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16
A Handbook 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
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 alamkāras, and after Kalidāsa some renowned writers, spe-
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 (sabda)
Varna-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 (urtti) and of melodious
sounds (śruti).
Bhoja also refers to another class of divisions : grāmya, nagara
and upanāgara (rustic, cultured and semi-cultured). Grāmya is
either sonorous (masṛṇa) or hard (utkta)
The śruti variety may be either suddha, samkīrṇa and nāgara
(pure, mixed and refined) The vṛtti variety may be either upnagara,
parusa and komala (semi-refined, hard and soft). Varna-anuprāsa
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Original from
UNIVERSITY OF MICHIGAN
A Handbook 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
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 alamkāras, and after Kalidāsa some renowned writers, spe-
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 (sabda)
Varna-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 (urtti) and of melodious
sounds (śruti).
Bhoja also refers to another class of divisions : grāmya, nagara
and upanāgara (rustic, cultured and semi-cultured). Grāmya is
either sonorous (masṛṇa) or hard (utkta)
The śruti variety may be either suddha, samkīrṇa and nāgara
(pure, mixed and refined) The vṛtti variety may be either upnagara,
parusa and komala (semi-refined, hard and soft). Varna-anuprāsa
Digitized by
Original from
UNIVERSITY OF MICHIGAN