1. Alankara Darpana Hari Vallabha Bhayani C. L.D. Institute of Indology

ALAMKĀRADAPPAŅA

L. D. Series : 120

General Editor Edited By Jitendra B. Shah H. C. Bhayani

L. D. INSTITUTE OF INDOLOGY, AHMEDABAD Jain Education International For Personal & Private Use Only www.jainelibrary.org

ALAMKARADAPPANA

L. D. Series : 120 General Editor Edited By Jitendra B. Shah H. C. Bhayani

L. D. INSTITUTE OF INDOLOGY AHMEDABAD

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ALAMKĀRADAPPAŅA Edited By H. C. Bhayani

. Published By L. D. INSTITUTE OF INDOLOGY AHMEDABAD

First Edition : APRIL, 1999

. ISBN : 81-85857-01-6

.

Price : No 5 0 .

Type Setting Rakesh Computer Center Tel No. : 6303200

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अज्ञातकर्तृक अलंकारदप्पण

संपादक

एच. सी. भायाणी

प्रकाशक

लालभाई दलपतभाई भारतीय संस्कृति विद्यामंदिर, अमदावाद - ३८० ००९

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PUBLISHER'S NOTE

We are very happy to publish the Alamkāradappana, a work in poetics in Prakrit, in the L. D. Indology Publication Series. This work is datable to the 13th Cent. A. D. Despite efforts made, the author's name could not be known. The manuscript of the work, which is in the L. D. collection, sheds no light on the problem of authorship. The editing of the work, along with its translation in English, has been meticulously done by Prof. Dr. Harivallabh C. Bhayani, an eminent scholar in Prakrit and poetics. The Institute is highly grateful to him for accomplishing this task. We hope that this Publication will be useful to all those interested in Indological studies, and particularly to those working in the field of ancient Indian poetics.

DATE : 28-05-'99 J. B. SHAH

Ahmedabad

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अज्ञातकर्तृक अलंकारदप्पण

[ One and only Alamkāra work in Prakrit, Edited from a single Available Manuscript]

Edited by : H. C. Bhayani

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Acknowledgement

I am thankful to Dr. Parul Mankad for giving me information in the history of the Alamkāras Utprekșāvayava and Udbheda, to Dr. N. M. Kansara for rendering the text in Nāgarī script. I thank L. D. Institute of Indology for publishing this work.

H. C. Bhayani

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INTRODUCTION

Manuscript Material

The only known manuscript of the Alamkāradappaņa (=AD.) is in the Jesalmer Manuscript Collection (MS. no. 326, 13 folios ; datable in the first half of the thirteenth century). Late Agarchand Nahta got a copy of the manuscript from late Muni Punyavijayji who had undertaken to visit the Bhandar, get some important manuscripts copied and prepare a catalogue. On the basis of the copy with Nahta Bhamvarlal Nahta published in the Marudharakesari Abhinandan Granth (pp. 430-458) the text of AD. with Hindi translation under the title प्राकृतभाषा का एक मात्र अलंकार-शास्त्र : अलंकार-दप्पण. In many a place Nahta has misunderstood the text and his translation is also at many a place fanciful guesswork. Moreover, the text of the. illustrations gives for the various Alamkāra is considerably corrupt. I acquired a photocopy of the manuscript of AD. and has edited the work. In several cases I have tried to emend and restore the illustrative Gāthās. I have supplied the Sanskrit Chāyā for the Kārikās.

Date and Authorship

As mentioned previously the mascript of AD. is conjecturally dated in the thirteenth century. In several cases the definition of the Alamkras and in a few cases the illustration clearly shows the influence of Rudrata's Jain Education International For Personal & Private Use Only www.jainelibrary.org

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Kāvyālamkara, dated in the nineth century. The Apabhramśa poet Svayambhü (probably in the later half of the nineth century) is said by his son Tribhuvana to have written works on Vyākaraņa, Chandas and Alamkāra. Svayambhū's work on metres viz. Svayambhūcchandas is available, though, we have not got any other clue to his Vyākaraņa. Our conjecture . is that AD. is possibly Svayambhū's work. But his name usually given in his work is missing here and there are no references to the Tirthamkaras and on the contrary there are references to Vedic-Pūraņic gods like Vișņu. So our conjecture remains doubtful.

Close resemblance between certain definition and a few illustrations given by Rudrata (besides the number and order of the Alamkäras) and what we find in AD. indicates that the latter had Rudrata's Kāvyālamkāra as one of its sources. The following instances are noteworthy :

1. श्लिष्ट स्यार्थेन संयुक्त: किञ्चिदुत्प्रेक्ष्यान्चितः । रूपकार्थेन च पुनरुत्प्रेक्षावयवो यथा ।। (काव्य ३.४७) होइ सिलेसच्छलेणं मज्जंति रूअएण अफुडेण । उप्पेक्खा एसो सुओ उप्पेक्खावअसव-णामोहु ॥ (अद. १२१)

2. न्यूनस्यापि विशिष्टेन गुणसाम्य-विवक्षया । तुल्य-कार्य-क्रिया-योगादित्युक्ता तुल्ययोगिता ।। (काव्य.३.२७) गुण-सरिसत्तण-तण्हाइ जत्थ हीणस्स गुरुअएण समं। होइ सम-काल-किरिया जा सा समजोइआ साहु ॥ (अद. १०६)

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3. यत्रैकमनेकेषां वाक्यार्थानां क्रियापदं भवति । xx xxx तदेतदिति दीपकं xX ।। आदौ मध्यांते वा वाक्यं तत् संस्थितं दीपयति । वाक्यार्थामिति भुयस्त्रिधा xx xx ।। (काव्य. ७, ६४-६५) (आदि-मध्यांत-विषयं त्रिधा दीपकमिष्यते । भामह, काव्य. २, २५) दिविज्जंति पआइं एक्काए चेअ जत्थ किरिआए। मुह-भज्झंतगआए तं भण्णइ दीवअं तिविहं ।। (अद. ४६)

4. तुल्य-श्रुतीनां भिन्नानामभिधेयैः परस्परम् । वर्णानां यः पुनर्वादो यमकं तन्निगद्यते ।। आदि-यध्यांत-यमकं पादाभ्यासे तथावली। समस्त-पाद-यमकमित्येतत् पंचधोच्यते ।। (काव्य. २,१७) आइ-मज्झंत-गअं पाअब्भासो तहा आवली-णिबंधो। णीसेस-पाअ-रइअं जाअइ जमअं अ पंचविहं ।। (अद. १२८)

5. उपमानेन यत्तत्त्वयुपमेयस्य रूप्यते । गुणानां समतां दृष्ट्वा रूपकं नाम तद् विदुः ।। समस्त-वस्तु-विषयमेकदेशविवर्ति च । द्विधा रूपकमुद्दिष्टमेतत् चोच्चच्यते यथा ॥ (काव्य. २.२१-२२)

6. उपमानेन तत्त्वं च भेदं च वदतः पुनः । ससंदेहं वच: स्तुत्यै ससंदेहं विदुर्बुधाः ।। (काव्य ३, ४३) उवमाणेण सरूअं भणिऊण भस्सए जहिं भेओ। थुइ-करणेणं संदेह-संसिओ सो हु संदेहो ॥ (अद. ७४)

The illustration of प्रेमातिशयः सहसा तुअम्मि दिट्ठे जो जाओ तीए पहरिसाइसओ। सो जइ पुणो-वि होइ सुंदर तुअ दंसणे च्चेअ ॥ (अद. ९०) Jain Education International For Personal & Private Use Only www.jainelibrary.org

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Compare the illustration of प्रेयस् : अद्यया मम गोविंद जातो त्वयि गृहागते । कालेनैषा भवेत् प्रीतिस्तवैवागमनात् पुनः ॥ (काव्य. ३,५)

List of Alamkāras treated in AD.

१. उपमा प्रतिवस्तु, गुणकलिता, असमा, माला, विगुणरूपा, संपूर्णा, गूढा, शृंखला, श्लेषा, ईषद्विकला, अन्योन्य-प्रशंसा, तल्लिप्सा, निंदिता, अतिशया, श्रुंतिमिलता, विकल्पिता.

२. रूपक १५. विरोध सकलवस्तु, एकदेश १६. संदेह ३. दीपक १७. विभावना मुख, मध्य, अंत्य १८. भाव ४. रोध गूढभाव, अन्यापदेश ५. पदानुप्रास १९. अर्थांतरन्यास ६. अतिशय २०. अन्यपरिकर ७. विशेष २१. सहोक्ति ८. आक्षेप भवत्, अपकरांत २२. ऊर्जा २३. अपह्रुति ९. जाति २४. प्रेमातिशय १०. व्यतिरेक २५. उदात्त ११. पर्याय रिद्धि, जाति १२. रसित २६. परिवृत्त १३. यथासंख्य द्विगुण, त्रिगुण, चतुर्गुण २७. उत्तर द्रव्य, क्रिया, गुण १४. समाहित Jain Education International For Personal & Private Use Only www.jainelibrary.org

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२८. श्लेष ३७. उपमारूपक सहोक्ति, उपमा, हेतु ३८. निदर्शन २९. व्यपदेशस्तुति ३९. उत्प्रेक्षावयव ३०. समयोगिता ४०. उद्भेद ३१. अप्रस्तुतप्रसंग किंपदगर्भ, नूनशब्द ३२. अनुमान ४१. वलित ३३. आदर्श ४२. यमक ३४. उत्प्रेक्षा पादादि, मध्यांत,

३५. संसृष्टि पादाभ्यास, आवली,

३६. आशिषा सकलपाद.

There is scope for comparative and historical comments in the case of many Alamkāras treated in AD. But it deserves a separate effort. Dr. Parul Mandak has kindly contributed the following notes on the history and character of the Alamkaras उत्प्रेक्षावयव and उद्भेद.

उत्प्रेक्षावयव : It seems Bhamaha was first to treat this. He defines it as follows : श्लिष्टस्यार्थेन संयुक्त: किंञ्चिदुप्रेक्ष्यान्चितः । रूपकार्थेन च पुनरुत्प्रेक्षावयवो यथा ॥ (काव्यालंकार, २.४) Like उपमारूपक this Alamkara is of a compound character. Hence perhaps and because there is a mixture of उत्प्रेक्षा, रूपक and श्लेष Vamana has regarded it as a type of संसृष्टि (काव्यालंकारसूत्रवृत्ति, 4.3.32).

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Dandin considers it as a type of उत्प्रेक्षा (काव्यादर्श 2-351). Bhoja also subsumes it under उत्प्रेक्षा (सरस्वतीकंठाभरण, 4.5) उद्भेद : Sobhakaramitra defines it as follows : निगूढस्य प्रतिभेद उद्भेदः । (अलंकाररत्नाकर, सू. १०१) In the commentary he clarifies that when somehting concealed becomes somehow revealed the Alamkara is उद्भेद, which is of two types वाच्य and व्यंग्य.

