Arthantaranyasa, Arthāntaranyāsa, Arthantara-nyasa, Arthamtaranyasa: 8 definitions
Arthantaranyasa means something in Hinduism, Sanskrit. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.
Natyashastra (theatrics and dramaturgy)Source: Shodhganga: Mankhaka a sanskrit literary genius (natya)
Arthāntaranyāsa (अर्थान्तरन्यास, “corroboration”) refers to a type of Alaṃkāra (figure of speech).—When a general proposition is strengthened by a particular or a particular by a general one and when an effect is justified by a cause or vice-versa, either under a similarity or a contrast, there is Arthāntaranyāsa or corroboration, which is thus eight-fold.Source: Shodhganga: The Kavyavilasa of Ciranjiva Bhattacarya (natyashastra)
Arthāntaranyāsa (अर्थान्तरन्यास) refers to one of the 93 alaṃkāras (“figures of speech”) mentioned by Cirañjīva Bhaṭṭācārya (fl. 17th century) in his Kāvyavilāsa and is listed as one of the 89 arthālaṃkāras (figure of speech determined by the sense, as opposed to sound).—The figure arthāntaranyāsa is one of the important arthālaṃkāras. It is very favourite of the poets like Kālidāsa, Bhārabi etc. Arthāntaranyāsa has been treated by Bhāmāha (II/71), Daṇḍin (II/169) Vāmana (IV/321), Ruyyaka (A.S.P. 109), Mammaṭa (X/661) Viśvanātha (X/80), Jagannātha (R.G. II/P. 634) and others.
Cirañjīva defines arthāntaranyāsa as follows—“bhavedarthāntaranyāso’ nuṣaktārthāntarābhidhā”.—“When another meaning related with the contextual meaning is stated it is the figure arthāntaranyāsa”. In fact when another meaning relates and corroborates the contextual meaning the figure arthāntaranyāsa takes place. Perhaps this definition is borrowed from the Candrāloka of Jayadeva (C.L V./68) where the same definition is found.
Example of the arthāntaranyāsa-alaṃkāra:—
sa rāvaṇo daivatayūtharāvaṇo videhabhūmīpatinandinīkṛte |
jagāma rāmasya śarairyamālayaṃ na kāmināṃ kiñcidapīha duṣkaram ||
“That Rāvaṇa, malicious to the flock of gods had faced death by the shaft of Rāma for his desire for the daughter of the king of Videha. In this world nothing is heard to be performed by lustful person”.
Notes: Here the primary or contextual meaning is that nothing is difficult to be performed by lustful persons. This primary meaning is related with and corroborated by the meaning of Rāvaṇa’s death. So it is an example of arthāntaranyāsa.
Natyashastra (नाट्यशास्त्र, nāṭyaśāstra) refers to both the ancient Indian tradition (śāstra) of performing arts, (nāṭya, e.g., theatrics, drama, dance, music), as well as the name of a Sanskrit work dealing with these subjects. It also teaches the rules for composing dramatic plays (nataka) and poetic works (kavya).
Kavyashastra (science of poetry)Source: Shodhganga: Bhismacaritam a critical study
Arthāntaranyāsa (अर्थान्तरन्यास, “corroboration”) refers to one of the various Alaṅkāras (‘figures of speech’) classified as Artha (‘sense’), as employed in the Bhīṣmacarita (Bhishma Charitra) which is a mahākāvya (‘epic poem’) written by Hari Narayan Dikshit.—An effective use of it is found at various places in this poem of Hari Narayan. Some of his ‘arthāntaranyāsa’ having the beauty of idea and depth of meaning have become proverbial sayings. A few of such examples are given here. An effective portrayal of ‘arthāntaranyāsa’ is seen in II.24 of the Bhīṣmacarita. Here the poet has nicely described the wish of Śāntanu that his son will be educated under the auspices of good teachers as even a fool becomes a scholar in the company of a ‘Guru’. The beauty lies in the idea given by Hari Narayan that a demand should be made only to that person who will accept it and is capable of fulfilling it. Again, the poet comes out with an illustration of company of a ‘Guru’. In V.27 the poet says that Devavrata becomes successful in achieving the desired art of archery under the training of Paraśurāma as it is said that a student having faith in his teacher never fails in his endeavour. The other examples are I.38, II.6, II.22, II.36, VII.59, VIII.9, IX.38, IX.55, XIII.14, XV.11, XV.47, XVI.16, etc.
