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कुवलयानन्द-कारिकाः।

अप्पय-दीक्षित-निर्मिताः।

KUVALAYĀNANDA KĀRIKĀS

OR

THE MEMORIAL VERSES OF

APPAYA DIKSHITA'S KUVALAYANANDA.

EDITED AND EXPLAINED

WITH AN ENGLISH TIKA COMMENTARY AND TRANSLATION, FOR THE USE OF ENGLISH STUDENTS OF SANSKRIT,

BY

P. R. SUBRAHMANYA SARMA

Calcutta:

PRINTED AND PUBLISHED BY J. N. BANERJEE & SON, BANERJEE PRESS, '119, OLD BOYTAKHANA BAZAR ROAD.

Price Rs. 2-8. 3 1903., [ Shillings. All rights reserved by the Editor.

3

PK 840 A65 1903

LIBRARY MAY 4 1971 UNIVER

TOP

M. R. RY. V. RAMABHADRA NAIDU GÁRU, ' >

ZAMINDAR OF VADAGARAI,

Periyakulani Taluk. Madura District.

THIS VOLUME

IS RESPECTFULLY

-'DEDICATED

BY THE EDITOR.

PREFATORY NOTE.

In the following, I have attèmpted to place within the easy reach of modern students of Sanskrit literature, that element- ary and classic, but nevertheless difficult treatise on Alankaras, the ·Kuvalayānanda Kārikās of /Appaya Dīkshita, with an English trauslation, Tīkā commentary, and explanatory notes, so as to enable them to sufficiently understand and digest the subject even in the absence of better teachers.

Among the numerous treatises on the Science of poetry, the KĀVYAPRAKĀSA-the " Illustration of Poetry,"-the SĀHITYA DARPANA-the "Mirror of Composition,"-and the KUVALAYĀNANDA-the "Delight of the moon- lotus,"-are considered the best. Of these, the first-named is by far the most difficult and erudite work, notwithstanding innumerable commentaries thereon by able hands. The second is less difficult, and it is a complete treatise-ne plus ultra-on the whole subject of Sanskrit composition, includ- ing Dramaturgy. The last-named treatise, which is the most elementary as well as the most elegant of all, confines itself only to Alankāras or 'ornaments' of the language, the portion that forms the subject matter of the tenth chapter of the first two treatises. There already exist excellent English translations of the Kāvyaprakāsa and the Sāhitya-Darpana; yet, they, being higher treatises, are intelligible only to advanced students under the guidance of able teachers. And the Kuvalayānanda, with its elementary definitions of the principal Alankāras and its apt examples, is the work that every student of, this branch of Sanskrit Literature usually com- mences with. The- Kuvalayānanda is a sort of commentary, in the form of notes, and an expansion of the fifth chapter of an ancient work on the Science of poetry, known as the CHANDRĀLOKA by Jayadeva Kavi, who is reputed to have

II

. Aourished abont the 12th century of the Christian era and who is more generally known to the public in connection with his "charming lyric, the Gita-Govinda. The author of the Kuva- layānanda is Appaya Dīkshita,* as appears from the penulti- mate verse of the work :-

अमु कुवलयानन्दमकरोदप्पढीक्ितः। .

'Appa Dikshita wrote this Kuvalayananda under the' orders of his (Royal Patron) Venkatapati, a store-house of guileless mercy.'

From which it would also appear that he flourished at the court of the king Venkatapati and that it was at his suggestion that the treatise was written. This Appaya Dīkshita is admitted on all hands to have been a native of Adayappa Agrahāra,'near Kānchīpura (the modern Canjeeveram), and to have lived in the 16th century of the Christian era. He not only took the ếth chapter of the Chandrāloka for his basis, but Shas mostly re-written many of the definitions and examples of ithat treatise, as he himself says at the very outset :-

येषां चन्द्रालोके दृश्यन्ते लच्ष्यलक्तणस्लोकाः। प्रायस्त एव तेषामितरेषामभिनवा विरच्यन्ते॥

'Such verses as are found in the Chandrāloka defining and exemplifying the Alankäras are for the most part adopted here also (with slight modifications); but, for some others, new verses have been composed.'

To these verses so modified or newly composed, our author has also added short elucidatory notes in prose, and to these notes he gave the name of Kuvalayānanda, prohably in acknow- ledgment of his original basis, the Chandraloka. T'hus, he concludes his work with the following very exprecsive verse :-

• Called also अप्पदीकितः, अप्पादीचित, अप्यय्यदीचित and अप्य य्यादीचित।

III )

चन्द्रालोको विजयतां शरदागमसभ्भवः । हृद्य: कुवलयानन्दो यग्प्रसादादभृदयम् ॥: 7

'May this Chandraloka, the cause of its commentary entitledi Saradagama, from the contact of both of which this charming Kuva -- layānanda criginated, be supreme (in this world).' The other meaning of the verse is :- 'May the sight of the autumnal moon from the contact of which the delight of the moon-lotus 3prang be sunreme.'

The verses, alone as modified and finally adopted by Appayar Dīkshita in his treatise, often go by the name of Kuvalayā- nanda-Kārikas or the ' memorial verses of Kuvalayananda,' and these have been separately compiled and editéd under thè title of KUVALAYĀNANDA KĀRIKĀH by the poet Āśādhara, with a lucid commentary of his own. The verses themselves are, as already mentioned, simple and in elegant style, in the Anushtubh metre, the first half of each verse defining the Alankāra and the second half exemplifying the same.

Before proceeding to explain the arrangement that I have followed in this work, it may not be out of place to say a word,or two as to the necessity of this production and as to the aim and object which I have had in placing the same before the public. For the acquisition of a sound knowledge of any language, a knowledge of the rules of its Grammar, including Rhetoric and Composition,. will be admitted to be essential. This is especially the case when the language in question happens to be not a spoken vernacular,. but an unspoken classical language like the Sanskrit. All the works in the Sauskrit Literature are found to have been com posed upon fixed principles of Grammar and Rhetoric; and formerly, at any rate, no work that was not in complete accord- auce with the immutable rules of Sähitya was ever allowed to be published. And in those days, the authors also, whatever their social position or poetical fame may be, never ventured out

( I )

. with any composition that did not gain the approval of the learned. One remarkable instance of this which occurred in connection with the publication of the Champū Rāmayana by king Bhoja might here be given in illustration of the above :- Bhoja Vikramāditya wrote his Champū-a poem composed in prose and verse-during the absence of his favourite poet Kälidāsa whom the king in oe of his angry moods had banished from his court. That great learned king did not dare to publish his poem without first obtaining the approval of the greatest poet of India: Then the whereabouts of Kālidāsa was not known. He therefore proposed to the public the following Samasyā-a part of the stanza or an incomplete stanza-to be completed :- कुसुमे कुसुमोत्पत्तिः श्रूयते न च दृश्यते। 'The production of another flower upon a flower has been heard but not actually seen (anywhere).'

The king expected the appropriate fulfilment of this most difficult Samasyā from Kālidāsa alone. He declared publicly that he would bestow upon whoever completed the Samasya half of his kingdom. Kālidāsa's lady wrote this Samasya upon one of the walls of her bed-chamber where Kalidasa was living secretly. When he saw the stanza on the wall, he wrote under it addressing.the lady whom he thought to be the writer of the same, thus :-

बाले तव मुखाओ्भोजे नयनेन्दीवरद्दयम्।

'Young dame! There is a couple of eye-lotuses in thy face- lotus.'

The lady then threw Kātidāsa into a pit specially prepared and let fall a big stone npon him ; but she, in her hurry' to go to the king to get half of his kingdom, did not stop there to see whether Kalidāsa was completely killed or not. The lady went to the king; and the ready-witted king. secing the

( v )

fulfilment of the stanza addressed to a female and not to a male as it ought to be, if filled up by her, and, thinking that 1 Kalidasa was living in her house, asked her whether she had spared the life of Kālidāsa. She replied that she had thrown him into a pit and did not know if he had completely expired. The king hurried to the scene of action with his poem in hand. Kalidāsa, only half dead then, said to his weeping king that the human life is unstable, that to learned, people this world is nothing but its proper nothingness, and that he should therefore be allowed to pass the remaining few minutes of his life to meditate upon the Supreme Spirit. The king wanted his poem on divine Rāma to be read over to him so that he may correct all the blemishes contained in it. The king read his poem and a running criticism was made by the Greatest Poet of India, and, when the last stanza of the Sundarakāņda was read, Kālidāsa expired. The king offered to thepublic his Champu, one of the best poems of the language, up to Sundarakāņda only, the remaining two kāņdas, Yuddha- kanda and Uttara-kanda, having been torn away by the king on the spot as they were not perused by Kālidāsa. Such was the criticism going on in India before the public- atioa of any work. It was the look-out of every critic to see whether the particular work has been composed in strict accord- ance with the fixed rules of Grammar, Rhetoric etc. Hence, it is necessary that a student should know something of the Grammar, Figures of Speech of the language etc., to enable him to understand a poem. In other words, a student can very easily master a poem if he has known something of the Gram- mar and Alankāras. For the acquirement of the elements of the Sanskrit Grammar in its connection with the Language, the First and Second Books of Sanskrit were placed before the public over 35 years ago by that great oriental scholar, Mr. Rāmakrishņa Gopāla Bhandarakara; and they still remain as model Text Books of the kind. Let me quote here his own words from the prefaces to his Sccond Book :-

'My object dias been to render this as much a Sanskrit Reading Book as a book on Sanskrit Grammar; in other words, not unly to teach Gramntatical forms to the student, but to enable him to construe Sanskrit.' * * * * 'I was not so sanguine about the success of this book as of the. first. But I am very happy to perceive that this also has met with: favour, and that along with the first it has become the means,. howsoever humble, of facilitating and promoting the study of the language of the ancient Rishis among their modern descendants.'

As for the acquirement of the knowledge of the Alankāras,. almost in every institution, the Kuvalayānanda appears to have been recommended as a text book for the B.A. degree students .. But in the majority, the students either do not read the book,, or they do not care to grasp and digest what their Professors. might teach them about these Alankāras. The study of Alankaras is as essential as that of Grammar. No poem. contains a verse that is not embellished by one Alankāra \or another. For, Alankāras,. by adding to the beauty of word and sense, serve to heighten the flavour (RASA) etc., just as ornaments adorn and beautify the human form: That great learned Dr. R. G. Bhandarakara in the preface to the first edition of his First Book of Sanskrit says truly enough :-

I have heard students complain that they find Sanskrit more. difticult than Latin. * * I do not know if this com- *

plaint has foundation in the structure of the two languages; but this, at least, I am sure of, that Sanskrit would be considerably more easy than it is, if there were men educated in our English Colleges to teach it, and if books specially adapted for beginners. were available .* That the above remarks of the great Bombay Educationist were true, has been amply proved by the very prominent posi- tion which his First and Second Books of Sanskrit have been given in the Indian Educational curriculam. So far as I am.

• The italics are ours.

VII

aware, no such book has till now been placed within the reach of the Sanskrit students on the subject of Alankāras. And T. .. thave thercfore ventured to offer this to the public in the sincere hope that it may supply to some extent the long-felt want of the students of this branch of Sanskrit Literature.

The Alankāras ir Sanskrit are gencrally classed under ith.ee heads, viz. :--

i शब्दालंकार-Ornament of word; ii. अर्थालंकार-Ornament of sense; and iii. शब्दार्थ्तालंकार-Ornament of both word and sense. 'Of these, the 2nd class, viz., Ornaments of Sense alone are now treated in the present work. The other two, not being of so much importance, except to very advanced scholars, are not dwelt upon here.

In the present volume, each and every word in the verse containing the definition and the example is given in its prose order (anvaya) in an intelligible way with its English equi- valent and a literal English translation of the verse has been given under the same together with all the necessary expla- natichs that are sufficient to help the student in understanding the Figure and its example himself without the assistance of a teacher. In the Appendix, almost all the conventions of poets are given ; UPAMĀ in its 32 varieties and the APRAS- TUTAPRASAMSÃ in its 5 varieties are treated with their appropriate examples taken from the standard works. Addi- tional examples of certain Figures that require such are also giveu. The three Figures-ANUMĀNA -'Inference,' SAMS- RISHTI-'Conjunction,' and SANKARA-'Commixture,'- which are not foand in the body or the book are also defined and exemplified. To it are also appended a more or less scientific classilication of the Alankāras treated in the book, and an explanatory note, showing the mutual distinguishing peculiarities of many of the Alankāras.

)

Now i must mention here the works I have consulted in the course of the publication of the present volume. The frst and foremost of these is the Sāhitya-Darpana of Vishvanātha Kaviraja with its English translation by that distinguished scholar, Rai Bahadur Pramada-Dasa Mitra of Benares. Many of the English renderiugs of the Figures of Speech are adopted from the work of that able orientalist who borrowed the same from Mr. R. T. H. Griffith's paper on Indian Figures of Speech appended to his .Specimens of Old Indian Poetry, The Chandrikā and the Rasikaranjinī, the two famous commenta- ries on Kuvalayānanda, were alsomy chief guides. The Kāvya- prakasa and its English translation, the Pratāpa-Rudrīya of Vidyānātha Bhatta and the Sāhitya-Ratnākara of Śrī Dharma Sūri were also consulted. My heart-felt thanks are also due to Messrs. J. N. Banerjee and Son of Calcutta for their neat exe- cution of the work and for their extreme kindness shown to me in the course of its publication. In conclusion, I only hope that the work now offered to the public may serve the purpose for which it is intended-namely, to enable the student to thoroughly understand this difficult branch of Sanskrit Literature without much difficulty and with . very little of extraneous help. I am fully aware that,cin a work of this kind, there must be several defects and errors, and I most humbly crave the favour of the publie, who will have occasion to do me the honour of perusing this little book, to be so good as to point out to me the portions which require amendments or corrections; and I shall be only very willing to give my best consideration to those suggestions in any future edition of the work. नत्वा कृष्णाभिवं ब्रह्म ह्यांग्लभाषानुवादिनीम्। कुर्वे कुवलयानन्दकारिकाविव्ृति मुदा।

MADURA, 21st February, 1903.j P. R. SUBRAHMANYA ŚARMĀ,

LIST OF CONTENTS.

PAGE.

1 उपमा-Simile ... ... ... do. लुप्ा :- Similes Elliptical ... , 3 to 13 ...

2 अनन्वय :- Comparison Absolute ... 13 ... 3 उपनयोममा-Reciprocal Comparison 14 ... ...

4 प्रतोपम्-Converse ... 15 ...

do. 2nd kind ... 9 ... 16 ...

do. 3rd and 4th kinds 17 ...

dó. 5th kind 18 ...

5 रूपवाम्-Metaphor 18 ...

6 परिणाम :- Commutation 22 ... 7 उल्ल ख :- Representation 23 ... ... ...

8 स्ुतिमान्-Reminiscence 25 ... ... 9 भान्तिमान्-Mistaker 25 and 26 ... ... 10 सन्देह :- Doubt ... 25 and 26 ... 11 अ्रपङ्क ति :- Concealment 27, ... ... ... (1) do. शुद्धा do. Pure ... 27 ... (2) do. हेतु do. with a Reason 28 (3) do. पर्यस्ता do. transferred 28 (4) do. भान्ता do. under a mistake ... 29

(5) do. केका do. of the skilful 30 ... (6) do. कैतवा do. of the deceitful 30 ... 12 उत्प्रेक्ा-Poetical fancy 31 ... 13 प्रतिशयोक्ति :- Hyperbole 35 ... (1) रूपकातिशयोकि :- Hyperbole Metaphorical 35 ... b do. सापक्वा-Hyperbole founded upon .

Concealment ... 37

(2) भेदकातिश्योकि :- Hyperbole asserting a difference 38

(3). संबन्वा० , do. do. a connection 38

(4) असंबन्धा० do do. a disconnection ... 39 - (5) भक्रमा० do. " do. » a want of order ... 40

(6) चपला० du. do. fickleness ... 40

(7) शत्यन्ता. » do. of the highest degree ... 41

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PAGE.

14 तुल्ययोगिता-Equal Pairing 42 ... do. 2nd and 3rd kinds ... ... 44 ... 15 दोपकम्-The Illuminator 45

16 त्वत्तिदीपकस्-The Illuminator by repetition 47

17 प्रतिवस्तूपमा-Typical Comparison 48

18 टश्टान्त :- Exemplificatior 49 19 निदशना-Illustration €50 ... do. 2nd and 3rd kinds 51

20 व्यतिरेक :- Dissimilitude or Contrast 53 ... .. 21, सहोक्ति :- Connected description ... 53 ... 22 विनौति :- Speech of Absence ... 54 ... do. 2nd kind ... 55 ... 23 समासोकि :- Modal Metaphor 56 ... ... 24 परिकर :- Insinuator 56 ...

25 परिकरांकुर :- Sprout of an Insinuator 57

26 ष :- Paronomasia ... 58

27 तप्रस्तुतप्रशंसा-Indirect Description ... ' 60

28 प्रस्तुतांकुर :- The Sprout of Direct Description 61

29 पर्यायोक्रम्-Periphrasis ... 62 . do. 2nd kind .. 63

30 व्याजस्तुति :- Artful Praise or Irony 63

31 व्याजनिन्दा-Artful Censure ... 65

32 आच्षेप :- Hint ... 66

do. 2nd kind 67

do. 3rd kind 68

33 विरोधाभास: or विरोध :- Contradiction 68

34 विभावनी-Peculiar Causation 69 ... do 2nd kind 70 ... do. 3rd and 4th kinds 71 do. 5th kind 72

do. 6th kind 73

35 विशेषोकि -Peculiar Allegation 74

36 षसंभव :- Improbability 74

37 असंगति :- Disconnection 75

do. 2nd and 3rd kinds 76

38 विषमम्-Incongruity ... 78

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PAGE.

विषमम्-2nd and 3rd kinds ... 79

39 समम्-The Equal 80 ... ... do. 2nd and 3rd kinds ... 81 ...

40 विचित्रम्-Strange 82

41 अधिकम्-Exceeding 83 ...

do. 2nd kind 83 ...

