CHAPTER 1 1 1
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
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
moon is like your face"
(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
:
"Your face and the moon rejoice in the
night".
Vyatireeka
:
"Your face alwaye ahinea, but the moon
ahines only in the night".
Df%;aanta
Prativastuupama
:
"In the heavens the moon, on earth your
face".
:
"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
(4) defect (doogha), (5) style
(alamkaara), (3) quality (guga),
(riiti), (6) aubjeation (dhwani) and (7) aesthetic
conflguratlon
(raga).
'
,'
The lndian Literary crlticl~mis Lased on eight major
theoretical ayetema
I
Raaa
I
Dhwani
:
I
Alamkaara
,
Guna
I
Riitl
I
Anumaana
0r
Anumi t 1
1
A~citya
Vakrooktl
Among these, Alamkaara gaastra occupies a unique status in
the history of Indian Criticism
.--.
OTVEL.OPPI,:-:T OF E 1 Z.EKAAPA
-
~ A S T R A 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.~tlonof Speech.
Literdry emb~llish..
ents".
1
Critics are of opinion that Alan~kaaraSaastra 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
Classical Period
Sanskrit Literature I
(Calcutta
:
Univeralty of Calcutta,
1962.) 513.
S.K D e ,
Fir&,
his tor^ of
San~t:\r-ltPoetics. Vol. 2
Mukhopadhyaya, 1976)
, 2 -
3.
(Calcutta
:
(,
Page 6 0
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 ~ a a t ~ a & a a a t r ais
, 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),
ch,racterit:ics
ten defects (dooqas), and thirty six
(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
(London
:
Sanskrit Literature
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.~rpoetic 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
acholars.
Dandin
in
preserved
meana
S. K De,
a
mdjority
I dealt with Bhamaha's work berore
the
in
last editions.
The
sane
that
of
feature
is
this edition alao. But it ahou!d
be supposed that I agl e with the view
his tor^ of
Sanskrit Poe! L
C ~ p.
1
of
by
of
no
many
Page 62
scholars
about
the prioriLy of
D ~ ~ n d i n .I
'tamaha to
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
P. V. Kane.
aupruxne
History
and his deacriptiorr of the ocean
of Sanskrit
Poetics
(Delhi
:
Mn?ila? Banarsidaad, 1961) 78.
M. Krishnamachariar,
Literature
-
Historx g_f_Classical Sanskrit
( Drlhl : Xotilal Banareidass, 1962) 725.
Page 63
of vyakarar,d ~einindsus of + h e 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
contribution as follows
A.K Warder wt.ltee of Bkamaha's
:
" I f 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
I
(sections) of all topics embraced in poetics.
M. Kriahnamachariar.
A. X . Warder.
p.726.
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
I
!
e wrote
-
813).
9
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. H e 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. 1 0
.....................................
A. N. V. P. Unlthlri. a e k r i t a Saa:~!aa,Vimarsanam
(Thlruvananthapuram
P . V Kane, History
:
Kerala Bhaaha Instltute, 1990.) 44.
of Sanskrit
Poetics
p. p 135
-
136.
Page 65
Udbhada's contributi~ndid not rest Ln the field of
Alanikara6astra
XJ,.,,,L~
alune. He was the orginal author of the story
Sambhavfl.
-
Krlahnamacharyar aaya
one
of the
fdmous
plays
of
of
Kaalidaaaa
:
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. 1 1
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 ~ l a e s l f l ~ a t i o nwas
s
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 i f 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 o f 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 ' g u ~ a a '
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 sa 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 y e t apart for the exemplification
of arthaalamkaaraas or figures of meaning. Chapter seven gives Z.,;
figures based on Vaastava, vhe~.easchapter 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 1 5 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
in Tamil Nadu. His Keavyaadu:.Y'a is acc',irned
as
i
Kanchipura
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
on
be given to Dandin, though as regards ~ ~ r ~ . c i s iand
logical acurnelr, B!tamaha atands higher than Daridin.
