Chapter 4c - Alankaras in the Sankalapa-suryodaya

The excellence of a literary work, be it a drama or a poem, lies in its richness of the use of figures of speech and of the sentiments. Rhetoricians have considered the figures of speech as one of constituents of poetry. Therefore, the dramatists or poets have made good use of different figures in proper contexts. The figures of speech indeed, adorn the substance of poetry. Bhamaha and Dandin, famous rhetorians of the old school, have regarded them as invariable elements of the poetry. Bhamaha says that an unornamented poem, though full of poetic sentiments, does not attract a Sahrdaya ( lover of poetry) like a beautiful but unornamented face of a lady. 1 Anandavardhana, the foremost propounder of the Dhvani Theory, regards that figures of speech should be used with great discretion in such a way as to subserve the delineation of Rasa. Figures should be evolved without special effort on the part of the poet. 2 Dandin also has highlighted the importance of figures of speech as a means of adding charm to poetry. 3 Though Vamana has laid much emphasis on Riti, he has readily accepted the importance of the figures. He says that beauty is Alankara, and a poem appeals to the mind of a reader if it has Alankaras.4 Thus, it is evident that figures add to the poetic charm. Rhetoricians have mentioned two types of figures of speech. 1) sabdalamkara ( decorating the words ), 2) arthalamkara (decorating the sense). Venkatanatha may be said to be equally well-versed in the science of rhetorics as can be seen further from copious examples of various figures of speech. A close reading of the Sankalpa-suryodaya makes it evident that 1. nh na kantamapi nirbhusam vibhati vanitamukham | alamkarantarasyapi pratitau yatra bhasate | tatparatvam na vacyasya nasau marge dhvanermatah || Kavyalamkara, 1-13. Krishnamoorthy K., Anadavardhana's Dhvanyaloka, Karnatak University, Dharwad, 1974, 11-27, p.90. kavyam sobhakaran dharman alamkaran pracaksate || 3. Kavyadarsa, II-1 4. kavyamgrahyam alamkarat, saundaryam alamkarah | Kavyalankara sutra l-12.

236 Venkatanatha has made use of various figures of speech in suitable contexts. No doubt, Venkatanatha's use of Sabdalankaras is considerably scanty as comparing to the use of Artha-alankaras. Yet, a few examples of Sabda-alankara may be seen as below. 1. anuprasa (Alliteration ) : Anuprasa is that, where same sound is repeated for number of times in the same order even if their vowels differ in such repetition. 5 A verse from the first Act of the Sankalpa-suryodaya exemplifies Anuprasa. mahatyarambhe'sminmadhuripudayasambhrtadhrtih bahiskrtyaratinsumukhi bahirantasca bhavatah | samadhavadhaya ksapitavrjinam ksetrinamaham parapraptya dhanyam parinamacitum praptaniyamah 11 Here the first line of the verse repeats 'F' sound twice. similarly, in the second line a sound, in the third line sound' and '&'. The sound c and c are repeated twice in the last line. Therefore, it can be said as an example of Anuprasa. 2. cchekanuprasa (Single Alliteration) : 6 It is called Chhekanuprasa where there is single repetition of similar consonants. And this similarity of consonants should be without change of order. There is an example of this kind of Alliteration: 'mrduhrdaye daye mrditakamahite mahite dhrtavibudhe budhesu nihitatmadhure madhure vrsagirisarvabhaumadayite mayi te mahatim bhavukanidhe nidhehi bhavamulaharam laharim ' || (VI-76) 5. anuprasah sabdasamyam vaisimyepi svarasamyat | Visvanatha, Sahityadarpana, X-3, p. 768 6. cchekovyanjana samghasya sakrtasamyam anekadha | Ibid., X-3, p.769

237 In this verse, the first line consists of single repetition of consonants 2424 and hite hite | And, in the second line budhe budhe and madhure madhure, in the third line yite yi te ; and in the last line of the verse A&A and are repeated. Therefore it is an example of Chhekanuprasa. 3. 341 (Simile) : There are a few examples illustrating Upama7 figure of speech. For example :- drsyamano divasesvara iva bahalamandhakarapragbharakam | dipyamanasca davanala iva vipulam vindhyatavimandalam || tvaramanasca prabhanjana iva tulitam sailena tulotkaram | • preksamano nikhilamapi durmatimatam bhettum vivekah prabhuh || (II - 4) "Like the Sun whom we see dispelling wide and dense darkness, like the blazing forest fire (burning away) the broad expanses of Vindhya forests, like a swift gale dispersing mountain - like heaps of cotton, our king Viveka will refute all the rival systems of perverse minds in the sight of every one." According to Mammata, the definition of Upama runs thus: Upama exists where there is similarity of attributes between two things, when there is distinction between them. Here Viveka's refuting all the rival systems of perverse minds by mere sight is compared with Sun's dispelling the darkness, forest - fires (1) burning the wide Vindhya forest and to swift winds dispersing mountain like heaps of cotton. Thus, here the Upameya statement of Viveka's dispelling the darkness is adorned and strengthened by three Upamanas given above. As three Upamanas are enlanced here, this verse may be said as an example of Malopama. In this verse above 3 is the term expressing the idea of comparison. 7. sadharmyamupama bhede | Mammata, Kavyaprakasa, ed. A.B.Gajendragadkar, Bombay, 1959, p.34