42 अल्पम्-Smallness 84

43 अ्न्योग्यम्-The Reciprocal 85 .. 44 विशेष :- The Extraordinary 86

do. 2nd and 3rd kinds 87

45 व्याघात :- Frustration 88

do. 2nd kind 89

46. कारणमाला-Garland of Causes ... 90

47 एकावली-The Necklace 91 ... 48 मालादोपकम्-The Serial Illuminator .. । 93

49 सार :- The Climax 93

50 यथासंख्यम्-The Relative order ... 94

51 पर्याय :- The Sequence ... 95

do. 2nd kind 95

52 परिवत्ति :- The Return 96

53 परिसंख्या-The Special Mention ... 96

541 विकल्प :- The Alternative 97

55 समुच्चयः-The Conjunction 98 do 2nd kind 99

56 कारकदौपकम्-The Case-Illuminator ... 99 57 ममाधि :- The Convenience 100

58 प्रत्यनीकम्-The Rivalry 101 59 काव्यार्धापत्ति: or अर्थापत्ति :- The Necessary Conclusion 102 60 काव्यलिंगम्-The Poetical Reason 103 61 अर्थान्तरत्यास :- The Transition 103 62 विकस्वर :- The Expansion 105 ... 63. प्रौढ़ोक्रि :- The Bold Speech 105 64 संभावना-The Supposition 106 65 मिध्याध्ववसिति :- The False Determination ... 107 66 ललितम्-The Artful Indication 108 67 प्रहर्षयम्-The Enrapturing 108

XII )

PAGE.

प्रहर्ष गाम्-2nd kind 109

do. 3rd kind 110 ... 68 विषादनम्-The Despondency. 110

69 उल्लास :- Abandonment ... 111

113

71 अनुज्ता-The Permissio. 114 72 लप :- Suggestion 115 73 मुद्रा-The Sealing 116

74 TEI7: -The Jewelled Necklace 117 75. a-The Borrower 118 पूर्वमवस् the Oiiginal 119 119

77 अतदDN -T1 , I-Borrow 120

78 ख नुगुरा . - L Cenformity 121 79 पीितर-1 Lost 122 80 सामान्म-T Sameness 122

81 ए शीसितन-Me Un-Lost 123

82 विशेपक :-- T.Un-Sameness 123

83 उततरम्-'Th 1. p'y 125 do. 2nd kind ... 126 ... 84 सृक्षम्-Thc Subtle 127 ... 85 पिहितम्-The Covering 127 ... .. f 86 व्याजीकि :- The Dissembler 128 87 गू्ढ़ीकि :- The Secrecy 129 88 विव्ृतीकि :- Open Speech 130 ... 89 युक्ति :- Covert Speech 130 90 लोकातो-Pujular Saying 131 91 कवेकोकि :- The Skilful Speech 132 92 वक्रीक्रि :-- The Crooked Speech 132 93 स्भावोत्ति :- Description of Nature 133 94 भाविकम्-The Vision. 134 95 उदात्तम्-The Exalted 134 96 अत्युक्ति :- The Exaggeration 135 97 निकु्रि :- Exposition 136

98 प्रतिषेध :- Prohibition 136 99 विधि :- Fitness 13T ...

XIII )

PAGE

100 हेतु :- The Cause 138 .- .

do. 2nd kind 138

APPENDIX.

Poetical Conventions ... 140, Words expressive of comparison 141

Terminations expressive of comparison 142 and 143 33 varieties of उपमा (1) 143 to 149 ... मालोपमा-Garland of Similes ... ... 149

रशनीपमा-Girdle of Similes 150 प्रतिवस्तूपमा (17)-Additional Example ... 150

मालाप्रतिवस्तपमा do. 151 and 152 दष्टान्त: (18) do. 151 अप्रस्तुतप्रशंसा (27)-And its 5 varieties ... 151 to 154

व्याघात: (45)-Additional Example 154

परिसंख्या (53) do. 155 ... प्रत्यनोकम् (58) do. 156 काव्यन्तिंगम् (60) do. 156

अ्रनुमानम्-Inference ... 158 वक्रोक्ति :- Additional Example ... 158

उदात्तम् (95) do. ... 158 ... संसष्टिः-Conjunction ... 159 ... FSt :- Commixture 159 and 160 ... ... Classification of Alankāras ... 161 to 164 Mutual distinctions of certain Alankäras 164 to 173 ...

BENEDICTORY VERSES OF OUR AUTHOR.

परस्परतपःसम्पत्फलायितपरस्परी। प्रपञ्चमातापितरी प्राच्ची जायापतीस्तुमः॥

"We glorify that ancient husband and wife, the parents of the universe, each of whom became the fruit of the penance treasure of the other.'

दूरौकरोतु दुरितं गौरौचरणपङ्गजम।।

'May the foot-lotus' of Gauri made resonant by the female bees in the masses of braided hairs of the prostrating goddesses !'

AUTHOR'S PREFACE TO THE WORK.

अलंकारेषु बालानामवगाहनसिदये। ललितः क्रियते तेषां लच्चलक्षणसंग्रह: ॥

'This elegant treatise on Alankāras with their concise definitions and apt examples has been composed (by me) for the purpose of enabling the young students to uuderstand the ornaments easily.'

KUVALAYĀNANDA KĂRIKĀS

OR

THE MEMORIAL VERSES OF

APPAYA DĪKSHITA'S KUVALAYĀNANDA.

I. उपमा-SIMILE.

DEFINITION. उपमा यत सादृश्यलप्त्मीरुल्लसति इयोः।

EXAMPLE. हंसीव कृष्ण! ते कौर्तिः ख्गगामवगाहते।

यव where (i. e., in a sen- उब्वसति shines forth *(शीकादौ) tence of prose or * (तत्र) (there) poetry) उपमा the figure 'Simile'. दयी: between two objects, कृषण ! O Krishna ! (i.e., उपमेय 'the object ते thy compared' and उपनान कोतति: fame 'the object compared हंसी दूव like a she-swan to') सर्-गंगाम् the celestial Ganges सादृश्यलत्मो: the beauty of resem- or blance (which will ex- स्वर्गम् गाम् heaven and earth cite poetical delight) अवगाहते enters or pervades.

DEF. Similé is a figure of speech wherein the beauty of resemblance shines forth between the two objects, (i. e.,. the' object compared and the object comparèd to). )

The words supplied are enclosed in circular brackets.

2 उपभा।

Ex. O Krfshna, thy fame like a she-swan enters the celestial Ganges (or pervades the celestial regions and this earth). This is an example of पूर्णोपमा ( पूर्णा =full, उपमा = simile) 'simile complete'; for, it contains all the four essentials of comparison, which åre :- 1. उपमेयम्, वर्र्यम् or विषय :- The object compared, i. e., the enbject of comparison, such as face &c. 2.' उपमानम्, अवस्थम् or विल्यी-The object compared to, i. e., the standard of comparison, such as moon, łotus &c. 3. साधारणधर्मः or सामान्यधर्मः 'or simply धर्म :- The common attribute, i. e., the characteristic re- semblance between the two objects (the object compared and che object compared to) ; or the quality of the said two objects that occasions their similitude such as charmingness or the like. 4. उपसावाचक: or simply वाचक :- The word implying comparison, such as ga 'as' or the like.

In the present example :- कोर्ति :- the object compared हंसी-the object compared to अवयाहत, i. e., अवगाहनक्रिया = 'the act of entering or pervading'-the common attribute a = the word implying comparison. Observe :- कीर्तिः 'fame,' यशम् 'feputetion' and हास: 'laughter' are always desçribed as white according to the convention of the poets. Hence, the fame of Krishna is compared to a swan which is of white colour.

उपमा। 3

8 KINDS OF SIMILE ELLIPTICAL.

f

वर्ख-उपमानधर्माएां of the object एक-द्वि-चि-अनुपादानात् by tho omis- compared, the object sion of the one, two compared to, the com- or three man attribute अष्टधा eightfold

उपमावाचकस्य च and of the word भिन्ना divided '

implying comparison लुप्तोपमा Elliptical Simile (भवति) (becomes.)

By the omission of one, two or three (of the four requisites of simile complete, i. e., the object com- pared, the object compared to, the common attribute an'd the word implying comparison) the simile becomes elliptical and is eightfold, which are :- 1. वाचकलुप्ता-SIMILE in the omission of the word implying comparison. 2. धमलुप्ता- Do. Do. of the common attribute. 3. धर्मवाचकलुप्ता- Do. Do. of the common attribute and of the word implying comparison. 4. वाचकोपमेयलुप्ता- Do. Do. of the word implying comparison and of the object compared. 5. उपमानवांचकलुप्ता-Do. Do. of the object compared to and the' word implying com- parison. ' 6. उपमाननुप्ता- Dọ. Do. of the object compared to.

4 उपभा।

7. उपमानवाचकधर्मलुप्ता-Do. Do. of the object compared to, of the word implying com- parison and of the common attribute. 8. उपमानधर्मलुप्ता- Do., Do. of the object compared to and of the common attribute.

Examples of the finst four Elliptical Similes in 1

their order.

तड़िद्गौरीन्दुतुल्यास्या कर्पूरन्ती दृशोर्मम। कान्या स्मरवधूयन्ती दृष्टा तन्वी रहो मया॥

तड़िद्गौरो (as) yellowish (as) the स्रवधूयन्तौ acts (herself) like the lightning Kāma's bride (God- दन्दुतुल्यास्था having the face like dess of love) the moon (एवं विधा ) (such a) मम my तन्वी slender woman दशी: of eyes रह: in a lonely place कर्परच्ी acts (like) the cam- मया by me phor टष्टा was seen. कान्या by (her) loveliness

A slender woman was seen by me in a lonely place-a woman (as) yellowish as the lightning; and, having the face like the moon, she acts (like) camphor to my eyes, and by (her) loveliness she acts (herself) like the Goddess of love. 1. तड़िद्वौरी-If this compound is uncompounded, we have तड़िदु दव गौरी, where :- तड़िद्-the object compared to गोरी-the common attribute तन्वौ-the object compared.

उपमा। 5

We have, in this example, these 3 requlsites, but the remaining requisite, the word ga, expressive of comparison, is indirectly omitted ; and, in the expan- sion of the compound, it becomes expressed and so this is the example of the Elliptical Simile, No. 1,-in the omission of the word implying comparison (वाचकलुप्ता). 2. धून्दुतुल्यास्या, when uncompounded, becomes इन्दुना तुल्यं, आस्यं यस्या: सा 'she whose face is like the moon,' where :-- :- the object compared to तुल्यम्-the word implying comparison आस्यम्-the object, compared. Here, we have the above three requisites; and the remaining requisite-the common attribute such as charmingness &c., we have not got. Hence, this is the example of the Elliptical Simile, No. 2,-in the omission of the common attribute ( धर्मलुप्ता). Observe :- With regard to Elliptical Similes in the omission of the common attribute only, the word omission 'लोप:' is used strictly in the sense in which it is used in the Panini's Sutra 'अदर्शनं लोपः' (I. 1. 60) 'The disappearance is called 'लोपः' With regard to the omissions of the other three, i. e., the object compared, the object compared to and the word implying comparison, they are indirectly omitted; but when the compounds which, contain them are uncompounded, they come to light, and thus, we see, they are understood. Moreover, the student should note that, without these three requisites, either ex- pressed or; understood, there will be no simile at all.

6 उपमा।

3. कर्परन्ती दृशोमम। कर्पूरन्ती is the present participial noun, feminine gender, of the nominal verb 'कर्पूरति having the क्विप affix expressive of com- parison omitted. If it is uncompounded, it be- comes कर्परमिव आ्रचरन्ती-'she acts like the camphor', where- (1) तन्वी-in the second line of the sloka is' the. object compared and (2) कपू रम्-is the object compared to. Thus, we have here only the above two requisites and the other two ingredients of comparison, the common attribute and the word implying comparison, are omitted. Hence, this is the example of the Elliptical Simile, No. 3, -- in the omission of the com- mon attribute and the word implying comparison (धर्मवाचकलुप्ता). 4. कांत्या स्मरवधूयन्ती-by (her) loveliness, she acts (herself) like Kama's bride. The compound er- वधूयन्ती is the present participial noun, feminine gender, of the nominal verb समरवधयति having the affix 'kyach' (क्यच्) expressive of comparison. If it is uncompounded, it becomes आत्मानम् स्मरवधूम् इव आ्र््राचरन्ती ; where we have (1) स्मरवधू-the object compared to (2) कांत्या-the common attribute only two essentials of comparison. The other two, i. e., the object compared आत्मानम् 'herself' and the word expressive of comparison व 'as' are indirectly omitted. 'Hence, we have the example of the Elliptical Simile, No. 4,-in the omission of the

उपमा। 7

word implying comparison and the object compared (वाचकोपमेयलुप्ता).

Examples of the Elliptical Similes Nos. 5 and 6.

यत्तया मेलनं तत लाभो मे यश्च तद्रतेः।

तत there, i. e., in that लाभ: gain lonely place that मे my एतद् this

तया with that (lady) अवितर्कितसंभवम् accidental or un- यत which expected occurrence मेलनम् meeting काकतालीयम् like the maxim of यः which the crow and the तद् रते: of the sexual inter- palm fruit, course with that lady

My meeting with that lady, in that lonely place, and my gain of sexual intercourse with that lady- each is an accidental occurrence like the maxim of the crov and the palm fruit. This is the most puzzling example. The com- pound काकतालीयम् must be first analyzed; but its analysis can be best understood only when the Panini's Sutra समामाच्च तद्विषयात् (V. 3. 106) with its commentary is rightly and fully understood. This Sūtra contains 3 words and one word : is to be supplied from the preceding Sūtra (V. 3. 105) and the full Sūtra stands thus :--

समासात् च तट्-विषयात् कः ।

The affix Chha ( ईय) comes, also in the sense of

8 उपमा।

'like this'. after a compound noun containing in itself the force of 'like this' (hidden). Kāsika commentary on the Sūtra. तद् इत्यनेन प्रक्ृत: द्वार्थ: निर्दिश्यते-By the word तट् the sense of दूव, the subject of discussion, is referred to. दूवार्थविषयात् समामात् अपरस्मिन् दवार्थे एव क्वः प्रत्ययो भवति- The affix Chha ( ईय) comes, only in the second sense of दव 'like this', after a compound con- taining in itself the force of दव.

Examples. 1. काकतालीयम्-Like the maxim of the crow (काक) and the palm fruit (ताल). 2. अजाक्कपाणीयम्-Like the death of a goat (श्रजा) by the accidental falling of a sword ( क्पाण). 3. अन्धकवत्तिकीयम्-Like the accidental falling of a quail ( वर्त्तिकी) into the hands of a blind person (श्रन्धक).

अतर्कितोपनतं चित्रीकरणम् उच्यते-Unintentional and strange coincidences are referred to here. तत् कथम्-How is that. काकस्य आगमनम् याट्ट्छिकम्-The coming of the crow is accidental. तालस्य पतनं च-As also the (sudden), fall of the palm fruit (on the head of the crow). तेन तालेन पतता काकस्य 'वधः कतः-By the palm fruit thus falling, the death of the crow occurred.

उपमा। 9

एवं एव देवदत्तस्य तत्र आगमनम्-In the very same manner, the coming of Devadatta (a person) there. दस्यूनां च उपनिपात :- In the same manner, the sudden attack of robbers (upon Devadatta). तैश्व तस्य वध: कृतः-By them (robbers) his (Devadatta's) death occurred. तत्र यो देवदत्तस्य दस्यूनां च समागमः, सः काकतालसमागमसट्टशः -There, the coincidence of the person Deva- datta and the robbers is like that of the crow and the palm fruit. इूति एक: उपमार्थ :- This is the first sense of 'like this' (in the compound काकतालम्). अतश्च देवदत्तस्य वधः, सः काकतालवधसटृश :- Then, the kill- ing of Devadatta is like that of the crow by the fall of the palm fruit.

इृति द्वितीय: उपमार्थ :- This is the second sense of 'like 'this'.

तत्र प्रथम, समास :- In the first case, we have the sense of दव in the compound (काकतालम् hidden). द्वितीये, प्रत्यय :- In the second case, we have the same, expressed in the affix छ (in the compound काक- तालीयम्) .. समासञ्न,अयम् अ्स्ादेव ज्ञापकात्-Tlie implication of such a compound, having the sense of 'like this' hidden, is indicated by this Sūtra only. नहि अस्य अपरं लक्षगां अ्रस्ति-There is no other rule for the formation of this compound but this indica- 2'

I0 उपमा।

tion (as no snch compound with the force of ra is taught in the chapter on compounds). By a careful study of this Sūtra with its com- mentary, we come to know that the compound ata- तालौरम् contains two senses of 'इव = like this'; the first sense is hidden in the compound काकतालम् and the socond sense is expressed by means of the affix chha in the compound का कतालीयम्. The compound काकतालम्, if uncompounded, be- comes काक: डव, तालमिव which again become काका- गमनमिव 'like the coming of the crow' and तालफलपतन- fau 'like the falling of the palm 'frnit'. From the sloka quoted above, let us first take the example for the Elliptical Simile, No. 5,-in the omission of the object compared to and the word implying comparison and consider the same. यत्तया मेलनम् तत् अवितर्कितसंभवं काकतालम् wbere मेलनम् is the object compared and अवितर्कितसंभवम् is the common attribute. Here, we have only the above two essentials of comparison. The other two-the object compared to and the word implying compari- son, are both hidden in the compound काकतालम्. The coming of the person (पुरुषागमनन्) is compared to the coming of the crow (काकागमनम्) and the coming of the lady is compared to the falling of the palm fruit (तालफलपतनस्). The union of these two, i.e., the person and the lar, (तयाः मेलनम्) which is the object compared) is like that of the crow and the palm fruit (काकतालसमागमसटृशम्).The word समागमः, the object compared to, and the word, ₹a, implying comparison,

उपमा। II

are both omitted. Hence, we have the Elliptical Simile, No. 5,-in the omission of the object compared to and the word implying comparison. Let us then consider the example for the Elliptical Simile No. 6.

लाभो मे वञ्च तद्रतेः तदेतत् काकतालीयम् अवितर्कितसंभवम् ॥

Where :- लाभ: is the ohject compared, अवितर्कितमंभवम् is the common attribute and the compound कोकतालीयम् con- tains the object compared to. 'उपभोग: eating,' hidden and the word implying comparison expressed by the affis क्व (ईय) because the compound, if uncompounded, becomes काफतालम् धव =* काकऊवततालोपभोगमटशः 'like the eating of the palm fruit by the crow': In this example, we have the above three ingredients of com- parison ; and the fourth, the object compared to, is omitted. Hence, this is the example of the Elliptical Simile, No. 6,-in the omission of the object compared to. Now, if we take away the common attribute अवितर्कितसंभवम् from the sloka which contains the exanaples for the Elliptical Similes Nos. 5 and 6 and substitute in its place 'अभवत् किं ब्रवोमि ते='It so

• In the Kasika commentary on V .. 3. 106, this componnd stands in its expansion thus- काकतालवघसट्ण: 'like the death of the crow by the sndden fall of the palin fruit'. The student should note here that this and the other two similar compounds are used to denote the accidental occurrence whether welcome or unweljome as the case may be.

