Assignment paper no.109

Assignment : paper no. 109

Topic: Comedy of Menace with example of 'The Birthday Party'

Name: Bhavna Sosa

Paper- Literary Theory &Indian Aesthetics

Roll no- 02

Enrollment no- 4069206420210034

Email ID - bhavnasosa211@gmail.com

Batch-2021-23(MA Sem-2)

Submitted to- S. B. Gardi Department of English. Maharaja Krishnakumarsinhji Bhavnagar University. 

Introduction:

The theory of alankara seems to have influenced poetic com:positions in Sanskrit. Even the earliest Mahakavyas, as those of Asvaghosa seem to have followed some of the dicta incorporated in the teachings of the alankara theorists.1 What ever poetic theories came to be vogue, in actual practice poets seem I have had the alankara theory always in mind. Though the theory of alankaras was the oldest in literary speculation, and was superceeded by theories of rasa and dhvani. Yet alankara was a subject dealt with even by · 3 writers of comparatively recent times. For example, Mammata and Visvanatha, though they were followers of the rasa-dhavani theory, have devoted considerable space to alankaras. This would convey an idea of the extent of the influence that the alankara school exerted on poetry as well as on the theory of poetry. 

Alamkāra or figure of speech is a very important component of literature.WithoutAlamkāra it is difficult to imagine that a literary writer can create literary texts.As students of literature, we must have deeper insights into the nature and function of the figures of speech. We are sure that you have some knowledge about the figures of speech, at least about some of the important figures of speech like Simile, Metaphor, and Alliteration. Although Bharata , in his Natyashastra mentions four components of Alamakara (upamā rūpakaṃ caiva dīpakaṃ yamakaṃ) as related to Drama, he does not elaborate on it.

upamā rūpakaṃ caiva dīpakaṃ yamakaṃ tathā । alaṅkārāstu vijñeyā catvāro nāṭakāśrayāḥ ॥ NS.6. 41॥

The alaṁkāra siddhānta (theory of figures) of Bhamaha (6th century) defines kāvya togetherness of sound and meaning. According to Bhamah, alaṁakāra (poetic figure) is the essential element of poetry and it consists in the striking manner of putting a striking idea in an equally striking word. Anandavardhana view in Dhvanyāloka that “alaṁkārās (poetic figures) are those elements which, depending upon word and meaning, minister to the generation of poetic charm” also certifies the creative use of language in literature. Here we discuss Bhamah's Alankar theory.

What is Alamkar?

The Alamkara School , therefore, is said to take off effectively from the works of Bhamaha and Dandin. It appears , the two scholars were not separated much either in time or in location; and yet, it is hard to ascertain whether they were contemporaries. But, they seemed to have lived during a common period (6th or 7th century) or the time-interval between the two was not much. But, it is difficult to say with certainty who was the elder of the two, although it is assumed that Bhamaha was earlier . Generally, it is believed that Bhamaha lived around the late sixth century while Dandin lived in the early seventh century.

It could be said that the early history of Sanskrit poetics started with the theory of Alamkara that was developed into a system by Bhamaha and later by Dandin. It is however fair to recognize that their elaborations were based in the summary treatment of poetics in the 16th chapter of Natyashastra. The merit of the contributions of Bhamaha and Dandin rests in the fact that they began serious discussion on Poetics as an independent investigation into the virtues of the diction, the language and Alamkara (embellishments) of Kavya; and, in their attempt to separate Kavya from Drama and explore its virtues. The word Alamkāra is derived from the root √kr with the prefix alam, which means ‘to decorate’, ‘to adorn’: “alankaroti iti alankārah.”According to Achārya Dandin, “Kāvya.

It is also propounded that the figures of speech, especially those relating to the play of words like alliteration, provide certain pleasantness of sound i.e. euphony, and thus lead to poetic experience and pleasure. But we must remember that the appropriateness and significance of meaning should not be ignored altogether merely for the sake of embellishment. In this connection Bhāmaha, the great exponent of the Alamkāra theory believes that figures of speech provide pleasure of meaning inherent in ceratain alamkāras such as arthāntaranyāsa, vibhāvana and samāsokti.