238 Since is used as Upama Pratipadaka term in the said example, this is of the type of srauti upama as Mammata calls. In the same manner, other examples of Upama figure of speech like I-59, 1-87 etc. should be understood. 4. Noc (Metaphor) : The benedictory verse of the Sankalpa-suryodaya is an example of Rupaka figure of speech: yadbhaktipracayatmake dinamukhe drstiksanah ksetrinah favi ziylaridki faufa aziqcurtufaz: | tatvairasravibhusanairadhigatah svadhinanityonnatih srimanastu sa me samastavipaduttaraya narayanah || ( | - i) "May Sriman Narayana ( Narayana with His consort Sri ) be pleased to convey me over all the ills ( of life) - Narayana whose WILL like Sunrise dispels at once the night of SAMSARA ( or the recurring cycle of births and deaths), who is capable of being seen by the Jiva ( or embodied soul) when its deep devotion has attained to the state of the dawn of day Narayana whose supremacy is self dependent and eternal, arising, as it does, from His missiles and ornaments which are symbolic of the various TATTVAS or 'reals' of the Universe." As Mammata defines, Rupaka consists in the identification of the standard of comparison and the object of comparison. B 8 Here the dramatist invokes Lord Narayana for the removal of the phenomenal obstacles and for gaining transcendental fruit. Here in the three Rupakas are seen: yadbhaktipracayatmake dinamukhe 1) 2) 3) samsrti sarvarim samkalpasuryodayah 8. tadrupakam abhedo yah upamanopameyoh | Kavyaprakasa, p.47.

(239 deep devotion) (will). The identification here has Therefore it is evident that in the above verse, there are three Upamanas such as dinamukha ( early morning ) sarvari (night) and suryodaya (sunrise ). And the Upameyas are also three respectively, such as (recurring cycle of births and deaths) and sprung from extreme resemblance between these Upamana and Upameyas. Each Upamana endows the Upameya with its own form by superimposing it thereon. Hence this verse is an apt example of Rupaka. In a similar manner, many good examples illustrating Rupaka are found in the drama. They are : 1 - 2,1 - 38, II - 80 etc. These examples should be understood in the manner described above. 5. (Paronomasia) : In the drama, there are some examples of Slesa figure of speech. One of such examples may be seen as below: vitrasini vibudhavairivaruthininam padmasanena paricaravidhau prayukta 1 utpreksyate budhajanairupapattibhumna ghanta hareh ramajanista yadanmaneti || (I - 14) "It is considered by wise men, on the strength of abundant and appropriate reason, that the bell of Hari ( Hari's temple ) which frightens away the hosts of the enemies of the gods, and which was used by Brahma in the service of the Lord, was born as an incarnation in the form of this poet." As defined in the Kavyaprakasa Slesa arises when words which ordinarily have one sense, convey two meanings owing to peculiar circumstances. 9 In the given example above, Venkatanatha's divine incarnation is described. The stanza conveys that Venkatanatha is the divine incarnation of the bell of Lord Hari ( the bell in the temple of Tirupati ), which dispels the enemies of the Gods. In this stanza there is a Pun on the following terms: 9. slesah sa vakye ekasmin yatranekarthata bhavet | Kavyaprakasa, p.55.

240 tamabhipretyaha vitrasiniti vibudhavairino raksasah tesam varuthinyah senah | anyatra kudrstivargah tasam vitrasini | padmasanena prayuktah caturmukhena samarpita | anyatra sriyah patya datta | upapattayah vibudhavairivitrasakatva - kaimkaryopayuktatvadayah tesam bhumna bahulyena 1 yaddha uktopapattidvayasamarthyenetyarthah yadatmana yasya vaidantacaryasyatmana svarupena ghantanado raksodhna iti prasiddhih | vibudhavairi varuthininam, padmasanena prayuktah and upapattibhumnah | (p.40-41) 1) vibudhavairi varuthininam Army of the demons. The hosts of wicked people 2) padmasanena prayuktah * Given by four-faced Brahma ( given by Goddess Laksmi consort of Lord Hari 3) budhajanaih upapattibhumna - AME 1) Strongly upheld by the competant scholars 2) Fully realised by means of Kainkarya Thus the terms in the stanza above convey two senses and hence it is an example of Slesa. 6. atisayoktih (Exaggeration) : Following is an example of Atisayokti figure of speech. mayi carati kadacitsatyalokopakanthe sapadi sanakamukhyaih sakamabhyujjihanah savinayanibhrtangah saptasah ksalitena svayamudavahadarghyam panina padmayonih II ( V - 40) "I was once travelling in the outskirts of Satyaloka, when, Brahma came to welcome me at once with Sanaka and others, motionless and respectful and brought me Arghya in his own hand, having washed it seven times for the sake of purity." Atisayokti means the statement of excellance of Upameya. This element is broughtout on account of its complete identification with the Upamana.

241 As Mammata defines Atisayokti figure of speech is explained as having four types. 10 Of these four, the third type of Atisayokti is here illustrated. The third type occurs when there is a supposition or assumption of an impossible thing as a result of expressing the sense of a | Here, in the said example Dambha boasts of himself as inheriting great honour even by Brahma, Sanaka and others in the outskirts of Satyaloka. Dambha's having such exhaulted honour, is just impossible. This is a clear assumption. Hence it is an apt example of Atisayokti. Other examples of the Atisayokti are V - 41, 59, VI - 63 etc. 7. As (Illustration) : There is an example of illustrating the Nidarsana figure of speech. It is as below : sauhardamitthamanavapya sahodarana- masitsvamulagunabhedavasaddhirodhah | ekaprajapatibhuvamapi vairabandhah svatmavadhih svayamudeti surasuranam || (1-48) "Thus between us, all fraternal feelings have disappeared and enmity has arisen ( in their place) owing to the basic difference between our natures. Though born of one and the same father - the sage Kasyapa Prajapati - has not hatred arisen between the Suras and the Asuras lasting till death? " Nidarsana is defined as an impossible connection between two things which leads to comparison. 11 In the verse mentioned above describes how enemity has arisen between Viveka and Mahamoha the brothers born of Purusa (Individual soul ). 10. 11. nigiryadhyavasanam tu prakrtasya parena yat | prastutasya yadanyatvam yadyarthoktau ca kalpanam || abhavan vastusambandha upamaparikalpakah Kavyaprakasa, p.63. Kavyaprakasa, p.56.