12 पमा।

chanced ; hat shall I tell you' ; and read the sloka thus :-

यत्तया मेलनं तत् लाभी मे यश्च तद्रतेः । तदेतत्काकतालीयमभवत् किं ब्रवीमि ते। We have here the omission of the common attribute in the above two examples.

In the first example :-

मेलनम् is the object compared and, of the other three essentials of comparison, the common attribute is directly omitted, and the object compared to, and the word implying comparison are indirectly omitted in the compound काकतालम् as explained before and so we have the example of the Elliptical Simile, No. 7,-in the omission of the object compared to the word implying comparison and the common attribute (उपमानवाचकधमलुप्ता). In the second example :-

TH: is the object compared and the compound काकतालीयम् contains the object compared to hidden and the word implying comparison expressed in the affix & and we have no common attribute ; so we have the example of the Elliptical Simile, No. 8,-in the omission of the object compared to and of the com- mon attribute (उपमानधमलुप्ता). Thus, in one sloka, we have the examples of the second four Elliptical Similes Nos. 5 to 8. This ornament SUHT is distinguishable from certain other

अ्रनन्वय: । I3

ornaments such as अनन्वय: No. II .- 'Comparison Absolute,' रूपकम् No. V .- Metaphor, उपमेयोपमा No. III .- Reciprocal Comparison, and व्यतिरेकः No. XX .- Dissimilitude. .

In the Rūpaka, the resemblance is suggested whereas it is expressed here. In the Comparison Absblute, only one object is compared to itself. Here, two different objects are compared. In the Reciprocal Comparison, two sentences are employed ; here, only one sentence. In the Dissimilitude, contrast also is stated, whereas it is not so in this figure. For other peculiarities of this figure and its varieties according to Sāhityadarpana and Kāvya- prakāsa 'and for words expressing comparison &c., see the Appendix.

II. अनन्वय :- 'COMPARISON ABSOLUTE.'

DEFINITION. उपमानोपमेयत्वं यदेकस्यैव वस्तुनः ।

EXAMPIE. दून्टुरिन्टुरिव श्रीमान् दत्यादी तटनन्वयः।

एकस्य एव of only one object on श्रीमान् glorious . hand. इन्टु: moon यद which दन्दु: दव like the moon itself उपमानोपमेयत्वम् the relation of दत्यादौ in the illustrations the objert compared like this to and that compared अ्रनन्वय:' the figure comparison तत् , that absolute

When the gbject compared to and the object com- pared are one and the same, or in other words, when one and'the same object is compared to itself, it is

I4 उपमेयोपमा।

Comparison Absolute-as in the illustration like ₹- रिन्दुरिव श्रीमान् 'the glorious moon is like the moon itself &c. अनन्वय := नास्ति अ्रन्वय: 'connection' यस्य सः=want of connection with any other object in the world in respect of comparison. The word इत्यादो 'et cetera' comprises such other examples as :-

गगनं गगनाकारं सागर: सागरोपमः । रामराक्पयोर्युद्वं रामरावगयोरिव॥

(As regards spaciousness), the sky is like the sky itself. (As regards vastness), the ocean is similar to the ocean itself. (As regards awfulness), the battle between Rama and Ravana is like the battle between Rama and Ravana. Here and in the example given in the text, the self-comparison of the moon, ocean, sky and the battle is to show the non-existence of their like. In this figure, a sameness of terms would be more expedient for the ready understanding of the identity of the object at the very hearing. 'इन्दु: इन्टुरिव' holds better than 'इन्द: चन्द्र. दूव' although the latter is a synonym of the former.

III. उपमेयोपमा-'RECIPROCAL COMPARISON.'

DEFINITION. पर्यायेण दयोस्तच्चेढपमेयोपमा मता।

EXAMPLE. धर्मोडर्य दूव पूर्णश्रीरर्थो धर्म दूद त्वयि ॥

प्रतीपम्। I5

इयो: of the two, i.e., the चत् if object compared to उपमेयोपमा reciprocal comparison and that compared मता is termed पर्याय्ेप in turn, i.e., in alter- त्ववि in thee nation धर्मः (thy) virtue सत् that, i.e., the posi- अर्थः दव like (thy) riches tion of upamāna and पुर्ष श्रौ: full upameya (taken from चर्थ: (thy) riches - the preceding sloka) धर्म: दव like (thy) virtue

Def.' That, i.e., the position of Upamāna and Upameya, when alternated is declared the Reciprocal Cemparison. Ex. In you, O King ! thy virtue is as full as (thy). riches ; and thy riches as full as thy vertde. Here, the object of comparing the king's virtue with his riches and again his riches with his virtue excluding the other similar objects is to show that there is nothing else equal to the virtue &c., of the king. Observe :- This figure is possible only in two. sentences as the interchange of comparisons is in- possible in one sentence. The Upamāna in the first sentence becomes Upameya in the second and the Upameya in the. first becomes Upamāna in the second in the total absence of a third thing to be compared to. But the figure अनन्वय: No. II. is possible in one sentence, the object compared to and that compared being the same in the total absence of a second thing to be compared to.

IV. प्रतोपम्-'CONVERSE.'

DEFINITION.

EXAMPLE. त्वल्वोचनसमं पद्मं त्वह्क्कसदृशो विधुः॥

16 प्रतौपम्।

उपमानस्य of the object com- पद्मम् lotus pared to विधु: moon उपमेयत्वप्रकल्पनम् assuniption as the त्वल्लीचनसमम् equal to thy eye object compared त्वइकसटशः equal to thy face प्रतोपम् the figure Converse

Def. The assumption of the object compared to as the object compared, i.e., when Upamana (moon &c.) is compared to Upameya (face &c.), or in other words, when the usual form of comparison is inverted, it is the Converse. Ex. (Lady !) The lotus is like thy eyes; and the moon is like thy face.

2nd kind of Converse. DEPINITION. अन्योपमेयलाभेन वरार्यस्यानादरञ्च तत्।

EXAMPLE. अलं गर्वेगा ते वक्न कांत्या चन्द्रो भवाहशः॥

उन्योपमेयलाभेन by reason of gain तत् that, i.e., the figure of another, i.e., the converse object compared to as वक्! face ! the object compared. thy वर्स्पम्य of the object on hand गर्वेण by the pride (face &c.) अल्लम् enough अनादर: disregard कान्या in splendour च also चन्द्र: the moon भवाटश: like thee

Def. When the subject on hand (face &c.) is dis- regarded by reason of the gain of another object (i.e., moon &c.) which is not the subject under discourse it is also termed Converse.

Ex. O face ! enough of thy pride ; (there is) the moon equal to thee in splendour. (

प्रतीपम्। 17

3rd kind of Converse.

DEF. वरार्योपमेयलाभेन तथान्यस्याप्यनांदरः ।

Ex. कः क्रीर्यदर्पस्ते मृत्यो त्वत्तुल्याः सन्ति हि स्तियः॥

वर्एयोंपमेयलाभेन by reason of the मृत्यो! death ! gain of the object ते thy compared which is क्रौर्यदर्प: pride on account of · the subject on hand cruelty भन्यस्य of the object which क: what is not the subject on • हि because hand स्त्रयः women श्रपि also त्व त्तुल्या: equal to you बनादर: disregard सन्ति there are . तथा so, i.e., the Converse

Def. When the object which is not the subject on hand is disregarded by reason of gain of another object which is the subject on hand, it is declared the third kind of Converse. Ex. O death ! wherefore dost thou bear the pride on account of cruelty; because, there are (many) women equal to thee (in cruelty). 4th kind of Converse.

DEE. वरर्येनान्यस्योपमाया अनिष्पत्तिवचञ्च तत्। Ex. मिथ्यावादो हि सुग्धाचि! लवन्मुखाभं किलांबुजम् ॥

वरयेन by thẻ object on च also hand (i.e. face &c.) तत् that,i.e.,the Converse श्न्यस्य . of the object not on सुग्धात्ति! O beautiful-cycd lady ! hand नंद्रु जर् lotus

उपमाया: of the resemblance . त्वन्भुख़्वाभम् equal ro the face अनिष्पत्तिवच: the assertion of non- मिघ्यावाद: · untrue assertion accomplishmeu't किल truly

18 रूपकम्।

Def. The assertion of non-accomplishment of the resemblance of the object not on hand with the object on hand is also termed the Converse. Ex. O beautiful-eyed 'lady ! The assertion that the lotus has the likeness of thy face is an untrue one. Hence, we see here that the resemblance between the two objects lotus and face being stated as untrue becomes an unaccomplished one and so it is the Converse. 5th kind of Converse.

DEE. प्रतीपमुमानस्य कैमर्थ्यमपि मन्यते।

Ex. दृष्ट चेद्ददनं तन्वाः कि पद्मेन किमिन्टुना॥

उपमानस्य of the object com- मन्चते is considered pared to तन्वIा: of that slender lady कैमथ्टम् the sense of 'what is वदनम् the face the use of ' दृष्ट चेत् if seen अ्रपि also पद्मेन किम् what with the lotus प्रतोपम् the Converse टन्टुना किम् what with the moon

Def. The assertion 'what is the use of the upamāna' (with reference to the upameya which is the subject on hand) is also considered as one of the Pratīpas. ' Ex. When the face of that slender lady was seen, what is the use of the lotus or of the moon.

V. रूपकम्-Metaphor.

DE. विषय्यभेदताद्र प्यरञ्जनं विषयस्य यत्।

Ex. रूपकं तत्तिधाधिक्यन्यूनत्वानुभयोतिभि: ॥

रूपकम्। I9

which tical with the object विषयस्य of the object com- compared to pared तत् that विषय्यभेदरञ्जनम् the gratifying re- रृपकम् the metaphor presentation as non- तत् that (metaphor) different from the आधिकय- in point of superi- object compared to न्यनत्व- Fority, inferiority and विषयिताट्ूप्यरञ्जनम् the gratifying re- अनुभयोक्तिभि: the absence of both presentation as iden- विधा is three-fold Def.' The gratifying representation of the object compared (1) as non-different from, and (2) as identi- cal with, the object compared to is termed Rūpaka. And each (of the said two kinds) is again three-fold in point of (1) superiority, (2) inferiority and (3) the absence of both.

The Metaphor is first held two-fold :- (1) अभेदरूपकम् and (2) ताद्रूप्यरूपकम्. Each of these is again three-fold in point of superiority &c., of the object compared over the object compared to. Hence the Metaphor is six-fold which are :- 1. अधिकामेदरूपकम्। 4. अधिकताद्रूप्यरूपकम्। 2. न्यूनामेदरूपकम् । 5. न्यूनताद्रूप्यरूपकम्। 3. अनुभयाभेदरूपकम्। 6. अनुभयताद्रूप्यरूपकम्। Examples of these in their reverse order.

No.3. अनुभयामेदरूपकम्। Ex. अयं हि धूर्जटि: साच्षाद् येन दग्धाः पुरः नगात्। अ्रयम् (राजा) this (king) येन by whom साक्षात् in per'son, in bodily चयात् in a moment form पुरः the cities (of his foes) . धर्जटि: the God Siva दग्धा: were burnt ·indeed

20 रूपकम्।

Ex. This (king) is indeed the very God Siva in bodily form ; because by him the cities (of his foes) were burnt. Here, the king, the upameya, who is said to have burnt the cities of his foes is represented as non-diffe- rent from the God Siva, the upamāna, the destroyer of the three cities of gold, silver and iron of the demon tripura, and in the absence of any superiority or of inferiority between these two objects, we have the example of Rūpaka No. 3.

No. 2. न्यूनामेदरूपकम्। Ex. अयमास्ते विना शंभुस्तार्त्तीयोंकं विलोचनम्।

प्रयम् (राजा) this (king) विना without तात्तौयोकम् third शंभु: God Śiva विलोचनम् eye भास्ते is or stands Ex. Here stands (before us) this (king), the God Sambhu himself without his third eye. Here, the king, the upameya, having onlv two eyes is represented as non-different from the God Sambhu, the upamana, in the absence of his third eye, i.e., with an inferiority in respect of eyes. Hence, this is the example of Rūpaka No. 2.

No. 1. अधिकामेदरूपकम्।

Er. शंभुर्विश्वमवत्येष खीक्ृत्य समदष्टिताम्।

एष: (राजा) this (king) सोकृत्य haring assumed प्रांभु: the God Sambhu विश्वम् the universo समदृष्टिताम् equality, even'eyes, त्रवति protects impartiality

रूपकम्। 21 .

Ex. This (king), the God Sambhy himself, protects the world assuming impartiality (lit. even eyes). Here, the God Sambhu is said to have assumed two eyes in protecting the world while his third firey eye clever in consuming the world was now re- moved in as much as his present work is the protec- tion of the world and not consuming. Hence, we have here the superiority, i.e., the protection of the world with reference to the destruction of the warld with the विषमदृष्टि uneven eyes or three eyes, and so this is the example of Rūpaka No. 1. No. 6. अंनुभयताद्र प्यरूपकम्। Ex. अस्या मुखेन्टुना लब्धे नेत्रानन्दे किमिन्दु ना।

पस्या: · of this (lady) लव्धे when attained मुखेन्टना face-moon दून्दुना by the moon नेवानन्दे the delight of (our) किम् what eyes Ex. When the delight of (our) eyes has been attained by (seeing) the face-moon of this (lady), what is the good of seeing the moon. Here, the face of the lady in question is repre- sented as identical with the moon and in the absence of any superiority or of inferiority between them, we have here Rūpaka No. 6. No. 5. न्य नताद्र प्यरूपकम्। Ex. .साध्वीयमपरा लक्ष्मौरसुधासागरोदिता। इयं साध्वी this virtuous woman अपरा a second असुधासायरोदिता not born of the लच्षो: Goddess of fortuno , Milky Sea

22 परिणाम: ।

Ex. This virtuous woman is a second Lakshmi (Goddess of fortune) not born of the Milky Sea. ' Here, two different objects, the virtuous woman and the Goddess of fortune, are represented as identi- cal with an inferiority in as much as the former is not born of the Milky Sea and we haye therefore here the example of Rūpaka No. 5. t

No. 4. अधिकताद्रूप्यरूपकम्। Ex. अयं कलंकिनश्चन्द्रान्ुख चन्द्रोडतिरिच्यते।

श्रयम् this चन्द्रात् from the moon मुखचन्द्र: face-r son अतिरिचयते is superior to कलंकिन: spotted .

Ex. This face-moon (of this lovely woman) is superior to the spotted moon. Here, we have the superiority expressed in the example which needs no comment.

VI. परिणाम :- Commutation.

Der परिणाम: क्रियार्थश्चेद् विषयी विषयात्मना।

Ex. प्रसन्नेन दगजेन वीक्षते मदिरेक्षया॥

विषयौ the object compared | परिणाम: the figure Commuta- to tion विषयात्मना under the character of मदिरेच्षणा this lovely-eyed lady the object compared प्रसन्नेन bright क्रियार्थ: serving the purpose हगज न eye-lotus on hand वीचते seer चेत् if

Def. When the upamāna, (i.e., the lótus &c., the object superimposed) is identified with the upameya

उल्लख: । 23

(i.e., the eye &c., the subject of superimposition) and serves the purpose on hand (i.e., seeing &c.) it is the Commutation.

Ex. This lady of lovely eyes beholds with her bright eye-lotus. Here, the superimposed lotus not possessed of the power of beholding is identified with tre lady's eye, the subject of superimposition, and is made to serve the purpose on hand, i.e., the act of behclding. In the Rupaka, as per instance in the sentence टगजं वौचे I see the eye-lotus,' the imposed lotus served only to gratify the expression. In this figure, the act of seeing belonging to the subject of superimposition, the eye, is transferred to the object superimposed, the lotus; as in the present example.

VII. उल्लेख :- Representation.

DEr. बहुभिर्बहुधोल्लेखादेकस्योल्लेख दूष्यते। Ex. स्वीभि: कामोडर्थिभि: खर्ट्रुः काल: शतुभिरैत्नि सः॥

एकस्य of one (object) स्वौभि: by the women बडभि: by different persons काम: as God of love बहुधा under different cha- ऐचि was seen racters अर्थिभि: by the mendicants सल्लेखात् by delineating खर्द्र: as the tree of para- उल्लेख: Ropresentation dise दूप्यते is regarded श्रानुभि: by (his) foes सः (कषः) . that God Krishna काल: as God of death Def: When an object is delineated by different people under different characters, it is termed Repre- sentatior.

24 उल्लखः ।

Ex. He (God Krishna) was regarded as the God of love by the women, as the tree of paradise by the mendicants, and as the God of death by (his) foes. Here, the one and the same object is represented as distinct by different beholders on different occa- sions according o their liking or taste.

End kind of Representation.

DEF. एकेन बह्ुधोल्लेखेडप्यसी विषयभेदतः ।

Ex. गुरुवचस्यर्जुनोडयं कोर्त्तौ भीष: शरासने॥

(एकस्य of ofie object) भयं (राजा) this (king) एकेन by one person वचसि in speech विषयभेदतः through difference of गुरु: (is) grave or Brihas- peculiarities pati बहुधा under various charac- कोशों in fame ters भर्जन: (is) white or Arjuna in the delineation परासने in bow अ्पि also भोभ: (is) terrible or Bhīshma त्रसौ that, i.e., Representa- tion

Def. When an object is delineated by one person, i.e., by one perciever, under various characters through difference of peculiarities, it is also termed Representation. Ex. He (the king ) is grave ( Brihaspati ) in speech, white ( Arjuna ) in fame, and terrible ( Bhīshma ) in bow.' Here, one and the same king is represented as distinct by one and the same beholdar but through difference of peculiarities belonging to the object de- lineated.

