Alankar Sarvasvam - Book Summary

Here's a comprehensive summary of the Jain text "Alankar Sarvasvam" by Gaurinath Pathak, based on the provided text:

Title: Alankar Sarvasvam (The Essence of Poetic Embellishments) Author: Rajanak Ruyyaka (as the author of the Sutras) and Mankhuka (as the author of the Vritti/Commentary) Editor/Publisher: Gaurinath Pathak, published by Sharda Bhavan, Kashi. Date of Publication: Vikram Samvat 1983 (approximately 1926 AD)

Core Content and Purpose:

"Alankar Sarvasvam" is a significant work on Sanskrit poetics (Alankara Shastra). It is structured into two primary parts:

Alankara Sutra: This is the concise, aphoristic text that lays down the principles and classifications of poetic embellishments.
Vritti (Commentary): This is an extensive commentary that elaborates on the Sutras, providing explanations, examples, and detailed analysis of each concept.

The book aims to provide a complete and exhaustive treatment of the subject of poetic embellishments, as indicated by its title "Sarvasvam" (Essence/All).

Authorship and Historical Context:

Ruyyaka: The primary author of the "Sutras" (the core principles) is identified as Rajanak Ruyyaka. He was a scholar from Kashmir, a renowned center of learning. He was the son of Rajanak Tailaka, author of "Udbhat Viveka."
Mankhuka: The author of the "Vritti" (commentary) is identified as Mankhuka, a disciple of Ruyyaka. Evidence for this comes from Mankhuka's own work, "Sree Kanthacharita," where he refers to Ruyyaka as his guru.
Dating: Ruyyaka is estimated to have lived between 1080-1090 AD, and Mankhuka flourished in the first half of the 12th century, specifically during the reign of King Jayasingha of Kashmir (1127-1149 AD). This places the work in the medieval period of Sanskrit literary criticism.
Distinguishing from other interpretations: The editor, Gaurinath Pathak, clarifies a potential confusion. Some earlier interpretations suggested Mankhuka as the sole author of "Alankar Sarvasvam." However, based on manuscript evidence and Ruyyaka's mention in other works, Pathak asserts that Ruyyaka authored the Sutras and Mankhuka the Vritti.

Key Concepts and Classification of Poetic Embellishments (Alankaras):

The "Alankar Sarvasvam" systematically discusses various theories and classifications of poetic embellishments, often referencing earlier scholars like Bhamaha, Udbhata, Rudrata, Vamana, and Dandin. The work delves into:

