Chapter 4 - Alamkara in the Kalika-purana

The term alamkara, derived from 'alam' stands in Sanskrit in the sense of adornment. The classical rhetoricians used the word 'alamkara' in two meanings - one in The the sense of adequacy or being sufficient, another in the sense of 'ornament' or embellishment. In this regard, J. Gonda in his Selected Studies mentions that # for two reasons we may take an interest in the exact meaning of the words alamkara etc. in early Sanskrit literature. first reason is the elucidation of a number of texts from magical religious point of view : here the question may be raised if alamkere always means 'ornament' i.e. that which adds grace or beauty to a person or to a thing; that which adorns, i.e. makes beautiful. The second reason It is a well bears on the history of Sanskrit literature. known fact that the alamkara also means 'embellishment in poetry', figure of speech etc."1 All the rhetoricians unanimously agree that the figures of speech enhance the beauty and merit of poetic composion. The rhetoricians like Bhamaha say that poetry looses its appeal if it does 1. J. Gonda, The meaning of the alamkara Selected Studies, Vol.2. • P. 257.

91 - 2 3 not have 'alamkara' just as a woman's face naturally beautiful doesnot look charming without ornaments. Acaryya Bhattevamana in his Kevyalamkarasutravrtti opines in this way 'kavyam grahyam alamkarat, saundaryam alamkarah'. Examining the avenues of poetic expression, Bhamaha found alamkara omnipresent in it. On the other hand Aceryya Dandin's opinion runs thus karan dharman alamkaran pracaksate'. 4 The beauty which enhances the poetic composition is called alamkara. Moreover the rhetoricians like Visvanatha kaviraja" consider alamkara as an unstable or non-universal quality (asthirah dharmah) of word and meaning. - 'Kavya Sobha- 5 But it is sure that the excellence of Kavya depends 6 1.N. Sharma's opinion runs thus - In upon alamkara. poetic composition, it is well recognised that the figure of speech is judged as necessary for three reaons. It is 2. 3. 4. 5. 6. rupakedirlamkara stsyanaibahudhuditah na kantam'pi nibrusm bibhati ramani mukham. Bhamalenkara, 1.13. Bhattavamena, Kavyalamkerasutrevrtti, 1.1.2. Dandin, Kavyadasa, 12.1 "sabdarthayorasthira ye dharmah sobhatisayinah rasadinupakurbanto'lankaraste ngadadivat." Sahitya Darpana, 10.1 T.N. Sharma, sahitya Vidya Parikrama, p. 46.

92 necessary, (1) to enhance the impressiveness of speech (sentence), (2) to make speech clear and intelligible and (3) to add elegance to poetic composition. Among these the third is but supposed to be the most important quality desired in alamkara. The figure of speech is divided in two types Sabdalamkara and Arthalamkara. The Kalikapurana abounds in both these types of alankara. Among the sabdalamkaras the Anuprase occurs frequently in the description of gods and goddesses and in the description of nature. 7 The definition of Anuprese is given by Visvanathe Kaviraja in his sahitya Darpana as It is the modest balance of words, i.e. consonants in spite of the variation of the (linking) swares, i.e. vowels in composition. There are five types of Anuprasa, such as (1) Vrttyanuprasa, (2) Chekanuprasa (3) srutyanupresa (4) Antyanuprasa and (5) Latanuprasa. All these varieties are found in the Kalikapurana VRTTYANUPRASA The definition of Vrttyanuprasa 8 is given by Derpa- nakara in this way single (i.e. one time) or manifold (i.e. many times) repetition of more than one consonant in 7. 8. Sahityadarpana 10. p. 608. anekasyaikadha samyamaskrdbasyane kadha ekasya sakrdsyesa vrttyanuprasa ucayate // Ibid. 10.4. p. 611.

