Transcendentalism

 Thinking Activity

Transcendentalism

This blog is written as a part of the thinking activity assigned by Megha ma'am department of English, MKBU on the topic Transcendentalism. In this blog I am going to relate two movies with the 19th century American movement Transcendentalism.

What is 'Transcendentalism'?

    Transcendentalism is a 19th-century movement of writers and philosophers in New England who were loosely bound together by adherence to an idealistic system of thought which is based on 

• A belief in the essential unity of all creation
• The innate goodness of humanity
• The supremacy of insight over logic 
• Experience for the revelation of the deepest truths

    It is an American literary, philosophical, religious, and political movement of the early nineteenth century, centered around Ralph Waldo Emerson. Other important transcendentalists were Henry David Thoreau, Margaret Fuller, Lydia Maria Child, Amos Bronson Alcott, Frederic Henry Hedge, Elizabeth Palmer Peabody, and Theodore Parker. 'TRANSCENDENTALISM' is a very formal word that describes a very simple idea. People, men and women equally, have knowledge about themselves and the world around them that "transcends" or goes beyond what they can see, hear, taste, touch or feel.

Eat Pray Love:

Eat Pray Love is a 2010 American biographical romantic drama film starring Julia Roberts as Elizabeth Gilbert, based on Gilbert's 2006 memoir of the same name. Ryan Murphy co-wrote and directed the film, which was released in the United States on August 13, 2010.

The movie like it's title is decided into three parts along with the journey of the protagonist Elizabeth. She in the initial part of the movie is to much foody, then she turns to pray - Spirituality and the story is being resolved by love. 

The movie talks about the concept of Transcendentalism in many ways. She comes to India in persuit of peace. But in a way she gets what she has left. But we can also say that now she is a more spiritual being. 

The pursuit of happiness:

     The Pursuit of Happyness is a 2006 American biographical drama film directed by Gabriele Muccino and starring Will Smith as Chris Gardner, a homeless salesman. Smith's son Jaden Smith co-stars, making his film debut as Gardner's son, Christopher Jr. The screenplay by Steven Conrad is based on the best-selling 2006 memoir of the same name written by Gardner with Quincy Troupe. It is based on Gardner's nearly one-year struggle being homeless. 

       The Pursuit of Happyness by Chris Gardner tells the story of a struggling salesman who never gave up trying to find true happiness for himself and his son. He faced many challenges in his life but overcame adversity to succeed above all odds.

           In this film the transcendentalist belief of non-conformity is shown by the main character, Chris Gardner when he overcomes various obstacles in order to end the struggle both him and his son must endure.

           Throughout the whole film Chris maintains a positive attitude and his passion to move on and triumph in many of life's obstacles in order to climb the chain of "Happiness". At once in the movie, while he is playing basketball with his son, Chris tells his son he doesn't have much of a chance to play in the professional leagues. After a short pause Chris tells his son

 "Don't ever let somebody tell you, 'you can't do something' not even me. You got a dream, you got to protect it. People can't do something themselves they want to tell you, you can't do it. You want something, you go get it. period." 

        This quote proves non-conformity and transcendentalist thought. This quote allows the viewer to realize Chris's aspiration to overcome poverty and his intention to give his son a better life. This quote is in a sense a main theme of the movie, Chris is faced constantly with ovewhealming obstacles which he manages to overcome with dedication and by not giving in to poverty or his situation.  

The male protagonist is from the very beginning is in search of happiness. He wants to provide his son everything. So in all his life he is in search.

                   Christ in between admitts phase of life in pursuit of happiness and also gives it various titles:

• Riding the Bus
• Being Stupid
• Internship
• Paying Taxes
• Happiness

                  These phases of his life are essential to consider the chase of each and every individual. The initial frame of  the movie is the whole or the essence of the movie. 

In this frame the camera plays the vital role ana here at the very beginning the title has been revealed with some text and then suddenly it moves upon a little boy who is sleeeping and then a person comes to see him. This initial part reveals the plot of the story which is based on a father's desire to bring happiness to his son which he couldn't get.

             Chris is time and again reminds to a person at 'Daycare' to amend spelling of Happiness because it was "Happyness". But what is happiness is not certain. He is selling Scanner machine by which heis earning. Standing in front of the stock broker's office, he observes that everyone is looking happy and have happy life(aparently). So to get happiness he tries his hand. But while doing so he has to fisrt go through training and after the final test out of 20, one can get job. He loses his home, his wife also left him but the only hope for him that gives him strength is his son Christopher. At the end of the movie he gets the job and so Happiness. After beginning his career as Dean Witter, Chris Garner went on to found the investment firm Garner Rich. At the end when he and his son go to his home he asks his son, "How many planets are there in the universe?" His son says 7 and replies 9 and the last question of him is also interesting,"Who is the King of Junngle?" And his son replies "Gorrilla" and he says Lion. The last words are "Knock Knock", which as per my understanding, is the happiness which is knoking everyone of us door of life. 

In the movie there is a wonderful dialogue between Chris and his son Christopher. Christopher tells a story to his father:

One day a man was drowning in the water and a boat came by and said, "Do you need any help?" He said "No thank you. God will save me." Then another boat came and said, "Do you need any help?" He again said "No thank you. God will save me." Then he drowned and he went to heaven and asked God, "God why don't you save me?" And God said, "I sent you two big boats, You dummy."

If we consider this dialogue in terms of transcendentalism, we can connect the dots of it with the struggle of Chris who is in pursuit of happiness.  

       He referred to the moment in his life as "happiness. Chris's non-conformity allows him to succeed and become a successful owner of a multi-million dollar brokerage firm.

In a way, the movie deals with the concept of transcendentalism in a much broader way which is Happiness of an individual.

I hope this blog will help you to have better understanding of the these movies.

Thanks for visiting...

{Words: 1217}

Indian Aesthetics: Rasa Theory

 Thinking Activity

Indian Poetics: Rasa Theory

This blog is written in response to the thinking activity assigned by Dr. Dilip Barad sir, Department of English, MKBU on Indian Poetics. In this blog I will deal with Rasa Theory.

Introduction:- 

              Indian poetics is being considered as the earliest(ancient) criticism. So many scholars of India tried to define various literary theories very closely and if we pick any one theory, we will say this is right and at the same time we pick up other theories we would realise that they are also right. But what are those chief characteristics that distinguish as well as give prominent space to all of them in literary theories. We all have three kinds of imagery: 1. Dream 2. Land of memory and 3. Imagination. We can change Dream and Memory or can't even interrupt it as there is no scope of it. The only thing that is in our hands is "IMAGINATION". This imagination is the only facet that leads oneself to create literary aer. To understand Indian literary criticism, it is significant to understand that  in literature,we always try to visualise ourselves. So it can be said that literature is our own reflection. In Indian Aesthetics, there are various schools and each of them tries to elaborate the significant part of poetics. These are

1. Rasa theory by Bharata

2. Dhvani theory by Anandvardhan

3. Vakrokti theory by Kuntaka

4. Alankara by Bhamah

5. Riti by Vaman

6. Ramaniyata by Jagganatha 

Rasa theory:- 

 The theory of Rasa is elaborated by Bharat Muni in the Sanskrit text Natya Shastra, an ancient text on the arts from the 1st millenium BCE which is an art of Natya(drama). However, its most complete exposition in drama, songs and other performance art is found in the works of the Kashmiri philosopher Abhinavgupta which demonstrates the persistence of a longstanding aesthetic tradition of ancient India.

The rasa school stresses this experiential or subjective side of poetic meaning.

Rasas are created Bhavas means State of mind.

According to Bharat, to understand Indian literary criticism, it is significant to understand the connection of  "Bhava"(emotion) and "Language". Bhava is the first thing with which humans are connected since birth, also each and every animal has Bhava(Which is Natural). But language is something which is unnatural,which is taught or imposed. Language gives shape to emotions and expressions, thus it has become the branch of literature. The emergence of literature is impossible without language. But Bhava is an essential facet of the emergence of literature. Another significant point is in literature,we always try to visualise ourselves. So it can be said that literature is our own reflection. 

સાહિત્ય જ આપણી ભાવસૃષ્ટિને વિચારસૃષ્ટિમાં ફેરવે છે.

                   Literature is the combination of Bhava and language.

Bhava+ Language = Literature. 

            As Mammat in his Kavya Prakash says that "સાહિત્યને સમજવા માટે ભાવ અને ભાષા વચ્ચેનો સંબંધ સમજાવો જરૂરી છે ."  If we take an example of Cubism in Indian literature, in 'Shishupal Vadh',we can't find repetition of any word in the text after 9 Sargas. So this is an example of how language can be used in an excellent way. Bharat muni says that our life is also a kind of drama school where we all are a playing role of a character. So how is important, to which our Various Bhavas are expressed. In Sanskrit it is said that,

 "रसात्मकम् वाक्यम् काव्यम्" अर्थात् रसयुक्त वाक्य ही काव्य है।

The Text begins its discussion of Rasa with as sutra called the Rasa Sutra:

विभावानुभावव्यभिचारिसंयोगाद्ररस निष्पत्ति:।

"Rasa is produced from a combination of Determinants(Vibhava), Consequents(Anubhava) and Transitory States(Vyabhicharibhava)."

This Rasa sutra can be divided into four parts:

1. Vibhava

2. Anubhava

3. Vyabhicharibhav

4. Combination of all three

 

In साहित्य दर्पण, It is said that, Rasa is emerged when Sthayi bhavas are combined with Vibhav, Anubhav and Vyabhicharibhav. So, before understanding Rasa Sutra, Let's first try to look at the Sthayi Bhavas:

Sthayi Bhavas:

       Sthayi bhavas are those bhavas which we can't prevent from coming out as an expression. We can control these bhavas, we can increase and decrease the immensity of its expression. As Aristotle says in the definition of tragedy, "Tragedy is an imitation of an action that is serious, complete and of a certain magnitude... through pity and fear affecting the proper purgation of these emotions''. There are 8 Sthayi bhavas according to Bharata, but later on Abhinavagupta adds one more sthayi bhava 'Shant', which is not described by Bharata. Now generally 9 bhavas are called Sthayi bhavas. As Abhinavgupta describes,

शृङ्गार करुण वीर रौद्र हास्य भयानका।

बिभत्साद्भुत् शान्तश्च नव नाट्ये रसास्मृता:॥

From this sutra we can get nine Rasas:

	Rasa	Bhavas arise out of this rasa	Presiding Deity	Clour
1.	Shrungar (शृङ्गारः)	Romance, Love, attractiveness	Vishnu	Light green
2.	Hasyam (हास्यं)	Laughter, mirth, comedy	Shiva	White
3.	Raudram (रौद्रं)	Fury, Anger	Shiva	Red
4.	Karuṇyam (कारुण्यं)	Compassion, mercy	Yama	Grey
5.	Bibhatsam (बीभत्सं)	Disgust, aversion	Shiva	Blue
6.	Bhayanakam (भयानकं)	Horror, terror	Yama	Black
7.	Veeram (वीरं)	Heroism	Indra	Saffron
8.	Adbhutam (अद्भुतं)	Wonder, amazement	Brahma	Yellow
9. Added	Shantam	Peace or tranquillity	Vishnu	Perpetual white.

Apart from these Sthayi bhavas, there are Asthayi Bhavas also, which are described in the rasasutra under the name "Vyabhichari Bhavas".

Now let's try to understand three aspects of the Rasa Sutra.

1. Vyabhichari Bhavas:

           Vyabhicharibhavas can be called Asthayi or Sanchari Bhavas. These bhavas are temporary bhavas which become helping or catalytic bhavas to Sthayi Bhavas. According to Acharya Mammat, there are 33 Asthayibhavas except 9 Sthayi Bhavas. Which are Nirveda, Guilt, Doubt, Anguish, Madness, Labor, Laziness, Humility, Worry, Infatuation, Memory, Dhriti, Vrida, Flattery, Joy, Impulse, Inertia, Pride, Nostalgia, Curiosity, Sleep, Epilepsy, Dream, Enlightenment , amarsha (intolerance), avahittha (concealment of emotion), fierceness, mania, disease, frenzy, death, terror and argument.

2. Vibhav:-

Vibhava means cause. The reasons for the emergence of Sthayi bhavas are called vibhavas. They create / evoke permanent feelings, making them palatable. These are considered basic in the origin of Rasa.

There are two types of Vibhav: आलंबन विभाव and उद्दीपन विभाव.

आलंबन(Support) विभाव : The characters through which the rasa is possible are called alamban vibhavas.

उद्दीपन(Stimulant) विभाव: The actions performed by the subject and the place which helps in the discharge of the rasa are called Udipan Vibhava. This can be both Internal as well as external.

3. Anubhav:

       In a simpler word Anubhav means reaction. This reaction doesn’t stay for a longer period of time, that's why these bhavas can be categorised under Vyabhichari(temporary)bhavas. Aristotle describes it as a change of fortune. He says that the change of fortune of the hero should be an event that occurs contrary to the audience’s expectations and that is therefore surprising, but that nonetheless appears as a necessary outcome of the preceding action. 

         Acharya Mammat, in the beginning of Kavyaprakash says that a poet’s creation is far beyond the creation of Brahma(God).

नियतिकृतनियमरहितां ह्लादैकमयीमनन्यपरतंत्राम्।

नवरसरुचिरां निर्मितिमादधती भारती कवेर्जयति।।

           In the world of Brahma, there are only 6 Rasas(Sweet, Sour, Salty, Bitter, Pungent and Astringent). At the same time these rasas are temporary not permanent. Whereas there are 9(more than that) rasas of the world of a poet and these are permanent or long lasting also.

In response to the rasa theory, so many scholars emerged with their different point of views. Here I am going to explain four essential counter arguments of four scholars.

1. Bhatt lollatt:-

       Bhatt Lollatt argues that there is no Rasa but it is rather being created. This argument of Lollat is being considered as ‘उत्पत्तिवाद’.

2. Shree Shankuk:-

               Shree Shakuk counter argued Lollat’s opinion that there is no Rasa and it can’t be created or emerged, but rather it can be supposed or perceived. This supposition or perception are of four types:

1. यथार्थ प्रतीति:- He is Bharata.

2. सादृश्य प्रतीति:- He is like Bharata.

3. संशय प्रतीति:- He can be BHarata.

4. मिथ्या प्रतीति:- He is not Bharata.

3. Bhatt Nayak:- 

            Bhatt Nayak counter argued Shankuk that there is no Rasa, it can’t be created or emerged and it even can’t be be supposed or perceived, but rather it is experienced or simplified(साधारणीकरण ).

         This doctrine is considered as the prominent one because Bhatt Nayak uses the word Simplification(साधारणीकरण). It means to be diluted or melted in oneself. For Example, When the audience tries to simplify themselves what the character is.

4. Abhinavagupta:-

              Abhinavagupta counter argued to all three scholars that Rasa is generated only when the nut-nuty, the audience and the creator predict bhavas and engrossed in that bhavas. So Abhinavgupta in a way merges the opinions of all three scholars.

Scholar	Who is at the centre?
Bhatt Lollat	Writer/Creator/Performer
Shree Shankuk	Audience
Bhatt Nayak	Writer/Creator/Performer & Audience
Abhinavagupta	Writer/Creator/Performer & Audience

 

Now let’s try to collaborate all three bhavas(Vibhava, Anubhava and Vyabhicharibhav) together with a literary example:

પોઢેલા પિયુના પરે ઝળુંબતી કો રંગભીની વધૂ,

વિશ્રંભે ચૂમવા ચહે નીરખીને એકાન્ત આવાસનું,

ઓચિંતાં પિયુનેન ત્યાં ઊઘડતાં છાયે મુખે લાલિમા,

થંભ્યો અધ્ધર ઊગતો ક્ષિતિજથી, તેવો દીસે ચન્દ્રમા!

In this example all three bhavas emerge one by one.

• વિભાવ:- પતિની નિદ્રા  અને એકાંત 
• અનુભાવ:- ચુમવાનો ભાવ 
• વ્યભિચારીભાવ:- ઓચિંતું પતિનું જાગી 

I hope this blog will help you have a better understanding of Rasa theory by Bharat Muni.

Thanks for visiting...

{Words:- 1538}

{Images: 1}

Indian Poetics

 Thinking Activity

Indian Poetics

This blog is written in response to the thinking activity assigned by Dr. Dilip Barad sir, Department of English, MKBU on Indian Poetics. In this blog I will deal with various concepts of Indian Poetics like Rasa, Riti, Vakrokti, Alankara, Dhvani, and Auchitya. The lectures of Indian Aesthetics were taken by a prominent Gujarati Writer, Poet and Critic Prof. Vinod Joshi sir. 

Introduction:- 

              Indian poetics is being considered as the earliest(ancient) criticism. Many scholars of India tried to define various literary theories very closely and if we pick any one theory, we will say this is right and at the same time we pick up other theories we would realise that they are also right. But what are those chief characteristics that distinguish as well as give prominent space to all of them in literary theories. We all have three kinds of imagery: 1. Dream 2. Land of memory and 3. Imagination. We can't change Dream and Memory or can't even interrupt it as there is no scope of it. The only thing that is in our hands is "IMAGINATION". This imagination is the only facet that leads oneself to create literary art. To understand Indian literary criticism, it is significant to understand that  in literature, we always try to visualise ourselves. So it can be said that literature is our own reflection. In Indian Aesthetics, there are various schools and each of them tries to elaborate the significant part of poetics. These are

1. Rasa theory by Bharata

2. Dhvani theory by Anandvardhan

3. Vakrokti theory by Kuntaka

4. Alankara by Bhamah

5. Riti by Vaman

6. Ramaniyata by Jagganatha 

1. Rasa theory:- Click here to read about Rasa theory

2. Dhvani Theory:-

Kavyasya atma Dhvani

              

1. The sound structure of words
2. The semantic aspect of shabda
3. The revealed or suggested meaning

Dhvani theory is a theory of meaning, of symbolism, and this principle leads to the poetry of suggestion being accepted as the highest kind of poetry.

 Dhvani theory was coined by Anandvardhan in his book dhvanyaloka. To understand Dhvani ‘Shabda’(letter) and ‘Arth’(Meaning) and its interpretation is important.

The Combination of  ‘Shabda’(letter) and ‘Arth’(Meaning)is dhvani itself.

 ‘Shabda’(letter) + ‘Arth’(Meaning)= Dhvani

In the beginning of Raghuvansh, Kalidasa says that,

वागर्थाविव सम्पृक्तौ वागर्थप्रतिपत्तये ।

जगतः पितरौ वन्दे पार्वतीपरमेश्वरौ ॥

Here Kalidas gives importance to the combination of Shabda and Artha by comparing it with the couple Lord Shiva and Parvati.

Before looking at the definition of Dhvani by Anandvardhan, let’s first try to understand the relation of Shabda and Artha by three “Shabda Shaktis”.

1. The denotative function [Abhidha(અભિધા)]:-

When we take and have to take basic on direct or the very first interpretation of anything is called as Abhidha. Here we don’t have to look for another hidden meaning but rather the surface meaning is enough to have understanding.

2. The indicative function[Lakshana(લક્ષણા)]:- When we can’t take direct meaning or any sentence, text or anything and we have to take nearer or another interpretation is called as Lakshana. Idioms, Phrases are categories under this Shabda Shakti. For Lakshana, Mammat says that,

मुख्यार्थबाधे तद्योगे रूढ़ितोऽथ प्रयोजनति्।

अन्योऽर्थों लक्ष्यते यत् सा लक्षणारोपिता क्रिया॥

3. The suggestive function [Vyanjana(વ્યંજના)]:-

  When there is a direct meaning or we don’t have to interpret this basic meaning and take another meaning, it is called Vyanjana.

Ex. મીઠા મધુને મીઠા મેહુલા રે લોલ એથી મીઠી છે મોરી માત રે 

Shabda Shakti	Example
અભિધા	મીઠા મધુ(Sweet Honey)
લક્ષણા	મીઠા મેહુલા(Sweet rain)
વ્યંજના	મીઠા માત(Sweet Mother)

What Anandvardhan says is to look at Prayojana(Purpose) of any said or written piece of literary art. 

જેમાં શબ્દ અને અર્થ ગૌણ બની જાય અને જે પ્રતીયમાન અર્થ પ્રગટે તેને ધ્વનિ કહેવાય.

This pratiyaman artha is that When there is nothing described and we understand it by hidden meaning. So Anandvardhan describes this hidden meaning as Dhvani. 

For Example, 

Darkness spread over his home.

From this sentence we can get two meanings. First, it is Night and second, one of his family members died or a family member sank in a big problem. This second meaning is described by Ananadvardhan as “Dhvani”.

  

Dhvani is of three types:

	Dhvani	Example
1.	વસ્તુંધ્વનિ  (Thought is at the centre)	તું જ્યાં છો ત્યાં મારો બીજો જન્મ થજો.
2.	અલંકાર ધ્વનિ(Figures of speech is at the centre)	And looked down one as far as I could
3.	રસ ધ્વનિ (Rasa ia at the centre)	It stimulates various bhavas

3. Vakrokti Theory:- 

               In this world each and every natural element has a kind of Vakrata(curvature) which gives charm to it. So this Vakrokti gives charm to language and thus to the Literature. For example,

અમે વળીને જોયું અને તમે વળ્યા વાક,

ગલીનો હોય કે પછી નજરનો છે વાક.

In this example we can get an idea that how poet has used certain words to depict meaning in an ambiguous way.

शब्‍दार्थौ सहितौ वक्र कवि व्‍यापारशालिनि।

बन्धे व्‍यवस्थितौ काव्‍यं तद्विदाह्लादकारिणी।।

Vkrokti is both words and meanings marked by artistic turn of speech. It generally means 'Markedness'. T.N.Srikantiya rightly points out that Kuntaka’s Vakroktijivita is ‘nothing but a treatise on the function of imagination in Poetry’ and Vakrokti, is a linguistic manifestation of the basic obliquity of the poet’s creative process.

Vakrokti is of 6 types:

"phonetic, [varnavinyasavakrata]. lexical, [padapurvardhavakrata], grammatical [pratyaya vakrata], sentential [vakyavakrata], contextual, [prakaranavakrata] and compositional [prabandhavakrata]"

	Types of Vakrokti	Explanation	Example
1.	वर्णविन्यास वक्रता-phonetic	Charm of using words. Basically alliteration	Peter Piper picked a peck of pickled peppers. Sally sells seashells by the sea shore. Fair is foul, and foul is fair
2.	पदपरार्ध वक्रता- grammatical	The whole statement is depended on first letter	તમે મારા દેવાના દિધેલ છો ‘We will proceed no further in this business’
3.	पद पूर्वार्ध वक्रता- lexical	The whole statement is depended on a letter after any of the letters	ગઢને હોકરોતો કાંગરા ય દેશે, ગઢમાં હોંકારો કોણ દેશે   Glamis hath murder’d sleep; and therefore Cawdor  Shall sleep no more-Macbeth shall sleep no more.
4.	वाक्य वक्रता-sentential	A miraculous or enchanting description of an object	मेरे पास माँ है ।
5.	प्रकरण वक्रता- contextual	Taking a part of any literary art or legend and enlargement of it by poet’s own interpretation	The Myth of Sisyphus by Albert Camus Hamlet by Shakespeare સૈરન્ધ્રી by Vinod Joshi ઉર્મિલા by Umashankar Joshi અતિજ્ઞાન by Kant
6.	प्रबन्ध वक्रता- compositional	One linear meaning of a whole text or any literary art.	Hamlet: To be or not to be  Ramayana: Victory of Truth

Thus, Vakrokti theory is a useful framework for stylistic analysis of Literature.

4. Alankara Theory:-

                 Bhamah has discussed Alankara in detail in his book “Alankarshstra”. Alankar generaly means Ornaments. These ornaments are not of natural beauty but rather beauty is applied. In most of the literary art we will find so many examples of these ornaments applied to the language. 

           It is not mandatory to use Alankara, but it is necessary to make language and thus a piece of literary art charming. Like in our day to day lives, it is not mandatory to wear ornaments but it is necessary for outer beauty. Its usage gives us happiness. Alankara is IDENTIFICATION. Mammat in part 10 of Kavyaprakash talks about Alankara;

 तददोषौ शब्दार्थौ सगुणावनलंकृती पुनः क्वापि। 

          Bhamaha says that Alnakar gives poetry enchanting ways of expression. In alankara, the way the syllables are combined is important. 

          Anandavardhana in Dhvanyāloka says that “alankārās (poetic figures) are those elements which, depending upon word and meaning, minister to the generation of poetic charm” and also certifies the creative use of language in literature. Alankaras are used to underline an integral part of literal meaning as well as to make the expression beautiful and give it a different meaning. It expresses some impossible meanings which are laid behind words. 

' નાહ્યા પછી નખ કુણા

સખી રે, મારા સાજન છે એવા સલોણા

      Bhamaha also says that all alankaras have their neutral existence but when it is merged in writing it gives charm to it. 

તાટસ્થ્યપૂર્વકનું તાદાત્મ્ય 

Alankaras can be broadly classified into two groups:

1. Shabdalankar(શબ્દાલંકાર): 

          It came from two word:

 Shabda (Word) + Alankar (Ornaments)) 

       Certain specific words that create an ornamental effect in a verse/poem.      

Shabdalankara is basically or majorly of three types:

	Alankara	Explanation	Examples
1.	अनुप्रास (Alliteration)	The repetition of usually initial consonant sounds in two or more neighbouring words or syllables.	★Peter Piper picked a peck of pickled peppers ★तरनि-तनूजा तट तमाल तरुवर बहु छाए। ★કામિની કોકિલા કેલિ કુંજન કરે.
2.	यमक (Homonym	Each of two or more words having the same spelling or pronunciation but different meanings and origins.	★આ તપેલી તપેલી છે, ત્યાં તું તપેલી ક્યાં આવી?
3.	श्लेष (Pun)	It includes a play of words that have more than one meaning or those that sound alike. Among the figures of speech, pun can be said to be the most intriguing and amusing.	★Rabbit : Can you tie a knot? Piglet : I cannot. Rabbit : Ah, so you CAN knot.

2. Arthalankar(અર્થાલંકાર):-

Arthalankar came from two words:

 Artha (Meaning) + Alankar (Ornaments) 

      The meaning of words that creates the required enhancement.

Arthalankara is basically or majorly of three types.

	Alankara	Explanation	Examples
1.	उपमा (Simile)	A simile is an expression which describes a person or thing as being similar to someone or something else. It majorly contains words like (as & like in English)(જેવું, સમ, સરીખું in Gujarati) (सम, समान… इन Sanskrit)	★As innocent as a lamb. ★He eats like a pig.  ★पीपर पात सरिस मन ड़ोला। ★દમયંતીનું મુખ ચંદ્ર સમું છે.  चन्‍द्र: इव मुखरम्‍यम्।
2.	रूपक (Metaphor)	A metaphor is a figure of speech in which a word or phrase denoting one kind of object or action is used in place of another to suggest a likeness or analogy between them.	★He is a shining star. ★पायो जी मैंने राम रतन धन पायो। ★મારે મન લાયબ્રેરી લોકશાહીનું મંદિર છે.
3.	अतिशयोक्ति (Hyperbole)	Hyperbole is the exaggerated statements or claims not meant to be taken literally. It is used to show intensity of a particular thing or situation.	★I'm so hungry I could eat a horse. ★ભીમે ગદા ઉપાડી ત્યાં તો બધા ભોય ભેગા થઈ ગયા. ★વૈશાખ મહિનો હતો, સીમમાં આગ ઝરતી હતી. ★देख लो साकेत नगरी है यही। स्वर्ग से मिलने गगन में जा रही।

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