Alamkaradappana - Book Summary

This document is the L. D. Series No. 120 publication of Alamkaradappana, a work on poetics (Alamkara Shastra) written in Prakrit. It was edited by H. C. Bhayani and published by the L. D. Institute of Indology, Ahmedabad, in April 1999.

Here's a comprehensive summary of the text based on the provided pages:

1. Introduction and Publisher's Note:

Significance: The Alamkaradappana (AD.) is noted as the "one and only Alamkara work in Prakrit" edited from a single available manuscript.
Date: The manuscript is datable to the first half of the 13th century AD.
Authorship: The author's name is unknown ("अज्ञातकर्तृक" - Unknown Author). While the editor, H. C. Bhayani, conjectures it might be the work of the Apabhramsa poet Svayambhu (9th century), this remains doubtful due to the absence of his name and references to Vedic/Puranic gods instead of Tirthankaras.
Manuscript: The sole known manuscript is in the Jesalmer Manuscript Collection. An earlier publication by Bhamvarlal Nahta is mentioned as having inaccuracies and "fanciful guesswork" in translation and text interpretation.
Editorial Work: Professor Dr. Harivallabh C. Bhayani meticulously edited the work, providing English translation and restoring illustrative gathas (verses) and Sanskrit chāyā (prose rendering) for the kārikās (verses).
Influence of Rudrata: The definitions and illustrations in AD. show a close resemblance to Rudrata's Kavyalamkara (9th century), indicating it was likely a source. Specific examples of these resemblances are provided (e.g., for Utprekṣā-vayava, Tulyayogitā, Dīpaka, Yamaka, Rūpaka, and Saṁdeha).

2. Core Content and Structure:

Purpose: The book aims to describe the figures of speech that elevate poetry and make it worthy of appreciation, thereby stopping the compositions of "worthless poets."
Importance of Alamkaras: The text emphasizes that poetry, like a beautiful woman's face, becomes lusterless without ornaments (figures of speech).
List of Alamkaras: The work systematically lists and defines 42 distinct figures of speech, categorizing them. The initial verses provide a list of these figures.
Prakrit Language: The entire text of the Alamkaradappana itself is presented in Prakrit, with a transliteration and English translation provided by the editor.
Illustrative Verses: Each defined alamkara is accompanied by illustrative Prakrit verses (gathas), which are then explained and often attributed to specific poets or their works in the English translation.

3. Detailed Description of Selected Alamkaras (as translated):

The document then proceeds to define and illustrate various alamkaras. Some key examples and their definitions include:

