Alankardappan

Here's a comprehensive summary of the Jain text "Alankardappan" based on the provided pages:

Book Title: Alankardappan (अलंकारदप्पण) Author: Unknown (अज्ञातकर्तृक) Translator: Bhanwarlal Nahata, Prof. Suresh Chandra Pande Editor: Prof. Bhagchandra Jain Bhaskar Publisher: Parshwanath Vidyapith, Varanasi Publication Year: 2001 Language of Original Text: Prakrit Language of Translation/Commentary: Hindi

Overview:

"Alankardappan" is a unique and significant work in the field of Jain poetics, being the only known treatise on poetics written entirely in Prakrit. Dating back to approximately the 10th century CE, the work is attributed to an unknown author who, according to scholarly analysis, likely had a strong connection to the Vedic tradition, despite the Jain context of its publication.

The book was first brought to light in 1968 with a Hindi translation by Bhanwarlal Nahata. This current edition, published by Parshwanath Vidyapith, features a refined translation and commentary by Prof. Suresh Chandra Pande, edited by Prof. Bhagchandra Jain Bhaskar.

Key Aspects and Content:

• Nature of Alankaras (Poetic Devices): The text defines alankaras as elements that enhance the beauty and attractiveness of poetry. They make poetry so captivating that it astonishes the reader. The author, like classical Sanskrit rhetoricians such as Dandin, views alankaras as crucial for poetic beauty, even stating that poetry, even with the quality of "Prasad" (clarity/ease), becomes dull without them.

• Author's Stance on Alankaras: The author is an "Alankaravadi" (proponent of alankaras), believing that alankaras beautify audible poetry and can even adorn the works of less skilled poets. This contrasts with later "Rasavadi" (proponents of sentiment/essence) thinkers who emphasized rasa as the soul of poetry.

• Prakrit as the Language of Poetics: The significance of "Alankardappan" lies in its Prakrit composition, making it a pioneering work in the study of poetics within the Prakrit literary tradition.

• Influence of Sanskrit Poetics: While written in Prakrit, the author demonstrates a clear influence from established Sanskrit poetics, particularly from Bhamaha and Dandin. Many of the classifications and concepts presented echo these earlier masters.

• Classification and Number of Alankaras:

  • The author lists 40 alankaras initially (verses 5-10) but ultimately describes 44 alankaras in the text.
  • Some alankaras are presented with only a definition, while others have only an example.
  • The author introduces several new or less commonly recognized alankaras, including Rasika, Premaatishaya, Dravyottara, Kriyottara, Gunottara, Upama-rupaka, and Utprekshaymak. These are not found in other major Sanskrit treatises on poetics.
  • The text integrates certain alankaras into broader categories. For instance, Asama and Ananvaya are included within Upama, and Malopama is also treated as a type of Upama. Similarly, Parikar and Ekavali are subsumed under Upama.
  • The text does not present a systematic classification of alankaras into Shabdalankara (word-based alankaras) and Arthalamkara (meaning-based alankaras) as later scholars did.

• Key Alankaras Discussed and Their Treatment:

