CHAPTER 111

THE ANALYSIS AND CLASSIFICATION OF 'THE FIGURES OF SPEECH IN

THE EASTERN (SANSKRIT) TRADITION.

The one example given below will show how extensive the

specialisation of Alamkaara Saastra had been in this tradition.

The beauty of a woman's face is the referent

Upama or simile : "Your face is like the moon"

Ruupaka or metaphor : "Your moon--facew.

Pradiipa : "The moon is like your face"

Sandeeha : "Is this your face or is this the moon".

Apahnyuti : "This is the moon and not your face "

~pam&oopama : "The moon is like your face, and your face is like the moon".

Ananwaya : "Your face is only like your face".

Smara~a : "Having seen the moon I remembered your face".

Bkraant imaan : " Thinking it to be the moon the chakora (a bird which is supposed to feed on moon beams) flies towards your face ".

Ulleekha : "This is the moon, this is the lotus, thus the chakora and the bee fly towards your face ".

Utpreeksha : "Is this not verily the moon ? "

Tulyayogita : "The moon and the lotus are vanquished by your face".

Di ipaka

Vyatireeka

: "Your face and the moon rejoice in the night".

: "Your face alwaye ahinea, but the moon ahines only in the night".

Df%;aanta : "In the heavens the moon, on earth your face".

Prativastuupama : "The moon reigns in heaven, your face reigns on earth".

: "Your face beara the beauty of the mooti".

Aprastutapra6amaa : "The moon is pale before your face".

Par lqaama : "By your moon face, the warmth of passion is cooled".

Samaaeookti : "Your face beautlfully spotted with, black eye8 and adorned with the light of smll e".

Criticism is the judgement on the form of a literary work.

The effect that any work of art cauaee in the minds of the

readers is due to some peculiar features of the work. From the

point of view ot the critic, princlples mean the essential

elements which determine a reeuLt.

Anclent Indian pundits have identified seveti dletinguinhlag

features which differentiate poetry Crom common speech. These

are : (1) the characteristic (lakdhana), (2) e~nbellluhment

(alamkaara), (3) quality (guga), (4) defect (doogha), (5) style

(riiti), (6) aubjeation (dhwani) and (7) aesthetic conflguratlon

(raga).

', ' The lndian Literary crlticl~m is Lased on eight major

theoretical ayetema :

I I I I I 1 , Raaa Dhwani Alamkaara Guna Riitl Anumaana A~citya Vakrooktl

0 r Anumi t 1

Among these, Alamkaara gaastra occupies a unique status in

the history of Indian Criticism .--.

OTVEL.OPPI,:-:T OF E 1 Z.EKAAPA ~ASTRA IN T N D ~ A . - - -

The word 'alamkaara' is derived from the word 'alam' (Gk. aurum =

gold), which in Sanskrit means 'adornu~ent'. Alamkaara thus connotes

the nhapitrg of adornmet'tts or orndments or decorations. As S.N

Dasgupta says, "It is also uned in relation to the

AlamkaraE~aatra or the Science of the Decor.~tlon of Speech.

Literdry emb~llish.. ents". 1

Critics are of opinion that Alan~kaara Saastra in India

developed as part of Dramaturgy. Sushi1 Kumar De writes aa

followt! :

It is proper to note in this connaction that in

Maatyadaaetra, Bharata ie principally concerened with

Dramaturgy and allied topics, and deals with poetlcs in

so far as it applies to the theme in hand. In later

poetic theories, Dramaturgy is taken as a part of the

dsscipline of poetics, and the drama is accordingly

considered to be a species of the kavya. 2

1. Bharatamuni - Naatyagaaatra.

Among the early exponents of the theory of poetry,

Bhartamvni occupies a unique position. His Natya&aastra gives us

for the flrat time, a kind of outline for poetics. Indian

I S.N Daspupta, A_ Historx Sanskrit Literature I

Classical Period (Calcutta : Univeralty of Calcutta,

1962.) 513.

S.K D e , his tor^ of San~t:\r-lt Poetics. Vol. 2 (Calcutta :

Fir&, Mukhopadhyaya, 1976) , 2 - 3 .

(, Page 60

tradition places him in a mythic age a.nd g!.oriffes 'rimwith the

t l t l r "nluni", but there 18 no agreemcrdt am.oxr& echolars as to his

origin. He has beer1 variously aasi&ne:-! to periods rangina from

the 2nd century B.C to the 2nd century K . D .

Keith Berriedale writes in this connection,

On the history of the theory of poetics we have, as

uaual as in all matters hlstorIcal in Indla, no accuratr

information. A very late source names, Kasyapa and

Vararuci among pioneers of the study; Kasyapa is a

mere name but, as we have seen, Vararuci is credited

with a kaavya in the Mahaab!i~aa;ya and many verses are

extant in the arrtholoyltsrt under thet name, but hardly

applicable, we may suspect, to thin work, . . . the

oldest eext which deals wit11 the quretion, the

BharatLLya ~aat~a&aaatra, is of uncertain date, but - probably somewhat anterior to Ahasa'and Kalidasa, and

the text shows many signs of confusion, re-duplication

and interpolation. 3

Naatyaiaaatra contains 36 Chapters and 6000 Slokas (verses). -----a

In tho sixteenth chapter the author formulates somethin* of a

theory of poetics and enumerates four poetic figures (alarnkaaraaa).

ten excellences (guyas), ten defects (dooqas), and thirty six

ch,racterit:ics (lakgapaas) of poetic: composition. These ,

accordil~d to S.K De, "apparently constituted the principal

contents of th. discipline as it exitjted at a very early perioi,

a A. Keith Berriednle. ClassicQ Sanskrit Literature

(London : Oxford Univereity Praus, 1923) '39.

