Handbook of Classical Sanskrit Rhetoric /30

xviii
 
A Handbook of Classical Sanskrit Rhetoric
 
artha alamartha alaṃkāras: 62 (primary figures), 187 (with principal vari-

eties), 34969 (with main divisions), 568700847 (with subdivisions).

According to the old school-
-
(i) pariņṇāma is included in rūpaka, tulyayogitā in dīpaka, dṛṣṭāna
in prativastupamā, ka
in prativastūpamā, kāvyalinga in hetu, kāraṇamāla, ekavali and malā-

dipaka in śṛmṃkhalā.
 

(ii) The following figures may be rejected since they are actu-
ally different varieties of some standard figures
 

ally different varieties of some standard figures --
citra, prahelikā, gūḍha, süūkṣma, lesa, āśis, svabhāvokti,
yathāsam
yathāsaṃkhya, vakrokti, vyājokti, bhāva, pihita, mata, upanyāsa,

avasara, ahetu, gati, jāti, rīti, vṛtti, chāyā, mātrā, ukti, yukti, bhaniti,
gumphanā, sṇiti,
gumphanā, śayyā, paṭhiti, vākovākya, adhyeya, śravya, preksha, abhineya,
ṣha, abhineya,
pratyakṣa, sambhava, vitarka, bheda, bhāva, upamāna, āgama, abhāva,
sāmya, samaṃbhava, vitarka, bheda, bhāva, upamāna, āgama, abhāva,
sāmya, samādhi, samāsokti, aprastuta-prasamsăśaṃsā, paryāya, atadguṇa,

bhāṣā-sama, niscaya, anukula, prastutāmkura, parikarāṇūla, prastutāṃkura, parikarāṃkura, vyāja-

nindā, asambhava, viksvara, sambhāvanā, avajñā, unmilita, anuguna,

ratnāvalī, gūḍhokti, vivṛtokti, yukti, lokokti, chekokti, atyukti, nirukti,
pratiședha, vidhi, pratyak
pratiṣa, anumāna, upamāna, sedha, vidhi, pratyakṣa, anumāna, upamāna, śabda, aitihya, arthā-
patti, anupalabdhi, sambhava and ullä
patti, anupalabdhi, sambhava and ullāsa.
 

 
In this connection it would not be irrelevant to throw some

light on the over-estimation of the number of figures in English lit-

erature as remarked by a modern critic :
 

 
Sister Miriam Joseph, in her book 'Shakespeare's Use of the Arts of

Language', reclassified the more than 200 figures distinguished by the

Tudor rhetoricians according to the four categories: grammar, logos,

pathos and ethos. By classifying the figures in this way, she was able to

demonstrate, quite convincingly, that the three 'schools' of rhetoric during

the Renaissance (the Ramists, the traditionalists, and the figurists) saw the

figures as being intimately connected with the topics of invention. ...In their

passion for anatomizing and categorizing knowledge, the humanists of the

Renaissance delighted in classifying and sub-classifying the figures. ...The

most widely used classical handbook in the Renaissance schools, 'Rhetorica

ad Herennium', required the students to learn only 65 figures.

Susenbrotus, in his popular 'Epitome troporum ac schematum' (1540), dis-

tinguished 132 figures. But Henry Peacham, in his 1577 edition of 'The

Garden of Eloquence', pushed the number up to 184.
 
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UNIVERSITY OF MICHIGAN