12
KaavyaadarAa is divided into tour parlchedas. There are
altoarther 6 6 0 veraen. the first parlcheda defines poetry and
deals with the ten gugas. I t also n~entlons the three essentials
that cot~tributeto 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 . m a ,
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 6 8
18. Rasaviit, 19. Uurjdovl, %I?. Paryaaydokti, 21. S-..teahit, 22. U d a a ~ a ,
23. Apanyuti.; 2 4 . Sleeaham, 25. Vl&eegooktl, 2 6 . Tulyayoogita,
2 7 . VLroodh, 28. Ayrastutaprar;amea, 29. Vyajookt.1, 30. N l d a ~bana,
31. Sahooktl, 32. Parlvyltti, 33. Aail, 34. Samkiirna, 35. Bhaavlka.
Kat~e is of the opinion that i t 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 R l l t i 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. 1 3
6. Vamarran- Kaavyalamkaara Suut ravr 1 ti
Vamana, the protaaonlst of the R i L t i School o f 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
(A.D 794
-
Govinda f I I
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.
-
l3
P. V Kane,
l4
M. Krishnamacharlar, p. 734.
p.p 89
90.
Page 6 9
I n the third a&llkaralia,
Vai~~atladlatinyuiaheu between guna
and nlnlnliara. The :ourth adhikarana is nartled Aalamkaurika. It
rreata f lgures like Yamaka, Ar.~upraasoand IJpama with their
auldlvislona.
The others figure explicated a:* the following
Prativastuupau~a. 2.Samaasokti.
1.
4.
I V .
3.
:
Aprastutapra&amaa.
Arahnyuti, 5. Ruupakanl, 6 . Sleegam, 7. Vekrookti, B .
Utpreekeha,
Atl&ayookti, 10. Sandeeham, 11. Viroodham, 12. Vibhaavana,
13. Ananwaynm. 14. Upameeyoopama, 15. Pdrivf-itt1 , 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.
I?e d!
Upamaaruupakam,
cusses 3 3 rhetoric figures altoyether. It must be
/noted
from
here that most of the examples enunciated
by
tttandard works of t!,r tlme. He quotes about 2 5 0
Vamarra
are
versed
or
part8 of varsecr. And aa he is a very earJy wrltrtr, his work, whict~
la full of quotatlone, 1 s 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.
Is
A.
15
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
01
rasa. The Dhvanyaalooka contains four udyodaas
01
experience
chaptels. In the
first chapter he deals with the claims of dhvani as being the
e s s e n c e 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~terhe correlates the t?keorlr of d h v ~ r ~and
i
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!,~gestlonof 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
L I
. :;7
Kalipada Glrl, Concept
of
Poetry
A p Indlan
(C~lcutta : hinsrit Pustak Bh~.,dar,1975) 5 4 .
Apraoach
Page 72
g.
E,.li.rn
adan
~.,
..-
,
Xdavyapraka~c,
,
T. Bhaskaran 11, his Bharatllyfi Kaavya SaaGtram opines that
, .,.
.g.-
'Rammade'
is a Kashmlri name l a . Mammadan i s 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 s p e c l ~ lfield. 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 ~ u h m l r i
author
which
who
lived in the 12th
century
A.D.
Alamka~~rasarvaswam
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.
I .
&K
-aka
- - VakrooktlJiivitd
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 ~ ~ a q
apww
a aneq oqn sJoqjn8 lourw Ruww o s JaAa a ~ aJaqj
w
SX3L18fl
.wqwwwyg Rq uaynl
a
u e ~q l ~
8 u ~ n o ~ : o jysaads 30 s a ~ n 8 T jaqq KIW s a s s n ~ w ~ay
p ~ a n a ~
B u ~ u w a wluasa331p y l ~ npawn s u m h u o u 6 ~ ) ' R J w ~ ~ ~ wjo~ uoTl2aIas
o A
a q j uo pasnq sq>ajja ~14%
sapnIsuT s s a u a A T l s ~ n 9 T j~ w a ~ x a ~
'ITeaap U T p a s s n s w ~ po s ~ waJw
S ~ W A J J ~ U~TU T K J V Aan
sawauoyd ~ n s ~ q u ago
p ~u o ~ ~ ~ a~e 1an Bda ~aJ T~
puw aaJj atla woJj paAT.lap sxsajja punow a ~ a q n sa ~ o u-amXyJ pun
S~loTaEJal-,
Te
JO
asn aql sapnlauy s s a u a ~ ~ l w J~ n~ R~ ~
aauoqd
.alOyM
8 68
UOTqTEOdlUOJ
all1 puv TwnaxaluoD ' [WTxuaauea '~ws~aamrnw.78
' l w s ~ x a r 'a r l a ~ o y d
an
. J ~ U U W I Us ~ j ~ a ~ : ' ~ a
n sU T
R I J T ~ T J aA A y l w a ~30
~ ~wauani~arnR~j
aqq a s ~ l w m a l s 6 s03 auo 1 s ~ ~ayl
; sen aq sp a ~ s o ~ a y . 1
30 sqsyn8ur1
Vlsva~~atan.
