Alankar Manihar Part 04 - Book Summary

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Book Title: Alankar Manihar Part 04 (अलङ्कारमणिहारः चतुर्थो भागः) Author: Sri Krishna-Brahmatantra Parakalaswamin (श्रीमद्भिः श्रीकृष्णब्रह्मतन्त्रपरकालसंयमीन्द्रैः प्रणीतः) Editor: D. Srinivasachar, M.A. Publisher: University of Mysore, Oriental Library Publications Year of Publication: 1929 Series: Sanskrit Series No. 72

Overview:

"Alankar Manihar Part 04" is the fourth volume of a comprehensive work on Sanskrit poetics (Alankara Shastra) by Sri Krishna-Brahmatantra Parakalaswamin, a prominent figure, as indicated by the honorific titles "Vidyat Kavisarvabhauma" (Master among poets) and "Kavi Gandha Bherunda" (A poet of great prowess). Edited by D. Srinivasachar, this volume focuses on a specific set of poetic figures and concepts, largely delving into the Rasa (aesthetic sentiment) and Dhvani (suggestion) theories, along with various pramanas (means of knowledge) as they relate to literary criticism, and a significant section on Shabda Alankaras (sound-based figures of speech).

Key Sections and Concepts Covered:

The table of contents (विषयानुक्रमणि) reveals a structured approach to the subject matter:

1. Rasa-based Alamkaras (रसवदाद्यलङ्कारनिरूपणम्): This section begins by defining and illustrating several figures of speech that are closely related to the theory of Rasa and Bhava (emotion) in poetry and drama.

Rasa Vada (रसवदलंकारसरः): Discusses figures where Rasa itself, or its constituent elements (Bhava), become part of another Rasa or Bhava. It elaborates on when a Rasa becomes an anga (limb/component) of another Rasa or Bhava, leading to the Rasa Vada figure of speech. The text quotes the Dhvanyaloka to differentiate between figures and Dhvani (suggestion) when Rasa is primary.
Preya (प्रेयोऽलंकारसरः): Focuses on instances where a Bhava or Rasa becomes a component of another Bhava or Rasa.
Ojaswi (ऊर्जस्व्यलंकारसरः): Deals with situations where a Rasabhasa (perversion of Rasa) or Bhavabhasa (perversion of Bhava) becomes a component of a Bhava. It defines Rasabhasa and provides examples.
Samahita (समाहितालंकारसरः): Covers the case where a Bhavashanti (cessation of emotion) becomes a component of a Bhava.
Bhavodaya (भावोदयसरः): Discusses the figure where a Bhavodaya (emergence of emotion) becomes a component of a Bhava.
Bhavasandhi (भावसन्धिसरः): Explains the figure arising when two similar Bhavas combine to form part of another.
Bhavashabala (भावशबलतासरः): Deals with the figure where a mixture of emotions (Bhavashabala) becomes part of a larger emotional expression.

2. Pramana-based Alamkaras (प्रमाणालंकारनिरूपणम्): This substantial section explores how the various means of valid knowledge (pramanas), as understood in Indian philosophy, are used poetically to create figures of speech.

Pratyaksha (प्रत्यक्षसरः): Figures based on direct perception through the senses.
Anumana (अनुमानसरः): Figures derived from inferential knowledge.
Upamana (उपमानसरः): Figures related to comparison and simile.
Shabda Pramana (शब्दप्रमाणसरः): This is a very extensive section, covering figures derived from various types of authoritative verbal testimony. It discusses:
- Shruti (Śruti - Vedic texts)
- Smriti (Smriti - smrti texts)
- Itihasa (Itihasa - epics and historical narratives)
- Purana (Purana - mythological texts)
- Vyakaran (Vyākaraṇ - grammar, especially Panini's rules)
- Nyaya (Nyāya - logic and argumentation)
- Mimamsa (Mimāṁsā - ritualistic interpretation)
- Chhandas (Chhandas - prosody/meter)
- Jyotisha (Jyotiṣa - astrology/astronomy)
- Achara (Āchāra - tradition/conduct)
- Atmatusti (Ātmatusti - self-satisfaction, possibly as a criterion)
- Shruti-linga-adi (Shruti-Linga-adi - scriptural injunctions, indicative signs etc.)
- Arthapati (Arthāpatti - presumption)
- Sambhav (Sambhava - possibility)
- Aitihya (Aitihya - tradition/hearsay)

