1. Chandra Loka Jayadeva Ed. Sankara Rama Sastry C. Bala Manorama Press

Barcode : 5990010124652 Title - chandralok Author - C.SANKARA RAMA SASTRI Language - sanskrit Pages - 162 Publication Year - Barcode EAN.UCC-13

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Sri Balamanorama Series No. 26.

॥ श्रीः।।

॥ च न्द्रा लो क:॥

पीयूषवर्वजयदेवप्रणीतः ।

अलंकारप्रकरणम्

पञ्चमो मयूख: WITH

ENGLISH NOTES AND TRANS ATION*

BY

C. Sankara Rama Sastri, M.A., B.L., Author of Annotations on अभिज्ञानशाकुन्तलं, वेगीसंहारं, मालविकाम्निमित्रं, आश्चर्यचू।मणिः, उत्तररामचरितं, खवप्वासवदत्तं, नागानन्दं, प्रतिमानाटकं, रत्नावली, विक्रमोर्वशीयं, मेघसंदेश: etc., etc.

Fourth Edition

PRINTED AND PUBLISHED BY THE SRI BALAMANORAMA PRESS, MYLAPORE, MADRAS.

All Rights Reserved.

Price ] 1954

First Edition 1936

Second 1940

Third 1950

PREFACE

JAYADEVA, the author of Chandraloka, describes himself as the son of Mahadeva and Sumitra, in the concluding stanza of every one of the ten Mayukhas of Chandraloka. The following is the con- cluding stanza of the first Mayūkha which, with slight modifications, is repeated at the end of every Mayūkha.

महादेव: सत्रप्रमुखमखविद्यैकचतुरः सुमित्रा तद्भक्तिप्रणिहितमतिर्यस्य पितरौ। अनेनासावाद्यः सुकविजयदेवेन रचिते चिरं चन्द्रालोके सुखयतु मयूखः सुमनसः॥

It is also definitely known that he is the same as the author of Prasannaraghava from the follow- ing two verses pronounced by the Sutradhara at the Prelude to that play since the description of his parentage is identical in both the works.

विलासो यद्वाचामसमरसनिष्यन्दमधुरः कुरङ्गाक्षीबिम्बाधरमधुरभावं गमयति। कवीन्द्रः कौण्डिन्यः स तव जयदेवः श्रवणयो- रयासीदातिथ्यं न किमिह महादेवतनयः ॥ लक्ष्मणस्येव यस्यास्य सुमित्राकुक्षिजन्मनः । रामचन्द्रपदाम्भोजे भ्रमद्भन्मायते मनः ॥ That he won the well-merited appellation of पीयू परवर्ष will be clear from the second śloka of the First

PREFACE

The evidence for fixing the lower limit is somewhat more definite. Viśvanātha, the author of Sahitya- darpana, who flourished in the first half of the 14th century cites as an example of अर्थान्तरसंक्रमितध्वनि the following śloka from Jayadeva's Prasannaraghava.

कदली कदली करभः करभः करिराजकरः करिराजकरः । भुवनत्रितयेऽपि बिभर्ति तुलामिदमूरुयुगं न चमूरुदशः॥

It therefore follows that Jayadeva must be located either in the 12th or 13th century. A consideration of the figures of speech mentioned by Mammata, Ruyyaka and Jayadeva will offer some clue to be more precise. Mammata deals with only 61 Alamkāras, Ruyyaka in his Alamkārasarvasva deals with 75 Alamkaras, and Jayadeva deals with about 100 Alamkaras. Further the figures Af and fary appear to be a fresh discovery of the author of Alamkarasarvasva. They are not to be found in Kavyaprakaśa, and they are dealt with in Chandra- loka. Ruyyaka, it is known, was the teacher of Mankha, the younger brother of Alamkara alias Lankaka, minister of King Jayasimha who ruled from 1129 to 1150 A.D., as observed by Mr. P. V. Kane in his learned Introduction to Sahityadar- pana. Vide the following extracts from Mankha's Śrīkanthacharita :- एकं श्रीजयसिंहपार्थिवपतिं काश्मीरमीनध्वजं तस्योपासित संधिविग्रहमलंकारं द्वितीयं स्तुमः। XXV-61.

vi CHANDRĀLOKA

मदग्रजन्मनः श्रीमल्लङ्ककस्य सभागृहम्। तेऽध्यासते च विस्रब्धाः सारसा इव मानसम्॥ XXV-15 ..

तं श्रीरुय्यकमालोक्य स प्रियं गुरुमग्रहीत्। सौहार्दप्रश्रयरसस्रोतःसंभेदमज्जनम्॥ XXV-30:

There is therefore reason to presume that Jayadeva. was later than Ruyyaka. If we allow some margin for Ruyyaka's doctrines to gain popularity so as to be followed by Jayadeva and a similar margin for Jayadeva's śloka being cited by Sahityadarpana, we can prescribe the middle of the 13th century as. the date of Chandraloka.

The Fifth Mayukha or the Alamkaraprakarana is the most popular of the ten Mayukhas comprising- Chandraloka. To its remarkable popularity among the works of Alamkara there can be no greater testimony than the fact that the great Appayya Dīkshita has thought it fit to adopt it as the basis for his Kuvalayananda. The contents of the first four chapters have been briefly indicated at the begin- ning of the notes printed herein. The sixth deals 'with Rasa, the seventh and the eighth with Dhvani, the ninth with Lakshana or connotation, and the tenth with Abhidha or denotation.

In the preparation of this edition I have been greatly helped by the commentary Rama of Vaidya- nath Payagunde printed at the Guzerathi Printing

PREFACE vii.

Press. Assistance also has been occasionally de- rived from the commentary known as Saradagama of Pradyotanabhatta printed in the Kashi Sanskrit Series and from the introduction to Chandraloka in that edition, particularly in the matter of fixing the date of the author. I have great pleasure- in acknowledging my indebtedness to those two learn -- ed editions of the work.

C. Sankara Rama Sastri. Mylapore, Madras. 15th July, 1936.

TABLE OF CONTENTS

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अलंकार स्वरूपनिरूपणम् 2 8 (e) रूपितरूपकं 30 शब्दालंकारा: 9. परिणाम: 31 .1. छेकानुप्रासः 4 10. उल्लेख: 32 2. वृत्त्यनुप्रासः 6 11 (a) अपह्नुतिः 34 3. लाटानुप्रास: 11 (b) पर्यस्तापह्ुतिः 35 4. स्फुटानुप्रासः 8 11 (c) भ्रान्तापहुतिः 36 5. अर्थानुप्रासः 9 6. पुनरुक्तप्रतीकाशं 11 (d) छेकापहुतिः 10 11 (e) कैतवापह्ुतिः 37 7. यमकं 11 12 (a) उत्प्रेक्षा 38 8. चित्रं खङ्गबन्धादि 13 12 (b) गूढोत्प्रेक्षा 4L अर्थालंकारा: 13. स्मृतिः 42 1. उपमा 15 14. भ्रान्ति: 2. अनन्वयः 18 15. संदेहः 3. उपमेयोपमा 19 16 मीलितं 44 4. प्रतीपोपमा 20 17. सामान्यं 5. ललितोपमा 21 18. उन्मीलितं 45 6. स्तबकोपमा 23 19. अनुमानं 46 7. संपूर्णोपमा 20. अर्थापत्ति: 47 8 (a) रूपकं 24 21. काव्यलिङं 48 8 (b) सोपाधिरूपकं 27 22. 51 8 (c) सादृश्यरूपकं 28 23. परिकर: परिकराङ्करः 52 8 (d) आभासरूपरक 29 24. अतिशयोक्ति: 53

CHANDRĀLOKA

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24 (a) अक्रमातिशयोक्ति: 53 41. विकस्वर: 86 24 (b) अत्यन्तातिशयोक्तिः 54 42. पर्यायोक्तं 24 (c) चपलातिशयोक्ति: 55 43. व्याजस्तुति: 87 24 (d) संबन्धातिशयोक्ति: 44 (a) अक्षिपः 89 24 (e) मेदकातिशयोकि: 56 44 (b) गूढाक्षेपः 24 (f) रूपकातिशयोक्तिः 57 45. विरोध: 90 25. प्रौढोकि: 58 46. विरोधाभासः 91 26. संभावना 59 47. असंभवः 92 27. प्रहर्षणम् 61 48. विभावना 28. विषादनं 49. विशेषोक्ति: 93 " 29. तुल्ययोगिता 62 50. असंगतिः 94 30 (a) दीपकं 65 51. विषमं 95 30 (b) आवृत्तिदीपकं 52. समं 31. प्रतिदस्तूपमा 66 53. विचित्रं 96 32. दृष्टान्त: 67 54. अधिक 97 33. निदर्शना 72 55. अन्योन्यं 34. व्यतिरेक: 74 56. विशेष: 98 35. सहोकि: 75 57. व्याघातः ", 36. विनोक्ति: 76 58. कारणमाला 99 37. समासोक्ति: 77 59. एकावली 100 38. श्रेषः 79 60. मालादीपकं 101 38 (a) खण्डश्लेष: 61. सार: .38 (b) भङ्गश्लेषः 80 62. उदारसार: 102 38 (c) अर्थश्लेषः 81 63. यथासंखयं 103 39. अत्रस्तुतप्रशंसा 64. पर्याय: 40. अर्थान्तरन्यास: 84 65. परिवृत्ति: 104

CONTENTS xİ

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66. परिसंख्या 106 81. वक्ोक्ति: 117 67. विकल्पः 82. स्वभावोक्ति: 118 68. समुच्चयः 107 83. भाविकं 119 69. समाधि: 108 84. भाविकच्छवि: 120 70. प्रत्यनीकं 109 85. उदात्त 71. प्रतीपं 86. अत्युक्ति: 121 72. उल्लास: 110 87. रसवत् 122 73. तद्गुणः 111 88. प्रेयः 74. पूर्वरूपं 112 89. ऊर्जस्वि 75. अतद्गुणः 113 90. समाहितं 76. अनुगुण " 77. अवज्ञा 114 91. भावोदयः 92. भावसंधि: 78. प्रश्नोत्तरं (उत्तरं) " 93. भावशबलता 79. पिहितं 115 94. संसृष्टिः 128 80. व्याजोक्ति: 116 95. संकरः

॥ श्रीः ।।

पीयूषवर्षजयदेवकविप्रणीतः

चन्द्रालोकः।

पञ्चमो मयूखः ।

In the First Mayukha of Chandraloka, the author Jayadeva dealt with words, sentences, their sub- divisions and poetry in general. In the Second Mayūkha, Doshas or literary defects bave been dis- posed of. The Third Mayūkha treats of Lakshanas, and the Fourth of Gunas or literary merits. In this Fifth Mayūkha, the author proceeds to deal with Alamkaras or figures of speech. #qa lit., a ray, is used in the sense of 'chapter' in keeping with the title of the book, Chandraloka-the Moon's light.

अथालंकारा:।

Next come the Figures of Speech.

अथ अलंकारा:, प्रतिपाद्यन्ते understood. In this sentence the author states what is going to be the topic of this chapter. Alamkaras are of two kinds-Sabda- lamkāra and Arthalamkara. Śabdālamkāras are

2 CHANDRĀLOKA

figures of speech relating to the sound, and they are dealt with in the first ten ślokas of the Fifth chapter. Arthalamkaras are figures of speech relating to the sense, and they are dealt with throughout the rest of this chapter.

शब्दार्थयो: प्रसिद्धया वा कवेः प्रौढिवशेन वा। हारादिवदलंकार: संनिवेशो मनोहरः ॥ १ ॥

1. A pleasant combination of sounds and meanings, like a necklace and the like, is Alam- kara (ornament) by general repute or as a creature of the poet's imagination.

2. Here the author deals with what is meant by Alamkara in general. शब्दश्व अर्थश्च शब्दार्थौं तयोः शब्दार्थयो: The words शब्द and अर्थ, sound and sense, are indicative of all sounds and all ideas. शब्दार्थयोः मनोहरः संनिवेश: अलंकार :. A happy combination of sounds or their meanings is what is meant by Alamkāra. The संनिवेश or combination must be मनोहर or appeal- ing to the heart. It must appeal to the heart of a r. Sahrdaya means a cultured person of fine taste in literature. A happy jumbling of sounds is Sabdalamkara. A pleasant combination of ideas is Arthalamkara. This happy combination can be traced in two distinct processes. $a: in the middle शf प्रसिद्धया and प्रौढिवशेन is applicableto both.bythe

FIFTH MAYŪKHA 3

application of मध्यमणिन्याय. कवेः प्रसिद्वया. A figure of speech must be employed in conformity with the practice prevailing in the literary world. a: sife- 7 ar. Or a figure of speech may be employed by a peculiar stroke of poetic imagination. Certain Alamkaras like 34#T and others are current in ordinary practice, whereas अतिशयोक्ति, उत्प्रेक्षा and others are purely a creature of poetic imagination. Another construction is also put upon the phrase कवे: प्रसिद्धया प्रौढिवशेन वा by some commentators as follows. Some of the Alamkaras are known as such by long tradition, and some are invented by the poet for the first time. The etymology of the word Alamkara is brought to the notice of the reader by the word हारादिवत्. Alamkaras in literature are like Alamkaras in the world, viz., a necklace and the like which beautify the wearer. It is a matter of importance to understand correctly the bearing of Alamkaras on poetry. Rasa or emotion is the soul of poetry. The words and their meanings constitute its body. Gunas or literary merits stand on a par with valour, magnanimity and other qualities of the soul. Alamkaras correspond to the ornaments worn on the human body. For a comparative esti- mate of रस, शब्द, अर्थ, अलंकार, गुण, रीति, वृत्ति, शय्या and g15, vide the following extract from Prataparudriya.

शब्दार्थौं मूर्तिराख्यातौ जीवितं व्यक्थवैभवम्। हारादिवदलंकारास्तत्र स्युरुपमादयः॥

4 CHANDRĀLOKA

श्लेषादंयो गुणास्तत्र शोर्यादय इव स्थिताः ॥ आत्मोत्कर्षावहास्तत्र स्वभावा इव रीतयः ॥ शोभामाहार्यिकीं प्राप्ता वृत्तयो वृत्तयो यथा। पदानुगुण्यविश्रान्तिः शय्या शय्येव संमता॥ रसास्वादप्रभेदाः स्युः पाकाः पाका इव स्थिताः। प्रख्याता लोकवदियं सामग्री काव्यसंपद: ।

गौर्जगज्जाग्रदुत्सेका छेकानुप्रासभासुरा॥२॥ 2. Speech whose excellence triumphs in the world and which offers facilities for investigation by intelligent persons, shines with Chhekanuprasa when it consists of the repetition of a vowel or of a consonant or of a vowel and a consonant put together. 2. At the outset the author deals with the Śabdalamkara known as Chhekanuprāsa. 9Te means the repetition of a sound. छेकानां (विदग्धानां) अनु- प्रासः छेकानुप्रास :- The अनुप्रास of clever people. गो: means speech. जगति जाग्रत् उत्सेक: यस्याः सा जगज्जाग्रदुत्सेका whose excellence remains ever glorious in the world. छेकानुप्रासेन भासुरा छेकानुप्रासभासुरा. The speech of an excellent type shines with Chhekanuprasa. What sort of speech is characterised by Chhekanuprāsa P An answer to this question is given in the first half of this verse. खराणां व्यञ्जनानां संदोहानां च व्यूहः यस्यां सा स्वरव्यअ्ञनसंदोहव्यूहा adjectival to गौः Vowels are- known as Svaras in grammar, and consonants as

FIFTH MAYŪKHA 5

Vyañjanas. daa meaning a group, here refers to the group of a vowel and a consonant. TE means a combination. Chhekanuprasa will arise from a combination of three classes viz., खवरव्यूह, व्यज्ञनव्यूद and their dagaga. A vowel should be repeated a number of times, likewise also a consonant, and similarly a consonant and a vowel put together. The next adjective qualifying गौः is अमन्दोहदोहदा. अमन्दानां ऊहः, तस्य दोहदा. The speech gives plenty of opportunities for speculation by persons of sharp wits. Of course the first adjective alone gives the definition, and the other two are only descriptive. What is the illustration of Chhekanuprasa ? Throughout this chapter the author has introduced illustrations of figures of speech along with their definitions. In the case of Sabdalamkaras, the verses which give the definitions serve also as illustrations. In the case of Arthalamkaras, the author has generally followed the practice of giving the definition in the first half of the verse and its illustration in the second half. In this verse it may be noted that. the vowel a is repeated in the portion covered by स्वरव्यज्ञनस, and the consonant ह in the portion दोहव्यूहदा and a combination of a consonant and a vowel in the portion दोहदोह. Hence, in the first half of this verse we have an illustration of all the three essentials of Chhekanuprāsa. A similar feature can also be observed in the second half.

6 CHANDRĀLOKA

आवृत्तवर्णसंपूर्णं वृत्यनुप्रासवदूचः । अमन्दानन्दसंदोहस्वच्छन्दास्पदमन्दिरम्॥ ३ ॥

3. Speech abounding in a repetition of letters; is characterised by Vrttyanuprasa which is the resi- dential abode for the free play of ecstatic raptures.

4. Nextly the author deals with वृत्त्यनुप्रास. Its definition is given in the first half of the verse, and: the illustration in the second half. आवृत्तेन वर्णेन संपूर्ण आवृत्तवर्णसंपूर्ण वचः, वृत्त्यनुप्रासः अस्यास्तीति वृत्त्यनुप्रासवत् (भवति). A sentence which is full of repetitions of the same. letter is characterised by Vrttyanuprasa. The differ- ence between this and Chhekanuprasa is that in the latter, there are three kinds of alliteration, whereas here there is only one kind. The etymology of the word Vrttyanuprasa is to be explained thus. is formed by adding the Ta suffix a to the root aa to be. And it means वर्तनं. वृत्तं अस्यास्तीति वृत्ती. It refers to a letter which is met with frequently from. the beginning of a verse to its end. वृत्तिनः अनुप्रास्तः वृत्त्यनुप्रास: A repetition of a वत्ती or letter. This is how the etymology is explained by the author of Rama, a commentary on Chandraloka. To quote his own language-वृत्तसादितः समाप्तिपर्यन्तं वर्तनं, तदस्यास्तीति वृत्ती, तस्यानुप्रासः तद्विशिष्टम्. The second half of the verse is an adjective to वच: अमन्दः आनन्दः, तस्य संदोहः, तस्य स्वच्छन्दम् आस्पदस्य मन्दिर अमन्दानन्दसंदोहस्वच्छन्दास्पदमन्दिरं. Such

FIFTH MAYOKHA

a speech serves as a residential abode for the free play: of exuberant joy. In this illustration the letter is very often repeated, and hence it is an example of Vrttyanuprasa.

लाटानुप्रासभूर्भिन्नाभिप्राया पुनरुक्तता। यत्र स्यान्न पुनः शत्रोर्गर्जितं तज्जितं जितम् ॥४॥

4. A repetition with different ideas gives rise to Latanuprasa. Victory is victory when there will be no more the roar of an enemy.

5. In the last two verses the author has dealt with repetitions of letters. Here he deals with repetitions of words. The figure of speech now defined and illustrated respectively in the two halves of the verse, goes by the name of ara. It is so called, because the natives of Latadeśa are fond of this repetition. मिन्नः अभिप्रायः यस्याः सा भिन्नाभि- प्राया. पुनरुक्तस्य भावः पुनरुक्त्तता. लाटानुप्रासस्य भूः लाटानुप्रासभू :- A repetition of words in the same meaning but with different implication amounts to Latanuprasa. यत्र शत्रोः गर्जितं न पुनः स्यात् तत् जितं जितम् Victory is victory when there is no longer heard the roar of an enemy. The second 'victory' means fruitful. Here the word faa is repeated in the same meaning but with a different import. This passage therefore falls within the scope of Latanuprasa.

FIFTH MAYŪKHA 9

उपमेयोपमानादावर्थानुप्रास इष्यते। चन्दनं खलु गोविन्दचरणद्वन्द्ववन्दनम् ॥ ६॥

6. A fixed repetition of letters in words denoting the Upameya (object compared) and the Upamāna (standard of comparison) is deemed to be Arthanuprasa. Saluting the pair of feet of Govinda is (as delightful as applying) sandal.

7. In this verse the author defines and illus- trates अर्थानुप्रास in the first and second halves of the verse respectively. उपमेयोपमानादौ, वर्णावृत्तिर्यदि घ्रुवा to be imported from the previous verse. अर्थानुप्रास इष्यते. A fixed repetition of letters in words denoting the Upamana and the Upameya is called Arthanu- prasa. The words चन्दनं and वन्दनं in the second half respectively denote the Upamana and the Upameya. गोविन्दस्य चरणद्वन्द्वं, तस्य वन्दनं गोविन्दचरणद्वन्द्ववन्दनं चन्दनं खलु A prostration at the feet of Govinda is indeed sandal-paste. Sandal-paste is very cool, refreshing and pleasant. Likewise is the salutation of the Lord's feet. Strictly so far as the sense is concerned this will be an instance of the अर्थालंकार known as 54 or metaphor. But here we are concerned with the sound-aspect. The repetition in and a-ad gives rise to the Sabdalamkara known as अर्थानुप्रास. In छेकानुग्रास and वृत्त्यनुप्रास there is proximity between the sounds repeated. In अर्थानुप्रास proximity

10 CHANDRĀLOKA

is not essential: The repetition may take place with a very wide interval between. In fact in this illustration the repetitions are at the two farthest ends of the hemistich. Then in what way does it differ from Sphutanuprasa ? Ordinarily speaking, the first three syllables and the last three syllables. being fixed places in which repetition has taken place, this will fall within the purview of a Sphu- tanuprasa. But the distinction of Arthanuprasa will be apparent on a consideration of the mean- ings of the words which contain the repetition. The one denotes the Upamana, and the other the Upa- meya. Since the distinctive feature of this Sabda- lamkära has reference to a consideration of Artha or the sense, it is called Arthānuprāsa.

पुनरुक्तप्रतीकाश पुनरुक्तार्थसंनिभम्। अंशुकान्तं शशी कुर्यन्नम्बरान्तमुपैत्यसौ ।७॥

7. A statement that contains an ostensible repetition of ideas is an example of Punarnktaprati- kaśa. Yonder Moon reaches the horizon, beautifying it with his rays.

8. What is पुनरुक्तप्रतीकाश? It is पुनरुक्तार्थसंनिभं. Where words which ostensibly denote the same idea are employed in different meanings they give rise to पुनरुत्तप्रतीकाश, literally, an ostensible repeti

FIFTH MAYUKHA 11

tion. The illustration is given in the second half. असौ शशी अम्बरान्तं उपैति Yonder Moon reaches the end of the sky. Obviously this is a description of the moonset. How does he reach ? अंशुभि: कान्तः तं अंशु- कान्तं कुर्वन Making the end of the sky charming with his radiance. Superficially अशुकान्तं and अम्बरान्तं are identical in meaning. अशुकस्य अन्तः अंशुकान्तः. अम्बरस्य अन्तः अम्बरान्तः. अंशुक and अम्बर are synonyms meaning a cloth. Hence the two words appear like a repetition. But their real meanings are different. The one means अशुभि: कान्तं attractive by means of his rays, and the other means अम्बरस्य अन्तं the end of the sky. This is therefore a case of पुनरुक्तप्रतीकाश.

आवृत्तवर्णस्तबकं स्तवकन्दाङ्कुरं कवेः। यमकं प्रथमा घुर्यमाधुर्यवचसो विद्ुः ॥ ८।।

8. The foremost of poets whose language excels by a pre-eminent sweetness hold as Yamaka, the repetition of a group of letters-which is the germ that develops as the root of a poet's glory.

9. This śloka deals with 44%, the gem among Sabdalamkaras. आवृत्तः वर्णानां स्तबकः यस्मिन् तत् आवृत्तवर्णस्तबक यमकं विदुः They hold the repetition of a group of sounds as Yamaka. Its strict definition can be given as follows. An immediate repetition of the same set of sounds in different meanings is Yamaka. Whatis-

12 CHANDRĀLOKA

the subject of विदुः? प्रथमा: The foremost. घुरि भवं घुर्य, धुर्य माघुर्य वचसि येषां ते घुर्यमाघुर्यवचसः People in the forefront in whose speech there is sweetness of the highest type. They know it as Yamaka. How is Yamaka ? कबेः, स्तवस्य कन्दः, तस्य अङ्करं स्तवकन्दाङ्कुरं. यमक is the sprout which develops as the root of a poet's praise or glory. It may be seen that स्तबकं and माधुर्य are repeated respectively in the first and second halves of the verse without a break, but in different mean- ings. Poets very often revel in the employment of Yamaka. Even Kalidasa who has scant regard for Śabdalamkara uses this largely in the ninth canto of Raghuvamsa throughout. The following is a synopsis of Śabdalamkāras mentioned in Chandraloka.

1. छेकानुप्रास is a repetition of vowels, consonants .and of vowels and consonants together.

2. वृत्त्यनुप्रास is a repetition of a single letter or letters throughout. 3. लाटानुप्रास is a repetition of a word in the same meaning, but with a different import. 4. स्फुटानुप्रास is a repetition of the same syllable at fixed places in every Ardha or Pada or a repeti- tion of letters confined to each separate Pada or .Ardha. 5. अर्थानुप्रास is a repetition of letters in the same order in words denoting Upamana and Upameya.

FIFTH MAYŪKHA 13.

6. पुनरुत्तप्रतीकाश is an employment of two different words that are ostensily synonymous,. but really different in meaning.

7. THE is a repetition of the same group of letters without interruption.

काव्यवित्प्रवरश्चित्रं खङ्गबन्धादि लक्ष्यते। तेष्वाद्यमुच्यते श्रोकदयी सज्जनरञ्चिका ॥ ९॥ कामिनीव भवत्खङ्गरेखा चारुकरालिका। काश्मीरसेकारक्ताङ्गी शत्रुकण्ठान्तिकाश्रिता ॥ १० ॥

9. The formation of verses so as to take a sword-like shape and other similar shapes is in- stanced as Chitra by the best of literati. The first of them is cited in a pair of ślokas pleasing to wise men.

10. Your sword, beautiful and frightful, with its parts slightly red with the application of saffron -. paste and resting on the necks of your foes is like a loving damsel possessed of beautiful hands and. forehead, with her body reddened by the application of saffon paste and leaning on the neck of your foe ..