Page 61

a8.d this may be taken in the absence of other data, as the first

krlown period in tti.<,, history of Sanskrit poetics". a

Only fo.~r poetic fiyuras tire recoynised by Bharata. These

are :

(1) Upama ( with subdivisions like PraAan~sa, Ninda,

Satidfaam, Kimcit.Saadfeam)

(11) Dilpakam

(111) Ruupakam and

(iv) Yamakam (with subdivisions like Paadaantam, Kaanci.

Samudgarn, Vikfaantam, Cak~avaaiam, Paadaadl, Amreeditam,

Caturvaasitam and naala).

<

Bhamahan who lived approximately between the last quarter of

the 7th and the middle of the 8th century A.D, I n supposed to be

the first poeticlan of tCle Indian soil. Hie Kaavyaalamkaara can be

accbpted ao the first book dedicated totally to poetics.

But pundits !ike P.V Kana believed Bhamahan to be a --

contemporary of dandin, whose Kaavyaadarga was said to have beef1

composed earlier than Kaavyaalamkaara. Kane, in this context

says :

Out of aeference to the opinions of a mdjority of

acholars. I dealt with Bhamaha's work berore that of

Dandin in the last editions. The sane feature is

preserved in this edition alao. But it ahou!d by no

meana be supposed that I agl e with the view of many

S. K De, his tor^ of Sanskrit Poe! L C ~ p. 1

Page 62

scholars about the prioriLy of 'tamaha to D~~ndin. I

still hold that this view of the majority is wrong. 5

But M.Krlshnaniacharlaar, author of t11e 'History g Classical

Sanskrit Literature' contradicts this view :

On t1ie relatlvr priority of Biiamaha and Dandln, there

has been a divergence of opinion. But the aaeertiveness

of Dandin's expressiona of dlasent in relation to views

of Bhamaha on particular topics indicates his

posterlocity. It is possible that Bhaaaha was an older

contemporary of Dandin and Bhtlu~aha was an author whose

opinions were then fresh in the minds of the readers

which Dandln thought ought to be controverted before

they gained a place of honour. 6

Much is not known about the life of Bhamaha, as 111 the case

of Bharatamuni. He was a Kaehmiri pundit and aome believe him to

be a Baudha. As there are other books with the aame riame ae

'Kaavyaalamkaara' it la advleable to name his book ae

'Bhaamahaalamkaara. There are six chapters (Parlchedaa) and four

hundred elokas in it. As illustrated by Krishnamacharlar -

In six chapters he deals with six topics, Ksvyaiastra,

Alamkaara, Doopa. MJadya and gabdaduddhl. Nie venergt~on

for Paninl is aupruxne and his deacriptiorr of the ocean

P. V. Kane. History of Sanskrit Poetics (Delhi :

Mn?ila? Banarsidaad, 1961) 78.

M. Krishnamachariar, Historx g_f_ Classical Sanskrit

Literature ( Drlhl : Xotilal Banareidass, 1962) 725. -

Page 63

of vyakarar,d ~eininds us of +he garlat~ds of metaphors

which is Vslmiki's peculiar glory. I

Bhamaha leaves aside everything connected with dramaturgy and

even the raea theory. He deals with forms of poetry and

concentrates on the aspects of figurative language,which

according to him la the fundamental characterlatic of poetry.

I n Indian Kaavya Literature A.K Warder wt.ltee of Bkamaha's

contribution as follows :

"If Bhamaha was the first to propound the doctrine that

It La figurative apeech which is essential, then he may

be regarded as the founder of the 'fiaures of speech'

achool of thoughta". 8

Bhamaha describes 36 alamkaaraas in his work. After presenting

the four already discussed by Bharata, he goes on to explain

.\ak@l:eepam, Arthaantaranyaasam, Vyatireekao~, Vibhaavana. Samcraeokti.

A,:i$ayookti, Yathaasamkhyam, Utpreekuha, Preeyas. Raeavat, Uurjwasi,

Paryaayoo;<tam, Samaahltam, Udaattam, Sligtam, Apanyutl, Vl&eeyookti,

Vlroodham, Tulyayooglta, Apraatutapra&amsa, Vyaajaetuti, Nidarkana,

Upamaaru~~pakam, Upameeyoopama, Sahookti, Parivrtti, Saaandeeham,

Ananwayam, Utpreekgaavayavam, Samsriti and Bhaavikotvam.

It is believad that Bhumdha wrote a later work on rhetoric,

known aa Raeikarasaayana~, an elaborate treatement in seven

parikarapaa (sections) of all topics embraced in poetics.

I M. Kriahnamachariar. p.726.

A. X . Warder. Indian Kaavya 1,iterature Vo1.l (New

Page 64

3.Udbhadan - Kaavyaalamkaara Samyraham.

