Alankar, Ras and Chhand
Overview
Alankar, Ras and Chhand form the aesthetic backbone of Hindi poetry and prose. These three elements—figures of speech, emotional essence, and metrical patterns—together create the beauty and impact of literary works. For HP TET, this topic carries significant weight in Language I (Hindi) as it tests both recognition skills and understanding of classical Hindi literature traditions.
Questions typically ask you to identify specific alankar in given lines, name the ras evoked in a verse, or recognize the chhand used. The examiner expects you to distinguish between similar-sounding concepts (shabdalankar vs arthalankar, for instance) and apply definitions to unfamiliar verses. Mastering this topic also helps with the unseen poetry passage (Apathit Padyansh) section.
Students must build a mental library of definitions, examples, and distinguishing features. Rote memorization alone fails here—you need pattern recognition skills developed through practice with diverse poetic examples.
Key Concepts
- Alankar (अलंकार) literally means "ornament"—just as jewellery beautifies the body, alankar beautifies kavya (poetry). They are divided into Shabdalankar (sound-based) and Arthalankar (meaning-based).
- Shabdalankar creates beauty through sound patterns—repetition of letters, words, or syllables. The meaning remains secondary to the acoustic effect.
- Arthalankar creates beauty through meaning—comparison, contrast, exaggeration, or wordplay. The intellectual or emotional impact matters more than sound.
- Ras (रस) is the emotional flavour or aesthetic experience evoked in the reader/listener. Bharata Muni's Natyashastra identifies nine rasas (Navras), each linked to a specific sthayibhav (permanent emotion).
- Chhand (छंद) is the metrical framework—the rhythmic pattern of matras (syllabic units) or varnas (letters) that gives poetry its musical structure.
- Matrik Chhand counts matras (laghu = 1 matra, guru = 2 matras), while Varnik Chhand counts actual letters regardless of weight.
- The relationship: Chhand provides structure, Alankar provides ornamentation, and Ras provides emotional depth—together they create complete poetic experience.
Key Facts and Definitions
Shabdalankar (शब्दालंकार)
| Alankar | Definition | Example |
|---|---|---|
| Anupras | Repetition of same consonant sound | "चारु चंद्र की चंचल किरणें" (च की आवृत्ति) |
| Yamak | Same word repeated with different meanings | "कनक कनक ते सौ गुनी, मादकता अधिकाय" (कनक = धतूरा / सोना) |
| Shlesha | One word with two simultaneous meanings | "रहिमन पानी राखिए, बिन पानी सब सून" (पानी = जल / इज्जत / चमक) |
Arthalankar (अर्थालंकार)
| Alankar | Definition | Example |
|---|---|---|
| Upma | Comparison using "like/as" (सा, सी, सम, जैसा) | "मुख चंद्रमा सा सुंदर है" |
| Rupak | Complete identification (no "like")—A is B | "मुख चंद्रमा है" |
| Utpreksha | Imaginative comparison (मानो, जानो, जनु) | "सोहत ओढ़े पीत पट, श्याम सलोने गात। मनो नीलमणि शैल पर, आतप परयो प्रभात।" |
| Atishayokti | Exaggeration beyond possible limits | "हनुमान की पूंछ में लग न पाई आग। लंका सारी जल गई, गए निशाचर भाग।" |
| Manvikaran | Personification—nature given human qualities | "फूल हँसे कलियाँ मुस्काईं" |
Navras (नवरस)
| Ras | Sthayibhav | Meaning |
|---|---|---|
| Shringar | Rati (रति) | Love/Romance |
| Hasya | Haas (हास) | Humour |
| Karun | Shok (शोक) | Pathos/Sorrow |
| Raudra | Krodh (क्रोध) | Anger |
| Veer | Utsah (उत्साह) | Heroism |
| Bhayanak | Bhay (भय) | Fear |
| Bibhatsa | Jugupsa (जुगुप्सा) | Disgust |
| Adbhut | Vismay (विस्मय) | Wonder |
| Shant | Nirveda (निर्वेद) | Peace/Tranquility |
Important Chhand
| Chhand | Structure |
|---|---|
| Doha | Matrik; 13-11 matras in each half-line; total 4 charan |
| Chaupai | 16 matras per charan; 4 charan; no yati |
| Sortha | Reverse of Doha: 11-13 matras per half-line |
| Kavitt | Varnik; 31 letters per charan |
| Savaiiya | 22-26 varnas per charan |
Worked Examples
Example 1: Identify the Alankar "तरनि तनूजा तट तमाल तरुवर बहु छाए"
Solution:
- Notice repetition of "त" sound throughout
- This is Anupras Alankar (specifically Chhekanuprasa—one consonant repeated)
Example 2: Identify the Ras "मेरे तो गिरधर गोपाल, दूसरो न कोई। जाके सिर मोर मुकुट, मेरो पति सोई।"
Solution:
- Theme: Divine love, devotion to Krishna
- Sthayibhav: Rati (love)
- This is Shringar Ras (Bhakti-shringar / Viyog shringar context)
Example 3: Identify the Chhand "रहिमन धागा प्रेम का, मत तोड़ो चटकाय। टूटे से फिर ना जुड़े, जुड़े गाँठ पड़ जाय।"
Solution:
- Count matras: First half = 13, Second half = 11
- Pattern: 13-11, 13-11 across two lines
- This is Doha Chhand
Common Mistakes
- Confusing Upma with Rupak: Students see comparison and mark Upma. Fix: Check for comparison words (सा/सी/जैसा). If absent and direct equation exists ("मुख कमल है"), it's Rupak.
- Mixing Yamak and Shlesha: Both involve same word with different meanings. Fix: In Yamak, the word appears twice separately. In Shlesha, one word carries two meanings simultaneously without repetition.
- Forgetting Sthayibhav in Ras identification: Students name the ras without understanding the underlying emotion. Fix: Always identify the permanent emotion first—it determines the ras.
- Counting errors in Chhand: Students miscount matras by forgetting rules. Fix: Remember—Laghu (ह्रस्व vowel) = 1 matra; Guru (दीर्घ vowel, conjunct, or word-final) = 2 matras.
- Confusing Anupras types: All consonant repetition is marked as generic Anupras. Fix: Learn subtypes—Chhekanuprasa (one consonant), Vrittyanuprasa (specific pattern), Latanuprasa (repeated group).
Quick Reference
- Anupras = same consonant sound repeats; Yamak = same word, different meanings (appears twice)
- Upma uses "जैसा/सा/सी/सम"; Rupak has no comparison word—direct equation
- Doha: 13-11 matras; Sortha: 11-13 matras (reverse of Doha)
- Shringar = Rati; Veer = Utsah; Karun = Shok—memorize ras-sthayibhav pairs
- Utpreksha keywords: मानो, जानो, जनु, मनो—imaginative possibility
- Navras = 9 rasas; some scholars add Vatsalya (10th) for parental love