What is called पिहित by Rudrata that is उद्भेद of Sobhakaramitra. But Jayadeva has treated पिहित in the same way as Sobhakaramitra's उद्भेद. Vagbhata (later) and Appaya Diksita have also treated उद्भेद. Bhoja in the Sarasvati- kanthabharana has regarded उद्भेद as a type of भाविक. In निःशेष-च्युत-चंदनं etc. Bhoja says there is अव्यक्त उद्भेद. (Sarasvatīkaņ-țhābharaņa, p.550). His view is cited by Narendraprabhasūri in his Aalamkāramahodadhi (p. 327) (Reference : Ruyyaka's Alamkārasarvasva - A Study, Vol. 4 and 5) In a number of cases the meaning is not clear to me either due to corruptness of the text or due to textual difficulties (as for example in the case of the definitions and illustrations of the Yamka types).

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TEXT

sumdara-paa-viņņāsam vimalālamkāra-rehia-sarīram | sui-deviam ca kavvam ca paņavia1 pavara-vaņņaddham || 1

Homage firstly to the Godess of Learning who takes steps beautifully, whose body is adorned with bright ornaments and who is refulgent with abundant lustre and (secondly) to Poetry that has beautifully structured diction, that has a form illuminated with pure figures of speech and that is rich in excellent sound patterns.

savvāim kavvāim savvāim jeņa homti bhavvāim tamalamkāram bhaņimo 'lamkāram ku-kavi-kavvāņam || 2

We propose to describe (the chief figures of speech), due to which all the poems become worthy of hearing and gain loftiness and which cry halt to the compositions of worthless poets.

accamta-sumdaram pi hu ņiralamkāram jaņammi kiramtam | kāmiņi-muham va kavvam hoi pasaņņam pi vicchāam || 3 A poem and a damsel's face inspite of being very beautiful and lucid, if they are bereft of ornaments, would appear lustreless to the people.

tā jāņiūņa ņiuņam lakkhijjai1 bahu-vihe alamkāre | jehim alamkariāim bahu maņņijjamti kavvāim || 4

Hence becoming thoroughtly conversant with numerous types of the figures of speech, we define and describe them here so that the poems beautified with them get excellent reception.

uvamā-rūvaa-dīvaa- rohāņuppāsa-aisaa-visesā | 1 akkheva-jāi-vairea-rasia-pajjāa-bhaņiā u ||.5

Upamā, Rūpaka, Dīpaka, Rodha, Anuprāsa, Atiśaya, Viśeșa, Ākșepa, Jāti, Vyatireka, Rasita, Paryāya-bhaņita, Begins : Om namaḥ Sarasvatyai. Jai panaviam nternational 4.1. lakkhijjaha nal & Pvisesam www.jainelibrary.org

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jahāsamkha-samāhia- viroha-samsaa-vibhāvaņā-bhāvā | atthamtaraņāso aņņa-pariaro taha sahottia || 6

Yathāsamkhya, Samāhita, Virodha, Samaya, Vibhāvanā, Bhāva, Arthāntaranyāsa, Anyaparikara, Sahokti,

ujjā avanhava io pemmāisao udātta-pariattā | davvuttara-kiriuttara-guņuttarā bahu silesā a ||7 Ūrjā, Apahnava, Premātiśaya, Udātta, Parivṛtta, Dravyottara, Kriyottara, Guņottara, various types of Śleșa,

vavaesa-thui-samajoiā ia apatthuappasamsā' a | anumāņam āariso uppekkhā2 taha a samsițthi || 8

Vyapadeśa-stuti, Samayojitā, Aprastutapraśamsā, Anumāna, Ādarśa, Utprekșā, Samsrsți,

āsīsā-uvamārūvaā ca jāņaha1 ņiarisaņam taha a| uppekkhāvaavo bhea-valia-jamaehi samjuttā || 9

Āśīḥ, Upamārūpaka, Nidarśana, Utprekșāvayava, Udbheda, Valita along with Yanaka.

ettia-mittā ee kavvesu padițthiā alamkārā | ahiā uvakkameņam vīsāo doņņi samkhāu || 10

These only are the established and accepted poetic figures. These, numbering forty, we shall describe in order.

uvamāņeņam jā desa-kāla-kiriāvaroha-padieņam | uvameassa sarisam lahai guņeņam khu sā uvamā || 11

That is indeed Upama which achieves the similarity of the object of comparison, through a quality thereof, with the standard of comparison that is distinct on account of difference in place, time or action.

8 1. apatthuapasamsā. 2. upekkhā. Personal & P 9 l jāņai niarisiņam www.jainelibrary.org

padivatthū guņa-kaliā asamā mālā a viguņa-rūvā a | sampuņņā gūdhā samkhalā a lesā a dara-vialā || 12 Prativastu, Gunakalitā, Asamā, Mālā, Viguņarūpā, Sampūrņā, Gūdhā, Śņnkhalā, Ślesā, Īșatvikalā,

ekka-kkamā pasamsā tallicchā ņimdiā aisaā a | sui-miliā taha a viappiā a sattaraha uvamāo || 13 Anyonyā, Praśamsā, Tallipsā, Ninditā, Atiśayā, Śrutimilitā, Vikalpitā.

padivatthūe sā uvamā jā samāņa-vatthurūā a | 'iva'-'miva'-'pivā'i-rahiā visarisa-guņa-paaeāhimto || 14 That Upama is Prativastu which lacks particles (of comparison) like iva, miva, piva, and which conveys similarity between two things, inspite of dissimilar qualities.

padivatthūvamā jahā : sampatta-tivagga-suhā thovā puhavīa homti ņāra-ņahā | mahura-phala (?) [-kusumā] siņiddha-pattā tarū viralā || 15 The illustration of Prativastūpamā : There are few kings on this earth who have achieved (all the) three classes of happiness : Rare are such trees that have sweet fruits, fragrant flowers and tenderly smooth leaves.

guņa-kaliā sā bhaņņai guņehī dohim pi sarisaā jattha | uvamėo kira jīe uvamāņam hoi sā samā || 16 That Upamā is called Guņa-kalitā in which resemblance pertains to two qualities. That Upama is Asamā in which the Object of Comparison becomes the Standard of Comparison.

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guņa-kaliā jahā : campaa-laa' vva ņava-kusuma-sumdarā sahai vimjha-kadae2 va vaccha-tthalammi lacchi tamāla-nīle mahumahassa || 17 The Illustration of Guņa-kalitopamā : On the broad chaste of Visnu that is, like the slope of Vindhya, as dark as (or due to) Tamāla tree(s), Laksmī like the Campaka creeper, as beautiful as (alternately beautiful due to) fresh flowers, appears charming.

asamā jahā : joņhā-nimmala-lāaņņa-pasara-cimcaia-1 saala-bhuaņāi | tuha tujjha vva kisoari samāņa-rūā jae ņatthi || 18

The illustration of Asamopamā : O damsel of slender belly, your graceful beauty, like the clear moonlight, adorns the whole world. So nobody is there like you in this world who can compare with you in beauty.

sā mālā uvamāņāņa jattha vivihāņa hoi rimcholī | biuņa-sarisovamā jā viņimmiā biuņa-rūa tti || 19

That Upamā is Mālā in which there is a series of different Standards of Comparison. That which is constructed with twofold similar Comparisons is called Dviguņa-rūpā.

mālovamā jahā : hari-vaccham va sukamalam gaanam va bhamamta-sūra- sacchāam || sāara-jalam va kari-maara-sohiam tuha ghara-ddāram || 20 The illustration of Mālopamā : The gate of your house is sukamala (marked with beautiful lotuses) like the chaste of Visnu (which is marked by the presence of beautiful Laksmī); it is splendorous due to bhamamta sūra (brave 17.1. lai 2. kadai. Jain Education Internatonal 18.1 pasaricimccaia. se Only www.jainelibrary.org

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men moving about), like the sky which is splendorous due to bhamamta sura (the revolving sun); it is like the water of the ocean marked by (the figures or alternatively the presence of) elephanta and crocodiles.

viuņa-rūvovamā jahā : nivvāvārikaa-bhuaņa-mamdalo sūra-ņāsia-pahāo | ņāha paosa-vva tumam pāusa-sarisattaņam vahasi || 21

The illustration of Dviguņarūpopamā : As the night-time, putting a stop to the activities of the world and eliminating the sunlight resembles the rainy reason, you also, my lord, resemble the same by putting a stop to the (hostile) activities of all the feudatories and by destroying the prowess of the enemy heroes.

ņa hu üņā nahu ahiā jā jāai sā hu hoi sampunņā | jā uņa samāsa-līņā sā gūdhā bhaņņae uvamā || 22

The Upamā which is neither deficient nor excessive (in the matter of requisite characteristics) is called Sampurņopamā. That Upamā which is submerged in a compound is call Gūdhopamā.

sampuņņā jahā : sohasi vaaņeņa tumam keai-kaņņulliā-saņāheņa | kamaleņa va pāsa-tthieņa muddhada-hamseņa pasaacchi || 23

The illustration of Sumpurņopamā : With your face having the Ketaki flower as the ear ornament, and thus resembling a lotus with a young goose standing near-by, Oh damsel with beautifully long eyes, you appear charming.

gūdhovamā jahā : kaha pāvihisi kisoari daiam thaņaala-sakhea-ņīsasiri' rambhā-gabbhoara-ņiamba-bhāra-masiņeņa gamaņeņa || 24

The illustration of the Gūdhopamā : O slim-waisted damsel, being short of breath due to the strain of

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(your heavy) breasts and moving softly because of the great weight of your lower body with thighs like the pith of the plaintain tree, how will you reach (?) your lover ?

uvamā-vaehī uttividi-raiehi samkhalā hoi | uvamijjai uvameo jesim lesāņa sā lesā || 25 That Upamā which is made up of a concatenation of Upamās is called Śṛnkhalopamā. That in which the Object of Comparison is Compared by means of Ślesas is Śleopamā.

samkhalovamā jahā : saggassa va kaņaa-girī kamcaņa-giriņo [va] mahialam1 hou | mahivīdhassa-vi bhara-dharaņa paccalo taha tumam cea || 26 The illustration of Śrkhalopama : As the Golden Mount (i.e. Meru) is capable to bear the great burden of the Heaven, and as the earth-surface is capable of bearing the great burden of Mount Meru, so it is only you who are capable of bearing the great burden of the vast earth.

lesovamā jahā : so samjhā-rāa-samo1 cala-pemmo jo jaņo suhao | so kim bhāsai samjhā-rāeņa va jo ņa rimcholi || 27 The illustration of the ślesopamā : That person who is attractive, but fickle in love is like the twilight colour . . (?)

susarisamāpakhevam (?) vialai sa cceva hoi daravialā | ekkakkamovamāņehī hoi ekkakkamā ņāma || 28 The Upamā which ... is caled Iśadvikalā. Tha Upamā in which there are mutual Upamānas is called Anyonyopamā.