9 & 10. Letters can be arranged in a verse so as to admit of their taking the shape of a sword and. the like when put down in writing. There are several aas or formations of this type, Besides the

14 CHANDRĀLOKA

ara-a or the sword-like shape which is dealt with in this verse, there are several such designs treated of in other works on rhetoric. We have got मुसलबन्ध, चक्रबन्ध, शूलबन्ध, पद्मबन्ध, शूर्पवन्ध, नागबन्ध and so on. All these are known as far, because they take the form of a picture. काव्यवित्प्रवरैः खङ्गवन्धादि चित्रं लक्ष्यते. In the second half the author states that he is giving an illustration of खङ्गबन्ध-तष्वाद्यमुच्यते. Since in the first half the expression सङ्गवन्धादि is used, the word आद्यं here refers to सङ्गवन्ध. श्रलोकद्यी सज्जनरञ्जिका. A pair of verses which delight the meritorious is given as an illustration of the sword-like formation. कामिनीव etc. This is addressed to a king by his parasite. waa: खङ्गरेखा कामिनीव (भवति). Your sword behaves like a loving damsel. Then follow the adjectives which are common both to the sword and the damsel. 75- श्ासौ करालिका च चारुकरालिका. Your sword is beautiful and frightful. करो च अलिकं च करालिकं, चारु करालिकं यस्या: सा चारुकरालिका The lady has beautiful hands and forehead. काश्मीरस्य सेकः, तेन आरक्तं अङ्गं यस्याः सा काश्मीर- सेकारकताङी. The body of the sword as well as that of the damsel is red through the application of saffron paste. Further how are they? शत्रोः कण्ठः, तस्य अन्तिकं, तत् आश्रिता शत्रुकण्ठान्तिकाश्रिता. Your sword rests on the neck of. enemies. Similarly the damsel was leaning on the neck of your enemy. By virtue of this adjective it is to be understood that the word कामिनी refers to the enemy's wife. Verses 9 and 10

FIFTH MAYŪKHA 15

put together can be arranged in a sword-like shape. See the diagram appended at the end of the book.

उपमालंकार: (1)

उपमा यत्र सादश्यलक्ष्मीरुल्लसति दयोः। हृदये खेलतोरुच्चैस्तन्वङ्गीस्तनयोरि ॥ ११ ॥

11. Upama is the figure of speech where a wealth of similarity shines bright between two objects as between the two lofty breasts sporting on the bosom of a delicate-bodied damsel.

12. Having dealt with Sabdalamkaras or f- gures of speech relating to the sound, the author now begins to treat of Arthalamkaras or figures of speech pertaining to the sense. The first and foremost figure of speech is Upama or simile. यत्र द्वयो: सादृश्यलक्ष्मीः उल्लसति (तत्र) उपमा अलंकार: A comparison of two similar objects is Upama. If the same object were com- pared to itself, the figure of speech will be अनन्वय ; hence the word द्यो: An example of अनन्वय is इन्दु: इन्दुरिव श्रीमान्. The Moon is bright like the Moon. There the Moon is compared to the Moon itself. Hence there are no two objects that are compared with each other, and as such it falls outside the scope of Upama. सादश्यलक्ष्मीः उल्सति. The similarity

16 CHANDRĀLOKA

must be attractive; it must appeal to the heart of a Sahrdaya. Hence a prosaic comparison like PIu- Ra gay: will not be an example of Upama. Further the similarity must be clearly expressed; otherwise- it will fall within the province of उपमाध्वनि. An example for Upama is furnished in the second half of the verse. हृदये खेलतोः उच्चेः तन्वङ्गीस्तनयोरिव. The- similarity of the two objects in an Upama shines as between the two lofty breasts dancing on the bosom of a damsel. 3: is an Indeclinable meaning उन्नतयो:, adjectival to स्तनयोः. The two objects de- noted by the word aut: in the definition in the. उपमेयकोटि correspond to स्तनयो: in the illustration in the उपमानकोटि. उपमेय is an object which is the subject of the context, with which another object is com- pared. 3917 is an object not relevant to the context, but referred to as one to which the sqda is compared i.e., the standard of comparison. साधारणधर्म is the common feature between Upamana and Upameya. as is the word denoting similarity. For example, in मुखं इन्दुरिव कान्तं, मुखं or face stands for the Upameya, इन्दु or the Moon for Upamana, कान्त or charming for साधारणधर्म, and इव for उपमावाचक. Where all these four elements are present, the passage serves as an example of quifqs. Where one, two or three of the above-mentioned four elements is absent, as the case may be, it will be- an example of लुप्तोपमा. The distinction between.

FIFTH MAYŪKHA 17

पूर्णोपमा and लुप्तोपमा has been elaborately dealt with in Kuvalayānanda. Kuvalayananda is a standard work on rhetoric written by Appayya Dīkshita where, adopting Chandraloka as the basis, he has improved upon it by suitably amending the defini- tions, giving further and better illustrations and explanations wherever necessary, and pointing out the distinctions between the several figures of speech. In fact the present śloka as amended in Kuvalayānanda runs thus :- उपमा यत्र सादृश्यळक्ष्मीरुल्लसति द्योः। हंसीव कृष्ण ते कीर्तिः सवर्गङ्वामवगाहते॥ Having explained this as an example of qorfynr, the author of Kuvalayananda proceeds to deal with लुप्तोपमा as follows :- वर्ण्योपमानधर्माणामुपमावाचकस्य च।

He gives examples of his own for लप्तोपमा as follows :- तटिद्रौरीन्दुतुल्यास्या कर्पूरन्ती दृशोर्मम। कान्त्या स्मरवधूयन्ती द्ृष्टा तन्वी रहो मया॥ यत्तया मेलनं तत्र लाभो मे यश्च तद्रतेः। तदेतत्काकतालीयमवितर्कितसंभवम् ॥

A comprehensive definition of Upama has been given in Kuvalayananda as follows :- यत्रोपमानोपमेययोः सहृदयहृदयाह्लादकत्वेन चारु सादृश्यमुद्भततया उल्लसति व्यङ्गयमर्यादां विना स्पषटं प्रकाशते तत्रोपमालंकारः ।। 2

18 CHANDRĀLOKA

अनन्वयालंकार: (2)

उपमानोपमेयत्वे यत्रैकस्यैव जागृतः। इन्दुरिन्दुरिवेत्यादौ भवेदेवमनन्वयः ॥ १२ ॥

12. Where the characteristics of the Upamana and the Upameya are present in one and the same object, the figure of speech is Ananvaya, e.g., The Moon is like the Moon.

13. Where an object is compared to itself the figure of speech known as Ananvaya arises. Vide Kuvalayananda :- एकस्यैव वस्तुन उपमानोपमेयत्ववर्णनमनन्वय: Here the Moon is compared to the Moon itself. Hence the figure is अनन्वय. अनन्वय is so-called, because a similarity of an object to itself is not consistent. 7 विद्यते अन्वयः यस्मिन् सः अनन्वयः. The motive for such a com- parison is to suggest that the object dealt with is beyond comparison. अनन्वयिनोऽप्यर्थस्याभिधानं सदृशान्तरव्यवच्छे देनानुपमत्वद्योतनाय. The distinction between Upama and Ananvaya is quite apparent. In Upama there are two objects, one of which is compared to the other, whereas in Ananvaya an object is compared to itself. In Ananvaya, aramoraa or the common feature may be expressed or implied. If the illustration given in Chandraloka be modified as इन्दुरिन्दुरिव श्रीमान्, as it has deen done in Kuvalavananda, it will serve as an example where the common feature is expressed Aul or 'charming' denotes the expressed

FIFTH MAYŪKHA 19

common characteristic. Another example of अनन्वय where the common characteristic is left to be implied may be noted in the following śloka-

गगनं गगनाकारं सागरः सागरोपमः । रामरावणयोर्युद्धं रामरावणयोरिव ।।

उपमेयोपमालंकार: (3)

पर्यायेण दवयोस्च्चेदुपमेयोपमा मता। धर्मोडर्थ इव पूर्णश्रीरर्थो धर्म इव त्वयि ॥ १३ ॥

13. If the relationship of Upamana and Upa- meya is reciprocal, it is deemed to be an instance of Upameyopama. Virtue is abounding like wealth, and wealth like virtue with you. 13. ततू stands for उपमानोपमेयत्वं, the characteris- tics of the Upamana and the Upameya. द्यो: There must be two objects, not one as in Ananvaya. पर्यायेण चेत् If the similarity is described as reciprocal. Hence there must be two sentences in the first of which Upameya is compared to the Upamana and in the second the Upamana is compared to the Upameya. उपमेयोपमा मता. It is deemed to be an instance of उपमेयोपमा. The etymology of the word is to be explained as उपमेयस्य उपमा. The second half of the verse sets out the illustration. धर्मोऽर्थ इव etc. This is addressed to a king by an admirer. Dharma is like Artha, and Artha is like Dharma in you. The

20 CHANDRĀLOKA

motive for this reciprocal comparison is to suggest. that there is no third object with which the Upameya can be compared. Vide Kuvalayānanda :- द्वयोः पयायण उपमानोपमेयत्वकल्पनं तृतीयसदृदशव्यवच्छेदाथम्। The motive in Ananvaya is द्वितीयसदृशव्यवच्छेद. Herein lies the difference between these two Alamkaras. In the illustration cited, the common characteristic quien: or abundance is expressed. If the word quieft: be eliminated, the common characteristic will be implied. For an implied use of the common characteristic, vide the following example cited in Kuvalayānanda -- खमिव जलं जलमिव खं हंस इव चन्द्रश्चन्द्र इव हंसः । कुमुदाकारास्तारास्ताराकाराणि कुमुदानि॥

प्रतीपोपमालंकार: (4)

विख्यातस्योपमानस्य यत्र स्यादुपमेयता। इन्दुर्सुखमिवेत्यादौ स्ात्प्रतीपोपमा तदा ॥ १४ ॥

14. Where an object generally reputed as an -. Upamana is used as an Upameya, the figure of speech is Pratīpopama. Example :- The Moon ig like the lady's face.

15. प्रतीप lit., reverse, is so-called, because the relationship of Upamana and Upameya is reversed. What is ordinarily referred to as an Upamana is expressed as an Upameya. Generally

FIFTH MAYŪKHA 21

a lady's face is compared to the Moon, but since in the illustration given इन्दुर्मुखमिव the Moon is compared to a lady's face, the figure of speech is प्रतीपोपमा. Kuvalayananda, refers to this figure as nalv and not as प्रतीपोपमा. The definition and illustration have been modified in Kuvalayananda as follows :- प्रतीपमुपमानस्योपमेयत्व नकल्पनम् । त्वल्ोचनसमं पझ्मं त्वद्वक्त्रसदशो विधुः ॥

The figure of speech known as प्रतीप is referred to in Chandraloka later on in verse 100 :- प्रतीपमुपमानस्य हीनत्वमुपमेयतः । दृष्टं चेद्दनं तस्याः कि पझ्मेन किमिन्दुना॥

But both these are referred to in Kuvalaya- nanda as varieties of प्रतीप of which three other varieties also are enumerated there. A classic example of प्रतीपोपमा according to Chandraloka or of say of the first type according to Kuvalayananda may be noted in the following śloka -- यत्वन्नेत्र मा नकान्त सललले म्रं तदिन्दी व रं मेघैरन्तरितः प्रिये तव मुखच्छायानुकारी शशी। येऽपि त्वद्रमनानुसारिगतयस्त राजहंसा गताः त्वत्सादृश्यविनोदमात्रमपि मे दैवेन न क्षम्यते ।।

ललितोपमालंकार: (5)

उपमाने तु लीलादिपदाढ्ये ललितोपमा। त्वन्नेत्रयुगलं धत्ते लीलां नीलाम्बुजन्मनोः ॥१५॥

22 CHANDRÄLOKA

15. Where an Upameya is described to play the role of Upamana-(when an Upamana is fol- lowed by 'charm' and the like words) it is a case of Lalitopama. Your pair of eyes bears the charm of a pair of blue lotuses.

16. When words like लीला, कान्ति, क्रीडा, विलास and o: are tacked on to the word denoting the Upamana, and as a consequence thereof the property of the Upamana is attributed to the Upameya. the figure of speech is ललितोपमा. The second half of the- verse illustrates the same. It is addressed to a lady. The lady's eyes are the Upameya. To them is ascribed the charm of blue lotuses. Hence the figure is Lalitopama. This is treated as qarg- वृत्तिनिदर्शना in Kuvalayananda. Vide the following extract therefrom-

पदार्थवृत्तिमप्ये के वदन्त्यन्यां निदर्शनाम्। त्वन्नेत्रयुगलं धत्ते लीलां नीलाम्वुजन्मनो:॥

अत्र नेत्रयुगले नीलाम्बुजगतलीलापदार्थारोपो निदश। इयं पदार्थवृत्ति निदर्शना ललितोपमेति जयदेवेन व्याहता. For an example vide the following śloka of Uttararamacharita.

चूडाकुन्तलबन्धनं तरलयत्याकूतजो वेपथु: किंचित्कोकनदच्छदस्य सदशे नेत्रे स्वयं रज्यतः। धत्ते कान्तिमकाण्डताण्डवितयोभज्ञेन वक्त्रं भ्रुवो- श्रन्द्रस्योत्कटलाञ्छनस्य कमलस्योद्धान्तमृङ्गस्य च।। V-35

FIFTH MAYŪKHA 23

स्तबकोपमालंकार: (6)

अनेकार्थस्य युग्मस्य सादृश्यं स्तबकोपमा। श्रितोऽस्मि चरणौ विष्णोर्भृङ्गस्तामरसं यथा ॥ १६ ॥

16. The figure of speech is Stabakopamā where there are different pairs of Upamana and Upameya. I resort to the feet of Vishnu as a bee to a lotus-flower.

17. The author of the commentary Rama on Chandräloka gives the exact definition of Stabako- pama as द्वयोर्विशिष्टयो: सादश्यं. Here the comparison is not between the black bee and the devotee or between the lotus-flower and Vishnu's feet separately. The comparison is between the black bee in its relation to the lotus-flower and the devotee in his relation to Vishnu's feet. This is not mentioned by Appayya Dīkshita in Kuvalayānanda. His idea is that this strictly falls within the range of उपमालंकार. स्तबक means a bunch. स्तबकोपमा is so-called, because the Upamāna and Upameya constitute two different bunches.

संपूर्णोपमालंकार: (7)

स्यात्सपूर्णोपमा यत्र द्वयोरपि विधेयता। पद्ञानीव विनिद्राणि नेत्राण्यासन्नहर्मुखे ॥ १७॥

24 CHANDRĀLOKA

17. Where one common property is predicated of both the Upamana and the Upameya, there will be Sampūrnopama. Just as lotuses, so did the eyes bloom at the dawn of the day.

18. In Upama, the common property of Upa- mana or Upameya or both will fall into the उद्देश्यकोटि, whereas in Sampūrnopama the common property of both must be विधेय. उद्देश्य is an ohject in respect of which an attribute is predicated, whereas fada is the attribute that is predicated. In इन्दुरिव मुखं सुन्दरं, Saundarya or charm is an accomplished fact so far as the Moon is concerned and has to be predicated with reference to the face. Hence the common property is an attribute of sar with reference to the Upamana and faaa with reference to the Upameya. But in the illustration here cited fafara or blooming at daybreak is predicated of both the Upamana and Upameya viz., the lotuses and the eyes. Hence this is an instance of Sampūrnopama. This is also not referred to in Kuvalayananda as a separate figure of speech, obviously because it can be included under the head of sura. This Sampūrnopamā, it is to be noted, is not identical with qufqnt referred to in Kuvalayānanda. रूपकालंकार: (8) a यत्रोपमानचित्रेण सर्वथाप्युपरज्यते। उपमेयमयी भित्तिस्तत्र रूपकमिष्यते ॥ १८॥

FIFTH MAYCKHA 25

18. Rūpaka is deemed to exist where the wall of Upameya is fully covered with the painting of Upamāna. 18. उपमानमेव चित्रं तेन उपमानचित्रेण उपमेयमेव उदमयमयी. स्ार्थ मयट्. भित्ति: सवथापि उपरज्यत यत्र तत्र रूपकमिष्यते. Rupaka or metaphor arises where there is complete identi- fication of Upamana and Upameya, both being expressed. उपमानस्य रूपण उपमेयस्य रञ्जनं रूपकम्. The colour of Upamana is fully imparted to the Upa- meya. Upameya shines in the colours of Upamana. मुख्चन्द्रः is a typical example of Rupaka. मुखभेव चन्द्रः मुखचन्द्र: The Moon in the form of the face. Simi- larly उपमानचित्र and उपमेयमयी मित्ति: are also examples of Rūpaka. In the former, the Upamana and the Upameya have been compounded in a Samāsa ; bence it is an example of समस्ताभेदरूपक. In the lat- ter the Upamana and the Upameya are not com- pounded; hence it is an example of व्यस्ताभेदरूपक. These Rupaka samasas fall under the मयूरव्यंसकादि group sanctioned by Panini. Kuvalayānanda divides Rūpaka into two classes-अभेदरूपक and ताद्रप्यरूपक, and each is sub-di- vided into three classes-अधिक, न्यून and अनुभय. For a better definition of Rūpaka with its classification and illustrations, see the following extract from Kuvalayānanda :- विषय्य भे इताद्रूप्य रञ्जनं विषयस्य यत् रूपकं तत्रिधाधिक्यन्यूनत्वानुभयोक्तिमि:।।

26 CHANDRĀLOKA

अयं हि धूर्जटि: साक्षाद्येन दग्धा: पुरः क्षणात्। अयमास्ते विना शम्भुस्तार्तीयीकं विलोचनम् ॥ शंभुर्विश्वमवत्यद्य स्वीकृत्य समदृष्टिताम्। अस्या मुखेन्दुना लब्धे नेत्रानन्टे किमिन्दुना ॥ साध्वीयमपरा लक्ष्मीरसुधासागरोदिता।

Rūpaka is so-called, because the E4 or colour or form of the Upamana is ascribed to the Upameya. The essence of Rupaka is anry as distinguished from अध्यवसान which is of the essence of अतिशयोक्ति. आरोप is the identification of the Upameya with an Upamana without the Upameva being eclipsed by the Upamana. विषयिणा अनिगीर्णस्य विषयस्य तनैव सह तादात्म्य- प्रतीति: आरोप :. Adhyavasana is the identification of the Upameya with an Upamana which completely eclipses the Upameya. निगीणस्य पुनर्विषयस्य अन्यतादात्म्य प्रती तिः अध्यवसाय :. To express the same idea in simpler lan- guage, in Rūpaka the Upameya will be expressed. In Atiśayokti it merges into the Upamāna; the Upa- mana alone is expressed and the Upameya is left to be inferred. मुखचन्द्रं पश्य will be an example of रूपक,. whereas चन्द्रं पश्य used with reference to the face will serve as an example of अतिशयोक्ति. The following. śloka of Ratnāvalī illustrates Rūpaka. किं पद्मस्य रुचिं न हन्ति नयनानन्दं विधत्ते न किं वृद्धिं वा झषकेतनस्य कुरुते नालोकमात्रेण किम्। वक्त्रेन्दौ तव सत्ययं यदपर: शीतांशुरभ्युद्रतो दर्प: स्यादमृतेन चेदिह तदप्यस्त्येव बिम्बाधरे॥ III-14.

FIFTH MAYŪKHA 27

सोपाधिरूपकालंकार: (8) b

समानधर्मयुक्साध्यारोपात्सोपाधिरूपकम् । उत्सिक्तक्षितिभृल्लक्ष्यपक्षच्छेदपुरंदरः ॥ १९।।

19. When the said super-imposition is ex- pressly traced to a common attribute, the figure is Sopādhi Rūpaka. Example :- Indra in the matter of destroying the accredited followers (visible wings) of haughty rulers (mountains).

20. युक्=युज्+ क्विप् (भावे). In effect युक means योग. समानधर्मेण युकू, तेन साध्यः आरोपः तस्मात् समानधर्मयुक्साध्यारोपात् By an ar or identification justified by a connection with a common attribute. This figure is called Sopadhi Rupaka, because the andg is accompanied by an उपाधि or delimiting factor which is responsible for the identity. The example is set out in the second half of the verse. A king is described in those terms. उत्सिक्ताः क्षितिभृत एव क्षितिमृतः, तेषां लक्ष्यः पक्ष एव पक्षः, तस्य छेदः, तस्मिन् पुरंदर :. Here haughty rulers are iden- tified with mischievous mountains, their followers with the wings of mountains, and the king with Indra. In a Sopadhi Rūpaka the Upamana comes. immediately after the mention of समानधर्म whereas in Rūpaka the Upamana comes after the Upameya. In मुखचन्द्र, the Upamana चन्द्र comes after the Upa- meya ga. Hence it is an example of Rupaka. In.

28 CHANDRĀLOKA

उन्सिक etc. the Upamana पुरंदर comes after the men- tion of साधारणवर्म ie., पक्नच्छेद. Hence this is an example of मोपाधिरूपक. This distinction has been succinctly brought out by the author of Rama as follows :- रूपणीयान्ते उपमानवाचकशब्दप्रयोगे रूपकमेव, रूप्यरूपक- साधारणवर्मान्त तत्प्रयोगे तु तत्. In this illustration the शलेष in क्षितिभृत् and पक्ष aids the सोपाधिरूपक. This figure of speech is not separately mentioned in Kuvalayā- nanda. Other rhetoricians treat this figure of speech as परम्परित, a variety of Rupaka.

सादृश्यरूपकालंकार: (8) c

पृथक्कथितसादृश्यं दृश्यं सादृश्यरूपकम्। उल्लसत्पश्चशाखस्ते राजते भुजभूरुहः॥ २०॥

20. A Rūpaka where an elegant point of .similarity is made out by a separated expression is called Sadrśya Rūpaka. Your tree of arm shines with the charming five branches in the shape of your hand.

21. दृशयं means attractive. पृथक By a separate expression. कथित सादश्यं Similarity expressed. सादश्य रूपकं It goes by that name. The second half of the verse sets out the illustration. हे राजन् ते भुज एव भूरुहः राजते. .Here the king's arm is identified with a tree. How is that tree? उल्लसन्त्यः पश्च श.खा एव उल्लसन् पश्चशाखः यस्य

FIFTH MAYŪKHA

: a: a. The tree is possessed of five branches. Your arm is possessed of fiye fingers. पच्चशास means a hand. Vide Amara :- पघ्चशाखः शयः पाणि: Here the identity of the king's arm with the tree is a condition precedent to the identity of five fingers with the five branches. qamra, the common attri- bute is referred to separately from the Upamana and Upameya. In Sopadhi Rūpaka, the common attribute and the Upamana are set out in the same compound. Here they are separately mentioned. In the former. the identity of Upamana and Upameya is brought about as a result of the common attribute. The identification of the enemies' followers with the wings of mountains is independent of and precedes the identification of the king with Indra. But here the commonness of the attribute is itself brought about as a result of the identity of Upamana and Upameya. Hence the order of the two is reversed in this case. Vide the following extract from Rama :- अत्र भुजे तरुत्वारोपोत्तरमेव पञ्चाङ्गलीषु शाखात्वारोपसंभवः। अत एव पश्चशाखत्वं साधर्म्य पृथगुच्यते, नतु सोपाधि- 497. Other rhetoricians treat this figure of speech as समस्तवस्तुविषय-सावयवरूपक, a variety of Rupaka. This is also not separately mentioned in Kuvalayānanda.

आभासरूपकालंकार: (8) d

स्यादङ्गयष्टिरित्येवंविधमाभासरूपक्रम्।

30 CHANDRĀLOKA

21. Expressions like 'the stick of the body' are examples of Ābhāsa Rūpaka.

22. The identity of the body with a stick not being quite happy, the figure of speech is called Abhasa Rupaka. The compound अङ्गयष: will have to be dissolved as अङ्गमेव यषि: If it were dissolved as an उपमितसमास-अङ्गं यष्टिरिव, the figure of speech will be उपमा, Sanction for उपमितसमास is to be traced to Panini :- उपमितं व्याघ्रादिमिः सामान्याप्रयोगे. Abhasa Rupaka too is not referred to in Kuvalayānanda.

रूपितरूपकालंकार: (8) e

अङ्गयष्टिधनुर्वल्लीत्यादि रूपितरूपकम् ॥ २१ ॥

21. Expressions like 'the bow-creeper in the form of the stick-body' are instances of Rūpita Rūpaka. 21. Here there are two Rūpakas, one heaped upon the other. Firstly a lady's body is identified with यषि a stick. Secondly धनुस् a bow is identified with वली a creeper. Then both are identified. रूपितरूपक is so-called, because a Rupaka is described with reference to an object that is already the subject of a Rupaka. The full verse from which this illustration is exiracted runs as follows :- अङ्गयत्रिधनुर्वह्लीमादाय कुमुमायुधः । जगजयति यासां ताः कथं न सरसाः स्त्रियः ॥

FIFTH MAYŪKHA 31

परिणामालंकार: (9)

परिणामोऽनयोर्यस्मिन्नभेद: पर्यवस्यति। कान्तेन परृष्टा रहसि मौनमेवोत्तरं दद ॥ २२ ॥

22. Where (in addition to the super-imposition of the one on the other as in Rūpaka) the identity of Upamana and Upameya results through the relationship with the predicate, the figure is said to be Parinama. Questioned by the lover in private, she only gave the answer of silence.

23. anq which is at the foundation of Rūpaka is also the basis for Parinama. But the additional feature in Parinama is that the identity between the two is brought about by reason of a relationship with the predicate. Vide Rama-यस्मिन् काव्ये अनयो: आरोप्यमाणारोपविषययोः अभेदः पर्यवस्यति क्रियान्वयेन भवति तत्र स परि- T# :. In the illustration set out in the second half of the verse, ala or silence admits of being identified with 37T or reply by reason of its relationship with the action of दान expressed by ददौ. Kuvalayananda gives a different definition of Parinama as follows. परिणामः क्रियार्थश्रेद्विषयी विषयात्मना। प्रसन्नेन दगब्जेन वीक्षते मदिरक्षणा ॥

Its explanation is as follows :- Where the Upamana whose form is ascribed to the Upameya is incapable of independently governing the predicate,

32 CHANDRĀLOKA

and consequently it has again to pass through the perspective of Upameya, the figure of speech is Parinama. In the illustration there given, the lotus whose form is ascribed to the eyes is incapable of seeing, and as such it has again to be clothed with the character of the Upameya viz., the eyes. so as to enable it to perform the function of seeing, and therefore it is a case of Parinama. That the des- cription of Parinama in Kuvalayananda materially differs from that in Chandraloka will be apparent from the following extract from Kuvalayananda. यत्रारोप्यमाणो विषयी किंचित्कार्योपयोगित्वेन निबध्यमान: स्वतस्तस्य तदुपयोगि त्वासंभवात्प्रकृतात्मना परिणतिम पक्षत तत्र परिणामालंकार: According to Chandraloka, the predicated action is the root-cause of the identity between Upamāna and Upameya. Silence can be conceived of as identical with a reply, only when it is governed by the predicate aal. According to Kuvalayananda the Upamana has to resume the character of Upameya to justify its. relationship with the predicated action.

