6. Poetic Beauty (b): Alankaras (Aesthetics)

The development of Sanskrit Aesthetics is depended on the eight schools of poetics;

1. Rasa,
2. Alankara,
3. Guna,
4. Riti,
5. Vakrokti,
6. Dhvani,
7. Anumana and
8. Aucitya.

The term ‘Alankara’ represents its meaning in a broad and narrow sense. In its broad sense it addresses the whole aesthetics of the literature by the term ‘Alankarashastra’. On its narrow sense, Alankara is a term commonly used to refer the poetic decorations such as Upama, Rupaka, Utpreksha etc which is used to improve the poetic charm. [...] (the one which do decoration is called Alankara), [...] (the one which was adorned is called Alankara), [...] (the one which is use to decorate is called Alankara), [...] (the decoration itself is known as Alankara) are the different etymological derivations of the term ‘Alankara’.

In Natyashastra, Bharata discussed four types of Alankaras such as Upama, Rupaka, Dipaka and Yamaka. Bhamaha developed this categorization into thirty eight and made foundation to the Alankara School of poetics andin laterperiod it exceeded into 124 in its number. Bhamahadescribed his views in his work ‘Kavyalankara’ which is also well known as ‘Bhamahalankara’.

Like the Vrittas Alankaras are also enhances the poetic beauty of a work.Almost certainly a poet’s proficiency in the poetic charm can be measure by analysing the proper using of Alankaras by him in that work. The opinions of ancient masters like Bhamaha, Dandin and Vamana concede this perspective.

[...]^[1]

According to Bhamaha, though a lady without any adornments is not much attractive to others like that without the alignment of proper Alankaras the poem will not give enjoyment.

According to Kavyadarsha of Dandin, that Dharma which gives poetic beauty in a poem is called Alankaras.

[...]^[2]

By following this legacy of Alankaras, the playwright properly aligned different types of Alankaras in this drama. Some of them are discussing below.

1. Utpreksha

The Utpreksha Alankara can be defined as-

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Where an object is poetically imagined as a different thing due to the presence of some common features it is called Utprekshalankara.

In Annadatricarita, an example of Utpreksha Alankara is as follows:

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This row of huge ship with beautiful and colourful flags makes remembrance of Dvaraka. If the divine city Vaikuntha itself arrived here to see her rival wife Dvaraka and in search of her husband (Vishnu)?

This is an example of Uktavishaya Vastutpreksha (uktaviṣayā vastutprekṣā), where the relevant object is mentioned. According to this verse, the Vanci port with colorful flags in the row of huge ships recall the memory of Dvaraka because, it was also a sea side city with many ships in the port. Here also the relevant material is mentioned, i.e., the ships (vastu). The next part of the verse, it is again imagined the Vanci kingdom with the Vaikuntha. The Vanci kingdom is doubted as the arrival of Vaikuntha there. So, here Uktavishaya Vastutpresha is aligned in these verses.

2. Rupaka

[...]

In Rupaka, the upamana is ascribed to the upameya. The upameya is identified with upamana without losing it identity. It is of two types-Abheda rupaka and Tadrupya rupaka.

An example from Annadatricarita for the alignment of Rupaka is-

[...]

This land (Vanci kingdom) is look like a portion lost from the heaven. These preferring lactate herds of cows makes me feel like something greater than heaven.

Here, the first part described the Vanci kingdom as a lost portion of heaven. That means both of them are identified as similar. The next line again describe that, the Vanci kingdom created a feel something more than the heaven by the presence of herds of cows because the heaven has only one kamadhenu but the Vanci kingdom has many herds of cows. Hence, both the vishaya and vishayi are have the same identity of heaven, but the Vanci kingdom has something more than the heaven, i.e. herds of cows. So, it can be identifying that here the Adhikabheda rupaka is aligned properly.

3. Lokokti (Popular Saying)

An expression resembling a proverb is called the Lokokti (Popular Saying).

[...]^[5]

The author used some notations which can compare to the popular sayings and adages. Some of them are prevalent even today. For example, in the Praveshaka, there is a conversation between two maid servants Malati and Lalita. At that time, Malati gave a detailed description about the mission of Vancishvara. Even after hearing this description Lalita raised some silly question. After hearing her question the reply reminds a popular saying.

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This saying is the Sanskrit version of a popular proverb in Kerala which is still continues its usage. The corresponding Malayalam saying is ‘Ramayanam muzhuvan kettukazhinjittum Raman Sitayute Aranennu codikkunno?’ The Dramatist adopted this popular proverb contextually into this drama.

There are a few more sayings in this drama which may consider as a maxim or motto. For example the following sentence by the king can include in this group—

[...]

The progress of the work is assume by the result.

The success of the work is assumed from its result. This may consider as a maxim about the relation between a work and its result. This is related to the ‘karmaphala’ concept. This concept already made influence among the popular culture.

There are other examples in the drama—

[...]

The relationship with great people will always bring excellence. Here, the poet points about the importance of the companionship with the good people. This is quietly similar to the ‘Sajjana Samsarga’ or ‘Samsargena gunadoshah’ concepts in Sanskrit literature.

Moreover, there are some sayings which related to the importance of a virtuous life span.

[...]

The entire wealth will be there, where the virtue is being worshipped. This shows the importance of the virtues in human life. (dharmo yatra jayaśca tatra) (where is Virtue there is victory) is also highlights the merit of Dharma. ‘yato dharmastato jayaḥ’ was a most celebrated slogan from the epic Mahabharata which contains the same notion.

Footnotes and references:

[1]:

Kavyalankara of Bhamaha, Ed.and Tr. By P.V. Nagnatha Sastry [...] Delhi:Motilal Banarsidass, 1970 [...] , 5 [...]

[2]:

Kavyadarsha of Dandin, Ed. with an Original commentary by Vidyabhushana Pandit Rangacharya Raddi Shastri, p.109

[3]:

Kuvalayananda of Appayya Dikshita, Ramachandra Aiyar T.K., (Kalpathi, Palakkad: R.S. Vadhyar & Sons, 2011), 44.

[4]:

Prof. K. Balarama Panicker, Annadatricarita, (Thiruvananthapuram: Published by the author), 28.

[5]:

Ibid.,131.

[6]:

Prof. K. Balarama Panicker, Annadatricarita, (Thiruvananthapuram: Published by the author),25.