न्ृतिमान्, भ्रान्तिमान्, सन्देहः। 25

VIII. स्मृतिमान्-Reminiscence or Rlietorical Recollection. .. IX. ्रान्तिमान्-Mistaker. X. सन्देहः-Doubt

DEF, स्यात् स तिभरान्तिसन्द हैस्तदंक्ालंक्वतिन्यम् । सृति-मान्ति-सन्देहै: by (expressions go by the names of ' of) recollection, mis- Recollection, Mistaker take and doubt and Doubt (respec- तदंकालङ्वतिचयम् three figures that tively). Def. (1) Expressions of a certain object capable of arousing an impression in the mind, favouring a recollection, (2) mistaking a certain object to be something else similar to it, and (3) doubting the certainty of an object are respectively termed Remini- scence, the Mistaker and Doubt : Or in other words :- (1) A recollection of an object, experienced be- fore, that arises from the sight of some other object similar to it, is termed Reminiscence. (2)' The Mistaker is the representation of an object, i.c., face &c. as something else, i.e., lotus &c., as suggested by the skill of the poet, on account of the close resemblance of those two objects. (3) When the certainty of an object under deli- neation is doubted through poetical skill, it is called Doubt. Example of Reminiscence. पंकजं पश्वंतः कांतासुखं मे गाहते मनः पंकजम् lotus ' कांतामुखम् the face of the be- पश्यतः seeing loved . में मन: my mind गाहत enters, i.e., recollects.

.

26 स्मृतिमान्, भ्रान्तिमान्, सन्देहः।

Seeing this lotus, my mind recollects the face of my beloved.

Example of the Mistaker.

अयं प्रमत्तमधुपस्त्वन्मुखं वेत्ति पंकजम् ।

वयम् this पंकजम् lotus

प्रपत्तमधुप: intoxicated bee वेत्ति understands.

त्वन्ुखम् . thy face

(Lady !) this intoxicated bee understands thy face to be the lotus (through mistake). The difference between this. figure and the Rūpaka (V ) is, that, in the latter, we identify the face with the lotus without mistaking the one for the other, whereas, in this figure, the mistake is clearly expressed as in the foregoing example.

Example of Doubt.

पंकजं वा सुधांशुर्वेत्यस्ाकं तु न निर्यायः ।

अ्रष्माकम् to us वा or पंकजम् lotus दूति So

वा cor निर्यय: decision सुधांशु: moon न not.

We are not able to decide whether (the object be- fore us ) is the lotus or the moon ( nectar-rayed ). Thus, we see that these three figures are founded upon the close resemblance, of the objects seen and experienced before, that gave rise to a recollection, mistake or doubt.

अ्पड्ड तिः। 27

XI.

There are six varieties of this figure which are :-

1. शुद्धापड्क तिः Concealment pure. 2. हेत्वपन्न तिः .Do. attended with a reason. 3. पर्यस्तापङ्क तिः Do. transferred. म्रान्तापङ्गतिः Do. under a mistake. 4ं 5. छेकापङ्ज तिः Do. of the skilful.' . 6. कैतवापड्क तिः Do. of the deceitful.

2. शुद्धापड्न ति :- Concealment pure.

Ex. नायं सुधांशु: किं तर्हि व्योसगंगासरोकहम्।

भन्यस्य of the object not on प्रयं this hand सुधांशु: moon भारोपाध causing superimposi- न not tion किं तर्हिं then, what is that धर्मनिङ्वः denial of the character व्योमनंगासरीरहम् the lotus of the शुद्धा pure celestial Ganges. अपह्गतिः Concealment

Def. शुद्वापङ्गति: is the denial of the real character (of an object on hand such as moon &c.) for the purpose of superimposing (upon it) the character of another (object lotus &c., not,on hand). Ex. This (the object before us) is not the moon (nectar-rayed ) but it is the lotus of the celestial Ganges.

28 अपह्न तिः।

2. हेतपङ्क तिः-Concealment with a reason.

DEF. स एव युत्तिपूर्वश्चेद्च्यते हेत्वपङ्गतिः ।

Ex. नेन्टुस्तीव्रो न निश्यर्कः सिंधोरीर्वीयसुत्यितः॥

सः (धर्मनिङ्गवः) एव the same i.e., दून्दः moon the denial of the न not character तोव्र: hot युक्तिपूर्वः based upon a reason- निशि at night ring sun चत् if न not

हेत्वप्गतिः Concealment with a सिन्वो: from the ocean

rcason उत्थित: sprung up उच्यते is caied श्रव: the submarine fire. त्यम् this

Def. The above, i.e., the 'Concealment pure' when based upon a reasoning, is termed हतपऋ्क तिः। Ex. This is not the moon, (because it is) hot; .(not even) the sun, (because it is) night; but it is the submarine fire come out of the ocean.

3. पर्यस्तापन्ण ति :- Concealment transferred.

DEF. अन्यन तस्वारोपार्थ: पर्यस्तापळ तिञ्व सः ।

Ex. नायं सुधांशुः किं तर्हि सुधांशु: प्रेयसीसुखम्।।

श्रन्यव on another object त्रयम् this तम्य of that ( object on सुधांगः m̧oon hand ) न not आरोपार्थः causing superimposi- किं तर्हिं then which (is called tion moon) सः that प्रेवसीमुखम् the face of (my) be- पर्य-तिः Concealment trans- loved ferred सुधांशु: moon.

अपह् तिः। 29

Def. Paryastāpahnuti is that in whieh the real character of an object (moon &c.). is denied and the same is superimposed upon another object (face of a damsel). Ex. This is not the moon (nectar-rayed). Then which is moon ? The face of my beloved is the moon (nettar-rayed-not being endowed with burning character). 4. भ्रान्तापण्ण तिः-Concealment under a mistake,

Der. भ्रान्तापड्क तिरन्यस्य शंकायां भांतिवारगे।

Ex. तापं करोवि सोत्कम्पं, ज्वरः किं? ने सखि स्मरः॥

तन्य स्य of another person तापम् heat शंकायान् . in doubt करीति produces भरान्तिवारणे in the removal of the ज्वर: किम् is it fever ? mistake सखि friend ! it is Concealment न no under a mistake रमर: the God of love. सोत्क पम् accompanied by trem- bling

Def. When a person is in doubt (i.e., under a mistaken notion as to the real character of an object on hand) and when that doubt is warded ofs (by the mention of the real thing), it is Bhrāntāpahnuti. Ex. (It) produces heat accompanied by the trembling of the body* Is it fever ? + No, friend ! It is the God of love. t

• Said by a latly pining under separation. Said by her female friend that chanced to be near her, Į Reply made by the former to the latter.

30 अपह्तिः।

5. केकापड् ति :- Concealment of the skilful.

DEF. क्ेकापङ्न तिरन्यस्य शंकातस्थ्यनिङ्चवे।

Ex. प्रजल्पन्मत्पदे लग्नः, कांतः किं? न हि नूपुरः ॥

श्रन्यस्य of another person प्रजल्पन् pratling शंकातः owing to fear मत्पदे in my foot तथ्यनिङ्चवे for the purpose of लग्न: clung denying the real sense कान्तः किम् is it (thy) lover ? केकापङ्कुति: Concealment of the न हहि no, no skilful नूपुरः anklet

Def. When a person (having once given expre- ssion to soma real object) denies the same (by inter- preting it otherwise) for fear of being understood by another person (in its real sense), it is termed the Concealment of the skilful. Ex. Pratling (something he) clung to my foot .* .Is it thy lover ?+ No, no. It is my auklet. ț

6. कैतवापङ्न तिः-Concealment of the deceitful.

DEF. कैतवापड़क तिर्व्यक्तौ व्याजादौर्निड्ह तैः पदैंः।

Ex. निर्यान्ति समरनाराचाः कांताटक्पातकेतवात्।। व्याजादौ: निड्लैः पदैः by words of blance of the glances denial व्याज &c. of a damsel व्यक्तौ if expressed मरनाराचा: the arrows of the कैतवापन्न तिः Concealment of the God of love deceitful निर्यान्ति issue forth कान्तादटक्पातकैतवात् under the sem-

• Said by a lady to her confidential companion.

time. t Question asked by another lady that chanced to come there at that

Į Reply made by the first lady.

उत्प्र चा। 31

Def. When (the denial of the real character of an object on hand) is clearly expressed by the words of denial &TH etc., it is the Concealment of the deceitful. Ex. The arrows of the God of love issue forth under the semblence of the glances of a damsel. TG= under the semblence of, under the pretext of. आद etc. includes such other words मिष, कपट, क्वल, कद्; कैतव।

XII. उत्रेक्षा-Poetical fancy.

DEE. संभावना स्यादव्येक्ता वस्तुहेतुफलात्मना। उत्तानुक्तास्पदाद्यात सिद्धासिद्वास्पदे परे॥

वम्तु-हेतु-कलस़त्मना under the cha- sion of the fancy is racter of (1) nature mentioned or not (2) cause and (3) mentioned effect (of another परे the other two i.e., हेतू-' object ) त् क्ा and फलीत्र क्षा संभावना imagining सिद्धअसिद्-आ्स्पदा where the sub- उत्प्रेक्षा स्यात् is Poetical fancy ject of the fancy is of these an accomplished or आद्या first i.e., वस्तत्प्र च्ा unaccomplished one. उत्त-अनुक्त-आ्रस्पदा where the occa-

Def. The Poetical fancy is the imagining of an object on hand under the character of another object not on hand under three heads, viz., (1) nature, (2) cause and (3) effect. (And thus the figure is first three-fold). Of these, the first वस्तुत्रेचा or as it is generally called स्वरूपोत्र चा is two-fold according as the occasion of the fancy is mentioned or not mentioned. The othier two, i.e., हेतूत चा and फलोग्रचा are each

32 उत्प्र च्ञा।

two-fold according as the subject of the fancy is an accomplished or unaccomplished one. स्वरूपोत्प्रेक्षा is that in which the state, condition or natural appearance of an object is imagined by the poets to be the state, condition or natural appearance of another similar object. हतूपर चा is that in which something is imagined to be the effect of some other thing which cannot form its real cause. फलोनचा is that in which something is imagined to be the cause of some other thing which' is not its real effect. Example of स्वरूपोत्य क्षा (1) where the occasion of the fancy is fentioned.

धूमस्तोमं तमः शंके कोकीविरहशुम्गाम्।

तम: the darkness धूमस्ीमम् the mass of smoke कोकोविरहशुमणाम् the fire of sep- शं के I suspect aration of kokī birds

I suspect (this) darkness to be the mass of smoke of the fire of separation of the kokī birds. Here, the darkness and the smoke are similar in appearance. The poet is aware that it is darkness. He then fancies it to be the smoke of the fire of separation of the kokī birds which is the occasion of the fancy. Example of खरूपोत्प्रेक्षा (2) where the occasion of the fancy is not mentioned.

लिम्पतीव तमोङ्गानि वर्षतीवांजनं नभः ।

तम: darkness नभ: ský अङ्गानि limbs अञ्ञनम् collyrium ?

लिम्पति दव anoints as it were वर्षति द्वव rains as it were.

उत्प्रेक्षा। 33

Ex. The darkness anoints, as it were, the bodies, (lit. limbs). Sky rains, as it were, the collyrium. This is the description of the thick darkness of a particular night. In the first sentence, the subject, i.e., the pervasion of darkness which was fancied by the poet as anointing.the bodies is not mentioned. In the second sentence too, the pouring down of the darkness which is the subject of the raining of colly- rium is not mentioned. Hence we have two instances of अनुक्ास्पदा वस्तृत्पेक्षा where the occasion of the fancy is not mentioned.

Ex. रक्ती तवांघ्री मटुलौ भुवि विच्ेपखाठ्ध्रुवम्।

तब thy विचेपखात् by treading मदुलौ soft प्ुवम् certainly अंघ्री .tender feet रक्तौ red. भुवि on the floor (Oh! Lady), thy soft feet have become red , certainly by their treading on the floor. Here, the treading on the floor is fancied as a cause for the natural redness of the lady's feet ; and the redness being an accomplished one, this is an instance of सिद्ास्पदा हेतूत्पेत्ता।

Ex. त्वन्मुखाभेक्कया नूनं पद्मैवैरायते शशो।

moon नूनं surely त्वन्मुखामेच्कया . with 'a desire of पदे: with the lotuses attaining the loveli- वैरायते• rivals. · ness of thy face Ch! Damsel, the moon rivals with the lotuses, surely, with a desire of attaining the loveliness of thy face: 5

34 उत्प्रेक्षा।

Here, the enmity, between the moon and the lotuses, on account of the latter's contraction on the appearance of the former, is natural, and the cause ascribed to it, i.e., with. a desire of attaining the beauty of the lady's face is not real and is due to the fancy of the poet. The cause not being an established one, this forms an instance of असिद्वास्पदा हेतूत्रेक्षा।

Ex. मध्यः किं कुचयोर्ध त्यै वद्ः कनकदामभिः।

मध्यः waist किम् what कुचयीः of breasts कनकदामभि: by the golden strings पृत्य for the support बड्: was tied.

Lady ! Is it for the support of thy breasts that thy waist was tied by the golden strings (in the form of the lady's foldings) ? Here, the lady's breasts are naturally placed above the waist; whereas, the poet describes the natural goldlike folds over the navel of the lady as three golden strings tied round the waist as if to support the breasts. The fact being an accomplished one, this is an instance of सिद्विषया फलोयेक्षा।

Ex. प्रायोऽजं त्वत्पदेनैक्यं प्राप्तु तोये तपस्यति।

श्रज्ञ lotus प्राप्ु to get त्वत्पदेन with thy foot प्राय: perhaps ऐकम् the oneness, i.e., like- तीये in the water ness तपस्तति does penance.

Lady ! the lotus does penance in the water per- haps to become identical with thy foot. Here, the lotuses naturally grow in water, and the poet artfully attributes another cause for their

अतिशयोक्ति: । 35

standing in the water, which is no doubt the work of his imagination ; and this being an, unaccomplished one, it is an instance of असिद्धविषया फलोत्येक्षा।

XIII. अतिश्यो्ि :- Hyperbole.

There are seven kinds of this figure .-

1, रूपकांतिशयोक्ि: Hyperbole Metaphorical .. 2. भेदकाति० Do. . asserting a difference. 3. संबन्धा० Do. asserting a connection. 4. असंबन्धा० Do. asserting a disconnec- tion. .

5. अ्रक्रमा० Do. asserting a want of order. 6. चपलां० Do. asserting fickleness. 7. अत्यन्ता० Do. of the highest degree.

Of these, No. 1 is two-fold. (a) "GT-Pure and (b) सापज्चवा-founded upon the ornament of Conceal- ment (XI).

1 (a) शुद्धा रूपकातिश्योक्ि:।

DEE. रूपकातिशयोक्ति: स्ाब्निगीर्याध्यवसानतः ।

Ex. पश्व नीलोत्पलद्ंद्दाव्निःसरंति शिताः शराः॥

निगौर्य having devoured नीलोत्पलद्ंद्दात् from a pair of blue अव्यवसानतः through . introsuscep- lotuses tion शिता: sharpened रूपकातिशयाकि: metaghorical hyper- पूरा: shafts bole (pure) निःसरंत्ति issue forth सात् .ig पश्य see.

.

36 अतिशयोक्ति: ।

Def. When the object on hand (i.e., face &c. the upameya) is swallowed up, or completely taken in, by the upamana 'moon &c.' through introsusception, and the upameya is therefore comprehended as upamāna itself, or, in other words, (when the upamāna is used for upameya), it is called 'Hyperbole Meta- phorical'. निगीर्य is indeclinable past participle in य of the root ग with नि 'to devour'. अध्यवसानतः=अध्यवसान+तस् eau is the abstract. noun formed by adding the affix अ्न to the root सो with prepositions अधि and अव, and ag is a termination of the ablative case. अध्यवस्ान means the identification of two objects of which the one is the. object on hand and the other not on hand in such a manner that the former is com- pletely absorbed into the latter. When a man comprehends the face of a damsel as moon itself and calls it by the word 'moon' without mentioning the proper word 'face', then the face 'upameya' is said to have been swallowed up by the moon 'upamāna'. Ex. Behold ! There issue forth sharpened shafts from a pair of blue lotuses. Here, the speaker, instead of saying 'पश्यकान्तान्ि- युष्मात् कटाच्ा नि:नर्चहो there issue forth ogles or side-glances from a pair of eyes of this lovely woman who was before him, says thus by using the upamana words नीलोत्मल 'blue lotus' and शरा: 'shafts' for their corresponding upameya words the afa 'eye' and कटाचा: 'ogles'. Thus, we have the introsuscep- tion of the eyes and the ogles of a beloved lady in

प्रतिशयोक्ति:। 37

the blue lotuses and shafts with which' they are respectively identified. *

1 (b) सापड्ूवा रूपकातिशयोकिः।

DET. यद्यपहू तिगर्भत्वं सैव सापहवा मता।

Ex. त्वत्मूक्तिषु सुधा राजन् भांता: पश्यंति तां विधौ॥

यदि if राजन् O king ' अपड्न तिगर्भत्वम् founded upon the तवत्मक्तिषु in thy good speeches ornament 'Conceal- सुधा nectar ment' भाता: infatuated people सैव सापड़वा metaphorical hyper- ताम् that bole pure itself found- विधी in the moon ed upon the ornament पश्यन्ति see. of Concealment मता is considered (by the poet)

Def. If the same, i.e., the Metaphorical Hyper- bole No. 1 (a) is founded upon the ornament of Con- cealment, then it is called सापहवा रूपकातिशयोक्तिः । Ex. O king ! Nectar exists in thy good speeches ; but the infatuated people see the same in the moon. Here, 'the sweetness in the good speeches of the king is the nectar'-is the Hyperbole No. 1'(a); be- cause the upamāna 'nectar' is used for upameya 'sweetness'. Again, the nectar which is in the moon is denied'and that which exists in the good speeches of the king is called nectar and hence we have the ornament of Concealment also.

• This comprehension brings about the superior excellence of the upameya bver the upamāna.

38 अ्तिशयोक्ति: ।

2. भेदकातिशयोक्तिः ।

DEF.

