Mudrarakshasa (literary study)
by Antara Chakravarty | 2015 | 58,556 words
This page relates ‘Use of Parikara-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.
3.27. Use of Parikara-alaṃkāra
[Full title: Use of Alaṃkāra in Mudrārākṣasa: Arthālaṃkāras, Gūḍhārthapratitimūlaka (or Guḍhārthapratitī-varga) (3). Parikara]
In the words of Viśvanātha,—
This means that when in a speech there present a number of significant epithets, the figure there is Parikara. The plural term viśeṣanaiḥ in the definition implies that there must be many significant epithets to constitute the figure. But amongst the rhetoricians there is difference of opinion in connection with this figure.
Like Viśvanātha, Mammaṭa also supports the view that there must be many significant epithets for constituting this figure. But rhetoricians like Jagannātha hold that even one significant epithet would constitute this figure.[2]
Implementations of Parikara-alaṃkāra can be seen in the following verses, Cf.—
guṇavatyupāyanilaye sthitihetoḥ sādhike trivargasya madbhavananītividhe kāryācārye drutamupehi//[3]
O the talented, the dwelling place of remedy, accomplishing of the trivarga, which is the stability of worldly life, admonisher of my all duties, the great learning of moral of my house …come soon.
Here each of the epithets is filled with Śleṣa, as these signify the nīti of Cāṇakya. Here guṇa indicates sandhi, vigraha, yāna, āsana, saṃśraya and dvaidhibhāva; trivarga signifies kṣaya, sthāna and vṛddhi; the word upāyanilaya specifies the four upāyas in politics, viz. sāma, dāma, daṇḍa and bheda. The term madbhavananītividhe indicates all the political intrigues conducted throughout the drama and kāryācārye indicates to Cāṇakya who decides the whole mechanism. Therefore Parikara is clear here.
Besides II.5, 10; III.4, 12; IV.11; V.5 of Mudrārākṣasa are good examples of Parikara alaṃkāra.
Footnotes and references:
[1]:
Sāhityadarpaṇa, X.57
[2]:
viśeṣanairyatsākūtairuktiḥ parikarastu saḥ/ Kāvyaprakāśa, X.118
[3]:
Mudrārākṣasa, I.5