3.11. Use of Dṛṣṭānta-alaṃkāra

[Full title: Use of Alaṃkāra in Mudrārākṣasa: Arthālaṃkāras, Sādṛśyamūlaka (or Sādṛṣyagarbha) (8). Dṛṣṭānta]

Dṛṣṭānta is the reflective representation of a similar subject according to Sāhityadarpaṇa of Viśvanātha Kavirāja.^[1] Herein, our author used Dṛṣṭāntālaṃkāra in a number of places. Amongst those two of them are given below as for examples-

Our dramatist has started his journey with Dṛṣṭānta from the very first śloka just after the nāndī, uttered by Sūtradhāra, Cf.—

cīyate bāliśasyāpi satkṣetrapatitā kṛṣiḥ
  na śāleḥ stambakaritā vapturguṇamapekṣate//^[2]

Here, the dramatist makes reference about the seeds that are scattered in the fertile soil grow profusely even being sowed by an ignorant peasant. There is the reflection with an instance as the clustered paddy does not expect any merit in the sower. This idea actually leads to another idea that, even though an author is not highly skilled, yet, with the qualified audience and the good performance of a drama can win the applause.

Another excellent instance of Dṛṣṭānta is in the third act when Kañcukī gets some idea that Candragupta becomes arrogant with the fault of Cāṇakya and says to himself that it is the fault of the minister himself if the king dishonors him. At the same time the Kañcukī delivered an instance as the reflection of the previous idea that the tusker comes to be branded as a rogue through the carelessness of the driver.^[3] Thus this is a clean example of Dṛṣṭānta.

Footnotes and references:

[1]:

dṛṣṭāntastu sadharmasya vastunaḥ prativiṃvanaṃ/ Sāhityadarpaṇa, X.50

[2]:

Mudrārākṣasa, I.3

[3]:

Ibid., III.32