उल्लेखालंकार: (10)

बहुभिर्बहुधोल्लेखादेकस्योल्लखिता मता। स्त्नीभि: काम: प्रियैश्चन्द्र: काल: शत्रुभिरैक्षि सः ॥२३॥

23. Where a certain object is conceived of in different ways by different persons, the figure of

FIFTH MAYŪKHA 33

speech is Ullekha. He was seen as the God of love by ladies, as the Moon by his dear friends, and as the God of death by his enemies.

23. आरोप is at the foundation of Ullekha also. But here different capacities are ascribed to a single object by different persons. In the example one and the same king is identified by different persons with different objects. He is seen as Cupid by sweethearts, as the Moon by his comrades and as Yama by his foes. His loveliness, suavity and valour are respectively the causes for the different conceptions. Where an object is conceived of in different ways by the same person with reference to different features, there also the figure of speech is Ullekha. According to the previous construction the word agfa: in the definition was rendered as बहुभिः पुरुषैः, but here it means बहुभिर्निमितै :. Kuvala- yänanda deals with both types of Ullekha, and for the latter type gives the following exampleaa- स्यर्जुनोऽयं कीतौं भीष्मः शरासने. Here one and the same person identifies the king with Guru, Arjuna and Bhīshma in respect of speech, renown and arch- ery. Ullekha literally means conception. It in- cludes a manifold conception by a single person or different persons. In Rūpaka and Pariņāma there is only one identity referred to. In Ullekha there is a series of identities. 3

34 CHANDRĀLOKA

अपहुत्यलंकार: (11) a

अतथ्यमारोपयितुं तथ्यापास्तिरपह्दुतिः। नायं सुधांशुः किं तर्हि व्योमगङ्गासरोरुहम् ॥ २४॥ 24. An express concealment of the truth with a view to an express assumption of a fiction is Apahnuti. The one seen yonder is not the Moon, but it is the lotus of the ethereal Ganges.

24. Apahnuti literally means concealment. Five kinds of Apahnuti are referred to in Chandra- loka-शुद्धापहुति, पर्यस्तापह्ुति, भ्रान्तापहुति, छेकापह्ुति and कैतवापह्ुति and they are dealt with in order in verses 24 to 28. The present sloka deals with argga pure and simple. Its definition can be clearly known from the translation given above. In Rūpaka, Parinama and Ullekha, no doubt there is an express assumption of a fiction, but the concealment of truth is not express. Hereit is express. The real character of the Moon as such is negatived with reference to the Moon ex- pressly, and the fictitious character of the lotus of the aerial Ganges is attributed to it. Hence it is a case of arvafà pure and simple. Another example cited in Kuvalayananda is as follows :-

अङ्कं केऽपि शशङ्किरे जलनिधे: पङ्कं परे मेनिरे सारङ्कं कतिचिच्च संजगदिरे भूच्छायमैच्छन् परे। इन्दौ यददलितेन्द्रनीलशकलश्यामं दरीदृदश्यते तत्सान्द्रं निशि पीतमन्धतमसं कुक्षिस्थमाचक्ष्महे।।

FIFTH MAYŪKHA 35

पर्यस्तापहुत्यलंकार: (11) b

पर्यस्तापदुतिर्यत्र धर्ममात्रं निषिध्यते। नायं सुधांशुः किं तर्हि सुधांशुः प्रेयसीमुखम्॥ २५॥

25. An express denial of the real characteristic alone of an object with a view to fictitiously attributing it to another is called Paryastāpahnuti. The one seen yonder is no Moon, but the beloved's face is the Moon.

26. In Paryastapahnuti there is no suppression of an object, but only of its real characteristic, and the latter is fictitiously ascribed to something else. In Śuddhapahnuti, the Moon as such was concealed and the character of the aerial lotus ascribed to it. But here the Moon is not denied, but its characteristic is attributed to the beloved's face. Hence the significance of मात्र in धर्ममात्रं निषिध्यते. धर्मि is not denied, but only the धर्म. Rama defines it accurately as follows :- धर्मिणि धर्मनिषेधपूर्व तद्वर्मस्यान्यत्रा- रोपः पर्यस्तापह्रुतिः The following is another example cited in Kuvalayānanda-

हालाहलो नैव विषं विषं रमा जना: परं व्यत्ययमत्र मन्वते। निपीय जागर्ति सुखेन तं शिव: स्पृशन्निमां मुह्यति निद्रया हरि: ॥

36: CHANDRĀLOKA

भ्रान्तापहुत्यलंकार: (11) c भ्रान्तरपहुतिरन्यस्य शङ्कया तथ्यनिर्णये। शरीरे तब सोत्कम्पं ज्वरः किंन सखि सरः ॥२६॥

26. Where an illusion is expressed by a person and it is cleared and the truth established by another, the figure of speech is Bhrantāpahnuti. That which appears along with tremor on your body-is it fever? No, friend, it is Cupid.

27. Really speaking, in भ्रान्तापह्ुति there is no concealment of the truth. On the other hand a dis- illusion takes place, and truth is established. Rama gives the following definition :- किंचित्कर्तृक्रभ्रान्तिजन्थारोप- पूर्वकपरकर्तृकतन्निषेधपूर्वकतथ्यकथनं भ्रान्तापह्ुतिः Firstly the female friend of a lady mistook the change on her shivering person as due to fever, but she is disillusioned by the other by saying 'No, it is due to love.' शरीरे तव सोत्कम्पं ज्वरः कि represents the question of the female friend made under a mistake. न सखित, (किंतु) स्मर: represents the disillusionment by the lady herself. Another example cited in Kuvalayananda :- नागरिक समधिकोन्नतिरिह महिषः कोऽयमुभयतःपुच्छः । न हि नहि करिकलभोऽसौ शुण्डादण्डोऽयमस्य नतु पुच्छम्॥ छेकापहुत्यलंकार: (1l) d छेकापहुतिरन्यस्य शङ्कया तथ्यनिह्ववे। प्रजल्पन्मत्पदे लग्न: कान्तः किं न हिनूपुरः ॥२७॥

FIFTH MAYŪKHA 37

27. When the truth of a statement is suspected by another, and the same is concealed by the speaker by an express denial, the figure is said to be Chhekäpahnuti. The charlatan clung to my feet. Is it your lover ? No, the anklet.

28. छेक means a clever person. छेकापहुति is concealment by a clever person. Kuvalayananda gives the following definition of छेकापह्नुति-कस्यचित्कं- चित्प्रति रहस्योक्तौ अन्येन श्रुतायां उक्तेस्तात्पर्यनन्तिरवर्णनेन तथ्यनिह्ववे छेकापहुति: In the illustration given above, प्रजल्पन्मत्पदे लम्ः is the statement of a truth by a heroine. कान्तः f is the query of the female friend who suspected the truth. नहि नूपुर: is the denial of the same by the heroine and a false explanation by her of her previous statement. Another example of the same cited in Kuvalayananda is this- सीत्कारं शिक्षयति व्रणयत्यधरं तनोति रोमाश्चमू। नागरिकः किं मिलितो नहि नहि सखि हैमनः पवनः ॥ As to the difference between this figure of speech and Vyajokti, see notes under the latter.

कैतवापहुत्यलंकार: (11) e कैतवं व्यज्यमानत्वे व्याजादैनिंहुतेः पदैः। निर्यान्ति स्मरनाराचाः कान्तादृकपातकैतवात्॥२८॥

28. A suppression of truth by the use of phrases like 'under the pretext of' and others is

FIFTH MAYŪKHA 39

is not totally lost sight of, but at the same time it is made the subject of a doubt with special leaning towards one of the alternatives. In भ्रान्तिमदलंकार the identity of the relevant object is completely mis- taken. In ससंदेहालंकार the two alternatives of a doubt are of equal weight. In augf the real character of the relevant object is expressly negatived. In अतिशयोक्ति the fictitious assumption is absolutely taken for granted. Whereas in aden there is no illusion as in fawm, and the real character also makes itself felt. As in ससंदेह, so also in उत्प्रेक्षा there is a peculiar doubt about the identity of an object. But of the two alternatives in a doubt there is more a leaning towards the fictitious character in Utpreksha. whereas in ससंदेह both the alternatives are of equal force. Further in aaden the real character is not expressly negatived as in aruafa. Again in sFder the fictitious character that is attributed is not wholly taken for granted, and hence its distinction from अतिशयोक्ति. Now let us examine the definition given in Chandraloka. यत्र हेत्वादिः निह्वतिं विना उन्नीयते तत्र उत्प्रेक्षा. The word आदि in हेत्वादि comprises वस्तु and फल. Hence हेत्वादि means and includes the cause, identity and result. In Utpreksha, a thing that is not the cause is suggested as a cause. It goes by the name of हेतूत्प्रेक्षा. Further a thing that is not of a particular character is conceived of as one of that character. It goes by the name of वस्तूत्प्रेक्षा or स्रूपोत्प्रेक्षा.

40 /CHANDRĀLOKA"

Again a thing which does not result from a relevant object is fancied to be its result, and this goes by the name of फलोत्प्रेक्षा. निह्ठतिं विना. Unlike Apahnuti, there is no suppression of the real character in Utpreksha. The example is given in the second half of the verse. It is addressed to a lady by her lover. In order to win the beauty of your face, the Moon quarrels with lotuses. The author of the commentary Rama makes out that this illustrates all the three kinds of Utpreksha mentioned above. What is the battle between the Moon and lotuses ? When the Moon rises, the lotus fades. When the Moon goes out, the lotus blooms. This mutual intolerance is fancied as animosity or quarrel be- tween the two. In so far as this aspect is concerned. the Utpreksha relates to ag. What is the motive for the quarrel between the Moon and lotuses ? They vie with each other in order to attain the beauty of the lady's face. Is it a real cause? No, it is a fancied one. So this illustrates dacan. Further what is the result to be got from a war by the Moon or the lotus? It is the acquisition of the charm of the lady's face. Hence the or fruit is conceived of fictitiously. Therefore there is rder as well. Special attention is to be paid to the word i in the illustration. The Indeclinable means 'surely'. The very mention of the word 'surely' indicates that it is only a poetic fiction. Eor a list of words

FIFTH MAYŪKHA 4L

indicative of Utpreksha, vide the following Karika.

मन्ये शङ्के ध्रुवं प्रायो नूनमित्येवमादिभिः । उत्प्रेक्षा व्यज्यत शब्दैरिवशब्दोऽपि तादशः॥

For a clear idea of the definition, classification and illustrations of Utpreksha, vide the following extract from Kuvalayananda :-

संभावना स्यादुत्प्रेक्षा वस्तुहेतुफलात्मना। उक्तानुक्तास्पदाद्यात्र सिद्धासिद्धास्पदे परे॥ धूमस्तोमँ तमः शङ्के कोकीविरहशुष्मणाम्। लिम्पतीव तमोSहानि वर्षतीवाञ्नं नभः॥ रक्तौ तवाङ्ी मृदुलौ भुवि विक्षेपणाद्धुवम्। त्वन्मुखानेच्छया नूनं पझ्मवैरायते शशी।। मध्यः किं कुचयोर्धृत्यै बद्धः कनकदाममिः । प्रायोऽव्जं त्वत्पदेनैक्यं प्राप्तुं तोये तपस्यति॥

For an instance of हेतूत्प्रेक्षा, vide the following śloka of Raghuvamśa :- सैषा स्थली यत्र विचिन्वता त्वां भ्ररष्टं मया नूपुरमेकमुर्व्याम्। अदृश्यत त्वचरणारविन्दविश्लेषदुःखादिव बद्धमौनम्॥ XIII-23.

गूढोत्प्रेक्षा (12) b

इवादिकपदाभावे गूढोत्प्रेक्षां प्रचक्षते। त्वत्कीर्तिर्भ्रमणश्रान्ता विवेश खर्गनिम्रगाम्॥३०॥

30. Where the said poetic fancy is employed without the use of words 'as if' and others, it is said

42 CHANDRĀLOKA

to be Güdha or a hidden Utpreksha. Tired of roam- ing about your fame dived into the heavenly" Gaňgā.

30. This is only a variety of Utpreksha. Utpreksha is said to be express when the words ₹a and the like are used, a list of which is given in the Karika wa T etc. referred to at the end of the notes on the last śloka. When there is an Utpreksha without the employment of those words, the Utpreksha is said to be implied. In the example given in the second half of the verse the words indicative of Utpreksha are not employed by word of mouth. The fatigue of roaming about in the world is poetically described as the cause for the king's fame immersing itself in the divine Ganga. Hence it is dariar. Of course, the purport is that the king's fame reached as far as the heaven. If the passage were read as त्वत्कीर्तिर्श्रमणश्रान्तेव विवेश स्वर्गनिम्रगां it will be an illustration for an Express Utpreksha.

स्मृति-भ्रान्ति-संदेहालंकारा: (13-15)

पङ्कजं पश्यतस्तस्या मुखं मे गाहते मनः ॥ ३१ ॥ अयं प्रमत्तमधुपस्त्वन्मुखं वेद पङ्कजम्। पङ्कजं वा सुधांशुर्वेत्यस्माकं तुन निर्णयः ॥ ३२ ॥

FIFTH MAYUKHA 43

31 & 32. Reminiscence, illusion and doubt respectively constitute the figures of speech known as Smrti, Bhranti and Sandeha. When I see the lotus, my mind recalls that lady's face. This intoxi -- cated bee thinks your face to be a lotus. Is it a lotus or the Moon-we are not certain.

31 & 32. Where the sight of an object rouses. the memory of a similar object or something con- nected with the same, the figure of speech is Fufa or rafara. Likewise where the sight of an object creates an illusion about the same, the figure is भ्रान्ति or भ्रान्तिमान. Similarly where the sight of an object rouses a doubt about its identity, the figure of speech is संदेह or ससंदेह. Examples for allthe three Alamkaras are set out in order in the three succeeding halves. The sight of a lotus rouses the lover's memory of his sweetheart's face on account of likeness. Hence. पङ्कजं पश्यतः etc. illustrates स्मति. A bee on account of its infatuation mistakes a lady's face for a lotus. Hence अयं प्रमत्त etc. illustrates भ्रान्ति. Here the real character of the Upameya is completely missed by the person seeing. Hence it differs from Rūpaka .. Nextly the sight of a lotus raises the doubt whether it is lotus or the Moon. So vge at etc. is a case of #ag. The following three verses cited from Kuvala- yananda illustrate the said three figures of speech. in order.

44 CHANDRĀLOĶA

दिव्यानामपि कृतविस्मयां पुरस्ता- दम्भस्तः स्फुरदरविन्दचारुहस्ताम्। उद्वीक्ष्य श्रियमिव कांचिदुत्तरन्ती- मस्मार्षीज्जलनिघिमन्थनस्य शौरिः॥ पलाशकुमुमभ्रान्ला शुकतुण्डे पतत्यलिः। सोऽपि जम्बूफलभ्रान्त्या तमलिं हर्तुमिच्छति॥ जीवनग्रहणे नम्रा गृही:वा पुनरुन्नताः । किं कनिष्ठाः किमु ज्येष्ठा घटीयन्त्रस्य दुर्जना:॥

'The following śloka of Uttararamacharita llustrates ·स्मृतिमान.

अतिशयिनसुरासुरप्रभावं शिशुमवलोक्य तवैव तुल्यरूपम् । कुशिकसुतमखद्विषां प्रमाथे वृतधनुषं रघुनन्दनं स्मरामि। V-4.

मीलित-सामान्यालंकारौ (16-17) मीलितं बहुसादृश्याद्भ्रेदवच्चेन्न लक्ष्यते। रसो नालक्षि लाक्षायाश्चरणे सहजारुणे ॥ ३३ ॥ सामान्यं यदि सादश्याद्व्वेद एव न लक्ष्यते। पद्माकरप्रतिष्टानां मुखं नालक्षि सुभ्नुवाम् ॥ ३४॥ 33 & 34. Where the Upamana fails to be noticed on account of the superior likeness of Upameya, the figure of speech is Milita. The paint of red lac was not seen on the naturally ruddy foot (of the lady). Where the distinction of objects is obscured by their likeness, the figure is :Samanya. The faces of ladies were not seen in -the midst of the lotus-pond.

FIFTH MAYŪKHA 45

33 & 34. The distinction between Mīlita and Samanya is very narrow. In the one case the separate individuality of Upamāna and Upameya is not noticeable. In the other the two objects are noticeable as two separate entities, but their dis- tinction is not perceptible. In the illustration for Milita, the paint of red lac and the ruddy feet are not perceptible as two different objects. They appear as a single whole. But in the illustration for a Samanya the faces of ladies and lotuses are known as separate objects, but they cannot be recognized as such. The observer cannot differen- tiate which is the lady's face and which is the lotus. Hence the definition states in Milita-भेदवत् न लक्ष्यते and in Samanya भेद एव न लक्ष्यते. In the first the व्यक्ति or object itself is not observed, whereas in the second, the भेद or व्यावर्तकधर्म i.e., distinction alone escapes notice. The following two verses cited in Kuvalayananda illustrate Mīlita and Samānya respectively. मल्लिकामालभारिण्यः सर्वाङ्गीणार्ई्रचन्दनाः । क्षौमवत्यो न लक्ष्यन्ते ज्योत्स्नायामभिसारिकाः ॥ रत्नस्तम्मेषु संक्रान्तैः प्रतिबिम्बशतैर्व्ृतः । लङ्केश्वरः सभामध्ये न ज्ञातो वालिसूनुना ॥ उन्मीलितालंकार: (18) हेतो: कुतोऽपि वैशिष्टथात्स्फूर्तिरुन्मीलितं मतम् । लक्षितान्युदिते चन्द्रे पद्मानि च मुखानि च। ३५॥

46 CHANDRALOKA

35. A recognition of the Upameya through an excellence (as distinguished from the Upamana) which comes to light by an adventitious circum- stance is called Unmilita. When the Moon rose, lotuses and faces were clearly seen. 35. कुतोऽपि हेतो: Through some reason. वैशिष्टयात् As superior to the Upamana. #fa: A knowledge of the Upameya. During the day the difference between lotuses and faces was not seen, both being alike. When the Moon rises, the lotus fades and loses its brightness, but ladies' faces retain their charm. Hence by reason of the rise of the Moon-an adven- titious circumstance, the Upameya is recognized as distinct from and superior to the Upamana, and the passage therefore falls within the scope of Unmīlita. उन्मीलित literally means opening or disclosure. The scope of this Alamkara is classed in Kuvalayananda under the heads of two figures of speech viz., ant- fea and fanos, but the distinction is negligible.

अनुमानालंकार: (19)

अनुमानं च कार्यादे: कारणाद्यवधारणम्। अस्ति किंचिददनया मां विलोक्य स्मितं मनाक्॥३६ 36. Anumana is the inference of a cause and the like from an effect and the like. There is some- thing (in her heart) inasmuch as she smiled a little on seeing me.

FIFTH MAYŪKHA 47

36. In the illustration, from the effect, viz., -the smile on the lady's lip, the cause, viz., her "love is inferred. Hence the figure of speech is Anumana, lit., inference. Vide the following illus- tration given in Sahityadarpana.

जानीमहेऽस्या हृदि सारसाक्ष्या विराजतेऽन्तः प्रियवक्त्रचन्द्रः । यत्कान्तिजालै: प्रसतैस्तदजेष्वापाण्डता कुझ्ालताक्षिपझे।।

अर्थापत्यलंकार: (20)

अर्थापत्ति: स्वयं सिध्येत्पदार्थान्तरवर्णनम्। स जितस्त्वन्मुखेनेन्दुः का वार्ता सरसीरुहाम्॥ ३७॥

37. Where from the description of one object, the description of another is stated to follow a for- tiori, the figure of speech is Arthapatti. That very Moon has been vanquished by your face. Where is the question of lotuses ?

38. A better definition of Arthapatti has been given in Kuvalayananda as follows :- कैमुत्येनार्थसंसिद्धिः काव्यार्थापनिरिष्यते. Arthapatti is the figure where दण्डा- ar applies. If a rat is said to have made away with a stick in which cakes were arranged it goes without saying that the cakes have been devoured by the rat. This is known as Dandapūpika maxim. In the illustration, the Moon is said to have been vanquished by the lady's face. When

48 CHANDRĀLOKA

the Moon, the conqueror of lotuses, has himself been conquered by the lady's face, where is the question of lotuses that fade at the sight of the Moon ? The victory of the face over the lotus follows without a specific mention. By way of illustration the following verse of Kumarasambhava may be cited.

पशुपतिरपि तान्यहानि कृच्छ्रादगमयदद्रिसुतासमागमोत्कः। कमपरमवशं न विप्रकुर्युर्विभुमपि तं यदमी स्पृशन्ति भावाः ॥ VI-95.

काव्यलिङ्गालंकार: (21)

स्यात्काव्यलिङ्गं वागर्थो नूतनार्थसमर्पकः । जितोऽास मन्द कन्दर्ष मच्चित्तेऽस्ति त्रिलोचनः ॥३८ ॥

38. Where the expressed idea of a word or a sentence substantiates another novel idea, it gives rise to the figure of speech known as Kavyalinga. Fool Cupid, you are vanquished ; there is in my heart the three-eyed lord.

39. वाच: अर्थ: वागर्थ: वाक may be either a word or a sentence. Where the meaning of ar sub- stantiates a main idea expressed in a sentence which by reason of its peculiarity stands in need of justification, Kavyalinga arises. In the place of नूतनार्थसमर्पक: there is also a reading नूतनार्थसमर्थकः. Kuvalayananda gives a different definition :- समर्थनीयस्यार्थस्य काव्यलिङ्गं समर्थनम्. Sahityadarpana gives a

FIFTH MAYŪKHA 49

better definition :- हेतोर्वकक्यपदार्थतवे काव्यलिह्ं निगद्यते. In the illustration the conquest of Cupid is a novel idea and consequently needs to be established, and it is done by the sentence which says that the three-eyed Śiva dwells in the heart of the speaker. The third fiery eye of Śiva is reputed to have burnt Cupid to ashes, and his presence in the mind of the speaker is a sufficient reason to enable the speaker to vanquish Cupid. This is an illustration of the sense of a sentence justifying the main idea. For the sense of a word or phrase substantiating the main idea, vide the following example-

भस्मोडूलन भद्रमस्तु भवते रुद्राक्षमाले शुभ हा सोपानपरम्परे गिरिसुताकान्तालयालंकृते। अद्याराधनतोषितेन विभुना युष्मत्सपर्यासुखा- लोकोच्छेदिनि मोक्षनामनि महामोहे निलीयामहे॥

Here the main idea viz., that Moksha or salvation is tantamount to a delirium is a novel idea, and it is substantiated by the word युष्मत्सपर्यासुखालोकोच्छेदिनि meaning-'which cuts at the root of the experi- ence of the pleasure of serving Bhasma, Rudraksha etc.' A classic example of Kavyalinga is the following śloka- यत्त्वन्नेत्र समा न करान्ति सललले म्अं तदिन्दीव र मेघैरन्तरितः प्रिये तव मुखच्छायानुकारी शशी। येऽपि त्वद्रमनानुसारिगतयस्ते राजहंसा गता- स्त्वत्सादृश्यविनोदमात्रमपि मे दैवेन न क्षम्यते॥। 4

50 CHANDRĀLOKA

Here the intolerance of Fate towards the speaker, a,separated lover, which is a novel idea is substantiated by the three sentences contained in the first three feet of the verse. Hence it is a case of वाक्यार्थहेतुककाव्यलिङ्ग.

At this stage we may examine how Kāvya- linga of the वाक्यार्थहेतुक type differs from अर्थान्तरन्यास and agms. In all the three, no doubt the idea of a subsidiary sentence accounts for the idea of the main sentence, but in different ways as pointed out in Sahityadarpana. In Anumana the subsidiary sentence serves as an index of the idea in the main sentence. The slight smile on the lady's lip is indi- cative of her affection. Hence अस्ति किंचिद्यदनया मां विलोक्य स्मितं मनाक् is an example of Anumana. In अर्थान्तरन्यास the idea in the main sentence is substantiated by a general statement in the subsidiary sentence. But in Kavyalinga the idea of the subsidiary sentences furnishes the reason which brings about or justifies the idea of the main sentence. The presence of Siva in the speaker's heart justifies and probabilises the conquest of Cupid. Hence Rraisfa etc. is a case of Kavyalinga. In other words, in Anumana the हेतु is ज्ञापक, in Arthantaranyasa it is समर्थक, and in Kavyalinga it is निष्पादक.

Nextly, what is the difference between yft and पदार्थहेतुक-काव्यलि :? No doubt in both, the words

FIFTH MAYŪKHA 51

denoting the subsidiary ideas are employed as adjectives. But the difference is that in Kavya- linga the subsidiary idea that accounts for the main idea is expressed, whereas in Parikara it is suggested by the adjective. For instance, the presence of Siva in the speaker's heart, an express- ed idea, accounts for the defeat of Cupid in the illustration of Kavyalinga. In Parikara the adjec- tive सुधांशुकलितोत्ंस: suggests the cool, refreshing character of Siva, and that suggested idea justifies the main idea, viz., the removal of torture of the devotee. The distinction has been pointed out in Kuvalayananda as follows :- परिकरे पदार्थवाक्यार्थवलात्प्रती- यमानार्थी वाच्योपस्कारक्तां भजतः। काव्यलिते तु पदार्थवाक्यार्थवव हेतुभावं भजतः ।।

परिकरालंकार: (22)

अलंकारः परिकर: साभिग्राये विशेषणे। सुधांशुकलितोत्तंसस्तापं हरतु वः शिवः ॥ ३९॥। 39. Where an adjective is suggestive of an import useful to the context, the figure is Parikara. May Siva, adorned by the Moon (Nectar-rayed) remove your torment. 39. In the illustration the adjective gaigai- ardu: substantiates the capacity of Siva to remove the devotee's torture. Siva has the Moon on his head. The Moon is cool and refreshing, and his

52. CHANDRĀLOKA

rays abound in nectar. The wearer of the Moon is therefore in a position to remove the heat of per- sons with whom he comes into contact. Hence the propriety of the prayer addressed to him to remove the heat of worldly tortures. An example of uftex may be noticed in the following śloka of Kumara- sambhava :-

तव प्रसादात्कुसुमायुधोऽपि सहायमेकं मधुमेव लब्धा। कुर्या हरस्यापि पिनाकपाणेधैयच्युति के मम धन्विनोऽन्ये।। III-10.