Udbhadan la also a Kaahmlrl who llved between the 8th and

the 9th centuria~ A.D. Thrre is evidence to belleve that he was

one among the courtiers of the King Jd>apada (A. D 7 7 9 - 813). 9

I!e wrote Alajakaaraeamaraha and also a vlvrti (analytlcal

study) on Bhamaha'e Kaavyaalamkaara. The Kaavyaalamkaara Samgraha

ia divlded lnto Six chapters called vargas a1.d contains about 7 9

Kaarlkas (sub sectlone), describing 41 alamkaaraae, wlth more than 90

l:?ustratlona.

The alarnkaaraaa were enumerated almost in the same order as

, that of Bhamaha. He omitted a few from the list of Bhamaha like

Yamaka, Upamaaruupaka, and Utpreekqhadvyava and added a few more llke

Punaruktavadaabhaaaa, Samekaara, Kaavyalinga and Dfsttianta.

Udbhadan was a great paetlclan and was held in hlph esteem

by later wrltrrs. P.V Kane writes :

Udbhada exerclned a profound lnfluence over the

Alamkaraiastra. He eclipsed Bhamaha and it is probably

owlng to hie great fame that Bhamaha's work remained

In the background and was rarely to be had uptlll a few

years ago. Ke is always quoted wlth respect by hls

successors, even when they differ from hlm. He is the

foremost representatlve of the Alamkara School and hls

ndme la associated with several doctrines of .he

Alamkara Baastra. 10

..................................... A. N. V. P. Unlthlri. a e k r i t a Saa:~!aa, Vimarsanam

(Thlruvananthapuram : Kerala Bhaaha Instltute, 1990.) 44.

P . V Kane, History of Sanskrit Poetics p. p 135 - 136.

Page 65

Udbhada's contributi~n did not rest Ln the field of

Alanikara6astra alune. He was the orginal author of the story of

X J , . , , , L ~ Sambhavfl. - one of the fdmous plays of Kaalidaaaa

Krlahnamacharyar aaya :

Udbhada's poem 'Kumaara Sambhava' is exta~.: only in the

illustrations \uoted !n his Kaavyaaldmkaara Samgraha. The

few verses so preserved indlcate a grace of expresslon

and a mode of narration, which far transcends the theme

of Kalidaaa in its poetic propriety. 11

4 Pudradan - Kaavyaalamkaara. ., Rudradan was alao a Kaahmiri who lived 11, the 9th century

A.D. His text toopis named aa Kaavyaalamkaara. T?. is comparatively

an exteneive work which comprises sixteen chapters that review

the whole field of poetlcs. Altogether there are 734 vr1,seu.

Rudradan occupies a very important place amony Indian

poeticiaaa, as he was the firat to attempt a scientific

claesification of the figures of speech. His ~laeslfl~ations was

focnded upon certain definite principles such as Vaasthava

(rrL'lty), Aupamya (compariaon), Ati&aya (wonder) and Sleeya

<more than one meaning).

This division is widely accepted today. But if tnla

classification la rigorously followed, the same figures may

occur in more than one category.

Besides providing a basis for cateaorising the figures of

speech, Rudradar. !,as alao nlade some other important contributions /--

in the field of poetics. ......................................

'I ??. Krishnamacharlar. p. 736

(1) He added 2 tenth rava called 'Prreyaa' to the other nine

rasas (aesthetic cor~fiyuratlone) propounded by

( 2 , He 1s a:so the proponent of the theory of Vakrookti. iL

It la interesting to note that Rudradan did not attach much

,~~;~ortance to the rllti school. Not only did he dlsregarded the ----. -- rlltl theory in poetry, but omitted any diecussion of the 'gu~aa'

a? so.

In the first chapter he discusses the purpoars and objects

of poetry, and deals vitli the esserr~lal requisites of a poet auch

as bakti, vyutpati and abhyasa. The second chapter elaborates

Kaavyalakguna. Five figures of sound nre also explained here.

Tbeae are Vakrooktl, Anupraaaa, Yamaka, Sleeqa and Cltra.

Whereas the th rd ihapter g i ~ e s a detailed account of Yamaka

in 58 verses, the fourth la separated for Sleeg a and its elaht

varletlee. In chapter flve he treats Citraalamkaara with all

combinations and tricks of words euch as Chakrabandha,

Muurjabandha, Adharbram. Sarvatoobhadram, Maatrachyutakam and

Prahrelik,;.. Doogas or defects of vords and ae~ltences are dealt vlth

in chapter slx.

Chapters seven to ten are yet apart for the exemplification

of arthaalamkaaraas or figures of meaning. Chapter seven gives Z.,;

figures based on Vaastava, vhe~.eas chapter eight gives 21 figures

based on aupatcya. Chapter nine 1.2 figured based on

atliaya and chapter ten deals vlth ten varieties of sleega.

The eleventh chapter lncludes the narratlo~' of dooaae.

Chapter 12 to 15 give <detailed account of all the rasas

and thelr cha~acterist:cs. chapter slxtern deali with various

kir::(a of poetic cu~rpositlons, their plotd a~ld O L ~ L C L . f eaturee.

