1

A Critical Study on the Functionalism of Alakrastra (Science of

Figurative speech)

Ven. Mahawela Rathanapala

Introduction.

Poetry which generally defines as a combination or unity of sense and sound1 is accepted
as extraordinary turn of expression. But assigning equal value or importance to both sense and
sound alone was not enough to distinguish poetry form ordinary expression. On the other hand
poetry does not represent a use of language at all but a service of language to an extrinsic end. In
order to the early Indian poeticians, poetry can be taken as the exploitation of language for its own
sake and poetics as the investigation of language as it escapes the immediate limitations of utility
and achieves a condition of self-illumination which we might call beauty.2 So Alakra (figure
of speech) which can impart beauty to poetry was considered as an essential element for poetic
expression. This made the path to develop Alakra, from a poetic element to a science of literal
embellishment.

Through the application of Alakra poets have been tried to scrutinize poetic expression
which impresses and leaves memorable expression onto literary readers. On the other hand
ordinary langue is too limited to convey all wishes and ideas arise in human mind. So while in
conveying wishes and ideas in a charming and sweet manner, it was necessary to follow a special
method to distinct poetic expression from ordinary expression.

Definition of Alakra

Etymologically the term Alakra can be separated into two parts as ala + kra preposition
Ala is used in the sense of sufficient, enough for, adequate to.3 As illustrated by famous
lexicographer Amarasiha, the word Ala has three different shades of meanings as,

a. Bhaa i.e to adorn in this sense it is always associated as a nominal suffix with
the k
b. Vraa i.e to forbid use as an adverb with instrumental case and
 2

c. Parypta i.e to be sufficient4

Alakra is a participle. ala+k+ a (Ala karotti Alakra - that which gives

beauty or charm or make adorning ) here Ala is a preposition, k is verbal root and a is
present participle suffix, which originally means that which makes suitable or that which makes
sufficient or makes adorn something, ornamenting something or beautifies something. Precisely
etymological roots of the term runs into the gvedic era.

In observing the definitions given on the term Alakra, the obvious traceable fact is that,
all of those have been spread in wide area, Da says in his Kvydara, Characteristics that
decorate poetry or lend charm to poems are called Alakra.5

Alakra is defined in the Kvylakra as, the science of that particular element which
adorns the poetry in some way or the other (by speech or word). Speech clearness in word and
clearness in meaning have been identified as Alakra. 6 Which means Alakra consist something
over and above the fundamental sticking of expression.

Two fundamental sense of the term Alakra have been pointed out by Vmana in his
Kvylakra stravtti as,

1. Alakra means a thing of beauty7

2. Beauty or charm of poetry as Alakra8

But Vmana's states on the fact that, poetry is one of the fine art which has the expression
of beauty as their goal.9 He further supports that embellished (Alakrya) as embellishment
(Alakra).

The term is defined in the Shityadarpaa, by Vivantha with certain modifications as,
those non permanent attributes of a word and its sense that add to their beauty and aid the flavor
like bracelets and the life that adorn the human form.10 In reference with the commentary of the
Shityadarpaa, as a bracelet and the like by prompting the beauty of the person, advantage the
man, so alliteration simile and other figure which by adding to the beauty of word and sense serve
to aid the flavor or the like are termed ornament.11
 3

However evidently in its fundament sense Alakra can be entitled as a mean of producing
beauty which solely deals with sense and expression of poetic body.

The Functionalism of Alakrastra

The adherents of the Alakra School were, poetry has body (kvyaarra) which required
to be adorned. This body on the one hand, and the set of poetic figures on the other, were two main
separate entities of poetry. The body consisted of a group of words which was not devoid of an
agreeable idea. Hence the body constituted of two basic elements, sound and sense should be
adorned in the form of poetic figures. So through the application of Alakra or figure of speech
it has tried to achieve the particular purpose in a more efficient way.