Kavyashastra (काव्यशास्त्र, kāvyaśāstra) refers to the ancient Indian tradition of poetry (kavya). Canonical literature (shastra) of the includes encyclopedic manuals dealing with prosody, rhetoric and various other guidelines serving to teach the poet how to compose literature.
Languages of India and abroad
Sanskrit dictionarySource: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English Dictionary
(-saḥ) Antithesis. E. arthāntara, and nyāsa position.Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary
Arthāntaranyāsa (अर्थान्तरन्यास):—[=arthāntara-nyāsa] [from artha] m. introduction of some other matter (an illustration of a particular case by a general truth or of a general truth by a particular case), [Sāhitya-darpaṇa; Kāvyādarśa etc.]Source: Cologne Digital Sanskrit Dictionaries: Yates Sanskrit-English Dictionary
Arthāntaranyāsa (अर्थान्तरन्यास):—[arthā+ntara-nyāsa] < [arthāntara-nyāsa] (saḥ) 1. m. Antithesis.
[Sanskrit to German]
Sanskrit, also spelled संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family (even English!). Closely allied with Prakrit and Pali, Sanskrit is more exhaustive in both grammar and terms and has the most extensive collection of literature in the world, greatly surpassing its sister-languages Greek and Latin.
Kannada-English dictionarySource: Alar: Kannada-English corpus
Arthāṃtaranyāsa (ಅರ್ಥಾಂತರನ್ಯಾಸ):—[noun] (rhet.) a figure of speech in which a general proposition is adduced to support a particular instance or a particular instance to support a general proposition.
Kannada is a Dravidian language (as opposed to the Indo-European language family) mainly spoken in the southwestern region of India.
See also (Relevant definitions)
Ends with: Shlesharthamtaranyasa.
Search found 5 books and stories containing Arthantaranyasa, Arthāntaranyāsa, Arthantara-nyasa, Arthāntara-nyāsa, Arthamtaranyasa, Arthāṃtaranyāsa; (plurals include: Arthantaranyasas, Arthāntaranyāsas, nyasas, nyāsas, Arthamtaranyasas, Arthāṃtaranyāsas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Alamkaras mentioned by Vamana (by Pratim Bhattacharya)
20: Definition of Arthāntaranyāsa Alaṃkāra < [Chapter 4 - Arthālaṃkāras mentioned by Vāmana]
1-2: The number of Alaṃkāras (poetic figures) mentioned < [Chapter 5 - A Comparative study of the different alaṃkāras mentioned by Vāmana]
1: Vāmana’s scheme of Alaṃkāras < [Chapter 3 - Śabdālaṃkāras mentioned by Vāmana]
The backdrop of the Srikanthacarita and the Mankhakosa (by Dhrubajit Sarma)
Part 5l - Alaṃkāra (12): Arthāntaranyāsa or corroboration < [Chapter III - Literary Assessment Of The Śrīkaṇṭhacarita]
Part 1 - Rīti or the style < [Chapter III - Literary Assessment Of The Śrīkaṇṭhacarita]
The Agni Purana (by N. Gangadharan)
The Matsya Purana (critical study) (by Kushal Kalita)
Part 2 - Application of Alaṃkāra (figure of speech) in the Matsyapurāṇa < [Chapter 2 - Literary aspect of the Matsyapurāṇa]
Kavyamimamsa of Rajasekhara (Study) (by Debabrata Barai)