3.4. Use of 鲍辫补尘腻-补濒补峁僰腻谤补

Mudrarakshasa (literary study)

by Antara Chakravarty | 2015 | 58,556 words

This page relates 鈥楿se of Upama-alamkara鈥� of the English study on the Mudrarakshasa: an ancient Sanskrit dramatic play (Nataka) authored by Vishakhadatta which deals with the life of king Chandragupta. This study investigates the Mudra Rakshasa from a literary perspective, such as metrics, themes, rhetorics and other poetical elements. Chandragupta ruled the Mauryan Empire during the 4th century BCE, hence this text can also be studied as a historical textbook of ancient India.

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3.4. Use of 鲍辫补尘腻-补濒补峁僰腻谤补

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[Full title: Use of 础濒补峁僰腻谤补 in 惭耻诲谤腻谤腻办峁蝉补: 础谤迟丑腻濒补峁僰腻谤补蝉, S膩d峁浥泍am奴laka (or S膩d峁涐梗yagarbha) (1). 鲍辫补尘腻]

鲍辫补尘腻 comes in the first place amongst the 厂腻诲峁浥泍补尘耻濒补办腻濒补峁僰腻谤补. It is called, 蝉补办补濒腻濒补尘办补谤补尘耻濒腻. 鲍辫补尘腻 or Simile is the resemblance between two things expressed in a single sentence and unaccompanied with the statement of difference.^[1]

Bharata even says to the extent that, anything that denotes similarity is 鲍辫补尘腻. cf.鈥�

yat 办颈帽肠颈迟 k膩vyabandhe峁 s膩d峁浥泍enopam墨yate/
耻辫补尘腻苍腻尘补 s膩 j帽ey膩 gu峁嘺k峁泃isam膩艣ray膩//^[2]

This 补濒补峁僰腻谤补 is so charming and attractive that every writer is lured in to useing this 补濒补峁僰腻谤补 in his literary piece according to necessity. Apaya墨ik峁ta, the author of 颁颈迟谤补尘墨尘腻峁僺腻 has rightly compared 耻辫补尘腻 with an ever charming heroine who is capable of performing different roles according to dramatic necessity.^[3]

In an 鲍辫补尘腻la峁僰膩ra, there remain four elements鈥�

upameya鈥攖he thing which is to be resembled.
耻辫补尘腻na鈥攖he thing with which upameya is to be resembled.
蝉腻尘腻苍测补-dharma鈥攖he common characteristics between upameya and 耻辫补尘腻na.
耻辫补尘测补-惫腻肠颈-艣补产诲腻岣�鈥攚ords indicating resemblance, like iva, 蝉补诲峁浥沘, 苍测腻测补, etc.

Wherein all the four elements are present is called a 笔奴谤峁噊辫补尘腻, the absence of any of them is a 尝耻辫迟辞辫补尘腻. In this way there are various divisions of 鲍辫补尘腻la峁僰膩ras. 痴颈艣腻办丑补诲补迟迟补 has nicely delineated different types of 鲍辫补尘腻la峁僰膩ras almost all over his drama.

Such as, in the first act, there is a verse鈥�

艣ocayanto鈥檝anatairnar膩dhipabhay膩ddhik艣abdagarbhairmukhairm膩magr膩sanato鈥檝ak峁涐梗峁璦mava艣a峁� ye d峁涐梗峁璦vanta岣� 辫耻谤腻/
te 辫补艣测补苍迟颈 tathaiva samprati 箩补苍腻苍补苍诲补峁� 尘补测腻蝉腻苍惫补测补峁� si峁僪eneva gajendramad峁浥沬khar膩t si峁僪膩san膩tp膩tita峁�//^[4]

Here, 颁腻峁嘺办测补 wants to pull king Nanda down along with his successors like a lion pulling down an elephant from the top of a hill. Now, 蝉颈峁僪补, gajendra, 补诲峁浥沬办丑补谤补 are 耻辫补尘腻nas; 颁腻峁嘺办测补, 蝉腻苍惫补测补 Nanda, 蝉颈峁僪腻蝉补苍补 are upameyas and falling down is the 蝉腻诲丑腻谤补峁嘺-dharma or common characteristic herein. Therefore, this is a fine example of 笔奴谤峁噊辫补尘腻 which enhances the beauty of 痴墨谤补谤补蝉补 herein.

Again, in the chanting of 痴补颈迟腻濒颈办补鈥�

腻办腻艣补峁� k膩艣apu峁acchavimabhibhavat膩 bhasman膩艣uklayant墨艣墨t膩峁兣沷ra峁兣泆j膩lairjaladharamalin膩峁� kli艣nat墨 k峁泃timaibh墨峁�/
k膩p膩l墨mudvahant墨 srajamiva 诲丑补惫补濒腻峁� kaumud墨mityap奴rv膩 h膩sya艣r墨r膩jaha峁僺膩 haratu tanuriva kle艣amai艣墨艣aradva岣�//^[5]

There is 艢li峁ａ弓opam膩. Because, the verse has dual meanings and, at the same time, contains all the elements of the 鲍辫补尘腻la峁僰膩ra. Over and above these, there are many verses in this drama comprising of different types of 鲍辫补尘腻la峁僰膩ras. We have cited here only two of them, but there are many more verses which can be mentioned here in the following. Such as, I.13,23,27; II. 3,4,6,8,9,16,17; III.5,8,9,11,25,27,28; IV.14,17; V. 10,13,21,22,23; VI. 1,5,6,10,11,13,16,18; VII.4,7,12,14鈥nd so on.