242) These two brothers Viveka and Mahamoha are described as related to Gods and demons. In fact, it is just impossible to say that Viveka and Mahamoha are related to Gods and demons respectively. Thus the impossible connection between these two senses links to comparison between them. or fat is the term here shown the sense of similarity between them. Thus in Nidarsana the comprehension of the similarity makes the sentences understandable. Hence it is an example of Nidarsana. 8. samasoktih (The Speech of Brevity ) There is a beautiful stanza standing as an example of Samasokti, i.e. mukulayati vivitsam mohavidhvamsamicchan vimrsati nigamantan viksate moksadharman | nisamayati ca gitam nityamekantabhaktya gunaparisadaveksi guppamantro vivekah II ( S.S. I - 61) "He gets all his doubts cleared; desirous of destroying Moha, he studies Vedanta thoughtfully and reads about those observances or duties which lead to Moksa. He cultivate virtues like self-control and guards his policies from being known to others ( Practising in secret the repetition of Astaksara ) and is always trying to understand the Gita with undivided. devotion." As Mammata has explained Samasokti 12 is the statement of another by means of Paronomastic adjectives, i.e. (1) from the description of a relevant matter, an irrelevant matter is understood, (2) such irrelevant is understood by means of Paronomastic adjectives, (3) the substantive in the sentence which describes a relevant matter is not Paronomistic. 12. paroktirbhedakaih slistaih samasoktih | Kavyaprakasa, p.55.

243 In the example mentioned above Venkatanatha describes the nature of Viveka through Kama, one of the ministers of Mahamoha. From the description of Viveka who is, we understand the description of a king who is . This is done by means of Paranomistic adjectives. They are: vivitsam mukulayati i) removing the doubts ii) removing desire for physical wealth nigamantan vimrsati wwwwwww. gunaparisadaveksi guptamantrah i) one who studies Vedanta philosophy thoughtfully ii) one who counsels indeep with the ministers well versed in polity (nigama ) i) possessing virtues. ii) cultivating good qualities like self-control etc. i) one who preserves the secracy of Vedic Mantras and instructs them to a qual fied student. ii) one who guards his strategyes from being known to others. Thus the adjectives shown above are Paronomistic and significant. But the substantive Viveka is not Paronomistic and does not in anyway help us to understand the irrelevant matter (aprakrta ). Thus the stanza given above is an example of Samasokti. 9. arthantaranyasah (Corroboration) : The following verse is an example of Arthantaranyasa figure of speech. imamadharmena vibhavya samplutamudanvata dvaravatimivadhuna | na bhavaye samyama sampadaspadam na kalatah kasya gunavyatikramah II (VI -33) "Well, driver! This city of Mathura now bears witness to the story of the gopis in whose company Bhagavan enjoyed Himself. In the same way as the city of Dvaraka was enveloped by adharma. I do not therefore consider it suitable for acquiring the wealth of Yoga. What is there that does not undergo a change in its nature in the process of time?"

244 Before seeing the illustration of Arthantaranyasa it is better to know the definition there of. As Mammata defines that is Arthamtaranyasa when a general proposition is supported or corroborated by a particular general either through similarity or through dissimilarity. 13 • or a particular by a This stanza explains the decline of dharma in Mathura city. Hence it was considered as an improper place for meditation by Viveka. The stanza above is an example of Samanyena Visesasya Samarthanam samanyena visesasya samarthanam | The latter part of the second line of the staza enunciates a general proposition, which supports the particular illustration explained in the remaining portion of the verse. The particular case describes that the city of Mathura is enveloped by adharma. Therefore it cannot be considered as suitable place for acquiring the wealth of Yoga. This is supported by a general proposition "what is that that does not undergo a change in its nature in the process of time?" This is an example of figure of Arthantaranyasa. 10. f (Speech of speciality or Peculiar Allegation): An example of Visesokti figure is employed by the author in the fifth Act of the drama : anantavisayasprhajaladhisamplute manase vasantasamaye sthite malayamarute jivati | sakrdvihitasauptikampratinivrttivailaksyatah prasupta iva hanta na sprsati pancabanah saran II (V - 61) "While the mind is still sunk in the sea of endless desires for objects of sense, while the spring is in full swing, and while the breeze from the mountain Malaya is blowing gently. Kama, having been obliged to retreat 13. samanyam va viseso va tadanyena samarthyate | yatra so'rthantaranyasah sadharmyenetarena va || Kavyaprakasa, p.75.

245 from a night-attack, is now ashmed, and being dazed like one asleep, does not (even) touch his arrows." As has been defined by Mammata, Visesokti consists in the statement representing an effect as not following inspite of the causes working properly. 14 The verse quoted above describes how unattackable and invincible is Viveka. Here, ( 1 ) anantavisayasprha endless desires for objects of sense, and (2) vasantasthitih - presence of spring in full swing (3) malayamaruta jivanam - gentle blowing of breeze from Malaya mountain. (4) sauptikavidhana a retreat from night attack. are the causes which should produced the result i.e. viveka parajayah or Viveka's defeat. But this result has not followed atra vasantadisamavadhane'pi kamasyakarya- karatvoktevisesoktirvyajyate || Though Vasanta is providing full co-operation, it is not possible for Kama to achieve his goal of defeating Viveka. The cause which prevented this result from happening is the Viveka's firmness. This cause has not been mentioned. Therefore, the staza is an example of anuktanimitta visesoktih | 11. anumanam (Inference ) : There is one of the rare examples of Anumana figure of speech. upavanasukabrndairudgunadbhitrivedi pratikalamanumeyapracyadharmanubandham | ciragatajanaghosam tirametansarakha raghukulanrpatinam sobhate ratnayupaih || (VI - 27 ) "In the Parks here, large number of parrots repeat the three vedas ; it may be inferred from this at every instant that in fromer times, Vedic dharma was 14. visesoktih akhandesu karanesu phalavacah | Kavyaprakasa, p.74.

