Handbook of Classical Sanskrit Rhetoric /72

16
 
A Handrefrain is the most common feature. In popular and folk poetry as
well as in religions poetry too, in charms, chants and spells, special
types of alliterative patterns are abook of Classical Sanskrit Rhetoric
 
refrain is the most common feature. In popular and folk poetry as
well as in religions poetry too, in charms, chants and spells, special
types of alliterative patterns are abundant and specially attractive
undant and specially attractive
for their musical rhyme and swing.
 

 
In sanskrit poetry, Anuprāsa is quite natural and spontaneous

for its phonetic variety and grammatical structure, and at the same

time, it is also a fashionable device full of grace and exuberance.

From the time of Asvaghosa poets of all ranks paid special atten-
tion to alam
tion to alaṃkāras, and after Kalidāsa some renowned writers, spe-
cially the epic poets laid too much emphasis on some rhetorical

cially the epic poets laid too much emphasis on some rhetorical
forms, and in such artificial poetry the application of Anuprāsa and

Yamaka have been abundant and put in such a fashionable way that

these poems have become most unattractive to the average reader

and most abstruse and ambiguous even to the pedagogues who had

to take the aid of commentaries in order to find out the proper

syntax and the complete meaning of the verse or the prose.
 

 
Like Yamaka Anuprāsa has so many divisions and sub-divisions :

(i) Alliteration produced by syllables (varṇa)
 

(ii)
 
Alliteration produced by word (sśabda)
 

Varnṇa-anuprāsa is either cheka or vṛtti.
 

 
Cheka signifies the special alliterative pattern appreci-

ated by scholars and poets, Vṛtti is congenial to Rasa

(aesthetic quality).
 

 
Bhoja classifies it thus:
 

 
Alliteration of syllables (varṇa), consonants having the same

place of articulation (sthāna), of words (pada), of phrases of meas-

ured distance, of harmonious sounds (urvṛtti) and of melodious

sounds (śruti).
 

 
Bhoja also refers to another class of divisions : grāmya, nagara
and upanāgara
and upanāgara (rustic, cultured and semi-cultured). Grāmya is

either sonorous (masṛṇa) or hard (utktṭa)
 

 
The śruti variety may be either sśuddha, samṃkīrṇa and nāgara

(pure, mixed and refined) The vṛtti variety may be either upnaāgara,
parus
paruṣa and komala (semi-refined, hard and soft). Varnṇa-anuprāsa
 
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