Studies in the History of Sanskrit Poetics v2.c80.69

v2.c80.69

Rudraṭa's detailed treatment of the poetic figures or alaṃkāras however, is the distinguishing feature of his work and indeed justifies its title. It is not only elaborate and exhaustive, but also presents considerable difference of method and treatment, which distinguishes him from other earlier writers of this school, and which may lend plausibility to to the supposition that he is not only later in time but is also probably following a tradition other than that of Bhāmaha and his followers. To Udbhaṭa's limited number of poetic figures Rudraṭa adds nearly thirty more independent figures ³¹, besides enumerating several sub-varieties of most of the important ones, and devoting an entire chapter to *citra* (already discussed by Daṇḍin). Udbhaṭa (not to speak of Bhāmaha and Bharata) nowhere treats clearly of the distinction between ideal and verbal figures (i. e. figures relating to word and sense respectively), although such a distinction is implied by his treatment of four *śabdālaṃkāras* first, followed by an exposition of the *arthālaṃkāras*. Daṇḍin also implies a similar distinction by a similar separate treatment without expressly stating it. Rudraṭa, on the other hand, classifies the figures, like Vāmana, clearly into two groups according as relative prominence is given to *śabda* and *artha*. He also gives us for the first time a basis or principle of arranging the individual figures in groups in respect of their general nature or characteristics. The *śabdālaṃkāras* are arranged under five broad heads, viz., *vakrokti* (equivocation), *śleṣa* (paronomasia), *citra* (tricks of pictorial effects, like conundrum etc.), *anuprāsa* (alliteration) and *yamaka* (repetition of sounds or rhyming) ; while the *arthālaṃkāras* are classified on a principle of his own, viz., under *vāstava* (reality), *aupamya* (comparison), *atiśaya* (elevatedness) and *śleṣa* (coalescence)³². The figures mentioned under *arthālaṃkāras* are : (1) VĀSTAVA. *Sahokti, samuccaya, jāti, yathāsaṃkhya, bhāva, paryāya, viṣama, anumāna, dīpaka, parikara, parivṛtti, parisaṃkhyā, hetu, kāraṇamālā, vyatireka, anyonya, uttara, sāra, sūkṣma, leśa, avasara, milita* and *ekāvalī* (23 figures), (2) AUPAMYA. *Upamā, utprekṣā, rūpaka, apahnuti, saṃśaya, samāsokti, mata, uttara, anyokti, pratīpa, arthāntaranyāsa, ubhayanyāsa, bhrāntimat, ākṣepa, pratyanīka, dṛṣṭānta, pūrva, sahokti, samuccaya, sāmya* and *smaraṇa* (21 figures). (3) ATIŚAYA. *Pūrva, viśeṣa, utprekṣā, vibhāvanā, tadguṇa, adhika vikrodha viṣama, asaṅgati, pihita, vyāghāta* and *hetu* (12 figures). (4) ŚLEṢA. Two kinds—*śuddha* and *saṃkīrṇa*, the former subdivided into *aviśeṣa, virodha, adhika, vakra, vyāja, ukti, asambhava, avayava, tattva*, and *virodhābhāsa*, and the latter comprising two varieties (10 + 2 = 12 figures).