3. Sankara and Samsrishti Alamkaras (संसृष्टिसरः, संकरसरः): These chapters deal with the confluence of different figures of speech.

Samsrishti (संसृष्टि): Where different figures of speech are mixed but remain distinct, like mixing milk and water. It can occur between sound-based figures, meaning-based figures, or a combination of both.
Sankara (संकर): Where figures of speech intermingle in a more complex way, like mixing milk and water where the distinction is less clear or where one figure supports another. The text outlines four types of Sankara:
1. Angangi-bhava Sankara: Where one figure is primary and another is secondary.
2. Sama-pradhanya Sankara: Where multiple figures are equally important.
3. Sandesha Sankara: Where there is uncertainty about which figure is operative due to ambiguity.
4. Eka-vachaka-anu-pravesha Sankara: Where multiple figures are conveyed through a single word or phrase.

4. Shabda Alamkaras (शब्दालंकारसरः): This is a significant portion of the volume, detailing various sound-based figures of speech:

Anupras (अनुप्रास): Repetition of sounds.
- Chheka Anupras (छेकानुप्रास): Repetition of consonants occurring once each.
- Vritti Anupras (वृत्त्यनुप्रास): Repetition of letters where there is no strict rule of sequence or number.
Lata Anupras (लाटानुप्रास): Repetition of words or phrases with a slight difference in emphasis or meaning.
Yamak (यमक): Rhyme and metrical patterns, including various subtypes like Shloka-avritti, Ardha-avritti, Pada-avritti, etc.
Sankirna Bheda (संकीर्णभेद): Mixed types of Ymak.
Specific Wordplay and Structural Figures: The text also describes complex figures based on word manipulation, such as:
- Punarukta Vadasabhasa (Apparent repetition)
- Apashabd Vadasabhasa (Apparent incorrect words)
- Abhram Vadasabhasa (Apparent indeclinables)
- Tinganta Vadasabhasa (Apparent verb forms)
- Gudha Pada Chitra (Hidden word patterns)
- Kriya Vanchana Chitra (Deception through actions/verbs)
- Aamantrana Vanchana Chitra (Deception through invitation)
- Sapta Vibhakti Vanchana Chitra (Deception through seven case endings)
- Svara Sthana Vyanjana Niyama Chitra (Rules of vowels, positions, consonants)
- Varna Niyama (Rules of letters)
- Various Chitra Bandhas (pattern poetry) like Apana Vargiya Chitra, Ananta Sthaushma Vachitra, Eka Vargiya Varna Niyama, Dvi Vyanjana Chitra, Eka Vyanjana Chitra, Sapta Svara Niyama Chitra, Apunarukta Vyanjana Chitra, Sama Samskrit Prakrit Chitra, Shodash Dal Padma Bandha, Dvi Chaturka Bandha, Go Mutrika Bandha, Hara Bandha, Gavaksha Bandha.

Overall Contribution:

This volume of "Alankar Manihar" serves as a detailed exploration of sophisticated poetic devices within Sanskrit literature. By connecting abstract concepts of Rasa and Pramana to practical examples of Alamkaras, and by thoroughly cataloging sound-based figures, it offers a valuable resource for understanding the nuances of classical Indian aesthetics and literary artistry. The inclusion of extensive pramana-based figures highlights the philosophical underpinnings of Sanskrit literary analysis, while the intricate descriptions of Shabda Alankaras showcase the verbal dexterity and structural ingenuity valued in Sanskrit poetry.