Alankar Manihar Part 03 - Book Summary

This is a comprehensive summary of the Jain text "Alankar Manihar Part 03" by R. Shama Shastry, based on the provided pages.

Book Title: Alankar Manihar Part 03 Author(s): R Shama Shastry Publisher: Oriental Library Publication Year: 1923 Sanskrit Series No.: 62

Overall Nature of the Text:

"Alankar Manihar Part 03" is the third volume of a Sanskrit work on poetics (Alankara Shastra) authored by Sri Krishna-Brahmatantra Parakala Swamin and edited by Dr. R. Shama Sastry. This particular volume focuses on various figures of speech (Alankaras) used in Sanskrit poetry, providing definitions, explanations, and numerous examples for each. The text is highly academic and detailed, aiming to elucidate the intricacies of poetic composition.

Key Figures of Speech (Alankaras) Discussed in Part 03:

The provided Table of Contents (विषयानुक्रमणीयका) on pages 4-8 reveals the extensive coverage of figures of speech in this volume. Based on the section headings, here's a summary of the Alankaras covered:

Sārālainkāra (सारालङ्कारः) - (Section 51): This figure of speech describes an increase in excellence, where something is progressively better than the previous state. It can be applied to a single subject or multiple subjects, describing excellence in form or attributes. The text distinguishes it from Paryayālankāra.
Yathāsaṅkhyālankāra (यथासंख्यालङ्कारः) - (Section 52): This refers to the arrangement of words or ideas in a corresponding order. It can be shābda (verbal) where the correspondence is explicit in the wording, or ārtha (meaning-based) where the correspondence is understood from the context.
Paryāyālankāra (पर्यायालङ्कारः) - (Section 53): This describes a single object residing in multiple locations sequentially. It can be saṅkoca (contracting) where the object moves to progressively smaller abodes or vikāsa (expanding) where it moves to progressively larger ones.
Parivṛttyalankāra (परिवृत्त्यलंकारः) - (Section 54): This figure of speech deals with an exchange or substitution. It can be sama (equal exchange) where equal items are exchanged, or asama (unequal exchange) where unequal items are exchanged.
Pari saṅkhyālankāra (परिसंख्यालङ्कारः) - (Section 55): This occurs when something is restricted to one place when it could potentially exist in multiple places, or when a selection is made from a group, implying the exclusion of others. It can be pure or accompanied by a question, and verbal or meaning-based.
Vikalpālankāra (विकल्पालङ्कारः) - (Section 56): This describes a situation where two mutually exclusive possibilities exist for the same subject, implying that only one can be true at a time.
Samuccayālankāra (समुच्चयालङ्कारः) - (Section 57): This involves the simultaneous combination of multiple items or actions. It is categorized based on whether the subjects are different or the same, and how the qualities or actions are related.
Kāraka dīpaka (कारकदीपकालङ्कारः) - (Section 58): This is a figure of speech where a single factor (subject) is connected to multiple sequential actions. It's considered distinct from Dīpaka by some scholars.
Samādhi (समाध्यलङ्कारः) - (Section 59): This describes a situation where a task becomes easier due to the presence of another enabling factor.
Pratyanīkālankāra (प्रत्यनीकालङ्कारः) - (Section 60): This figure of speech involves overcoming a powerful adversary or their supporters, or seeking help from an adversary's enemy. It can involve direct confrontation, subtle resistance, or alliance with an opponent's opponent.
Kāvyārthāpatti (काव्यार्थापत्तिः) - (Section 61): This figure of speech uses a logical inference based on the principle of dandāpūpikā (a rule where if one action occurs, another associated action is implied). It's akin to the argument from consequence or keimuttika.
Kāvya liṅgālankāra (काव्यलिङ्गालङ्कारः) - (Section 62): This involves using a general statement to support a specific one, or vice versa, to establish a logical connection. It is further divided into those based on sentence meaning (vākyārtha) and those based on word meaning (padārtha).
Arthāntaranyāsa (अर्थान्तरन्यासालङ्कारः) - (Section 63): This figure of speech involves supporting a specific statement with a general one, or a general statement with a specific one, for emphasis or clarification. It can be based on similarity (sādharmya) or dissimilarity (vaidharmya).
Vikastava (विकस्वरालङ्कारः) - (Section 64): This seems to be a less common figure, with the text noting it as potentially related to other figures.
Prāuḍhokti (प्रौढोक्त्यलङ्कारः) - (Section 65): This involves attributing a cause to an effect for the sake of exaggeration or grandeur, even if the cause is not inherently strong enough. It's about attributing a characteristic to something to enhance its description.
Saṃbhāvanā (संभावनालङ्कारः) - (Section 66): This figure of speech expresses a possibility or conjecture, often used to support another argument.
Mithyādhyavasiti (मिथ्याध्यवसितिः) - (Section 67): This is about attributing a non-existent quality to something or creating a false impression to highlight a reality.
Lalitā (ललितालङ्कारः) - (Section 68): This involves describing something indirectly, by alluding to its effects or characteristics without direct mention, often for modesty or subtle expression.
Prahārsana (प्रहर्षणालङ्कारः) - (Section 69): This describes the effortless attainment of a desired object, sometimes even exceeding the desire.
Viṣādanā (विषादनालङ्कारः) - (Section 70): This figure of speech deals with the unexpected attainment of an outcome contrary to the intention, especially when efforts are made.
Ullāsa (उल्लासालङ्कारः) - (Section 71): This involves attributing qualities or defects of one thing to another, either by association or contrast.
Avajñā (अवज्ञा) - (Section 72): This figure of speech occurs when a quality or defect is not recognized or acknowledged, despite its presence, often due to context or irony.