246 observed here ( in its fulness). The bank of the Sarayu, though for a long time without the sound of men, looks beautiful on account of the large number of sacrificial posts adorned with gems which were planted there by the king of the race of the Raghus." As Mammata defines anumana consists in the statement of the reason (sadhanam ) and the conclusion () The verse cited above is addressed by Viveka. It descirbes the beauty of the Penance groves on the bank of river Sarayu. The first line of the verse referring to the chanting of the vedic Mantras by the Parrots, is the statement of the reason (R) and the second line infering the observance of religious activities, is the statement of conclusion (4) Hence this is an example of (anumana ) figures of speech. 12. paryoyoktih (Round about speech or Circumlocation) Here is an example of Paryayokti figure of speech. esa mainakajanako dharanidhenutarnakah tridasacalajamata tryambakasvasuro girih II ( VI- 21 ) "This Himalaya is the father of the mountain Mainaka : he is, as it were, the calf of the cow named Earth; he is the Son - in - law of Meru and the fatherin-law of Siva." In Paryayokti there is a certain thing whcih is intended to be expressed in order to explain the expressed meaning usual procedure of using the words is not adopted here. But the intended sense is here corveyed by a different mode. 16 Thus paryoyokta is the statement of a certain thing without the relation of vacya and vacaka existing between it and the words which convey it. The stanza quoted above refers to the glory of Himalayan mountain. But instead of expressing this idea directly poet resorts to a different mode and wherein 15. anumanam tadukta yat sadhyasadhanayoh vacah | Kavyaprakasa, p.91. 16. paryoyoktam vina vacyavacakatvena yadvacah | Kavyaprakasa, p.85.

247 other Phrases such as f ( calf) are used. indicating the glory of Himalaya. janaka mainaka janaka - (Father of Mainaka ) tarnaka wwww dharanidhenu tarnaka (Calf of the cow named earth) tridasacalajamata - (Son-in-law of Meru mountain) Futch Far: - (Father-in-law of Lord isvara) tryambaka svasurah Therefore as the intended sense is here conveyed by means of a different mode without vacya, vacaka, bhava, this stanza is an example of paryoyoktam | 13. samuccayalamkarah ( Conjunction ) : There is a verse in the first Act dealing with the accomplishments of scholars, devotees and the Viveka. It runs as below. durjanam pratipaksam ca duradrstirayam janah | vivekasca mahamoham vijetum prabhavisyatah || ( 1 - 29 ) "With fore-sight, I shall be able to defeat the plans of my wicked rivals in the profession in the same way as king Viveka will defeat by his forethought the wicked Mahamoha." figure of speech occurs where many causes conjoin to produce a certain result. To explain, there is a certain result which is intended to be produced. For, one cause capable of producing that result exist. Simultaneously with it, other causes which are capable of producing the same result are mentioned. Thus consists in the simultaneous operation of many causes each of which is severally capable of producing the intended result. 17 In the example quoted above the proper efforts of scholarly persons hamper the activities of wicked ones prompted by tamas. The efforts of a devotee being a 17. tat siddhih hetau ekaikasmin yatranyat tatkaram bhavet samuccayo'sau | Kavyaprakasa, p.87.

248 righteous path, destroy the envious activities. Similarly, Viveka by means of well timed strategyes like Vairagya etc. defeat Mahamoha. Thus the efforts of learned scholars, devotee and of Viveka yield the fruit of defeating Mahamoha. In this way, here three causes simultaneously begin to operate in order to produce the same result. Thus it is an illustration of figure. 14. kavyalingam (Poetical cause) : Following verse from the third Act is an example of Kavyalinga figure of speech. svasyavaptih sukhamiti mrsa svetarasyanubhutau | kamadanyah ka iva ghatate moksanama marthah || taramadasmadbahumataniradhyaksamimamsakoktya | ravoccha nrtyadbahugunanidhih svarga evapavargah || (III - 3) "If bliss means the attainment of one's self, it is false (because we are already in the attainment of our self); if on the other hand, bliss means the attainment of something other (than one's own self), then since it is the desire for something else, there cannot be a Purusartha called Moksa other than Kama which is desire. Therefore Svarga which results form our own desire and which dances (before our eyes) as a treasure of good experiences should itself be called Moksa as stated by the atheistic Mimamsakas whom we hold in high esteem." The figure of Kavyalinga arises when the reason for a certain thing is contained in or the meaning of a sentence. 18 The reason to be dealt with in this figure, is poetical one and not the logical one of Naiyayikas. Hence it is called The stanza adduced here describes the influence of Raga over an ordinary person desiring for perishing pleasures of this life. And it explains, there is no other Moksa than fulfiling one's desire. Here the first two lines contain the statement providing the reason for identifying the fulfilment of one's desire with Moksa. And the substantiation of this view is presented in the last two lines. Thus, it is an example of | 18. kavyalinga hetorvakyapadarthata || Kavyaprakasa, p.83.