S. Dandin - Kd*vyaada.r&

Acharya Dandln, the chief pr.oponent of the Guna theory l!ved

In the " :h centucy A.D. Be wan boc~n and br.ouak,t up at Kanchipura

in Tamil Nadu. His Keavyaadu:.Y'a is acc',irned as i ailratone in the

hlstory af Indlan Literary criticism. Some pundits have opined

that the real name of hla work in Kaavyalj~kat~arr~.

About the style of this masterpiece, P.V Kane writes thqs :

The Kaavyaadaria is throughout written in a flowing,

mclllflious style. As compared with Bhamaha, the palm

of superiority in the sphere of poetic excellence must

be given to Dandin, though as regards ~~r~.cision and

logical acurnelr, B!tamaha atands higher than Daridin. 12

KaavyaadarAa is divided into tour parlchedas. There are

altoarther 660 veraen. the first parlcheda defines poetry and

deals with the ten gugas. It also n~entlons the three essentials

that cot~tribute to the making of a port, vlz. ln~~glnation

(pr~thlbha), culture (Knhutl), and connrant practlse (Abhlyog).

The second parlcheda is where he defines the tigurea of

speech and he enumerates 35 of them with the illustrations. Thoce

alamkaaraas treated here are the following :

1. Swabhaavooktl, 2. Upama. 3. Ruupaka. 4. Diipuka, 5 . Aavfitl,

6. hakeheepa, 7. Artaantaranyaas-, 8. Vyatireeka, 9. ylbhad .ma,

10. Samaasookti, 11. Ati&ayookti, 12. Utpreeksha, 13. Heetu,

14. Suukgmam, 15. Leeham (Lava), 16. Yathaasamkhyam, 17. Precya,

......................................

l2 P.V Kane, p. 9 0 .

Page 68

18. Rasaviit, 19. Uurjdovl, %I?. Paryaaydokti, 21. S-..teahit, 22. Udaa~a,

23. Apanyuti.; 2 4 . Sleeaham, 25. Vl&eegooktl, 26. Tulyayoogita,

27. VLroodh, 28. Ayrastutaprar;amea, 29. Vyajookt.1, 30. Nlda~ bana,

31. Sahooktl, 32. Parlvyltti, 33. Aail, 34. Samkiirna, 35. Bhaavlka.

Kat~e is of the opinion that it is diti icu1.t to associate

Daf-din with any particular echo01 of thought :

Dandlrl's &a_vyaadar&-;? in to some extent, an exponent of

the Rllti School of Poetica and partly of the Alamkaara

Scnool. He glves however, auch an exhaustive treatement

of Gunee and Alamkaaras that it is not possible to

idtintify him with any particular sctiool. 13

6. Vamarran- Kaavyalamkaara Suut ravr 1 ti

Vamana, the protaaonlst of the RiLti School of poetry,

flourished in the first quarter of the 9th cenLury A.D.

Krishnamacharlar saya,

"He waa a poet of the court of Klng Jayapada of Kaahntir

(A.D 779 - 819). and traving mig:ated later to the court

of the Rastl-akuta King Jayattunaa known ae Govinda f I I

(A.D 794 - 813), he became a130 a member of his council. "14

It was Vamana who argued that riiti is the soul of poetry.

The Kaavyaalamkaarasuutra'1icItl is divided into five adhlkaranaa

and each adhlkarana 1s again divided into two or three adhyayas

(chapters). There are altogether 12 chapters and 319 sutras.

l 3 P. V Kane, p.p 89 - 90. l 4 M. Krishnamacharlar, p. 734.

Page 6 9

I n the third a&llkaralia, Vai~~atla dlatinyuiaheu between guna

and nlnlnliara. The : ourth adhikarana is nartled Aalamkaurika. It

rreata f lgures like Yamaka, Ar.~upraaso and IJpama with their

auldlvislona.

The others figure explicated a:* the following :

1. Prativastuupau~a. 2.Samaasokti. 3. Aprastutapra&amaa.

4. Arahnyuti, 5. Ruupakanl, 6 . Sleegam, 7. Vekrookti, B . Utpreekeha,

I V . Atl&ayookti, 10. Sandeeham, 11. Viroodham, 12. Vibhaavana,

13. Ananwaynm. 14. Upameeyoopama, 15. Pdrivf-itt 1 , 16. Kramam.

17. Dlipakam, 18. ~ldar&ana, 1 9 . Arthaantaranyaasam, 20. Vyatlreekam,

' 21. Viheegookt', 22. Vyaajastuti, 23. Vyaajookti, 24. Tulyayooglta,

25. Sahookti, 2 6 . Samaahitam, 27. Samsgistl, 28. Upamaaruupakam,

I?e d! cusses 33 rhetoric figures altoyether. It must be /-

noted here that most of the examples enunciated by Vamarra are

from tttandard works of t!,r tlme. He quotes about 250 versed or

part8 of varsecr. And aa he is a very earJy wrltrtr, his work, whict~

la full of quotatlone, 1s of very great importance for settling

the chronology of many eanskrlt writers.

7. Anandavardhana- Dhwanyaalobka

"It is in the Chwanyaloka, 'light on "sound", of - / Anandavardhana ( + 9 ) that we find for the first time a

clear organic synthavis of the theorien of nestl~stic

experiences rasa and of figurative speech of the

act-001s of dramaturyy and thoae of poet! ca: ", writes

A.k Warder. 15

Is A . K Warder, p. 97.

