Alankar Raghavam Part 02

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Book Title: Alankara Raghavam Author: Yajneshwar Dikshit Part: II Critical Editor: T. V. Sathyanarayana Publisher: Oriental Research Institute, University of Mysore Year of Publication: 1991 Price: Rs. 31-00

Overall Purpose and Content:

"Alankara Raghavam Part 02" is the second volume of a work dedicated to the study of Alankara Shastra (the science of poetics and rhetoric in Sanskrit literature). This volume specifically focuses on figures of speech (Alankaras). The author, Yajneshwar Dikshit, presents his viewpoints and definitions of various figures of speech, illustrating them with original verses, many of which are dedicated to Lord Rama. The editor, T. V. Sathyanarayana, has critically edited the text, providing extensive commentary, collating opinions of various Alankarikas (scholars of poetics) from ancient and medieval periods, and ensuring an accessible presentation of the complex subject matter.

Key Aspects and Content Breakdown:

1. Foreword: The foreword by K. Rajagopalachar, Director of the Oriental Research Institute, highlights the significance of the work as the second part of "Alankara Raghavam." It mentions that the first part deals with topics like heroes and rasa, while this second part delves into figures of speech. The foreword praises the editor's diligence and scholarship, particularly in Alankara and Vyakarana Shastras, and emphasizes the importance of textual criticism in the publication. It also expresses gratitude to the University authorities and readers for their support.

2. Introduction (Upo'dghātah): This section provides a historical overview of Alankara Shastra, tracing its origins back to Bharata's Natya Shastra and mentioning key figures like Bhamaha, Udbhata, Rudrata, Vamana, Anandavardhana, Mammata, Vishvanatha, and Appayya Dikshita. It discusses different views on what constitutes kavya (poetry) and the various theories about the atma (soul) of poetry, such as dhavani, vakrakti, auchitya, and rasa. The introduction also touches upon the ongoing availability of unpublished manuscripts and the importance of bringing them to light through scholarly editing.

3. Author's Biography (Granthakārasya Parichayah): This section provides extensive details about the author, Yajneshwar Dikshit (also known as Yajñanārāyaṇa Dikshit).

   • Family: Son of Kondubhatta Upadhyay, brother of Tirumalayajvan, and nephew of Lakshmidhara. He belonged to the Cerukūri family.
   • Works: Besides "Alankara Raghavam," he is known to have authored "Alankara Suryodaya," "Alankara Ratnakara," a commentary on Mammata's "Kavya Prakasha," and "Sahitya Ratnakara." He also wrote a logical treatise "Shastra Chudamani" and its commentary "Vivaranoujjivini," which critiques Gangesha Upadhyaya's "Tattvachintamani."
   • Literary Style: He is described as a Shastrakavi (a poet with deep knowledge of scriptures and sciences).
   • Devotion: The work prominently displays his deep devotion to Lord Rama. All his illustrations are Rama-centric. The initial mangalashloka (auspicious verse) is dedicated to Hanuman, another significant figure in his devotional practice.
   • Period: Based on his references to earlier Alankarikas and his critique of later ones, he is estimated to have lived around the beginning of the 17th century AD, possibly around the time his son Venkatesha Kavi composed "Chitrabandha Ramayana" (AD 1635).

4. Title Justification (Alankara Raghavam iti Namakaranauchityam): The title "Alankara Raghavam" itself signifies a work that adorns the Raghava lineage (Rama) with the science of poetics. The author's devotion is evident throughout the text, with examples and concluding verses often invoking Rama and Sita.

5. Manuscript Collation and Editing Process (Sampadanakramah): The editor details the meticulous process of collating manuscripts from various institutions like the Oriental Research Institute (Mysore), Adyar Library (Madras), and Tanjore Saraswati Mahal Library. He discusses the challenges posed by incomplete or damaged manuscripts and how different versions were reconciled to produce the critical edition. The work was divided into two parts to manage the extensive content.

