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

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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

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

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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

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 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 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

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

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 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॥

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.

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 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

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.

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

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.

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॥

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

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 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.

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

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

74 CHANDRĀLOKA

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॥

FIFTH MAYŪKHA 75

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 ॥

76 CHANDRÄLOKA

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.

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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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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

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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.

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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 ॥

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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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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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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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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

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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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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॥

FIFTH MAYŪKHA 118

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

116 CHANDRÃLOKA

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.

118 CHANDRĀLOKA

(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.

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.

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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-

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 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.

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

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

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 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)

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