Bhamaha, the author of Kavya/amkara was the first exponent of this school. After him came Udbhata and Rudrata. Dandin who is accepted to be an adherent of the gunariti school by consensus of opinion also devotes considerable space to the treatment of alankaras. So much so that his importance as an authority on alankara theory is of no mean magnitude.2 Many later th13orists, if they were attempting to cover the field of poetry comprehensively, always included a treatment of a/ankaras also. To mention a few, one may cite Bhoja's Shringraprakash, Hemcandra's Kavyanusasana and Kesavamisra's Alankara Sekhara alongwith Mammatta's Kavya Prakash and Visvanatha's Sahityadarpana already mentioned. Apart from these, many treatises have been complied dealing exlusively with alankaras, and one need mention only a few such as Alamkarasavasva of Ruyyaka and Alamkarakaustubh of Visvesvara, in addition to Kuvalayananda of Appayya Diksita already mentioned Bhatti (of Bhattikavya fame) can also be reckoned as an exponent of the a/ankara school though he was a poet. Bhattikavya the purpose of which was to narrate a story in verse and to supply examples for rules of grammar and poetics had devoted considerable attention to the entire set of alankaras in vogue at the time. 

The meaning of the term 'alankara' underwent several changes within the course of time. At first it was a generic term for ordinary figures of speech and of sound such as Upama rupaka, Yamaka etc. i.e. what we designate by the term 'alankara' today. By the time of Dandin, the term had acquireq a more extensive meaning and had come to designate any factor that produces poetic beauty (Kavyasobha} under this wide concept, everything that brought about poetic appeal (Kavyagunas) could be introduced. Then in next stage, Vamanause the term synonymous with entire beauty in poetry, i.e. Sundarya.4. Th1s gave the term a still wider connotation. Alongwith thischange of meaning the theory of a/ankara also developed. But the term lost all its wider significance and came to mean a generic term for the two types of figures,viz. arthalankaras and sahrlalankaras.

As it has already been mentioned above the alankaras was divided into two kinds; (1) Sabdalankara and(2) Arthalankaras. The function of tt~e former was to make the sound aspect of the composition agreeable to the ear and the later, to produce the appealing turn of speech. By the time the alamkaravadins invented new figures, and gave new names to the old ones. Gradually the number of alankaras was ever on the increase. Bharata starts with a small number of figures which he mentioned in his Natyashastra i.e. anuprasa and yamaka which are varities of alliteration; rupaka which is same as methaphor; dipaka as exemplification, similar to parabola, and upama or comparison. Bhamaha increased the number to thirtynine. Dandings Kavyadarsa came with few more additions. Although Vamana and some other tried to bring down the number, still the tendency was already to increase, and by the time of Appsyya Diksita's Kuvalayananda the number of arthetmakaras hadreached one hundred and twenty five.

The categories of alamkara have been classified by different poetician into different kind. Rudrata divides it into two types those based on phonetic form its called sabdalamkara and those who based on meaning its called Arthalamkara. Bhoja also divided it into seven parts,

1. Sadrasya 

2. Virodha 

3. Srnkhalabadha 

4. TarkaNyaya 

5. Lokanyaya 

6. Kavyanyaya and 

7. Gudharthapratiti. 

Mamata also divided alamkara into seven types:

1. Upama 

2. Rupaka 

3. AprastutaPrasnsa 

4. Dipaka 

5. Vyatireka 

6. Virodha and 

7. Samuccaya.

Conclusion :-

In this unit, some of the significant aspects of the Alamkāra Siddhānta were discussed. In the Introduction, some of the pertinent questions related to the figures of speech were raised. The main objective was to provide you a clear understanding of the tenets of this theory. In the section, “Meaning of Alamkāra”, there was an analysis of the word ‘Alamkāra’ so as to make you understand the literal meaning of the term. In this context, various definitions given by prominent Sanskrit scholars were discussed. Alamkāra school of thought is one of the earliest and most sustained schools in Indian aesthetics. In the present unit, an attempt was made to trace the historical development of this theory. In this context, the contribution of the significant Alamkāra theorists was discussed.