Bhanudasari , Ayyal;y+"l~itar,Jaga?:.axhapar~?.itar,etc.
come under tr~isgroup.
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
1
I
500 R.C
I
I
I
I
Naatyasaastra
I
1A.D 600-7001 K~avyaadarsa
4
,
Vamanan
5
Udbhadan
6
Rudradan
I
7
8
, BhoJan
1 Mamlnadan
1A.D 700-8001 K&avyaa!amkaraeutral
vrittil
1
i
1A.D 800-u501 Kavyaala~nkarasamgral
ha l
I
I
1A.D 800-9001 Kavyadlamkaara
I
I
I
I
I
9
1 Vagbhadan I
I
i
- I
I
1094-1143
I
i
35
31
38
68
I
Saraewatilkantaa
I
bharana
1 1050-1150 1 Kaavyaprakasham
9u0-1000
I
4
72
I
I
67
I
Vagbhadaalamkaaram
I
i
62
I
10
1 Ruyyakan
1 1100-1150 1 Alamkaarasarvaswam I
80
I
I
11
I
I
1 1100-1200 1 Kaavyaanusaasanam
I
I
65
I
I
I
12
I
1 Jayadevan
I
I
1 Vlavanathan
I
1 Ayyappadiikshitar
I
13
Hemacandran
1 1200-1250
1300 -
I
(
Catldralookam
I
i
I
1
100
!
Saahi tyauarpanam
84
I
I Kuvalayaanandarn
1
100
I\
,
'
I
I
I
------------i-------------------------------------------------------14
1 1550
-
CLASS!FICATION
As
OF THE I:IG!JKES
Sanskrlt
2;. TllE
SAk.,XRRR TRA:JITION
i u cor%.~?drr.ed
to b 6 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 ~ x l u r eof 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
1
I
Name of Text
I
Naee of Author
1
Period
....................................................................
Leelaatilakam
I
Anonymous
I
! Alamkaara Samksepam I Anonymous
I
I
I
2
4
J T.M Xovunni Nedungadi
1 Kera?a Koumudi
I
I
1 Arthalankaara mani- I Veluteril Kesavan '
5
I
pravalam
1 Alankaaradarpanam
3
I
6
1
I
7
8
I
I
I
/
Sahrjdayadarpanam
I
Kerallya Kuvalaya - I
nandam
I
Padadoosaprakaranam I
I
I
1
I manipravdlam
1 Sabdabhangi
I
10
1 Alankaaramaala
11
I
I Uda~al~arnkaaram
1
1
!
I
I
I
I
9
12
manlpravalam
' Rasaswaruupa
[
Niruupanam
1 Alankaaradiiplka
14
I
15
(
I
Bhaeaabhuaanam
I
(
I
I
1
I
I
I
I
I
I
C.A Nanuvayya Sastri
Rayiram Kandathu
Govindamenon
Perunneli Krishnan
valdyan
Kodungalloor Kachunni
T?iampuran
Kodungdlloor Kochunni
Thampurar~
K.C Narayanan Nambiar
I Padadoosaprakaranam I Mulur S. Padmanabha
(
13
vaidyan
C . A Nanuvayya Saatrl
1
I
Panicker
Gramathll Rama Varma
Koyf thampuran
Ennakkatu Raja RaJa
Varma Tampuran
A . R Rajajaja Varma
Knltampu~,~n
'
I
I
I
I
I
I
I
!
I
I
I
I
I
I
I
/
I
1
Page 76
---
~
No
Name .of Text
[
I
16
1 KaaxJ.~vikramilyam
17
1
1 Kavltl~tiatharanam
I
18
1
Sabdaalankaaram
I Artalamkaram
I
20
1 Srimuulaprakaaaika
I
21
I V.C BalakriuhnappanickerI
190;
I
I
I
I K~dathariattu Udaya Vnrmal
I
T(L.ilp~ra~~
I
( Kodungaloor Kuo jukkuttan 1
Talnpuran
1
I Kodungaloor Kunjukku~tan!