Page 70

E*,and& . . . cdhana was a poet in the court of Avantivarman of

Kauhmlr (A.D 855 - 884). He was the father of the School of

Dktvarll i n the sc!erlce of poetics, nnd his Dhvarlyaalooka elaborates

the principle of Dhvani or lmplled meaning as the soul of poetry.

"Bfiavyasyatmaa dhvanlr!.ti budhai:

ya: samemnatapuurva:" (Dhvanyaalooka)

Arlandavardhana was the admiration of all. great pundits, both

eastern ar~d western. S.K De writes of him as follows :

The Dhvanyaalooka is an epoch making work in the

history of Alamkaara Literature. It occupies the same

position in the Alamkaaraeaastra as Panini's Suutraa in

grammar and the veedaantasuutraas in veedaanta. Tlle work

shows great erudition and critical inalght. It is

written in a lucid and forcible style and bears the

stamp of orginality on every paae . 16

He was lnaplred by Bhamaha's view on Vakrokti. Improulng on

this b n arrived at the theory of Dhvani, stating that poetry owed

its superiority begcause of.lndirect i~~raning or ovetones. There >----' -- -

are two kinds of meanlnge, l,.eral or vacya and implied or

vyangya (prati1,dmana) Jn great poetry it is the lmplled rneaniny

that predominates over the literal, accor&!ng to Anandavardhana.

He investigated three mdin elementd in Kavya from his rsew

atandpoint vlz., subject, alamkaras and the aeetlletlc experience

01 rasa. The Dhvanyaalooka contains four udyodaas 01 chaptels. In the

first chapter he deals with the claims of dhvani as being the

essence of literature, brlnalny aplendld exomplra from known lyrics

.......................................

I' S. K De, p. 161

Page 71

of the tlmr. He believes that lltrraturr la appreciated not for

Its dlrect inranlng ar the information that it carrlea, but for -

tile grace or beauty, whlch is usually inexpressible, hut can be

In the second chapter he discusses the subdlvlslons of dhvanl

and enunciates the minute aapects of hlu theory. In the third

chaf~ter he correlates the t?keorlr of dhv~r~i and riled and in

the fourth chapter the naLure of the pratibha or genius ot poets.

Kullpada Glrl speaks of Anandvardhana's co~~tributlon to

, the st 'y of alamkarae in the following words :

Where there 1s no soul, ornanentation is meanln~less

and bometimes rldlculous. In the case of poetry alao,

yoetlc flgures are related to poetic soul, 1.e. Rasa.

They adorn words and ~neanlng constltutlng the body of

poetrk directly and through word and benae enbelliall

the underlylng sentiment in an indlrect way. Alamkaarad~

which are not connected with the s!,~gestlon of R&n&

are, in Anandavardhana'e opinion, unportlc, mere

Vagvlkalpas. They can at best earn for a composltlon

the appellation of Cltrsakavya, imitafjon of poetry, not

poetry prop-r . :; 7

L I Kalipada Glrl, Concept of Poetry A p Indlan Apraoach

(C~lcutta : hinsrit Pustak Bh~.,dar, 1975) 5 4 .

Page 72

, g. -- E,.li.rnadan ..- Xdavyapraka~c, ~., ,

T. Bhaskaran 11, his Bharatllyfi Kaavya SaaGtram opines that , .,. .g.-

'Rammade' is a Kashmlri name l a . Mammadan is a Kashmiri . - . / -~

pundlt who la eupposed to have llveC between the latter half of

the 11th century and the first half of the 12th.

Kaavyaprakaada holds a unique place in alamkadra llterature.

I t sums up all the activities th.tt had been going on for

certurles in this specl~l field. IIe reviews the whole field of

poet'ics in 1 4 2 kaarlkas and ,quotes a:,out 620 verses from olher

authors, in order to illustrate his teachin&a. The work is divided

into ten ullasas ( erctlons ) , which deal with all topicb execpt

Dramaturgy.

9. Ruvyh'xa- Alankaarasarvaswam_

Ruyyaka iu alao known as R u c a k ~ atid he was also a K~uhmlri

author who lived in the 12th century A.D. Alamka~~rasarvaswam

which 1s also known as Alanikaarasutra is a comr~irndable work on

flGuree of speech.

Ruyyaka deal6 wlth seventy five figure8 of sense starting

from upama. He added a few more such ae Parigaama. Rasavat, Preeya.

Uurjvasi, Samaahlt, Bhavoodaya, Bhaavaaandhl, ~haavaiabala, Vikalpa

an< Vicltra to those t h a t had been already suutuiarised by Mammada.

-aka - VakrooktlJiivitd I . K& - Another Yashmlri pundlt who followed Anandavardharin, Kuntaka

lived Letween A.D 925 and 1020. His intention was to replace

'dhvanl' with 'v&krooktl' or 'figurative rxpresslon'. In hi8

.......................................