Here the word पिनाकपाणे: adjectival to हरस्य, and the word कुसुमायुध: adjectival to अहं understood, are suggestive of the superior and inferior equipments of Siva and Cupid respectively. The distinction of this figure of speech from Kavyalinga of the पदार्थहेतुक type has been already noticed.

परिकराङ्करालंकार: (23) साभिप्राये विशेष्ये तु भवेत्परिकराह्ुरः। चतुर्णां पुरुषार्थानां दाता देवश्रतुर्युजः ॥४० ॥

40. But where the qualified noun is suggestive. of a similar import, the figure is Parikarankura .. The Lord Four-armed is the giver of the four objects of life. 40. The distinction of this from yftat is clear. In uftar the suggestion arises from the adjective, but here from the noun. It is appropriate that

FIFTH MAYŪKHA 53

the Four-armed (Vishnu) should dispense the four Purusharthas-Dharma, Artha, Kama and Moksha. It is to be noted that aga: is a noun qualified by देव :. चतुर्भज: is the name of Vishnu. The propriety lies in the choice of that particular appellation of Vishņu.

अतिशयोक्त्यलंकार: (24) अक्रमातिशयोक्ति: (24) a

आलिङ्गन्ति समं देव ज्यां शराश्र पराश्च ते ।।४१॥

41. The simultaneous appearance of the cause and the effect falls under the head known as Akra- matisayokti. O lord, your arrows and enernies simultaneously embrace the string and the Earth respectively.

42. Chandrāloka refers to six kinds of Atiśa- yokti or hyperbole-अकमातिशयोक्ति, अत्यन्तातिशयोक्ति, चपला- तिशयोक्ति, संबन्धातिशयोक्ति, भेदकातिशयोकि and रूपकातिशयोक्ति. Kuvalayananda adds one more variety viz., aar- farif. The fundamental principle of Atisayokti is exaggeration.

The first variety of अतिशयोति referred to in the text is अक्रमातिशयोक्ति. When the cause and effect are described to be simultaneous, this figure of speech arises. The second half of the verse is addressed to

54 CHANDRĀLOKA

a king. हे देव ते शराश्च पराश्च ज्यां समं आलिङ्गन्ति. As applied to TIT:, GaT means the bowstring; and as applied to qT: it means the Earth. The contact of arrows with the bow-string is said to be concurrent with the enemies' fall on the Earth. Of course this suggests the ease with which the king scored a victory over his foes and his extraordinary valour. This is cer .. tainly a poetic exaggeration.

अत्यन्तातिशयोक्ति: (24) b

अत्यन्तातिशयोक्तिस्तत्पौर्वा पर्यव्यतिक्र मे । अग्रे मानो गतः पश्चादनुनीता प्रियेण सा।।४२।।

42. When the sequence of the cause and the. effect is reversed, it is an instance of Atyantāti- śayokti. At first her anger disappeared, then she- was appeased by her lover.

43. In अक्रमातिशयोक्ति the cause and the effect are simultaneous. In अत्यन्तातिशयोक्ति te effect precedes the cause. Of course this is calculated to bring home to the mind the extreme facility with which the effect is produced. In a love-quarrel the lover appeals to his sweetheart to condone his guilt. A description of the sweetheart's pleasure before such an appeal by the lover amounts to a description of the effect pre- ceding the cause. Hence it is a case of अत्यन्तातिशयोक्ति.

FIFTH MAYŪKHA 55

चपलातिशयोक्ति: (24) c

चपलातिशयोक्तिम्तु कार्ये हेतुप्रसक्तिजे। यामीति प्रियपृष्टाया चलयोऽभवदूर्मिका॥ ४३॥ 43. Where an effect is described as brought about by a mere mention of the cause, it is a case of Chapalatisayokti. When the lover asked-'Shal! I go,' her ring became a bracelet.

43. The exaggeration in चपलातिशयोक्ति lies in the fact that the mere mention of the cause produces the effect. This is also suggestive of the facility in bringing about the result. The lover merely asked-'Shall I go.' But the sweetheart became already afflicted with the grief of separation. Her body languishes. Her ring becomes a bracelet. So much is she reduced. The following is an oft- quoted example of this figure of speech- यामि न यामीति धवे वदति पुरस्तात्क्षणेन तन्वङ्गयाः । गलितानि पुरो वलयान्यपराणि तथैव दलितानि॥

संबन्धातिशयोक्ति: (24) d संबन्धातिशयोक्ति: स्यात्तदभावेऽपि तद्चः । पश्य सौधाग्रसंसक्तं विभाति विधुमण्डलम् ॥ ४४॥ 44. Sambandhātiśayokti is the description of a thing where it is not. Behold, clinging to the top of the mansion shines the disc of the Moon.

56 CHANDRĀLOKA

44. संबन्धातिशयोक्ति is treated as twofold in Kuvala- yananda-अयोगे योगकल्पनं and योगेऽययोगकल्पनं, postulating a connection where it is not, and postulating its absence where it is. The connection between the Moon and the top of the mansion is a fiction, and since it is asserted the illustration given in the text exemplifies संबन्धातिशयोक्ति of the first kind. For the second type of the same, the following is an example :- त्वयि दातरि राजेन्द्र खवर्द्रुमान्नाद्रियामहे. The king's magnanimity is extolled as so high that beggars ceased to have any regard for the Kalpaka trees. Here a regard for Kalpaka trees which is a perma- nent truth is described as absent. The following two glokas respectively exemplify संबन्धातिशयोक्ति of the above two types. (1) कतिपयदिवसैः क्षयं प्रयायात्कनकगिरिः कृतवासरावसानः । इति मुदमुपयाति चक्रवाकी वितरणशालिनि वीररुद्रदेवे।। (2) अनयोरनवद्याङ्ञि स्तनयोर्जृम्भमाणयोः । अवकाशो न पर्याप्तस्तव बाहुलतान्तरे॥ In the first example the joy of Chakravāka birds is postulated, in the second the breasts are described to have no interval between when . they have. भेदकातिशयोक्ति: (24) e भेदकातिश योक्तिश्वेदेकस्यैवान्यतोच्यते। अहो अन्यैव लावण्यलीला बालाकुचस्थले ॥ ४५ ॥

FIFTH MAYŪKHA 5%

45. Where a thing is described as different from itself, the figure of speech is known by the term Bhedakatiśayokti. Wonder! The charm of love- liness on the damsel's breasts is really different from what it is. 45. The illustration given in Kuvalayananda for this is the folllowing :- अन्यदेवास्य गाम्भीर्यमन्यद्वैये महीपतेः

रूपकातिशयोक्ति: (24) f

रूपकातिशयोक्तिश्ेद्रप्यं रूपकमध्यगम्। पश्य नीलोत्पलद्वन्द्वान्निःसरन्ति शिता: शराः ॥४६॥ 46. Where the Upameya totally merges into the womb of the Upamana whose form is super- imposed on it, the figure of speech goes by the name of Rūpakatiśayokti. Behold, sharp arrows emerge from a pair of blue lotuses. 46. The principle in रूपकातिशयोक्ति is निगीर्याध्यवसान. It consists of two elements-निगरण and अध्यवसान. निगरण means the suppression of the Upameya. When the Upameya is not expressly mentioned, but the Upamāna alone whose character is attributed to the Upameya is expressed, fTTT takes place. Hence in Atiśayokti, the Upameya is never referred to. अध्यवसान means the definite perspective of the Upameya in the light of the Upamana.

58 CHANDRĀLOKA

निगरण distinguishes अतिशयोक्ति from रूपक. अध्यवसान distin- guishes it from उत्प्रेक्षा. In उत्प्रेक्षा the Upameya is suspected to be Upamana with a greater leaning towards viewing it as Upamana. In अतिशयोक्ति the Upameya is definitely determined to be the Upa- mana. In the illustration given, the pair of eyes is the Upameya or Rūpya, and a pair of blue lotuses is the Upamana or Rupaka. The pair of eyes is not expresssly mentioned. It merges into the womb of the Upamana. The sharp arrows are no other than the side-glances of love emerging from a lady's eyes. Here both निगरण and अध्यवसान are present. Hence it is a case of रूपकातिशयोक्ति. Another oft-yuoted example of this is the following śloka :- वापी कापि स्फुरति गगने तत्परं सूक्ष्मपद्या सोपानालीमधिगतवती काश्चनीमैन्द्रनीली। अग्रे शैलौ सुकृतिमुगमौ चन्दनच्छन्नदेशौ तत्रत्यानां सुलभममृतं संनिधानात्सुधांशोः। Here the navel and other limbs of the lady are not specifically mentioned. Their corresponding Upamanas, 'a well' and others alone are expressed. This is the most important type of अतिशयोक्ति though mentioned last. In the scheme of Kuvalayananda this comes first among the different kinds of अतिशयोक्ति

परोढोक््यलंकार: (25) प्रौढोक्तिस्तदशक्तस्य तच्छक्तत्वावकल्पनम् । कलिन्दजातीररूहा: श्यामला: सरलद्ुमाः ॥४७॥

FIFTH MAYŪKHA 59

47. Attributing a potency to a thing, which it has not got, goes by the name of Praudhokti. Black are the Sarala trees growing on the banks of the Jumna.

48. The river Yamuna is no doubt black, but it does not follow that the trees growing on its banks must be black. The imparting of blackness to the trees which is not within the competence of the river is attributed to it. Hence this is an instance of Praudhokti. The commentary Rama has the following remark-अय चातिशयोक्तिभेदो नालकारान्तर- मिति काव्यप्रकाश :. But there is no specific mention about this in Kavyaprakaśa. Perhapsit is only a deduction from Kavyaprakaśa by the author of Rama.

संभावनालंकार: (26)

संभावनं यदीत्थं स्यादित्यूहोऽन्यप्रसिद्धये। सिक्तं स्फटिककुम्भान्तःस्थितिश्वेतीकृतैर्जलैः ॥ ४८॥ मौक्तिकं चेल्लतां सूते तत्पुष्पैस्ते समं यशः। 48. A speculation about an object that if it were so and so, something else will result, forms the figure of speech known as Sambhavana. If the pearl sprinkled with waters made white by their remaining in the interior of crystal jars grows into a plant, then with the flowers of such a plant can be compared your fame.

60 . CHANDRĀLOKA

48. A king is addressed in the passage of illustration. Fame is generally described by poets as white. The intensity of its whiteness is referred to by means of a a or Eg. Crystal jars are white, pearl is white. Pearl sprinkled with water from crystal jars must be still more white. If that pearl develops from the stage of a seed to that of a tree, and that tree puts forth flowers, its flowers must be extremely white. Then the king's fame can be compared to such flowers. The use of so many 'if's clarifies that the Upamana is totally non-existent. This figure of speech is treated by the author of Kavyaprakasa as a variety of अतिशयोक्ति-यद्यर्थोकौ $44, and the following śloka is cited as an example :- राकायामकलङ्कं चेदमृतांशोर्भवेद्दपुः। तस्या मुखं तदा साम्यपराभवमवाप्तुयात्।। Sāhityadarpana which follows Kavyaprakāśa cites almost a similar example as follows :- यदि स्यान्मण्डले सक्तमिन्दोरिन्दीवरदयम्। तदोपमीयते तस्या वदनं चारुलोचनम् ॥ A classic example of this kind of अतिशयोकि .according to Kāvya Prakāśa, or of Sambhāvanā according to Chandraloka is the following śloka of Magha- उभौ यदि व्योन्नि पृथक्प्रवाहावाकाशगङ्वापयसः पतेताम्। तेनोपमीयेत तमालनीलमामुक्तमुक्तालतमस्य वक्ष:। III-8.

FIFTH MAYŪKHA 61.

The following śloka of Kumarasambhava may also be cited by way of example.

पुष्पं प्रवालोपहितं यदि स्यान्मुक्ताफलं वा स्फुटविद्रुमस्थम्। ततोऽनुकुर्याद्विशदस्य तस्यास्ताम्रोष्ठपर्यस्तरुच: स्मितस्य॥ I-44.

प्रहर्षणालंकार: (27)

वाञ्छितादधिकप्राप्तिरयलेन ग्रहर्षणम् ॥ ४९॥ दीपमुद्द्योतयेद्यावत्तावदभ्युदितो रविः।

49. An easy fruition of the desire to a higher extent than wished for is known as Praharshana .. By the time the lamp was lit, the Sun rose. 49. प्रहर्ष and विषाद represent two extreme op- posites. In the illustration the light of the lamp was wished for, but the much superior light of the Sun was got. Kuvalayananda refers to two other kinds of Praharshana- (1) उत्कष्ठितार्थसंसिद्धिर्विना यत्नं प्रहर्षणम्। तामेव ध्यायते तस्मै निसष्टा सैव दूतिका।। (2) यत्नादुपायसिद्धयर्थात्साक्षाल्लाभः फलस्य च। निध्यअ्जनौषधीमूलं खनता साधितो निधिः॥

विषादनालंकार: (28)

इष्यमाणविरुद्धार्थसंप्राप्तिस्तु विषादनम् ॥ ५० ॥ दीपमुद्द्योतयेद्यावत्तावनन्निर्वाण एव सः।

62 CHANDRÄLOKA

50. A happening contrary to the wish with which a certain course has been pursued is known as Vishada. By the time the lamp was lit it was extinguished.

51. Another classic example cited in Kuvalaya- nanda for this figure of speech is the following :-

रात्रिर्गमिष्यति भविष्यति सुप्रभातं भास्वानुदष्यति हसिष्यति पङ्गजश्रीः । इत्थं विचिन्तयति कोशगते द्विरेफे हा हन्त हन्त नलिनीं गज उज्जहार।

तुल्ययोगितालंकार: (29)

क्रियादिभिरनेकस्य तुल्यता तुल्ययोगिता ॥५१ ॥ संकुचन्ति सरोजानि खैरिणीवदनानि च। प्राचीनाचलचूडाग्रचुम्बिबिम्बे सुधाकरे ॥ ५२॥

51 & 52. Parity of objects with reference to the predicated action or attribute forms the basis for Tulyayogita. The flowers of lotus and the faces of lustful women shrink alike when the Moon's disc kisses the topmost peak of the eastern mountain.

51 & 52. आदि in क्रियादि refers to quality. Hence क्रियादिमि: means 'through an action or a quality.' The plural number in क्रियादिभि: refers to the multifarious actions and qualities individually.

FIFTH MAYŪKHA 63

Where a common action or quality is described with reference to a number of persons or objects, the figure of speech is तुल्ययोगिता. The difference between this and दीपक is to be noted. In मुल्ययगिता either all of them are 34 relevant to the context, or all of them are ergrza non-relevant. whereas in Dipaka, both relevant and non-relevant objects are described alike. In the illustration asafa atc., the action of shrinking is predicated of lotus-fiowers and lusty women's faces. Since the nightfall is described, the lotus-flowers and women's faces are both relevant to the context. An illustration of aafar where the objects that possess the common attribute are not relevant is given in Kuvalaya- nanda as follows :- त्वद्ङ्गमार्दवे दृष्टे कस्य चित्ते न भासते। मालतीशशमृल्लेखाकदलीनां कटोरता॥

When the tenderness of a lady's body is the subject of the context, the Malati flower, the digit of the Moon and the plantaia-fruit are all outside the province of the context. For this kind of तुल्ययोगिता, Kuvalayananda gives another example from Kumārasambhava-

नागेन्द्रहस्तास्त्वचि कर्कशत्वादेकान्तशैयात्कदल्ीविशेषाः। लब्ध्ापि लोके परिणाहि रूपं जातास्तदूर्वोरुपमानवाह्या:॥1-36.

Another example will be the following śloka of Raghuvamsa :-

64 CHANDRĀLOKA

संचारपूतानि दिगन्तराणि कृत्वा दिनान्ते निलयाय गन्तुम्। प्चकरमे पल्लवरागताम्रा प्रमा पतङ्गस्य मुनेश्च धेनु:॥II-15. Another kind of तुल्ययोगिता set out.in Sarasvati- kanthabharana is referred to in Kuvalayananda. Its characteristIc is हिताहिते वृत्तितौल्यं-an equal treat- ment to a friend and a foe. Example :- यश्च निम्बं परशुना यश्चैनं मधुसर्पिषा। यश्चैनं गन्धमाल्यादैः सर्वत्र कटुरेव सः ।। Yet another kind of तुल्ययोगिता propounded in Kāvyādarśa has also been mentioned in Kuvalayā- nanda. Definition :- गुणोत्कृष्टैः समीकृत्य वचोऽन्या तुल्ययोगिता। लोकपालो यमः पाशी श्रीदः शक्रो भवानपि॥ Another example of this kind of तुल्ययोगिता given there is the following :- संगतानि मृगाक्षीणां तटिद्विलसितान्यपि। क्षणद्दयं न तिष्ठन्ति घनारब्धान्यपि स्वयम्॥ This variety of Tulyayogita, as it is according to Kāvyādarśa, is included under the head of fafa by Chandraloka. fafe is one of the Lakshanas of Kavya mentioned in Chandraloka. which are almost on a par with Alamkaras. faf& has been referred to in the third Mayükha of Chandraloka in these terms :- सिद्धि: ख्यातेषु चेन्नाम कीर्त्यंते तुल्यतोक्तये। युवामेवेह विख्यातौ त्वं बलैजलधिर्जलै: ॥। Siddhi occurs where a certain object is men- tioned in the midst of reputed objects so as to in- crease its status.

FIFTH MAYŪKHA 65

दीपकालंकार: (30) a

प्रस्तुताप्रस्तुतानां च तुल्यत्वे दीपकं मतम्। मेधां बुधः सुधामिन्दुर्षिभर्ति वसुधां भवान् ॥ ५३॥ 53. Parity of relevant and non-relevant ob- jects mentioned together constitutes Dīpaka. A wise man holds a high intellect, the Moon nectar, and yourself the Earth. 53. The distinction of this from तुल्ययोगिता has been already pointed out. दीपक is so-called, because the common attribute predicated with reference to a relevant object applies casually to the non-relevant in the same way as a lamp lit for a house lights the street as well. दीपसादृश्यादीपकं. दीपक=दीप+कन् (इवार्थे). Vide Panini :- संज्ञायां च. In the illustration, the king alone is relevant to the context; the Moon and the wise man are not. The common predicate is बिभर्ति. The following is an additional illustration given in Kuvalyānanda :- मणि: शाणोल्लीढ: समरविजयी हेतिदलितो मदक्षीणो नागः शरदि सरिदाश्यानपुलिना। कलाशेषश्चन्द्रः सुरतमृदिता बालवनिता तनिम्रा शोभन्ते गलितविभवाश्चार्थिषु नृपाः ।।

आवृत्तिदीपकालंकार: (30) b आवृत्ते दीपकपदे भवेदावृत्तिदीपकम्। दीप्त्याग्निर्भाति भातीन्दुः कान्त्या भाति रविस्त्विषा॥५४॥ 5

66 CHANDRĀLOKA

54. Where the word expressive of the point of similarity is repeated with reference to every one of the similar objects in a Dīpaka, that type of Dīpaka is said to be Avrtti Dīpaka. The fire shines with its blaze; the Moon shines with his splendour; the Sun shines with his lustre.

55. In the illustration, if the day is the subject of description, the Sun is relevant; if the night is described, the Moon is relevant ; and if the evening is described, the fire is relevant. The other two in each are non-relevant. Hence the definition of Dipaka applies. The common predicated action is 'shining'. Since the word arfa is repeated, the passage illustrates आवृत्तिदीपक. If in the place of रविस्त्विषा the reading is त्विषा भवान, the king is the subject of the context, and the other two are not. Another type of Dipaka, viz., मालादीपक is referred to later on in verse 89.

प्रतिवस्तूपमालंकार: (31)

वाक्ययोरर्थसामान्ये प्रतिवस्तूपमा मता। तापेन भ्राजते सूर्यः शूरश्रापेन राजते ॥ ५५ ॥

55. Where there is a parallelism in meaning between two sentences, the figure of speech em- ployed is Prativastüpama. The Sun beams with his radiance, the hero shines with his bow.

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55. The etymology of the word प्रतिवस्तूपमा is to be explained thus :- प्रतिवस्तु (प्रतिवाक्याथ) उपमा (सादृश्यं) अस्याम्. In प्रतिवस्तूपमा there are two sentences, one dealing with Upamana and one with Upameya. The action or quality predicated in both the sentences is the same, but conveyed by different words. In the illustration, तापेन भ्राजते सूर्य: is the sentence dealing with Upamana, and शूरश्रापेन राजते deals with Upame- ya. The common characteristic predicated in both the sentences is 'shining,' but that idea is conveyed by two different words-म्राजते and राजते. Here the predicate is positive in both the sentences. It is also possible to predicate a positive quality in one sentence and predicate its negation in the other. As an example of Prativastūpama of this type, Kuvalayananda cites the following example :- विद्वानेव विजानाति विद्वज्जनपरिश्रमम्। न हि वन्ध्या विजानाति गुर्वी प्रसववेदनाम् ॥

As to what is meant by वस्तु प्रतिवस्तुभाव which is of the essence of this Alamkara, see notes under cera.

दष्टान्तालंकार: (32)

चेद्धिम्बप्रतिबिम्बत्वं दृष्टान्तस्तदलंकृतिः । स्यान्मल्लप्रतिमल्लत्वे संग्रामोद्दामहुंकृतिः ॥५६॥ दृष्टाऽन्तश्रेद्वन्मूर्तिस्तन्मृष्टा दैवदुलिपिः। जाता चेत्प्राक्प्रभा मानोस्त्हि याता विभावरी॥५७ ।।

68 CHANDRĀLOKA

56 & 57. If there is the semblance of an image and its reflection between two sentences, the figure of speech of Drshtänta will arise. If there is the engagement of a wrestler and his opponent in an encounter, the militant cry of 'hum' will arise. If your form is visualised in the heart, the wretched ordainment of Fate is at an end. If the Sun's lustre is risen in the East, the night is come to a close. 56 & 57. दृष्टान्त and प्रतिवस्तूपमा are alike in so far as there is complete balance between the two sentences dealing with Upamana and Upameya., In sfaaraga the same idea is conveyed by two different words in two sentences. In Egra two ideas which are treated alike by reason of their close resemblance are conveyed in two sentences by two different words. वस्तुप्रतिवस्तुभाव is of the essence of प्रतिवस्तूपमा whereas बिम्बप्रतिबिम्बभाव is of the essence of EeT-a. There are two illustrations given in the text for ggra. In the 56th verse the first half represents the sentence dealing with Upameya, and the second half deals with Upamana. The first half describes the rise of the figure of speech known as agra, the second with the rise of 'hum.' Corres- ponding to the condition of बिम्बप्रतिबिम्बत्व in the- उपमेयवाक्य, there is the condition of मछप्रतिमछ्लत्व in the a4. Not content with this illustration, the. author gives another illustration of this figure of

FIFTH MAYŪKHA 69

speech in verse 57. It is addressed to Lord Vishnu. भवन्मूर्तिः अन्तः दृष्टा चेत् तत् (तदा) दैवदुर्लिपि: मृष्टा. This is the sentence dealing with Upameya. भानो: प्रभा प्राक् जाता चेत् तर्हि विभावरी याता deals with Upamana. Each one of the limbs of उपमेयवाक्य has a corresponding counter- part in the उपमानवाक्य, and as such both the sentences are absolutely equally balanced. The two ideas yer and maT, though really different, so closely resemble each other that they lend themselves to be viewed as one idea, and the same is expressed in two different words. Hence there is विम्बप्रतिविम्बभाव .between the two sentences, and the figure of speech known as Eera arises.

In this connection it will be useful to observe the distinction between the three terms-अनुगामिधर्म, विम्बप्रतिबिम्बभाव and वस्तुप्रतिवस्तुभाव which are often met with in treatises on poetics. अनुगामिधर्म means one common characteristic. It is expressed by one word, both with reference to the Upamana and Upameya. Both the idea and the word are the same. In वस्तुप्रतिवस्तुभाव the idea is the same, but it is conveyed by two different words with reference to the Upamana and the Upameya. एकस्यैव धर्मस्य संबन्धिभेदेन द्विरुपादानं वस्तुप्रतिवस्तुभावः But वस्तुप्रतिवस्तुभाव does not stand by itself. It always co-exists with fara- पतिबिम्बभाव. In बिम्बप्रतिबिम्बभाव there are two different adeas, one relating to the Upamana, the other to the

70 CHANDRĀLOKA

Upameya, but they are treated alike by reason of their very close resemblance, and they are conveyed by two different words. वस्तुतो मिन्नयोरुपमानोपमेयधर्मयोः परस्परसादृश्यादभिन्नतयाऽध्यवसितयोः पृथगुपादानं बिम्बप्रतिबिम्बभावः Where there is बिम्प्रतिबिम्बभाव there may or may not be वस्तुप्रतिवस्तुभाव, but in all cases of वस्तुप्रतिवस्तुभाव there is बिम्बप्रतिबिम्बभाव. The character of बस्तुप्रतिवस्तु- a will be apparent from the following illustration ..

