bahya-ābhyantara). Such classification shows that some figures lie
on the surface structure while others on the deep structure, and
still there are others which are inter-related by these two. This ana-
lytical approach towards alamkāras is basically related to three fun-
damental set-up of poetry as a whole. These are formalism,
structuralism and functionalism.
While most of the rhetoricians follow these common and popu-
lar divisions there are others like Daṇḍin and Kuntaka who want to
explain the entire figures from a different standpoint based on the
perspective of literary accomplishment. Their approach is purely
artistic since they rely mostly on the value of thought and poetic
diction and neglect the outward form and arrangement. Thus
Dandin thinks that entire vammaya or poetry should be classified
into twofold varieties ie svabhāvokti and vakrokti which can be
roughly called simple or plain poetic statement and metaphoric
expression. He again makes two broad divisions of the figures of
thought:
(i)
svabhāvokti (any plain or simple poetic expression with-
out metaphor or irony) and
(ii)
jāti (a lot of figures which differ among themselves on
the basis of genus, action, attribute and object).
Vāmana considers that all these figures (tropes) are based on
metaphor in any form or other.
Digitized by
With these two fundamental divisions Bhoja adds one more
which is called rasokti (based on the suggestive sense which is
beyond the reach of the primary or the secondary sense ie abhidhā
or lakṣaṇā respectively). It is Kuntaka who has rejected the popular
trend of literary criticism and simultaneously formulated a new
approach. According to him, it is vakrokti under which all literary
qualities or poetic devices have to be included. He thinks that each
and every alamkāra or so-called rhetorical figure is simply a kind of
vakrokti or artful expression.
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Original from
UNIVERSITY OF MICHIGAN
xii
A Handbook of Classical Sanskrit Rhetoric
third group, recognised by others, is known as figures of word and
meaning or sound and sense (sabda-artha-alamkāras). But Bhoja
recognises these so-called divisions of alamkāras by different names
such as external (bahya), internal (abhyantara) and external-internal
(bahya-ābhyantara). Such classification shows that some figures lie
on the surface structure while others on the deep structure, and
still there are others which are inter-related by these two. This ana-
lytical approach towards alamkāras is basically related to three fun-
damental set-up of poetry as a whole. These are formalism,
structuralism and functionalism.
While most of the rhetoricians follow these common and popu-
lar divisions there are others like Daṇḍin and Kuntaka who want to
explain the entire figures from a different standpoint based on the
perspective of literary accomplishment. Their approach is purely
artistic since they rely mostly on the value of thought and poetic
diction and neglect the outward form and arrangement. Thus
Dandin thinks that entire vammaya or poetry should be classified
into twofold varieties ie svabhāvokti and vakrokti which can be
roughly called simple or plain poetic statement and metaphoric
expression. He again makes two broad divisions of the figures of
thought:
(i)
svabhāvokti (any plain or simple poetic expression with-
out metaphor or irony) and
(ii)
jāti (a lot of figures which differ among themselves on
the basis of genus, action, attribute and object).
Vāmana considers that all these figures (tropes) are based on
metaphor in any form or other.
Digitized by
With these two fundamental divisions Bhoja adds one more
which is called rasokti (based on the suggestive sense which is
beyond the reach of the primary or the secondary sense ie abhidhā
or lakṣaṇā respectively). It is Kuntaka who has rejected the popular
trend of literary criticism and simultaneously formulated a new
approach. According to him, it is vakrokti under which all literary
qualities or poetic devices have to be included. He thinks that each
and every alamkāra or so-called rhetorical figure is simply a kind of
vakrokti or artful expression.
Original from
UNIVERSITY OF MICHIGAN