Ex. अन्यदेवास्य गांभीर्यमन्यद्वैय महोपतेः॥

तस्पैव of the object des- अन्यदेव (is regarded) as ano- cribed ther, i.e., strang> or अन्यत्ववर्गानम् description as another extraordinary भेदकातिशयोत्ि: Hyperbole asser- धैर्थम् courage ting a difference अन्यत् (is regarded) as ano -: 0 श्रस्य of this (king) ther, i.e. strange. गांभीर्यम् profundity

Def. When the thing described is comprehended as another, i.e., as extraordinary or strange or pecu- liar, it is called भेदकातिशयोक्तिः । Ex. Strange is the profundity of this kiag and strange is his courage also. Here, the profundity and the courage of the king are considered as extraordinary because a difference is asserted between the profundity and courage of an ordinary man and those of the king.

संबन्धातिशयोकति:। 3

DEF. संबंधातिशयोक्ि: स्वादयोगे योगकल्पनम्।

Ex. सौधाग्ाणि पुरस्यास्य स्पृशंति विधुमंडलम् ।। श्रयोगे when there is no स्यात् is (called) connection अस्य पुरस्य of this town योग कल्पनम् assertion of a connec- सौधायाषि tops of the mansions tion विधुगरडलम् the dirc of the moon संबंधा-कि: Hyperbole asserting a स्प्शन्ति touch or kiss (fig.) connection

प्रतिशयोक्ति: । 39

Def. When a connection is asserted where there is really none, it is called संबन्धातिशयोकति:। Ex. The tops of the mansions of this town kiss the disc of the moon. Here, the tops do not really touch the disc of the moon ; still they are asserted to do so on account of their extraordinary height.

Ex. त्वयि दातरि राजेन्द्र खर्द्गु मान्नाद्रियामहे॥

योगे अपि though there is con- राजेन्द्र O best of kings ! · nection त्वयि दातरि when thou art a donor अ्योग: (the assertion of) dis- खर्द्रमान् the trees of the para- connection dise असंबंधा-ति: Hyperbole asserting न आद्रियामहे we wont devote to. & disconnection

Def. Denial of connection where there is really a conection is called असंबन्धातिशयोक्ति: । Ex. O best of kings ! As long as thou remainest here, as our liberal donor, we won't devote ourselves to the wish-yielding trees of Indra's paradise. This is addressed by the mendicants to a king of very liberal donations. They, the mendicants, say that as long as this king is their donor, they sever their, connection, with the Kalpa tree. Here, the connection of, the mendicants with their wish-yielding tree which is, as its very 'name. implies, renowned for its liberality is denied.

40 अतिशयोक्ति: ।

Der. अक्रमातिशयोतिः स्यात्सहत्वे हेतुकार्ययोः ।

Ex. आलिंगन्ति समं देव ज्यां शराश्च पराश्च ते।।

पेतुकार्ययी: of the cause and ते thy effect शूराख arrows सहत्वे in the simultaneity पराश foes अ्रक्रमा-कि: Hyperbole asserting a ज्याम् (1) bow-string (2) earth want of order समम् simulataneously देव O king ! · भालिंगन्ति clasp.

Def. When the cause and effect are said to have taken place simultaneously, or, in other words, when the effect is said to co-exist with the cause, it is called अक्रमातिशयोक्तिः । Ex. O king! Thy arrows and thy foes both clasp the jyā simultaneously. Observe the pun on the word jyā which means 'bow-string' and 'earth.' The arrows are said to clasp the bow-string, and the foes, the earth, i.e., they fall down on earth dead being struck with the arrows of the king. It is usual that cause precedes the effect. Here, the effect, the falling down dead on earth, is said to co-exist with the cause, the issuing of an arrow. Hence, it is called अक्रमातिशयोकतिः।

6. चपलातिश्योक्ति: ।

DEF. चपलातिशयोक्तिस्तु कार्य्ये हेतुप्रसकिजे।

Ex. यास्यामोत्युदिते तन्वाा बलयोऽभवदूर्मिका ॥

अरतिशयोक्ति: । 4I

करयें the effect तन्वाा: of the slender lady हेतु प्ररुत्तिज* when the cause was ऊर्मिका ring under discussion वलय: ' Bracelet इपदा-कि: Hyperbole asserting श्रभवत् became.

fickleness वरास्दामि द्वत्यदिते when said (by the lover) 'I go' ..

Def. If the effect is described to have taken place without the cause, or, literally, if the effect is said to have taken place when the cause was under discussion, e.e., not yet begun, it is then called चपलातिशयोक्तिः । Ex. No seoner did the lover say 'I shall go' than the ring of his slender lady became her bracelet.

When the lover simply said 'I shall go' but did not actually go, his beloved became so very thin at the very thought of her lover's future separation that the ring of her finger served as bracelet for her hand. Here, the cause was only expressed but did not aotually take place and we see the effect is pro- duced without the cause.

7. अत्यन्तातिशयोलि:।

DEF.

Ex. अग्रे मानो गतः पश्चादनुनीता प्रियेग सा॥

• Is explained by the commentator as हत्वभाव-without cause.

42 तुल्ययोगिता।

*तत्-पौर्वापर्य-व्यतिक्रमे when there। अग्र in the begining, i.e., is a violation of the previously priority and posteri- मान: anger ority of those (i.e., गतः subsided of the cause and सा she effect) प्रियेक by her lover धत्य - कि: Hyperbole of the पश्चात् afterwards highest degree नुनीता was conciliated.

Def. When the relation of priority and .posterio- rity is violated, i.e., when the due order is inverted, or, in other words, when the effect is said to have preceded the cause, it is अत्यन्तातिशयोक्ति: । Ex. The anger (of the beloved lady) had previ- ously subsided. Afterwards, she was conciliated by her lover.

Here, a lady angry, through love, at the 'absence of her lover removed her anger at the moment the lover came before her. The lover not knowing the subsidence of the anger of the lady excused himself of his absence which was unnecessary at that stage.

XIV. तुल्ययोगिता-'Equal Pairing'.

DEF. वरार्यानामितरेषां वा धर्मैक्यं तुल्ययोगिता।

Ex. संकुचंति सरोजानि खैरिगौवदनानि च।।

वखांनाम् of objects on hand सरोजानि letuses दूतरेषाम् वा or of those not on खैरिणीवदनानि च and the faces of hand the adulterous women धर्मे का म् sameness of attribute संकुरचनन्ति become contracted. तुच्ययोगिता Equal Pairing

• तत् = तयो: of those, i.e., of the cause and effect.

तुल्ययोगिता। 43

Def. The sameness of attribute of, objects on hand or of objects not on hand, is called J@- योगिता।

Example of objects on hand.

The lotuses become contracted as well as the faces of the adulterous women. :

This being the description of the rise of the moon, the lotuses are said to contract ; and the moonlight being an impediment to the free movements of the harlots, their faces also are said to contract or droop. Observe :- Here, the lotuses and the faces of the women are the objects on hand and are associated with one common attribute.

Example of objects that are not on hand.

त्वदंगमार्टवे दृष्ट कस्य चित्ते न भासते। मालतीशशभल्लेखा कदलीनां कठोरता।

त्वदंगमार्दवे टृष्ट when the softness mine, moon's ray and of thy limbs was per- the plantain ceived कठीरता hardness कस्य चित्ते in whose mind न भासते will not become mani मालतो-कदलीनाम् of the jasa- fest.

Ex. Lady! In whose mind will not the hard- ness of the jasamine, the lunar ray and the plantain be manifest when the softness of thy limbs was perceived ? Here, the' jasamine &c., the objects unconnected with the subject, are associated with one and the same attribute, that is, the quality of hardness.

44 तुल्ययोगिता।

Equal Pairing, second kind.

DEF. हिताहिते वत्तितील्यमपरा तुल्ययोगिता।

Ex. प्रदीयते पराभूतिर्मित्शाववयोस्वया॥

हिताहिते in a friend and foe मित्रशादवयो: to the friend and foe वृत्तितील्यम् the sameness of be- पराभूति: immense riches (to a haviour friend)

अपरा another पराभूति: defeat (to a foe) तुल्ययीगिता Equal Pairing दीयते is distributed.

त्वया by thee

Def. The description of the sameness of bè- haviour towards a friend and a foe is another kind of Equal Pairing.

Ex. (O king !), Parābūti is equally disiributed by thee both to thy friend and to thy foe.

परा and भूति: are two separate words meaning im- mense riches when applied to 'friend' ; when taken as one word, पराभूति: means 'defeat' and applies to 'foe'; however the same word being used to friend and foe, this must be taken as instancing the figure without referring to its meaning.

Observe :- This is possible only under a pun.

Equal Pairing, third kind.

DEF. गुगोत्कृष्टैः समोक्ृत्य वचोऽन्या तृल्ययोगिता।

Ex. लोकपाली यमः पाशी श्रौदः शक्रो भवानपि।

दीपकम्। 45

with those possessed पाशी Varuna' of superior qualities Kubera समोकत्य having placed on the शक्र: 'Indra same footing भवान् अ्पि as well as thyself वच: description लोकपाल: a regent of the quar- श्रन्या another ter (and the ruler of तुल्ययोगिता Equal Pairing. the earth). यम: God of death

Def. The description of placing one object on a footing of equality with those possessed of superior qualities is termed a third kind of Equal Pairing.

Ex. (O Lord !), Yama, Pāsī, Srīda, Sakra as well as thyself are each a Lokapāla.

Lokapāla = a regent or guardian of a quarter = a ruler of earth.

Yama=the God of death, the regent of the Southern quarter.

Pāsī= Varuna, the regent of the Western quarter and of the oceans.

Srīda = Kubera, the regent of the Northern quarter and the God of riches and treasure.

Sakra = Indra, the regent of the Easterh quarter and the king of the Gods.

XV. दीपकम्-The 'Illuminator'.

DEE. वदंति वर्षावर्यानां धमैक्यं दीपकं बुधाः।

Ex. मदेन भाति कलभः प्रतापेन महौपतिः॥

46 दीपकम्।

वर्सवरस्यानाम् o. objects on hand वदन्ति call and those not on कलभः young elephant . hand मदन by ichor धर्मे का म् the common attribute भाति shines बुधा: the learned महीपतिः Lord of earth दीपकम् Illuminator प्रतापेन by valour.

Def. When objects on hand and those not on hand are associated with a common attribute (men- tioned only once), the learned call it the Illuminator.

Ex. The young elephant shines by its ichor and this lord of earth by his valour.

Here, the elephant, the object not on hand, and the king, the object on hand, are together associated with one and the same attribute, the action of shining. Just as a lamp standing in one place illumines the several objects round it, so in the present figure one finite verb serves as predicate to two or more nomina- tives. Compare the maxim of the lamp placed over a threshold देहलीदोपन्यायः। It takes its origin from a lamp hanging over the threshold of a house which, by its peculiar position, serves to light the rooms on both sides, and is used to denote something which serves a two-fold purpose at the same time. Apte.

In the Equal Pairing No. 1 (Fig. XIV), the objects on hand if associated with one and the same attribute formed one kind of the figure ; and the objects not on hand if associated with one and the same attribute formed another kind 'of the same figure (observe the word ar in the Definition). In the Illuminator, the objects on hand and those not on hand are together

47

associated with one common attribute mentioned only once. XVI. आवृत्तिदीपकम्-The Illuminator by repetition.

DEF. विविधं दीपकावृत्ती भवैदावृत्तिदौपकम् ।

Ex. वर्षत्यंबुट्मालेयं वर्षत्येषा च शर्वरी। दौपकावत्तौ in the repetition of भवेत् will be . the Illuminator दयं अंबुदमाला this range of clouds निविधम् three kinds वर्षति rains आ्ाव्रत्तिदोपकम् Illuminator by re- एषा शवरौ च and this night petition वर्षति looks like a year. तिविधम् i.e., by repetition of 1 पद 'word', 2 अर्थ 'signification' and 3 EHT 'both word and signification'. Def. By repetition of (1) word, (2) signification and (3) both, we have the three kinds of the figure आवृत्तिदौपकम् । Ex. This range of clouds rains and this night looks „like a year. This is the example of No. 1 पदाव्ृत्ति। Here, the verb वर्षति, a पढ, is repeated though with different .

significations. The first is the form of the third person, singular number, present tense of the root ai 'to rain', and the second is the form of the third person, singular number, present tense of the nominal verb derived from the houn वर्ष 'a year'. Example of No. 2. अर्थाव्ृत्ति। उन्मोलंति कदंवानि स्फुटंति कुटजट्रमाः । कदंवानि kadamba flowers कुट जंदुमा: kutaja creepers उन्मौलन्ति blossom स्फटन्ति bloom forth.

48 प्रतिवस्तूपमा।

Ex. The kadamba flowers blossom and the kutaja crecpers bloom forth. उन्मोलन्ति and स्फ टन्ति mean the same thing and we have here a repetition of signification.

Example of No. 3. उभयाव्ृत्ति।

माद्यन्ति चातकास्तृप्ता मादांति च शिखावलाः ।'

हप्ता: satiated शिखावलाः peacocks चातका: chātaka birds माद्न्ति rejoice. मार्द्यन्ति rejoice

Ex. The satiated chātaka birds rejoice and the peacocks also rejoice (at the sight of the clouds). Here, the same word माध्न्ति is repeated in the same meaning and hence it is called उभयावृत्तिदौपकम् ।

XVII. प्रतिवस्तूपमा-Typical Comparison.

DEE. वाक्ययोरेकसामान्ये प्रतिवस्तूपमा मता।

Ex. तापेन भाजते सूरः शूरश्चापेन राजते।।

वाक्योः in (the sense of) two | ₹: the sun

sentences तापेन with intense heat एकसामा न्ये if one common attri- भाजते shines bute (is expressed) शूर and this warrior प्रतिवस्तूपमा Typical Comparison चापेन with (his) bow मता is recognized राजते looks brilliant

Def. When, in two sentences one of which des- cribes the object compared and the other the object compared to, the same common attribute is expressed but by different words, it is termed Typical Com- pariso n.

दष्ान्त: । 49

Ex. The sun shines with intense heat and this warrior looks brilliant with his bow. .. Here, the actions of shining and looking brilliant, though mean the same thing, are expressed by different words to avoid the fault of repetition.

. XVIII. T :- Exemplification.

DEF.

Ex. त्वमेव कीर्त्तिमान् राजन् विधुरेव हि कांतिमान्ं।

चित् if हष्टानत: Exemplification * वाक्ययी: in (the sense of) two राजन् O king ! sentences त्व मेव thou only विंवप्रतिविंबत्वम् relation of type कोर्तिमान् possessed of fame and proto-type विधुरेव ह्नि moon only तत् then कान्तिमान् radiant.

Def. If two sentences, one of which contains the object compared and the other the object compared to, stand in relation of type and proto-type, or, in other words, contain similar attributes reflectively expressed, it is called Exemplification. Ex. O king! Thou art the only being possessed of fame and the moon is the only object .having radiance.

Here, possessing fame and having radiance are similar attributes and the two sentences stand in relation of type and proto-type. The first sentence is exemplified by the second in which a renowned object, the moon, whose radiance has been experienced

Taken from the preceding verse. 7

50 निदर्शना।

as excellent, is employed as a type. The difference between this figure and प्रतिवस्तूपमा is that the common attributes here are similar but in the latter they are identical. In the प्रतिवस्तूपमा the couple of sentences terminates in conveying the same sense ; whilst in the example of the present figure the sentences have similar sense reflectively expressed and not the same.

"XIX. निदर्शना। Illustration (First kind.)

DEF. वाक्यार्थयो: सद्शयोरैक्यारोपो निदर्शना। Ex. या दातुः सौम्यता सेयं पूर्गेन्दोर कलंकता॥

सटृशयीः similar दातुः of a donor- वाक्यार्थयीः in the significations सौम्यता mildness of two sentences सेयम् that itself ऐक्यारोप: attribution of identity पूर्णेन्दी: of the full moon निदर्शना Illustration अकलंकता stainlessness. या which

Def. A description, resulting in the identity of the significations, of two sentences, which are similar, i.e., which terminate in a comparison or similarity, is called Illustration.

Ex. That mild nature if possessed by a donor answers to the stainlessness of the full moon .* Here, the impdsibility of the existence of the full moon without the black spot corresponds to the

• In Sanskrit, the relative and corrolative clauses are reckoned as two separate sentences.

निदर्शना। 51

non-existence of a donor destitude of anger. Thus, we see that the two sentences terminate in a com- parison. The difference between this figure and the Eerm XVII is that in दृष्टान्त similar attributes are stated whereas here they .are not stated. Here, the two senténces employed are dependent upon each other in their meanings but in the EeraT they are indepen- dent.

2nd kind of Illustration.

DEF. पदार्थवृत्तिमप्येके वदंत्यन्यां निदर्शनाम्।

Ex. त्वन्नतयुगलं धत्ते लौलां नौलांबुजन्मनो:॥

ए के certain writers on वदन्ति say Rhetoric त्वन्नेचयुगलम् thy two eyes पदार्थव्ृत्तिम्- पदार्थ in a thing नोलांबुजन्मनी: of the two blue वत्तिम् ऐक्ारीपस्थितिम् the state of lotuses being identical लौलाम् charmingness श्रन्याम् निदर्नाम् another kind of घत्ते bears. Illustration

Def. If a thing is described as bearing the pro- perty of another, then it is another kind of Illustra- tion according to certain writers on Rhetoric.' Ex. (Lady !) Thy two eyes bear the charming- ness of the two, blue lotuses.

3rd kind of Illusti'ation. अपरां बोधनं प्राहुः क्रिययासत्सदर्थयोः।

Ex. नश्येद्राजविरोधौति चौगं चन्द्रोटये तमः ॥

53 निदर्शना ।

क्रियया 'y an action of a | तम: darkness certain object चंद्रोदये at the rise of the अपरसत्सदर्थयी: of the ' unreal and moon real objects राजविरोधी the enemy of a king बोधनम् intimation or moon अपरां third kind of Illus- नग्य त् will perish tration इति so intiniating प्राहुः (the learned) call च्ौगम् vanished.

Def. The intimation, by an agent engaged in a certain 'action, of the unreal and the real state of things signified by the action itself, it is termed the third kind of Illustration.

Ex. "The enemy of a king (moon) will perish"- telling this, the darkness, on the rise of the moon, vanished.

Here, the darkness is the agent in the act of inti- mating to the world the above fact, the result of its own experience which is certainly unreal. This forms the example of unreal state of things.