26adu giriņātemahialā. 27Fbr Proasamorivate Use Only www.jainelibrary.org

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daravialā jahā : pīņa-tthaņī sa-rūā paha-pesia-loaņā sa-ukkaņțhā | lihiya vva dāra-laggā ņa calai tuha damsaņāsāe || 29

The illustration of Işadvikalopamā : That damsel with plump breasts and a beautiful figure, directing her glance with intense yearning on the path of your arrival, remains attached to the doorway without moving - as if she were a picture, hoping to catch your glimpse.

ekkakkamā jahā : paai-vimalāu doņņi-vi vibuha-jaņe nivvuī-karāo a | ekkekkama-sarisāo tuha kittī tiasa-sariā a || 30

The illustration of Anyonyopamā : Your fame and the heavenly river, both of them being pure by nature and imparting bliss to Vibudhas ((1) the learned, (2) the gods) resemble each other.

nimdāe salahijjai uvameo jattha sā pasamsa tti | aņuharai aisaeņam jā sa ccia hoi tallicchā || 31

That Upamā wherein the Upameya is praised under the guise of censure is called Praśamsopamā. That is Tallipsopamā which resembles Atioyakti (?).

nimdā-pasamsā jahā : tuha. samdhassa va naravai bhujjai bhiccehi pāadā lacchī | hiaāi (hiaam pi ?) kāarassa va vaaņijja-bhaeņa osarai || 32 Praising through censuring (i.e. Prasamsopamā) is as follows : O King, your Laksmi (i.e. favours) is openly enjoyed by your dependents, as if you are eunuch, Your heart (?) too wilts from fear of scandalous rumours, as if it were that of a coward.

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tallicchovamā jahā : pāusa-nisāsu sohai jala-ppavahehi pūriā puhai | cala-vijju-valaya-vādaņa-ņivadia-ņakkhatta-sarisehīm || 33

The illustration of Tallipsopamā : In rainy nights, the earth filled with water-streams resembling masses of stars fallen down due to strokes from circular flashes of lightning, appears beautiful.

uvameo nimdijjai thui-vavaeseņa jattha sā nimdā | aisaa-bhaņiā sa ccia aisaiā bhaņņae uvamā || 34

That is Nindopamā wherein the Upameya is censured through praise. That Upama which is expressed through Atisayokti is called Atiayopamā.

thui-nimdovamā jahā : tambola-rāa-miliamjaņeņa ahareņa sohasi paose | dara-pariņaa-jambūhala-kamtī-sariseņa pihu-acchi || 35 The illustration of Stuti-nindopamā : O girl with (beautiful) long eyes, you appear charming at the advent of the advent night with your lowerlip that is coloured by the betel-juice mixed with the kohl and hence it has the lustre like that of a slightly ripe roseapple (jambū) fruit.

aisa(i)ya-uvamā jahā : joņhā-bhaa-saraņāgaa-timira-samūhehi ņijjia-miamkam | sevijjai vaaņam sāsa-gamdha-luddhehi bhasalehim || 36 The illustration of the Atisayitopamā : (Your) face, which has conquered the moon, is served (i.e. attended to) by bees, (which resemble) masses of darkness coming to seek refuge due to fright of the moonlight, and which is covetous of the fragrance of (your) breath.

33.1. ppahāņehi. 2. tādama ; khaņatta -. 34.1. ņamdijjai. 35 1. sua. nte2 pariņia For Personal & Private Use Only www.jainelibrary.org

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jā sarisaehī bajjhai saddehim sā hu hoi suimiliā | ekkāņikka-viappaņa-bheeņa viappiā du-vihā || 37 Śruti-militā is that (Upamā) which is constructed by means of similar words; Vikalpitā (Upamā) has two types according to fancying once or more than once.

sui-miliovamā jahā : dațthūņa para-kalattam chamdāvadiam maņoharam kavvam | khijjai khalo viambhai dūsai dosam a-pecchamto || 38 The illustration of Śruti-militopamā : Seeing another's wife willful and beautiful (as also) a poem, composed in metres and beautiful, a wicked person feels dejected, yawns and censures her (or it) eventhough he fails (actually) to find any fault.

ekkattha-viappiovamā jahā : paribhamaņa-vai-ņiaddhia-sampimdia-bahala-reņu-ņiacchaā | ņahasu (?) aņada-tamsā iva, vāāvattā muņijjamte || 39 The illustration of Vikalpitopamā which has fancying related to a single idea : The whirlwinds, controlling mass of dust drawn and collected near hedges though wanderings round and round, appear like tortuously moving paramours.

bahuhā-viappiovamā jahā : sūrammi dāva jalaņe vva volie ņahaalam vaarasam(?)vayo | pacchā masi-ņiareņa va tameņa kasiņīkayam saalam || 40

The illustration of Bahudhā-vikalpitopamā : Then as the sun like a fire departed, the surface of the sky which was as if ... (?) and afterwards all of it was darkened as if with a mass of soot.

39.1. sampidia. ain Education International 40.1. volio ; nahaaram 2 pacchi ; saasam www.jainelibrary.org

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uvamāņeņuvameassa jam nirūvijjae ni(?)rūvaņam khu | davva-guņa-sammaam tam bhaņamti iha rūvam kaiņo || 41

upamānenupameyasya yat nirūpyate nirūpaņam khalu | dravya-guņa-sammatam tam bhaņanti iha rūpakam kavayaḥ ||41

When the nature of Upameya based on the latter's substance or qualities is represented by Upamāna, then that representation is called Rūpaka by the poets.

tam cia duviham jāai samattha-pāattha-viraaņā-jaņiam | padhamam biam ekkekka-desa-parisamțhiam hoi || 42

tadeva dvividham jāyate samasta-padārtha-viracanā-janitam | prathamam dvitiyam ekaikadeśa-parisamsthitam bhavati ||

The same is of two types : the first is such as produced by relating to all the terms, the second is confined to a single part.

Saala-vatthu rūvaam jahā : gaaņa-saram pecchaha pāusammi taņu-kiraņa-kesara-saņāham

tārā-kusuma-vvavaņam mahabharaņa paulam samakkamai ||43

The illustration of Sakalavastu-rūpaka : Look at the lake of the sky in the rainy season with stars as flowers that have roogs as follen x X X X X.

ekkekka-desa-rūvaam jahā : aviraa-pasaria-dhāra-nivaa-nitthavia-pamthia-samūho | mārihai mam sa-daiam nikkivo pāusa-cilāo || 44

The illustration of Ekadeśa-rūpaka : The pitiless Rainy Season in the form of a Kirāta, who has killed the travellers by the incessantly pouring showers will kill me also along with my beloved.

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bheā ņāehim cia haria-cchāehim rūvaāņa kaā | atthe labbhijjai cia saaleara-rūaā-himto || 45

XX XX XX

dīvijjamti paāim ekkāe cea jattha kiriāe | muha-majjhamtagaāe tam bhaņņai dīvaam1 tiviham || 46 That Alamkära wherein a single verb illuminates the words of the sentence, that verb being placed either in the beginning or middle or end (of the sentence), is called Dipaka of the three varieties.

muha-dīvaam jahā :. bhūsijjamti gaimdā maeņa suhadā asi-ppahareņa | gaua? taraeņa turamgā sohagga-guņeņa mahilāo || 47

The illustration of Mukha-Dīpaka : The excellent elephants shine forth in virtue of the ichor, the brave-warriors in virtue of the sword-strokes received, the horses in virtue of their speed and the women in the virtue of their beauty.

majjah-dīvaam jahā : sukavīņa jaso sūrāņa dhīrimā īhiam narimdāņa | keņa khalijjai pisuņāņa dummai bhīruāņa (?) bhaam || 48

The illustration of Madhya-Dīpaka : Who can harm, violate or diminish the fame of great poets, the steadfastness of the brave men, the wishes of the kings, the evil designs of the back-biters and the fear of the cowards.

amtadīvaam jahā : sattheņa buhā dāņeņa patthivā guru-taveņa jai-ņivahā raņa-sāhaseņa suhadā mahiale pāada homti || 49 The illustration of Antyå-Dīpaka : The wise men by means of learned treatises, the kings by means

46.1. diviam Jain Educațion International For Personal & Private Use Only www.jainelibrary.org

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of charity, the ascetics by means of rigorous austerity, the soldiers by means of daring acts on the battle-field become famous in the world.

addha-bhaņiam nirumbhai jassim juttia hoi so roho | paa-vaņņa-bhea-bhiņņo jāai du-viho anuppāso || 50 That is Rodha wherein what is partly spoken is restrained artfully. Anuprãsa has two types distinguished on the basis of words and sounds.

roho jahā : ko ņa valai teņa viņa mā bhaņasu a pulaiehim pāsehim | ai-rahasa-jampiāim havamti pacchā avacchāim || 51 Who would not burn without him ? Do not speak with your sides thrilling. Words spoken very rashly become harmful afterwards.

paāņuppāso jahā : sasi-muhi muhassa lacchim thaņasāliņi thaņaharam-pi pecchamto | taņuāai taņuoari hali [a] suo kahasu jam juttam || 52 The illustration of Padānuprāsa : The ploughman's son, seeing the beauty of your face, O moon- faced girl, and seeing your breasts, O bearer of plump breasts, becomes thinner, O slim-bellied girl. So tell me what is proper in this matter.

vaņņāņuppāso jahā : vāamti sajala-jalahara-jala-lava-samvalana-sīala-pphamsā | phullamdhua-dhuva-kusumucchalamta-gamdhuddhurā pavaņa || 53 The winds are blowing, having cooling touch due to the mixture of water particles from the water-bearing clouds, and strongly redolent with the fragrance springing from flowers that are shaken by bees.

jattha nimittāhimto loā ekkamta-goaram vaaņam | viraijjai so tassa a aisaa-ņāmo alamkāro || 54 Jain Education International For Personal & Private Use Only www.jainelibrary.org

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Where the words of usual discourse are used purposefully to convey oneness then that figure is called Atiśaya.

aisaālamkāro jahā : jai gamdha-milia-bhamaram na hoi avaamsa-campaa-pasūam | tā keņa vibhāvijjai kaola-miliam paham tissā || 55 The illustration of the figure Atiśya : If bees had not gathered (attracted by) the fragrance of the Campaka flower used as ear-ornament, who could have observed it, as its colour was commingled with the colour of her cheeks ?

vigae vi ekka-desa-guņamtareņam tu samthui jattha | kīrai visesa-payadaņa-kajjeņam so viseso tti || 56 Where a quality disappears from one part, if it is praised through attribution of another quality with a view to bring out speciality, that figure is Viśeșa.

Viśesālamkāro jahā : na-vi taha ņisāsu sohai piāņa tambola-rāa-pacchaio | jaha piaama-pio pamdaro-vi aharo pahāyammi || 57 The illustration of the figure Viśeșa : The lower lip of the beloveds, which is at night covered with betel leaf-juice does not appear as beautiful as when it appears in the morning deeply kissed by their lover even though then it is deprived of colouring.

jattha niseho vva sasīhia (?) kīrai visesa-taņhāe | so akkhevo duviho homta-vakkamta-bheeņa || 58 Where something is negated ..... with some specific purpose, the figure is Aksepa. It is of two types : Bhavat and Apakrānta.