(249 15. parikarah (Significant ) : "1 Another stanza is seen in the second Act illustrating Parikara figure of speech. satvasthannibhrtah prasadaya satam vrttim vyavasthapaya trasya brahmavidagasastrnamiva traivargikanbhavaya | nitye sesini niksipannijabharam sarvamsahe srisakhe dharmam dharaya catakasya kusalin dharadharaikantinah II (II - 38 ) Behave with proper care (and attention) towards righteous men and win their favour. Establish firmly the code of conduct upheld by the good; be in dread of giving offence to those who have realised Brahman, treat as straw those who pursue the three worldly ends (dharma, artha and kama); having surrendered the responsibility for your protection to the eternal Lord of Laksmi who forgives everything and for whose purpose (alone) we exist, observe, my good sir, the code of the bird Cataka, which depends solely and exclusively on the cloud (for its welfare and for its life)." As Mammata defines 19 arises When a certain thing is described by means of significant adjectives. To be explicit, this figure arises when a certain substantive is qualified by many adjectives that express one sense and suggests another. In the stanza cited above, the king Viveka asks his disciple (Vada) to remain engaged in the efforts leading to grace of God. All the words expressing the command of the king are very significant. Ane these commanding words relate to the king himself which is here a substantive. The expression of these adjectives suggests another meaning in a prohibitive order, i.e. satvasthannibhrtah prasadaya i) Win the favour of Sattvika people. ii) keeping oneself far from wicked ones which means they should not be pleased. 19. visesanaih yat sakutaih uktih parikarastu sah | Kavyaprakasa, p.92.

250 satam vrttim vyavasthapaya i) Establising firmly the code of conduct upheld by the good. ii) one should not follow the path of wicked men. traivargikan trnamiva bhavaya - i) one should treat the three phenomenal ends (dharma, 16. visamah - (Unequal) : artha, kama) as straw. ii) one should not consider these Purusarthas as highest ones. A stanza illustrating Visama figure of speech is found in the third Act. prapancakrtakancukam yadi param mahah prapyate na duhkhamapahastitam bhavati naikadhopaplavat | athaikamakhilojjhitam na khalu bhogyatameti tat tato nigamamasta kairnigadamatraseseh sthitam || (III - 4) "If it is held in accordance with Visistadvaita that Moksa is the attainment of Supreme splendour (called Brahman), whcih has for its covering or body this world of Cit and Acit, (which would cling to Brahman owing to that covering (or body) will be ours. If on the other hand, the Advaitin's view is accepted that Moksa is being Brahman without any attribute or distinguishing feature, then it cannot be enjoyable. So the Upanisads (the head of the Veda) can remain only as a subject of study without any practical use." fc arises due to the contradiction between two things. As Mammata defines 20 the figure fc has four varieties: 1) Where the Union between two things could not take place due to their extreme dissimilarity. 20. kvacit yadativaidharmyana sleso ghatanamiyat | kartuh kriyaphalavaptirnaivanarthasca yad bhavet || 40 || gunakriyabhyam karyasya karanasya gunakriye | kramena ca viruddhe yat sa esa visamo matah || 41 || Kavyaprakasa, p.103.

i 251 2) Where not only is there no accomplishment of the fruit of an action by an agent but a calamity occurs in addition. 3) Where the quality of the cause is mutually opposed to the quality of the effect. Where the action of a cause is mutually opposed to the action of the effect. 4) The present stanza exemplifies the third variety of fac figure of speech, i.e the role of Dvesa asserts that the Philosophy of Visistadvaita is ambiguous and hance he calls it atheistic school in explaining this line of defective thought he shows the contradiction in this philosophy i.e. the first line of the verse above says that Moksa is the attainment of Supreme Brahman who has for his body this world of Cit and Acit. The second line there of shows that the world of Cit and Acit is full of suffering. These two lines bring out the contradictory elements i.e. the quality of the cause, i.e. Brahman is bliss. While the quality of the effect i.e the world of Cit and Acit is sorrow. These two qualities bliss and sorrow of cause and effect respectively are quite contradictory to each other. Moreover the third line illustrates another sort of contradiction between the qualities of cause and effect, i.e. attributeless Brahman is attainable according to Advaitins but there is absolute absence of such thing which is attributeless in the Universe. it is just like horn of the hare. The quality of that is cause is A | This quality is totally absent in the Universe i.e. effect. Thus the quality of cause and effect here too are contradictory. This is how fac figure of speech can be shown here. vyatirekah 17. (Distinction) : The stanza mentioned below illustrated the figure of Vyatireka. pade visnoresa prabhavamadhigamya prasrmara sphurattaraphenastabaka paripati parigata | ksaranti purvadreramaratatinisamplavasakhi tamisrakalindi sabalayati candramsupatali || (S.S. IV - 31)

252 "Like the flood of the celestial Ganga covered with bunches of foam looking like shining stars and taking its source from the feet of Visnu and flowing down to mingle its waters with the dark waters of the Yamuna and giving them a variegated colour, these multitudinous rays of moon light taking their orgin from the sky and surrounded by the shining stars looking like the foam on the surface of the Ganga and coming down the eastern mountain mingle with the darkness and give it a variegated appearance." As Mammata defines 21 the Vyatireka figure consists in the excellence of the Upameya over the Upamana. The stanza given above contains the description of moon light. That is here Upameya. This is compared to Ganga. Hence Ganga is Upamana. The beauty of multitudinous rays of moon light is very striking and therefore which is superior to Ganga's work of giving a variegated colour to the dark waters of the Yamuna which is the usual Upamana here. Thus this stanza illustrates the Vyatireka in the proper manner. 22 There are some other examples of this figure like V - 59, VI - 32 etc. 18. bhrantiman (Error) : The following stanza illustrating Bhrantiman figure, occurs in the auch nich of the seventh Act. The context is that Viveka and Sumati visit a picture gallery where Samskara has depicted the forms of ten incarnations of Lord Hari. Samskara looks round the picture - gallery, and describes the excellence of the paintings. In his own words : visvaprinanavisvakarmaracanacaturyakataryadaih silpaih kalpayativa mandanamasau cetah sthitermandapah | ratnastambhabhuvo'pi rasmaya ime sopanagopanasi - madhyam yatra gavaksayanti vihitapratyagra citrakramah II (VII - 3) 21. upamanad yadanyasya vyatirekah sa eva sah | Kavyaprakasa, p.68. 22. atra purvadreh ksaratiti prasiddhagangavyatirekat vyatirekalamkaro vyajyate || Prabhavilasa, p.420.