यान्त्या मुहुर्वलितकन्वरमाननं त- दावृत्तवृन्तशतपत्रनिभं वहन्त्या। दिग्धोऽमृतन च विषेण च पक्ष्मलाक्ष्या गाढं निखात इव मे हृदये कटाक्षः।।

Here one and the same idea is expressed by two words वलित and आवृत्त, adjectival to कन्धरा and वृन्त respectively with reference to the Upameya and Upamana. In this verse Malati's face is described by Madhava. Her face is compared to a lotus flower. Corresponding to the neck with reference to the face, there is the grip on which the flower is grown. There is therefore बिम्बप्रतिबिम्बभाव between कंधरा and वृन्त. The neck turned round corresponds to the flower turned round. The idea of turning round, though single, is expressed by different words वलित and आवृत्त, and hence there is वस्तुप्रतिवस्तुभाव. As an illustration of बिम्बप्रतिबिम्बभाव unmixed with वस्तु- प्रतिवस्तुभाव may be cited the following sloka :-

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पाण्डयोऽयमंसार्पितलम्बहार: कुपावरागो हरिचन्दनेन। आभाति वालातपर क्तसानुः सनिझरोद्वार इवाद्रिराज:॥ (Raghuvamśa VI-60)

Here the Pandya king is compared to a mountain. As accessories to the simile are referred to his necklace and red sandal-paste which respectively correspond to the rills and the morning sunshine on the mountain. This is a pure case of बिम्बप्रतिबिम्बभाव. To quote an example where all the three principles combine may be cited the following śloka- तद्वल्ुना युगपदुन्मिषितेन ताव- त्सदः परस्परतुलामधिरोहतां द्वे। प्रस्पन्दमानपरुषेतरतारमन्त- श्रंक्षुस्तव प्रचलितभ्रमरं च पद्मम् । (Raghuvamsa V-68)

Here the morning is described. It refers both to the opening of the eyes of the king and to the opening of the buds of lotuses. वल्गु युगपदुन्मिषित, a charming simultaneous opening, is the common characteristic of the king's eye and the lotus. It illustrates अनुगामिधर्म. Corresponding to the तार or pupils in the case of eyes, there is "HT or black bee in the lotus. It illustrates बिम्बप्रतिबिम्बभाव. The pupils are moving to and fro. Likewise black bees are moving on the lotus. The same idea of motion is expressed by two different words प्रस्पन्दमान and प्रचलित with reference to तार and भ्रमर respectively. Hence there is वस्तुप्रतिवस्तुभाव.

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In दषान्तालंकार it must be noted there is बिम्बप्रतिबि- ma between the ideas of two different sentences. The example given in Kuvalayananda for दष्टान्तालंकार is the following :- त्वमेव कीर्तिमान् राजन विधुरेव हि कान्तिमान् The following śloka of Raghuvamśa is a classic example cited for this Alamkara- कामं नृपाः सन्तु सहस्रशोऽन्ये राजन्वतीमाहुरनेन भूमिम्। नक्षत्रताराग्रहसंकुलापि ज्योतिष्मती चन्द्रमसैव रात्रिः ॥ VI-22.

निदर्शनालंकार: (33)

वाक्यार्थयोः सदशयोरैक्यारोपो निदर्शना। या दातुः सौम्यता सेयं सुधांशोरकलङकता॥५८॥

58. An ascription of identity between two parallel ideas of two sentences constitutes Nidar- śana. What is geniality to a giver, freedom from the black mark is to the Full Moon.

59. In æra two similarly balanced sentences are given. In fam identity is expressly attributed to the ideas set out therein. यद्दातुः सौम्यता is one sen- tence, पूर्णेन्दोरकलङ्गता is another sentence, and they are equated by the connecting phrase ai. The geniality of the giver is the idea set out in the उपमेयवाक्य. Freedom from black mark for the Full Moon is the idea set out in the उपमानवाक्य. They are both stated to be identical. The purport is that geniality is as much far from a giver as the absence of black mark

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from the Fuil Moon. Another example of er cited in Kuvalayananda runs as follows :- अरण्यरुदितं कृतं शवशरीरमुद्दर्तितं स्थलेऽव्जमवरोपितं सुचिरमूपरे वर्षितम्। श्वपुच्छमवनामित बधिरकर्णजाप: कृतो धृनोऽन्धमुखदपणो यदबुधो जनः सेवितः ॥ Nidarśana bas been divided in other treatises on Alamkära including Kuvalayananda into two classes, पदार्थवृत्ति and वाक्याथव्ति. It has been already pointed out that पदार्थवृत्तिनिदर्शना is termed by Jayadeva, the author of Chandraloka, as ललितोपमा. According to Chandraloka the only kind of Nidarsana recognized is वाक्यार्थवृत्ति. वाक्यार्थ in the definition वाक्यार्थयोः refers to a finite idea composed of parts, not necessarily to an idea conveyed by a sentence. Accordingly Appayya Dikshita paraphrases वाक्यार्थयो: as बिम्बप्रति- बिम्बभावापन्नवस्तुविशिष्टस्वरूपयोः प्रस्तुताप्रस्तुतधमयोः. Hence even when ideas are conveved by words or phrases and not by sentences, we can note Nidarsana if the ideas are composite. Hence it is that Nidarsana is said to be the figure of speech in this verse- राजसवा मनुष्याणामसिधारावलेहनम्। पञ्चाननपरिष्वङ्गो व्यालीवद्नचुम्वनम् ॥ The difference between सावयवरूपक and निदर्शना is that in the former each separate part going to make up the Upameya is identified with one such separate part that goes to make up the Upamāna. In Nidarśana the composite whole of Upameya is

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identified with the composite whole of Upamana. For an example of सावयवरूपक, see the following sloka- ज्योत्स्नाभस्मच्छुरणधवला विभ्रती तारकास्थी- न्यन्तर्धानव्यस्नरसिका रात्रिकापालिकीयम्। द्वीपाद्द्वीपं भ्रमति दधती चन्द्रमुद्राकपाले न्यस्तं सिद्धाज्जनपरिमलं लाव्छनस्य च्छलेन।। Here the night is identified with a Kapaliki. The component parts viz., the moonshine, the stars, the Moon and the black dot therein are respectively identified with ashes, bones, bowl and magic colly- rium. As contrasted with this, note the following illustration of Nidarśana- त्वयि सति शिव दातर्यस्मदभ्यर्थिताना- मितरमनुसरन्तो दर्शयन्तोऽर्थिमुद्राम्। चरमचरणघातैदुर्ग्रहं दोग्धुकामाः करभमनुसराम: कामधेनौ स्थितायाम्।। Here persons who beg of others when Śiva is the giver of boons are identified with persons who wish to milk a camel when there is a cow. Here one composite whole is identified with another composite whole. Hence it is an instance of Nidarsana. Though there are no two different sen- tences, there are two complete parallel composite ideas which are identified.

व्यतिरेकालंकार: (34) व्यतिरेको विशेषश्चेदुपमानोपमेययोः। शैला इवोन्ताः सन्तः किंतु प्रकृतिकोमलाः ॥५९॥

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59. Vyatireka arises where there is distinction between an Upamana and the Upameya. Great men are lofty like mountains, but are soft by nature.

60. In the illustration given, the distinction between the Upamana and the Upameya results in the superiority of the Upameya. Another illustra- tion of the same kind may be noticed in the following verse cited in Kuvalayananda.

पह्लवतः कल्पतरोरेष विशेषः करस्य ते वीर। भूषयति कर्णमेक: परस्तु कर्णे तिरस्कुरुते॥

Sometimes the distinction results in the in- feriority of the Upameya, sometimes neither in its superiority nor inferiority. For examples of these two types, note the following ślokas cited in Kuvalayānanda. रक्तस्त्वं नवपल्लवैरहमपि श्रलाध्यैः प्रियाया गुणै- स्त्वामायान्ति शिलीमुखाः स्मरधनुर्मुक्तास्तथा मामपि। कान्तापादतलाहतिस्तव मुदे तद्वन्ममाप्यावयोः सव तुल्यमशोक केवलमहं धात्रा सशोक: कृतः॥ दृढतरनिबद्धमुष्टे: कोशनिषण्णस्य सहजमलिनस्य। कृपणस्य कृपाणस्य च केवलमाकारतो भेद: ॥

सहोक्त्यलंकार: (35)

सहोक्ति: सहभावश्रेन्भासते जनरञ्जनः । दिगन्तमगमद्यस्य कीर्तिः प्रत्यर्थिभि: सह ॥ ६० ॥

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60. Where an association of two objects is charmingly set out in their realationship with a' predicated action or attribute, the figure of speech is Sahokti. The fame of that ruler reached the farthest end of the quarters along with his foes.

61. In the illustration, JF refers to a king whose description is relevant. The following illus- * tration is also cited in Kuvalayananda. छाया संश्रयते तलं विटपिनां श्रान्तेव पान्थैः समं मूलं याति सरोजलस्य जडता ग्लानेव मीनैः सह। आचामत्यहिमांशुदीधितिरपस्तप्तेव लोकैः समं निद्रा गर्भगृहं सह प्रविशति क्वान्तेव कान्ताजनैः॥

The association of objects must be suggestive of their relationship as Upamana and Upameya. Hence there is no सहोक्ति in the following verse :- अनेन सार्घ विहराम्बुराशेस्तीरेषु तालीवनमर्मरेषु। द्वीपान्तरानीतलवङ्पुष्पैरपाकृतस्वेदलवा मरुद्गि:॥ (Raghuvamśa VI-57)

विनोक्त्यलंकार: (36) विनोक्तिश्चेद्विना किचित्प्रस्तुतं हीनमुच्यते। विद्या हृद्यापि साऽवद्या विना विनयसंपदम् ॥ ६१। 61. Where the subject of context is described as defective without something else, the figure is Vinokti. Learning, though charming, is faulty without the virtue of modesty.

FIFTH MAYŪKHA 17

61. Another illustraton cited for this figure in Kuvalayananda is the following :- यश्च रामं न पश्येनु यं च रामो न पश्यति। निन्दितः स भवेल्ोके स्वात्माप्येनं विगर्हते ॥ Without the sight of Rama, a person is said to be reprehensible. Another type of Vinokti arises where the subject of context is described as benefiting by the absence of something else. Its definition and example are given in Kuvalayananda thus :- तच्चेत्किंचिद्विना रम्यं विनोक्ति: सापि कथ्यते। विना खलैर्विभात्येषा राजेन्द्र भवतः सभा॥

समासोक्त्यलंकार (37)

समासोक्ति: परिस्फूर्ति: प्रस्तुतेऽप्रस्तुतस्य चेत्। अयमैन्द्रीमुखं पश्य रक्त्तश्चुम्बति चन्द्रमाः ॥ ६२।।

62. Where from the description of a relevant- object, the picture of an irrelevant object is present -- ed to the mind's eye, the figure of speech is known as Samasokti. Look, yonder ruddy Moon kisses the face of the eastern quarter.

63. The suggestion of a non-relevant object may arise from the description of a relevant object by force of adjectives which are equally applicable to both or otherwise. The etymology of the word anrifen is

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समासेन (संक्षेपेण) (प्रस्तुताप्रस्तुतवृत्तान्तयोः) उक्तः a brief description of the incidents relating to pertinent and non-per- tinent things. In Samasokti, an incident of a non- relevant object is ascribed to a relevant object. Such ascription may take place by a reference to the action, sex or attributes-कार्य, लिङ्ग or विशेषण or a com- bination of any two or all of them. In the instance in question, the description of the rising Moon illumining the eastern horizon presents the picture of a lover attached to another man's wife. The several factors that contribute to this result are as follows. The word ga is a word of double meaning, viz., the face and the front portion. T means both a person attached and ruddy; and fa, though denoting in the context 'touches,' is equally express- ive of the idea of kissing. Further the word taat= aw ga by virtue of the feminine gender and the word Indra comprised in the compound is suggestive of a woman belonging to another. The mascu- line gender in qgar: is also responsible for the result. Here it may be noted that the idea of the irrelevant lover attached to his secret beloved is presented by कार्य, लिङ्ग and विशेषण, all put together; कार्य in so far as kissing is concerned, fas in so far as the words qear and चन्द्रमस् are concerned, and विशेषण in so far as it relates to the word <m :. In this case wa aids the figure-the double meaning in मुखं, रक्: and चुम्बति. As an instance of aHrttfr arising without invoking

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the aid of Slesha, butby a mere reference to common actions and attributes, the following śloka is cited in Kuvalayānanda :- व्यावल्गत्कुचभारमाकुलकचं व्यालोलहारावलि प्रेङ्गत्कुण्डलशोभिगण्डयुगलं प्रस्वेदिवक्त्राम्बुजम् । शश्वद्दत्तकर प्रहार मधिकश्वासं रसादेत्या यस्मात्कन्दुक सादरं मुभगया संसेव्यसे तत्कृती॥। Vide the following note on the same in Kuvalaya- nanda-अन्र कन्दुकवृत्तान्ते वर्ण्यनाने व्यावल्गत्कुचभारमित्यादिक्रिया- विशेषणसाम्याद्विपरीतरतामक्तनायिकावृत्तान्तः प्रतीयते. In रूपक there is अप्रस्तुतरूपसमारोप on the प्रस्तुन; in समासोकि there is अप्रस्तुतव्यवहारक्षमारोप. While in समासोक्ति a non-relevant object strikes the mind of the reader from a description of the subject of context, in अप्रस्तुतप्रशंसा the subject of context flashes forth in the reader's mind from the description of an irrelevant object.

श्लेषालंकार: (38) खण्डल्लेष: (38) a

खण्डश्लेषः पदानां चेदेकैंकं पृथगर्थता। उच्चलन्बूरिकीलाल: शुशुभे वाहिनीपतिः ॥ ६३॥ 63. Khandaślesha occurs where words have got double meanings separately. The commander of forces shone with (the enemies') blood pouring forth in plenty (as a result of the use of his weapons). The Ocean shone with welling water in plenty.

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63. शलेष or paranomasia is of two kinds-शब्दश्लेष and agae, pun arising from the sound, and that arising from the sense. asawy is also of two kinds- खण्डश्लेष and भङ्गश्लेष. In खण्डश्रलेष are employed words which have different meanings separately. In a8o words are used which in compounds or Sandhi have different meanings while the separate members constituting the same have no double meaning. In the instance cited in the text for खण्डश्लेष, a commander of forces is the subject of the context. But the- words denote also the Ocean which is not relevant. वाहिनीपति means the commander of forces and also the Ocean. वाहिनी means both an army and a river. उच्चलत् भूरि कीलालं यस्य सः उच्चलद्धरिकीलालः (सन). कीलाल means both blood and water. The commander sheds the blood of enemies profusely in battle. The Ocean abounds in waters swelling high. ga shone. Arthaślesha is treated of later on.

भङ्गग्लेष: (38) b

भङ्गश्लेषः पदस्तोमस्यैव चेत्पृथगर्थता। अजरामरता कस्य नायोध्येव पुरी प्रिया॥ ६४ ॥

64. Bhangaslesha arises where words have only collectively got double meanings. Who does. not like immunity from old age and death like the. city of Ayodhya attached to Aja and Rama ?

FIFTH MAYŪKHA 81

64. अजरामरता has collectively two meanings. अजरश्च अमरश्च, तयोर्भावः अजरामरता The absence of old age and death. अजश्र रामश्च तयो रता अजरामरता Taking delight in Aja and Rama. Aja and Rama, it may be re- membered, were the kings of Ayodhya. Here the words constituting the compound have not got different meanings separately.

अर्थश्लेषः (38) c

अर्थश्लेषोऽर्थमात्रस्य यद्यनेकार्थसंश्रयः । कुटिला: इ्यामला दीर्घा: कटाक्षा: कुन्तलाथ् ते॥६५॥

65. Arthaślesha is to be noted where the mean- ing alone has a double import. Your glances as well as tresses of hair are curved, black and long. 65. Here in कुटिला:, श्यामला: and दीर्घाः, the import is different though the meaning is the same.

अप्रस्तुतप्रशंसालंकार: (39)

अप्रस्तुतप्रशंसा स्यात्सा यत्र प्रस्तुतानुगा । कार्यकारणसामान्यविशेषादेरसौ मता ॥६६ ॥ कमलैः कमलावासैः किं कि नासादि सुन्दरम्। अप्यम्बुधेः परं पारं प्रयान्ति व्यवसायिन: ॥६७॥ 66 & 67. Where an irrelevant object is describ- ed with a relevant thing in mind, it is said to be 6

82 CHANDRĀLOKA

Aprastutapragamsa. It may be employed having regard to the effect, the cause, the species, the in- dividual or the like. Which trait of beauty is lacking when lotuses are had, which serve as resting places of Lakshmi? Men with perseverance reach even the other end of the Ocean.

66 & 67. The word अप्रस्तुत प्रशंसा gives both the name and the definition of the figure of speech. अप्रस्तुतप्रशंसा यत्र प्रस्तुतानुगा सा अप्रस्तुतप्रशंसा. The description of अप्रस्तुत on the lines of the प्रस्तुत is called अप्रस्तुतप्रशंसा. It is the opposite of amraife. In this figure of speech the description of an irrelevant thing suggests the picture of a relevant object. It is fivefold,-having reference to the relationship of cause and effect, the relationship of species and individual and the relationship of likeness. कार्यकारणभाव, सामान्यविशेषभाव and araa. From the description of an irrelevant casuse, the relevant effect may be suggested; from the description of an irrelevant effect, the relevant cause may be suggested ; from the des- cription of an irrelevant generality, the relevant particular case may be suggested ; from an irrele- vant individual case, the relevant generality may be suggested ; or, from an irrelevant similar object, a relevant similar object may be suggested. ane: etc. This is the description of a lady. Which trait of beauty is lacking when there are lotuses, the abodes of Lakshmi ? Here the reference

FIFTH MAYŪKHA 83

is expressly made to lotuses which are irrelevant. But the relevant objects that are suggested are the face, the eyes, the hands etc. of the lady, which resemble lotuses. The suggestion here springs from similarity. Another construction of this passage is this. The ex- press reference is to lotuses which serve as the seat of Lakshmi, but'the suggestion relates to wealthy people who are favoured by Fortune. कमलायाः आवासैः कमलावासे: persons who are possessed of wealth. अप्य- a: etc. People with perseverance cross even the Ocean. Crossing the Ocean is a particular instance; and the achievement of any cherished ambition is the general case. This therefore exemplifies a suggestion arising from the relationship of n- विशेषभाव. For examples of अप्रस्तुतप्रशंसा arising from anTTHTa, the reader is referred to other treatises on poetics including Kuvalayananda. The above fivefold distinction of argasiur is summarised in an oft-quoted verse of the older school of rheto- ricians which runs as follows :- कार्ये निमित्ते सामान्ये विशेषे प्रस्तुते सति। तदन्यस्य वचस्तुल्ये तुल्यस्येति च पञ्चधा॥ The extensive literature of Anyapadeśa is only an illustration of araegamiur. Sometimes a cuckoo is addressed with a learned man in mind, a buffalo is addressed with a king in the speaker's mind. Sanskrit literature teems with illustrations of Anya- padesa. As an instance of सारूप्यनेबन्वनाप्रस्तुतप्रशंसा

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may be cited the following śloka :- आबद्धकृत्रिमसटाजटिलांसभित्ति- रारोपितो मृगपते: पदवीं यदि क्वा। मत्तेभ कुम्भतटपाटन लम्पटस्य नादं करिष्यति कथं हरिणाधिपस्य।। By the analogy of a dog is suggested the picture of an unlettered person pretending to be a scholar.

अर्थान्तरन्यासालंकार: (40)

भवेदर्थान्तरन्यासोऽनुषक्तार्थान्तराभिधा। हनूमानब्धिमतरहुष्करं किं महात्मनाम् ॥ ६८॥

68. Substantiation of a special or general statement by means of a general or special state- ment connected therewith is Arthantaranyasa. Hanuman crossed the Ocean. What is impossible for great men ?

69. अर्थान्तरन्यास, literally, the employment of a different idea is so-called, because the arrear which is argom connected is resorted to for substantiating the idea which is the subject of the context. In the illustration Hanuman's crossing the sea is relevant, and it is substantiated by a non-relevant general statement about the absence of impossible things for great men. As a converse case, a general relevant statement may be justified by a non-relevant.

FIFTH MAYŪKHA 85

particular statement. It will also be Arthantara- nyasa. The passage in question may ,be treated also as an example of अर्थान्तरन्यास of this type if we treat दुष्करं किं महात्मनाम् as relevant to the context and हनूमानब्धिमतरत् as an individual non-relevant case. The distinction is to he noted between अर्थान्तरन्यास and वाक्यार्थहेतुक्ककाव्यलिङ्ग. In Kavyalinga the हेतु is निष्पादक; in the other case it is awas. In the former the result alleged to be brought about stands in need of the assignment of a cause-समर्थनीय ; whereas in अर्थान्तरन्यास the main idea can well stand by itself without a justifying cause. In जितोऽसि मन्द कन्दर्प etc. the conquest of Cupid will be irreconcilable unless the cause viz., मच्चितेऽस्ति त्रिलोचन: is set out. From this example the distinction between and निष्पादकहेतु will be clear. The presence of Siva in the speaker's heart actually causes the conquest of Cupid, whereas the absence of impossible things for great men does not cause, but only justifies the crossing of the Ocean by Hanūman. But a simpler and more accurate distinction can be pointed out. Where the relationsbip of the main idea and the subsidiary idea is सामान्यविशेषभाव, the figure of speech is अर्थान्तरन्यास. If it is any other relationship, it is काव्यलिङ्ग. सामान्यविशेषभाव may arise in both ways. A particular main idea may be justified by a general subsidiary idea, or a general main idea may be justified by a special subsidiary idea.

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विकस्वरालंकार: (41)

स न जिग्ये महान्तो हि दुर्घर्षा: क्ष्माधरा इव ॥६९॥

69. Where a special statement is substan- tiated by a general statement which in its turn is supported by a special statement by way of ana- logy, the figure of speech is said to be Vikasvara. He was never vanquished; for, invincible are great men like mountains. 69. The order in Vikasvara is a special state- ment, a general statement by way of justification and another special statement by way of analogy in support of the general statement. विकस्वर lit., the bright, is so-called, because the general statement which comes in the middle is clarified or illumined by special statements on both sides. An appro- priate example of this figure of speech will be the following śloka of Kumarasambhava cited in Kuva- layananda :- अनन्तरत्नप्रभवस्य यस्य हिमं न सौभाग्यविलोपि जातम्। एको हि दोषो गुणसंनिपाते निमज्जतीनदोः किरणेष्विवाङ्कः॥ I-3.

पर्याथोक्तालंकार: (42)

कार्यादैः प्रस्तुतैरुक्ते पर्यायोक्तिं प्रचक्षते। वृणान्यङ्कुरयामास विपक्षनृपसद्सु॥ ७० ॥

FIFTH MAYŪKHA 27

70. Where by a description of the effect and the like which are relevant, the suggestion is made of the cause and the like which are also relevant, people declare it to be Paryayokti. He caused the growth of grass in the palaces of his rival kings.

71. The word आद्य in कार्याधै: refers to कारण and संबन्धी. पर्यायेण उक्ति: पर्यायोक्ि: an expression by a curi- ous method. The idea of the total extinction of foes is indirectly expressed by a reference to the effect, viz., the growth of grass in their palaces. Here the ideas expressed and suggested are both relevant. What Kuvalayananda calls nadi also falls within the scope of this figure of speech. The definition of पर्यायोक्त given in Kuvalayananda differs from this definition. It is as follows :- पर्यायोक्तं तु गम्यस्य वचो भङ्गयन्तरेण चेत्। नमस्तस्मै कृतौ येन सुधा राहुवधूकुचौ।। The following definition given there of negarat also may be noticed, since it falls under the purview of पर्यायोक्ति according to Chandraloka :- प्रस्तुतेन प्रस्तुतस्य द्योतने प्रस्तुताङ्करः । किं भृङ्ग सत्यां मालत्यां केतक्या कण्टकेद्या।

व्याजस्तुत्यलंकार: (43)

उक्तिर्व्याजस्तुतिर्निन्दास्तुतिभ्यां स्तुतिनिन्दयोः। कस्ते विवको नयसि स्वर्ग पातकिनोऽपि यत् ।। ७१॥

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71. Where praise or censure is expressed by an apparent censure or praise, the figure of speech is Vyajastuti. What sort of wisdom is yours, that you take even sinners to heaven ? 71. In Vyajastuti, from an ostensible praise or censure is suggested a real censure or praise. In the illustration censure is expressed on the part of Ganga inasmuch as she takes sinners to heaven, but the real idea is one of praising its superior efficacy to remove the sins of sinners and enable them to go to heaven equally with the pious. The following additional illustration is given in Kuvalayananda where from an ostensible praise, censure is suggested. साधु दूति पुनः साधु कर्तव्यं किमतः परम्। यन्मदर्थे विलूनासि दन्तैरपि नखैरपि। Here from an ostensible praise is suggested the censure of a low type of Dūti who, instead of fetch- ing her master, herself enjoyed his company to the prejudice of her mistress. Another figure of speech is referred to in Kuvalayananda under the name of व्याजनिन्दा. It is not referred to in Chandraloka or in other treatises of rhetoric. The essence of that figure is the suggestion of one point of censure from another point of censure. Example :- Re # निन्दो यस्ते प्रागेक्मेवाहरच्छिर: But the preponderance of authority among Alamkarikas is in favour of treat- ing it as a case of अप्रस्तुतप्रशंसा.

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आक्षेपालंकार: (44) a

आक्षेपस्तु प्रयुक्तस्य पतिषेधो विचारणात्। चन्द्र संदर्शयात्मानमथवास्ति प्रियामुखम् ॥७२॥ 72. When a certain direction is first given but dispensed with on a better consideration on the ground that the existing circumstances will suf- ficiently serve its purpose, the figure of speech is Akshepa. O Moon, show thyself. Nay, there is my beloved's face. 72. In the illustration, the Moon, the Upa- mana, is first called upon to appear. Then in the passage arar etc., it is dispensed with, because the Upameya, the beloved's face, will serve the purpose equally well, if not better. The following śloka of Ratnāvalī may be noted as an example. प्रसीदेति ब्रूयामिदमसति कोपे न घटते करिष्येऽहं नैवं पुनरिति भवेदभ्युपगमः । न मे दोषोऽस्तीति त्वमिदमपि हि ज्ञास्यसि मृषा किमेतस्मिन्वक्तुं क्षममिति न वेद्ि प्रियतमे॥ II-18.

गूढाक्षेप: (44) b गूढाक्षेपो विधौ व्यक्ते निषेधे चास्फुटे सति। हर सीतां सुखं किंतु चिन्तयान्तकढौकनम्॥ ७३ ॥ 73. Where in such a case the direction is explicit whereas the prohibition is implied, it

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amounts to Gudhakshepa. Carry away Sita merrily, but think of the approach of Death.

73. The illustration is addressed by Maricha to Ravana who was bent upon carrying away Sita stealthily. The direction to carry Sīta is explicit, whereas its negation is only implied from the reference to Death. Hence this is a case of arq or Latent Akshepa. Another classic example usually cited is गच्छ गच्छसि चेत्कान्त तत्रैव स्याज्जनिर्मम.

विरोधालंकार:(45)

विरोधोऽनुपपत्तिश्रेद्भुण द्रव्यक्रियादिषु । अमन्दचन्दनस्यन्द: स्वच्छन्दं दन्दहीति माम् ॥७४॥

74. Virodha is the figure of speech where there is mutual incompatibility among the sub- stance, quality, action and genus. The thick paste of sandal burns me fiercely.

