Mudrarakshasa (literary study)
by Antara Chakravarty | 2015 | 58,556 words
This page relates ‘Use of Parinama-alamkara� 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.
Go directly to: Footnotes.
3.14. Use of ʲṇām-ṃk
[Full title: Use of ṃk in ѳܻṣa: ٳṃk, Sādṛśyamūlaka (or Sādṛṣyagarbha) (11). ʲṇām]
viṣayātmatayāropye prakṛtārthopayogini//
pariṇāmo bhavettulyatulyādhikaraṇo 屹//[1]
This means, according to վśٳ Ჹ,
“When what is superimposed, serves the purpose in hand as being identified with the subject of superimposition that is ʲṇām, which is twofold as being appositional and non-appositional.�
In a few places of ѳܻṣa the deployment of ʲṇām ṃk can be seen. One of the instances of Pariṇāmālaṃkāra in the present drama �
iha vicarayan sāddhvi� śṣy� � na nivāryate
tyajati tu yadā � mohāttadā gururaṅkuśa�/
Բⲹܳⲹٲ Գٲ� sadaiva niraṅkuśā�
parataramata� svātantrebhyo ⲹ� hi parāṅmukhā�//[2]
In this world a pupil is not checked doing a good work. The preceptor is a curb when he strays from the proper path through delusion, hence, good men with a liking for discipline are always curb less. We for our part are averse to any independence other than this.
Like the Sādṛśyamulakālaṃkāra, the Virodhamulakālaṃkāras also can be seen being employed by the dramatist here and there.
Footnotes and references:
[2]:
ѳܻṣa, III.6