The Nature of Alankaras: It explores the debate on whether these embellishments are mere ornaments or integral to the essence of poetry. The text seems to lean towards the view that while some are ornamental, others contribute to the meaning and essence.
Dhvani (Suggestion/Implied Meaning): A significant portion of the work engages with the concept of Dhvani, particularly as articulated by Anandavardhana. It discusses different types of Dhvani and their relationship to Alankaras.
- Dhvani Kavya (Poetry of Suggestion): Considered the highest form of poetry, where the suggested meaning (Vyanjya Artha) surpasses the literal meaning (Vachya Artha).
- Guni bhuta Vyanga Kavya (Poetry with Subordinated Suggestion): Where the suggested meaning is secondary to the literal meaning.
- Chitra Kavya (Picture-like Poetry): Poetry that is visually or phonetically interesting but lacks significant suggested meaning.
Classification of Alankaras: The book categorizes Alankaras into several major groups, including:
- Arthalaṅkāras (Meaning-based Embellishments): These focus on the semantic aspect of poetry. Examples discussed include:
  - Upama (Simile): Comparing two things based on similarity.
  - Ananvaya (Unique Simile): When something is compared to itself.
  - Upameyo-pama: Where the simile itself becomes the subject of comparison.
  - Smriti (Remembrance): Evoking memories.
  - Rupaka (Metaphor): Identifying one thing with another.
  - Parinama (Transformation): When the object of metaphor undergoes a transformation.
  - Sandeh (Doubt/Suspense): Creating uncertainty about the identification.
  - Bhranti-man (Delusion/Mistake): Mistaking one thing for another due to similarity.
  - Ullekha (Description in various forms): Describing something in multiple ways.
  - Apahnuti (Concealment): Hiding the true identity.
  - Utpreksha (Poetic Fancy/Supposition): Imagining one thing to be another based on certain conditions.
  - Atishayokti (Hyperbole): Exaggeration.
  - Tulyayogita (Equal Combination): Connecting dissimilar things through a common attribute.
  - Deepaka (Lantern): A common attribute illuminating multiple things.
  - Prativastupama (Counter-simile): Similar to simile but with a more nuanced comparison.
  - Drishtanta (Example/Illustration): Using an example to illustrate a point.
  - Nidarshana (Illustration/Example): Similar to Drishtanta, often with a touch of impossibility.
  - Vyatireka (Contrast): Highlighting differences.
  - Sahokti (Co-presence): Mentioning two things together.
  - Vinokti (Absence/Lack): Highlighting something by mentioning the absence of its opposite.
  - Samasokti (Concise Speech/Personification): Implying something about the unmanifested through the manifested, often through descriptions.
  - Parikara (Emphasis): Adding emphasis through descriptive epithets.
  - Shlesha (Pun/Double Meaning): Utilizing words with multiple meanings.
  - Aprestutaprasamsa (Praise of the Unmanifested): Praising something unmanifested by describing the manifested.
  - Arthantaranyasa (Argument by Analogy/Support): Supporting a statement with a general or particular argument.
  - Paryayokta (Circumlocution/Indirect Praise): Conveying meaning indirectly.
  - Vyajastuti (Praise in the guise of Blame/Blame in the guise of Praise): Apparent blame that is actually praise, or vice-versa.
  - Akshepa (Rejection/Repudiation): Implying something by negating it, often to highlight its significance.
  - Virodha (Contradiction): Presenting contradictory ideas for effect.
  - Vibhavana (Causation): Describing an effect without its cause.
  - Visheshokti (Emphasis on Specificity/Exception): Describing the absence of an effect despite the presence of its cause.
  - Atishayokti (Hyperbole): Exaggeration, often related to cause and effect.
  - Asangati (Disunity/Incongruity): Connecting cause and effect that are geographically or logically separated.
  - Vishama (Incongruity/Unequal): Describing disproportionate or unsuitable connections.
  - Sama (Equivalence/Equality): Describing equal or harmonious connections.
  - Vichitra (Wonderful/Strange): Describing unusual or unexpected outcomes of efforts.
  - Atyanurūpya (Disproportion/Unsuitability): Highlighting disproportionate qualities.
  - Anyonyam (Mutual Action): Describing reciprocal actions.
  - Vishesha (Distinction/Specific Detail): Highlighting specific details or unique qualities.
  - Vyatighata (Interruption/Frustration): Describing the thwarting of an action or effort.
  - Karana Mala (Garland of Causes): A chain of causes leading to an effect.
  - Ekavali (Garland of Epithets): A series of epithets describing a subject.
  - Maladiipaka (Garland of Lanterns): A common attribute illuminating a series of objects.
  - Udatta (Noble/Elevated): Describing grand or elevated subjects or actions.
  - Rasavat, Preyasa, Urjasvi, Samahita: Embellishments related to Rasa (aesthetic sentiment), Bhava (emotion), their variations (Abhasa, Prashama).
- Shabda Lankaras (Sound-based Embellishments): These focus on the phonetic and rhythmic aspects. Examples include:
  - Shabda Paunaruktya (Repetition of Sounds): Alliteration, Yamaka.
  - Anupras (Alliteration): Chheka Anupras, Vritti Anupras.
  - Yamak (Rhyme/Repetition of Syllables):
  - Chitra (Picturesque Poetry): Where words form visual patterns.
  - Latana-pras: A specific type of alliteration based on the repetition of words with slight variations in meaning or emphasis.
- Ubhayalaṁkāras (Embellishments combining Sound and Meaning): Laṭānupraasa is mentioned as one such category.
Analysis of Poetic Theories: The work also critically examines different schools of thought in poetics, such as those of Bharata Muni, Bhamaha, Vamana (especially his concept of Riti as the soul of poetry), and the Dhvani school.
Structure and Method: The text is characterized by its analytical and systematic approach. It defines each concept, provides explanations, discusses nuances, and often clarifies distinctions between similar concepts. The editor's notes add further context and historical information.

Significance:

"Alankar Sarvasvam" is a foundational text in Sanskrit poetics, offering a comprehensive and well-structured understanding of poetic embellishments. Its detailed explanations and critical analysis of various theories make it a valuable resource for students and scholars of Indian literature and aesthetics. The work's meticulous classification and discussion of numerous Alankaras have influenced subsequent works in the field.

In essence, Gaurinath Pathak's edition of "Alankar Sarvasvam" provides a scholarly presentation of Ruyyaka and Mankhuka's seminal work on the art of poetic expression in Sanskrit, illuminating the intricate theories that shaped Indian literary traditions.