  • Upama (Simile): The author's definition of Upama, which includes considering differences in country, time, and action for establishing similarity, aligns with Bhamaha. Seventeen types of Upama are enumerated.
  • Prativastupama (Comparison of Opposite Objects): Considered a variation of Upama by the author, aligning with Dandin and Bhamaha, but recognized as a distinct alankara by later critics like Mammat.
  • Rupaka (Metaphor): The author's definition, emphasizing the sameness of qualities and the non-difference between the object compared and the object of comparison, is based on Bhamaha. Rupaka is divided into Samastavasturupaka and Ekekadesarupaka, mirroring Mammat's classifications.
  • Deepaka (Torch Simile): The author categorizes Deepaka into Mukhadeepaka, Madhyadeepaka, and Antadeepaka, a classification also found in Bhamaha and Dandin, though not in Mammat.
  • Rodha: A novel alankara described as stopping a partially spoken statement through a logical argument, bearing resemblance to Akshepa (Retraction/Negation) discussed by Dandin.
  • Anupras (Alliteration): Divided into Padanupras and Varnanupras, similar to other traditions.
  • Atishaya (Exaggeration): The definition aligns with Bhamaha's Atishayokti, calling it "beyond the limits of worldly experience."
  • Vishesha (Distinction): A contrastive alankara, with its definition aligning with Mammat's second type of Vishesha.
  • Akshepa (Retraction): Treated as a separate alankara with two types: Bhavishyaman (future) and Ekanta (absolute).
  • Jati (Nature/Natural Description): Referred to as Swabhavokti by Mammat, it describes natural traits.
  • Vyatikra (Contrast): The author's definition, focusing on the superiority of the object compared (Upameya) or the object of comparison (Upamana), is similar to Bhamaha's concept.
  • Rasika (Emotional/Sentimental): Likely corresponds to Bhamaha's Rasavat Alankara.
  • Paryaya (Alternative/Indirect Expression): Seems to align with Paryayokti (Indirect Speech) of Bhamaha, rather than the sequential meaning of "Paryaya."
  • Yathasankhya (Successive Enumeration): The author classifies it into Dviguna, Triguna, and Chaturguna variants.
  • Samahita (Accomplished/Fortuitous): Defined as an alankara occurring with an unexpectedly present aid, akin to Dandin's Samahita. This is seen as a precursor to the concept of Samadhi in later poetics.
  • Virodha (Contradiction): Described as a contradiction in qualities and actions, but without specific sub-classifications.
  • Samsaya (Doubt): Similar to Bhamaha's Sasamdeha.
  • Vibhavana (Imagination/Cause Imagined): The definition of describing the effect without a specific cause aligns with standard treatments.
  • Bhava (State/Emotion): The author's description of conveying unspoken emotions through hints resembles Rudrata's Bhava.
  • Anyapadesha (Indirect Reference): This is seen as equivalent to Bhamaha's Aprastuta Prashansa.
  • Parikara (Accessory/Embellishment): The author's approach seems to follow Mammat's refinement of this alankara.
  • Arthantaranyasa (Analogy/Generalization): The concept of supporting a general statement with a specific one, or vice versa, is presented.
  • Sahokti (Accompaniment): Described as the simultaneous manifestation of actions of multiple objects, similar to Tulyayogita.
  • Oorjasvi (Vigorous/Heroic): The text discusses conveying vigor and eminence, aligning with Dandin's treatment.
  • Apahriti (Concealment): Defined as establishing something else by denying the original, similar to Bhamaha's definition.
  • Premaatishaya (Excess of Love): Corresponds to Dandin's Preyo Alankara.
  • Udatta (Exalted/Noble): The text describes it based on richness and greatness, mirroring Bhamaha.
  • Parivritta (Exchange): Equivalent to Parivartti in other traditions, involving the exchange of items.
  • Dravyottara, Kriyottara, Gunottara: These are unique contributions by the author, where the emphasis is on substance, action, or quality, respectively. These are arguably subsumed under other known alankaras by later scholars.
  • Shlesha (Pun): Presented as both word and meaning-based, with subdivisions based on Sahokti, Upama, and Hetu, aligning with Bhamaha's classification.
  • Vyapadeshastuti (Praise through Criticism): A form of veiled praise where criticism is used to imply praise, similar to Vajrastuti.
  • Samayogita (Equality of Action/Quality): Aligns with Tulyayogita.
  • Aprastuta Prasamsa (Praise of the Unrelated): Treated as Vishesha in one instance and Aprastuta Prasanga in another, leading to some chronological inconsistencies in the text's presentation.
  • Anumana (Inference): Describes inferring something from its sign or evidence.
  • Adarsha (Mirror): A unique alankara not recognized by other scholars, describing a faint reflection of an object.
  • Utpreksha (Poetic Fancy/Hyperbole): The definition is somewhat obscure but relates to imaginative comparison.
  • Samsrishti (Mixture of Alankaras): The text acknowledges the coexistence of multiple alankaras without differentiating between samsarga (mixture) and samsrishti (specific type of mixture).
  • Aashi: (Blessing): Recognized as an alankara.
  • Upamarupaka: A combination of simile and metaphor, accepted by Bhamaha and Dandin but not later scholars.
  • Nidarshana (Illustration/Example): A type of simile where the connection is implied rather than explicitly stated.
  • Utprekshayava: Considered a distinct alankara by the author, mirroring Bhamaha, but integrated into Utpreksha by others.
  • Udbheda (Revelation): A less known alankara, possibly related to indirect expression.
  • Valita: An alankara where a statement is presented through the use of the word "Kim" (what/is it).
  • Yamak (Rhyming/Alliteration): Discussed extensively with five types: Aadimadhyanta, Padabhyasa, Avali, and Sakala Padayamak, closely following Bhamaha.

• Author's Philosophical Leanings: The initial salutation to "Shruti Devi" and the references to Shiva and Brahmins suggest a possible adherence to Vedic traditions, which prompts scholarly debate about the author's Jain identity, although the text is published within a Jain academic framework. The author's emphasis on alankaras over rasa is also seen as an indicator of an older tradition, predating the "Dhvani" theory.

• Literary Style and Examples: The text is composed in Karika (verse) form. The examples provided are original creations by the author and are not found in other well-known Prakrit works like Gaha Sattasai or Vajjallaggam. This suggests the author's own poetic prowess.

Significance and Contribution:

"Alankardappan" is invaluable for several reasons:

1. It is the sole surviving Jain treatise on poetics, offering a unique perspective on the development of literary criticism within Jainism.
2. It showcases the sophistication of Prakrit literature in engaging with complex philosophical and aesthetic concepts.
3. It provides a crucial link to early Indian poetics, demonstrating the author's engagement with foundational figures like Bhamaha and Dandin, while also introducing novel concepts.
4. Its publication by Parshwanath Vidyapith contributes to the preservation and dissemination of rare Jain literary heritage.

In essence, "Alankardappan" is a significant academic work that illuminates a lesser-known facet of Jain literary tradition and offers insights into the evolution of Indian poetics.