Example of the real state of things :-

उद्यन्नेव सविता पद्मेष्वर्मयति श्रियम् । विभावयन्ससृद्वीनां फलं सुहद्नुग्रहम्॥

सविता the sun विभावयन् (thus) intimating उदयन्नेव just when it rises पद्मेषु on the lotuses मुहद नुग्रहम् rewarding the friends श्रियम् splendour ममडीनाम् of one's richess अर्पयत consigns फलम् the chicf object c

Ex. 'The chief object of one's having riches con- sists in rewarding his friends'-thus intimating (to the

व्यतिरेक:, सहोक्ति: । 53

world), the sun, just on its rise, consigns its own treasures (splendour) to the lotuses .. Here, the sun is the agent in the act of intimating to the world the above fact which is real as the lotuses bloom only on the rise of the sun.

XX. व्यतिरेक :- Dissimilitude or Contrast.

DEE. व्यतिरेको विशेषश्चेटपमानोपमेययोः ।

Ex. शैला दूबोन्नताः संतः किंतु प्रकृतिकोमलाः ॥

उपमानीपमैययी: between the object | संतः good people compared to and that पैला: दव as mountains compared* उन्नता: are high विशेष: any peculiarity किंतु but चेत् if asserted प्रक्ृतिकोमला: are delicate by na- व्यतिरेक,१७ Dissimilitude or Con- ture. trast

Def. If any characterestic difference is asserted between the object compared to and that compared, then it is called Dissimilitude or Contrast. Ex. Good men are as high as mountains ; but they (good men) are delicate by nature. Here, we see a similitude between the good men, upameya, and the mountains, upamana, in one respect and a dissimilitude in another respect.

XXI. सहोकि:। Connected Description or; a Speech witl सह 'with'.

DEE. 'सहोकिः सहभावश्चेद्वासते जनरंजनः ।

Ex. दिगंतमगमत्तस्य कीर्तति: प्रत्यर्थिभिः सह॥

54 विनोकि: ।

चेत् it कोर्त्ति: fame ननरंनन: pleasing to the peo- प्रत्यर्थिभि: सह together with (his) ple's mind foes सहभाव: simultaneity दिगंतम् to the end of the भासते shines forth quarters सहीक्ति: Connected Speech श्रगमत् reached. तस्य of that (king)

Def. A description of simultaneity or conjunc- tion which will excite a pleasing (poetical) delight in the people's ( mind ) is called the Connected Description.

Ex. The fame of that king has reached the end of the quarters together with his foes.

Here, the reaching of the fame to the end of the quarters is directly expressed and that of the foes is indirectly expressed by the word सह। सह denotes simultaneity of two actions that are of one and the same kind. The idea conveyed in the present example is that both the king's fame and the enemies reached the end of the quarters at the same time. Thus we see that this figure consists in the description of simultaneous action connected with a l

XXII. विनोति :- Speech of Absence or Speech with विना 'without'.

DEE. विनोकिश्चेद्दिना किंचित्प्रस्तुतं हीनमुच्यते।

Ex. विद्या हृद्यापि साडवद्या विना विनयसंपट्म्।।

विनोकि: । 55

चेतु if विद्या the learuing किंचिदिना in the absence of some- हृद्या अपि though pleasing other thing विनयसंपदम् excellence of good प्रस्तुतम् the object on hand behaviour

हौनम् as inferior विना without .

उच्यते is represented सा that, i.e., the learning विनोकि: Speech of Absence अवद्या censurable.

Def. When an object on hand is represented as inferior'in the absence of some other object, it is termed the Speech of Absence.

Ex. In the absence of excellent good behaviour, the learning, though pleasing, is censurable.

Speech of Absence, second kind.

DEF. तच्चेत्किंचिद्विना रम्यं विनोतिः सापि कथ्यते।

Ex. विना खलैर्विभात्येषा रोजेंद्र भवतः सभा ॥

चेत् if राजेंद्र O best of kings ! तत् the object on hand एषा this किंचिडिना without some thing भवतः of thy honour else सभा council hall

रम्यम् as charming खले: विना in the absence of सापि that too wicked persons विनोकि: Speech of Absence विभाति shines. कथ्यने is termed

Def. When an object on hand is represented as charming in the absence of soile other object, it is also called Speech' of Absence.)

Ex. O best of kings !! Thy council hall shines splendid in the absence of wicked persons.

56 'समामोत्तिः, परिकरः ।

XXIII. समासोकि :- Modal Metaphor or Speech of Brevity.

DEE. समासोति: परिस्फृर्ति: प्रस्तुतेऽप्रस्तुतस्य चेत्।

Ex. अवमैंद्रोमुखं पश्व रतशुंवति चंद्रमाः ॥

चेत् if अ्रयम् this प्रस्तुते in the description of चंद्रमा: the moon an object on hand रक्त: red झ्प्रस्तुतस्य of an object not on ऐं ट्रीमुखं the face of the eas- hand tern quarter परिस्फूर्ति: apprehension चंवति kisses समासीक्ति: Speech of Brevity पश्य see !

Def. If, by the description of an object on hand, an object not on hand is apprehended, or in other words, when the description of an object on hand conveys a reference to an object not on hand, it is called Modal Metaphor. Ex. My beloved ! see, this moon becoming red kisses the face of the Eastern (Indra's) quarter. ,. Here, by the use of the words-(1) चुम्वति the action of which belongs to a human being, (2) चन्ट्रमा: in the masculine gender and (3) dt in the feminine gender, wė understand that a lover, the subject of discourse, out of passion, kisses the face of some beautiful damsel residing in the east.

XXIV. पररिकर :- Insinuator.

DEF. अलंकार: परिकर: साभिप्राये विशेषये।

Ex. सुधांशु कलितोत्तंसस्तापं हरतु वः शिव:।।

परिकरांकुरः । 57

विशेष णे if the epithet been adorned by the साभिप्राये signifying the import . moon परिकर: Insinuator शिव: the God 'Siva' अलंकार: figure . वः तापम् your misery सुधांशुकलितोच्तंस: whose crest has हरतु remove.

Def. A. speech with epithets signifying the im- port (of the speaker) is termed Insinuator. Ex .. Let God Siva whose crest has been adorned with nectar-rayed (moon) remove your misery (lit. mental heat). Here, the charming epithet सुधांशुकलितोत्तंस: suggests that the heat is removable. This figure occurs even when only one epithet is employed and when that epithet invests the verse with a peculiar charni agreeable to the effect like the present one.

XXV. परिकरांकुरः-Sprout of an Insinuator.

DEE. साभिप्राये विशेष्ये तु भवेत्परिकरांकुरः ।

Ex. चतुगीं पुरुषार्थानां दाता देवस्तुर्भुजः॥

विशेष्येतु when the noun itself चतुर्भुजी देव: the four-armed God साभिप्राये signifying the import Vishņu . परिकरांकुर: Sprout of an Insi- चतुणीं पुरुषाधानां of the four objects nuator of human life भवेत् is दाता giver . Def. When the noun itself (i.e., without epithets) signifies the import of the speaker, it is called the Sprout of an Insinuator. Ex. The four-armed God (Vishnu) is the giver of the four principal objects of life.

58 o

Four objects of life are धर्मः 'merit', अर्थः 'wealth', काम: 'enjoyment'and मोन्द: 'liberation'. Here, the word चतुभुज: is one of the thousand names of the Lord Vishnu and is used here without epithets. The import of the speaker is that God Vishnu alone (being four-armed) is able țo distribute the four objects of life.

XXVI. ष :- Paronomasia.

DEE. नानार्थसंश्रयः श्नेषो वरस्यावसोभयास्पदः ।

Ex. सर्वदो माधवः पायात् स यो गंगामदौधरत्।

वर्ष्यावार्योभयास्पद: relating to (1) यः who an object on hand, अगम् the mountain Govar- (2) an object not on dhana hand and (3) both गाम् the earth जानार्थसंश्रय: depending upon words अदोधरत् held up having many mea- सर्वेदा always nings सः उमाधवः the husband of Umā, श्ेष: Parenomasia the Lord Siva सर्वदः all-giver पायात् may protect स माधव: the husband of HT य: who Lakshmi, the Lord गंगाम् the river Ganges Vishņu त्रदीधरत् bore (on his head). पायात् may protect

Def. Paronomasia is the expression by words having more than one signification referring (1) to an object on hand, (2) to an object not on hand and (3) to both. Ex. The all-giver Mādhava who, held up the mountain (Govardhana on his head) and the earth may protect (you).

सेंषः। 59

or The husband of Umā (Siva) who bore (on his head) the river Ganges may protect (you). सवदो माधव: may be split into (1) सर्वद: माधव: and (2) सर्वदा उमाधवः । यो गंगाम् may be split into (1) यः अगं गाम and (2) यः गंगाम्। Here, both Mādhava and Umādhava are objects on hand and this is therefore the Example of No. 1.

Example of No. 2.

त्जेन त्वन्मुखं तुल्यं हरिसाहितसलिना।

तवन्मुखम् thy face ment effected by the हरिणाहितसलिना = हरिसेन by the deer in the form of deer आहिता effected the spot सक्ति: attachment यैन= अ्रअेन by the moon having the attach- तुल्यम् is equal

तवन्मुखम् thy face by the lotus हरिखा · by the sun तुल्यम् is equal. आहितरसैकिना having an attach- ment placed (Lady !) thy face resembles the moon having an attachment effected by the deer (in the form of the spot). or (Lady !) thy face resembles the lotus having an attachment effected by the sur (in the act of blooming at the dawnì. Here,' अञ्ञ 'moon' aand अ्रज्ञ 'lotus' which are upamānas are both objects not on hand.

60 अप्रस्तुतप्रशंसा।

Example of No. 3.

उच्चरड्वूरिकीलालः शुशुभे वाहिनीपतिः ।

or उन्चरडवरिकौलाल: having profuse उच्चर्डूरिकीलाल: having a vast effusion of blood expanse of water वाहिनीपतिः the commnander of वाहिनीपति: the lord of the rivers the army (Bhīshma) (ocean) शुश मे shone शुशुभे shone

The commander of the army, Bhīshma, shone by the profuse effusion of blood or The Lord of the rivers, the ocean, shone by the vast expanse of water. Here, the commander Bhīshma is the object on hand and the ocean is the object not on hand.

XXVII. अप्रस्तुतप्रशंसा-Indirect Description.

DEF. अप्रस्तुतप्रशंसा स्यात् सा यत्र प्रस्तुताश्रया।

Ex. एक: कती शकुंतेषु योऽन्यं शक्रान्न याचते॥

यत्र where पकं तेषु among the birds सा that (description of एक: one only ar object not on (चातक:) chātaka bird hand) कृतो fortunate one प्रस्तुताश्तया referring to an ob- य: who ject on hand शूक्रादन्यं other than Indra तप्रस्तुतप्रशंसा स्ात् is called Indirect न याचते never begs Description Def. When the description of an object not on hand conveys a reference to an object on hand, it is called Indirect Description.

प्रस्तुतांकुरः। 6I .

Ex. (The chataka bird) is the only fortutiate one, among the birds, which never begs of any other than Indra.

It is a known fact that chataka bird lives on rain drops and that Indra is the bestower of rain. Here, the object in question is a noble man who never begs of any man except the Indra-like king and this is conveyed through the description of a chataka bird which is not the object on hand. This is not समासोकि where a description of an object on hand conveys a reference to an object not on hand ; whilst, in this figure, it is quite contrary.

XXVIII. प्रस्तुतांकुर :- The Sprout of Direct Description.

DeE. प्रस्तुतेन प्रस्तुतस्य द्योतने प्रस्तुतांकुरः ।

Ex. किं भृंग सत्यां मालत्यां केतक्या कराटकेडया॥

प्रस्तुतेन by (description of ) भृ'ग! O bee ! , an object on hand मालत्यां सत्यां when there is the प्रस्तुतस्य of (another) object Mālatī flower on hand कराट केडया full of thorns दयोतने in the apprehension केतक्या by the Ketakī प्रस्तुतांकुर: (it is) the Sprout of किं what is the use. Direct Description

Def. When, the description of an object on hand conveys a reference to another object on hand, it is called Prastutankura. Ex .. O Bee! What (is the use of thy amuse- ment) with the (unblown) Ketakī full of thorns while thou hast here the Malati (Jasamine) flower.

62 पर्य्यायोक्तम्।

Here, a lady, by the description of the bee's act with the unblown Ketaki bud witnessed by her in her pleasure garden indirectly intimates the same to her lover, the subject of discourse, who is at present in love with a maiden who has not yet arrived at puberty. N. B .- The bee and the lover are both objects on hand.

XXIX. पर्य्यायोक्तम्-Periphrasis.

DEF. पर्य्यायोतां तु गम्यस्य वची भंग्य तराश्रयम्।

Ex. नमस्तस्म कती येन सुधा राहुबधूकुची।

गम्यस्य of the fact intended नम: homage to be expressed येन by whom भंग्यंतराश्रवम् referring to another राडवधूकुचौ the breasts of Rāhu's: by a turn of speech spouse वच: तु the description मुधा useless पय्यायोक्तम् Periphrasis कतौ were made. तसे to him

Def. When a fact intended to be intimated is conveyed by a circumlocutory speech, or in other words, when a fact intended to be described is ex- pressed by a turn of speech, or, if the intended fact is expressed in a different manner, it is Periphrasis. Ex. Homage to him (God Vishnu) by whom the breasts of Rahu's spouse were rendered useless. Here, the intended fact is that homage is to the God Vishnu only, becuse he was the killer of Rahu and thus rendered the breåsts of Rahu's spouse use- less and this fact has been expressed by a turn of

व्याजस्तुतिः । 63

speech, i.e., by different words which do not. express it but by words which suggest it, simply for the pur- pose of giving a particular strikingness to the descrip- tion.

Peripkrasis-A second kind.

DEF. परय्यायोतं तदप्याहर्यद्याजेनेष्टसाधनरू।

Ex. यासि चूतलतां ट्रष्टं युवाभ्यामास्यतामिह॥

व्यजन under a pretext श्रृहम् I यत् इष्टसाधनन् the fulfiiment of चतलताम् the mango creeper one's own wish यामि go तदपि even that युवाभ्याम् by you both पय्यायीक्तम् Periphrasis दू ह here श्राह: (some) call आ्ास्यताम् shall be stayed.

Def. Even the fulfilment of one's own wish under an artful pretext of doing some thing else is also called Periphrasis by some. Ex. Lovers ! I depart hence for the purpose of seeing (my) mango creeper and it shall be stayed here by you both. Here, the speaker is a female messenger who having united her mistress with her intended lover departs from that place under the pretext of seeing her own chūta creeper so that the couple may freely enjoy in the absence of a third person.

XXX. व्याजस्तुति :- Artful Praise or Irony.

DEF. उक्िर्व्यानस्तुतिनिदास्तुतिभ्यां स्तुतिनिंन्दयोः ।

Ex. कः खर्धुनि! विवेकस्त नयसे पापिनो टिवम्॥

64 व्याजस्तुतिः ।

निंदास्तुतिभ्याम by (apparent) cen- 1 ते thy sure and praise विवेक: judgment स्तुतिनिंदयीः of thé praise and क: what censure यत् because उक्ति: speech पापिन: the sinners व्याजस्तुति: Artful Praise दिवम् to the heaven खर्धुनि ! celestial Ganges ! नयसे take.

Def. when (1) the praise is understood by appa- rent censure and (2) censure by apparent praise, it is termed Artful Praise.

Ex. O celestial river Ganga! Thou art devoid of judgment in that thou conveyest the sinners to the heaven.

This is the example of No. 1.

Here, the real praise has resulted by the apparent censure and it consists in representing the Ganga as taking the sinners to heaven provided they once bathe in her waters.

N. B .- व्याजस्तुति := व्याजन स्तुति: Praise by an arti- fice-when praise is understood by apparent censure.

When censure is understood by apparent praise, व्याजस्तुति: is explained as व्याजरूपा स्तुति: praise consis- ting in an artifice or a pretended praise.

Example of No. 2.

साधु दूति पुनः साधु कर्तव्यं किमतःपरम्। यन्मदर्ये विलूनासि दंतैरपि नखैरपि।

व्याजनिन्दा। 65

दूति ! messenger ! कर्त्तव्यम् to be dons साधु well यत् because अतःपरम् than this मदयें 'on my account किम् what other दंतैरपि even by the teeth साधु good नखैरप even by the nails पुनः again विलूना असति wast injured.

Well (done) messenger ! what other good than this can again be done; because thou, on my account, wast injured even by (my lover's) teeth and nails.

Here, the speaker a lady pining under separation sent her maid-servant as a messenger to her lover and on seeing her returning with marks, in her body, of her having toyed with her (lady's) lord, censures her under pretext of Praise saying that she (lady) was saved by her (the maid servant) from the injury by her lord's teeth and nails ; whereas in fact she was angry when she saw her servant coming single without her lord and was more angry when she observed on her body the marks of sexual intercourse with hez own lord. Hence a censure resulted in the apparent praise.

N. B .- This is not अप्रस्तुतप्रशंसा (XXVII), for, in it, there is no strikingness consisting either in.censure or praise.

. XXXI. व्याजनिन्दा-Artful Censure.

DEF. बिंदाया निंदया व्यह्तिर्व्याञेनिदेति गीयती।

Ex. विधे स निंधो यस्ते प्रागिकमेवाहय्क्िर॥ 9

66 आक्षेपः।

निंदया by censure निंध: is to be censured

निंदाया: of censure य: who

व्यक्ति: manifescation ते thy व्याननिंदा Artful Censure प्राक् formerly दूति as एकमेव only one गौयते is called शिर: head विधे creator ! प्रहरत् took away. सः Def. When an apparent censure (of an object not on hand) results in the censure (of an object not on hand), it is Artful Censure. Ex. O Creator ! he (Siva) is to be censured-he that has lopped off only one head of thine formerly. Here, the speaker, a poor man in very distressed circumstances, fancies himself that, if all the five heads of the God Brahma were lopped off by Siva, then both the creator and the sufferings of the created would have been simultaneously put an end to. Instead of directly censuring the God Brahma, the creator, the object on hand, the speaker censured the God Siva, the object not on hand, in having impru- dently suffered the other four heads of Brahma to remain. XXXII. आरक्षेप :- Hint.

DET. आक्षेपः सयमुत्तस्य प्रतिषेधी विचारगात्।

Ex. चंद्र! संदर्शयात्मानमथवास्ति प्रियामुखम् ॥ ख्वयम् by self प्नात्मानम् self told or expressed संदर्शय show or discover विचारखत् on deliberation घघवा o1, or why प्रतिषेध: denial प्रियासुखम् face of (my) beloved आ्रचेपः Hint भख्ति is. चंद्र ! O moon !