93 a reverse order, manifold repetition of more than one consonant exactly in same order, and single or manifold repetition of a single consonant is said to be Vrttyanuprasa. For example from the Kalikapurana tato hari rohitamatsyarupi bhutva munin sapta tada savedan / adhaccharute raksnatatparo jagad hitaya sarva srutikovidam varan // 30.83 Here first two lines, the consonants 'ra', 'ta' and 'na' used many times. So, it is an example of Vrttyanuprasa. CHEKANUPRASA The Chekanuprasa³ occurs in various verses of the Kalikapurana The definition of Chekanuprasa is given by Darpanakara Chekanuprasa is the single repetition of in this way consonants in the same order of succession. For example from the Kalikapurana profulla patalapuspaidrisah syuh patalamsavah / 14.40 a 9. Chekovyanjanasanghsya skrtsamyamanekadha / Ibid. 10.2 p. 610.

94 Here the consonants Pa, ta and la are used in single repetation. Again in another example vidyavidyatmikam suddham niralamba nirakulam / 5.15.a Here na, ra, and la are used in single repetation in the same order of succession. Chekanuprasa. So, it is an example of SRUTYANUPRASA The srutyanuprasa 10 is also found in the Kalikapurana The definition of srutyanuprasa is given by Darpanakara run thus srutyanuprase is the insertion (in a sentence) - of only those letters which are pronounced from the same source (or organ) such as palate, tooth and the like also. Example from the Kalikapurana - yathamata tatha jamiyarthajamistathasuta / esavai vedamargasya niscayastvanmukhouthitah // 2.39 Here, in this verse the words yatha's 'ya' and jami's 'ja' are coming from the same root of pronunciation. are palatal sounds. 10. Both these So, it is an example of Srutyanuprasa. uccaryatvadyedekattra sthane taluradadike sadrsyam vyanjanasyaiva srutyanuprasa ucayate // Ibid, 10.5. p. 612.

95 ANTYANUPRASA 11 Antyanuprasa is that in which a consonant is repeated together with the proceding vowel at the end of a word or foot. Example from the Kalikapurana sarvavidyatmikam guhyam mantrayantramayim Sivam / pranamani mahamayam loke vede ca kirttitam // 76.103 Here, at the end of the word the consonant is repeated together with the proceding vowel. So, it is an example of Antyanuprasa. LATANUPRASA 12 Latanuprasa is that in which the word together with its meaning undergoes repetition, the difference of course in meaning occuring after the realisation of the meaning of the complete sentence. Example from the Kalikapurana sthulakarna mahakarna bahukarna bikarnakah / dirghaksah sthulanetrasca suksmanetravidrstyah // 6.35 11. vyanjanam cedyathavastham sahadyena svarena tu / avartyate'ntyayoj yatvadantyanuprasa eva tat // Ibid, 10.6. p. 613. 12. savdarthyoh pounaruktyam bhede tatparyamattratah letanuprasa ituktyo / Ibid, 10. P. 614

96 In this verse, while describing the 'ganas' the word 'karna' is used in degress and notions of significance. It is one of the examples of Latanuprasa i.e., alliteration in succession. Thus it becomes clear that the Anuprasa alankara is extensively used in almost every chapter of the Kalikapurana YAMAKA 13 The sabdalankara Yamaka occurs in various verses of the Kalikapurana The definition of Yamaka given by Darpanakara as follows Yamaka is said to be the repetition of a group of vowels and consonants exactly in the same order, whether they suggest different meaning or no meaning at all, is called Yamaka alankara. Example from the Kalikapurana cirena vrddhiryadiva ksayova drutena vrddhir yadiva ksayova 21. 99 a In this verse, the phrase 'vrddhiyadiva ksayo va' gets repeated in the same manner, once with the word 'Cirena' and again with the word 'drutena'. Hence it is an example of Yamaka. 13. satyarthe prthagarthayah svaravyanjana samhateh / karmena tenaivavrttiryamakam vinigadyate // Ibid, 10.8 p. 617.

