Alankar Sarvasvam

This document is a scholarly edition of the Alankarasarvasva (The Essence of Rhetoric) by Rājānakā Ruyyaka, accompanied by the commentary Alankara Vimarsini by Jayaratha. Edited by Mahāmahopādhyāya Pandit Durgāprasād and Kāśīnāth Pāṇḍurang Parab, it was published by Tukārām Javāji in Bombay in 1893 as part of the Kāvyamālā series (No. 85).

The text is a comprehensive treatise on Sanskrit poetics, specifically focusing on alamkāras (figures of speech) and other aspects of literary embellishment. Based on the provided pages, the book aims to present a detailed analysis of various rhetorical devices employed in classical Indian poetry, with a particular emphasis on the categories and classifications of these figures of speech as defined by Ruyyaka and elaborated by Jayaratha.

Here's a breakdown of the content based on the pages and the table of contents (सूचीपत्रम्) visible:

I. Editorial and Publication Details:

• Title: The Alankarasarvasva of Rājānaka Ruyyaka
• Commentary: With the Commentary of Jayaratha
• Editors: Mahāmahopādhyāya Pandit Durgāprasād and Kāśīnāth Pāṇḍurang Parab
• Publisher: Tukārām Javāji, Proprietor of "Javaji Dadaji's Nirnaya Sagara" Press
• Place of Publication: Bombay
• Year of Publication: 1893
• Series: Kāvyamālā 85
• Price: 1 Rupee
• Copyright: Registered according to Act XXV of 1867. All rights reserved.

II. Table of Contents (Partial): The table of contents lists numerous Sanskrit terms related to poetics, indicating a wide-ranging discussion. Some of the key topics covered include:

• Figures of Speech (Alankaras): The majority of the text is dedicated to classifying and explaining various figures of speech. The table of contents shows categories such as:
  • Repetition (Punarokti/Punaruktavada-bhasa): Various types of repetition.
  • Alliteration (Anupras): Types like Chēkānuprāsa and Vr̥ttyanuprāsa.
  • Repetition of words/sounds (Yamak):
  • Figures based on simile (Upama) and comparison: Ananvaya, Upamēyopamā, Rūpaka (metaphor), Parināma, Sandēha (doubt), Bhrāntimān (misapprehension), Utprēkṣā (poetic fancy), Atyaśayōkti (hyperbole), Tulyayōgitā (equal treatment), Dīpaka (lamp), Prativastūpamā, Dr̥ṣṭānta (example), Nidarśanā, Vyatirēka (contrast).
  • Figures related to meaning (Artha): Arthāntaranyāsa (meaning-shift), Paryāyōkta (suggestion), Vjāyastuti (irony), Ākṣēpa (objection), Virōdha (contradiction), Vibhāvanā (cause-effect reversal), Viśēṣōkti (special statement), Asaṅgati (incongruity), Viṣama (disparate), Sama (similar).
  • Figures based on sound and wordplay: Ślēṣa (pun).
  • Figures related to suggestion and implied meaning: Samāsōkti (condensation), Aprastutapraśaṅsā (praise of the un-praised), Vjāyastuti (praise through censure), Ākṣēpa.
  • Figures related to sentiment and emotion (Bhāva): Bhāvōdaya (arousal of emotion), Bhāvasandhi (union of emotions), Bhāvaśablatā (mixture of emotions).
  • Figures related to specific rhetorical strategies: Vakrōkti (indirect speech), Svabhāvōkti (natural description), Bhāvika (poetic illusion).
• Introductory Material (Upoḍdhāta):
• Repetition (Pounaruktya): Types like Arthapounaruktya (semantic repetition), Punaruktavadābhāsa (apparent repetition), Chēkānuprāsa, Vr̥ttyanuprāsa, Yamak, Śabdārthapounaruktya (sound and meaning repetition), Lāṭānuprāsa.
• Other Rhetorical Concepts: Chitra (pictorial description), Sahōkti, Vinōkti, Samāsōkti, Aprastutapraśaṅsā, Arthāntaranyāsa, Paryāyōkta, Vjāyastuti, Ākṣēpa, Virōdha, Vibhāvanā, Viśēṣōkti, Asaṅgati, Viṣama, Sama, Citra, Adhika, Anyōnya, Vyāghāta, Kāraṇamālā, Ēkāvalī, Mālādīpaka, Udāra.
• Figures related to causal relationships: Kāvyaliṅga, Anumāna (inference).
• Figures of enumeration and sequence: Yathāsaṅkhya, Parya (transposition), Parivr̥tti (exchange), Parisankhyā (exclusion).
• Figures of argument and logic: Arthāpatti (implication), Vikalpa (alternative).
• Concluding Sections: Samuccaya, Samādhi, Pratyānīka, Pratīpa (contrary simile), Mīlita, Sāmānya, Tadguṇa, Ataḍguṇa (gain without characteristic), Uttara, Sūkṣma, Vyājōkti, Vakrōkti, Svabhāvōkti, Bhāvika, Udātta.
• Emotions and Sentiments: Rasavat, Prēya, Ūrjasvin, Samāhitāni, Bhāvōdaya, Bhāvasandhi, Bhāvaśablatā.
• Figurative Combinations: Saṅkara (mixture of figures), Saṅsr̥ṣṭi (conflation of figures).

III. Introduction (Pages 7-8): The introduction begins with a mangalācaraṇa (auspicious invocation) to the Goddess of Speech (Parā Vāc), described as having three forms (Paśyantī, Madhyamā, Vaikharī). The author, Ruyyaka, states his intention to explain the essence of alamkāras (figures of speech) in his work, following the methodology of the sūtras. The introduction delves into the philosophical and linguistic concepts of speech, drawing from various schools of thought, particularly emphasizing the role of vyaṅjana (suggestion) in poetry, which is seen as the essence of dhvani (resonance or suggested meaning). It discusses the different stages of speech according to philosophical traditions and highlights the significance of these concepts for understanding poetic expression.

IV. Discussion of Earlier Schools (Pages 9-14): The text then proceeds to discuss the views of earlier theorists like Bhāmaha, Daṇḍin, Udbhaṭa, and Vāmana. It contrasts their approaches, particularly the treatment of pratīyamāna (suggested meaning) and its relation to alaṅkāra and dhvani. Ruyyaka critiques the notion that suggested meaning is merely an ornament (alaṅkāra) or subordinate to the literal meaning, a view attributed to Bhamaha and others. He engages with Vāmana's theory of rīti (style) as the soul of poetry and Udbhaṭa's emphasis on vakra-ōkti (indirect speech). The text starts to analyze specific figures of speech, beginning with those related to repetition.

V. Key Themes and Objectives:

• Systematic Classification: The Alankarasarvasva aims to provide a definitive and systematic classification of all significant figures of speech and poetic devices.
• Re-evaluation of Theories: It appears to re-evaluate and sometimes critique earlier theories, particularly those that might subsume suggested meaning or certain figures under broader categories.
• Emphasis on Suggestion: The text, by engaging with concepts like dhvani and vyaṅjana, suggests a sophisticated understanding of poetic meaning that goes beyond literal interpretation.
• Comprehensive Coverage: The extensive table of contents indicates a thorough and detailed treatment of the subject matter.

In essence, this is a foundational text in Sanskrit literary criticism, offering a rigorous and learned exploration of the principles of alamkāra śāstra (the science of rhetoric). The edition by Durgāprasād and Parab, published from the Nirnaya Sagara Press, signifies a significant contribution to the dissemination of classical Indian knowledge in the late 19th century.