Book Title: Indian Antiquary Vol 46
Author(s): Richard Carnac Temple, Devadatta Ramkrishna Bhandarkar
Publisher: Swati Publications
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August, 1917)
OUTLINES OF THE HISTORY OF ALAMKARA LITERATURE
173
OUTLINES OF THE HISTORY OF ALAMKARA LITERATURE,
BY P. V. KANE, M.A., LL.M.; BOMBAY. The Chronology of Alamkara Literature,
Part II.
(Continued from Vol. XL., p. 288.) The history of Alankara literature falls under two sections. One section should show how, from small beginnings, a complete theory of Poetics (including the figures of speech) was evolved. In this section we saw how at the outset there were only a few well-recognized ala nkaras and how in course of time subtle distinctions were made between one alankara and another. It has been said, with a good deal of truth, that the Indian mind revels in subtle distinctions, divisions and classifications. This branch of Sanskrit Literature is as good an example of this tendency as any other. Sometimes even the most trivial circumstance has been thought sufficient to create a separate figure. In the second section, upon which we now propose to enter, we shall try to establish, as far as the materials at our disposal enable us, the chronology of the most prominent writers on the Alainkára-Sastra.
The first question that naturally arises is : What is the most ancient work on the Alain kdra-Sastra! In reply to this question, the Agnipurára is put forward as the original of all later doctrines on the subject. We shall therefore examine the claims of the Agnipurâna to be regarded as the most ancient work on the Alankara-Sastra.
The Agnipurana. Some commentators of the Kavyaprakiisa say that Bharata, in order to introduce through the medium of sweet poetry the tender minds of princes to more profound studies, composed concise Karikas, the materials for which he drew from the Agnipurâná. We think that this respect paid to the Agnipurâna is due to a misconception on the part of these writers and that the Agnipurana is not entitled to the honour of being looked upon as the most ancient work on the Alain kâra-Sastra.
The Agnipurâna is a hotch-potch, an encyclopædia of heterogeneous materials, something like 'Enquire within upon everything.' It is impossible to attempt to give even a brief summary of the contents of the eleven thousand verses of the Agnipurâna (in the Bibliotheca Indica series). The curious reader must refer to tho preface of Dr. Rajendralal Mitra. We shall give here a brief analysis of that part (chapters 336-346) which deals with figures of speech and other kindred matters. In chapter 336, after defining Kavya and dividing it first into Sanskrit and Prakrit and then into gadya, padya and misra (as done by Dandin), the subdivisions of gadya (five in number) and of padya are defined. In chapter 337 natakas and some topics Connected therewith are spoken of. In chapter 338 the rasas and bhavas are treated of. In 339, the four ritis (Vaidarbhi, Gaudi, Lâtî and Pånchåll) are described. In chapter 340, some points connected with acting are discussed. Chapter 341 speaks of gesticulation, rasas and nine ala i kdras of sabda. Chapter 342 deals with such figures of sabda as anuprāsa, yamaka and such intricate arrangements of
"Mabesvara, ir his Kavyapraksadarśa, says: Sukumaran rajakumdran svadu-kavya-pravrillid vira yahane Sdstrantare pravartayitum — Agnipurandd-uddhritya Kavya-ras-dovdda-kodranam = Alamkaraśdstranie kari kabhi! Sann kshipya Bharatamunih pranftavan.
The Krish nånandini, a commont on the Sahityakaumads of Vidyabhoshapa, says: Kavyarasi ovddandya Vahni-puranadi-driah fari adhitya-prakriya Bharata! sam kahiptabhih karikábhir-nibabandha.