आक्षेपः । 67

Def. A denial, after some deliberation, of what has been expressed, is called Hint. Ex. O moon ! Discover thy self (to me). Why ? Here is the face of (my) beloved. Here, we see only a semblance of denial. This figure is distinct from the Concealment (XI) where the property of an object on hand is denied and that of another not on hand is superimposed upon it.

A second kind of Hint. DEE: निषेधाभासमाच्ेपं बुधाः केचन मन्वते।

Ex. नाहं दूती तनोस्तापस्स्या: कालानलोपमः॥

केचन some poets न not तुधा: learned people तस्या: of her निषेधाभासम् semblance of a denial तनीः of the body भास्षेपम् Hint कालानलोपम: resembling the des- मन्वते regard tructive fire at the भ्रहम् I end of the world दूतौ go-between ताप: fever of separation. Def Some learned people regard the semblance of a denial as the figure Hint. Ex. I am no go-between but the love-fever (residing in) her (mistress') body, resembling the destructive fire at the end of the world. Here, the character of a person-that of the go- between, is denied. The fact of excessive hardship, experienced by the lady under the pangs of separa- tion, which was intended to be conveyed by the go- between, the speaker, is suppreswed in order to suggest more strikingly that the. lady is sure to die if her lover delays even for a moment in meeting her.

68 विरोधाभास: ।

A third kind of Hint.

DEF. आक्षेपोऽन्यो विधी व्यत्त निषेध च तिरोहिते।

Ex. गच्छ गच्छसि चेत्कांत! ततैव स्याज्जनिर्मम॥

विधौ command or permi- कांत! lover ! ssion गच्कसि चेत् if thou goest व्यक्त when apparent गच्छ goest निषेधे च and the denial मम my तिरीहिते when hidden जनि: birth शृन्य: another kind तचव in that same place आच्ेपः Hint स्यात् may be. Def. When the permission (to do some thing) is apparent (in words) but the denial (to do that thing) is hidden, it is a third kind of Hint. Ex. Departest (thou), my love, if thou art deter- mined to go, and may my rebirth take place in that same place (where thou hast gone). Here, the apparent permission of going granted by the lady suggests a clear prohibition, the meaning conveyed thereby being that the lover ought to desist from departing from her presence.

XXXIII. विरोधाभास: or विरोध :- Contradiction.

DEE. आभासत्वे विरोधस्य विरोधाभास दूष्यते।

Ex. विनापि तन्वि! हारिए वच्ीजी तव हारियौ॥

विरोधस्य of incongruity वचोजौ breasts शाभासत्वे when apparent हरए by the pearl-necklace विरोधाभास: Contradiction विनापि though devoid of दूप्यते is called हारियौ are charming or lit. तन्वि ! O slender womån ! possessed of necklace. तव thy

विभावना। 69

Def. When an incongruity (between two things) is apparent (in words*), then it is, called Contra- diction. Ex. O slender lady ! thy breasts though devoid of pearl necklace are yet possessed of pearl necklaces, i.e., are yet charming'. Here, the apparent contradiction is to be explained by taking the word gifqur in the sense of 'charming' only.

XXXIV. विभावना-Peculiar Causation.

DEF. विभावना विनापि स्यात्कारगं कार्यजन्म चेत्।

Ex. अपि लाच्षारसासिता रता त्वच्चरगद्दयम्॥

कारणम् विना अपि though without स्यात् is called cause त्वच्चरणइ्यम् thy two feet कार्यजन्म चेत् if the production of लाचारसासित्तम् अ्रपपि though not the effect take place dyed with red lac विभावना Peculiar Causation रत्तम् red.

Def. When the production of an effect is re- presented as being without cause, it is Peculiar Causa- tion.

Ex. Lady ! thy two feet are red though they were not dyed with red lac. .

Here,' the contradiction in the red feet without its cause, the lac, is due to the redness of the lady's feet being natural.' Therefore,' we see that the pro-

• i.e., the incongruity is to be removed by explaining the words with- out the pun.

70 विभावना।

duction of an effect in the absence of its cause is not inconsistent in as much as the denial of a known cause suggests that the effect produced must be natural or is due to some other hidden cause.

A.second kind of Peculiar Causation.

DEE. हेतूनामसमग्रत्वे कार्योत्पत्तिश्च सा मता। अ्स्तैरतोच्णकठिनैर्जगज्जयति मन्मथः॥

हेतूनाम् of the causes मन्मथः God of love श६मयत्वे when incomplete अतोच्पकठिनै: neither sharp nor कार्य्योत्पत्ति: the production of an hard effect पस्तै: by weapons also जगत् the world सामता is termed that 'Pecu- जयति conquers. liar Causation'

Def. When the production of an effect is repre- sented as having taken place while its causes are apparently incomplete, (to produce such an effect), then it is the second kind of Peculiar Causation.

Ex. By weapons, neither sharp nor hard, the God of love conquers the whole world. Here, the conquest of the world by the God of love is represented as having taken place though his weapons are neither sharp nor hard (being only five flowers) and are therefore quite inadequate to produce such an effect. Th contradiction here must be removed by the supposition of some superhuman cause specially gifted by the Supreme Spirit.

विभावना।

A third kind of Peculiar Causation'

DEF. कार्योत्पत्तिस्त तौया सा सत्यपि प्रतिबंधके। Ex. नरेंद्रानेव ते राजन् दशत्यसिभुजंगमः ॥

प्रतिबंधके when an impediment ते thy सत्यपि though present' श्सिभुजंगम: sword serpent i.e., कार्य्योत्पत्ति: production of an the serpent in the . effect form of thy sword सतीया third kind नरेंद्रान् एव only the, curers of सा that-'Pecular Cau- poisons or kings sation' . दशति bites. राजन् ! O king !

Def. When the production of an effect is said to have taken place though there was an impediment (to such an effect), it is the third kind of Peculiar Causation.

Ex. O king! thy sword-serpent bites only Narendrān, i.e., curers of poisons only (lit. kings). नरेन्द्र = king=dealer in antidotes. Here, serpent biting the curers of poison implies an impediment to the effect.

Fourth kind of Peculiar Causation.

DBE. अकारणात्कार्यजन्म चतुर्थी स्याददिभावना।

Ex. शंखाद्दोगानिनादोऽयमुदेति महदह्गुतम् ॥

प्रकारणात् from a different cause शंखात् from a conch-shell कार्यमन्म production of an अ्यम् this effect . वौगा निनाद: sound of a lute चतुर्थी fourth kind उदति proceeds .

विभावना Peculiar Causation महदङ्ग्तम् great wonder. स्ात् · is

विभावना।

Def. When the production of an effect is repre- sented as being from a different cause, or, more literally, from a similar cause, it is the fourth kind of Peculiar Causation. Ex. It is a great wonder that this musical sound of a lute proceeds from a conch-shell (i.e., conch-sheli-like neck of a damsel).

We know that a conch-shell cannot produce the sound of a lute and therefore this is a Peculiar Causation. N.B .- We have a Metaphorical Hyporbole in iQ, the upamāna, because it was used for its upameya, the neck of a damsel.

Fifth kind of Peculiar Causation.

DEF. विरुद्वात्कार्यसंपत्तिर्द ष्टा काचिद्विभावना।

Ex. शीतांशुकिरणास्तन्वीं हंत संतापयन्ति ताम्।।

विरुद्धात् from an incongruous हंत alas ! cause शीतांशुकिरया: moon's (coql-rayed) कार्यसंपत्ति: production of an rays effect ताम् that काचित् a certain kind तन्वीम् the slender lady विभावना Peculiar Causation संतापयन्ति inflame. टष्टा is seen

Def. When the production of an effect is pro- duced from an incongruous cause, i.e., from a cause quite opposite to the real one, it is the fifth kind of Peculiar Causation.

Ex. Alas ! the rays of the moon (lit. cool-rayed) inflame that slender lady.

विभावना। 73

This is the state of a damsel, the sbject on hand, pining under separation .from her lover. The rays of the moon have a peculiar charm of exciting the passions of such women and therefore it is said so.

Sixth kind of Peculiar Causation.

DEE. कार्यात्कारगजन्मापि दृष्टा काचिद्विभावना।

Ex. यशः पयोराशिरभूत्करकल्पतरोखव।।

कार्यात् from an effect . तव thy कारयजन्म production of a cause करकल्पतरी: hand-kalpa-tree i.e., अपि also wish-yielding trec in काचित् a certain kind the form of the hand विभावना Peculiar Causation यशः पयोराशि: ocean of fame टश्ट is scen अभूत् is produced.

Def. When the cause is said to have been pro- duced from its effect, it is also termed Peculiar Causation.

Ex. O king! An ocean of fame has been . formed out of thy hand-kalpataru (wish-yielding tree in the form of thy hand). Here, the king referred to is Karna renowned for his liberal donations. The kalpa tree was produced from the ocean at the time of churning. Here, the kalpa tree in the form of the king's hand is said to be the cause of the ocean in the form of the , king's fame for his unusual liberality. 10

74 विभेषोक्ति: अ्रसंभवः।

XXXV. विशेषोत्ति :- Peculiar Allegation.

DEE. कार्याजनिर्विशेषोक्तिः सति पुष्कलकारगे।

Ex. हृदि स्नेहचयो नाभूत्सरदीपे ज्वलत्यपि।

पुष्कलकारणे abundant cause हदि in the heart सति when there is उ्वलत्यप though burning कार्याजनि: non-production of an सेहचय: diminution. of oil effect (affection) विशेषीकति: Peeuliar Allegation न अभूत् did not take place. सरदोपे cupid-lamp

Def. The non-production of an effect when there existed abundant cause (for the same) is called Pecu- liar Allegation.

Ex. The diminution of oil (lit. affection) did not take place in the heart (of this lady pining under separation) even though the cupid-lamp is burning (there). Here, the burning of the cupid-lamp, the cause, is present and yet the effect, the diminution of oil, is represented as not taking place. The contradiction can, however, be removed by explaining the word स्नेह in the sense of 'affection' only.

XXXVI. अ्संभव :- Improbability.

DEE. असंभवोऽर्यनिष्पत्तेर संभाव्यत्ववर्णनम्।

Ex. को वेद गोपशिशुकः शैलमुत्याटयेदिति।

असंगति: । 75

अर्थनिष्पत्ते: of the accomplish- गोपशिशुक: this shepherd boy ment of an object शेलम् the mountain गोवर्डन असंभाव्यत्ववर्णनम् the description of उत्पाटयेदिति would have eradicated impossibility क: who असंभव: Improbability 1 वेद knew.

Def. Improbabiļity is the description of the ac- complishment of a truly impossible act. Ex .. Who knew that this shepherd boy would have eradicated the Mountain Govardhana.

The shepherd boy is the. Lord Krishna who held up the Mountain Govardhana for seven days as a large umbrella to shelter his beloved Gopīs and their cattle from the heavy and incessent rain caused by Indra to deluge the Goküla, the land of the shepherds.

XXXVII. अ्संगति :- Disconnection.

DEF. विरुद्वं भिन्नदेशत्वं कार्यहेत्वीरसंगतिः ।

Ex. दिषं जलधरैः पौतं मूर्चिछिता: पथिकांगना:॥

कार्य हेत्वो: of the effect and the विषम् poison (lit. water) cause पौतम् was drunk विरुद्धं inconsistent पथिकांगना: the consorts of the भिन्न देशत्वम् different location travellers असंगति: Disconnection मूर्छछिता: fainted. जलधरः by the clouds

Def. The description of the effect and the cause as inconsistent and as occupying different locations, is termed Disconnection. Ex. The poison (lit.' water) was drunk by the clouds and the consorts of the travellers fainted.

76 अ्रसंगति: ।

This hgure is only an exception to the ornament of Contradiction (XXXIII) and not Contradiction itself, where the mutual inconsistency of two objects resides in one place ; but in this figure in two different places. The drinking of poison (water) by the clouds and its effect, the fainting of the consorts, take place in two different localities. It is a convention of poets that the women are affected at the sight of the clouds in the rainy season being separated from their lovers who therefore hasten to meet their beloved.

Second and third kinds of Disconnection.

DEE, 2nd अन्यत करणीयस ततीऽन्यच क्तिस्च सा। DEF.Srd पन्यत्कतु प्रवृत्तख तद्विरुद्वक्कतिस्तथा॥

in another place कंर्तं to do करणीयस्य of a thing to be done of a person engaged ततः other than तत् विरुद्धक्कतिः th accomplishment अन्यव another place quite contrary to the क्ृतिः च accomplishment too above

सा that, i.e., Disconnec- तथा so, i.e., the figure Dis- tion connection. अन्यत् another (thing)

Def. When the accomplishment or effect of an object to be produced in a certain locality is represented as having taken place in a quite different locality, it is called the second kind of Disconnection. Dcf. An incongruus effect of an qbject obtained by an agent engaged to do 'a quite different thing is termed a third kind of Disconnection,

असंगतिः । 77 .

Example of the second kind of Disconnection.

अपारिजातां वसुधां चिकीर्षन् द्यां तथाऽक्थाः।

(कृषण:) (Lord Krishņa) चिकीर्षन् wishing to do व सुधां the earth द्यां the paradise *अपारिजाताम् desoid of पारिजात तथा अक्रथा: did so. or अरिजात

Lord Krishna who wished to make the earth Apārijāta devoid of the multitude of foest made thę celestial world so i.e. अपारिजाता devoid of Parijata tree.

Pārijāta is a celestial tree produced at the churn- ing of the milky-ocean. Krishna at the request of one of his wives Satyabhāmā carried off this tree from Indra's garden (Nandana). A conflict ensued between Indra and Krishna in which the latter was victorious. The tree was brought to the city Dvārakā and was planted in the Satyabhama's pleasure-garden. N. R .- This figure is possible only under a pun.

गोतोद्वारप्रवृत्तोपि गोतीड्वेदं पुराकरो: ॥

*अप+अरिजात=अपगतम्-free from अरिजातम्-assemblage of foes यस्या: ताटशीम् = making the earth devoid of the multitude of foes. अ not+पारिजात: Parijata tree =नास्ति पारिजातः यस्ाम् making the paradise devoid of Pārijāta tree. परिचाणध साधूनां विनाशाय च दुष्कृताम्। धर्मसंस्थापनार्थाय संभवामि युग युगे॥ For the protection of the good and for the destruction of the wicked and for the establishment of the righteousness I am born in every Yuga.

78 विषमम्।

(विप्णो) (O lord Vishņu !) the splitting of the गोवोद्वारप्रव्ृत्तः अपि though engaged earth in raising the earth पुरा formerly अकरी: thou didst.

O Lord Vishnu! formerly though thou wert engaged in the raising of the earth, thou didst (the opposite, i.e.) the splitting of the earth (by, the foot-prints of the Varaha). This refers to the third incarnation of Vishnu in the form of a boar in order to raise the earth which was immersed in water. After raising the earth he walked on the earth and the foot prints made by him are referred to here.

XXXVIII. विषमम्-Incongruity.

DEF. विषसं वर्सर्यते यब घटनाऽननुरूपयोः।

Ex. क्वेयं शिरोषमृद्दंगी क्व तादङमदनज्वरः॥

यत where द्यम् this (lady) c अननुरूपयोः of two incongruous क्क where (things) ताटक् that

घटना combination मदनज्वर: love-fever or torments वर रर्य ते is described of. God of love विषमम् Incongruity where. शिरीषमृद्दगौ having the body soft as the Sirisha flower

Def. Vishama is a figure where a combination of two incongruous things is described. Ex. Where this lady with body as soft as the Sirīsha flower and where these torments or fever of the God of love.

विषमम्। 79

Here, we see the incongruity or incompatible relation of two things which are opposed to each other, i.e., the nature of the God of love is quite opposed to the nature of the lady, under description, whose body is soft as the Sirīsha flower.

Second kind of Incongruity.

DEF. विरुंद्कार्यस्थोत्पत्तिरपरं विषमं सतम् ।

Ex. कौतति प्रसूते धवलां श्यामा तव कपाषिका॥

विरुद्रकार्यस्य of the opposite effect श्यामा dark उत्पत्ति: production कपाणिका sword

भपरम् another kind धवलाम् white

विषमम् Incongruity कोत्तिं fame

मतम् is considered प्रमूते produces. तव thy Def. The production of an effect from an incon- gruous cause is considered a second kind of Incon- gruity. Or in other words, when the quality of the effect is opposed to that of its cause, it is Incongruity. Ex.' O king! Thy dark sword produces a white fame. Here, we have white fame arising from the dark sword which has been figured here as the cause in contravention to the general convention-that the quality of an effect must conform to its cause.

Third kind of Incongruity.

DEF.

Ex. भच्याशयाहिमंजूषां दृष्टाखुसे न भच्ितः॥

80 समम्।

द्ष्टार्थसमुद्यमात् from an endeavour भच्त्याशया with the hopc of made for a desired getting some eatables object त्ह्िमं ज़ूषाम् the snake basket अ्निष्टम्य अपि of an undesired ob- टृश्टा having seen ject (प्रविट्टः) (entered) प्वाति: attainment तन by it तत् it, i.e., Incongruity भचितः was devoured ; नसु: rat

Def. The attainment of an undesired obiect from an endeavour made for a desired one is termed the third kind of Incongruity. Or in other words, when a desired object for which an endeavour is made is not obtained but, on the contrary, an unfavourable result is obtained, it is the third kind of Incongruity. Ex. The rat seeing the snake-basket (entered into the same) in the hope of obtaining some eatables and was itself devoured by it (snake). Here, the object of the rat to obtain some eatables for it by boring the basket was not attained and it became a pray to the hungry snake lying in the basket.

XXXIX. समम् .- The Equal.

DEF. समं स्याद्र्गनं यच इयोरप्यनुरूपयोः ।

Ex. खानुरूपं कतं सद् हारेण कुचमएडलम्॥

य where हारेय by the pearl-necklace अनुरूपयो: दयो: of two agreeable कुचम एडलम् the circular bosoms objects सानुरूपम् wurthy of itsclf वर्णनम् description płace समस् The Equal क्ृतम् selected.

स्यात् is

समम्। 81

Def. aH is the description of the combination of two agreeable objects.

Ex. The circular bosoms were selected by the pcarl-necklace as the (fit) place worthy of itself.