75. The word आदि in गुणद्रव्यक्रियादिषु refers to जाति. The passage cited for illustration is the utterance of a separated lover or lady. ame refers to the quality, to the species, mra to the substance, and these are opposed to क्रिया-the action of दाह. This figure is not mentioned in Kāvyaprakaśa or Sahityadarpana, nor even in Kuvalayānanda.

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विरोधाभासालंकार:(46)

अप्यन्कारिणाऽनेन जगदेतत्प्रकाश्यते ॥ ७५॥

75. Where the said incompatibility arises from pun and the like, the figure is Virodhābhāsa. This world is lit by Siva (the foe of Andhaka) (though possessed of darkness).

76. In a case of Virodhabhasa, there is gene- rally a or double meaning. Read in the light of the unintended meaning, a passage characterised by Virodhabhasa will set out an inconsistent or incom- patible idea. But the apparent contradiction is set right when the passage is read in the sense intended by the poet. In the illustration, aeaIftun admits of a double meaning. अन्धकारः अस्यास्तीति अन्धकारी तेन-by one possessed of darkness. The apparent contra- diction lies in the description that a dark object lights the whole world. The incompatibility is set at rest by a reference to the real meaning arfiur-by the foe of Andhakasura, viz., Lord Śiva. Kuvalayananda gives a slightly different definition .. आभासत्वे विरोधस्य विरोधाभास इष्यते। विनापि तन्वि हारेण वक्षोजौ तव हारिणौ। The great prose work Kadambari teems with. illustrations of Virodhabhāsa.

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असंभवालंकार: (47)

को वेद गोपशिशुकः शैलमुत्पाटयिष्यति ॥ ७६॥

76. Asambhava is the description of the in- conceivability of a thing that has actually come to pass. Who knew that the infant cowherd was going to lift the mountain ?

77. The passage cited for illustration refers to the lifting of the Govardhana mountain by Lord Krshna as a boy.

विभावनालंकार: (48)

विभावना विनापि स्यात्कारणं कार्यजन्म चेत्। पश्य लाक्षारसासिक्तं रक्तं त्वचचरणद्यम् ॥७७॥ 77. Where an effect comes into being with- out a cause, the figure of speech is Vibhāvana. Behold, your pair of feet are red without the dye of red lac.

77. विभावना and विशेषोक्त represent two converse cases. The one refers to an effect without a cause, the other to the absence of effect in spite of the cause. To distinguish between the two with re- ference to an example is very often difficult. लाक्षारसेन असिकं लाक्षारसासिक्ं त्वच्चरणयं. The passage is

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addressed by a lover to his sweetheart. The appa- rent contradiction involved in the description of the feet as red without the red dye is to be explain- ed away by the natural ruddiness of the lady's feet. Note the following additional varieties of Vibha- vana mentioned in Kuvalayananda- हेतूनामसमग्रत्वे कार्योत्पत्तिश्च सा मता।

कार्योत्पत्तिस्तृतीया स्यात्सत्यपि प्रतिबन्धके। नरेन्द्रानेव ते राजन दशत्यसिभुजंगमः ॥ अकारणात्कार्यजन्म चतुर्थी स्याद्विभावना।

विरुद्धात्कार्यसंपत्तिदष्टा काचिद्विभावना। शीतांशुकिरणास्तन्वीं हन्त संतापयन्ति ताम् ॥ कार्यात्कारणजन्मापि दृष्टा काचिद्विभावना। यशःपयोराशिर भूत्करकल्पतरोस्तव।।

विशेषोक्त्यलंकार: (49)

विशेषोक्तिरनुत्पत्ति: कार्यस्य सति कारणे। नमन्तमपि धीमन्तं न लक्खयति कश्न ॥ ७८ ।।

78. The absence of the effect notwithstanding the presence of the cause is Viseshokti. Nobody crosses the wise man though he bends down.

79. The illustration in Kuvalayānanda in substitution of the one given above is-हृदि मेहक्षयो नाभूत्सरदीपे ज्वलत्यपि. Another oft-quoted example is this.

CHANDRĀLOKA

अनुरागवती संध्या दिवसस्तत्पुरःसरः । अहो दैवगतिश्चित्रा तथापि न समागमः ॥ As an indistinguishable instance of विभावना and विशेषोक्ति the following sloka is generally cited. यः कौमारहरः स एव हि वरस्ता एव चैत्रक्षपा- स्ते चोन्मीलितमालतीसुरभयः प्रौढा: कदम्बानिलाः। सा चैवास्मि तथापि तत्र सुरतव्यापारलीलाविधौ रेवारोधसि वेतसीतरुतले चेतः समुत्कण्ठते॥

असंगत्यलंकार: (50)

आख्याते भिन्नदेशत्वे कार्यहेत्वोरसंगतिः। त्वन्दक्तानां नमत्यङ्गं भङ्गमेति भवक्कम: ॥। ७९।। 79. When the cause and the effect are ex- pressed to be in two different places, the figure of speech is Asangati. The body of your devotees bends down ; the torture of worldly existence breaks. 79. Kuvalayananda gives a slightly improved definition and a different illustration as follows :- विरुद्धं भिन्नदेशतवं कार्यहेत्वोरसंगतिः । विषं जलधरैः पीतं नूर्च्छिताः पथिकाङ्गनाः ॥ Another oft-quoted example is this- अहो खलभुजङ्गस्य विचित्रोऽयं वधक्रमः । अन्यस्य दशति श्रोत्रमन्यः प्राणैर्वियुज्यते।। The following verse is cited as an example in Sāhityadarpaņa.

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सा बाला वयमप्रगल्ममनसः सा स्त्री वयं कातर।: सा पीनोन्नतिमत्पयोधरयुगं धत्ते सखेदा वयम्। साकान्ता जघनस्थलेन गुरुणा गन्तुं न शक्ता वयं दोषैरन्य जनाश्रितैर पटवो जाता: स्म इत्यद्भतम्॥

विषमालंकार: (51)

विषमं यद्यनौचित्यादनेकान्वयल्कपनम्। क्कातितीत्रविषा: सर्पाः कवासौ चन्दनभूरुहः ॥८० ॥ 80. A reference to a connection between two or more things as ill-suited makes up Vishama. Where are the snakes with their very virulent poison, and where is the sandal tree ?

80. अनेकयोः (वस्तुनोः) अन्वयस्य कल्पनं अनौचित्यात् यदि तस्मात् विषमम्. The illustration given in Kuvalaya- nanda in substitution of the one given above is- क्ेयं शिरीषमृद्वङ्गी क्व तावान् मदनज्वरः Very often the impro- priety of the connection essential for this figure of speech is conveyed by the employment of the word # twice. By way of illustration the following extract from Raghuvamsa may also be cited. # सूर्यप्रभवो वंशः क्व चाल्पविषया मति: Kuvalayananda refers to two other varieties of Vishama.

समालंकार: (52)

अतुरूपं कृतं सद हारेण कुचमण्डलम् ॥ ८१ ॥

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81. Sama lies in the description of a relation- ship between two or more things as well befitting them. The necklace found a worthy habitation in the circular region of the lady's breasts.

82. For other varieties of Sama, refer to Kuvalayananda. Note the following illustration cited in Sahityadarpana. शशिनमुपगतेयं कौमुदी मेघमुक्तं जलनिधिमनुरूपं जहुकन्यावतीर्णा। इति समगुणयोगप्रीतयस्तत्र पौरा: श्रवणकटु नृपाणामेकवाक्यं विववुः ॥ (Raghu VI-85)

विचित्रालंकार: (53)

विचित्रं चेत्प्रयतः स्याद्विपरीतफलग्रदः । नमन्ति सन्तस्त्ैलोक्यादपि लब्धुं समुन्नतिम् ॥ ८२॥

82. Vichitra is the figure of speech where an endeavour yields an exactly opposite result. Great men bow down in order to reach a height surpass- ing the three worlds.

83. एकक्रियानुकूल: प्रयत्नः तद्विरुद्धक्रियानिष्पादकतया यत्र वर्ण्यते तत्र विचित्रालंकार:। Another example :-

मलिनयितुं खलवदनं विमलयति जगन्ति देव कीर्तिस्ते। मित्राह्वादं कर्तु मित्राय द्रुह्यति प्रतापोऽपि।।

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अधिकालंकार: (54)

अधिकं बोध्यमाधारादाधेयाधिक्यवर्णनम्। यया व्यापं जगत्तसां वाचि मान्ति न ते गुणाः।।८३।। 83. To mention the hugeness of a container and the still further hugeness of its contents con- stitutes Adhika. Your vitues do not contain within speech which pervades the whole world.

83. An oft-quoted example for this is the following verse from Magha :- युगान्तकाल प्रतिसंहतात्मनो जगन्ति यस्यां सविकाशमासत। तनौ ममुस्तत्र न कैटभद्विषस्पोधनाभ्यागमसंभवा मुदः ॥ I-23.

अन्योन्यालंकार:(55)

अन्योन्यं नाम यत्र स्यादुपकार: परस्परम्। त्रियामा शशिना भाति शशी भाति त्रियामया॥८४॥

84. Anyonya is the figure of speech where two things help each other. The night shines by the Moon, and the Moon shines by the night. 84. Note the following example cited in Kuvalayānanda :- यथोर्ध्वाक्ष: पिबत्यम्बु पथिको विरलाङ्कलि:। तथा प्रपापालिकापि धारां वितनुते तनुम् ॥ Here a traveller is supposed to drink water from the hands of a female keeper of a water-choultry. She 7

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pours water from an elevated place into the hands of the traveller who has joined his palms in a hollow to receive water for drinking. The mutual help here described is that with glances directed up- wards to the water-keeper and the joined palms held loosely the traveller drinks water, and she in her turn pours water with as thin a flow as possible. The action of both facilitates each other's sight for a long duration.

विशेषालंकार: (56) विशेष: खयातमाधारं विनाप्याधेयवर्णनम्। गतेऽपि सूर्ये दीपस्थास्तमश्छिन्दन्ति तत्कराः।८५।।

85. A description of the contents as standing without its generally recognized container is called Visesha. Though the Sun has set, his rays lurking in the lamps dispel darkness.

86. Two other varieties of Visesha are referred to in Kuvalayananda. Another example :- कमलमनम्भसि कमले कुबलयमेतानि कनकलतिकायाम्। सा च सुकुमारसुभगेत्युत्पातपरम्परा केयम्॥

व्याघातालंकार: (57)

स्ाव्याघातोऽयथाकारि वस्त्वन्यक्रियमुच्यते। यैर्जगत्प्रीयते हन्ति तैरेव कुसुमायुध:।।८६।।

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86. Where an object known for a particular action is described as responsible for a different one, the figure of speech is Vyaghata. Cupid hurts the people with those very things with which they are pleased. 86. People are delighted by flowers. With those very flowers as arrows, Cupid terrorises them. For other kinds of Vyaghata, refer to Kuvalaya- nanda. Another example :- दृशा दग्धं मनसिजं जीवयन्ति दृशैव याः । विरूपाक्षस्य जयिनीस्ताः स्तुवे वामलोचना:।।

कारणमालालंकार: (58) गुम्फ: कारणमाला स्याद्यथाप्राक्प्रान्तकारणैः । नयेन श्रीः श्रिया त्यागस्त्यागेन िपुलं यशः।८७।।

87. Karanamāla is the description of a string of causes where each later one is caused by the previous one. Policy gives rise to wealth, wealth to sacrifice, and sacrifice to great fame. 87. प्राकू च प्रान्तं च प्राक्प्रान्ते, ते अनतिकम्य यथाप्राक्प्रान्तं, तथाभूतानि कारणानि तैः यथाप्राक्प्रान्तकारणैः. Definition :- उत्तरो- त्तरकारणभूतपूर्वपूर्वैः पूर्वपूर्वकारणभूतोत्तरोत्तरैर्वा वस्तुभि: कृतो गुम्फः कारण- ाला. Another example- जितेन्द्रियत्वं विनयस्य कारणं गुणप्रकर्षो विनयादवाप्यते। गुणप्रकर्षेण जनोऽनुरज्यते जनानुरागप्रभवा हि संपद्ष:।।

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एकावल्यलंकार: (59)

गृहीतबुक्तरीत्यर्थश्रेणिरेकावली मता । नेत्रे कर्णान्तविश्रान्ते कर्णौ दोर्मूलदोलिनौ।। ८८ ॥।

88. Ekāvalī is the description of a chain of objects where each one is first dwelt upon and then disposed of in turns. The eyes extend as far as the. ears, and the ears extend as far as the shoulders.

89. (पूर्व) गृहीता (पश्चात्) मुक्ता गृहीतमुक्ता, ताहशी रीति : येषां तादशानां अर्थानां श्रेणि: गृहीतमुक्तरीत्यर्थश्रेणि :. In the illustra- tion the ears are touched upon first and disposed of next. In other words things referred to as predi- cates or attributes thereof in each preceding sen- tence are repeated as subjects or attributes thereof in each succeeding sentence or vice versa. उत्तरोत्तरस्य पूर्वपूर्वविशेषणभावः पूर्वपूर्वस्योत्तरोत्तरविशेषणभावो वा गृहीतमुक्तरीति: The illustration a etc., given in the text may be sup- plemented by the following verse to give a more. vivid picture of Ekāvalī.

दो:स्तम्भौ जानुपर्यन्त प्रलम्बनमनोहरौ। जानुनी रत्नमुकुराकारे तस्य हि भूभुजः ॥

Another example :-

पुराणि यस्यां सवराङनानि वराङना रूपपुरस्कृताङ्कयः । रूपं समुन्मीलित सद्विलासमस्त्रं विलास: कुसुमायुधस्य॥

FIFTH MAYŪKHA T01

मालादीपकालंकार: (60) दीपकैकावलीयोगान्मालादीपकसुच्यते। स्मरेण हृदये तस्यास्तेन त्वयि कृता स्थितिः॥८९॥ 89. Maladīpaka arises where Dīpaka and Ekavalī combine. Cupid took possession of her heart, and her heart took possession of you. 89. The characteristic of Dipaka is that there must be a common attribute predicated of a number of objects all of which are either relevant, or all irrelevant to the context. Ekavalī arises where there is गृहीतमुक्तरीति. In the illustration given in the text, ferfa or stay is the common attribute predicated of Cupid and the heart, both of which are the sub- ject of the context. And hence Dīpaka arises. a5 means हृदयेन. Ekavali is also present inasmuch as 4 is first touched upon and then disposed of. As there is a combination of both, this is an instance of Maladipaka. Another example cited in Kuvala- yananda is the following :- संग्रामाङ्गणमागतेन भवता चापे समारोपिते देवाकर्णय येन येन सहसा यद्यत्समासादितम् । कोदण्डेन शरा: शरैररिशिरस्तेनापि भूमण्डलं तेन त्वं भवता च कीर्तिरतुला कीर्तया च लोकत्रयम्।

सारालंकार: (61) सारो नाम पदोत्कर्षः सारताया यथोत्तरम्। सारं सारस्वतं तत्र काव्यं तत्र शिवस्तवः ॥ ९० ।।

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90. Sara is a grouping of objects where the- later ones.excel more and more the earlier ones. The essence in the world is speech, in it literature, and in it the praise of Śiva. 90. The following illustration also may be noticed. राज्ये सारं वसुधा वसुधायामपि पुरं पुरे सौधम्। सौधे तल्पं तल्पे वराङनानङ्गसर्वस्वम् ॥।

उदारसारालंकार: (62) उदारसारश्रेद्भाति भिन्नोऽभिन्नतया गुणः। मधुरं मधु पीयूषं तस्मात्तसात्कवेर्वच: ।। ९१।।

91. Where in a passage containing Sara- lamkara, the quality in respect of which excellence is postulated is different with different objects, but appears the same through the commonness of expression, the figure of speech is Udarasara. Sweet is honey, sweeter is nectar, and sweetest is. the language of a poet.

92. Strictly speaking, this may be included under the previous figure of speech. In fact Kuvalayananda does not mention this separately. In the illustration, sweetness with reference to honey and nectar denotes agreeability to the taste, whereas with reference to literature it means

FIFTH MAYŪKHA 103

pleasantness to the ear and the heart. But both ideas are conveyed by the same word agr sweet. Hence the quality appears to be the same. The passage is therefore characterised by this figure of speech. It must be noted that in order to give room to Sara or Udarasara, at least three objects must be referred to. Otherwise the gradation in excellence will be lacking.

यथासंख्यालंकार: (63)

शत्रुं मित्रं द्विषत्पक्षं जय रञ्जय मज्जय ॥ ९२ ॥ 92. Where. words denoting actions and those denoting nouns are mentioned in order, and they govern each other respectively, the figure of speech is Yathasamkhya. Conquer, please and break- the foe, the friend and the enemy's camp. 92. द्विधार्था: means twofold objects viz., क्रिया and #T. In the illustration the actions of conquest, propitiation and destruction respectively govern the objects-the foe, the friend and the enemy's camp.

पर्यायालंकार: (64) पर्यायश्चेदनेकत्र स्यादेकस्य समन्वयः । पझं मुक्त्वा गता चन्द्रं कामिनीवदनोपमा ।। ९३ ॥

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93. Where one thing migrates from place to place in order, the figure of speech is Paryāya. The comparison of the damsel's face left the lotus and reached the Moon. 93. Another oft-quoted example of this figure of speech is the following śloka of Kumarasambha- va where the first drops of rain falling on Devi in her penance are described to migrate in a regular track from one place to another. स्थिता: क्षणं पक्ष्मसु ताडिताधराः पयोधरोत्सेधनिपातचूर्णिताः । वलीषु तस्याः स्खलिताः प्रपेदिरे चिरेण नाभि प्रथमोदबिन्दवः । V-24. Another example from Kumarasambhava :- विसृष्टरागादघरान्निवर्तितः स्तनाङरागारुणिताच्च कन्दुकात्। कुशाङ्कुरादानपरिक्षताङगुलि: कृतोऽक्षसूत्रप्रणयी तया करः ॥ V-11. A converse case of one receptacle harbouring dif- ferent contents at different times is also another variety of Paryaya. एकस्मिन्नाधारेSनेकमाधेयं यत्स द्वितीयः पर्याय: Example from Raghuvamsa :- निशासु भाखत्कलनू पुराणां यः संचरोऽभूदभिसारिकाणाम्। ज्वलन्मुखोल्काविचिता मिषामिः स वाह्यते राजपथ: शिवाभिः॥XVI-12. Example from Uttararamacharita :- पुरा यत्र स्रोतः पुलिनमधुना तत्र सरितां. II-28.

परिवृत्त्यलंकारः (65) परिवृत्तिर्विनिमयो न्यूनाभ्यधिकयोर्मिथः। जग्राहैकं शरं मुक्त्वा कटाक्षाञछत्रुयोषिताम्॥ ९४॥

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94. Where there is a mutual exchange of a superior and an inferior commodity, the figure of speech is Parivrtti. Releasing one arrow, he captured the glances of his enemies' ladies. 94. Exchange which is of the essence of Parivrtti may be of three types. It may be of an inferior commodity for a superior, of a superior commodity for an inferior, or of two equal com- modities. The superiority or inferiority may have reference either to the quality or the quantity of the commodity. In the illustration cited above, the exchange of a single arrow for the numberless love-glances of his enemies' ladies is described. Hence this illustrates the giving of a numerically inferior commodity in exchange for a superior one. To illustrate an equal exchange and the exchange of a superior article for an inferior one, the following verse may be cited. दतत्वा कटाक्षमेणाक्षी जग्राह हृदयं मम। मया तु हृदय दत्त्वा गृहीतो मदनज्वरः । Here the beloved's glance and the lover's heart stand on an equal footing ; the speaker's heart and the fever of love are respectively अधिक and न्यून. The following examples also may be noted. तस्य च प्रवयसो जटायुषः स्वर्गिण: किमिव शोच्यतेऽधुना । येन जर्जरकलेबरव्ययात्क्रीतमिन्दुकिरणोज्ज्वलं यशः ॥ किमित्यपास्याभरणानि यौवने धृतं त्वया वार्धकशोभि वल्कलम्। वद प्रदोषे विनिकीर्णतारका विभावरी यद्यरुगाय कल्पते।।

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In the first, Jatayus is described as having got a permanent moon-white fame in return for his old rotten body. In the second, Parvati is described as having put on a tree's bark in the place of ornaments.

परिसंख्यालंकार: (66)

परिसंख्या निषिध्यैकमन्यस्मिन्वस्तुयन्त्रणम् । स्नहक्षयः प्रदीपेषु स्वान्तेषु न नतभ्रुवाम् ॥ ९५॥

95. Parisankhya is to narrow down the scope of a thing by rejecting it at a particular place and accepting it at another. Diminution of oil (love) took place in the lamps, not in the hearts of ladies (lit., those possessed of bent eyebrows).

96. aa means both oil and love. The scope of स्नेहक्षय is restricted to lamps and ruled out in the case of ladies. Very often Slesha aids the operation of Parisamkhya. In Kadambarī we have plenty of such instances e.g., यस्मिंश्च राजनि जितजगति पालयति महीं, चित्रकर्मसु वर्णसंकर:, रतेषु केशग्रहाः, चापेषु गुणच्छेदाः इत्यादि.

विकल्पालंकार: (67)

विकल्पस्तुल्यबलयोवरिंरोधश्चातुरीयुतः। कान्ताचित्तेऽधरे वापि कुरु त्वं वीतरागिताम् ॥ ९६॥।

FIFTH MAYŪKHA 107

96. A clever statement of two opposite alternatives of equal force is Vikalpa. Drive away the love from my heart or the red colour from your lower lip. 96. The illustration is the statement of a खण्डिता नायिका towards her lover. Who is a खण्डिता ? She is a heroine duped by the lover and irritated by the signs of another lady's intercourse found on his person. दृष्टेऽन्यासङ्गविकृते खण्डितेर्ष्याकपायिता. राग means both love and red colour. The lover's lips are red owing to his kissing another lady's lip. Either that redness must be banished, or the love must be banished from the heart of the speaker-the loving lady that has been wronged. Another example- नमन्तु शिरांसि धनूंषि वा, कर्णपूरीक्रियन्तामाज्ञा मौव्यों वा.

समुच्चयालंकार: (68) भूयसामेकसंबन्धभाजां गुम्फ: समुच्चय:। नश्यन्ति पश्चात्पश्यन्ति भ्रश्यन्ति च तव द्विषः । ९७ 97 .* Samucchaya is the predication of several actions with reference to a single object. Your enemies vacate their thrones, look back and slip away. 97. समुच्चय literally means a combination. The illustration is addressed to a king. What Kuvalaya- nanda calls $K$aq4 will also come under this head. Vide the following example :-

108 CHANDRĀLOKA

निद्राति स्नाति भुडक्ते चलति कचभर शोषयत्यन्तरास्ते दीव्यत्यक्षैन चायं गदितुमवसरो भूय आयाहि याहि। इत्युद्दण्डै: प्रभूणामसकृदधिकृतर्वारितान्द्वारि दीना- नस्मान्पश्याब्धिकन्ये सरसिरुहरुचामन्तरद्वैरपाडैः ॥

समाध्यलंकार:(69)

समाधि: कार्यसौकर्य कारणान्तरसंनिधेः। उत्कण्ठितां च कलयन् जगामास्तं च भानुमान् ॥ ९८

98. Samādhi is the mention of an additional cause to facilitate a purpose on hand when there is already a sufficient cause. Finding the impatience of the lover (or finding the lady to be anxious), the Sun set.

99. सम्यगाधानात्समावि: Samadhi is so-called, be- cause it describes a fruition with facility. उत्कण्ठितां may be construed in two ways. उत्कण्ठा अस्यास्तीति उत्कण्ठी, तस्य भावः तत्ता तां उत्कण्ठितां. This will apply to the lover. Or, उत्कण्ठा अस्या: संजाता ता उत्कण्ठितां predicative adjunct of ai understood. This will apply to the beloved. उत्कण्ठा or intense desire to meet the sweetheart is a suf- ficient cause to bring about their interview. The sunset facilitates the result. Another example-

मानमस्या निराकर्तु पादयोर्में पतिष्यतः। उपकाराय दिष्टयेदमुदीर्ण घनगर्जितम्॥

FIFTH MAYŪKHA 109

प्रत्यनीकालंकार: (70) प्रत्यनीकं बलवतः शत्रोः पक्षे पराक्रमः । जैत्र नेत्रानुगौ कर्णावुत्पलाभ्यामधः कृतौ ॥ ९९॥

99. Where one too weak to attack a powerful enemy direct, shows valour at one belonging to his camp, the figure of speech is Pratyanika. The ears attached to the victorious eyes were subdued by blue lotuses. 99. Since the eyes being lengthy extend as far as the ears, the ears are attached to the eyes, and as such they belong to the camp of the eyes. In the fight between eyes and blue lotuses, eyes came out victorious. The blue lotuses which have thus been vanquished being unable to deal with the eyes direct, attack the ears which belong to the enemy's camp. The blue lotuses worn for ear orna- ment are placed on the top of the ears. Thus ears are being kept low by blue lotuses.

प्रतीपालंकार: (71) प्रतीपसुपमानस्य हीनत्वमुपमेयतः। दृष्टं चेद्वदनं तस्याः किं पझ्मेन किमिन्दुना॥ १०० ॥ 100. Pratīpa is the inferiority of the Upamana to the Upameya. If her face is seen, what is the- use of lotus or the Moon ?