As has been pointed out by Bharatamuni, Bhaa or ornamenting is the purpose of

Alakra.12 In accordance with his description of poetic characteristics, mentioned in the
seventeenth chapter of the Nyastra, all of those 36 characters can be recognized as Kvya
vibaa (adornments to Kvya). First character of his Lakaa paddhati is Bhuaa (ornetaness)
which means characterized by the specialty of having profuse adornments of Guas and Alakra.
13

Bhamaha says in his Kvylakra poetry must be embellished by figure of speech. This
indicates that, Alakra-s are used for the purpose of embellishing poetry as its fundamental
objective. It is mentioned that, sound and sense are together constituted as Kvya which also can
be recognized as its body. This body of poetry (sense and sound) never shines without proper
adornment in the form of poetic figures and hence they are essential to be adorned. Just as the face
of damsel though beautiful, lacks luster if unadorned, so is poetry.14 On this connection Prof. H.
Wijewardhana idea is, Objective of Alakra literature can be clarified much through its
categorization. Sense (artha) and sound (abda) are recognized as two main entities of poetry just
as Alakras are also divided into two. Some went to adorn the sound aspect and were called
abdlakra (verbal figures) E.g. Yamaka, Anuprsa and such. Their function was to make,
the sound aspect of the composition agreeable to the ear. The other kind of Alakrs was that
which adorned the sense aspect and were called Arthlakr-s (ideational figures) E.g. Upam,
Rpaka and so on, the function of which was to produce the appealing turn of speech.15
 4

However verbal figures such as Yamaka, Anuprsa etc. primarily deal with rhythm and
metre. But Alakra School has paid much attention on the ideational part of the poetic
composition rather than sound aspect.

Employment of Alakra is regarded as the characteristic feature of poetry, the factor that
converts prosaic speech into poetic speech, and the criterion for judging its worth. While ordinary
speech is straight and lacks ornamentation, poetry is marked by a turn of expression. The emphasis
was always on the poetic figure, and received the most attention. So that figure of speech or
Alakra has so much of gist of bestowing striking and attention to poetry. Thus in its every aspect
Alakra can be considered as an element which use to enhance the appeal of poetry. In the
Subodhlakra also it is explained that with the account of Alakra poetry become very stylish
and interesting.16

In the Kvydaraa, Da has made an obvious stamen that, Alakra-s are the elements
which give necessary charm to poetry.17 Here he has extended the scope of the subject field with
a different approach. As has been illustrated, anything that lends beauty to poetry can be
recognized as Alakra whether it is simile, metaphor, poetic qualities, Rhythm, Dhvani, or
whatever thing. In order to this interpolation all 36 lakas mentioned by Bharata can be
acquainted as Alakra.

At the hand of Vmana, Alakra gained great proportion, it expanded to deep scope of
significance. He realized beauty as the flashing diverse hues of this element.18 It further denoted
in his Kvylakrastravtti that, embellishing is the embellishment.19 Which means that basic
function of Alakra is ornamenting poetry. Gua pertaining both sound and sense add beauty to
the poetry20. The ornaments on the other hand are such characters as serve to enhance the charm
which already produced by the qualities.21 He has designated that charming elegance or the beauty
of poetry as Alakra or Alakrya as beauty itself.22 To achieve this beauty, it should come
through not only verbal and ideal figures but also absence of all flaws, incorporation of all
excellences.23 In terms with his treatment, without Gua, Alakrs cannot produce the beauty of
poetry, which the Gua can do that without Alakra. It elaborates that, the Gua being the dharma
of the collection of word and sense as a whole and Alakra of abda and Artha. So the view
was also proposed that the Gua was sobhtiayahetu and Nitya while the Alakra was useful
 5

for extra beauty, Sobhatisayahetu or anitya.24 However both Gua and Alakra impart beauty
to poetic expression. For instance quality full poetry is just like a beautiful damsel. Here beauty
has been added by her qualities.

So thus figure of speech (Alakra) performs just like jewelries or ornaments which she
worn. Jewelries have used in the purpose on enhancing the natural beauty just as figure of speech.25
Thus whatever remaining in a functionary place aids to embellished and add to the main themes
beauty can acquaint as Alakra.

Subodhlakra the only Pli rhetoric text also describes that; characteristic of ornament
is that enhancing the charm which already has produced by qualities.26

In the Dhvanyloka, Alakra is defined in a broad context, and says objectivity of the
employment of figure of speech is not only adding charm to poetry, but also hoping the chief
purport of sentiments and so forth.27 It further says that, the sole consideration it is only a means
to the delineation of sentiment and that is never and end in itself, the necessity of employing it at
the right time and of abandoning it at the right time, the absence of over enthusiasm on the poets
part in pressing it too far, and finally, his keen watchfulness in making sure that it remains a
secondary element only, these are the various means by which figures like metaphor become
accessories (of suggested sentiment).28 It has given the caution that, if the Alakra an adornment
here Rasa is adorned by Alakra. nandavardhana gives the perceptive clarification that even
as the ordinary ornaments, the jewels, putting, them on or laying them down, suggest to us the
mental state of the person. So also does figure suggest the Bhva (poetic emotion and mood.)29
Thus whatever remaining in a functionary place, aids to embellish and add to the main themes
beauty can be considered as the Alakra. Thus Rasa also can employ as a decorative devise.

