Alankar and Ras
Overview
Alankar and Ras form the aesthetic backbone of Indian literary appreciation across all major regional languages tested in OTET Language I — Odia, Hindi, Telugu, Bengali, and Urdu. Understanding these concepts is essential for answering questions on unseen poetry (Apathit Padya) and evaluating the beauty and emotional impact of literary works.
Alankar (figures of speech) are the ornaments that enhance the beauty of language, much like jewellery adorns the body. Ras (aesthetic sentiment) represents the emotional essence that a literary work evokes in the reader or listener. Together, they help candidates identify how poets craft language to create specific effects and what emotional responses the text aims to generate.
OTET typically tests your ability to identify specific alankars in given lines and recognise the dominant ras in poetic passages. Mastering 8–10 common alankars and all 9 rasas with their corresponding sthayi bhavas will cover most exam questions.
Key Concepts
- Alankar literally means "ornament" — devices that beautify ordinary language and make it memorable, effective, and aesthetically pleasing.
- Two broad categories of Alankar exist: Shabdalankar (sound-based figures depending on word arrangement) and Arthalankar (sense-based figures depending on meaning and comparison).
- Ras is the aesthetic flavour experienced by the sahridaya (sensitive reader/audience) when a literary work successfully evokes a particular emotion.
- Sthayi Bhava is the permanent emotion that gets transformed into ras through the combination of vibhava (cause), anubhava (physical response), and vyabhichari/sanchari bhava (transitory emotions).
- Bharata Muni's Natyashastra originally identified 8 rasas; Abhinavagupta later added Shant Ras as the ninth, making it Navras.
- Each ras has a corresponding sthayi bhava — for example, Shringaar ras arises from rati (love), Karuna ras from shoka (grief).
- Ras theory applies universally across Odia, Hindi, Bengali, Telugu, and Urdu literatures, though terminology may vary slightly.
- Identification in exams requires looking for specific markers — repetition of sounds for shabdalankar, comparison words for arthalankar, and emotional indicators for ras.
Formulas / Key Facts
Common Shabdalankars (Sound-based)
| Alankar | Definition | Identification Marker |
|---|---|---|
| Anupras | Repetition of consonant sounds | Same consonant appearing repeatedly |
| Yamak | Same word repeated with different meanings | Identical word, different sense |
| Shlesha | One word with multiple simultaneous meanings | Single word, dual interpretation |
Common Arthalkars (Sense-based)
| Alankar | Definition | Key Words/Structure |
|---|---|---|
| Upama | Direct comparison using "like" or "as" | jaise, sama, si, tulya, iva |
| Rupak | Metaphor — one thing IS another | No comparison word; direct equation |
| Utpreksha | Imaginative comparison — "as if" | mano, janu, iva, jaisa |
| Atiśayokti | Hyperbole — extreme exaggeration | Impossible or exaggerated claims |
| Manushyaropaṇ/Manavikaraṇ | Personification | Human qualities to non-human |
| Virodhabhas | Apparent contradiction | Contradictory terms together |
Navras (Nine Aesthetic Sentiments)
| Ras | Sthayi Bhava | English Equivalent |
|---|---|---|
| Shringaar | Rati (love) | Romantic/Erotic |
| Hasya | Haas (laughter) | Comic |
| Karuna | Shoka (grief) | Pathetic/Tragic |
| Raudra | Krodha (anger) | Furious |
| Veer | Utsaah (enthusiasm) | Heroic |
| Bhayanaka | Bhaya (fear) | Terrible |
| Bibhatsa | Jugupsa (disgust) | Odious |
| Adbhut | Vismaya (wonder) | Marvellous |
| Shant | Nirveda (detachment) | Peaceful |
Ras Sutra (Bharata's formula): Vibhava + Anubhava + Vyabhichari Bhava → Sthayi Bhava → Ras
Worked Examples
Example 1: Identifying Alankar
Line: "चरण-कमल बंदौं हरि राई" (Charan-kamal bandau Hari Rai)
Analysis: The feet of Lord Hari are called "kamal" (lotus). The feet ARE the lotus — no comparison word like "jaise" is used.
Answer: Rupak Alankar (metaphor) — direct identification of one thing with another.
Example 2: Identifying Alankar
Line: "तरनि-तनूजा तट तमाल तरुवर बहु छाए" (Tarni-tanuja tat tamal taruvar bahu chhaye)
Analysis: Notice the repetition of the 'त' (ta) sound throughout the line — tarni, tanuja, tat, tamal, taruvar.
Answer: Anupras Alankar — repetition of the same consonant sound creates a musical effect.
Example 3: Identifying Ras
Passage: A mother weeps over her dead son on the battlefield; her tears fall endlessly; she remembers his childhood smile.
Analysis:
- Sthayi Bhava present: Shoka (grief/sorrow)
- Vibhava: Death of son (cause)
- Anubhava: Weeping, tears (physical expression)
- Sanchari Bhava: Memory, despair (transitory feelings)
Answer: Karuna Ras — the sentiment of pathos arising from grief.
Example 4: Distinguishing Upama from Rupak
Upama: "मुख चंद्रमा के समान है" (Face is LIKE the moon) — comparison word "samaan" present.
Rupak: "मुख चंद्रमा है" (Face IS the moon) — no comparison word; direct equation.
Key difference: Upama maintains distinction between two things; Rupak merges them into one.
Common Mistakes
- Confusing Upama with Rupak → Look for comparison words (jaise, sama, si, tulya). If present, it is Upama. If absent and direct equation is made, it is Rupak.
- Mixing up Yamak and Anupras → Anupras is repetition of consonant SOUNDS; Yamak is repetition of the same WORD with different meanings. "कनक कनक ते सौगुनी" uses the word "kanak" twice (gold and dhatura) — this is Yamak, not Anupras.
- Identifying ras based on topic rather than emotion evoked → A war poem is not automatically Veer Ras. If it focuses on the horror and fear of battle, it could be Bhayanaka. Always identify the sthayi bhava first.
- Forgetting that Shringaar has two types → Sanyog Shringaar (union of lovers) and Viyog Shringaar (separation). Both arise from rati but express differently.
- Treating vyabhichari bhavas as ras → Transitory emotions like chinta (anxiety), trasa (fright), or nirveda (temporary detachment) support the main ras but are not rasas themselves. Only the nine listed emotions qualify as ras.
Quick Reference
- Alankar = ornament of language; Shabdalankar = sound-based; Arthalankar = meaning-based
- Upama uses comparison words; Rupak does not — this is the most tested distinction
- Anupras = consonant repetition; Yamak = same word, different meanings
- Navras = 9 rasas; each has one sthayi bhava (permanent emotion)
- Ras formula: Vibhava + Anubhava + Sanchari Bhava transforms Sthayi Bhava into Ras
- Shringaar and Karuna are most frequently tested rasas in poetry passages