I
Tampuran
1
1 Pandalatu Xerala Vavma, 1
I
Tao~puran
I
I Vadakumkur KaJaraJavarmnl
1 Sakltii Sarvaawam
I
I
I
23
1 Raalkaratnam
24
I
I
I
!
I A t t u ~ Krishnapisarodi
I
22
,
Period
N.*:ae of Authot:
25
1905
19 17
I
I
19
I
1
! Balaalamkaaram
I
Kaavyajilvita Vritl
1 Kairalii dhvani
Peroorkada Kochappan
I
I
I
Si'romani P.Krishnan
1.917
1918
1923
I
I
I
1931
I
1940
I
Nairl
I
1
I
1 Kardyl Kx id2,nan eurukkal 1
I
I
P.K Narayanapillai
1952-53
1978
I
Bhadr aakhyaanam
Saahityadarpanam
I
Puthuppally P.K Par~ickerl 1886-1923
I
I
1 Kunezhatu Paramevwara
I
Menon
1
I
Saahltyadarpanam 1 1 I Kunezhatu Parameswara
I
Nenon
I
I
Saahityadarpanam
I Kavunkal Neelakanta
I
Bhaasaavyaakhyaanam f
Pillai
I
Kaavyalookam
1 Slromanl P.krishnan Nalrl
Saahityadarpanam I
31
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
1 Vamanalamkaram Bhaaal V.V Sarma
32
1
33
I
1
I
Dhvanyaalookam
Dhvanyaalookam
I Naatya Saastram
i
I Raaa Kairali
I
I
Dhanyaalooka
I Kuvalayaanandam
I
I Cathanattu Acutanunni
K.P Narayar~apisarodi
I V.S Sarma
: E.V
Damodarau
I
I C.V Vaaudevabhattatlri
I
I
I
I C.V Vasudevabhatatiri
I
I
Ruupakadareanam
1855 -1088
1 V.S Sarn~a
I
...........................
I
1
I
I
I
I
I
I
1931
1939
1967
1942
1949
1970
1970
-
72
C a t h a n a - t t u Achuttlrrunt~l i n h i s work &l,arnk:
Mal.i:';i'.,!-hi
.. . -.
.-1 adds
p~
,A
few inure h o o k s a n d
I,!..:
.
,
.ra Sadjtrana
.crip?n
'
ike
Bk'iarat l Lya ~ a a v y a g a a a t ra m ( V e d a b a n r l : ~ ~, ) Miwanyaal.ookarn
(K.'I ? o t t ~ u v a jl , Kaavyaprakaa6ain ( K . K . P a r ~ l c k e r ) . K;ldtvyaalarnkanra
S u u t r a v r i t l (Cathanattu 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 u d m t e r o f
t h e l e u d l n g w r i t e r s i n Malayalam
:
C l g u r e s i l l ~ d t r a t e db y
I
5;
- 1 1
41
I
4
dcr
,,
:L
1 6 3
I
I
I
I
-
*
m
1 U C
i
1
>l
I
1
I
I
I
I
I
l
r
6
6
m m m
a m c
c,u m
Y
5 m
---
i Z
I @
I &
I * ,
1
l
- ---
1 0
I
I
I
I
I
-1 1
I
C
01
1
021
C I
1
I
I
X
1
Oj
-
C I
2 :
I
'A1
I
Z
C
<L
4
,
5
G
I
I
I
Y
@
fi
@
m f i
P
&
--a e
m
3 4
Cv,
a
m
- ---
m
!A+:
---
Z I T I I C>ed
+.
I
ir
0 I
I r n I
W l
I
E l U I
C l 0 1
I
l
Z
l m l
I
I
I
& I
I
I
W I M I
a ! I . i I
z l h l r
U I
I
Y
--ax
lido.+
I
I
1
I
I
1
m o w
I
I
I W X
-------
From
the very begit~rling i n the Ind.ian trdditlnn, figures
speech w c ~ . edivided ltLto two distinctive catr&orlea viz.
of Sourid t~nd Flyurric o f
I?t.~arll
of
plgurea
,
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 gtable will s ~ ~ othe
w b ~ o ~
diviaio
d
~f
the
figures of speech in this tradition.