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Homtakkhevo jahā : jai vaccasi taha vaccasu maha garu(a-dāha)-virahaggi-tavia- taņue | vaccai tai samaam cia ahavā kaha jampiam esā (?) || 59

The illustration of Bhavat-āksepa : 'If you are going away, then go. As my body will be burnt by the intense fire of separation, with you will certainly depart my ... But how

avakkamtakkhevo jahā : khagga-ppahāra-dadha-dalia-riu-dalassa gaa-kumbha-vīdhassa | tua natthi. ettha ko mahiharāņa samcālaņo hojja || 60

The illustration of Apakrāntāksepa : You, who has torn the broad temples of the elephants of the hostile army that was crushed with your forceful sword-strokes there is nobody here to ..... who can possibly be a mover of mountains ?

hoi sahāo jāi vairego uņa visesa-karaņeņa | uaņena-mohī(?) saā aņeņam cc (?) bajjhai kaīhim || 61

The (description of) nature is Jäti. When some special trait is pointed out it is Vyatireka xx xx xx.

jāī jahā : sira-dharia-kalasā gholira - bāhā-jualāi gāma-taruņie | maņņai vilāsa-dittho bhai(?)-tthiaam pāmaro puhavim || 62 The illustration of Jāti : The busbandsmand, glanced at sportively by the young village girl, carrying a water pot on her head and swinging her both hands, thinks he has gained (the whole) earth.

vairego jahā : dūsaha-paāva-pasaro somo sai akhalia-paho tam si | te vva jadā uņa doņha vi ravi raa raa haa-cchāā || 63 . Jain Education International For Personal & Private Use Only www.jainelibrary.org

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The illustration of Vyatireka : The spread of your prowess (2. heat) is unbearable. You are always gentle and you tread the path without stumbling (2. stopage) ... Besides the sun ...... are inanimate (?) Hence their lustre is dimmed (before you).

phuda-simgārāi-raso so rasio aha bhaņņae alamkāro | aņņa-vavaesa-bhaņie viņimmio hoi pajjāo || 64 When there is explicit erotic sentiment the figure is said to be Rasita. When something is said under disguised reference Paryāya is produced.

rasio jahā : dūī-viaddha-vaaņāņubamdha-iarā viambhium thaddhā | padai sauņņassa uare rasamta-rasaņā kuramgacchī || 65 The illustration of Rasita : The proud fawn-eyed girl, won over (?) by the soliciting clever words of the female messenger, yawning and with her girdle tinkling would fall on the chest of a man who has earned religious merits.

pajjāo bhaņņai jahā : garuāņa coriāe ramamti(e) payada-rai-rasam katto | mā kuņasu tassa dosam sumdari visama-tthie kajje || 66 Paryāya is illustrated as follow : How, can there be real sexual pleasure in making love clandestinely-concealing it from the elders ? O charming woman, in such a difficult matter do not blame him.

jaha ņia (?) bhaņņai bahuā parivādī-paadaņam jaha-samkham | kim puņa biuņam tiuņam caugguņam hoi kavvammi || 67 When many things are described with a view to reveal a series it is Yathäsamkhya. It can be two-membered, three membered or four- membered in the poem. Jain Education International For Personal & Private Use Only www.jainelibrary.org

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biuņo jahā : hamsa-sasi-kamala-kuvalaya-bhasala-mulāņaņa ņijjiā lacchī | tissa gai-muha-karaala-loaņa-dhammella-bāhāhim || 68 The illustration of the two-membered Yathāsamkhya : Her gait, face, palms, eyes, tuft of hair and arms have conquered the beauty respectively of the swan, moon, lotus, blue lotus, black-bee and lotus-fibres.

tiuņo jahā : jo vahai vimala-vellahala-kasaņa-sia-sari[ā]-visa-miamkam | muddhaddha-raaņiara-mauli-samsiam tam sivam navaha || 69 The illustration of the three-membered Yathāsamkhya : Bow down to the Śiva, who carries respectively pure, delicate, black and white river, poison and moon and whose head is resort of a half-moon.

Caugguņo jahā : tie sama-maua-dihehim nimmala-tamba-dhavala-sohehim | dasaņāhara-naaņehim jiāim maņi-jāvaa-kamalāim || 70 The illustration of the four-membered Yathāsamkhya : Her teeth, lower lip and eyes which are respectively even, soft and long and have also respectively shining, red and white lustre have conquered diamonds, lac-dye and lotus respectively.

aņavekkhia-patta-sahāa-sampaāe samāhio hoi | guņa-kiriāņa-viroheņa esa bhaņio viroho-tti || 71 Samähita occurs when rich help is received unexpectedly. When there is opposition between qualities or actions, the figure is called Virodha :

Samāhio jahā : accamta-kuvia-piaama-pasāaņattham paattamāņie | uio camdo-vi tatto a pasario malaa-gamdhavaho || 72 . Jain Education International For Personal & Private Use Only www.jainelibrary.org

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The illustration of Samāhita : When she has begun efforts to appease her greatly indignant dear one, at that very moment arose the moon and then the southern breeze spread.

viroho jahā : tujjha jaso hara-sasahara-samujjalo saala-ņavaņia didham-pi

mailai ņavara vara-veri-vīra-vahu-vaaņa-kamalāim || 73 Your fame eventhough bright white like the moon on Śiva's (head) makes black with dirt the lotus-faces of the wives of your brave enemies.

uvamāņeņa sarūam bhaņiūņa bhasssae jahim bheo | thui-karaņeņam samdeha-samsio so-hu samdeho || 74

When the character of something is described first through a standard of comparison and then the distinction is made in order to praise, resorting to doubt, that figure is Samdeha.

samdeho jahā : kim kamalamiņam ņo tam sa-kesaram kim sasī ņa tattha mao | dittham sahi tujjha muham sa-samsaami ajja taruņehim || 75 The illustration of Samdeha : Is this a louts ? But no, that has filaments. Then is this the moon ? But no, there the deer (is present). O friend, your face is looked at with such doubts by the young boys.

natthi viheo kiriā-rasiassa-vi hoi jattha phala-riddhi | bhaņņai vibhāvaņā so kavvālamkāraittehim || 76

Wherein eventhough there is nothing to be performed, still, because of resort to actions there ensues abundance of result, that has been called Vibhāvanā by the experts in poetic figures.

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vibhāvanā jahā : vaddhai a-sitta-mūlo apao homto-vi pasarai ņahammi | gao-via kaņho adhoa-vimalo jaso tujjha || 77

The illustration of Vibhāvanā : Your fame, grows even though its roots are not watered, even though without legs it spreads to the sky, even though not like a black elephant, even though not washed it is spotlessly white / clean.

aņņo cia uttarao, a jattha bhāvai sa bhāvao bhaņio | duviho hu hoi jaha taha, sāhijjamtam ņisāmeha || 78 Wherein altogether quite a different meaning one perceives from the reply that figure is called Bhäva. Listen to it being described how it is of two types.

kaśsa-i vaaņā ĩ tahim, hu(?) suehim uttarehĩ najjamti | abbhimtarammi ņia-hiaa-gūdha-bhāvo tahā utto || 79 'When somebody's words become known through the replies (given to them) because of an implied inner meaning that is in his mind that type is called Gūdha Bhāva (?).'

jassa bhaņiīhī aņņo, aņņo paadijjae jahim attho | aņņāvaesa-ņāmo, sițtho satthaārehim || 80

That in which words express one meaning but another meaning also becomes revealed - that Bhāva is called Anyāpadeśa by the authorities on the Alamkāraśāstra.

āu(?) alamkāro jahā : hā hã vihūa-karaalaā lahia amsuam daddham | padiā golā-ūre, ņam saraseņa miseņam halia-suņhā || 81 The illustration of the Gūdha Bhãva (?) : (Crying) "oh, oh", the daugher-in-law of the ploughman, shaking her hands, getting hold of (her) burnt garment and thus devising a sensible ruse jumped in the flood of the Godāvarī. Jain Education International For Personal & Private Use Only www.jainelibrary.org

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aņņāvaeso jahā : aņņassa bamdha bhoiņi, nava-vacchaa-selliam baillassa | āloa-metta-suhavo, ņo kajja-karaņa-kkhamo eso || 82

The illustration of the Anyāpadeśa (type of Bhāva) : Oh headman's wife, you tie the tether to some another young bull. This one is only attractive to look at ; he is incapable of functioning.

puvva-bhaņia-sarisammi vatthummi tassa vivaria-attha-bhaņaņam so aņņo || 83

The statement of the opposite of what has been said previously is another variety.

XX XX XX XX

atthamtaraņāso jahā : vipphurai ravī uaāalammi ņahu attha-mahihara-sirattho | teamsiņo vi team, lahamti țhāņam laheūņa || 84

The illustration of Arthāntaranyāsa is as follows : The sun does not shine on the summit of the setting mountain as it shines on the rising mountain. The brilliant ones too achieve brightness when they get (appropriate) position.

xx xX XX XX

aņņa-pariaro-jaḥā : turiyāe turiya-gamaņo, ņiamba-bhara-mamtharāe salīla-paoļ maggeņa tīa vaccai, pellāvellīe taruņi-jaņo || 85

The illustration of Anya-parikara : Young girls, pushing one another, go following her path rapidly when she goes rapidly, slowly when she moves slowly with sportive steps.

bahu-vatthu ccia kiriyā(?)sama-kāla-paāsanam u sahautti | guru-vīraāe raio, jāai ujjā-alamkāro || 86 Jain Education International For Personal & Private Use Only www.jainelibrary.org

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Revealing of several things and activities simultaneously constitutes the figure Sahokti. When a figure is composed on the basis of (the theme of) great prowess - that figure is Ūrjā.

[ ujjā jahā : ] vīsattho ccia geņhasu, vairiaņe vegga-ņivadiam khaggam | paharamte padi-paharaņamuņa karesu ņa sāmattham(?) ||87 The illustration of Ūrja : Do take up confidently your sword which falls forcefully on the enemies. By striking him in return who strikes show your strength (?).

sahotti jahā : ņiddāe samā lajjā, sarīra-sohāe saha gaā kitti | samaam taha aņuraaņī, tīe vaddhamti ņīsāsā || 88 The illustration of Sahokti : Her modesty is gone along with sleep; her physical charm is gone along with her fame; and along with the night-time her sighs increase.

uvamā jattha ņiņhavai thadā sā avaņnhuī hoi | pīie a aisaeņam, pemāisao bhaņeavvo || 89 Wherein the simile is concealed that figure is Apanhuti. Wherein extreme love (is expressed) that figure should be called Premātiśaya.

avaņhuī jahā : ņahu ucca-vidava-samțhia-pahittha-kalaamthi-kala-rava- ppasaro | suvvai vaņa-vilasira-pupphacāva-mahuro ravo eso || 90 The illustration of Apahnuti : Really, what is heard is not the spreading sweet notes of the joyous cuckoo perched on a lofty branch. This is the sweet twang (of the bow) of the flowry-arrowed one who sports in the park. Jain Education International For Personal & Private Use Only www.jainelibrary.org

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pemāisao jahā : sahasā tuammi dițthe, jo jāo tīa paharisāisao | so jai puņo-vi hosai, sumdara tua damsaņe ccea || 91 The illustration of Premātiśaya : The extreme joy which she felt on seeing you all of a sudden, will be again felt, if at all, on seeing only you, O beautiful one !

riddhī-mahāņubhāvattaņehi duviho-vi jāai udatto | so pariutto gheppai, jattha visittham niam dāum || 92 Two types of Udātta result (through the expression of) prosperousness and high nobility. That is Parivrtta in which something special is received by giving away something that is one's own.

riddhī-udātto jahā : tuha ņara-sehara vipphuria-raaņa-kiraņa-ņiara-ņāsia-tamāim | bhiccāņa-vi dīva-sihā-mailāi ņa homti bhavaņāim || 93 The illustration of Riddhi-udātta : O crown of men ! The palatial houses even of your servants do not get dirty due to (the soot from) the lamp-flame because there the darkness is expelled by a mass of glittering rays of the jewels.

mahāņubhāvatta-jāiudatto jahā : vellahala-ramaņi-thaņahara-padipellia-viada-vaccha-pīdhā-vi | ņa calamti mahā-sattā, maaņassa sire paam dāum || 94 The illustration of Udätta based on high nobility : Even when their broad, strong chaste is closely pressed by the beautiful breasts of charming girls, the mind of men of great fortitude does not move (become unsteady) - They plant their foot on the head of the God of Love.