97 SLESA This is a figure that has engaged the attention of the alamkarikas, earlier and later, as also modern writers on alankara. The slesa alankara is also found in the Kalikapurana Slesa 14 or Pun is the expression of more than one meaning by words impregnated with more than one significance. Example from the Kalikapurana tadvaktambujavasena tatsoundaryasyanarmabhih / gunairiva mahadanti baddho nanyadvaicestte // 14.56. Here, in this verse the word 'gunai' expresses more than one meaning and naturally bearing one significance. Therefore, it is an example of Slesa. UPAMA (SIMILE) 15 The Arthalamkara Upam is used widely in the Kalikapurana Upama (Simile) is the clear statement of similarity without any reference to difference of two objects in a single sentence. Upama is mainly divided in two types. One is 14. slistaih padairanekarthabhidhane slesa isyate / varnapratyayalinganam prakrtyoh padayorapi // Ibid, 10.11 p. 623 15. samyam vacyamavaidharmyam vakyaikya upamadvayoh/ Ibid, 10.14. p. 652.

98 Purna and another is Lupta. Example of Purna in the Kalikapurana sunarajiba samkasah fullatamaraseksnah / sandhyodi takhanda sasi pratimasyah sunasikah // 4.26 The common property stands for either attribute or action, such as fineness, which is responsible for the similarity of the two. Here, the complexion, eyes and nose of Vasanta are compared to lotus, full moon etc. Words indicative of similarity are 'iva' and Upameya such as face and the like. Upamana such as moon and the like. Example of Lupta in the Kalikapurana snigdhanilanjana syamamudiroudhasyaprsthatah / valakarajirbhattyuccairyamunaghustaphenevat // 15.8 Here, in this verse the row of Cranes are compared with the foams of Yamuna. RUPAKA 16 The Rupaka is a very popular figure among the Purana writers. Rupaka or Metaphor consists in the representation of the subject of description, which (the 16. rupakam rupitaropadvisaye nirapahnave // Ibid, 10.28. pp. 676-677.

99 subject) is not concealed as identified with another (2 wellknown standard). Example from the Kalikapurana sankhacakragadapadmadharam kamalalocanam pitambaradharam devam garudopari samsthitam // 32.41 Here, both the words padmadharam and kamalalochanam involve gupaka alamkara. Another example C cukujurbhramarestattra vanantargata puspagah / kantalilabubhuksostu smarevyaghrasya sabdavat // 14.47 Here the word smaravyaghra involves gupaka alamkara. BHRANTIMANA 17 The definition of Bhrantimana 1 is given by Darpanakara as follows Bhrantiman (Error) is the apprehension, from resemblance, of an object as being what it is not, if it is suggested by poetical imagination. Example from the Kalikapurana - 17. purnendu sadrsam baktramtradrstvabhrulaksmalaksitam/ na niscaikaya madano bhedam tanmukhacandrayoh // 3.27. samyadatasmimstadbuddhirbhrantimana pratibhotthitah/ Ibid, 10.36. p. 694.

100 To see the uncomparable beauty of Rati, Madana get confused and could not findout distinction between her beauty and the fullmoon. Another example from the Kalikapurana padmasamghata madhyastha hamsah koiscinna samstutah / profulla pankaja bhrantya niscalah svagabasibhih // 19.25 In this verse, seeing the beauty of the steady duck in the lotus garden of the Manasasarobara, the gods of heaven couldnot find out the differences of the ducks with the blooming lotus. So, it is an example of Bhrentimen. ULLEKHA words 18 In the Kalikapurana Ullekha alamkara has been used specially in the eulogies of gods and goddesses. The definition of Ullekha has been given by Darpanakara in the following the description of one under different characters arising from a difference of percivers or from difference of the objects is termed as Ullekha or representation. There are two varieties of Ullekha. The first is that where a certain object is apprehended by different persons 18. kvacidbhedad grahitrnam biseyanam tatha kvacit ekesyenekedhollekho yah sa ullekha ucyate // Ibid, 10.37. D. 696.

101 in different ways through different causes. The second variety is that where one and the same thing is described in different ways on account of the difference of visaya or asrya, although there are not many perceivers. The second variety is found in the Kalikapurana An example can be cited from Brahma's eulogy to Yoganidra, where the Goddess has been represented by a number of qualities and things. tvam vidya yoginam devitvam gatistvammatih stutih/ tvam srstistavam sthitih svaha svadhatvamihagitika// 27.32 In this verse, Brahma perceives Yoganidra in different ways such as vidya, devi, gatistvam etc. The 5 th, 7 th, 8 th, 24 th chs. of the Kalikapurana are full of second variety of Ullekha alamkara. Ullekha is a very common figure found in the eulogies and praises offered to gods and goddess. Markandeya Candi, the most popular work on the exploits of goddess Candi or Durga is full of Ullekha alamkara.