Suggested Figure also is accepted as an important functionalism of Alakra. As

nandavardhana states, When figures are suggested only by the idea itself, then they are
invariably participants of suggestions, for the very procedure of poetry is dependent upon it.30 If
other figures are suggested, they will become participants of suggestions in case the principle
importance of the suggested is discernible in respect or extraordinary charm.31 So Alakra are
only the arra or the outer body of poetry. But when Alakra are not expressed only suggested
 6

in such occasions Alakrs can be made the soul of poetry. Abhinavagupta extend its scope
further, as a matter of fact, Alakra are external ornaments on the body but can sometimes be
like the Kukuma smeared for beauty on the body, when they are organic and structural. Far, far
away is the hope to make this Alakra the very soul. For instance, just as in the mere play of
children, there is some temporary greatness for the child who plays the role of the king, so also
when this Alakra is suggested it attains great beauty and partakes of the nature of the soul.

In the tenth chapter the Shityadarpaa the objectivity of the application of Alakra has
been described by Vivantha Kavirja with its all aspects as,

Adding beauty
Aiding to flavor or sentiment32

So the fundamental function of Alakra is adding or giving necessary charm to poetry

which helps to increase its excellence or which need to transform ordinary speech into literal
speech. In scrutinizing how figure of speech beautify poetry or differentiate literal or poetic speech
from ordinary speech, obviously it performs as a decorative devise,

Ordinary speech = Your face is beautiful.

Poetic speech = Your face is like the moon.

Your moon face

The moon is like your face
Is this moon or your face
Having seen moon I remembered your face
Your face is the second
The moon reigns in haven and your face reigns on the earth
The moon is pale before your face.

Here poet wants to praise the beauty of face, Your face is beautiful which is the basic
massage he wants to convey. But here with the usage of simile, meaning and excellence of object
has been increased. On the one hand it is very easy to comprehend the massage which poet tries to
convey. At the same time figure of speech has an ability to convey a fresh idea to reader about an
 7

object which we have already known in a form of unknown. However it appears from their
treatment that term Alakra suggests extraordinary turn bestowed to ordinary expression. As well
as it implies that how Alakra literature tries to systematized art of poetry by a method of positive
science.

In the Citrammsa, Appayadkita it is explained as thus, imparting beauty as the

significant function of Alakara. 33 In the Vakroktijvita, Kuntaka remarks, Alakra-s (figure of
speech) are used to delineate transcendental beauty and charm to poetry. 34 To indicate this beauty
or the necessary charm to poetry in course of time they have used so many different indications
such as Vicitti, Cru, Camatkra, Saundarya, Hdayatva etc. In the Dhvanyloka,
nandavardhana uses the term chru to indicate the special charm of poetry. Alakrohi
carutvahetu prasidd35 the quotation causes to assume that, Alakra itself is not the beauty,
beauty is the primary factor claims that as Alakra. While commenting on the Dhvanyloka
Abhinavagupta says, the special charm or peculiar to each composition, which rests ultimately on
the conception of the poet makes up Alakra and gives it its distinguishing characteristic. Kuntaka
also expresses that, in his Vakkroktijvita a mode of expression becomes a poetic figure it the
fertile imagination of a poet lends a peculiar charm to it. But a mere figurative expression does
not cause beauty in poetry. Figure of speech must possess two essential characteristics. Firstly it
must possess charm or striking and secondly the charm must be arisen through the genius of the
poet.36

In the Kvyapraka vartik which is the commentary of Kvyapraka, it has been

denoted that, Vaicitrya Alakr Alakra is striking itself.37 In terms with forgoing
discussions, a special charm which is diversified as Vicitti, Vaicitrya, Camatkra, Saundarya,
Hdayatva, Cru etc is necessary to constitute a poetic figure.