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pariatto jahā : sasimuhi muha-pamkaa-kamți-ppaaraņa-kiraņakkam(?)- vilāseņa | dițthim dāūņa tao, gahiai juāņa-hiaāim || 95 The illustration of Parivrtta : O moon - faced girl, by the playful spread of the rays of your bright lotus-face, you give a glance and catch the hearts of young boys in return.

davva-kiriā-guņāņam pahāņaā jesu kīrai kaīhim | davvuuttara-kiriuttara-guņuttarā te alamkārā || 96 In those statements where the poets assign prominence to either the substance, action or quality, in accordance with that we have there respectively the figures Dravyottara, Kriyottara and Guņottara.

davvuttaro jahā : vara-kari-turamga-mamdira-āņāara-sevaa-kaņaa-raaņāi | cimtia-mettāim cia, havamti deve pasaņņammi || 97 The illustration of Dravyottara : When the destiny is favourable one can have excellent elephants, horses, house, obedient servants, gold and gems the moment one thinks of them.

kiriyuttaro jahā : mā ruau mā kisāau, mā jhijjau mā vihim uālahau jā ņikkiva tuha bahu-vallahassa varaī pide padiā || 98 The illustration of Kriyottara : She should not weep, nor become thinner, nor be reduced, nor blame her fate, she who, poor one, became fond of you, who has many sweethearts.

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guņuttaro jahā : sasi-somma sarala sajjaņa, sacca-vaa suhaa sucaria salajja | dițtho si jahim tuam tettāi kahaņu ņa ņarimda(?) || 99 The illustration of Guņottara : Oh king, as beautiful as the moon, simple, good man, observing the vow of truthfulness, charming, of good character, modest, wherever you are seen .. .(?)

uamāņam uameam, raijjai teņa so sileso-tti | so uņa sahotti-uamā-heūhimto muņeavvo || 100 It is Ślesa when the Upamāna (standard of comparison) and Upameya (object of comparison) are described in the same words. It should be understood to be (of three types) : Sahokti, Upamā and Hetu,

Sahotti-sileso jahā : pīņā ghaņā a dūram samuņņaā ņaha-vivattia-chāā | mehā thaņaā-vi tuha, nitthavamti taņhāuro loo || 101 The illustration of Sahoktiślesa : People troubled by trsna (1. thirst, 2. yearning) are xxx the clouds and your breasts that are plump, dense, rising high and altering the colour of the sky (or having nail marks).

uvamā-sileso jahā : dūrāhim cia ņajjai dhakkā-sadda-ssa sūiam gamaņam | lahuia-mahihara-sattāņumatta-hatthiņa-va pahūņa || 102 The illustration of Upamāśleșa : The march of the elephants and kings, which dwarfs the strength(?) of mahiharas (1.mountains, 2.other kings), suggested by the sound of the kettle-drum, is known even from a long distance.

heu-sileso jahā : helā-visavia-maaņaggaņeņa sama-pecchiāi a jaņassa | alia-parammuhaāe bhadda ņaaņa-pahe tam si || 103 Jain Education International For Personal & Private Use Only www.jainelibrary.org

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The illustration of Hetuślesa : O suspicious one, you are within the range of eye-sight of her who, falsely turning away her face looks at you in the same manner as at other peoples in order to convince them ..... effortlessly.

accubbhada-guņa-samthui-vavaesa-vaseņa savisaā jattha | kīrai nimdāi thui, sā vavaesa-thui ņāmam || 104

That is called Vyapadesastuti wherein something is praised through censure with the objective of praising its highly striking qualities.

vavaesa-thuī jahā : akulīņe paai-jade, akajja-vamke jīe sasamkammi | tujjha jaso ņara-sehara, kijja suaņā via ņāmāi || 105

The illustration of Vyapadeśastuti : Oh highest among men, by gaining victory over the moon which is akulina (1. not in contact with earth, 2. of low lineage), jada (1. stupid, 2. inanimate) by nature and vamka (1. crooked, 2. curved) without reason your fame xx xx XX Xx

guņa-sarisattaņa-taņhāi jattha hīņassa guruaeņa samam | hoi samakāla-kiriā jā sā samajoiā sāhu || 106

Where activity of the low takes place at the same time with that of the high with a desire to achieve equality of quality, there occurs the right Samayogitā.

samayogitā jahā : maaņassa param rajjam kīrai rai-tarala-taruņi-ņivahassa samaāla-calia-maņi-valaa-mehalā-ņeura-ravena || 107

The illustration of Samayogitā : The sound of the jewelled wristlets, girdle and anklets of the bevy of young girls, restless due to love, installs the supreme government of Madana. Jain Education International For.Personal & Private Use Only www.jainelibrary.org

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appatthuappasamgo, ahiāra-vimukka-vatthuņo bhaņaņam | aņumāņam limgeņam, limgī sāhijjae jattha || 108

Aprastutaprasanga consists in the statement of something outside its domains. Anumāna occurs where something is inferred by means of evidence.

appatthuappasamgo jahā : sāsukkoeņa gaā uaha vahuāi suņņa-devaulam | patto dullaha-lambho-vi aņņa-kajjāgao jāro || 109

The illustration of Aprastutaprasanga : See, the daughter-in-law went to the deserted temple driven by the wrath of her mother-in-law. There she met her paramour, otherwise difficult to meet, who happened to go there on some other business.

aņumāņam jahā : ņūņam tīa vi sūamti teņa saha vilasiam haāseņa | naha-paa-pallava-laggāi saaņijja-dalāī amgāi || 110 The illustration of Anumāna : Her dallying with that wicked one is doubtlessly suggested by her limbs which bearing nail-marks have left signs on the bed-leaves.

āarisammi-va jāsim ucchara-roņaņabhara(?) phuda-cchāā | dīsamti paavvā(?) hiaa-hāriņī so hu āariso || 111

That is Ädarsa wherein is seen vividly the heart-winning reflection, as if in a mirror, of the various parts of -------- (?)

āariso jahā : keli-parā mosara maņne tuha phamsūavam apāvamtā | hatthā se ņaha-kiraņa-cchaleņa dhārāhi-va ruvamti || 112

The illustration of Ādarsa : Indulging in sport, do not move away : her hands deprived of the festive joy of touching you are weeping profusely, I believe, under the guise of the (bright) rays from her finger-nails. Jain Education International For Personal & Private Use Only www.jainelibrary.org

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thevovamāi sahiā,(a)samta-kāraņā guņāņujoeņa | avivakkhia-sāmatthā, uppekkhā hoi sāisaā || 113

With a slight touch of Upamā, attributing non-existing qualities due to some connection, lacking in intention of stating all (parts) is Utpreksā excelling in poetic beauty.

uppekkhā jahā : dīsai pūria-samkho-vva malaa-mārua-ņaremda-samcalaņe | dara-dalia-malliā-maula-lagga-muha-gumjiro bhamaro || 114 The illustration of Utpreksā : The bee, humming while its mouth is stuck to the Mallikā bud slightly open (blossomed) appears like the conch that has been blown at the march of the king, the Malaya breeze.

vivihehi alamkārehi ekka-miliehi hoi samsițthi | āsīsālamkāram, āsivvāam ca bhaņamti || 115

Samsrsti results when different figures are combined into one, and the figure Äsis is said be in the form of a statement of blessing.

samsițthi jahā : tujjha muham sasi sasimuhi taha tujjhamba-ņava-pallavā calaņā | thaņaā tuha jala-kalasa-vva sumdarā kam ņa mohamti || 116

The illustration of Samsrsti : O moon-faced girl, your face is the moon and your feet are fresh leaves of mango; your breasts are beautiful like water-pitchers. Whom they would not fascinate ?

āsīsā jahā : āsīsā samtattassa-vi saala-kalusāi tumha ņāsamtu | dia-guru-tavasi-kuārim-siaaņa-suaņehiņ diņņā u || 117 The illustration of Āsis : May the blessing given by the Brāhmanas, the preceptor, ascetics, Jain Education International For Personal & Private Use Only www.jainelibrary.org

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virgins, satis, and good people destroy all your sins, you who is suffering agony.

uvamārūvaameam, viraijjai jattha rūvae uvamā | ņiarisaņam hu vi sițtham camdāviajaovamārahiā(?) || 118

That is Upamārūpaka wherein Upamā is incorporated in a Rūpaka. Nidarśana is described as ..... without explicit Upamā.

uvamārūvaam jahā : sampesia-ņaaņa-sarā, rasaņā-rava-tarala-milia-ghara-hamsa | khalia-juāņā ņişarai, mammaha-dhādi-vva dhavalacchī || 119 The illustration of Upamārūpaka : That girl with white eyes shoots arrows of her eye-sight, draws the flock of the restless pet swans because of her jingling girdle and makes the boys falter as she comes out like a sudden invasion of the God of Love.

ņiarisaņam jahā : dāvamti jalaharā saala-damsaņa-vaham samārūdhā | khaņa-vihadamta-khaņa-samuņņai-dharaā kāla-kīlāu || 120 The ilustration of Nidarsana : The clouds, mounted over whole of the visible expanse, now disintegrating, now rising high, show the sportings of Time.

hoi silesa-chaleņam, majjamtī rūaeņa a-phudeņam | uppekkhā eso suo uppekkhāvaava-ņāmo hu || 121

That figure is known as Utpreksāvayava wherein Utprekșā is merged in an implied Rūpaka under the guise of Ślesa.

Uppekkhāvaavo jahā : sama-viasaņa-sampuņņam, vaņam nu kusumāņa raaņi- viramammi | ujjovai haa(?)-camdo, joikkheņa va(?) paittho || 122

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The illustration of Utpreksāvayava : At the close of night the moon illuminates the luninaries ... as if a forest filled with flowers, all blooming at the same time (?).

so ubbheo vatthūņa jattha vatthūhi hoi ubbheo | bhaņio kim-paa-gabbho, biio taha ņūņa-saddeņa || 123

Wherein there is revelation of some things by others - that figure is Udbheda. Its one type is said to have the word 'kim' implied. The other type is marked by the word 'nūņam'.

Ubbheo kim-paa-gabbho jahā : ālīm ņiacchaņa-saloniam haliassa a-muņia-rasassa | nivvāsia-sira-ciramuchuņņam muham viaddheņam || 124 The illustration of that type of Udbheda in which the word kim is implied : The face of the rustic, who had not experienced love, and who was looking at the beautiful girl whose head was bared due to slipping of upper garment, was bashed by her lover (?)

nūņam-sadde ubbheo jahā : dara-ņiggaam ņa pecchai nūņam sahaāra-mamjarim ajja | teņa tuha vaccha loaņam ahiu(?) vahu-muhaamdam || 125 The illustration of that type of Udbheda which contains the word nūmam : She does not look, it seems, at the mango-blossom that slightly came out just to-day. Hence, O dear son, the moon-like face of your wife .(?)

vara-vaaņa-pālaņam kim-paeņa sahi-desaņam khu valio tti | jamaam sui-sama-bhiņņattha-vaņņa-puņaruttaambhaņiam || 126 That figure is Valita wherein the friend of the Nāyikā advises her to keep her promise with the lover, by using the word kim. Yamaka is defined as the repetition of words which are same in sounds but different in meaning. Jain Educatton Internationian For Personal & Private Use Only www.jainelibrary.org

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valiālamkāro jahā : kim tuha ruassa halā ruasu [tuam] sāmiņī ņia-sattīe | assāuccheadhaiu (?) tassa a pāesu padiā u || 127

The illustration of the figure Valita : What is the use of your weeping, O friend ? You weep as much as you can. (You can please him only ?) by falling at his feet.