253 - "The Picture gallery containing paintings which will put tp shame the skill of even Visvakarma who can please all beings with his artistic work, - this picture gallery will be an ornament even to the Lord who dwells within the heart. The brilliant rays which issue from the pillars set with gems will look like windows in the middle of staircase and in the ridge of the roof, as it were, a new painting executed there." consists in the As stated in the Kavyaprakasa the figure comprehension of Upameya as identical with Upamana. In other words, the 3 is mistaken for Upamana and this mistake is due to close similarity between Upameya and Upamana. Further this error is not intentional but real. 23 In the stanza adduced above, author describes that the brilliant rays issuing from the pillars set with gems appear like the windows in the middle of stair - case. The brilliant rays of the pillars in the picture scroll, are mistaken for the windows, due to utter similarity of the brightness. Therefore, the stanza is an example of bhrantiman | aksepah 19. (Paralipsis) : In the fourth Act of the Sankalpa-suryodaya there is a verse exempligying Aksepa figure of speech. ma bhudamoghavisikham namitam dhanurate maurvi ca ma bhavatu puticitrapunkha | maddarsitairapi sakhe vibhayadvivekah sakhanisanga nihitaih satasastvadastraih II ( IV - 14) "My friend, let not your bow with its unfailing arrows be bent; let not your arrows of varied colours be placed in the bow - string. The very sight of your multitudinous arrows brought to his notice by me in the quiver branches of trees will frighten Viveka." like 23. bhrantimananyasamvit tattulyadarsane || Kavyaprakasa, p.110.

254 The figure arises when there is a denial of something which is intended to be said, with a view to express some special meaning. 24 This stanza given above is an address to Kama by Vasanta. He therein, describes that victory over Viveka is not a difficult task. The speaker, Vasanta first avoids Kama from discharging an arrow at Viveka. Then he says that Viveka gets frightened by mere seeing different types of missiles like flowers in the quiver - like branches. Thus the denial of discharging an arrow conveys the special menaing that gaining victory over Viveka is very easy. As this description involves apparent throwing off of the i.e. victory over Viveka. Hence, the stanza above is an apt figure of speech. example of 3 20. mudralamkarah Here is an exmple illustrating Mudra figure of speech. samsaravartavegaprasamana subhadrgdesikapreksito'ham samtyakto'nyairupayairanucitacaritesvadya santabhisamdhih | nihsankastatvadrstaya niravadhikadayam prarthya samraksakam tvam nyasya tvatpadapadme varada nijabharam nirbharo nirbhayo'smi || ( VI- 74) "I have obtained the gracious glance of my acharya which can arrest the speed of the whirlpool of Samsara I have no other Upayas (for my salvation) like bhakti or Upasana, and have given up all interest in activities which are improper. Having a mind free from doubts and with full knowledge, I have sought Thee as my saviour and have laid the responsibility for my salvation, O Varada ! at your lotus - feet. Here after I have no responsibility of my own for my protection and am free from all fears." 24. nisedho vaktumistasya yo visesabhidhitsaya | vaksyamanokta visayah sa aksepa dvidha matah || Kavyaprakasa, p.72.

255 As Appayya Diksita defines that an intended meaning is suggested by the words explaining the glory of the character related to the particular context. 25 The present verse describes the glory of the deity of Srirangam, Lord Narayana. As Viveka being in search of proper place for his meditation, he moves. together with Tarka towards the holy place of Srirangam. In this context, Viveka glorifies the greatness of Lord Narayana. In this verse, the author uses an invoking word which means "protector, fulfiler of devotees desires. This meaning tends to show Supremacy of Narayana. His being Supremacy should have been expressed by using the word; whereas this intended sense is suggested here by the term 26 Hence this is an example of mudralamkara | It is one of the glaring literary merits of Venkatanatha that he has made rare use of various types of Natyalamkara. They are as below: 1) a. praptirnama natyalamkarah 27 pramanapatha vibhrastapradhanarthavimardanaih | rathalipulakanityaiva nivartyah prativadinah || (II - 40) "Try to correct your oppenents by pointing out one or two important passages of scriptural tracts where they give wrong interpretations that are contrary to the Pramanas. While trying to see whether the rice in the pot has been well- cooked or not, it is enough if one or two grains are taken out and tested with the hand. To determine the quality of the gold, no one ever thinks of rubbing the whole piece away on the touchstone." b. anunayonama natyalamkarah 28 asaddravyasrstiprabhrtyarthaklrjaya srutiprakriyanamadhiksepatasca | ulukopadesapadesapravrttah kathasesito'sau kanadapranadah || (II - 70) 25. 26. 27. 28. yane yai yai agafut: qe: | Appayya Diksita, Kuvalayananda, Chowkhamba Vidya Bhavana, Varanasi, 1995, p.232. atra nrvaretyadi padaprayogasambhave'pi raksanaprarthanayam | varadeti padasyabhijatataya mudra namalamkarah 11 p.597. praptih sa samudayasya jnanam yaccaikadesatah | An example of this Alankara is found in Prabhavilasa, p. 254. vacasa karmana pritiryasminnanunayo hi sah | We have an instance of this Alankara in Prabhavilasa, p.289.

