________________
Alamkāras headed by Rūpaka. It is such poetic embellishments that impart aesthetic appeal to poetry. Dr. S. K. De's Review of Hemachandra's Method
Dr. S. K. De reviews Hemachandra's treatment of the individual poetic figures in Chapters five and six of the Kavyanuśãsana and remarks: "Hemachandra's treatment of poetic figures, however, is somewhat peculiar. He speaks of six Sabdalamkāras, viz. Anuprāsa, Yamaka, Citra, Vakrokti and Punaruktavadābhāsa. The Arthalamkāras are much reduced in number and limited to twentynine. ... He includes Samsșşti under Samkara, and treats Ananvaya and Upameyopamā as varieties of Upamā. The Aprastutaprasamsā similarly goes under Anyokti. All figures like Rasavat, Preyas, Urjasvin and Samāhita that have a touch of Rasa and Bhāva are omitted as being comprehended (so also Mammața thinks) in the class of poetry called Gunibhūtavyangya. Hemachandra does not deal with Parikara, Yathāsamkhya, Bhāvika, Udatta, Āśih and Pratyanika for reasons explained by himself at pp. 292-4. Hemachandra, however, defines some figures somewhat broadly so as to include other recognized figures in them, e.g. his Dipaka includes Tulyayogitā, his Parāvștti would contain the Paryāya and Parivștti of Mammața, his Nidarśanā would comprehend Prativastūpamā, Drstānta and Nidarśanā of other writers."184
403
Jain Education International
For Private & Personal Use Only
www.jainelibrary.org