āī-majjhamta-gaam, pāabbhāso tahā āvali-ņibamdho | nisesa-pāa-raiam, jāai jamaam a parnca-viham || 128

Yamaka is of five types : repetition of a word in the beginning or the middle and end, repetition of a Päda, concatenated repetition and repetition of all the Pādas.

pāāi-jamaam jahā : mā ņam māņam hārehi ņiddaa-daie aha sālūrī(?) | gaa-ņāha-gea(?) sāņāsā-sāsāurām ramiam || 129

The illustration of Yamaka occurring in the beginning of a Pāda: Do not loose your pride before your pitiless darling, O ..... and make love to him avidly with heavy breathing with the nose (?)

majjhamta-jamaam jahā : jassa pavamgamehi khaa-samam dittham taņhāieņam nacciram ciram | vimala-pphuramtara-raaņa-vijjujjalam jalam mahīharāghāa- visaramta-amtaam || 130

The illustration of Yamaka occuring in the middle and end of a Pāda :

xx xx xx xx

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pāabbhāse jamaam jahā : seū-baddha-samuddam tarala-lavammaņam | kamdarāghaņa- cāram ovvaa paaņa-ņālam kamdarā-ghaņa-cāriam ovvam paaņa- ņālaam || 131

The illustration of Yamaka occurring as repetition of a Pāda : xx xx xx xX

āvalī-jamaam jahā : hambho ramvijjala-pajala-pajala-ņibbhare ņibbhareūņam | sārāsāme sāsāme saamottum kalio || 132 The illustration of Yamaka in the form of concatenated repetition : xX xX XX XX

saala-pāa-jamaam jahā : tuha kajje sāhasiā keņa kaā vamdaņeņa sāhasiā | taņņiuņam sā hasiā sahiāhi phudam sā hasiā || 133 The illustration of Yamaka in the form of repetition in all the Pādas :

XX XX XX XX

aņņe vi ūņaā sesā ņa homti samaggādhiņo kavve ; teņa vi aņņo bhāvopaeso ea datthavvo || 134

xX xX XX XX

iti alamkāradarpanam samāptam || śubham bhavatu ||

Thus ends the Alamkāradarpaņa. Let there be welfare and prosperity

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THE ALAMKĀRA-DAPPAŅA The text in Nagari Script

सुंदर-पअअ-विण्णासं विमलालंकार-रेहिअ-सरीरं। सुइ-देविअं च कव्वं च पणविअ पवर-वण्णद्ढूणं ।।१।।

सव्वाइं कव्वाइं सव्वाइं जेण होंति भविआइं। तमलंकारं भणिमोऽलंकारं कुकवि-कव्वाणं ।।२।।

अच्चंत-सुंदरं पि हु णिरलंकारं जणंमि कीरंतं। कामिणि मुहं व कव्वं होइ पसण्णं पि विच्छाअं ।।३।।

ता जाणिऊण णिउणं लक्खिज्जइ बहु-विहे अलंकारे। जेहिं अलंकारिआइं बहु मण्णिज्जंति कव्वाइं ।।४।।

उवमा-रूवअ-दीवअ-रोहाणुप्पास-अतिसअ-विसेसा। अक्खेव-जाइ-वैरेअ-रसिअ-पज्जाअ-भणिआ ।।५।।

जहासंख-समाहिअ-विरोह-संसअ-विभावणा-भावा। अत्थंतरणासो अण्ण-परिअरो तह सहोत्तिअ ॥६॥

उज्जा अवन्हव इओ पेम्माइसओ उदात्त परिअत्ता। दव्वुत्तर-किरिउत्तर-गुणुत्तरा बहु सिलेसा अ ।।७।।

ववएस-थूई-समजोइआ इअ अपत्थुअपसंसा अ। अनुमाणमाअरिसो उप्पेक्खा तह अ संसिट्ठी ।।८।।

आसीसा-उवमारूच जाणह णिअरिणं तह अ। उप्पेक्खावअवो भेअ-वलिअ-जमएइ संजुत्ता ।।९।।

एत्तिय-मित्ता एए कव्वेसु पडिट्ठिआ अलंकारा। अहिआ उवक्कमेणं वीसाओ दोण्णि संखाउ ॥१०।। Jain Education International For Personal & Private Use Only www.jainelibrary.org

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उवमाणेणं जा देस-काल-किरिआवरोह-पडिएणं। उवमेअस्स सरिसं लहइ गुणेणं खु सा उवमा ।।११।।

पडिवत्थु गुण-कलिआ असमा माला अ विगुण-रूवा अ। संपुण्णा गूढा संखला अ लेसा अ दर-विअला ॥१२।।

एक्क-क्कमा पसंसा तलिच्छा णिंदिआ अइसआ अ। सुइ-मिलिआ तह अ विअप्पिआ अ सत्तरह उवमाओ ॥१३।

पजिवत्थुए सा उवमा जा समाण-वत्थुरूआ अ। 'इव'-'मिव"पिव'इ-रहिआ विसरिसगुण-पअअए आहिंतो ॥१४॥

पडिवत्थूवमा जहा : संपत्त-तिवग्ग-सुहा थोवा पुहवीअ होंति णार-णहा। महुर-फल(?) [-कुसुमा] सिणिद्ध-पत्ता तरु विरला ।।१५।।

गुण-कलिआ सा भण्णइ गुणेही दोहिं पि सरिसआ जत्थ। उवमेओ किर जीए उवमाणं होइ सा समा ॥१६॥

गुण-कलिआ जहा : जंपअअ-लअअ१ व्व णव-कुसुम-सुंदरा सहइ विंझ। कडए' व वच्छ-त्थलम्मि लच्छि तमाल-नीले महुमहस्स ॥१७।।

असमा जहा : जोण्हा निम्मल-लाअण्ण-चिंचइअ-सअल-भुअणाइ। तुह तुज्झ व्व किसोअरि समाण-रुआ जए णत्थि ।।१८।।

सा माला उवमाणाण जत्थ विविहाण होइ रिंछोली। बिउण-सरिसोवमा जा विणिम्मिआ बिउण-रूअ ति ।।१९।

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मालोवमा जहा : हरि-वच्छं व सुकमलं गअणं व भमंत-सुर-सच्छाअं। साआर-जलं व करि-मअर-सोहिअं तुह घर-द्दारं ।।२०।।

विउण-रूवोवमा जहा : निव्वावारिकअ-भूअण-मंडलो सूर-णासिअ-पहाओ। णाह पओस-व्व तुमं पाउस-सरित्तणं वहसि ।।२१।।

ण हु ऊणा णहु अहिआ जा जाअइ सा हु होइ संपुण्णा। जा उण समास-लीणा सा गूढा भण्णए उवमा ।।२२।।

संपुण्णा जहा : सोहसि वअणेण तुमं केअइ-कण्णुल्लिआ-सणाहेण। कमलेण व पास-ट्विएण मुद्धड-हंसेण पसअच्छि ॥२३।।

गूढोवमा जहा : कह पाविहिसि किसोअरि दइअं थणअल-सखेअ-नीससिरि१। रम्भा-गब्भोअर-णिअम्ब-भार-मसिणेण गमणेण ।।२४।।

उवमा-वएही उत्तिविडि-रइएहि संखला होइ। उवमिज्जइ उवमेओ जेसिं लेसाण सा लेसा ।।२५।।

संखलोवमा जहा : सग्गस्स व कणअ-गिरिकं चण-गिरिणो[व] महिअलं१ होउ। महिवीढस्स-वि भर-धरण पच्चलो तह तुमं चेअ ॥२६॥ लेसोवमा जहा : सो संझा-राअ-समो 'जल-पेम्मो जो जणो सुहओ। सो कि भासइ संझा-राण व जो ण रिंछोलि ।।२७।।

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सुरसरिसमापखेवं(?) विअलइ स च्चेव होइ दरविअला। एक्कक्कमोवमाणेही होइ एक्कक्कमा णाम ।।२८।।

दरविअला जहा : पीण-त्थणी स-रूआ पह-पेसिअ लोअला स-उक्कण्ठा। लिहिय व्व दार-लग्गा म चलइ तुह दंसणासाए ।।२९।।

एकक्कमा जहा : पअइ-विमलाउ दोण्णि-वि विबुह-जणे निव्वुई-कराओ अ। एक्केक्कम-सरिसाओ तुह कित्ती तिअस-सरिआ अ ।३०।।

निंदाए सलहिज्जइ उवमेओ जत्थ सा पसंस त्ति। अणुहरइ अइसएणं जा स च्चिअ होइ तल्लिच्छा ।।३१।।

निंदा-पसंसा जहा : तुह संढस्स व नरवअइ भुज्जइ भिच्चेही पाअडा लच्छी। हिअआई (हिअअं पि ?) काअरस्स व वअणिज्ज-भएण ओसरइ ॥३२॥

तल्लिच्छोवमा जहा : पाउस-निसासु सोहइ जल-प्पवहेहि पूरिआ पुहई। चल-विज्जु-वलय-वाडण-निवडिअ-णक्खत्त-सरिसेहीं ।।३३।।

उवमेओ निंदिज्जइ थुइ-ववएसेण जत्थ सा निंदा। अतिसअ-भणिआ स च्चिअ अतिसइआ भण्णए उवमा ॥।३४।।

थुइ-निंदोवमा जहा : तंबोल-राअअ मिलिअंजणेण अहरेण सोहसि पओसे। दर-परिणअ-जंबूहल-कंति-सरिसेण पिहु-अच्छि ॥३५॥

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अइस(इ)य-उवमा जहा : जोण्हा-भअअ-सरणागअ-तिमिर-समूहेही णिज्जिअ मिअंकं। सेविज्जइ वअणं सास-गंध-लुद्धेही भसलेहिं।।३६।।

जा सरिसएही बज्झइ सद्देहिं सा हु होइ सुहमिलिआ। एक्काणिक्का विअप्पण-भेएण विअप्पिआ दु-वविहिा।३७।।

सुइ-मिलिओवमा जहा : दद्ूण पर-कलत्तं चंदावडिअं मणोहरं कव्वं। खिज्जइ खलो विअंभइ दूसइ दोसं अ-पेच्छंतो ।।३८।।

एक्कत्थ-विअप्पिओवमा जहा :

णहसु (?) अणड-तंसा इव वाआवत्ता मुणिज्जंते ।।३९।।

बहुहा-विअप्पिओवमा जहा : सूरम्मि दाव जलणे व्व वोलिए णहअलं वअरसं(?)वयो। पच्छा मसि-णिअरेण व तमेण कसिणीकायं सअलं ।।४०।।