1-10 CHANDRĀLOKA

100. sata literally means 'the reverse.' In it the relationship of Upamāna and Upameya is reversed. Kuvalayananda refers to five kinds of Pratipa of which this is mentioned last. Vide extract therefrom :- प्रतीप मुपमानस्योपमेयत्वप्रकल्पनम्। त्वल्लोचनसमं पद्मं त्वद्वक्त्रसदशो विधुः॥ अन्योपमेयलाभेन वर्ण्यस्यानादरश्च यत्। अलं गर्वेण ते वक्त्र कान्त्या चन्द्रो भवादृश:॥ वर्ण्योपमेयलाभेन तथान्यस्याप्यनादरः । कः कौर्यदर्पस्ते मृत्यो त्वत्तुल्या: सन्ति हि स्त्रियः ॥ वर्ण्येनान्यस्योपमाया अनिष्पत्तिवचश्च तत्। मुधापवादो मुग्धाक्षि त्वन्मुखाभं किलाम्बुजम्॥ प्रतीपमुपमानस्य कैमर्थ्यमपि मन्वते। दृष्टं चेद्वदनं तस्या: किं पद्मेन किमिन्दुना ॥

उल्लासालंकार: (72) उल्लासोऽन्यमहिस्रा चद्दोषो ह्यन्यत्र वर्ण्यते। तदभाग्यं धनस्यैव यन्नाश्रयति सज्जनम् ॥ १०१ ॥ 101. Ullasa is the figure of speech where by reason of the virtue of one, the defect of another is described. It is only the misfortune of wealth that it does not resort to good persons. 10L The illustration given exemplifies a fault acoruing' to one through the virtue of another. This is indicative of three other similar descriptions, viz., the accrual of a virtue to one by the defect of

FIFTH MAYŪKHA 11L

another, the accrual of a virtue to an object by the virtue of another, and the accrual of a defect to an object by the defect of another. The definition has been accordingly modified in Kuvalayananda thus. एकस्य गुणदोषाभ्यामुल्लासोऽन्यस्य तौ यदि. Illustrations are giveh there to exemplify all the four cases of Ullasa :-

अपि मां पावेयत्साध्वी स्नात्वतीच्छति जाह्नवी। काठिन्यं कुचयो: सत्नधुं वाञ्छन्त्यः पादपद्मयोः । निन्दन्ति च विधातारं त्वद्धाटीष्वरियोषितः ॥ तदभाग्यं वनस्यैव यन्नाश्रयति सज्जनम्। लाभोऽयमेव भूपालसेवकानां न चेदवः ।

In the first example, sanctity is described to accrue to the Ganges through a chaste lady's bath. In the second, blameworthiness is said to accrue to the Creator who made the breasts of the ladies of the king's enemies hard and not their feet. In the third, the detachment of wealth towards a good person is related as accruing by the goodness of a .good person. In the fourth the absence of loss of life is made out as a virtue in view of the cruelty of the king. The four examples illustrate in order

गुण by दोष. the accrual of गुण by गुण, दोष by दोा, दोष by गुण, and

तद्गुणालंकार: (73) तद्णः स्वगुणत्यागादन्यतः स्वगुणोदयः। पद्मरागारुणं नासामौक्तिकं तेऽधराश्रितम् ॥ १०२ ।।

112 CHANDRĀLOKA

102. Tadguna is the description of a thing abandoning its quality and gaining the quality of another by reason of its contact. The nose-pearl resting on your lower lip is red like ruby. 102. The illustration is addressed by a lover to a lady. The idea is that the natural redness of her lower lip is seen reflected on the pearl worn as, her nose-ornament.

पूर्वरूपालंकार: (74) a पुनः खगुणसंप्राप्तिर्विज्ञेया पूर्वरूपता। हरकण्ठांशुलिप्तोऽपि शेषस्त्वद्यशसा सितः ॥१०३।। 103. Where in the above case, the thing: regains its original quality, the figure of speech is. Purvarupa. Though coloured by the lustre of Siva's neck, Sesha is white through your fame. 103. The illustration is addressed to a king by his admirer. Sesha is originally white, becomes blue by the lustre of Siva's neck, and again becomes white through the fame of the ruler. In Milita, the subject of context is eclipsed by another, whereas. in Pūrvarūpa it is enshrouded in the quality of another. पूर्वरूपम् (74) b यद्धस्तुनोऽन्यथा रूपं तथा स्यात्पूर्वरूपता। दीपे निर्वापिते ह्यासीत्काश्चीरतैरहमेहः ॥१०४॥

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104. When a thing is extinct, but a new one comes in its place which has the same effect, the figure of speech is Purvarupa. When the lamp was put out, the brightness of the day was brought about by the gems of her girdle.

105. The above translation of this verse is a free rendering and gives the gist as expounded by the commentary Rama. Kuvalayananda gives a better definition :- पूर्वावस्थानुवृत्तिश्च विक्ृते सति वस्तुनि.

अतद्कुणालंकार: (75)

विशन्नपि रवेर्मध्यं शीत एव सदा शशी॥ १०५॥

105. Atadguna is the description of a thing not imbibing the quality of another in spite of intimate contact. Though entering the middle of the Sun, the Moon is always cool.

106. Atadguna is the opposite of Tadguna. There is an element of Viseshokti in this figure of speech.

अनुगुणालंकार: (76)

प्राक्सिद्धस्वगुणोत्कर्षोऽनुगुण: परसंनिधेः। कर्णोत्पलानि दधते कटाक्षैरपि नीलताम् ॥ १०६ ॥ 8

114 CHANDRĀLOKA

106. Anuguna is the enhancement of one's own natural quality through the presence of another. The blue lotuses worn on the ears become still more blue through her glances. 106. The following example also may be noted. कपिरपि च कापिशायनमदमत्तो वृश्चिकेन संदष्टः । अपि च पिशाचग्रस्तः किं ब्रूमो वैकृतं तस्य॥।

अवज्ञालंकार: (77) अवज्ञा वर्ण्यते वस्तु गुणदोषाक्षमं यदि। म्लायन्ति यदि पद्मानि का हानिरमृतदयुतेः ॥७॥ 107. Indifference of one object as to the merits or defects of another goes by the name of Avajña. If lotuses fade, what does it matter to the Moon ? 107. The following example also may be noted. मदुक्तिश्वेदन्तर्मदयति सुधीभूय सुधियः किमस्या नाम स्यादलसपुरुषानादरभरैः । यथा यूनस्तद्वत्परमरमणीयापि रमणी कुमा राणामन्तःकरणहरणं नैव कुरुते।।

प्रश्नोत्तरालंकार: (78) प्रश्नोत्तरं क्रमेणोक्तौा स्यूतमुत्तरमुत्तरम्। यत्रासौ वेतसी पान्थ तत्रासौ सुतरा सरित् ॥ १०८ ॥।

FIFTH MAYŪKHA P15

108. Where an express query involving an implied query is met by an express answer involving an implied answer, the figure of speech is Praśnot- tara. Traveller, at the place where there is the Vetasī, the river is fordable.

109. The definition in the text has to be strain- ed to give a suitable meaning. The commentary Rama explains it thus. (प्रश्नोत्तरयोः) क्रमेणोक्तौ (कथनीयायां) उत्तरमुत्तरं (यावदुत्तरं) स्यूतं (अभिवाञ्छितोत्तरान्तरेण संलसं) यत्र वर्ण्यते तत्र उत्तरनामालंकारः. The name of the figure is प्रश्नोत्तर or simply 37. The definition given in Kuvalayananda is clearer, and it is as follows :- किंचिदाकूत सहितं स्यादूढोत्त- nr. The illustration is supposed to be a reply by a lusty woman to a traveller. The reply presumes a question on the part of the traveller as to the convenient spot for crossing a river. It might also be presumed that the question is not put in right earnest, but with a view to finding out the lady's attitude. The reply given by the woman is that near the Vetasi creeper the river is fordable. There is also the suggestion of appointment given to the traveller by her to meet near the Vetasi.

पिहितालंकार: (79)

पिहितं परवत्तान्तज्ञातुरन्यस्य चेष्टितम्। प्रिये गृहागते प्रातः कान्ता तल्पमकल्पयत् ॥ १०९।।

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109. Where a person aware of another's: conduct acts in keeping with the conduct of that other, the description is characterised by the figure of speech known as Pihita. When the lover came home in the morning, his mate prepared the. bedding. 109. In the illustration, the lady knows the misconduct of her lover with another woman, and her spreading out the mat in the morning when he came has the ostensible view of giving him. repose, thereby suggesting that he was very much fatigued by his amorous sport with a different woman the whole of the previous night. Kuvala -. yananda cites the following example in addition. वक्त्रस्यन्दिस्वेदबिन्दुप्रबन्धैर्द्ृष्टा भिनं कुङ्गुमं कापि कण्डे। पुंस्तवं तन्व्या व्यञ्जयन्ती वयस्या स्मित्वा पाणौ खज्गरेखां लिलेख।।

Note the following comment also thereon-अत्र स्वेदानु- मितं पुरुषायितं पुरुषोचितखड्गलेखनेन प्रकाशितम्.

व्याजोक्त्यलंकार: (80)

व्याजोक्ति: शङ्कमानस्य च्छद्यना वस्तुगोपनम् । सखि पश्य गृहारामपरागैरस्मि धूसरा॥ ११०॥ 110. Where a suspected person cleverly con- ceals the truth from the person who suspects by- means of a false statement, the figure of speech is-

FIFTH MAYŪKHA 117

Vyajokti. Friend, see. I am gray with the flower- dust in the garden of our house.

110. Two persons are necessary in this case, the one who suspects and the one suspected. The truth is suspected from some circumstance, but the suspected person conceals it by accounting for that cirumstance in a different manner. In the illus- tration the female friend suspects the stealthy inter- course of a woman with her secret lover from the circumstance that mud was clinging to her person, which must have been a result of her wallowing on the earth in her stealthy intercourse. But the sus- pected woman screens the truth from her friend by accounting for the mud by the pollen of flowers in the garden. In Ssraf a statement of truth is con- cealed by a different interpretation or application whereas in Vyajokti the circumstance that founds the suspicion is accounted for differently.

वक्रोक्त्यलंकार: (81)

वक्रोक्ति: श्लेषकाकुभ्यां वाच्यार्थान्तरकल्पनम्। सुश्च मानंदिनं पाप्तं मन्द नन्दी हरान्तिके॥। १११ ॥

111. Vakrokti is the making out of a different expressed meaning from an expression through pun or intonation. Leave off anger; the day has dawned.

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(Don't leave Nandin who has arrived). Dullard, Nandin is by the side of Siva.

111. The commentary Rama paraphrases the definition as follows :- शब्दार्थश्लेषाभ्यां मिलिताभ्यां व्यस्ताभ्यां वा काकूक्त्या वा वाच्यार्थापक्षया वा वाच्यार्थान्तरकल्पनं वक्रोक्त्यलंकार :. The illustration given in the text is an instance of 5aq. The first half of it is addressed by a lover towards his angry sweetheart in order to pacify her. मुच्च मानं, दिनं प्राप्तं. But the addressee wilfully misinterprets it as मुञ्च मा नन्दिनं प्राप्तं and gives a reply suited to the latter interpretation. मन्द नन्दी हरान्तिके. Where is Nandin here? He is by the side of Śiva. This is an instance of Vakrokti arising through Ślesha.

स्वभावोकत्यलंकार: (82)

स्भावोक्ति: स्वरभावस्य जात्यादिषु च वर्णनम्। कुरङ्गेरुत्तरङ्गाक्षि स्तब्धकर्णैरुदीक्ष्यते ॥ ११२॥

112. The description of anything according to its inherent nature and the like is Svabhavokti. Damsel of petulant eyes, the deer gaze with ears held erect.

113. The descripton of a child and her move- ments, lions in a jumping posture, horses galloping,. birds flying, deer in an attentive mood, in short, of

FIFTH MAYŪKHA 1.19

anything doing an action consistent with its nature comes under the head of Svabhavokti. In the illustration the deer are described as gazing with ears held erect-a characteristic natural to their species.

भाविकालंकार: (83) भाविकं भूतभाव्यर्थसाक्षादर्शनवर्णनम्। अलं विलोकयाद्यापि युध्यन्तेऽत्र सुरासुराः॥ ११३।।

113. When the remote past or future incidents are described as seen with one's own eyes, the figure of speech is Bhavika. Why speak? Behold. Even now the Devas and Asuras fight here.

114. In the illustration the ancient fight between gods and demons is described as actually seen at present. The following example also may be noted.

मुनिर्जयति योगीन्द्रो महात्मा कुम्भसंभवः । येनैकचुलुके दृष्टौ दिव्यौ तौ मत्स्यकच्छपौ।

Here Agastya is described-Agastya who drank the Ocean in a palmful of his hand as a result of which the two Avataras of Vishnu-the Fish and · the Tortoise-resident of the Ocean, were witness- ed by him in the hollow of one of his palms.

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भाविकच्छव्यलंकारः (84) देशात्मविप्रकृष्टस्य दर्शनं भाविकच्छविः । त्वं वसन् हृदये तस्या: साक्षात्पश्चेषुरीक्ष्यसे ॥ ११४॥ 114. To describe the seeing with one's own eyes, of things removed by distance or entity constitutes Bhavikacchhavi. Dwelling in her heart, you are actually seen as Cupid.

114. देशेन आत्मना वा विप्रकृष्स्य अर्थस्य साक्षात्कारो यत्र वण्यते तत्र भाविकच्छविः. The illustration is addressed by a Dutī towards a person loved by her mistress. Cupid residing in another's heart is incapable of being seen both by reason of the situation and individuali- ty. A description of the same as one actually seen gives rise to भाविकच्छवि.

उदात्तालंकार: (85) उदात्तमृद्धिश्वरितं श्राध्यं चान्योपलक्षणम्। सानौ यस्याभवदयुद्वूं त्ूर्जटिकिरीटिनोः ॥ ११५॥ 115. Where a glorious state or a noteworthy feat is described indicative of other similar excel- lences, the figure of speech is Udätta. At the peak of this mountain took place the fight between Siva and Arjuna.

115. in the illustration refers to the Himalayas. The following śloka of Raghuvamśa

FIFTH MAYŪKHA 12,1

has been cited as an example in Sahityadarpana. नाभिप्ररूढाम्वुरुहासनेन संस्तूयमान: प्रथमेन घात्रा । अमुं युगान्तोचितयोगनिद्रः संहृत्य लोकान्पुरुषोऽिशेत॥ XIII-6.

अत्युक्त्यलंकार: (86)

त्वय दातरि राजेन्द्र याचकाः कल्पशाखिनः ॥११६॥

116. The description of marvellous and fabulous valour, magnanimity or the like gives rise to the figure known as Atyukti. O best of kings, when you are the giver, the Kalpaka trees are beggars.

117. The illustration is addressed to a king by his parasite. The idea is that in view of the king's magnanimity, even Kalpaka trees which are reputed to be begged of begged of him because he was more magnanimous; or even beggars became so opulent and liberal as Kalpaka trees by the wealth granted to them by the king.

The following is a list of Alamkāras dealt with in Kuvalayananda in addition to those given in Chandrāloka. परिकराङ्करः प्रस्तुताङ्कुरः व्याजनिन्दा अल्पं मिथ्याध्यवसिति: ललितं अनुज्ञा लेशः मुद्रा रत्नावली सूक्ष्मं गूढोक्ति: वित्ृतोक्ति: युक्तिः लोकोकि: छेकोकिः निरुक्ति: प्रतिषेधः विधि: हेतुः प्रत्यक्ष अनुमानं उपमानं शाब्दं स्मृति: आत्मतुष्टि प्रमाणं श्रुतिः अर्थापत्तिः अनुपलब्धिः संभवः ऐतिह्यम्.

122 CHANDRĀLOKA

रसवत् प्रेय: ऊर्जस्व्रि समाहितं भावोदयः .भावसंधि: भावशबलता च (87-93)

रसभावतदाभासभावशान्तिनिबन्धनाः। रसवत्प्रेयऊर्जस्विसमाहितमयाभिधाः ॥ ११७॥ भावानासुदय: संधिः शबल्त्वमिति त्रयः । अलंकारानिमान सप् केचिदाहुर्मनीषिणः ॥ ११८॥

117 & 118. Where Rasa, Bhava or their vulgar type or the subsidence of Bhava is introduced as an auxiliary to Rasa or the like, they are respectively called Rasavat, Preyas, Urjasvin and Samāhita. Likewise an exuberance of Bhavas, their conflict and their combination are respectively called Bhavodaya, Bhavasandhi and Bhavaśabalatva. Some treat all these seven as figures of speech. 117 & 118. In these two verses the author refers to seven items which are considered as figures of speech by some rhetoricians. The anthor of the commentary Rama explains that they are figures of speech according to Jayadeva also, and that the use of the word fra is used out of respect for the ancient rhetoricians-Dhvanikāra and others who have accepted them as figures of speech and not to dissent from their view. Vide the following extract therefrom. एवं च केचिदिति पूजार्थ, न निषेधार्थम्. A proper understanding of these two verses presupposes a

FIFTH MAYŪKHA 123

knowledge of the technical terms T and wia. What is Rasa? It has been defined in Daśa- rūpaka as follows :- विभावैरनुभावैश्व सात्विकैव्यभिचारिभिः । आनीयमान: स्ादुत्वं स्थायी भावो रसः स्मृतः ॥ Rasa consists of a स्थायिभाव or a sentiment which is rendered delectable by the cumulative influence of विभावs, अनुभावs, सात्त्विकभावs, and व्यमिचारिभावs. Rasa or emotion is the soul of poetry, and it can onlv be suggested, never expressed. Rasas are ninefold- शृङ्गार the erotic, हास्य the humorous. करुण the pathetic. रौद्र the furious, वीर the heroic, भयानक the frightful, बीभत्स the loathsome, अद्धन the marvellous and गान्न the quietistic. Vide the following extract- शृङ्गारहास्यकरुगा रौंद्रवीरभयानकाः । वीभत्साद्धतशान्ताक्ष रसाः पूवेरुदाहनाः ॥ The nine Fafpnas or sentiments which make up the said nine Rasas are summarised in order as follows. रतिहासश्र शोकश्र क्रोधोतसाहौ भयं तथा। जुगुप्साविस्मयशमा: स्थायिभावा नव क्रमात् ॥ They are love, humour, grief, rage, valour, fear disgust, wonder and tranquillity. The rise of these nine Bhavas to the status of Rasas is dependent on a cumulativeinfluenceof विभावs, अनुभावs, सान्विकभावड and व्यभिचारिभावs. Heroes and heroines with reference to whom love and other similar Bhavas are described belong to the type of Vibhavas which go by the name of आलम्बनविभाव. Beauty, youthful age and simi-

424 CHANDRĀLOKA

lar traits that characterise the heroes and heroines, their elegant movements, their ornaments and .dress, the Zephyr, the Moon and such other things as add to the operation of love and the other Bhavas are called उद्दीपनविभावs. अनुभाव is the resultant of love etc .- the side-glances of heroes and heroines towards each other and the like. aifcawTas are eight in number.

स्तम्भः प्रलयरोमाच्चौ स्वेदो वैवर्ण्यवेपथू। अश्रु वैस्वर्यमित्यष्टौ सात्विकाः परिकीर्तिताः ॥

These are feelings which arise in the hero or the beroine as a reciprocation of each other's love etc. TRHTas are the several accessory feelings portrayed for the enrichment of the Rasa. The word ara after in the text is different from the abovementioned eufrna which makes up a Rasa. Bhava in the context means गुरुदेवतानृपद्विजादिविषयरति :- reverence to a Guru, deity, king, Brahmin or the like. Though somewhat inferior to Rasa, Bhava is treated on the same footing as Rasa. Bhava is also considered sufficient to form the soul of poetry. After रस and भाव, the text refers to तदाभास which includes both रसामास and भावाभास. Where love is confined to one only of the couple, or where the love of the lower order of beings or of aborigines is described, or where a woman loves a number of men, the love so depicted is considered to be THTHR.

FIFTH MAYŪKHA 125

एकत्रैवानुरागश्चेत्तिर्यडम्लेच्छग तोऽपि वा। योषितो बहुसक्तिश्चेदसाभासस्त्रिधा मतः ॥

This deals only with the arnw of aR. Similarly the aHra of other Rasas may also be found out by an application of similar principles. Likewise the आभास or degeneration of भाव is to be identified on the same lines. The basie principle of Ābhasa is रसादेरनौचित्येन प्रवृत्ति :. In order to constitute good poetry it is agreed that these three-रस, भाव or their आभास must arise by suggestion or व्यञ्ञनावृत्ति, each earlier one being superior to the later. The suggested ele- ment must be the most prominent of all the ideas that can possibly be conveyed by a passage by de- notation, connotation or suggestion-afr, aaur or व्यञ्षना. All other ideas must play a subservient part to the Rasa in order to make up good poetry. Such an excellent specimen of poetry is termed ध्वनि. यत्र वाच्यातिशायि व्यज्ञयं स ध्वनि :. Dhvani arises in three ways- suggestion of वस्तु, अलंकार or रस viz., where some inci- dent or idea is suggested, where a figure of speech is suggested, and where Rasa, Bhava or their Abhäsa is suggested. The suggestive element in poetry culminates in Rasa. But when Rasa, Bhava or their Abhasa is introduced as subservient to some other Rasa and the like which play the prominent part, the introduction of the subservient Rasa and the like is treated as an instance of their employ- ment as figures of speech. रसादियत्र परस्याव्वं भवति तत्रैतेऽलं-

126 CHANDRĀLOKA

FRT :. Vide the following extract from Dhvanya- loka :- प्रधानेऽन्यत्र वाक्यार्थे यत्राङ्कं तु रसादयः । काव्ये तस्मिन्नलंकारो रसादिरिति मे मति:॥ .Accordingly when Rasa is introduced as a subsidiary to a Rasa, Bhava or Ābhasa or Vastu or Alamkāra it illustrates the figure of speech known as रसवदलंकार. When Bhava is introduced as such a subsidiary, it gives rise to प्रेयोऽलंकार. The introduction of रसाभास or भावाभास as such an accessory is termed ऊर्जस्विन्. The next set of four figures of speech relates to as. HIa here means व्यभिचारिभावs. They are adventitious feel- ings that optionally arise from love and the like e.g., disgust, emaciation, sleeplessness, deliriousness and so on. Their operation takes place in three ways- उदय, संधि and शबलता. A fertile generation of भावs comes under उदय, and it gives rise to the figure of speech known as भावोदय, provided such an output of Bhavas plays the subsidiary as already referred to. Where a diminution or subsidence of Bhavas is likewise pre- sented as playing a subordinate part, it gives rise to भावशान्ति and the figure of speech arising therefrom is known as समाहित. Where Bhavas arise in emulation of each other, it is a case of apaufa. Where Bhavas consistent as well as inconsistent, arise one after another, it is a case of भावशबल. For an idea of रसवदलंकार, see the following example-

FIFTH MAYŪKHA 127

(1) अयं स रशनोत्कर्षी पीनस्तनविमर्दनः । नाभ्यूरुजघनस्पर्शी नीवीविस्त्रंसनः करः ॥ Here Śrngāra plays the subordinate to Karuņa Rasa. (2) The following is an example of both रसवदलंकार and प्रेयोऽलंकार. आमीलितालसविवर्तिततारकाक्षी

प्रस्वेदवारिकणिकाचितगण्डबिम्बां संस्मृत्य तामनिशमेति न शान्तिमन्तः ॥ Here Rasavadalamkara arises inasmuch as संभोगशङ्गार is brought out as an auxiliay to the भाव known as स्मरण, and Preyolamkara inasmuch as स्मरणभाव is employed as an auxiliary of विप्रलम्भश्ृङ्गार.

(3) The following is an instance of ऊर्जस्विन्. वनेऽखिलकलासक्ता: परिहृत्य निजस्तिरियः। त्वद्वैरिवनिताबृन्दे पुलिन्दाः कुर्वते रतिम् ॥ अत्र श्यक्गाराभासो राजविषयरतिभावस्याङ्गम्

(4) For an instance of समाहित, see the following. अविरल कर वालकम्पनैभ्रुकुटी नर्जन गर्जनैर्मुहुः। दद्दशे तव वैरिणां मदः स गतः क्वापि तवेक्षणे क्षणात् । अत्र मदाख्यभावस्य प्रशमो राजविषयरति भावस्याञ्गम्.

(5) भावोदय is exemplified in the following sloka. मधुपानप्रवृत्तास्ते सुहृद्धि: सह वैरिणः । श्रुत्वा कुतोऽपि त्वन्नाम लेभिरे विषमां दशम् ॥ अत्र त्रासादयो राजविषयरतिभावस्याङ्गम्.

1,28 CHANDRĀLOKA

(6) The following is an example of भावसंधि.

सलज्जा चान्तिके सख्या: पातु नः पावती सदा ॥। अत्र औत्सुक्यलज्यो: संधि: देवताविषयरतिभावस्याङ्गम्.

(7) For an instance of भावशबल, see the following .. क्वाकाय शशलक्ष्मण: क्व च कुलं भूयोऽपि दृश्येत सा दोषाणां प्रशमाय नः श्रुतमहो कोपेऽपि कान्तं मुखम्। किं वक्ष्यन्त्यपकल्मषाः कृतधियः सप्नेपि सा दुर्लभा चेतः स्वास्थ्यमुपैहि कः खल युवा धन्योऽधरं धास्यति॥ अत्र वितर्कौत्सुक्यमतिस्मरणशङ्कादैन्यधृतिचिन्तानां शबलता विप्रलम्भ- शृङ्गारस्यान्कम्.

संसृष्टिः, संकर: etc. (94 & 95)

शुद्धिरेक प्रधानत्वं तथा संसृष्टिसकरौ। एतेषामेव विन्यासा नालंकारान्तराण्यमी॥ ११९।।

119. In some passages there may be a single Alamkāra; in some, one Alamkāra may be promi- nent and the other thrown into the background ; in some, two or more Alamkaras of equal prominence may be mixed up; and in some others, two or more. Alamkāras may combine, one being outstanding and the other auxiliary to it. All these arise only from a combination of the Alamkāras already men- tioned, and they are not Alamkaras of a different type.

FIFTH MAYŪKHA 12,9

119. Often we meet with dufz and dsx. The former is a mixture of the fadugs type, the latter a compound of the क्षीरनीर type. संकर arises in three Ways-अङ्गाष्जिभाव, समप्रधान and संदेह. A fourth type by the name of एकवचनानुप्रवेश is also referred to in Kuva- layānanda.

सर्वेषां च प्रतिद्वन्द्वप्रतिच्छन्दभिदाभृताम्। उपाधि: क्वचिदुद्भिन्रः स्ादन्यत्रापि संभवात् ॥१२०॥

120. Otherwise, in the case of dissimilar and similar passages illustrating the same figure of speech, a difference in degree becoming apparent in some will multiply the number of Alamkaras.

121. The commentator treats this as a state- ment of the reason why संसृष्टि, संकर etc., should not be treated as separate Alamkaras. The translation given above proceeds on that basis.

माला परम्परा चैषां भूयसामनुकूलके। मनुष्ये भवतः क्वापि ह्यलंकाराङगतां गते ॥ १२१॥

121. In the case of a majority of these Alam- kāras, a repetition of illustrations in the form of a wreath or a chain is well-suited, as it causes an additional beauty in literature as a combination of ornaments on the human person. 9

130 CHANDRĀLOKA

121. The idea is that the mention of मालोपमा, रशनोपमा, मालारूपक, मालादीपक and the like does not really make them different types of figures of speech, but they are only specimens of happier varieties of उपमा, रूपक etc. क्वापि in the text is adjectival to काव्ये understood.