Table
:
4
-
I
II
I-
i
I
I
Figure
-1
Yan~dkam
Punaruktavddaablladsd~n
- - Citram
I
I
I
-
8
- - Saamyooktl
I
I
I
I-
I
--
11
I
I
Flgurea of Sound
A r ~ u p raaaam
I
Figures o f Meatiing I -
-
22
~ t i d a y o o k t i -18
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.
H e discusses the Figures o f 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
Anupraaeam
(re?etltlon of
con6onant aounds)
I
Yamakam
Punaruktevadabhaasam
CLtrarn
(repetition of (repetition of
(Words
aounds in a
synonyn~s)
desiyr~ed s o as to
specLf lc order)
appear like a flower
I Anupraasam
.
I 1 I Cheekaanupraanam
1 2 1 Madhuravyanjanapraasam
.................................................................
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
................................................................
I 9 I Pvaada&apraaaan
1 10' Soophapraasam
................................................................
I 111 Laataanupraaegm
I
1
................................................................
I
I
. I Yamakam
................................................................
I 1 I Padmabanthaq (1)
1 2 I Padmabantham (2)
................................................................
1 3 1 Cakrabantham
1 4 1 Naaaabantham
................................................................
1 5 1 Rathabgntham
( 6 1 Guu$hacaturthapaadam
................................................................
1 7 1 Sarvatoobhadram
1 8 1 Anuloomapratilooma Samam
................................................................
I
I
I
I
Arthalamkaapaa or figures o f peanine are ale0 claaaed into
f o y ~sections
Saamyookti
(Comparieon)
:
Atiaayookti
( ~ o n d ~ r m a:).
Vaaatt+v~okti
(Reality)
Sleaookti
(Double r#@@nina)
I
I
S nmyooktl (Figures of Compac:sc8n)
( Upameeyoopama
I
1 4 1 Pradi,i.pam
~
1 5 1 Ruupakam
1 6 ! Apahnyuti
I
1 7 1 Ulprerkga
I
1
3
!
1 Smritimaan
I 10 1' Sasaricleehan~
I
- - - - . - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -. ..- .-- - - - - - - - ..- - - .-
1 7 1 Bhraantimaan
( 111 Vyatireekam
I 121 Prativaatuupama
I
! 131 Dclstaantam
1 141 itidarkana
I
1 151 Diipakam
1 1 6 1 Aprastut~.~>radamsa
I
I 1 ~ t l i a ~ o o k t l(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 1 0 ) Vlbhaavana
I
1
(
...............................................................
111 Viieegookti
1 131 Virodhaabhaasam
1
121 Vyaakhyatam
1 151 Tadyunam
1 141 Sambhaavana
----- ....................
1 161 Atadgunam
1 171 niliitam
1 1 8 ) Adhikam
--- -
I
I
I
111 Va~tavookt!
I
( E l & u r r ~ o f Exactltudt;.
! 2 1 Sahookti.
I
1 3 1 Sa~ucayam
1 4 1 Parydayam
I
1 5 1 Parivamkhya
I 6
1
1
I Svabhaavookti
--------------------------------------------------
_--__---___-_-_
(
Vikalpam
1 8 1 Aakg~epam
I
- - - - - - -. . .. - - - - - - - - - - - - -. - - - - - - - - - - - - - - - - - - - - - - - - -. - - - - - - - - - - - - - - - 1 9 1 Pratyaniikam
I 1 0 1 Arthaapatt,,
I
1 7 1 Parivritti
-
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
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 6 1 Suukqmaald~nkaaram
...............................................................
...............................................................
...............................................................
1 2 8 1 Eekaavall '
1 2 7 1 Kaarapamaala
I
- - - - - - - - - -...- - - - - - - - - - - - - - - - - - - - .- - - - - - - - - - - - - - - .. - - - - - - - - - - -.- - - - 1 2 9 1 Saaram
1 3 0 1 Mudraalamkaaram
I
IV ileqookti
(Words used with more than o n e meaning ) .
I 1 I Slee$am
1 3 1 Vakrookti
1 2 1 Samasookti
1
I
I
I