'a T. Bbaskaran, Rhaaratl iyakdavyasaastram

(Thlruvananthapuram : ?'ate Institute of Lariguaaea, 1978) 66.

yJwm ~~aqa apww aneq oqn sJoqjn8 lourw Ruww os JaAa a~w aJaqj

SX3L18fl

.wqwwwyg Rq uaynl

au~~ eql 8u~no~:oj ysaads 30 sa~n8Tj aqq KIW sassn~w~p ay ~ana~

Bu~uwaw luasa331p yl~n pawn sumhuou6~) 'RJw~~~w~oA jo uoTl2aIas

aqj uo pasnq sq>ajja ~14% sapnIsuT ssauaATls~n9Tj ~wa~xa~

'ITeaap UT passnsw~p os~w aJw

S~WAJJ~UT ~UTKJVA an sawauoyd ~ns~quap~ go uo~~~~ada~ ae1nBa~JT

puw aaJj atla woJj paAT.lap sxsajja punow a~aqns a~ou -amXyJ pun

S~loTaEJal-, Te JO asn aql sapnlauy ssaua~~lw~nR~ J ~~aauoqd

.alOyM 8 68 UOTqTEOdlUOJ

all1 puv TwnaxaluoD ' [WTxuaauea '~ws~aamrnw.78 'lws~xar 'a rla~oyd

an .J~UUWIU s~j~a~:'~as n UT RIJT~TJA aAylwa~~ 30 ~wauani~arnR~j

aqq as~lwmals6s 03 auo 1s~~; ayl sen aq sp a~so~ay.1 30 sqsyn8ur1

Vlsva~~atan. Bhanudasari , Ayyal;y+"l~itar, Jaga?:.axhapar~?.itar, etc.

come under tr~is group.

These minor :,undltb who followed cheir.fa:mer kurus went on

adding to the number of figures. By the time of .Jay,u,va (13th

century A.D) it :)ecame a hutidred and with )\vya~padikgltar

(fislayar~ancIJau~) 1. t reached 109.

The table below shows the list of promi;:>+irt Sans!.:-it

pundlte, their L rspective works and tiie number of fieures defined

and iilustraied in their works. Tab1.e 1

1 I Bharatamuni

4 , Vamanan

5 Udbhadan

6 Rudradan I

7 , BhoJan

8 1 Mamlnadan

9 1 Vagbhadan I I

10 1 Ruyyakan I

11 I Hemacandran I

12 1 Jayadevan I

1 500 R.C I Naatyasaastra I 4 I I I 1A.D 600-7001 K~avyaadarsa I 3 5

1A.D 700-8001 K&avyaa!amkaraeutral 1 i vrittil 3 1 1A.D 800-u501 Kavyaala~nkarasamgral I I ha l 38 1A.D 800-9001 Kavyadlamkaara I 6 8 I I I I 9u0-1000 Saraewatilkantaa - I 7 2 I I bharana I 1 1050-1150 1 Kaavyaprakasham I 6 7 I I I i 1094-1143 i Vagbhadaalamkaaram i 6 2 I I I 1 1100-1150 1 Alamkaarasarvaswam I 8 0 I I I 1 1100-1200 1 Kaavyaanusaasanam I 6 5 I I I 1 1200-1250 ( Catldralookam 1 100 I I !

13 1 Vlavanathan I 1300 - i Saahi tyauarpanam 8 4 I I I I

14 1 Ayyappadiikshitar 1 1550 - I Kuvalayaanandarn 1 100

I\ , ' I I I ------------i--------------------------------------------------------------

CLASS!FICATION OF THE I:IG!JKES 2;. TllE SAk.,XRRR TRA:JITION - As Sanskrlt iu cor%.~?drr.ed to b6 a dead 1;lrrguage today,

Malayalam, a rep, naentative Indian liin,usdr?. irr taken for analysis

tsetr . Thla wlll alao r.iow how the Sannkrit cradltidn of the

rlgut-es of speech ha* percolated Into tlre t~xlure of u~odern

Indian lafigtiuses

The following list shows all the rnajor works ,,ertainlng to

~1amkaraGaatra !n Malayalam. The first 25 are independent works

modelled on tPie Sanskrit masters and tlre reindining ar e! either

Table 2

TEXTS OF RHETORIC FIGURES IN MALAYALAn

No I Name of Text I Naee of Author 1 Period . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 I Leelaatilakam I Anonymous

I I ! Alamkaara Samksepam I Anonymous 2 I

3 1 Kera?a Koumudi I

4 1 Arthalankaara mani- I pravalam

5 1 Alankaaradarpanam I

6 1 Sahrj dayadarpanam I

7 I Kerallya Kuvalaya - I nandam

8 1 Padadoosaprakaranam I manipravdlam

9 1 Sabdabhangi

10 1 Alankaaramaala I

11 I Uda~al~arnkaaram I

12 I Padadoosaprakaranam ( manlpravalam

13 ' Rasaswaruupa [ Niruupanam

14 1 Alankaaradiiplka I

15 ( Bhaeaabhuaanam I

I 1 J T.M Xovunni Nedungadi I I I I Veluteril Kesavan ' I I vaidyan I I C . A Nanuvayya Saatrl I I I / C.A Nanuvayya Sastri I I I I Rayiram Kandathu I I Govindamenon I I Perunneli Krishnan I I valdyan I 1 Kodungalloor Kachunni I 1 T?iampuran ! ! Kodungdlloor Kochunni I I Thampurar~ I I K.C Narayanan Nambiar I I I I Mulur S. Padmanabha I