102 ARTHANTARANYASA (CORROBORATION) The definition of Arthantaranyasa 19 is given by Darpanakara in the following words when a general proposition is strengthened by a particular or a particular by a general one and when an effect is justified by a cause or vice versa, either under a similarity or a contrast, there is Arthantaranyasa. been cited here from the Kalikapurana One example has sapitrapasamabista no vaktum hrdaye sthitam / sasaka balabhistam yallajjyacchaditam yatah // 10.7 Here, the general proposition laid down in the second half of the verse is confirmed by a particular illustration contained in the First half. SVABHAVOKTI (NATURAL DESCRIPTION) The description of such actions and characteristics of an object as are peculiar to it and are not easily perceived by all is Svabhavokti. 20 One example has been cited here from the Kalikapurana 19. 20. samanyam va visesena visesastena va yadi karyam ca karanenedam karyena ca samarthyate sadharmyenetarenarthantaranyaso'stadhatatah // Ibid, 10.31. p. 780. svabhavoktir duruhartha svakriyarupavarnanam / Ibid, 10.92. p. 831.

103 vicitram kanakai rupyaih sikharam ratnakarburam / valarkasadrsam tungamasasada satisakhah // 16.1 There is the descriptions of Lord Siva that are particular to it and are not easily perceived by all. Another example of Svabhavokti from the Kalikapurana sailarajapurabhyase sikhare vrsbhadhvajah / saha satya ciram reme evambhutesusobhane // 16.8 The description of the actions of Lord Siva are peculiar to it, and are not easily perceived by all. So, it is an example of Svabhavokti. VYATIREKA (CONTRAST) The definition of Vyatireka is given by Darpanakara when the upameya excels or falls short of 21 in this way the upamana, it is called Vyatirekah. An example from the Kalikapurana 21. adhikyam upameyasyopamanannyunata'thava / Ibid, 10.52. p. 745.

104 rupam tavedamatulam vadanam sucaru / drstvangane nijavapurnijakantisamgham // helam nije vapusi rupagunesu nityam kartara ityanimiseksnecarurupah // 15.31 Here, the beauty of sati (upameya) excels the beauty of heavenly damsels (upamana). example of Vyatireka. So, it is an DRSTANTA 22 The definition of Drstanta is given by Darpanakara in the following words - Drstanta is the reflective representation of a similar subject. One example has been cited here from the Kalikapurana kusumasrisca kutajam bheje sasyatha kimsukan / uccavacam kalou laksmiryatha santyajyasajjnan // 15.12 Here, the charming of the flower palasa is the reflective representation of the Lakhmi of Kaliyuga. In the two sentences, the attributes are only similar 22. drstantastu sadharmasya vastunah pratibimbanam / Ibid, 10.50. p. 738.

105 and not the same (but differently expressed). is an example of Distanta alamkara. So, it SAMASOKTI The writer of the Kalikapurana uses Samasokti alamkara in different places of the Kalikapurana Darpanakara gives the defiwhen the behaviour 23 nition of Samasokti, in this way of another is ascribed to the subject of description from the sameness of (1) action, (2) gender or (3) attribute, the figure is called Samasokti. One example has been cited here from the Kalikapurana tusarah suryarasminam samgamada gamanksyam / mamatvaniva vijnanasalinam hrdayattada // 14.45 The behaviour of Vijnanasain (who realise the supreme truth) is ascribed to the subject of description from a sameness of ection of the melting ice (Tusara). Therefore, it is an example of Samasokti. 23. samasoktih samairyatra karyalingevisesanail/ vyavaharasameropah prastute 'nyasya vastunah // Ibid, 10.56. p. 754.

106 Thus, it may be concluded that the Kalikapurana abounds in both sabdalamkara and Arthalamkara properly. All these figures enhances the beauty of the poetry in the Kalikapurana Thus Vemana's statement 'kavyam grahyam alamkarat 'has been fulfilled by the Kalikapurana