उवमाणेणुवंएस्स जं निरूविज्जए नि(?) रूवणं खु। दव्व-गुण-सम्मअं तं भणंति इह रूवं कइणो ॥।४१।। [उपमानेनुपमेयस्य यत् निरूप्यते निरूपणं खलु। द्रव्य-गुण-सम्मतं तं भणन्ति इह रूपकं कवयः ॥४१॥]

तं चिअ दुविहं जाअइ समत्थ-पाअत्थ-विरअणा-जणिअं। पढमं बिअं एक्केक्क-देस-परिसंठिअं होइ ।।४२।। तदेव द्विविधं द्वितीयं एकैकदेश-परिसंस्थितं भवति ।।४२।।

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सअलवत्थु रूवअं जहा : गअण-सरं पेच्छह पाउसम्मि तणु-किरण-केसर-सणाहं। तारा-कुसुम-व्ववणं महभरण पउलं समक्कमइ।।४३।।

एक्केक-देस-रूवअं जहा : अविरअ-पसरिअ-धारा-णिवाअ-निट्ठविअ-पंथिअ-समूहो। मारिहइ मं स-दइअं निक्किवो पाउस-चिलाओ ॥४४।।

भेआ णाएहिं चिअ हरिअ-च्छाएहिं रूवआण कआ। अत्थे लब्भिज्जइ चिअ सअलेअर-रूअआ-हिंतो ॥४५॥

-x-X-x-

दीविज्जंति पआइं एक्काए चेअ जत्थ किरिआए। मुह-मज्झंतगआए तं भण्णइ दीवअं१ तिविहं ।।४६।।

मुह-दीवअं जहा : भूसिज्जंति गइंदा मएण सुहडा असि-प्पहरेण। गअु? तरएण तुरंगा सोहग्ग-गुणेण महिलाओ ।।४७।।

मज्ज-दीवअं जहा : सुकविण जसो सूराण धीरिमा इहिअं नरिंदाण। केण खलिज्जइ पिसुणाण दुम्मइ भीरुआण (?) भअअं ।।४८।।

अंत-दीवअं जहा : सत्थेण बुहा दाणेण पत्थिवा गुरु-तवेण जइ-णिवहा। रण-साहसेण सुहडा महिअले पाअड होंति ।।४९।।

अद्ध-भणिअं निरुंभइ जस्सि जुत्तिअ होइ सो रोहो। पअ-वण्ण-भेअ-भिण्णो जाअइ दु-विहो अनुप्पासो ।।५०। Jain Education International For Personal & Private Use Only www.jainelibrary.org

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रोहो जहा : को ण वलइ तेण विणा मा भणसु अ पुलइएहिं पासेहिं। अइ-रहस-जंपिआइं हवंति पच्छा अवच्छाइ ।।५१।।

पआणुजासो जहा : ससि-मुहि मुहस्स लच्छि थणसालिणि थणहरं-पि पेच्छंतो। तणुआअइं तणुओअरि हलि[अ]सुओ कहसु जं जुत्तं ।।५२।।

वण्णाणुप्पासो जहा : वाअंति सजल-जलहर-लव-संवलन-सीअल-प्फंसा। फुल्लंधुअ-धुव-कुसुमुच्छलंत-गंधुद्धुरा पवण ।।५३।।

जत्थ निमित्ताहिंतो लोआ एक्कंत-गोअरं वअणं। विरइज्जइ सो तस्स अ अइसअ-णामो अलंकारो ॥५४॥

अइसआलंकारों जहा : जइ गंध-मिलिअ-भमरं न होइ अवअंस-चंपअ-पसूअं। ता केण विभाविज्जइ कओल-मिलिअं पहं तिस्सा ।।५५।।

विगए वि एक्क-देस-गुणंतरेणं तु संथुई जत्थ। कोरइ विसेस-पयडण-कज्जेणं सा विसेसो त्ति ॥५६।।

विसेसालंकारो जहा : न-वि तह णिसासु सोहइ पिआण तंबोल-राअ-पच्छइओ। जह पिअअम-पिओ पंडरो-वि अहरो पहायम्मि ।।५७।।

जत्थ निसेहो व्व ससीहिअ(?) कोरइ विसेस-तण्हाए। सो अक्खेवो दुविहो होंत-विक्कंत-भेएण ।।५८।।

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होंतक्खेवो जहा : जइ वच्चसि तह वच्चसु गरु(अ-दाह)-विरहग्गि-तविअ-तणुए। वच्चसि तइ समअं चिअ अहवा कह जंपिअं एसा ।।५९।।

अवक्कंतक्खेवो जहा : खग्ग-प्पहार-दढ-दलिअ-रिउ-दलस्स गअ-कुंभ-वीढस्स। तुह नत्थि-एत्थ को महिहराण संचालणो होज्ज ॥६०॥

होइ-सहाओ जाइ वैरेगो उण विसेस-करणेण। उअणेन-मोही (?) सआ अणेणं च्च् (?) बज्झइ कईहिं ॥।६१।।

जाइ जहा : सिर-धरिअ-कलसा घोलिर-बाहा-जुअलाइ गाम-तरुणिए। मण्णइ विलास-दिट्ठो भइ (?)-ट्विअअं पामरो पुहवि ॥।६२।।

वैरेगो जहा : दूसह-पआव-पसरो सोमो सइ अखलिअ-पहो तं सि। ते व्व जडा उण दोण्हा वि रवि रअ रअ हअ-छाआ।।६३।।

फुड-सिंगाराइ-रसो सो रसिओ अह भण्णए अलंकारो। अण्ण-ववएस-भणिए विणिम्मिओ होइ पज्जाओ ॥६४।।

रसिओ जहा : दूई-विअड्ठ-वअणाणुबंध-इअरा विअंभिउं थद्धा। पडइ सउण्णस उअरे रसंत-रसना कुरंगच्छी ।।६५।।

पज्जाओ भण्णइ जहा : गरुआण चोरिआए रमंति(ए) पयड-रइ-रसं कत्तो। मा कुणसु तस्स दोसं सुंदरि विसम-दविए कज्जे ।।६६॥।

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जह णिअ (?) भण्णइ बहुआ परिवाड़ी-पअडणं जह-संखं। कि पुण बिउणं तिउणं चउग्गुणं होइ कव्वंमि ।।६७।।

हंस-ससि-कमल-कुवलय-भसल-मुलाणण निज्जिआ लच्छी। तिस्स गइ-मुह-कर अल-लोअण-धम्मेल्ल-बाहाहिं ।।६८।।

तिउणो जहा : जो वहइ विमल-वेल्लहल-कसण-सिअ-सरि[आ]-विस-मिअंकं। मुद्धद्ध-रअणिअर-मौलि-संसिअं तं सिवं णवह ।।६९।।

चउग्गुणो जहा : तिए सम-मउअ-दीहेहिं निम्मल-तंब-धवल-सोहेहिं। दसणाहर-नअणेहिं जिआइं मणि-जावअ-कमलाइं ।।७०॥।

अणवेक्खिअ-पत्त-सहाअ-संपआए-समाहिओ होइ। गुण-किरिआण-विरोहेण एस भणिओ विरोहो-त्ति ।।७१ ।।

समाहिओ जहा : अच्चंत-कुविअ-पिअअम-पसाअणत्थं पअतमाणिए। उइओ चंडो-वि तत्तो अ पसरिओ मलअ-गंधवहो ॥७२।।

विरोहो जहा : तुज्झ जसो हर-ससहर-समुज्जलो सअल-णवणिअ दिढं-पि। मइलइ णवर वर-वेरी-वीर-वहु-वअण-कमलाइं ॥७३॥

उवमाणेण सरूअं भणिऊण भस्सए जहिं भेओ। थुइ करणेणं संदेह-संसिओ सो-हु संदेहो ।७४।।

संदेहो जहा : कि कमलमिणं नो तं स-केसरं कि ससी ण तत्थ मओ। दिद्वं सहि तुज्झ मुहं स-संसअंइ अज्झ तरुणेहिं ।।७५।। Jain Education Intemationar For Personal & Private Use Only www.jainelibrary.org

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नत्थि विएहो किरिआ-रसिअस्स होइ जत्थ फल-रिद्धि। भण्णइ विभावणा सो कव्वालंकारइत्तेहिं ।७६।।

वड्डइ अ-सित्त-मूलो अपओ होंतो-वि परसइ णहम्मि। गओ-विअ कण्हो अधोअ-विमलो जसो तुज्झ॥७७॥।

अण्णो चिअ उत्तरओ अ जत्थ भावइ स भावओ भणिओ! दुविहो हु होइ जह तह साहिज्जंतं णिसामेह।।७८।। कस्स-इ वणआई तहिं, हु(?) सुएहिं उत्तरेही नज्जंति। अन्भिंतरम्मि णिअ-हिअअ-गूढ-भावो तहा उत्तो ।७९।।

जस्स भणिईही अण्णो, अण्णो पअडिज्जए जहिं अत्थो। अण्णावएस-णामो, सिट्ठो सत्थआरेहिं।।८०।।

आउ (?) अलंकारो जहा : हा हा विहूअ-करअलआ लहिअ अंसुअं डड्डं। पडिअ गोला-ऊरे, णं सरसेण मिसेणं हलिअ-सुण्हा ।।८१।।

अण्णावएसो जहा : अण्णअस्स बंध भोइणि णव-वच्चअअ-सेल्लिअं बइलस्स। आलोअ-मेत्ता-सुहवो, ण कज्ज-करण-क्खमो एसो ॥८२॥

पुव्व-भणिअ-सरिसम्मि वत्थुम्मि। तस्स विवरिअ-अत्थ-भणणं सो अण्णो ।।८३।।

XX XX XX XX अत्थंतरणासो जहा : विफ्फुरइ रवी उअआअलम्मि णहु अत्थ-महिहर-सिरत्थो। तेअंसिणो वि तेअं, लहंति ढाणं लहेऊण ।।८४।।

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अण्ण-परिअरो जहा : तुरियाए तुरिय-गमणो, णिअम्ब-भर-मंथराए सलील-पओ। मग्गेण तीअ वच्चइ, पेल्लावेल्लाए तरुणि-जणो ।।८५।।

बहु-वत्थु च्चिअ किरिया(?) सम-काल-पआसनं उ सहउत्ति। गुरु-वीरआए रइओ, जाअइ उज्जा-अलंकारो ।।८६।।

[उज्जा जहा :] वीसत्थो च्चिअ गेण्हसु वइरिअणे वेग्ग-(?)विडिअं खग्गं। पहरंते पडि-पहरणमुणा करेसु ण सामत्थं(?)।।८७।।

सहोत्ति जहा : णिद्दाए समा लज्जा, सरीर-सोहाए सह गआ कित्ति। समअं तह अणुर तीए वड्कति णीसासा ।।८८।।

उवमा जत्थ णिण्हवइ थडा सा अवण्हुई होइ। पीईए अ अइसएणं, पेमाइसओ भणेअव्वो ।।८९।।

अवण्हुई जहा : णहु उच्च-विडव-संठिअ-पहिट्ठ-कलअंढि-कल-रव-प्पसरो। सुव्वइ वण-विलसिर-पुप्फचाव-महुरो रवो एसो ॥।९०॥