Panicker I I Gramathll Rama Varma I ( Koyf thampuran / I Ennakkatu Raja RaJa I Varma Tampuran I 1 A . R Rajajaja Varma I Knltampu~,~n ' 1

Page 76

~ --- No [ Name .of Text 1 N.*:ae of Authot: I Period

I I 16 1 KaaxJ.~vikramilyam I V.C BalakriuhnappanickerI 190;

1 I I 17 1 Kavltl~tiatharanam I K~dathariattu Udaya Vnrmal 1905

I I T(L.ilp~ra~~ I 18 1 Sabdaalankaaram ( Kodungaloor Kuo jukkuttan 1 19 17

I I Talnpuran 1 19 I Artalamkaram I Kodungaloor Kunjukku~tan! 1.9 17

I I Tampuran 1 20 1 Srimuulaprakaaaika 1 Pandalatu Xerala Vavma, 1 1918

I I Tao~puran I 21 1 Sakltii Sarvaawam I Vadakumkur KaJaraJavarmnl 1923

I I I 22 ! Balaalamkaaram I Peroorkada Kochappan I 1931

I ! I 23 1 Raalkaratnam I Attu~ Krishnapisarodi I 1940

I I I , 24 I Kaavyajilvita Vritl I Si'romani P.Krishnan Nairl 1952-53

I I I 25 1 Kairalii dhvani I P.K Narayanapillai 1 1978

I Bhadr aakhyaanam 1

I Saahityadarpanam I

I Saahityadarpanam I 1

I Saahltyadarpanam 11 I

I Saahityadarpanam I Bhaasaavyaakhyaanam f Kaavyalookam 1

I Kardyl Kx id2,nan eurukkal 1 1855 -1088

I Puthuppally P.K Par~ickerl 1886-1923

I Kunezhatu Paramevwara I 1931

Menon 1 Kunezhatu Parameswara I 1939

Nenon I Kavunkal Neelakanta I 1967

Pillai I Slromanl P.krishnan Nalrl 1942

I I I 31 1 Vamanalamkaram Bhaaal V.V Sarma I 1949

I I I 32 1 Dhvanyaalookam I C.V Vasudevabhatatiri I 1970

I I I 33 1 Dhvanyaalookam I Cathanattu Acutanunni 1 1970 - 72

I I Naatya Saastram i I Raaa Kairali I I Dhanyaalooka I I Kuvalayaanandam I I Ruupakadareanam I

I I I K.P Narayar~apisarodi I I I I V.S Sarma I I I : E.V Damodarau I I I I C.V Vaaudevabhattatlri I I I 1 V.S Sarn~a I

I I ...........................

, Cathana-t tu Achuttlrrunt~l i n h i s work &l,arnk: .ra Sadjtrana

Mal.i:';i'.,!-hi p~ . . . -. . -- 1 adds ,A few inure hooks and I,! . . : . . c r i p ? n ' i k e

Bk'iarat l Lya ~ a a v y a g a a a t r a m ( V e d a b a n r l : ~ ~ ) , Miwanyaal.ookarn

(K.'I ? o t t ~ u v a l j , Kaavyaprakaa6ain (K. K . P a r ~ l c k e r ) . K;ldtvyaalarnkanra

S u u t r a v r i t l ( C a t h a n a t t u Achutanunni ) iu t h e a b o v e l ! s t .

The r n a u i n ~ t a b l e &how6 t h e udmter o f Clgures i l l ~ d t r a t e d by

t h e l e u d l n g w r i t e r s i n Malayalam :

16

3

I I

L:

4

I

dc

r

5;

I

,, -

11

1

UC

4

1

I

>l

I i

I 1

-

-1

1 I

m I

I

*

CI

1

0

I

lr

I

- ---

01

1

11

6

02

1

I@

C

I

I&

X

I

I*

,

Oj

1 -

1

iZ

I

I

C

I

I ---

2:

I

Y

'A1

l

5m

6

Z

I

I c,u m

I I

mm

m

ZI

TI

I C

>e

d

C

GI

am

c

<L

4

5

I !A

+:

ir

, 0

I ---

Ir

nI

Y

Wl

I

@

El

UI

fi C

l 0

1 m

fi

I

l

P@

Z

l m

l

+. I

m I

--- I

&I

&

I I

ae

W

I M

I 3

4

a!

I.

iI

C

v,

z

lh

lr

am

U

I

I m

Y

I - I ---

I

I ---

I I

ax

1

lido

.+

I

1 m

ow

I

IW

X

-------

From the very begit~rling i n the Ind.ian trdditlnn, figures of

speech w c ~ . e divided ltLto two distinctive catr&orlea viz. plgurea

, of Sourid t~nd Flyurric o f I?t.~arl l r r ~ . (Sat~dddl,crlnkti~r.a and Arthau?&mkua~.-a).

Bharatn had not divided the four figures accordingly but both

&coups arc lticludad there

Tire f o l l ~ w i n g table will s ~ ~ o w the b ~ o ~ d diviaio ~f the

figures of speech in this tradition.

