Alankar, Ras and Chhand — Study Notes

Overview

Alankar, Ras and Chhand form the aesthetic backbone of Hindi poetry and are essential for Language I in CG TET. These three elements together determine how a poem sounds (Chhand), how it beautifies language (Alankar), and what emotional experience it creates (Ras). Questions typically test recognition of specific alankar types, identification of ras in given verses, and basic knowledge of chhand structures.

For the exam, you need not memorise dozens of subtypes — focus on the 8-10 most common alankars, all 9 rasas with their sthayee bhav, and 4-5 frequently tested chhands. The examiner often presents a couplet and asks you to identify the alankar or ras present. Understanding definitions clearly and practising with examples is the key to scoring well in this topic.

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Key Concepts

• **Alankar (अलंकार)** — Literary devices that add beauty and charm to language. Two main types: Shabdalankar (sound-based) and Arthalankar (meaning-based).

• **Shabdalankar** — Beauty arises from the sound or arrangement of words. Examples: Anupras, Yamak, Shlesh.

• **Arthalankar** — Beauty arises from the meaning or comparison of ideas. Examples: Upma, Rupak, Utpreksha, Atishyokti.

• **Ras (रस)** — The emotional essence or flavour a literary work evokes in the reader. Ras = Vibhav + Anubhav + Sanchari Bhav + Sthayee Bhav.

• **Sthayee Bhav** — The permanent or dominant emotion that defines each ras. There are 9 sthayee bhav for 9 rasas.

• **Chhand (छंद)** — The rhythmic pattern or metre in poetry, governed by rules of matra (syllabic weight) or varn (letters).

• **Matra vs Varn** — Matrik chhands count syllabic weights (laghu=1, guru=2); Varnik chhands count actual letters.

• **Yati** — The pause or caesura within a chhand line, essential for correct rhythm.

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Formulas / Key Facts

### Important Alankars

| Alankar | Definition | Example | |---------|------------|---------| | **Anupras** | Repetition of same consonant sound | "चारु चंद्र की चंचल किरणें" — च repeated | | **Yamak** | Same word repeated with different meanings | "कनक कनक ते सौ गुनी" — कनक = धतूरा / सोना | | **Shlesh** | One word carries two meanings simultaneously | "रहिमन पानी राखिए" — पानी = water / honour / lustre | | **Upma** | Direct comparison using सा, सी, जैसा, समान | "मुख चंद्रमा के समान है" | | **Rupak** | Metaphor — one thing is stated as another | "मुख चंद्र है" (no सा/जैसा) | | **Utpreksha** | Imaginative comparison using मानो, जानो, जनु | "नेत्र मानो कमल हैं" | | **Atishyokti** | Exaggeration beyond reality | "हनुमान की पूँछ में लगन न पाई आग" | | **Manavikarān** | Human qualities given to nature/objects | "फूल हँस रहे हैं" |

### The 9 Rasas and Sthayee Bhav

| Ras | Sthayee Bhav (Permanent Emotion) | |-----|----------------------------------| | **Shringar** (शृंगार) | Rati (रति) — Love | | **Hasya** (हास्य) | Haas (हास) — Laughter | | **Karun** (करुण) | Shok (शोक) — Grief | | **Raudra** (रौद्र) | Krodh (क्रोध) — Anger | | **Veer** (वीर) | Utsah (उत्साह) — Enthusiasm | | **Bhayanak** (भयानक) | Bhay (भय) — Fear | | **Vibhatsa** (वीभत्स) | Jugupsa (जुगुप्सा) — Disgust | | **Adbhut** (अद्भुत) | Vismay (विस्मय) — Wonder | | **Shant** (शांत) | Nirveda (निर्वेद) — Detachment |

### Common Chhands

| Chhand | Type | Structure | |--------|------|-----------| | **Doha** | Matrik | 13-11 matra in each line (total 24 matra per line pair) | | **Chaupai** | Matrik | 16 matra per line, 4 lines per unit | | **Sortha** | Matrik | Reverse of Doha: 11-13 matra | | **Kavitt/Ghanaakshari** | Varnik | 31-31 varn per line | | **Savaiiya** | Varnik | 22-26 varn per line |

**Laghu (ल) = 1 matra** — short vowel (अ, इ, उ) **Guru (ग) = 2 matra** — long vowel (आ, ई, ऊ, ए, ऐ, ओ, औ) or conjunct ending

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Worked Examples

### Example 1: Identify the Alankar **Line:** "तरनि तनूजा तट तमाल तरुवर बहु छाये"

**Solution:**

• Notice the repeated "त" sound at the beginning of multiple words
• This is **Anupras Alankar** (specifically Chhekānupras — same consonant cluster repeating)

### Example 2: Identify the Ras **Verse:** "मैं निज जीवन का भार लिये फिरता हूँ / थक गया हूँ, मैं हार गया हूँ"

**Solution:**

• The dominant emotion is deep sorrow and grief
• Sthayee Bhav = Shok (शोक)
• Therefore, this is **Karun Ras**

### Example 3: Count Matra in Doha **Line:** "रहिमन धागा प्रेम का, मत तोड़ो चटकाय"

**Solution:**

• First half (before comma): र(2)+हि(1)+म(1)+न(1) + धा(2)+गा(2) + प्रे(2)+म(1) + का(2) = 13 matra ✓
• Second half: म(1)+त(1) + तो(2)+ड़ो(2) + च(1)+ट(1)+का(2)+य(1) = 11 matra ✓
• Pattern 13-11 confirms this is a **Doha**

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Common Mistakes

• **Confusing Upma with Rupak** → Upma uses comparison words (सा, जैसा, समान); Rupak directly equates without comparison words. "मुख चंद्र सा" = Upma; "मुख चंद्र है" = Rupak.

• **Mixing Yamak and Anupras** → Anupras repeats consonant sounds; Yamak repeats entire words with different meanings. Check if the repeated element is just a sound or a full word.

• **Forgetting Sthayee Bhav for Ras identification** → Students identify ras by superficial content. Always ask: what is the permanent emotion? Veer ras needs Utsah, not just battle description.

• **Counting matra incorrectly** → A conjunct consonant at the end of a word makes the preceding syllable guru. Also, half-letters (आधे अक्षर) don't carry independent matra.

• **Treating Shlesh as two separate meanings** → In Shlesh, ONE word simultaneously carries multiple meanings in the same usage, not alternately.

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Quick Reference

• **Anupras = consonant sound repeats; Yamak = word repeats with different meaning**
• **Upma uses सा/जैसा; Rupak has direct equation; Utpreksha uses मानो/जनु**
• **9 Ras = Shringar, Hasya, Karun, Raudra, Veer, Bhayanak, Vibhatsa, Adbhut, Shant**
• **Doha = 13-11 matra; Chaupai = 16 matra per line; Sortha = 11-13 (reverse of Doha)**
• **Laghu = 1 matra (short vowel); Guru = 2 matra (long vowel or conjunct ending)**
• **Ras formula: Vibhav + Anubhav + Sanchari Bhav → Sthayee Bhav = Ras**