पेमाइसओ जहा : सहसा तुअम्मि दिट्ठे, जो जाओ तीअ पहरिसाइसओ। सो जइ पुणो-वि होसइ, सुंदर तुअ दंसणे च्चेअ ॥।९१।। रिद्धि-महाणुभावत्तणेहि दुविहो-वि जाअइ उदत्तो। स परिउत्तो घेप्पइ, जत्थ विसिट्ठं णिअं दाउं ।।९२।।

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रिद्धि-उदात्तो जहा : तुह णर-सेहर विप्फुरिअ-रअण-किरण-णिअर-णासिअ-तमाइं। भिच्चाण-वि दीव-सिहा-मइलाइ ण होंति भवणाइं ॥।९३।।

महाणुभावत्त-जाइउदत्तो जहा : वेल्लहल-रमणि-थणहर-पडिपेल्लिअ-विअड-वच्छ-पीढा-वि। ण चलंति महा-सत्ता, मऊणस्स सिरे पअं दाउं ।।९४।।

परिअत्तो जहा : ससिमुहि मुह-पकअ-कंति-प्पसरण-किरणक्कं(?) विलासेण। दिद्विं दाऊण तओ, गहिअइं जुआण-हिअआइं ।।९५।।

दव्व-किरिआ-गुणाणं पहाणआ जेसु कीरइ कईहिं। दव्वुउत्तर-किरिउत्तर-गुणुत्तरा ते अलंकारा ॥९६।।

दव्वुत्तरो जहा : वर-करि-तुरंग-मंदिर-आणाअर-सेवअ-कणअ-रअणाइ। चिंतिअ-मेत्ताइं चिअ, हवंति देवे पसण्णंमि ।।९७।।

किरुयुत्तरो जहा : मा रुअउ मा कीसाउ, मा झिज्जउ मा विहिं उलाहउ। जा णिक्किव तुह बहु-वल्लहस्स वरई पिड पडिआ ।९८।।

गुणत्तरो जहा : ससि-सोम्म सरल सज्जण, सच्च-वअ सुहअ सुचरिअ सलज्ज। दिट्ठो सि जहिं तुअं तेत्ताइ कहणु ण णरिंदा(?)।।९९।।

उअमाणं उअमेअं, रइज्जइ तेण सो सिलेसो-त्ति। सो उण सहोत्ति-उअमा-हेऊहिंतो मुणेअव्वो ॥१००। Jain Education International For Personal & Private Use Only www.jainelibrary.org

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सहोत्ति-सिलेसो जहा : पीणा घणा अ दूरं समुण्णआ णह-विवत्तिअ-छाआ। मेहा थणआ-वि तुह, निट्ठवंति तण्हाउरो लोओ ॥।१०१।।

उवमा-सिलेसो जहा : दूराहिं चिअ णज्जइ ढक्का-सद्दस्स सूइअं गमणं। लहुइअ-महिहर-सत्ताणुमत्त-हत्थिण-व पहूण ॥।१०२।।

हेउ-सिलेसो जहा : हेला-विसविअ-मअणग्गणेण सम-पेच्छिआइ अ जणस्स। अलिअ-परम्मुहआए भद्द णअण-पहे तं सि ।१०३।।

अच्चुब्भड-गुण-संथुइ-ववएस-वसेण सविसआ जत्थ। कीरइ निंदाइ थूई, सा ववएस-थुई णामं ।।१०४।।

ववएस-थुई जहा : अकुलीणे पअइ-जडे, अकज्ज-वंके जीए ससंकम्मि। तुज्झ जसो णर-सेहर, किज्ज सुअणा विअ णामाइ॥१०५॥।

गुण-ससिसत्तण-तण्हाइ जत्थ हीणस्स गुरुअण समं। होइ समकाल-किरिआ जा सा समजोइआ साहु ॥१०६।।

समयोगिता जहा : मअणस्स परं रज्जं कीरइ रइ-तरल-तरुणि-णिवहस्स। समआल-चलिअ-मणि-वलअ-मेहला-णेउर-रवेण ॥१०७॥

अप्पत्थुअप्पसंगो अहिआर-विमुक्क-वत्थुणो भणणं। अणुमाणं लिंगेणं, लिंगी सहिज्जए जत्थ ।।१०८।।

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अप्पत्थुअप्पसंगो जहा : सासुक्कोएण गआ उअह वहुआइ सुण्ण-देवउलं। पत्तो दुल्लह-लंभो-वि अण्ण-कज्जागओ जारो ।।१०९।।

अणुमाणं जहा : णूणं तीअ वि सूअंति तेण सह विलासिअं हआसेण। नह-पअ-पल्लव-लग्गाइ सअणिज्ज-दलाई अंगाइ ॥११०॥

आअरिसंमि-व जासिं उच्छर-रोणणभर(?) फुड-च्छाआ। दीसंति पअव्वा(?) हिअअ-हारिणो सो हु आअरिसो ॥१११।

आअरिसो जहा : केलि-परा मोसर मण्णे तुह फंसूअवं अपावंत। हत्था से णह-किरण-च्छलेण धाराहि-व रुवंति ।।११२।।

थेवोवमाइ सहिआ, (अ)संत-कारण गुणाणुजोएण। अविवक्खिअ-सामत्था, उप्पेक्खा होइ साइसआ ॥११३।।

उप्पेक्खा जहा : दीसइ पूरिअ-संखो-व्व मलअ-मारुअ-णरेंद-संचलणे। दर-दलिअ-मल्लिअ-मउल-लग्ग-मुह-गुंजिरो भमरो ॥११४॥

विविहेहि अलंकारेहि एक्क-मिलिएहि होइ संसिट्ठि। आसीसालंकारं, आसिव्वाअं च भणंति ।।११५।।

संसिट्ठि जहा : तुज्झ मुहं ससि ससिमुहि तह तुज्झंब-नव-पल्लवा चलणा। थणआ तुह जल-कलस-व्व सुंदरा कं ण मोहंति ॥।११६।।

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आसीसा जहा : आसीसा संतत्तस्स-वि सअल-कलुसाइ तुम्ह णासंतु। दिअ-गुरु-तवसि-कुआरिं-सिअअण-सुअणेहिं दिण्णा उ ।११७।।

उवमारूवअमेअं, विज्जइ जत्थ रुवए उवमा। णिअरिसणं हु-वि सिट्ठं चंडाविअजओवमारहिआ(?) ॥११८।

उवमारूवअं जहा : संपेसिअ-णअण-सरा, रसणा-रव-तरल-मिलिअ-घर-हंस। खलिअ-जुआणा णिसरइ, मम्मइ-धाडि-व्व धवलच्छि ॥११९॥

णिअरिसणं जहा : दावंति जलहरा सअल-दंसण-वहं समारूढा। खण-विहडंत-खण-समुण्णइ-धरआ काल-कीलाउ ॥१२०॥

होइ सिलेसा-छ्लेणं, मज्जंती-रूअेण अ-फुडेणं। उप्पेक्खा एसो सुओ उप्पेक्खावअव-णामो हु ॥१२१॥

उप्पेक्खावअवो जहा : सम-विअसण-संपुण्णं वणं नु कुसुमाण रअणि-विरमंमि। उज्जोवइ हअ(?)चंडो जोइक्खेण व(?) पइट्ठो ॥१२२।।

सो उब्भेओ वत्थूण जत्थ वत्थूहि होइ उब्भेओ। भणिओ किं-पअ-गब्भो, बिइओ तह णूण-सद्देण ।।१२३।।

उभेओ कि-पअ-गब्भों जहा : आली णिअच्छण-सलोनीअं हलिअस्स अमुणिअ-रसस्स। निव्वासिअ-सिर-चीरमुछुण्णं मुहं विअड्डेणं ।।१२४।।

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णूणं-सद्दे उब्भेओ जहा : दरे-णिग्गअं ण पेच्छइ णूणं सहअरा-मंजरिं अज्ज। तेण तुह वच्छ लोअणं अहिउ (?) वहु-मुहअंदं ।।१२५।।

वर-वअण-पालणं किं-पएण सहि-देसणं खु वलिओ त्ति। जमअं सुइ-सम-भिण्णत्थ-वण्ण-पुणरुत्तअं भणिअं ।।१२६।।

वलिआलंकारो जहा : किं तुह रुअस्स हला रुअसु [तुअं] सामिणी णिअ-सट्टिए। अस्साउच्छेअधइउ (?) तस्स अ पाएसु पडिआ उ ॥१२७।।

आई-मज्झंत-गअं पाअब्भासो तहा आवलि-णिबंधो। नीलेस-पाअ-रइअं, जाअइ जमअं अ पंच-विहं ।।१२८।।

पाआइ-जमअं जहा : मा णं माणं हारेहि णिद्दअ-दइए अह सालूरी (?)। गअ-णाह-गेअ (?) साणासा-सासाउरां रमिअं ।।१२९।।

मज्झंत-जमअं जहा : जस्स पवंगमेहि खअ-समं दिट्ठं तण्हाइएणं निच्चरं चिरं। विमल-प्फुरंतर-रअण-विज्जुज्जलं जलं महीहराधाअ-विसरंत- अंतअं ॥१३०।

XX XX XX XX

पाअ-ब्भासे जमअं जहा : सेउ-बद्ध-समुद्दं तरल-लवमंअणं। किंदराघण-चारं ओव्वअ पअण-णालं दरा-घण-चारिअं ओव्वं पअण-णालअं ॥१३१।। Jain Education International For Personal & Private Use Only www.jainelibrary.org

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आवलि-जमअं जहा : हंभो रंविज्जल-पजल-पजल-णिब्भरे णिब्भरेऊणं। सारासामे सासामे समओतुं कलिओ ॥।१३२।।

XX XX XX XX

सअल-पाअ-जमअं जहा : तुह कज्जे साहसिआ केण कआ वंदणेण साहसिआ। तण्णिउणं सा हसिआ सहिआहि फुडं सा हसिआ ॥१३३।।

XX XX XX XX

अण्णे वि ऊणआ सेसा ण होंति समग्गाधिणो कव्वे। तेण वि अण्णो भावोपएसो एअ दट्ठव्वो ॥।१३४।।

XX XX XX XX

इति अलंकारदर्पणं समाप्तं ।। शुभं भवतु ।।

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Alphabetical list of the Alamkāras

अतिशय 54 परिवृत्त 95 अनुमान 110 पर्याय 64 अनुप्रास (पदानुप्रास) 52 प्रेमातिशय 89 अन्यापदेश 83 भाव 78 अपह्नुति 89 यथासंख्य 67 अप्रस्तुतप्रसंग 108 यमक 128 अर्थांतरगन्यास 83 रसित 64 आक्षेप 56 रूपक 41 आदर्श 111 रोध 50 आशिषा 115 वलित .126 उत्तर 96 विभावना 76 उत्प्रेक्षा 113 विरोध 71 उत्प्रेक्षावयव 121 विशेष 56 उदात्त 92 व्यतिरेक 61 उद्भेद 123 व्यपदेशस्तुति 105 उपमा 11 श्लेष 100 उपमारूपक 118 समयोजित 106 ऊर्जा 85 समाहित 71 जाति 61 सहोक्ति 85 दीपक 45. निदर्शन संदेह 74 118 परिकर (अन्यपरिकर) संसृष्टि 115 85

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