Table : 4

- A r ~ u p r aaaam 11 I

- Flgurea of Sound I - Yan~dkam I I I I - Punaruktavddaablladsd~n i I I I

Figure - 1 - - Citram - 8

I I -- Saamyooktl - 22 I I I I - ~tidayookti- 18 I I -- Figures of Meatiing I - Vaastavookti - 30

As different masters follow dlf ferent lines in their

analyala and claeslficatlon, it ia considered advlanble hevr to

follow the methodology adopted by A.R. Kajaraja Varma in his

Bhaasabhuusanam. He discusses the Figures of Meaning initially:

but for convenience Figures of Sound are discussed here at first

Figures of Sourid ('Sabdaalamkaara') falls irlto four divlslons

FIGURES OF SOUND .................................................................

I I I I Anupraaeam Yamakam Punaruktevadabhaasam CLtrarn (re?etltlon of (repetition of (repetition of (Words con6onant aounds) aounds in a synonyn~s) desiyr~ed so as to

specLf lc order) appear like a flower

I Anupraasam .

I 1 I Cheekaanupraanam 1 2 1 Madhuravyanjanapraasam ................................................................. I

1 3 1 Parueavyanjanapcaasam 1 4 1 Komaaavyanjanapraasd~. ................................................................ I

! 5 1 Dvltiiyaak~acapraaeam 1 6 1 Aadipraaam I

1 7 1 Antyapraasam I 8 I A8tqpraasam ................................................................ I

I 9 I Pvaada&apraaaan 1 10' Soophapraasam ................................................................ I

I 111 Laataanupraaegm I 1 ................................................................ I

. I Yamakam

................................................................ I 1 I Padmabanthaq (1) 1 2 I Padmabantham (2) ................................................................ I

1 3 1 Cakrabantham 1 4 1 Naaaabantham ................................................................ I

1 5 1 Rathabgntham ( 6 1 Guu$hacaturthapaadam ................................................................ I

1 7 1 Sarvatoobhadram 1 8 1 Anuloomapratilooma Samam ................................................................ I

Arthalamkaapaa or figures o f peanine are ale0 claaaed into

f o y ~ sections :

Saamyookti Atiaayookti Vaaatt+v~okti Sleaookti (Comparieon) ( ~ o n d ~ r m a . :) (Reality) (Double r#@@nina)

I S nmyooktl (Figures of Compac:sc8n)

I ( Upameeyoopama 1 4 1 Pradi,i.pam ~

I

1 5 1 Ruupakam 1 6 ! Apahnyuti I

1 7 1 Ulprerkga I !3 1 Smritimaan 1

1 7 1 Bhraantimaan I 10 1' Sasaricleehan~ - - - - .. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -. .. - .- - - - - - - - - .. - - - .- I

( 111 Vyatireekam I 121 Prativaatuupama I

! 131 Dclstaantam 1 141 itidarkana I

1 151 Diipakam 1 16 1 Aprastut~.~>radamsa I

I 1 ~tlia~ooktl. (Figures of won<lerrnent or exaggeratiotl).

1 5 1 Heetvatl6ayookti 1 6 1 Ulleekham I

1 7 1 Akramaatiiayookti 1 8 1 Atyantaatiriayookti I

1 9 1 Aaangatl 1 10) Vlbhaavana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I

1 111 Viieegookti ( 121 Vyaakhyatam 1

1 131 Virodhaabhaasam 1 141 Sambhaavana - - - - - . . . . . . . . . . . . . . . . . . . . --- - I

1 151 Tadyunam 1 161 Atadgunam I

1 171 niliitam 1 18) Adhikam I

1 1 1 Va~tavookt! ( E l & u r r ~ o f Exactltudt;.

I 1 I Svabhaavookti ! 2 1 Sahookti. --------------------------------------------------

I

1 3 1 S a ~ u c a y a m 1 4 1 Parydayam _- -__- - -___-_ -_ I

1 5 1 Parivamkhya I 6 ( Vikalpam 1

1 7 1 Parivritti 1 8 1 A a k g ~ e p a m - - - - - - -. . .. - - - - - - - - - - - - - . - - - - - - - - - - - - - - - - - - - - - - - - - -. - - - - - - - - - - - - - - - - I

1 9 1 Pratyaniikam I 1 0 1 Arthaapatt,, I

1 11.1 Kaavyalingam 1 1 2 1 Anumaanam I

1 1 3 1 Arthaantaranyaasam 1 1 4 1 Hhadvikam I

1 1 5 1 Udantam 1 1 6 1 Suukqmaald~nkaaram ............................................................... I

1 1 7 1 Vyaajookti I 1 8 1 Utararn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I

1 1 9 1 Samaadhi 1 2 0 1 Vyaajavtuti I

1 2 1 1 Sarnam 1 2 2 ) Vigamam I

1 2 3 1 Vlcitram 1 2 4 1 Anyoonyam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

I

1 2 5 1 Parikaram 1 2 6 ) Paryaayooktam I

1 2 7 1 Kaarapamaala 1 2 8 1 Eekaavall '

- - - - - - - - - -. .. - - - - - - - - - - - - - - - - - - - - .- - - - - - - - - - - - - - - . . - - - - - - - - - - -. - - - - - I 1 2 9 1 Saaram 1 3 0 1 Mudraalamkaaram I

IV ileqookti (Words used with more than one meaning ) .

I 1 I Slee$am 1 2 1 Samasookti I

1 3 1 Vakrookti 1 I I