29. 30. 256 "Here, This system assumes the creation of new objects which did not exist before (as pots from mud). In other respects, too, it rejects the doctrines of the Srutis. This tall talk indulged in by Kanada is said to have begun from the teaching of Uluka and, at present, it survives only in name." 66 c. uddhistam nama natyalamkarah 29 gatha tathagatanam galati gamanika kapili kvapi lina ksina kanadavani grhinaharagirah saurabham narabhante | ksama kaumarilomnirjagati gurumatam gairavad duravantam ka sanka samkaraderbhajati yatipatau bhadravedim trivedim II ( II - 89 ) When the prince of Sannyasins, Sri Ramanuja, occupies the throne of the Vedas, the composition of the followers of Thatagata (Buddha) which are mostly in dialect, glides away (unseen); the path of Kapila and his followers (the Sankhyas) hides itself somewhere ; the speech of Kanada's disciples (Tarkikas of the Vaisesika school) is growing thinner and thinner; the words of Druhina (i.e. Hiranyagarbha or Brahma) expounding Yoga, and of Hara (Pasupati's system) have lost their flavour ; the doctrine of Kumarilabhatta (Mimamsa) has become lean and that of Guru (Prabhakara) has been thrown out to a distance owing to (indigestible) heaviness, such being the case, what doubt is there about (the fate of Sankara) and others (Bhaskara and Yadavaprakasa)?" d. pratiterdaksinyam nama natyalamkarah 30 tatvavrttobhayabhrastapasandi gunasamkulah | krti bhavati kalo'yam krtina samprati tvaya || (II - 95) "This age crowded with the multitudes of heretics who have strayed both from truth and from righteous conduct is now fortunate in having such an intelligent person as yourself." uddistam syat parokse ca pratyakse carthakirtanam | ityamrtananda vacanat | This Alankara may be illustrated from Prabhavilasa, p.313. daksipyam slaksnaya vaca paracittanuvartanam | A speciman of this Alankara is found in Prabhavilasa, p.326.

257 e. garhanam nama natyalamkarahh 31 jatalavrjinavile javanayauvanasvadane | jaramaranabhisane jagati janturavatyate || (III - 16) "By the floods of the wild stream of fate ordained, by the force of the gale of Lord's Lila which blows with a wonderful speed, the embodied being is tossed to and fro in this world full of sins interlocked and entagled, with the enjoyment of a youth which flies fast and with the terrors of old age and death." 1. pascattapo nama natyalamkarah 32 prathitam patakivargam krtaghna eko hi krtsnamatisete | tamimam kriyamanaghnamratamapi duratma karisyamanah II ( III - 33 ) "It is well known that man who is ungrateful for a past act of kindness is worse than all other groups of sinners. The man who is ungrateful for a present act of kindness is worse than the ungrateful man spoken of before. The wicked man who is ungrateful for a future act of kindness is the worst of all. " g. ksobho nama natyalamkarah 33 avahitairasmabhirbhavitavyam atra hi - vitamasi pade vidhasyan mayajaladheh samuddhatam purusam | vimrsati kimapi rahasyam sumatisahayo viveka ekante II ( IV - 55 ) 31. garhanam gunavecchedad dosodbhedena kirtanam | Prabhavilasa, provides the above Alankara, p.354. 32. pascattapo'nutapastu krtva karyantaram yatha | Prabhavilasa, provides this type of Alamkara, p.377. 33. The definition of this Alamkara may be gleaned from Prabhavilasa as follows. atha visada pramadakartavyamantari dhruvamaha vitamasiti | taduktam- "visade vismrtau krodhe pramade samgame'pi ca | dosapracchadanadau ca giyate ya tu santari ||" (p.441)

258 "Viveka has lifted up Purusa from the sea of Prakrti and in eagerness to place him in the region (Vaikunta) which is far removed from tamas ( and rajas) is planning a secret strategy in the company of Sumati." 1 h. pariharo nama natyalamkarah 34 dhruvamatra gunottarapavadi dhvanisarah svayamagato'si darpah | parikalpitavitaragavesa tava bharyaiva bhavedasavasuya || ( V - 43) " 1, too, guess who you are ; surely you are Darpa arrived here in person. You are always in the habit of vilifying those who are superior to others (in learning or in conduct) and you are good at raising a loud outcry. And this is certainly your wife, Asuya, who has put on the disguise of a Sannyasini" 1. nitirnama natyalamkarah 35 paramanuganayantah panditammanyavarga- navitathamiva jalpantyagamah kimcidete | vibudhagurumate'smin vyaktamuttabhyamane musitanikhilasara maunamudram bhajante II ( V - 48 ) "These Agamas, winning a number of wiseacresto their side prate of something or other as if it were true. If this system of the Guru of the gods is properly promulgated, they will lose all their flavour and be reduced to (complete ) silence." 21. virodhabhasah (Virodhabhasa) : 36 lalitamanasam prityai vibhradrasantarabhumika- manavamaguno yasminnatye raso navamah sthitah | 34. pariharastu vijneyah krtanucitamarjanam | 35. 36. The above citation of Alankara is drawn from Prabhavilasa (p. 498-99 ) nyayanuvrttirevatra nitirityucyate yatha | This Alankara is taken from Prabhavilasa, p.504 This Alamkara is defined as : "abhasatve virodhasya virodhabhasa isyate | " Kuvalayananda, p. 141. The second line of the love verse illustrates this Alamkara.