शब्दे पदार्थे वाक्यार्थे वाक्यार्थस्तबके तथा। एते भवन्ति विन्यासा: सभावातिशयात्मका:॥१२२॥

प्रायेणामी ह्लंकारा भिन्ना नातिशयोक्तितः ॥१२३।।

122 & 123. These peculiar kinds of setting with reference to the sound and the sense of words or sentences, simple or compound, are more or less exaggerations of the reality. If we turn our at- tention to the etymology of the word Atiśayokti, all the Alamkaras do not generally differ from Atiśayokti since each one involves some sort of magnification.

122 & 123 sarefers to a combination of sounds called Sabdalamkara. पदार्थे refers to उपमा, रूपक and others which are more or less an adaptation of ideas conveyed by words as distinguished from sen- tences. वाक्यार्थे refers to दृष्टान्त and other figures of speech which relate to ideas conveyed by sentences individually. वाक्यार्थस्तबके refers to निदर्शना and the like

FIFTH MAYŪKHA 131

which relate to ideas conveyed by sentences col- lectively. All the Alamkaras savour of अतिशयोक्ति or exaggeration.

अलंकारप्रधानेषु दधानेष्वपि साम्यताम्। वैलक्षण्यं प्रतिव्यक्ति प्रतिभाति मुखेष्विव ॥ १२४।

124. Though the figures of speech being chief- ly intended for embellishment are alike, there is a distinct feature in each one of them as in each one of the human faces. 124. साम्यतां merely means साम्यं or समतां. साम्य in the sense of सम is to be justified by स्वार्थ ष्यञ्. Its employment is necessitated by the exigencies of metre.

अलंकारेषु तथ्येषु यद्यनास्था मनीषिणाम्। तदर्वाचीनभेदेषु नाम्नां नान्नाय इष्यताम् ॥ १२५॥ 125. If people have no liking for the actual Alamkaras worn on their person, then alone can they dispense with a recapitulation of the names of these Alamkaras of a modern type.

125. तथ्येषु अलंकारेषु means कटककुण्डलादिषु. तत् means aar. The idea is that so long as men distinguish between one ornament and another, the distinction between one figure of speech and another is also perfectly legitimate.

182 CHANDRĀLOKA

A perusal of the following extract from the. commentary Rama will give a vivid idea as to how far the science of figures of speech had progressed by the time of Jayadeva from the comparatively small beginnings outlined in the Puranic literature विष्णुधर्मोत्तरे तु मार्कण्डेयेन वज्रं प्रति स्वल्पतरा अलद्वारा उक्ता :- 'एकैकस्य तु वर्णस्य विन्यासो यः पुनः पुनः । अर्थगत्या तु सङ्ग्यातमनुप्रासं पुरातनैः ॥ अत्यर्थ तत्कृतं राजन् ग्राम्यतामुपगच्छति। समानशब्दं भिन्नार्थ यमकं कीर्तितं पुनः ॥। आदौ मध्ये तथैवान्ते पादस्य तु तदिष्यते। संदष्टकसमुद्राख्यौ तथैव यमकौ मतौ। समस्तपादयमकं पुष्करं परिकीर्तितम्। उपमानेन तुल्यत्वमुपमेयस्य रूपकम् ॥ रूपकाभ्यधिकं नाम तदेवैवं गुणाधिकम्। गुणानां व्यतिरेकेण व्यतिरेकमुदाहृतम्॥ उपमानविरुद्वैश्च गुणैस्तदपरं मतम्। द्वित्यर्थवाचकैः शब्दैः श्रेष इत्यभिधीयते॥ अन्यरूपस्य चार्थस्य कल्पना याऽन्यथा भवेत्। उत्प्रेक्षाख्यमलङ्कारं कथितं तत्पुरातनैः ॥ उपन्यासस्तथाऽन्यः स्यात्प्रस्तुताद्यत् क्वचिद्गवेत्। ज्ञेयः सोऽर्थान्तरन्यास: पूर्वार्थानुगतो यदि॥ उपन्यासेन चान्यस्य यदन्यः परिकीर्त्यते। उपन्यासमलंकारं तन्नरेन्द्र प्रकीर्तितम्॥ हेतुं विना विततता प्रोक्ता सा तु विभावना। प्रोक्ताऽन्यातिशयोक्तिस्तु अतुलैरुपमागुणैः ॥ यथास्वरूपकथनं वार्तेति परिकीर्तितम्। भूयसामुपदिष्टानां निर्देशं क्रमशस्तथा।

FIFTH MAYŪKHA 133

यथासङ्गयमिति प्रोक्तमलद्क्ारं पुरातनैः । विशेषप्रथनादुक्ता विशेषोक्तिम्तथा नृप॥ या क्रिया चान्यफलदा विरोधस्तु स इष्यते। स्तुतिरूपेण या निन्दा निन्दास्तुतिरिहोच्यत। निन्दास्तुतिस्तथैवोक्ता निन्दारूपेण या स्तुतिः । वस्तुनस्तूपमानेन दर्शन तन्निदर्शनम्॥ बिम्बात्तथा स्यादुपमा तु यत्र तेनैव तस्यैव भवेन्नवीर। अनन्वयाख्यं कथितं पुराणैरेतावदुक्तं तव लेशमात्रम्' ॥

महादेव: सत्रप्रमुखमखविद्यैकचतुरः सुमित्रा तद्भक्तिप्रणिहितमतिर्यस्य पितरौ। चतुर्थः सैकोऽयं सुकविजयदेवेन रचिते चिरं चन्द्रालोके सुखयतु मयूखः सुमनसः ॥१२६॥ इति चन्द्रालोके पञ्चमो मयूखः।

126. Let the Fifth Mayukha (ray) in Chandra- loka (moonlight) please the noble-minded for ages to come, Chandraloka composed by the able poet Jayadeva born of parents-Mahadeva, the veteran in the ritualistic lore dealing with Satras and other kinds of Yagas, and Sumitra whose attention is fixed on devotion towards him.

127. एकेन सहितः सैकः चतुर्थः means पश्चमः.

Thus ends the Fifth Mayukha of Chandrāloka.

. INDEX OF ALAMKĀRAS

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अक्रमातिशयोक्ति: 53 आवृत्तिदीपकं 65,

अतदगण: 113 उत्तरं 114 अतिशयोक्ति: 53 उत्प्रेक्षा 38 अत्यन्तातिशयो्ि: 54 उदात्तं 120 अत्युक्ति: 121 उदारसार: 102 अधिकं 97 उन्मीलितं 45 अनन्वयः 18 उपमा 15 अनुगुणं 113 उपमेयोपमा 19: अनुमानं 46 उल्लास: 110 अन्योन्यं 97 उल्लेखः 32 अपह्नुतिः 34 ऊजस्वि 122 अप्रस्तुत प्रशंसा 81 एकावली 100 अर्थश्लेषः कारणमाला 99 अर्थानुप्रासः 9 काव्यलिङ्गं 48. अर्थान्तरन्यास: 84 कैतवापह्नुतिः 37 अर्थापत्ति: 47 खङ्गबन्धादि-चित्रं 13. अलंकारस्वरूपनिरूपणम् 2 खण्डश्लेषः 79

अवज्ञा 114 गूढाक्षेपः 89

असंगति: 94 गूढोत्प्रेक्षा 41 असंभवः 92 चपलाति शयोकि: 55

आक्षेपः 89 चित्रं खङ्गबन्धादि 13. आभासरूपकं 29 छेकानुप्रासः 4

INDEX OF ALAMKĀRAS 135

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छेकापह्ुतिः 36 भावशवलता 122 तद्गणः 111 भावसंधि: तुल्ययोगिता 62 भाविकं 119 दीपकं 65 भाविकच्छविः 120 दष्टान्तः 67 भावोद्यः 122 निदर्शना 72 भेदकातिशयोक्ति: 56 परिकर: 51 भ्रान्तापह्नुतिः 36 परिकराङ्कुर: 52 भ्रान्ति: 42

परिणामः 31 मालादीपकं 101 परिवृत्ति: 104 मीलितं 44

परिसंख्या 106 यथासंख्यं 103 पर्यस्तापह्नुतिः 35 यमकं 11 पर्याय: 103 रसवत् 122 पर्यायोक्तं 86 रूपकं 24

पिहितं 115 रूपकातिशयोक्ति: 57

पुनरुक्त प्रतीकाशं 10 रूपितरूपकं 30 पूर्व रूपं 112 ललितोपमा 21

प्रतिवस्तूपमा 66 लाटानुप्रास: 7

प्रतीपं 109 वक्रोकिः 117

प्रतीपोपमा 20 विकल्पः 106 प्रत्यनीकं 109 विकस्वरः 86

प्रश्नोत्तरं 114 विचित्रं. 96 प्रहर्षणं 61 विनोक्ति: 76

प्रेयः 122 विभावना 92 प्रौढोकि: 58 विरोध: 90 भङ्गश्लेष: 80 विरोधाभासः 91

136 CHANDRALOKA

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विशेषः 98 सहोक्तिः 75

विशेषोक्ति: 93 संकरः 128

विषमं 95 संदेहः 42

विषादनं 61 संपूर्णोपमा 23

वृत्त्यनुप्रास: 6 संबन्धातिशयोक्तिः 55

व्यतिरेक: 74 संभावना 59

व्याघातः 98 संसृष्टिः 128

च्याजस्तुतिः 87 सादश्यरूपकं 28

व्याजोकि: 116 सामान्यं 44

श्लेष: 79 सारः 10L

समं 95 सोपाधिरूपकं 27

समाधि: 108 स्तबकोपमा 23

समासोक्ति: 77 स्फुटानु प्रास: 8

समाहितं 122 स्मृति: 42

समुच्चय: 107 स्वभावोक्ति: 118

INDEX OF ILLUSTRATIONS

Cited in the Notes.

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अङ्कं केडपि शशङ्किरे 34 उभौ यदि व्योत्ि 60 30 क: कौर्यदर्पस्ते मृत्यो 110 अतिशयितसुरासुर 44 कतिपयदिवसैः क्षयं 56

अनन्तरत्नप्रभवस्य 86 कपिरपि च कापि 114

अनयोरनवद्याङ्ि 56 कमलमनम्भसि 98

अनुरागवती संध्या 94 काठिन्यं कुचयो: सतनषटुं 111 अनेन सार्ध विहरा 76 काम नृपा: सन्तु 72 अन्यदेवास्य गाम्भीर्ये 57 किमित्यपास्याभरणानि 105 अपि मां पावयेत्साध्वी 111 किं पझ्मस्य रुचिं न 26

अयमास्ते विना शम्भु 26 किं भृङ्ग सत्यां 87

अयं कलक्किनश्चन्द्रा क्व सूर्य प्रभवो 95 ", अयं स रशनोत्कर्षी 127 क्वाकार्ये शशलक्ष्मणः 128 अयं हि धूर्जटि: 26 क्केय शिरीषमृद्दङ्गी 95 अरण्यरुदितं कृतं 73 खमिव जलं 20 अलं गर्वेण ते वक्त्र 110 गगनं गगनाकारं 19 अविरलकरवाल 127 गच्छ गच्छसि चेत्कान्त 90

अस्तैरतीक्ष्ण 93 गुरुर्व चस्यर्जुनोडयं 33

अस्या मुखेन्दुना 26 चूडाकुन्त लबन्ध नं 22 अहो खलभुजङ्गस्य 94 छाया संश्रयते तलं 76 आबद्धकृत्रिमसटा 84 जन्मान्तरीणरमण 128 आमीलितालस 127 जानीमहेऽस्या हृदि 47

138 CHANDRĀLOKA

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जितेन्द्रियत्वं विनयस्य 99 नाभिप्ररूढाम्बुरुहा 121

जीवनग्रहणे नम्रा: 44 निद्राति स्नाति भुङ्के 108.

ज्योत्स्नाभस्मच्छुरण 74 निध्यअ्ञनोषधीमूलं 61

तटिद्रौरीन्दु 17 निशासु भाखत्कल 104

तदमाग्यं धनस्यैव 111 44

तद्ल्गुना युगपदु 71 पछ्लवतः कल्पतरो 75

तव प्रसादात्कुसुमा 52 पशुपतिरपि तान्य 48

तस्य च प्रवयसो 105 पाण्ड्योSयमंसार्पित 71

तामेव ध्यायते तस्मै 61 पुराणि यस्यां 100

त्वदङ्गमार्दवे 63 पुरा यत्र स्रोत:, 104

त्वन्मुखाभेच्छया 41 पुष्पं प्रवालोपहितं यदि 61

त्वमेव कीर्तिमान् राजन् 72 प्रसन्नेन दगब्जेन 31

त्वयि सति शिव दात 74 प्रसीदेति ब्रूया 89

त्वलोचनसमं पद्मं 110 प्रायोऽब्जं त्वत्पदे 41

दत्त्वा कटाक्षमेणाक्षी 105 भस्मोद्ूलन भद्र 49

दिव्यानामपि कृत 44 मणि: शाणोल्लीढ: 65

दढतरनिबद्धमुष्टेः 75 मदुक्तिश्वेदन्तर्मद 114

दृशा दग्धं मनसिजँ 99 मधुपानप्रवृत्ता 127

दृष्टं चेद्वदनं तस्या: 110 मध्यः किं कुचयो 41

दो:स्तम्भौ जानु 100 मलिनयितुं खल 96

धूमस्तोमं तमः 41 मल्लिकामालभारिण्य: 45

नमन्तु शिरांसि 107 मानमस्या निराकतु 108 नमस्तस्मै कृतौ 87 मुधापवादो मुग्धाक्षि 110

नरेन्द्रानेव ते 93 मुनिर्जयति योगीन्द्रो 119

न.गरिक समधिको 36 यः कौमारहरः स एव 94

नागेन्द्रहस्तास्त्वचि 63 यत्तया मेलनं 17

INDEX OF ILLUSTRATIONS 139

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यत्त्वन्नेत्रसमान 21,49 वनेऽखिलकला 127 यथोर्ध्वाक्ष: पिब 97 वापी काऽपि स्फुरति 58 यदि स्यान्मण्डले 60 विद्वानेव विजानाति 67 यश:पयोराशि 93 विना खलैविभा 77 यश्च निम्बं 64 विनाऽपि तन्वि हारेण 91 यश्च रामं न पश्येत 77 विर्ष जलधरः 94 यस्मिंश्र राजनि जित 106 विसृष्टरागादधरा 104 यान्त्या मुहुर्वलित 70 व्यावलात्कुचभार 79 यामि न यामीति 55 शङ्ाद्वीणानिना 93

युगान्तकालप्रति 97 शम्भुर्विश्वमवत्यय्य 26 युवामेवेह विख्यातौ 64 शशिनमुपगतेयं 96 रक्तस्त्वं नवपल्लवै 75 शीतांशुकिरणा 93 रक्तौ तवांघ्री 41 संगतानि मृगाक्षीणां 64 रत्नस्तम्मेषु संक्रान्तैः 45 संग्रामाङ्गणमागतेन 101

राकायामकलङ्क 60 संचारपूतानि 64

राजसेवा मनुष्याणा 73 साधु दूति पुनः 88

राज्ये सारं वसुधा 102 साध्वीयमपरा 26

रात्रिर्गमिष्यति 62 सा बाला वयमप्र 95

रिक्तेषु वारिकथया 31 सीत्कारं शिक्षयति 37

लाभोऽयमेव भूपाल 111 सैषा स्थली यत्र 41 लिम्पतीव तभो 41 स्थिता: क्षण पक्ष्मसु 104

लोकपालो यम: पाशी 64 हालाहलो नैव 35. वक्त्रस्यन्दिस्वेद 116 हृदि स्नेहक्षयो नाभूत् 93.

श्रि त्रुकष्ठान्ति का रक्ताङ़ी श

इमी 3 서 소 रेखाचारुकरालि( का मिनीवभवत्खङ्ग

窗 工 百 司 百 分 文 乐 湖 合 지 互 可 目 ङ्ग बन्धः

ते

Madras University Questions.

B. A. Sanskrit I Paper

1938 March V. Define and give examples for .-- 1. अनुप्रासः 2. यमकं 3. प्रतीपं 4. परिकरः 5. अतिशयोक्ति: 6 तुल्ययोगिता.

1938 September V. Define and give examples for :- a. लाटानुप्रासः b. उपमेयोपमा C. उत्प्रेक्षा d. प्रतिवस्तूपमा e. समासोक्ति: f. व्याजस्तुति:

1939 March

V (a) Write short notes on :- छेकापह्वुतिः 2. बिम्बप्रतिबिम्बभावः 3. काव्यलिशं 1 4 4. पुनरुक्तप्रतीकाशं. (b) Point out the Alamkaras in :- 1. पश्य लाक्षारसासिकं रक्तं तच्चरणद्वयम्। (p. 92) 2. दृष्टं चेद्वदनं तस्याः किं पद्मन किमिन्दुना। 3. या दातुः सौम्यता सेयं सुधांशोरकलङ्गता। (p. 109) (p. 72) 4. अमन्दचन्दनस्यन्दः स्वच्छन्दं दन्दहीति माम्। (p. 90)

1939 September V (a) Distinguish between the pairs of Alamkaras- (1) दृष्टान्त: & प्रतिवस्तूपमा (2) रूपकं & परिणामः (3) अप्रस्तुतप्रशंसा & समासोकि:

142 CHANDRĀLOKA

(b) Define and illustrate .- 1. अर्थापत्ति: 2. उल्लेखः 3. असंगतिः 4. विरोधाभास :.

1940 March

VI. Define and give an example for each :- a. अनुप्रासः b. प्रतीपं C. अतिशयोकिः तुल्ययोगिता परिकरः यमकम्.

1940 September

V (a) Offer elucidative notes on :- 1. वृत्यनुप्रासः 2. समासोक्तिः 3. वस्तुप्रतिवस्तुभावः 4. खण्डश्लेष :. (b) Explain the Alamkaras in :- 1. लक्षितान्युदिते चन्द्रे पद्मानि च मुखानि च। (p. 45) 2. चन्दनं खलु गोविन्दचरणद्वन्द्ववन्दनम्। 3. या दातुः सौम्यता सेयं सुधांशोरकलङ्गता। (p. 9) (p. 72) 4. यामीति प्रियपृष्टाया वलयोऽभवदूर्मिका। (p. 55)

1941 March

IIV (a) Define and illustrate :- 1. पुनरुक्तप्रतीकाश 2. उल्लेख 3. व्याजस्तुति 4. व्यतिरक 5. काव्यलिङ्ग

(b) Explain the Alamkaras in :- 1. अलं गर्वेण ते वक्त्र कान्त्या चन्द्रोऽपि ताहशः। (p. 110) 2. प्रायोऽब्जं त्वत्पदनैक्यं प्राप्तुं तोये तपस्यति। (p. 41)

QUESTIONS 143

3. नश्येद्राजविरोधीति क्षीण चन्द्रोदये तमः । 4. अस्त्नैरतीक्ष्णकठिनैर्जगज्जयति मन्मथः। (p. 93)

1941 September IV (a) Define and illustrate :- 1. छेकानुप्रास 2. भ्रान्तिमान् 3. विभावना 4. अप्रस्तुतप्रशंसा 5. निदशना. (b) Explain the Alamkaras in :- 1. सर्वदो माधवः पायात् स योगं गामदीधरत्। 2. त्वयि दातरि राजन्द्र ख्द्टमान्नाद्रियामहे। (p. 56) 3. गच्छ गच्छसि चत्कान्त तत्रैव स्याज्निर्मम। (p. 90) 4. पझमरागायत नासामोकतिकं तेऽधरत्विषा। (p. 11l)

1942 March

IV (a) Define and ilustrate any two varieties of 1. अपह्नुति 2. अतिशयोकि (b) Explain the Alankaras in :- 1. यद्दातुः सौम्यता सेयं सुधांशोरकलङ्कता। (p. 72) 2. सन जिग्ये महान्तो हि दुर्धर्षाः सागरा इव। (p. 86) 3. तदभाग्यं धनस्यैव यन्नाश्रयति सज्जनम्। (p. 110) 4. मुञ्च मानं दिनं प्राप्तं मन्द नन्दी हरान्तिके। (p. 117)

1942 September

IV (a) Explain clearly शब्दार्थयो: प्रसिद्धया वा कवे: प्रौढिवशेन वा। हारादिवद ळंकार: संनिवेशो मनोहरः॥ (p. 2)

144 CHANDRĀLOKA

(b) 1. Examine the nature of the अनुप्रास in पाद: पायादुपेन्द्रस्य सर्वलोकोत्सवः स दः 2. Define and illustrate तुल्ययोगिता or पर्यायोक्तम्- (c) Point out the Alankāra in :- 1. अप्यम्बुधेः परं पारं प्रयान्ति व्यवसायिनः । (p. 81): 2. नमन्तमपि धीमन्तं न लङ्मयति कश्चन। (p. 93) 3. अजरामरता कस्य नायोध्येव पुरी प्रिया। (p. 80).

1943 March

V. (a) Define and illustrate any two varieties of (1) Anuprāsa (2) Rūpaka. (b) Explain the Alamkāras in 1. पद्माकरप्रविष्टानां मुखं नालक्षि सुभ्रुवाम्। (p. 44) 2. शैला इवोन्नता: सन्तः किंतु प्रकृतिकोमलाः । (p. 74). 3. अप्यन्धकारिणानेन जगदेतत्प्रकाश्यते। (p. 91) 4. हरकण्ठांशुलिप्रोऽपि शेषस्त्वद्यशसा सितः । (p. 112).

1943 September

V (a) Define and illustrate :- (1) Dīpaka, (2) Bhańgaślesha (3) Ākshepa (4) Vikalpa. (b) Explain the Alankaras in :- i. अंशुकान्तं शशी कुर्वन्ञम्बरान्तमुपैत्यसौ। (p. 10) ii. प्रजल्पन् मत्पदे लग्नः कान्तः किं नहि नूपुरः । (p. 36) iii. रसो नालक्षि लाक्षायाश्चरणे सहजारुणे। (p. 44) iv. त्वद्धकानां नमत्यञ्वं भ्रमेति भवक्कम; । (p. 94)

QUESTIONS 145

1951 March

IV (a) Explain with illustration any three 1. ललितोपमा 2. परिकर: 3. श्लेषः 4. विभावना

(b): Determine the alamkara in any three 1. उल्लस्षत्पश्चशाखस्ते राजते भुजभूरुहः। (p. 28) 2. नायं सुधांशुः किं तर्हि व्योमगङ्गासरोरुहम्। (p. 34) 3. आलिङ्गन्ति समं देव ज्यां शराश्च पराश्र ते। (p. 53) 4. अङ्काधिरोपितमृगश्चन्द्रमा मृगलाञ्छनः । केसरी निष्ठुरक्षिप्रमृगयूथो मृगाधिप: ।

1951 September

IV (a) Explain with illustration any three 1. उत्प्रेक्षा 2. दृष्टान्तः 3. समासोक्तिः 4. व्याजस्तुतिः

(b) Determine the alamkara in any three 1. स्त्रीभि: काम: प्रियैश्चन्द्रः काल: शत्रुभिरैक्षि सः। (p. 32) 2. पङ्कजं पश्यतः कान्तामुखं मे गाहते मनः। (p. 42) 3. विद्या हृद्यापि सावद्या विना विनयसंपदा। 4. (p. 76) ते जोद्वयस्य युगपद्यसनोदयाभ्यां लोको नियम्यत इवात्मदशान्तरेषु।

1952 March

IV (a) Explain with illustration any three 1. उद्लेख: 2. उत्प्रेक्षा 3. दीपकम् 4. अप्रस्तुतप्रशंसा 5. पर्यायोक्ति: 10

146 CHANDRĀLOKA

(b) Determine the alamkara in any three 1. धर्मोडर्थ इव पूर्णश्रीरर्थो धर्म इव त्वयि। (p. 19) 2. पङ्कजं पश्यतस्तस्या मुखं मे गाहते मनः । (p. 42) 3. स जितस्त्वन्मुखेनेन्दुः का वार्ता सरसीरुहाम्। (p. 47) 4. अयमैन्द्रीमुखं पश्य रक्तश्रुम्बति चन्द्रमाः। (p. 77)

1952 September

IV (a) Explain with illustration any three 1. अपह्नुतिः 2 दृष्टान्तः 3. सहोक्ति: 4. अर्थान्तरन्यासः 5. विरोधाभासः

(b) Determine the alamkara in any three 1. पङ्कजं वा सुधांशुर्वेत्यस्माकं तुन निर्णयः । (p. 42) 2. संकुचन्ति सरोजानि स्वैरिणीवदनानि च। 3. तापेन भ्राजते सूर्य: शूरश्रापेन राजंत। (p. 62) (p. 66) 4. शैला इवोन्नताः सन्तः किंतु प्रकृतिकोमलाः। (p. 74)

1953 March

IV (a) Define and illustrate the varieties of Rūpaka or Atiśayokti. (b) Determine the alamkara in any three 1. स्त्रीभि: कामः प्रियैश्चन्द्रः कालः शत्रुभिरैक्षि सः। (p. 32) 2. पद्माकरप्रविष्टानां मुखं नालक्षि सुन्नुवाम्। (p. 44) 3. सुधांशुकलितोत्तंस: तापं हरतु वः शिवः । (p. 51) 4. मेघां बुधः सुधाभिन्दुः बिभर्ति वसुधां भवान्। (p. 65)

QUESTIONS 147

1953 September

4. (a) Explain with illustration any three of the following :- 1. Parināma 2. Bhrānti 3. Kāvyalinga 4. Tulyayogitā 5. Nidarśana.

(b) Determine the Alankara in any three of the following :-

(1) त्वन्मुखश्रीकृते नूनं पद्मैवैरायते शशी। (2) विद्या हृद्यापि सावद्या बिना विनयसंपदम्। (p. 38) (p. 76) (3) अजरामरता कस्य नायोध्येव पुरी प्रिया। (p. 80) (4) हनूमानब्धिमतरद् दुष्करं किं महात्मनाम्। (p. 84)

1954 March

4. (a) Define and illustrate the different varieties of Apahnuti.

(b) Determine the Alankara in any three of the following :-

(1) लक्षितान्युदिते चन्द्रे पद्मानि च सुखानि च। (p. 45) (2) दीपमुद्द्योतयेद्यावत्तावदभ्युदितो रविः। (p. 65) (3) कुटिला: श्यामला दीर्घा: कटाक्षा: कुन्तलाश्च ते। (p. 81) (4) त्वद्गक्ानां नमत्यन्नं भङ्गमेति भवक्रम:। (p. 94)

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