Upamā (Simile): Defined as achieving similarity of an object of comparison through a quality, with the standard of comparison being distinct due to differences in place, time, or action.
- Types of Upamā: The text enumerates 17 types of Upamā, including:
  - Prativastu: Similarity despite dissimilar qualities, lacking comparison particles like 'iva'.
  - Guṇakalitā: Resemblance pertaining to two qualities.
  - Asamā: Where the object of comparison becomes the standard of comparison.
  - Mālā: A series of different standards of comparison.
  - Dviguṇarūpā: Constructed with twofold similar comparisons.
  - Sampūrṇopamā: Neither deficient nor excessive in requisite characteristics.
  - Gūḍhopamā: Submerged in a compound.
  - Śṛnkhalopamā: Concatenation of Upamās.
  - Śleṣopamā: Object of comparison compared by means of śleṣa (pun/double meaning).
  - Isadvikalā: (Definition not fully clear in translation).
  - Anyonyopamā: Mutual standards of comparison.
  - Praśamsopamā: Praised under the guise of censure.
  - Tallipsopamā: Resembles Atiśayokti (exaggeration)?
  - Nindopamā: Censured through praise.
  - Atiśayopamā: Expressed through Atiśayokti.
  - Śrutimitopamā: Constructed by means of similar words.
  - Vikalpitā: Two types based on fancying once or more.
Rūpaka (Metaphor): Representation of the Upameya based on its substance or qualities by the Upamāna.
- Types:
  - Sakalavastu-rupaka: Relating to all the terms.
  - Ekadeśa-rupaka: Confined to a single part.
Dīpaka (Lamp): A single verb illuminating words of the sentence, placed at the beginning, middle, or end.
- Types: Mukha-Dīpaka (beginning), Madhya-Dīpaka (middle), Antya-Dīpaka (end).
Rodha (Obstruction/Restraint): Where something partly spoken is restrained artfully.
Anuprāsa (Alliteration): Two types based on words (Padānuprāsa) and sounds (Varṇānuprāsa).
Atiśaya (Exaggeration/Hyperbole): Words of usual discourse used purposefully to convey oneness.
Viśeṣa (Distinction/Specialty): Where a quality disappears from one part, and another quality is attributed to highlight a specialty.
Ākṣepa (Objection/Rejection): Where something is negated with a specific purpose. Two types: Bhavat and Apakrānta.
Jāti (Nature/Kind): Description of nature.
Vyatireka (Contrast): Where a special trait is pointed out.
Rasita (Sensuous/Erotic): Explicit erotic sentiment.
Paryāya (Metaphorical Substitute): Something said under disguised reference.
Yathāsamkhya (Enumeration): Describing many things with a view to reveal a series. Can be two, three, or four-membered.
Samāhita (Collected/Coordinated): When rich help is received unexpectedly.
Virodha (Contradiction): Opposition between qualities or actions.
Saṁdeha (Doubt): Describing a character through a standard of comparison, then making a distinction, resorting to doubt for praise.
Vibhāvanā (Uncaused Cause): Resulting abundance of result despite no apparent cause, due to resort to actions.
Bhāva (Feeling/Emotion): Perceiving a different meaning from a reply. Types include Gūḍha-bhāva and Anyāpadeśa.
Arthāntaranyāsa (General to Specific/Specific to General): Statement of the opposite of what has been said previously.
Anya-parikara (Secondary Association): (Definition not fully clear in translation).
Sahokti (Concomitance): Revealing of several things and activities simultaneously.
Ūrjā (Vigor/Energy): Composed on the basis of great prowess.
Apahnuti (Concealment): Where the simile is concealed.
Premātiśaya (Extreme Love): Expressing extreme love.
Udātta (Noble/Elevated): Expressing prosperity and high nobility.
Parivṛtta (Exchange/Inversion): Receiving something special by giving away one's own.
Dravyottara, Kriyottara, Guņottara: Assigning prominence to substance, action, or quality respectively.
Śleṣa (Pun/Double Meaning): Upamāna and Upameya described in the same words. Types include Sahokti-śleṣa, Upamā-śleṣa, and Hetu-śleṣa.
Vyapadeśastuti (Praise by Censure): Praising through censure with the objective of highly striking qualities.
Samayogitā (Co-ordination): Where the activity of the low occurs simultaneously with that of the high, with a desire for equality of quality.
Aprastutaprasanga (Irrelevant Association): Statement of something outside its domains.
Anumāna (Inference): Inferring something by means of evidence.
Ādarśa (Mirror/Reflection): Vividly seeing the heart-winning reflection as if in a mirror.
Utprekṣā (Poetic Fancy/Conjecture): Attributing non-existing qualities due to some connection, with slight Upamā, lacking intention of stating all parts.
Saṁsrsti (Combination): Different figures combined into one.
Āśis (Blessing): A statement of blessing.
Upamārūpaka (Simile-Metaphor): Upamā incorporated in a Rūpaka.
Nidarśana (Example/Illustration): (Definition not fully clear in translation, described as "without explicit Upamā").
Utprekṣāvayava (Part of Utprekṣā): Utprekṣā merged in an implied Rūpaka under the guise of Śleṣa.
Udbheda (Revelation): Revelation of some things by others. Types include implied 'kim' and marked by 'nūņam'.
Valita (Turn/Advice): Where the friend of the Nayikā advises her to keep her promise.
Yamaka (Rhyming/Repetition): Repetition of words same in sound but different in meaning. Five types: Pādādi (beginning), Madhyānta (middle/end), Pādābhyāsa (Pāda repetition), Āvali (concatenated), and Sakala-pāda (all Pādas).

4. Conclusion:

The text concludes with the statement of completion and an auspicious wish, "Thus ends the Alamkaradarpana. Let there be welfare and prosperity."

In essence, Alamkaradappana is a significant work in Prakrit literature for its comprehensive treatment of poetic figures. Its value lies in its unique linguistic medium and its attempt to systematize and illustrate a vast array of alamkaras, providing insights into the evolution of Indian poetics and the influence of earlier works.