On account of Bhmahas opinion roundabout turn of expression (vakrokti) which opposed

to the ordinary speech is the basement of all Alakrs. That is the major fact of making difference
between poetic speech and ordinary speech. Without deviant expression (vakrokti) no figure can
be existed. Therefore as has been emphasized by Bhmaha, poets should always strive to achieve
Vakrokti in their composition.38
 8

Vaidagdha = poetic institution

Bhangi = charm or the beauty of meaning
Bhaniti = word

Definition of the Vakrokti also delineates that charm or beauty of poetry and power of
poetic institution and the real poeticism severely based on the Vakrokti or roundabout expression.
In the opinion of Bhmaha, all poetic speech is marked by a roundabout turn of expression
(Vakrokti) as opposed to the ordinary speech which is straight forward expression 39 By mere
verbal expression beauty in speech is not achieved, and that type of expression is called Vakrokti
is the factor that adorns speech.40 Hence Vakrokti marks the differences between ordinary speech
and poetic speech and what converts former into latter.

In Examining the whole field of poetic expression, Bhmaha finds the Alakra or poetic
figure omnipresent as a means of realizing the deviation and Vakrokti becomes the essential
principle of an Alakra, and necessarily of poetry itself.41 nandavardhana also has pointed out
that figure would be found appealing only if the poet, through his imagination, establish
Atiayokti in it. Otherwise it is mere extraneous ornament serving no purpose. Atiayokti is hence
regarded as the life running through the bulk of poetic figures.42

This can be considered as the reason of identifying meaning as the soul of poetry by all
poetic critics. Meaning has threefold nature through their being, expressed, indicate and suggested.

Suggested sense is not different from Alakra because the functionalism of Alakra has
mainly connected with production of the suggested sense. Abhinava also remarks three kinds of
suggestions or Dhvani, as

1. Vastu Dhvani
2. Alakra Dhvani
3. Rasa Dhvani

This delineates that Alakra also can be considered as a part of Dhvani which means
suggesting something beyond the ordinary sense. Here Alakra itself has become Dhvani. So to
be Kvya or poetry Suggested sense or the Vyagrtha should be embodied in a composition along
 9

poetic qualities and figure of speech. This should be comprehended through the complete
indication of latter.

Hamlet on the Gangues - Vcyartha

There is a hamlet on the shores of the river Ganges. Lakyrtha
There is Beautiful, marvelous, charming hamlet situated on the bank of Gangues -
Vyagrtha

With the suggestive sense, the meaning of the particular composition differs from the
grammatical meaning and the scholarly interpretations. This meaning is understood only by minds
that are capable of establishing harmony and a concord. This may be mood generated in us, may
be beyond the capacity of words to convey, but then there is no doubt that there is something that
is felt keenly as captivating, enhancing, expanding.43

Poetry requires not only fact and feeling but a beautiful form also. Primarily it should be
attractive too. Ba says that poetry has to leap to our heart on even the mere hearing of it. But the
application of Alakra should be proper or ideal with poetic object (kvya vastu) otherwise
application will be complicated to connoisseur. In the Kvydara, Da has emphasized that,
proper application of figures help to increase literal sentiments and delectableness but if not it
cause to deteriorate the relish and delectableness.44

The principle of the proper application of figure of speech has been emphasized very much
through the theory of Aucitya in Aucitya Vicracarc of Kemendra.45 Just as a pearl garland can
beautify only a full bosom and otherwise cannot be a beautifying factor. The figure thus is the
concretization of relish. Separate endeavor or effort is not required to realize that, effortlessly
feeling moves towards its expression. Perusal of figures may give an impression that they are
somewhat artificial elaborates and intellectual exercises requiring some effort in turning them out
precisely. But they are not so difficult of effecting for a master poet. With him as emotion
increases, expression swells and figures foam forth. Only then the figurative expression becomes
significant.46 Here caution is given that, when Alakra use with this appropriateness it always
enriches the idea of the poet and adds charm to the diction. If the vastu (object) which is to be
decorated should be equally striking as the Alakra, otherwise the composition will be like a
 10

ghost without having a soul though decorated with Alakra, and such a poetry will not please the
critics.47 With this objective correlativeness figure can effortlessly get accession into feeling. So
figure we use should serve the feeling and become the means of its realization. The application of
the verbal or ideational figure depends on the competence and intuition of poets. nandavardhana
insists that the poet should be intuitively aware of the principle of the assimilation and avoidance
of figures according to the context of the feeling (kleca grahaathygu).48He also points out that
ornaments make sense when there is something of which it is the ornament (Alakrya).49
Otherwise, it is just like decorating a dead body. Abhinavagupta also adds up what is embellished
is the feeling and therefore poetic figures are functionally justified only when they help in the
evocation of feeling. Thus nandavardhana has laid down some principles in the Dhvanyloka.

