Mudrarakshasa (literary study)
by Antara Chakravarty | 2015 | 58,556 words
This page relates ‘Use of Samasokti-alamkara’ of the English study on the Mudrarakshasa: an ancient Sanskrit dramatic play (Nataka) authored by Vishakhadatta which deals with the life of king Chandragupta. This study investigates the Mudra Rakshasa from a literary perspective, such as metrics, themes, rhetorics and other poetical elements. Chandragupta ruled the Mauryan Empire during the 4th century BCE, hence this text can also be studied as a historical textbook of ancient India.
3.7. Use of Samāsokti-alaṃkāra
[Full title: Use of Alaṃkāra in Mudrārākṣasa: Arthālaṃkāras, Sādṛśyamūlaka (or Sādṛṣyagarbha) (4). Samāsokti]
According to Sāhityadarpaṇa, when the behaviour of a thing which is not the subject in hand, is ascribed to the subject of description from a sameness of action, gender or attribute, the figure is Samāsokti.[1] This Samāsokti-alaṃkāra has been used by Viśākhadatta in many places of his drama.[2]
Two of the finest examples on the behavior of Rājalakṣmī are as follows: Cf.—
“Afraid of whose efforts, the Goddess of wealth, having her creeper-like left arm winding loosely round the neck of Candragupta, with her turned face and right arm regularly falling down on her lap, though forcefully placed on the shoulder, does not even now bring her right nipple on the thorax of Candragupta, which is compressed by close embracement.[3]
Again, Cf.—
“The Goddess of royalty stands with her feet rigidly placed on the king and on the minister when grown too high. But through feminine nature unable to sustain her weight, she quits one of the two.[4]
In both the above places the nature of a fickle minded maiden is ascribed to the Rājalakṣmī (personification of the wealth) of Candragupta.
Footnotes and references:
[1]:
samāsoktiḥ samairyatra kāryaliṅgaviśeṣanaiḥ// vyavahārasamāropaḥ prastute’nyasya vastunaḥ/ Sāhityadarpaṇa, X.56
[2]:
II.12; III.1,2,3,8,9,29; IV.13; VI.12
[3]: