Poetry is the means by which man’s emotional connection with the rest of the universe is protected and maintained. The meaning of raga here is the tendency of inner instinct and the core of retirement. Just as proof is required for determination, similarly for tendency or retirement, the external or psyche of some subjects is directly required. These are the subjects of our ragas or moods – called Bhava in literature. Poetry is the business of those original and primitive attitudes which manifested in the very ancient kalpa by the result of a distasteful feeling among the living creation, and from whose formula mankind has been experiencing identification with the rest of the world since ages. Forests, mountains, rivers, rivulets, unassuming, cladding, stone, rock, trees, creepers, chandeliers, animals, birds, infinite heavens, constellations, etc. are primitive companions of man; But fields, dhurries, plows, shacks, Choppe etc. is also not less old. The emotional rites received by him are basically due to the long tradition in human conscience, so it is not as sure as yesterday, not by factory, warehouse, station, engine, plane etc.
Poetry attempts to create a sense of the comprehensiveness of human life by establishing proper harmony with the ragas or prepositions of mind. If by incorporating these vrittis, man takes away the original emotional part of his conscience from the creation, then what is the doubt about it becoming root? If he wandered amidst the fields and forests, green grass, swaying ravines, silver-like springs on black rocks, immortals laden with statues, bushes standing among the stripes, if he was not absorbed for a moment, He did not give yoga in the rejoicing of the birds, if he did not feed on seeing the blossoming flowers, if he was not enchanted by seeing the beautiful form, if he did not hear the urge of humiliation, if the orphan Seeing atrocities on youths and abyas, he was not stung with anger, If he did not laugh at the unique expression of humor, then what remained in his life? As the field of business of man became increasingly complex and dense, the possibility of the break-up of his emotional relationship with the world grew. In such a situation, only big poets have been handling him.
It is clear from what has been said so far that the aim of the poem is to equate the inner ragamatika nature of man with the many forms of creation. Just as she intensifies the feelings or emotions of love, anger, compassion, hatred, etc., in the same way, she also does an industry to establish her proper relationship with the various forms and businesses of the world. When this is decided, all those differences are overcome which have gone on due to the different symptoms of poetry and especially the discrimination of juices etc. Entanglement of phonics The fight of the Alakarikas with the contestants is like raping a lot of people in a thin street. The inadequacy that some people have seen in the “Sentence Rasakyavam Kavyam” is due to nine distinctions. Within the rut of the nine distinctions of the rasa, he was shown a little space under the stimulus effect of the illusion to describe a small fraction of the universe. The Hindi poets of our previous camp took satisfaction as much. According to the custom, under the ‘Shatrutu’, while walking with some Ini-guinea items, sometimes by pulling the heroine with joy and sometimes with distraction, they started walking.
The thing is that Hindi poetry emerged at the time when Sanskrit poetry had become popular with the widespread ideal of poetry, saying that it did not allow widespread inclusion of creation in it. This deficiency is not only in Kesav’s leaking ‘Kavindo’, but also in the great poets who composed the actual poetic, epic, narratives before him. Go to Valmiki’s vivid description of rain and autumn. This will be understood by mixing Tulsidas ji’s narratives. where-
Nerva Jalam Parvathathatamram.
Shailapaga: Soon Vanthi.
Nine years of land should be fixed.
As soon as the ninth found wisdom.
Damini is glowing, not a cube.
Khal’s love is not like thir.
Where that microscopic observation of nature, where this breakdown towards example. Babaji’s vision of ‘As Navahin Budha Vidya Paay’ seems more towards this preachy sentence, less towards description. The description of the Ganges and Yamuna of Bharatendu is said to be good, but it is also traditional and subordinate.
The Hindi people may satisfy themselves with such narratives, but in front of whose eyes the Himalayavarna of Kumarasambhava and the description of Meghdoot were dancing, they can see clearly that that subtle observation of nature is not in the sight of the effervescent effect of the illusion; For the sake of pure description, it is meant to mark the scene. He expressed displeasure with the ‘sentimental sentence’ by not finding any pit for such pure narratives within the nine drains of Ras. But dissatisfaction should have been towards the drain-makers, not the principle of rasa. There is definitely a kind of juice in the description of natural scenes, whether it is called unsearchable, no matter its name, whether it is done within a juice. Trend in work
If anger, compassion, kindness, love etc. get out of human conscience, then he cannot do anything. Poetry provokes our emotions and adds a new life to our lives; We are fascinated by the beauty of creation; Any inappropriate or rude act makes us unbearable; We realize that our life has multiplied many times in the whole world. Thus the tendency of the work increases with the inspiration of the poem. We are very less inclined to do anything with the help of deliberation. We are often not ready to do or not to do any work only by knowing that the work is good or bad, profitable or harmful. When he or something of its consequence appears in front of us, which gives us pleasure, anger, Compassion distracts us from that, only then we are presented to do or not to do that work. Only intelligence does not excite us to work. The mind makes us excited to work. Therefore, it is necessary to have velocity in mind for the practice. If it is said among a community that such a country takes away so much of your money every year; This is why famine and dandruff is building here, so it is possible that it will not have any effect. But if a gruesome view of barren and famine is shown, The ashes of the creatures burnt by the flame of the stomach should be placed in front of the imagination and the chanting of the mother sitting near the child who is suffering from hunger will be heard. Will definitely resolve. It is the job of the politician to say the first type and it is the duty of the poet to show the last type of scene. There is no need to tell which of the two types of human heart can have more rights.
Through poetry, we get accustomed to experience the joys, sorrows, joys and tribulations of the world realistically, which removes the staggering of the heart and brings humanity. Look at a greedy and stingy shopkeeper who has subjugated greed, anger, kindness, devotion, self-respect, etc., and has turned away from all the pleasures of the world. Or go to a Mahakrur Rajkarmachari whose heart is hardened like a stone and hardened, who does not experience the grief and affliction of others even in a dream. Doing this will definitely raise the question in your mind whether they also have any medicine. The ability to liquefy such hearts to their natural religion is only in poetry. Poetry itself will lead the shopkeeper’s tendency towards physical and spiritual creation beauty; Poetry itself will attract their attention to the needs of others and generate a desire to fulfill them; Kavita will teach him anger, kindness, devotion, self-respect, etc. on the appropriate occasion. In the same way, the poem itself will draw a reflection of his actions in front of that royal staff and will show the feeling of his heinousness and fierceness, and the divine kinda will show him the pity of suffering and tribulations inflicted by other humans and show him mercy.
Often people say that the main purpose of poetry is entertainment. I think entertainment is not the only reason. While reading poetry, there is entertainment, but after that something else happens. Entertaining is the main quality of poetry by which she keeps the mind of man in order to make an impact, not to let her go around. This is the reason that policy and religious teachings do not affect the mind as much as poetry or novels teach. Just by saying ‘do charity’, ‘always tell the truth’, ‘stealing is a great sin’ We cannot hope that a maleficent will become a philanthropist, a liar will become a truth, and a thief will stop stealing. Because at first the human mind is not ready to receive such dry teachings; He does not care about anything, seeing that he has no influence on other human life. But the poem does not let the reading or the listener’s mind be touched by its captivating power, touches the heart of the heart and shows its effect and result on human life in detail by informing about the location and relation of the said deeds in creation. . We cannot often make a man virtuous and dutiful by promising to evacuate Indrasana, by greed of Hur and Gilma, by remembering Yamraj, threatening the burning fire of the dozakh. The thing is that this kind of greed or threat is something that humans are not familiar with and which is so far away that it is against human nature to care for it. Virtue has a supernatural beauty and melody. Therefore, the natural way to attract people to virtue is to entice them by showing its beauty and beauty,
If the mind is to be enchanted and to bring happiness to it, if poetry is considered to be the religion, then poetry also became the content of luxury. But can we say that Adi Kavya of Valmiki, Meghdoot of Kalidasa, Ramcharitmanas of Tulsidas or Sursagar of Surdas are the ingredients of luxury? If there is entertainment from these texts, then Charitra will also be revised. It will be informed by the mind that the mind is now in such a state that any effect should be made on it. It is to be said with regret that many poets of Hindi language have filled the literature so much with the hysterical utterances of Ringar Ras that poetry is also considered a material of luxury. Poets will also prepare tips for summer treatment etc. from behind.
For the summer season, a poet commands –
Sital rose water
Screw down the lotus hill of Dari.
If kalidas organ organ together,
Kesar usir neer ghansar rub.
Govindlal Chandan’s walk in Jeth,
Bhari Bhari Ghalul Ki Mahalan Besee.
Now listen to the spices of Shishir-
Gulghuli gulams are Gunijans,
Chik Hai Chirakan is Chiragan’s mother.
Where is Padmakar Gajak Gaja am adorned,
There is a bed, a sura, a jug, a supialai.
Do not pay too much to Shishir’s palace,
Under which it is Udit Masala.
If someone says such a beautiful poem as material to Vilas, what is his fault? In summary, the work of poetry is not only entertainment but also something else.
Education is not as easy as it can be taught by characterization, not by any other means. In the Adi Kavya Ramayana, when we see the vows of Lord Ramchandra, Satyavratacharan and Pitrabhakti etc. When we see the supernatural splendor of Bharata’s supreme self-sacrifice and all-round Satvik Charitra, then our heart is stunned with reverence, devotion and wonder. When we see the picture of Ravana’s wickedness and arrogance against it, then we understand what wickedness is and its effect and result in the creation. Now see how much poetry is used for. His work is to intensify and refine the emotions of devotion, reverence, kindness, compassion, anger and love, and to establish their proper and proper relationship with the goods and trades of the universe.
The poem elevates the heart of man and introduces such superlative and supernatural substances by which it can become a folk god and human deity.
Poetry is such a useful object that it is found in all the civilized and uncivilized nations of the world. Even if there is no history, no science, no philosophy, but there will be poetry. What is the reason for this? The thing is that man is running such a dense circle of his own businesses, by being trapped inside, he can never keep his heart related with the rest of creation. Human beings are afraid of going away from this thing. Therefore, to keep the human nature awake, the poem has become associated with the human race. The poem tries to avoid the sight of man from the rest of nature. Animals do not need this. We have read in a novel that an irritable tradesman was determined to remove his Susheela and his beautiful daughter-in-law without any reason. When his son said something on behalf of his woman, he said irritably – “Come on! Bholi dies on Surat. ” Ahh! What an inhuman treatment! Man’s heart sometimes gets so hard and frustrated by being trapped in worldly bonds that his consciousness – his human sense – is reduced. Neither does he desire to do any kind of favor on seeing someone’s beauty, nor does he feel compassion on seeing the suffering of a poor person, nor does he get angry after hearing insulting things. If such people are told of a foul-blooded atrocity, then, according to the natural religion of man, instead of expressing anger or hatred, they will say with disdain – “Let it go, what do we mean?” Go see your work. ” Remember, this is a major mental illness. This causes a person to die while living. Poetry is the medicine of this merge. Neither does he get angry after hearing insulting things. If such people are told of a foul-blooded atrocity, then, according to the natural religion of man, instead of expressing anger or hatred, they will say with disdain – “Let it go, what do we mean?” Go see your work. ” Remember, this is a major mental illness. This causes a person to die while living. Poetry is the medicine of this merge. Neither does he get angry after hearing insulting things. If such people are told about a foul-blooded atrocity, according to the natural instincts of humans, instead of expressing anger or hatred they will say the same with a ruckus- “Let go, what do we mean?” Go see your work. ” Remember, this is a major mental illness. This causes a person to die while living. Poetry is the medicine of this merge.
Beauty of creation
The poem makes the creation feel beautiful and detracts man from beautiful and ungodly objects. Just as the poem depicts the beauty of the lotus, the face of Ramani, etc., in the same way, it also shows the beauty of senselessness, valor, sacrifice, mercy etc. Just as she shows the gloom of Raurava hell and filthy lanes, so too is the heinousness of the savage and the iniquity of the jealous of the wicked, etc. Not only this, she also shows the beautiful form of the vrittis which we often see in the world. Who would not be fascinated by the beauty of Ravana’s wrath? The poem which captures us with the beauty of Ramani, also enchants her by showing a charming shade of beauty and softness of her inner conscience. Bankim, whose pen has epitomized the beauty of prince Tilottama’s limb sitting on top of the citadel, is the end of Ayesha: Karan has amazed the readers by showing his uncommon Satvik Jyoti. Just as our soul is satisfied with the observation of external beauty, similarly mental beauty is also satisfied. Just as we are subjected to forests, mountains, rivers, waterfalls, etc., in the mental conscience, we are happy to see the sublime vices of love, self-sacrifice, kindness, compassion, compassion, devotion etc. If there is a coincidence of both external and inner beauty, then what to say! If we leave the description of the form of a very beautiful man or a very beautiful woman, then the picture will be incomplete, if we also show a glimpse of the firmness and truthfulness of the heart or tenderness and affection, then that description will come alive. From the beginning, we are subsumed in the same way, in the mental conscience, we are happy to see the sublime vices of love, self-sacrifice, kindness, compassion, compassion, devotion etc. If there is a coincidence of both external and inner beauty, then what to say! If we leave the description of the form of a very beautiful man or a very beautiful woman, then the picture will be incomplete, if we also show a glimpse of the firmness and truthfulness of the heart or tenderness and affection, then that description will come alive. From the beginning, we are subsumed in the same way, in the mental conscience, we are happy to see the sublime vices of love, self-sacrifice, kindness, compassion, compassion, devotion etc. If there is a coincidence of both external and inner beauty, then what to say! If we leave the description of the form of a very beautiful man or a very beautiful woman, then the picture will be incomplete, if we also show a glimpse of the firmness and truthfulness of the heart or tenderness and affection, then that description will come alive.
The thing is that poetry does not want to see the distinction between beauty and sattvikta or dutifulness. For this, poets have often combined the beauty of beauty and inner beauty for utterance-worship. Rama’s modalities and Ravana’s monstrous form are merely reflections of the inner ray. By adding external nature also, the effect of narration is sometimes greatly increased. Chitrakoot in such a delightful place, what is the story of Rama and Bharata being such beautiful consorts of such beautiful people!
Those who selfishly misuse speech by praising and cheering in vain strangle Saraswati. Such insignificant people should not do poetry. Poetry is a product of a high, generous and selfless heart. Satkavi is the flow of beauty in the heart of mankind. The king and the rank are all equal in his eyes. He considers them nothing but human beings. Just as he praises the true virtue of the emperor living in the palace, so also the virtues of the farmer living in the slums. Writing poetry of Shree Bhagman of Shriman and congratulating him on the matter is not the work of the truth. Yes, it is his duty to praise the benevolent Mahatma who has served the country and society with selflessness and suffering, benefited others, and practiced religion.
Human nature looks at ancient men and things with reverence. We know the old words. With this, some old words come in the poem, it is also good to keep a little bit of them. They provide the link between modern and ancient poetry. In Hindi, “Rajate hai”, “Gahtehein”, “Lahte hain”, “Sarsate hai”, etc. It is not surprising to keep experimenting in poetry even to the standing dialect. There is no dearth of such words in English poetry, which have been practiced in poetry since very old times. Such are the words Main ‘,’ Swain ‘etc. To understand English poetry one has to become familiar with it. But such words should be very few; Even those who are not ugly and clumsy. In Khadi dialect, the combined verbs are very long such as “do profit”, “do light”, etc. in the poem, ‘Lahte’, ‘lightening’ in place of them, There is no harm by paying tax. But this cannot be true for all such words. What is said in the poem comes to us in the form of pictures, not in the form of signs. Therefore, the law of visible forms is mostly in it. She undertakes such trades which are most visible to most human beings in the world. It has more number of direct and self-explanatory trade terms. Instead of saying ‘time is spent’, ‘time is spent.’ It is more poetic to say. To pull one’s hand from some work, to eat one’s money, to drink something, to slap or drown day, to kill, to touch one’s mind, to show grace, are such popular sentences which have come into limelight. Some verse examples are given below. In this, the law of transitional forms is mostly there. She undertakes such trades which are most visible to most human beings in the world. It has more number of direct and self-explanatory trade terms. Instead of saying ‘time is spent’, ‘time is spent.’ It is more poetic to say. To pull one’s hand from some work, to eat one’s money, to drink something, to slap or drown day, to kill, to touch one’s mind, to show grace, are such popular sentences which have come into limelight. Some verse examples are given below. In this, the law of transitional forms is mostly there. She undertakes such trades which are most visible to most human beings in the world. It has more number of direct and self-explanatory trade terms. Instead of saying ‘time is spent’, ‘time is spent.’ It is more poetic to say. To pull one’s hand from some work, to eat one’s money, to drink something, to slap or drown day, to kill, to touch one’s mind, to show grace, are such popular sentences which have come into limelight. Some verse examples are given below. Drinking something, slapping or drowning the day, beating the mind, touching the mind, etc. are the only such sentences which have come into limelight. Some verse examples are given below. Drinking something, slapping or drowning the day, beating the mind, touching the mind, etc. are the only such sentences which have come into limelight. Some verse examples are given below.
(A) Cereal land forest cult guard.
Wherever Nath Paw Tum Dhara 4 – Tulsidas
(B) I am a female organ
(C) Chunri charu chui si parake choppy green camisole.
(D) Baghe spring in Bagan in Bane in Belin in Navalin in Brij in Bethin. -Badkar
(E) Rang Rang Ragan Pai, as well as Paragan Pai, Vrindavan Bagan Pai, Vasant Barsooparai.
There are many words that do not have the same, but many verbs have the same perception. We can call such words mixed. Someone said, ‘There is a lot of atrocities happening.’ Under this word torture, there may be many trades such as beating, beating, beating, torturing, robbing, etc. So, by hearing the word ‘tyranny’, a mixed ambiguous sense of all those trades comes in the conscience, in the imagination A clear picture of a business is not printed. With this the word is not of much use in poetry. Such words are more in scientific subjects. Some of those words give a singular meaning and are called definitions. Scientists are quick to decide the truth or falsity of something. With this, he conducts his work by considering many things as one; One does not look at each work separately. It is for this reason that he behaves more with such words, which implies the same feeling that occurs from many actions. But the poem makes natural trades visible through imagination – inscribed on the human heart. Therefore, bringing more words of the aforesaid type leads to loss of the prasad quality of the poem and the expressions expressed are not well written on the heart. The thing is that human imagination is not so pervasive that many businesses can be clearly struck by him at once. If a word is used that is indicative of many joint trades, then it is possible that imagination can not accept even a single trade; Or take any trade under it which is not a stimulus of Ragamatika nature. This means that the use of defined words, and the inclusion of words that report any joint business, is not desired in the poem.
Somebody has written a short poem called ‘Prem Fauzdari’ on the court proceedings and filled it with legal words like ‘one-sided digiri’. This is not appropriate. The purpose of the poem is proved by its opposite behavior. When a poet wants to make a philosophical theory more effective and imprint it on the mind of the people, then it is complex and
Removes the defined words and makes it more direct and touching. Bhartrihari, Kabir, Goswami Tulsidas etc. were very skillful in this matter. A verse of Bhartrihari –
Trisha shushyatyasaye pibati salilam swavu surabhi
Arrogant: Sadbachhalinakavalayati Shakadivalitaan.
Pradipte Ragagnau Sudddataramashlishyati Vadhu
Pratikaro Vyadho: Sukhmiti Viparayasati Jan:.
Delicious and sweet-tasting refreshments while impatient, thirsty, rice meal with shakadi when hungry, and a man who embraces sweetheart when ignited in the heart are foolish fools. Because for the peace of thirst etc. diseases, refreshments etc. are considered as happiness. They do not know that this treatment is completely the opposite.
See how the poet here has shown the illusions of the pleasant intellect of man by depicting natural trades.
Even in the British, the Pope poet was very expert in this subject. A simple principle is written below it-
“Ignorance of what is going to happen in the future has been given in which everyone does not lose sight of the joys of the previous days of that evil event.”
This is how the Pope poet says this-
Look at that bullshit whose today, you are male!
Blood will flow on the altar at the altar.
He would have knowledge as yours.
Does the sport ever bounce like this?
Till the last moment the account was consumed by peeta.
Licks the hand that has been raised to Hanne.
Ignorance of Agam is the ultimate grace of God. 1
The word ‘evil’ is very broad and doubtful, so the poet considers death the most evil thing. It is but natural to be distracted by the fear of death. The poet shows that the animal remains happy even while dancing on the death head, even licking the hand of the killer, it is a wonderful and touching scene. The aforesaid theory has received the form of poetry here.
Take another simple example. “You married her” is a very simple sentence. But “you held his hand” is a meaningful and poetic sentence. There are many legislations under the word ‘marriage’ which cannot be seen by all at once. Therefore, nothing clearly imagines from him. For this reason, by choosing the hand which is the most prominent and natural thing to hold among these laws, the poet outlines his meaning on the heart.
There is a big difference between the dialect of poetry and the simple dialect. The talk of “Dryus Vrikshisthatyagre” and “Nirasaturirih Vilasati Purut” has been going on in our Panditamandali for many days. A combination of both Bhavasoundarya and Nadasoundarya creates poetry. To consider the shrutiktu, the abandonment of some letters, the circumambulation and the bonding of the rhyming is to deal with this beauty. Poetry without it, or trying to recite it as all-in-one, is fruitless. There should be emotion and beauty along with sound beauty. Some old poets in Hindi fell so far behind this beauty that most of their poetry has become distorted and often emotionless. Seeing this, some critics of yesterday are so irritated that they want to throw out such a poem. Someone eats the bond of the spasms; Someone stares up the nasal eyebrow by looking at the lyrical verses; Someone leans towards the Mukhammas and Rubai of Persian. Some disregard even our verses – the verses whose melody cannot be found as a bhavastra of any country in the universe and the natural love of our eulogy
1 The Lamb thy riot dooms to bleed to-day.
Had he thy reason, would he skip and play?
Pleased to the last he crops the flowry food
And licks the hand just raised to shed his blood.
The blindness to the future kindly given.
—Essay on man.
Is completely compatible with I have to ask those who do not understand the need for the horoscope, why is there so much anger at the horoscope itself? Both the verses and the rhyme are kept for the purpose of beauty. Then why should one be removed and the other not? If it is said that only a few verses accomplish that purpose, then there is a desire to know if there is a limit to the nadasoundarya for the poem. If Nadasoundarya is also present in a poem along with Bhavasoundarya, it will be more ojaswini and chirasthayini. Nadasoundarya is a proponent of the stability of the poem, due to its strength, the poem remains on the jihana of the people in some part even though it is not free. Therefore, this nadasoundarya should not be considered only as a bond. It is definitely a body if not the soul of poetry.
By applying the rules related to nadasoundarya in the same way as mathematicia, there has been some great eccentricity in our poetry. Shrutiktu varnas were not instructed because all the letters which are Shravanakatu should be considered absolutely discarded and in their place, they should be found by looking for the hearing-impaired characters. The meaning of this guideline is that if words with medulla can be found and consumed according to the context without distorting, then words with syllable words should not be replaced. In the languages related to Sanskrit, this Nadasoundarya can be subsistently. Therefore, seeing other languages like English, where there is less space for it, it is not an act of wisdom to deprive your poetry of us from this feature. But, remember, the biggest drawback is to remain crazy behind the words Shrutimdhur and not to adorn the poem with other qualities.
Another feature is in our poetry. That is, somewhere, the names of individuals are treated in place of their form, quality or functional words. In this way, the purpose of increasing the number of words to be used in the measured stages of the verse seems to be its purpose; But considering this, its greater purpose is also revealed. Frankly speaking, this is done to save artificiality. Human names are in fact artificial signs. There is no maturity of poetry. Therefore, the poet sometimes refers to the names of human beings, instead of their form, quality or business which, being natural, can get more attention of the listener and increase the accuracy of the description by being specific to the context. Such are the words Giridhar, Murari, Tripurari, Deenbandhu, Chakrapani, Dashmukh etc. Context or occasion must be kept in mind while choosing such words. like, If a person wants to get rid of the hand of a bad tyrant, then for him- “O Gopikaraman!” “O Vrindavan Bihari!” Instead of calling Krishna by saying ‘O Murari!’ ‘Hey Consanikandan!’ It is more appropriate to call out from the initial address. Because seeing the killing of demons like Sur and Kansa by Shri Krishna, he has hoped to protect them from them, not by seeing them vihar with the gopis in Vrindavan. Similarly, to get salvation from any objection, it is more meaningful to say ‘Giridhar’ than to call Krishna as ‘Muralidhar’. It is more appropriate to call out from the initial address. Because seeing the killing of demons like Sur and Kansa by Shri Krishna, he has hoped to protect them from them, not by seeing them vihar with the gopis in Vrindavan. Similarly, to get salvation from any objection, it is more meaningful to say ‘Giridhar’ than to call Krishna as ‘Muralidhar’. It is more appropriate to call out from the initial address. Because seeing the killing of demons like Sur and Kansa by Shri Krishna, he has hoped to protect them from them, not by seeing them vihar with the gopis in Vrindavan. Similarly, to get salvation from any objection, it is more meaningful to say ‘Giridhar’ than to call Krishna as ‘Muralidhar’.
Language has to be made very powerful in poetry – all its powers have to be used. In order to make a picture of an object or business vivid and rasaparipak, sometimes the quality or size of an object has to be greatly enlarged, sometimes the form and quality of an object is the same and to make it more enjoyable by associating the objects with the same form and religion and And things have to be exposed. Such different description systems are named Decking. They are used exclusively in poetry in context. They help a lot in imagery. Somewhere, poetry work cannot be done without them. But this should not be understood that the ornament is a poem. Figures of speech are also used everyday. Like, people say, “Whoever fries Shalgram is roasting it?” These cannot be called poetry. Where there will be some kind of rasvajna, any description system can get ornamentation.
An article of the duties of a book called ‘Alankar Prakash’ came out in Saraswati for many years. His name was ‘Poetry and Poetry’ . In it, he wrote that while establishing the preeminence of ornaments and considering him as the supreme being of poetry, “The opinion of many scholars today seems to have changed something in the poetic subject due to the influence of foreign language. They understand not only the archetypal poetry discussed in the famous Sarvolokmanya literature, but the poetry in the imagery of creation. ” If so, what is the surprise? Rasa and Bhava are the soul of poetry. The old scholars called poetry only poetry. They did not have much attention towards the adequate maturation of juices or psychics. They used to bring the subject of the ornaments as needed, especially to make them heart-rending. It was not understood that poetry cannot exist without ornamentation. Mammatacharya, the doer of Kavya Prakash Prakash himself, has considered poetry to be without ornamentation and has given an example- “Tadadoshau sartarthau sagunavanalankruti again” Quappi ”. But by accepting poetry in these ornaments from the back, the poem started to seem practicable and easy. This made people lean more towards him. Gradually the urge for these ornaments started increasing, even Chandralokkar wrote –
Angikaroti ya: poetic word.