1. the figure should suggest the feeling (rasa)

2. It should be born along with the poets revelation and delineation of
the feelings (rasa)
3. It should be naturally and easily introducible
4. The poet should not have to pause to make a special effort to effect
it50

The figure which can be a promoter of sentiment usually bodies itself forth in all it is
completeness without any extra effort on the part of the poet. Hence if one were to find that the
figure indicates and extra effort of the poet in its employment, rather than his concentration in the
sole delineation of sentiment though this latter alone is his avowed object can conclude that, it
cannot serve as a promoter of sentiment. 51

As a concept Alakra is based on four essential elements like thought, language,

expressiveness and the connection between sound and sense. It can be designated as a criterion for
distinguishing poetic speech form mere expression. So the purpose of Alakra is inevitable like
the purpose of poetry which in whatever way eventually carries to the emotional motivation.

Therefore even Alakra consider as an external element, it is indispensible to poetry.

According to Kuntaka, Alakr are not separate from Alakraya. Alakr essentially exist in
poetic abda and Artha and are not added externally to the poetic composition. They are
 11

distinguished and discussed to reveal and explain their nature.52 He stresses that, there will be
no beauty in poetry without the striking of Alakra. Alakra are mean to enhance the beauty of
poetry (lokottaracamatkra and vaicitra)53

This elaboration emphasizes the underlying principle of the application of the Alakra is
fundamentally distinguish poetic language from everyday speech and on the other hand, it shades
beauty on all over the poetry with suitable engagement. As well as has already been pointed out
functionally Alakra adorn sound and sense also subordinate to Rasa or aid to realization of Rasa.

Conclusion.

Eventually it can be concluded that, Alakra has been used to give an extraordinary turn
to ordinary speech or to transform ordinary speech into poetic speech or as a beautifying principle
which sin qua non for poetic expression. It at once does strike a chord of sympathy in experience
and reveals us something unperceived hitherto. The more we think on it, the more it expand and it
content assumes universally and depth. Figure of speech or Alakra was the magical charm of
accomplishing this purpose. Thus the utmost upshot can be made here is poetry itself is not
beautiful. a beautiful idea must appropriately incarnate itself in a beautiful expression. This
defines Alakra and its place of function. The function of Alakra is to heighten the effect; it is
to aid the poet to say more pointedly. Whether the poet exalts or does the opposite, Alakra is to
help him. This idealism forms the basis of the Alakra thought can be well apprehended from the
word of the Dhvanikra. In the infinite world of literature the poet is the creator and whatever
appears to him to be valid, the world also changes accordingly.54

Thus be it a abdlakra or Arthlakra, be it a sound effect or striking turn of the idea,

it not Bhiraga for Rasa, so long as it is useful for Rasa, effective expression, the embodiment
of the poets idea is Alakra. It is not as if it were in some separate place, like jewels in a box, to
be taken and added. So it is the several ways of expressing ideas which are to convey the Rasa that
are called Alakra.
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Abbreviations

SA Subhodhlakra

DL- Dvanyaloka Locana

NS Ntyastra

OSP Outline of sanskrit poetics

KAL - kuvalaylakra

KLS 1 - kuvalaylakra sutravtti (ed., Kulasuriya, Ananda)

KLS 2 - kuvalaylakra sutravtti (ed., Jha, Ganganatha)

DAL- Dhvayloka (Ed., Sastri,vasudev)

DAL I - Dhvayloka (Ed., English translation with critical notes, ed.,Homes,D.H)