6. Structure of the Work (Alankara Raghavam - Dvitiyo Bhagah):

   • Part I: Covered introductory topics, characteristics of heroes (nayaka), kavya, dhvani, rasa, defects (dosa), qualities (guna), etc.
   • Part II (This Volume): Focuses on figures of speech (Alankaras), divided into:
     • Shabda Alankaras (Figures of Sound): Including Chhekanuprasa, Vruttyanuprasa, Yamaka, Chitra (various bandhas or patterns), Punaruktavadabhasa, and Latanuprasa.
     • Artha Alankaras (Figures of Meaning): This forms the bulk of the volume, detailing a vast array of figures of speech, including:
       • Upama (Simile) and its numerous classifications (Purnopama, Luptopama, etc.).
       • Ananvaya, Upameyoapama, Smarana (Remembrance).
       • Rupaka (Metaphor) and its extensive subdivisions.
       • Parinama (Result), Bhrantimat (Mistake), Apahava (Concealment), Sandeh (Doubt), Ullekha (Different descriptions), Upreksha (Figurative comparison), Atishayokti (Hyperbole), Sahokti (Accompaniment), Sahitokti, Vinocti, Samasokti, Vakrokti, Vyajokti (Irony), Milana (Concealment), Samanya (General), Tadguna (Possessing the quality), Atadguna (Not possessing the quality), Visheshokti (Exceptional statement), Paryayokta (Figurative statement), Swabhavokti (Natural description), Virodhabhasa (Apparent contradiction), Vishesha (Special), Visham (Unusual), Sama (Equal), Adhika (More), Vibhavana (Imaginary cause), Asangati (Incongruity), Anyonya (Mutual), Vichitra (Wonderful), Pratipa (Inversion), Dipaka (Lamp), Tulyayogita (Equal relation), Prativastupama (Resemblance of object), Drishtanta (Illustration), Nidarshana (Exemplification), Vyathireka (Contrast), Shlesha (Pun), Parikara (Circumstance), Parikarankura (Bud of Parikara), Savikalpaka (Alternative), Nirvikalpaka (Without alternative), Dharavahika (Continuous), Pratyabhijna (Recognition), Pratyaksha (Direct perception), Aksepaha (Rejection), Aprastuta Prashansa (Praise of the unrelated), Vyajastuti (Praise by blame), Sukshma (Subtle), Udatta (Exalted), Parivrittti (Exchange), Paryaya (Circumlocution), Bhavika (Effect), Vyaghata (Contradiction), Pratyaniika (Adversary), Anumana (Inference), Kavyalinga (Poetic causation), Arthantaranyasa (Argument from general to particular or vice versa), Yathasankhya (Correlation), Arthapatti (Presumption), Parisankhya (Exclusion), Niyama (Rule), Apura (Unprecedented), Uttara (Reply), Vikalpa (Alternative), Samuccaya (Collection), Dwitiya Samuccaya (Second collection), Phala Samuccaya (Collection of fruits), Samadhi (Concentration), Karana Mala (Garland of causes), Malā Dipaka (Garland lamp), Sara (Essence), Ekavali (One line), Samsrushti (Mixture), and Sankara (Combination).

7. Critical Analysis and Commentary: The editor's commentary is crucial. He often collates definitions from various schools of Alankara Shastra, analyzes their validity, points out subtle distinctions, and sometimes offers his own refined interpretations or solutions to apparent contradictions or dosha (flaws) in earlier definitions. His deep understanding of logic (tarka) is evident in his analytical approach to defining complex figures of speech.

8. Illustrative Verses: The author has composed numerous original verses (udaharana padyani) to illustrate each figure of speech. These verses are noted for their poetic beauty, adherence to classical meters, and their consistent theme of devotion to Rama.

9. Language and Style: The text is in Sanskrit, adhering to the traditional style of Sanskrit scholarship. The editor's language in the introduction and commentary is clear and scholarly.

Significance of the Work:

• Comprehensive Coverage: Part II of "Alankara Raghavam" offers a detailed exploration of figures of speech, covering a vast range of categories and subcategories recognized in Sanskrit poetics.
• Scholarly Contribution: It represents a significant contribution to the study of Alankara Shastra, making the author's original insights and critical analyses accessible to contemporary scholars.
• Devotional Aspect: The work is infused with the author's profound devotion to Rama, adding a spiritual dimension to its academic value.
• Critical Edition: The critical editing by T. V. Sathyanarayana is vital for preserving and understanding this complex text.

In essence, "Alankara Raghavam Part 02" is a scholarly and devotional treatise on the figures of speech in Sanskrit poetics, authored by Yajneshwar Dikshit, meticulously edited and annotated by T. V. Sathyanarayana, and published by the Oriental Research Institute, University of Mysore.