Mudrarakshasa (literary study)
by Antara Chakravarty | 2015 | 58,556 words
This page relates ‘Use of Parinama-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.
3.14. Use of Pariṇāma-alaṃkāra
[Full title: Use of Alaṃkāra in Mudrārākṣasa: Arthālaṃkāras, Sādṛśyamūlaka (or Sādṛṣyagarbha) (11). Pariṇāma]
viṣayātmatayāropye prakṛtārthopayogini//
pariṇāmo bhavettulyatulyādhikaraṇo dvidhā//[1]
This means, according to Viśvanātha Kavirāja,
“When what is superimposed, serves the purpose in hand as being identified with the subject of superimposition that is Pariṇāma, which is twofold as being appositional and non-appositional.”
In a few places of Mudrārākṣasa the deployment of Pariṇāma alaṃkāra can be seen. One of the instances of Pariṇāmālaṃkāra in the present drama is–
iha vicarayan sāddhviṃ śiṣyaḥ kriyāṃ na nivāryate
tyajati tu yadā mārgaṃ mohāttadā gururaṅkuśaḥ/
vinayarucayastasmāt santaḥ sadaiva niraṅkuśāḥ
parataramataḥ svātantrebhyo vayaṃ hi parāṅmukhāḥ//[2]
In this world a pupil is not checked doing a good work. The preceptor is a curb when he strays from the proper path through delusion, hence, good men with a liking for discipline are always curb less. We for our part are averse to any independence other than this.
Like the Sādṛśyamulakālaṃkāra, the Virodhamulakālaṃkāras also can be seen being employed by the dramatist here and there.
Footnotes and references:
[1]:
Sāhityadarpaṇa, X. 34
[2]:
Mudrārākṣasa, III.6