Asau nor Manyate Kasmadadushmanalankruti.
That is, the person who considers the words and meaning as poetic, why does he not consider fire as flameless? But how long can the real thing be hidden. Time again turned back so many days. It was revealed to thoughtful people that poetry is the name of spiritual sentences and Ras is the soul of poetry.
In this subject, the aforesaid author had to say one thing; But he did not say. They could have said that creation of images is also a natural form of embellishment. The answer is that it is not appropriate to consider nature as an ornament. She cannot fall into the category of ornamentation. The name of the system of description is decking. We can describe the thing we want under that system. He should not be related to any particular thing. Object-instruction is not a matter of ornamentation, it is really a matter of rasa. The ornate description style can only be called. From this point of view there are many ornaments that should not be called ornaments; Like, nature, exaggeration different from exaggeration, remembrance, small, sublime. In nature, the object is the direction of the object; But the objective is not the work of decoration. It is not right to consider nature as an ornament. Those who count him in ornamentation have consumed many heads; But his innocent traits could not be said. The idol of Kaviprakash has written his characteristic-
Temperament Dimbhade: Swakriyarupavarnam.
That is, the description of the personal action or form of the Balakadikas is a disposition. Saying Balakadik does not make sense of any particular thing. From this it can be understood that the description of the trade and form of the objects of the universe is temperament. This symptom does not have ornamentation due to overlap defect. Rajanaka Ruyak, the doer of Alankarasarvasva, has written this symptom-
That is, to describe the subtle nature of the object accurately is an expression. Acharya Dandi has written this symptom after planning the stage-
Nānavastha पदार्थ vāvaांaांa r रूपpa saक्षादa्वadvārīnavati.
The thing is that nature cannot come under ornamentation; Because it is not a system of narration, but a matter or subject.
Just as an ugly woman cannot be beautiful by wearing a decking, similarly, the ornamental, ugly and petty expressions will not make the ornamentation beautiful and beautiful. Maharaja Bhoj has also called Alankara as ‘Alamarthamalankartu’ meaning beautiful meaning. The beauty of the poem is proved even before this statement is presented. So it is a mistake to find him in figures. Many poetic examples with ornaments can be given which even the lovers of ornamentation will not hesitate to call it ugly and monotonous. In the same way such examples can be given in which there is not a single ornament, But everyone will accept her beauty and fun. The sentences that do not communicate with the mind of man – there is no change in his mental state – he is never a poet. Some of the things in the Alankara scripture are such that the words are just chaturi. She enchants the mind due to word skill. They do not communicate. Even if they do miracles, they do not have special relation with the sources of the human heart. Their miracle is only able to be placed in the craftsmanship like the craftsmanship of craftsmen.
What is the decking? Scholars first chose beautiful beautiful sites of poetry. Then find the reason for the beauty of his narration style. Then create different characteristics according to the graphic; For example, ‘alternative’ ornamentation has been first taken out by Rajanak Ruyyak. Now who can say that all the beautiful places of poetry were found, or those which were considered beautiful – which were targeted and made to be symptoms – the description system was the reason for their beauty. The creation of poetry did not stop until the signs of the figures were made. Adi poet Maharshi Valmiki did not pronounce “Ma Nishad Pratishthan Tvamagam: Shashwati: Sama:” by placing an ornament in the meditation. Poetry used to be good and very good before the creation of ornaments. Or it should be said that ever since the industry started to bring these figures of speech, the poem has deteriorated.