259 baparavinaghanatisthivanumulamaya- nataparisada tenasvadam satamupacinvati || ( 1 - 3) "Provide for the enjoyment of good men with the help of actors personating the varied qualities of men, and capable of relieving the fatigue of all those who tread the path of Samsara, by staging a play in which the ninth rasa, Santarasa (or sentiment of tranquil resignation), full of noble features, takes the place of other rasas or sentiments (like love and valour) for the delight of those gentle natures who cannot stand mental strain." 22. uhalamkara (Uha) : kulapatimoksanotsavamrdangakatha kada navasamarotsukapi na ca bhavati gajendraghata | tathapi yugantabhavatstanayitnunibhakkanitah katham katham ko'pi hanta nikhilam mukharayati nabhah || (I - 98) "The drum is not beaten yet for the festival of our progenitor's deliverance; nor do we find the elephants set in array for the battle that is to begin. And yet, there is great blast of sound similar to the thunder of clouds, which will happen at the end of the Yuga, now filling the whole sky from somewhere or other. " This Alankara is defined as uho vitarkah sa dvedha nirnayanirnayatmakah | (Prabhavilasa p.193) Here determines that the sound of the drum suggesting victory of Viveka over Mahamoha, is not proper as it is not achived yet. However, Uha determines Viveka's victory which is here as a suggestive element. 23. vinokti (Vinokti) : sauvakrtiratava ta eva gunanubhavah syadeva sagarasuta likhita tvameva | sinjanamanjumaninupuramekhalarate samcara esa caturo yadi nantarayah || ( VII - 26)

260 "You have the same form, the same complextion and the same virtues and the daughter of the ocean might be thought of as yourself painted here, if only this graceful movement of yours with the jingling of your anklets and your girdle did not make a difference." This Alankara is defined in the Prabhavilasa. vina sambandhi yatkincidyatranyasya para bhavet | ramyataramyata va syatsa vinoktiriti smrta || ( p-632) This is further illustrated there itself : atra nupurasamcaram vina sobhanatvapratite | ramyatarupavinoktiralamkarah 11 (p-632) 24. karakaheturnamalamkarah 37 prahladahladanani pranatasuraganaprananaprinanani pratyudhasthemabhimapralayaghanaghataghosanadambarani | ksubhyatsaptambudhini ksuraparusanakhakriditaksunnasatro- rasmadbhitavyapoham vidadhatu nrharerattahasadbhutani || (VII - 40) "May the wonderous roars of Narasimha, who killed His foe by the play of His claws sharp as a sword, bring about the disappearance of all our fears - roars which made Prahlada rejoice, which brought delight inot the lives of the gods who worshipped Him with devotion, which belittled the loudness of the thundering sounds of the terrible multitudes of clouds at the time of Pralaya and which convulsed the seven seas." 37. Prabhavilasa, explains this Alankara which arises when a certain cause is described with reference to the corresponding effect. "kriyayah karakam heturmukhyo gauna iti dvidha | mukhyaheturdvidha tatra karakajnapakakramat || " (p.644) This is here explained thus : atrattahasadanutanam prahladaharsadihetutvoktya karakaheturnamalamkarah | ( p.644)

25. preyo'lamkarah 38 261 sakyaulukyaksapadaksapanakakapilamartyavandyapradhanai- ranyairamnayacarcakavacadhrtikanadgomukhadvipibhisca | bamhiyah ksobhitapi srutiriha bahudha jayamanena goja kale kale'bhigupta kalahamatitarantyaksata raksatattvam || (II - 36) "The Sruti which has been many times subjected to affliction by Buddhists, by Vaisesikas who follow Kanada, by Naiyayikas under the leadership of Goutama, by the Jains, by Kapila (the Sankhyas), by Brihaspati (the materialistic thinker) and so also by others who ostentatiously wear the cloak of students of the Vedas, like tigers with the faces of cows (Advaitins) the Sruti has been protected every now and then without any scathe by the great Saviour who is born as incarnation at the proper time and who is also your protector, and in this way the Sruti has been getting rid of her afflictions." In his Kuvalayananda, Appayya Diksita has identified Preyolamkara with Bhavalankara, where he says preyo'lamkara eva bhavalamkara ucyate | (p. 270) Besides Prabhavilasa defines this Alankara as preyah priyatararavyanam | (p. 249), which means narration of a thing causing happiness. In the verse above the protection of Sruti is described and this itself is subject of creating joy in the present context. 26. parinamalamkara (Parinama-alankara) : 39 38. 39. arohantvanadyatarkapadavisimadrsam madrsam pakse kartayuge nivesitapadah pakse padadbhayah paran | In his Kuvalayananda, Appayya Diksita has identified Preyolankara with Bhavalamkara, where he says preyo'lamkara eva bhavalamkara ucyate | (p. 270 ) Besides Prabhavilasa defines this Alamkara as preyah priyatararavyanam | (p. 249), which means narration of a thing causing happiness. In the verse above the protection of Sruti is described and this itself is subject of creating joy in the present context. This is defined as below: parinamah kriyarthascedvisathi visayatmana | prasannena drgabjena viksate madireksana || Appayya Diksita, Kuvalayananda, p. 22. In the Prabhavilasa it is illustrated thus : "atra ratnaghrnisvaropyamanasyaratrikatvasya prakrtopayogat parinamalamkarah " p. 307.

262) sarvanusravasaradarsisasirah kampadvijihvasana- kridakundalamailiratnaghrnibhih saratrikah suktayah || ( II - 85) "The wise saying of the Pancaratrasastra which are lit up, as it were, with cremonial flames by the gems in the heads of the serpents worn on the ears as ornaments by Garuda, who knows the essence of all the Srutis and who nods his head in high appreciation of them - let these sayings which are in consonance with the (Vedantic) system of the Krtayug maintained by us who have seen the outermost bounds of the region of the irreproachable principles of logic be now accepted by others as well as by those who are (already) Partial to it." 27. vakyovakyalamkarah 39 (tumburu ) (naradah ) - aparavartyapi kopah pascadakrstapada iva bhati | kvacidatisamkatavisaye subhatanam sammato'yamapasarpah II ( VIII - 75 ) (Tumburu) - Though krodha does not turn his back, he seems to be like one whose legs are pulled form behind. (Narada) This kind of retreat or falling back is sometimes approved of by warriors in times of emergency. 39. *** This is an example of Vakyovakyalamkara as it is in the form of a dialogue between two characters i.e. Tumburu and Narada. The latter clarifies the point put by the former. Prabhavilasa writes that asya slokasyoktih pratyuktirupataya vakyovakyamalamkarah | I