Anujñā (अनुज्ञा) - (Section 73): This is about accepting a negative aspect or permission, often due to a greater positive outcome or desire.
Tiraskāra (तिरस्कृत्) - (Section 74): This refers to the act of disregarding or negating something, often to highlight a stronger opposing quality.
Leśa (लेश) - (Section 75): This involves presenting a quality as a defect, or a defect as a quality, often through irony or subtle commentary.
Mudrā (मुद्रालङ्कारः) - (Section 76): This is a symbolic or coded expression where certain words or phrases hint at a hidden meaning or theme.
Ratnāvalī (रत्नावळ्यलंकारः) - (Section 77): This involves the sequential or non-sequential arrangement of related items, often proper nouns or concepts, to create a patterned effect.
Tadguṇa (तद्गुणालङ्कारः) - (Section 78): This is when an object takes on the qualities of something else it is associated with.
Pūrvarūpa (पूर्वरूपालंकारः) - (Section 79): This refers to the return to an original state after a temporary change, or the continuation of an original state despite external influences.
Atadguṇa (अतद्गुणालङ्कारः) - (Section 80): This is the opposite of tadguṇa, where an object does not acquire the qualities of something associated with it, despite proximity or connection.
Anuguṇa (अनुगुणालङ्कारः) - (Section 81): This describes something that aligns or conforms to a particular standard or quality.
Mīlita (मीलितालङ्कारः) - (Section 82): This figure of speech describes a situation where due to similarity, the distinction between two objects is obscured or lost.
Sāmānya (सामान्यालङ्कारः) - (Section 83): This refers to a general description where the distinctive features of individual items are lost due to their commonality.
Unmīlita (उन्मीलितालङ्कारः) - (Section 84): This is the opposite of mīlita, where distinctions between objects that were previously obscured become clear.
Viśeṣaka (विशेषकालङ्कारः) - (Section 85): This highlights a specific characteristic or action that distinguishes one item from others, often in a context of similarity.
Uttarālankāra (उत्तरालंकारः) - (Section 86): This relates to the answering of a question, either directly or indirectly, often with an underlying intention or meaning.
Citra Praśnā (चित्रप्रश्नालङ्कारः) - (Section 87): This involves a question that is either ambiguous, related to other questions, or contains a hidden meaning.
Sūkṣma (सूक्ष्मालङ्कारः) - (Section 88): This describes a subtle or hidden intention conveyed through actions or speech, understood only by those who are perceptive.
Pihitā (पिहितालङ्कारः) - (Section 89): This refers to an action or statement designed to conceal an underlying intention or truth, often understood by the perceptive.
Vyājokti (व्याजोक्त्यलङ्कारः) - (Section 90): This involves concealing a truth or fact by offering a plausible but false reason or explanation.
Gūḍhokti (गूढोक्त्यलङ्कारः) - (Section 91): This involves speaking indirectly or using veiled language to convey a meaning, often to those who are initiated or perceptive.
Vivṛtokti (विवृतोक्त्यलङ्कारः) - (Section 92): This involves revealing a hidden meaning or truth, often through subtle allusions or indirect statements.
Yukti (युक्त्यलङ्कारः) - (Section 93): This figure of speech involves using actions or words to conceal one's true intentions or motives, often through deception.
Lokokti (लोकोक्त्यलंकारः) - (Section 94): This involves the use of common sayings, proverbs, or folk expressions, often adapted to a specific context.
Chēkōkti (छेकोक्त्यलङ्कारः) - (Section 95): This is a clever or witty remark, often with a double meaning or a subtle jab, related to lokokti.
Vakrokti (वक्रोक्त्यलङ्कारः) - (Section 96): This is the art of speaking indirectly or using ambiguous language, often with a hidden meaning or wit, which can be verbal or based on meaning.
Svabhāvokti (स्वभावोत्क्यलङ्कारः) - (Section 97): This is the straightforward description of reality or nature as it is, without embellishment.
Bhāvika (भाविकालङ्कारः) - (Section 98): This figure of speech describes past or future events in a way that makes them appear present, often through vivid narration.
Udātta (उदात्तालङ्कारः) - (Section 99): This describes grand, noble, or opulent subjects, or the praiseworthy character of great individuals.
Atyukti (अत्युक्त्यलङ्कारः) - (Section 100): This is exaggeration, often describing something as incredibly wonderful, powerful, or vast.
Nirukti (निरुक्ति) - (Section 101): This involves explaining the etymology or meaning of a word, often to create a new or witty interpretation.
Pratisheda (प्रतिषेधालङ्कारः) - (Section 102): This is the negation of something that is already known or understood, often to emphasize an opposing quality or truth.
Vidhi (विध्यलङ्कारः) - (Section 103): This involves stating something as a command or rule, even if it's already understood or common practice, often with a subtle underlying meaning.
Hetu (हेतु) - (Section 104): This figure of speech establishes a causal link between two statements, where one serves as the reason for the other.

Editorial Context:

The text is presented as part of the "University of Mysore Oriental Library Publications Sanskrit Series No. 62." The editor, Dr. R. Shama Sastry, was a distinguished scholar and curator, his multiple qualifications listed highlight the academic rigor behind this publication. The publication date of 1923 suggests it's a significant contribution to Sanskrit studies during that era.

Overall Significance:

"Alankar Manihar Part 03" is a scholarly work that delves into the aesthetic principles of Sanskrit poetry. It serves as a foundational text for understanding the various rhetorical devices that enhance literary expression. The detailed treatment of each figure of speech, with Sanskrit examples and explanations, makes it a valuable resource for students and researchers of Sanskrit literature and poetics.