KP Kvyapraka

SD - Shityadarpaa

End Notes

1
Sabdrthau sahitam kvyam. - KL 2. p.6.
2
Gerow. E., 1971. Glossary of Indian figure of speech. Netherland: N.V. Publishers. p.14.
3
Shivaramana, A.R, ed., 1998. Practical Sanskrit English dictionary, Motilal Benarsidas publishers,India. p.233.
4
Tripati, G.C., 1969. An Etymological Note on the word Alakra: Principles of literary criticism in Sanskrit. p.29.
5
Kvyaobhkarndharmn Alakra pracakate. - Ayyar. N., 1952. Kvydaa. Delhi: Vavilla venkatesvara
publication. p.57.
6
Na nitntimtrena jyate crut girm,
Vakrbhidheyya sabdokti rit vcmalakti. - KL. p.12.
7
Kvyarughyamalakrt. - KLS 1. p.2.
8
Saundryamalakra. - Ibid. p.2.
9
Kane, P.V., 1951. History of Sanskrit Poetics. Delhi: Motilal Banrsidass. p.356.
10
abhrthayortitya ye dharmh obhtiyinah,
Rasdinupakurvanto lakrstegaddivat. - SD I. p.199.
11
SD 2. p.333.
12
NS. p. 300.
13
Alakaraigunaisciva bahaubhih samalakruta
bhunairiva citrrthaibhuanamiti smruta. - NS. p.301.
 13

14
KL 2. p.4.
15
OSP. p.28.
16
Tantuppentalakrvindanyatarattana. - SA. p.51.
17
Kvyasobhkarn dharmna alakran pracakate. - KD. p.57.
18
saundaryamalakrah. - KLS 2. p. 2.
19
Alakrutiralakrah. - Ibid. p. 3.
20
Kvyasobhykarthro dharm gunh. - Ibid. p.104.
21
Tadaiyahetavastvalakr. Tassyh kvyaobhy atiyasdatiyastassya hetavah. - Ibid. p. 104.
22
Saundayamalakrah. - Ibid. p. 3.
23
S doagunlakahndnbhya. - Ibid. p.105.
24
SPS. p. 15.
25
Yuvateriva rpamegha kvya svadate uddhaguana tadanyatva vihitah pranaya nirantarbhih
sadalakravikalpakalpanbhi. - KLS I. p.104.
26
Atthlakrasahit sagunbandhapaddat,
Accantakant kantva vuccante te tatodun. - Laknand himi, Labugama, ed., 1937. Subodhlakra. Horana:
Vidydeskara Printers. p. 66.
27
Rasabhvditatparymsritya viniveana,
Alamkrutin sarvsmalakratvasdhana. - DL I. p.180.
28
Ibid. pp. 223 - 224.
29
Raghavan, V., 1942. Studies on some concept of Alakra. Adyar: The Adyar Library. p. 57.
30
DL I. p. 270.
31
Ibid. p . 280.
32
SD. p. 333.
33
Sarvopi alakr kavisamayaprasiddhynurodhena drutay kvyaobh kra eva Alakrat bhajate. VJ. p.97.
34
Lokkottarachamatkravaictryasiddyaye ,
Kvyassmalakra kopyapurvo vidiyate. - De,S.K, ed., 1961. Vakroktijivita. Calcutta: Firma K.L
Mukhopadyaya. p. 2.
35
vcya-vcaka-crutva-hetn vividhtmanm ,
rasdi-parat yatra sa dhvaner viayo mata. DL I. p.180.
36
De,S.K, ed., 1961. Vakroktijivita. Calcutta: Firma K.L Mukhopadyaya.. p.xix.
37
Dwivedi, R.C. ed., 1966. Kavyaprakasa of Mammata, Vol l, Delhi: Motilal Banarsidass. p.562.
38
Sei sarveva Vakkroktiranayrtho vibhvyate ,
Yatnosy kavn krya kolakraonay vin. - KL I. p.122.
39
OSP. p. 29.
40
KL II. p. 10.
41
De, S. K.,1963. Sanskrit poetics as a study of aesthetics. California : University of California press. p.24.
42
OSP. p. 32.
43
Mainkar. T.G.,1969. some observation on the definition of poetry: Principle of literary criticism. pp. 126 -127.
44
Kmasavopalakro rasamathe nisicati,
Tathpyagrmyataiveina bhra vahat bhuyas. - Ayyar. N., 1952. Kvydaa. Delhi: Vavilla venkatesvara
publication . p. 33.
45
Ucitastnavinysadalakrutiralakrutih. - Sarma, J.M, ed., 1977. Auctiyavicracarc. Kerala : University of
Kerala. p. 80.
46
Dutt, A, ed., 1987. Encyclopedia of Indian literature (vol I). sahitya Akadami. p. 127.
47
Tripatai, H., 1969. Vakkrokti and literary criticism, Principles of literary criticism in Sanskrit. p. 85.
48
vivak tatparatvena ngitvena kadcana,
kle ca grahaa-tygau ntinirvahaaiit. - DL I. p. 223.
49
dhvany-tma-bhte gre samkya viniveita,
rpakdir alakra-varga eti yathrthatm. - DL I. p .223.
 14

50
Raskiptatay yasya bandha akya-kriyo bhavet
apthag-yatna-nirvatya so 'lakro dhvanau mata. - DL I. p. 219.
51
rasgatve ca tasya lakaam apthag-yatna-nirvartyatvam iti yo rasa bandhu-madhya-vasitasya kaver
alakras t vsanm atyhya yatnntaram sthitasya nipadyate sa na rasgam iti. - DL, p.219.
52
Alakrutiralakrayaupadrutya vivecyate,
Tadupyatay tatva slakrassya kvyat. - De,S.K, ed., 1961. Vakroktijivita. Calcutta: Firma K.L
Mukhopadyaya. p. 3.
53
Ibid. p. 3.
54
Apre kyasasre kavirekah prajpatih.
Yatasmaih rocayate visva tadeta parivatate. - DL. p. 494.

Selected Bibliography
Primary sources.

Laknand himi, Labugama, ed., 1937. Subodhlakra. Horana: Vidydeskara Printers

Batuknathsarma, ed., 1981. Kavyalakara of Bhamaha, Varanasi: The Chawkhambha
Sanskrit Series office.
Ayyar. N., 1952. Kvydaa. Delhi: Vavillavenkatesvara publication.
Jha,G. ed., 1928. Kvylakra sutravtti. Poona: Oriental Book Agency.
Kane, P.V. Ed., 1923. The Sahityadarpana of Vishvanatha. Bombay: Nirnayasagara
Press.
Krishnamoorthy, K. ed., 1955. Anandavardhana's Dhvanyaloka or Theory of Suggstion
in Poetry. Poona: Oriental Book Agency.
Holmes, H. D, ed., 1990. Dvanyloka of Anadavaradhana with the Locana of
Abhianavagupta. America: Harvard oriental series.
Krishnamoorthy, K. ed., 1968. Abhinavagupta's Dhvanyaloka Locana. New Delhi:
Meharchand Lachmandas Publishers.
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Chawkhambha Sanskrit Series office.
Sastri, N. 1928. Kvylakra. Tanjore: Wallace Printing House.
Sharma,B. etc. Ed., 1929. The Natya Sastra of Bharata. Varanasi: The Chawkhambha
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De,S.K, ed., 1961. Vakroktijivita. Calcutta: Firma K.L Mukhopadyay
Dwivedi, R.C. ed., 1966. Kavyaprakasa of Mammata, Vol l, Delhi: Motilal Banarsidass
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Sarma, J.M, ed., 1977. Auctiyavicracarc. Kerala : University of Kerala.

Rawaprasada. D, ed., 1943.Viktiviveka. Varanasi: Ki Sanskrit Series

Secondary sources.

Gerow. E., 1971. Glossary of Indian figure of speech. Netherland: N.V. Publishers.
Kane, P.V., 1951. History of Sanskrit Poetics. Delhi: Motilal Banrsidass.
Raghavan, V., 1942. Studies on some concept of Alakra. Adyar: The Adyar Library.
De, S. K.,1963. Sanskrit poetics as a study of aesthetics. California : University of
California press.

Dictionaries and Encyclopedias.

Dutt, A, ed., 1987. Encyclopedia of Indian literature (vol I). sahitya Akadami.
Dutt, A, ed., 1987. Encyclopedia of Indian literature (vol I). sahitya Akadami.
Wehmeier, S. ed., 2005. Oxford advance learners dictionary 7th edition. Oxford : Oxford
University press.
Nagendara., 1987. Dictionary of Sanskrit poetics. Delhi: B.R Publishing corporation.
Wehmeier, S. ed., 2005. Oxford advance learners dictionary 7th edition. Oxford : Oxford
University press.
Shivaramana, A.R, ed., 1998. Practical Sanskrit English dictionary, Motilal Benarsidas
publishers,India.

Journals

Tripati, G.C., 1969. An Etymological Note on the word Alakra: Principles of literary
criticism in Sanskrit.
De,S.K., 1959. Some Problems of Sanskrit Poetics. Culcutta: Frama K.L Mukhopadyay.
Mainkar. T.G.,1969. some observation on the definition of poetry: Principle of literary
criticism
Tripatai, H., 1969. Vakkrokti and literary criticism, Principles of literary criticism in
Sanskrit.
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