Second kind of समम्।

DEF. सारूप्यमपि कार्य्यस्य कारखेन समं विटुः।

Ex. नोचप्रवगता लत्मि! जलजायास्तवोचिता।।

कार्य्यस्य of the effect जलजाया: born of water कारणेन by the cause तव thy सारूप्यम् अपि sameness also नौच प्रवणता resorting to the low समम् Equal peoplo विदु: know उचिता is worthy. लत्मि! O Goddess of riches !

Def. The sameness of an effect with its cause is termed a second kind of Sama.

Ex. O Goddess of riches! Thy character of resorting to the low (people) is worthy of thyself born of water.

The Goddess Lakshmi was produced at the churn- ing of the Ocean. Here, the character of Lakshmī is said to be the same as that of its cause, the water which naturally flows in a low direction.

Third kind of समम्।

DEF. विनानिष्ट च तत्सिद्रिर्यमर्य कर्तुमुद्यमः।

Ex. युक्तो वारसलाभोडयं स्यान्न ते वारणार्थिनः। 11

82 विचित्रम्।

यम् अर्थम् which thing वारणर्थिन: seeking for an elephant कर्तुम् to do ते thy उद्यम: endeavour श्रयम् this अनिष्टस् विना without an obstacle वारणलाभ: attainment of वारण सत्तिद्ि: the accomplishment of (impediment) that युक्त: स्यात् न is it not worthy. समम् the Equal

Def. The accomplishment, without any obstacle, of an object for which an effort has been made, is termed a third kind of Sama. Ex. Friend! Is not this acquisition of (atTu) impediment worthy of thee that sought for an elephant (aारल). This is possible only under a pun. The speaker here is a person that went to his king for an elephant. He was obstructed by the door- keeper of the king's palace and this was addressed in jest by his (speaker's) brother-in-law who accompanied him saying that this aTTu (impediment) is equal to that वारण (elephant) sought for.

XL. विचित्रम्-Strange.

DEF.

Ex नमंति संतस्तैलोक्ादपि लव्धुं समुन्नतिम्॥

चेत् if संतः good people विपरीतफलैच्कया with a desire to चैलोक्यारदपि higher than the obtain its opposite triple world effect समुन्नतिम् exalted position प्रयत्न: ' an endeavour लब्धुम् to attain तत् that नमन्ति bow down. . विचित्रम् Strange

अ्रधिकम्। 83 .

Def. If an endeavour is made by a person desiring to attain the exact opposite effect, it is called the Strange. Ex. The good people bow down for the purpose of attaining an exalted position higher than the triple world. Here, the act is bowing down and the desired effect is elevation over the triple world.

XLI. अधिकम्-Exceeding.

DEF. अधिकं पृथुलाधारादधियाधिक्यवर्ानम्।।

Ex. ब्रह्मांडानि जले यंत तत मांति न ते गुयाः ॥

पृथुलाधारात् than the more spaci- यन जले in which water ous containant ब्रह्मांडानि the mundane worlds आधियाधिकवर्णानम् the description तव in that of the contained as ते thy greater गुपा: merits अधिकम् The Exceeding न मांति do not contain.

Def. When the object contained is described as vaster than the containant itself (which is really more spacious), it is termed the Exceeding. Ex. Lord! The waters which contain these mundane worlds could not contain (within themselves all) thy good qualities.

Second kind of Exceeding.

DEF. पृथ्वाधेयांददांधाराधिक्यं तद्पि तन्म्रतम्। Ex. कियद्वाग्ब्रह्म यलैते विंश्राम्यंति गुषासव॥।

84 अल्पम्।

पृथ्वाधेयात् than the vast contained यव where

यत् which एते these आधाराधिकाम् the description of तव thy the containant as गुणा: good qualities exceeding विश्राम्यंति come to an end तदपि it too वागव्रह्म, the speech Brahman तत् that, i.e., Exceeding = Vedas

मतम् is regarded कियत् how great.

Def. When the containant itself is described as vaster than the vast contained, then we have a second kind of Exceeding. Ex. How great is the speech Brahman = Vedas, where all these thy good qualities come to an end, i.e., become completely described.

XLII. अल्पम्-Smallness.

DEE. अल्यं तु सूत्मादधयाद्यदाधारस्य सूक्षता॥

Ex. मयिमालोर्मिका तेडदा जपमालायते करे॥

मूच्मात् small अद् to-day आधियात् than the object con- ते thy tained. करे in the hand

यत् which मणिमालोमिका ring inlaid with आधारस of the containant precious stones. सूच्जता smallness जपमालायते becomes a rosary. अ्रल्पम् Smallness

Def. When the containant is described as smaller than the object contained which is really very small, it is called Smallness.

Ex.' Lady ! Thy ring inlaid with precious stones has become to-day a rosary in thy hand.

अ्न्योन्यम्। 85

Here, the thinness of the hand or the finger which contained the ring is meant. The lady under descrip- tion was suffering from the pangs of seperation from her lover on a certain day and so her hand or finger, the containant, became so thin that the ring, the object contained, became greater than the hand, the containant, and served as a rosary.

XLIII. अन्योन्यम्-The Reciprocal.

DEF. अन्योन्यं नाम यत स्याटुपकार: परस्परम्॥

Ex. तियामा शशिना भाति शशी भाति चियामया॥

यच where वियामा the night परस्परम् mutual पूशिना by the moon उपकार: benefit भाति looks splendid स्वात् is the moon (तत्र) there वियामया by the night अन्योन्यम् नाम the figure called भाति looks splendid. Reciprocal

Def. When two things benefit each other (by doing the same act causing each other's beauty), it is the Reciprocal. Ex. The night is splendid by (the presence of) the moon and the moon looks splendid on account of the night., Here, the night and the moon beautify each other. The night is the cause of the moon looking splendid

splendid. and the moon is the cause of the night looking

86 विशेषः ।

XLIV. विशेष :- The Extraordinary.

DEF. विशेष: ख्यांतमाधारं विनाप्याधेयवर्रानम्।

Ex. गतेऽपि सूर्ये दीपस्थास्तमश्क्विंदंति तत्कराः ॥

ख्यातम् well-known मूये the sun श्धारम् the containant गते अरपि though set विनापि even without दोपस्था: abiding in the lamp आधेयवर्णानम् the description of the तत्करा: its (sun's) rays object contained तम: the darkness निशेष: Extraordinary क्विंदति expel.

Def. The description of something dependent, i,e., the object contained as existing without its well- known supporter, i.e., the containant, or in other words, the representation of the independent existence of the object contained without its supporter on which it depends, is termed the Extraordinary. Ex. Though the sun has set in, yet its rays abiding in the lamp expel the darkness. The statement that lamps expel the darkness only by the rays of the sun which has gone to the other side of the earth is Extraordinary. N.B .- The Vedas declare that the lustre of the sun enters the fire in the evening. Compare Raghu- vansa, IV. 1.

स राज्यं गुरुणादत्तं प्रतिपद्याधिकं बभी। दिनान्ते निहितं तेज: सवित्रेव हुताशनः॥

He (Raghu) obtained the kingdom given by (his) father and shone the more just as the fire that got the lustre deposited with (it) by the sun at the close of the day.

विशेषः। 87

N. B .- For Vedic quotations on this, see the Mallinatha's com- mentary on the verse.

Second kind of the Extraordinary.

DEF विशेष: सोडपि यदोकं वस्त्वनेकत्रवर्रर्यते।

यदि if अंतः in

एकं one बहि: out

वस्तु object उर: in the front

अ्नेकव in many places पश्चात् behind वरर्य ते is described मं सर्वदित्तु अपि in all the direc- सोडपि that too tions

विशेष: the Extraordinary सेव only she.

Def. If one and the same object is described as existing in many places, it is also termed the Extra- ordinary. Ex. In my mind, in the outside, in the front, behind my back, in all the directions too (wherever I turn my face), only she (my beloved) appears (to me). Here, one single object is said to exist uniformly in many places. N.B .- Although these as well as certain other repre- sentations are impossible and opposed to ordinary experience, yet they are said to haye been represented as possible only metaphorically.

Third kind of the Extraordinary.

Ex. त्वां.पश्यता मया लव्धं कल्यट्रुमनिरोक्षरम्।

88 व्याघातः ।

किंचित् a certain (act) त्वां thee आ्रंभत: commencing to do पश्यता seeing अश क्वस्वंतरक्रतिश्व even the per- मया by me formance of another कल्पद्रुमनिरौक्षणम् the sight of the impossible act kalpa tree सः the Extraordinary लव्धम् was got.

Def. 'When some one who has commenced tc do an act chances to do another impossible act, (uncon- nected with the former), it is the third kind of the Extraordinary. Ex. By seeing you, ( O king !) I got the sight of the wish-yielding tree of the paradise. Here, the speaker who first commenced to do an act, i.e., seeing the king, the liberal donor, says that he has seen the kalpa tree (instead of seeing the king himself who has now been identified by the speaker with the kalpa tree) of the paradise very difficult to obtain.

XLV. व्याघात :- Frustration.

DEE. स्याद्याघातोऽन्यथाकारि तथाकारि क्रियेत चेत्।

Ex. यैर्जंगत्पोयते हंति तैरेव कुसुमायुधः ॥

चेत् if यैः (पुष्पैः) by which (flowers) तथाकारि the thing which pro- जगत् the world duces its natural effect प्रोयते is pleased अन्यथाकारि as the one which pro- तैः एव by the same (flowers) duces another effect कुमुमायुध: țhe flower-shafted क्रियेत is represented God of love व्याघातः स्यात् it is Frustratien. हंति torments.

Def. When a thing which produces the estab- lished result, i.e., the effect natural to its cause is .

व्याघातः । 8g .

represented to have produced the exact opposite result, it is called Frustration. Ex. By the (same) flowers by which the people of the world become pleased, Cupid (lit. flower-shafted God of love) torments the world. Here, the effect, i.e., tormenting is produced by the flowers-the cause, which are well-known to pro- duce a quite opposite one, i.e., pleasure. Hence this is called Frustration on account of the frustration of an established effect already fulfilled in an object.

Second kind of Frustration.

DEF. सौकर्येग निवद्ापि क्रिया कार्यविरोधिनी।

Ex. दया चेद्दाल दति मथ्यपरित्याज्य एत ते।। सौकयेख with facility बाल दति on account of being निवड्ा begun a boy क्रिया an act दया चेत् if (thou hast) com- कार्यविरीधिनी the contrary of passion that act ते by thee . त्रपि (here) also अपरित्याज्य एव cannot be aban- (व्याघातः) Frustration doned. मयि on me

Def. If a certain act commenced (by one) on the ground of its being facile turns out contrary, it is the second kind of Frustration.

Ex. O King! If thou hast compassion on me, then I, being a 'boy, should not be abandoned here (now by thee going to battle-field). .

This is said by a crown-prince to this king going to war. ' The king seems to have asked him to stay

12

90 कारगमाला।

at home for he being a boy could not bear the terrible toils of a battle field. The crown-prince mentions the same reason to accompany the king for he being a youth must go to the war and become skilled in the arts of war, or, as one commentator says, he (the youth) could not bear the separation from the king. Thus we see the frustration of the object which the king had at first.

1 XLVI. कारणमाला-Garland of Causes.

DEF. गुंफ: कारसमाला स्ाद्यथाप्राकप्रांतकारगैः ।

Ex. नयेन श्रीःश्रिया त्यागस्त्यागेन विपुलं यशः ॥ यथाप्राकप्रांतकारणै: by the causes स्यात् is called in which a preceding नयेन by morality. object is spoken of श्री: wealth as the cause of the श्रिया by wealth succeeding one त्याग: donation

गुफ: arrangement त्यागेन by donation कारणमाला Garland of Causes विपुल यश: wide fame.

Def. When a preceding object is spoken of as the cause of one succeeding it, which in turn is spoken of as the cause of what comes next and so on, it is termed the Garland of Causes. Ex. From morality wealth (is acquired); from wealth, the donation ; from donation, the wide fame. Here, the morality mentioned first is spoken of as the cause of the succeeding object, the wealth, which in turn is spoken of as the cause of donation, etc. This figure occurs, also when one object, mentioned afterwards, is spoken of as the cause of what precedes and so on.

एकावली। 9I .

Ex. .भवन्ति नरकाः पापात् पापं दारिद्रासंभवम्। दारिद्रामप्रदानेन तस्प्राहानपरी भव॥

(People) go to hell on account of (their) sin; sin results from poverty; poverty from non-giving. Therefore (friend) be always munificient.

. XLVII. एकावली-The Necklace. . DEE. गहीतमुत्तरीत्यार्थश्रेसिरेकावली मता।

Ex. नेवे कर्गांतविश्ांते कर्षो दोसतंभदीलितौ।

दोखंभी जानुपयंतप्रलंवनमनोहरौ। जानुनी रत्नमुकुराकारे तस्य महौभुजः ॥

गहीतमुत्तरीत्यार्थश्रेषि: a series of करणां तविश्रांते extending as far as statements in which the ears each succeeding thing ears cis taken as an attri- दीसंभदीलितो extending as far as bute of each preced- the post-like arms ing thing and then दीलभौ post-like arms made to cease as जानुपर्यंतप्रलंबनमनोहरौ charming on sůch account oftheir exten- एकाकली मता is considered the sion as far as the knees Necklace जानुनी . knees तस्य महोभुज: of that king रत्न मुकुराकार appearing like jewelled नेवे eyes mirrors.

Def. A successive series vof statements made in a manner in which each succeeding thing is taken (ग्रहीत) as an attributc of each .preceding thing and that thing which was first taken as an attribute is

92 एकावली।

made to cease (yai) as such by being afterwards made a subject and gualified by another succeeding thing and so on, it is the Necklace. Ex. The eyes of that king extend as far as the ears. His ears extend as far as his post-like arms. His post-like arm's are charming by their extension as far his knees. And his kness are, in appearance, jewelled mirrors. Here, the ears are taken as an attribute of the preceding thing, the eyes; arms, of the ears; knees, of arms; and the mirrors, of the knees. In this example, a preceding thing is qualified by the succeeding thing affirmatively. In the following example, the thing mentioned first is qualified nega- tively by what follows. न तज्जलं यन्न सुचारुपङ्गजं न पङ्गजं तट् यटलौनषट्पदम्। न षट्पदोडसी न जुगुञ्ज य: कलं. न गुज्जितं तन्न जहार यन्मान:॥ Bhatți Kāvya, II. 19.

There was no water on which there were no beautiful lotusses ; : there was not a lotus in the interior of which there was not a, bee reposing; there was not a bee which hummed not sweetly; and there was not a hum which did not attract the mind. Here, of water, clotuses must be considered as denied ; of lotuses, bees; of bees, humming; and of humming, attruction.

मालादीपकम्, सारः। 93

XLVIII. मालादीपकम्-The Serial Illumiinator.

Ex. स्मरेय हृदये तस्यास्तेन त्वयि कतास्थिति: ।

दीपकैकावलीयोगात् from a combi- स्मरेण by Cupid nation of the figures तस्या: हृदये in her heart the Illuminator and स्थिति: setting one's foot . the Necklace कता was made मालादीपकम् the Serial Illuminator तेन by him उच्यत is called .त्वयि in thee. Def. combination of the figures, दौपकम् (Illuminator XV) and एकावली (Necklace XLII), is called the Serial Illuminator. Or, in other words, the Serial Illuminator is that wherein a number of different objects is successively associated with one and the same attribute. Ex. Cupid set his foot in the heart of that lady, and by it, i.e., the heart of the lady, in thee. This is addressed to a lover by a go-between sent by her mistress pining under separation. Here, the one and the same attribute स्थिति: क्वता being associated with two objects प्रक्ृत and अप्रक्ृत, it is the Illuminator ; and by ग्रेहौतमुक्तरीत्या of the lady's गृ heart, it is the Necklace (see the preceding figure). Thus, we have a blending of the two.

XIIX. सार :- The Climax. DEE. उत्तरोत्तरमुत्कर्षः सार दू्त्यभिधीयते। Ex. मधुरं मधु पीयुषं तत्मात्तस्मात्कवर्वचः।।

94 यथासंख्यम्।

उत्तरोत्तरम् 'successively मधुरम् sweet उत्कर्ष: Excellence तम्मात् than that सार दति the figuro Climax पौयुषम् the nectar अभिधीयते is called तस्मात् than that

मधु honey कवेः वचः poet's speech.

Def. Excellence (rising) successively is termed the Climax. . Ex. The honey is sweet; the nectar is sweeter than that ; and, than that, poet's speech. · Here, each succeding thing, nectar etc., rises gra- dually in excellence.

L. यथासंख्यम्-The Relative Order.

DEF. यथासंख्यं क्रमेगैव क्रमिकाणां समन्वयः ।

Ex. शतु मित्र विपत्तिं च जय रंजय भंजय ॥

क्रमिकाणाम् of serial objects जय conquer क्र मे गी व in due order मित्रम् the friend समन्वय: mutual connection रंजय gratify यथासंख्यम् The Relative Order विपत्तिम् the calamity पुतरुम् the foe भंजय destroy.

Def. The Relative Order is a mutual connec- tion of a series of objects mentioned in their due order.

Ex. O king! Conquer, gratify, destroy (thy) foe, friend and the calamity respectively. Here, a series of objects शत्रुम्, मित्रम् and विप्त्तिम् is respectively connected with जय, रञ्जय, and भञ्जय in their due order.

पर्यायः। 95 .

LI. पर्याय :- The Sequence.

DEF. पर्यायो यदि पर्यायेगकस्यानेकसंश्रयः ।

Ex. पद्म मुत्ता गता चंद्रं कामिनौवटनप्रभा॥

यदि if कामिनीवदनप्रभा the lustre of this एक एय. of one object lovely woman's face पर्यायेस in succession पद्मम् the lotus अनेकसंशयः residing in many मुका having left places चंद्र the moon पर्याय: The Sequence ·गता resorted to.

Def. When one object is described as residing in many places in succession, it is termed the Sequence. Ex. Having left the lotus, the lustre of this lovely woman's face now resorted to the moon. Here, the lustre which is stated as one is said to reside in many places in succession.

Second kind of the Sequence.

DEF. एकस्म्रिन्यद्यनेकं वा पर्यायः सोऽपि संमतः ।

Ex. अधुना पुलिनं तत्र यत स्रोतः पुराऽजनि॥ .

यदि वा or if पुरा formerly एकस्मिन् in one object स्रोत: water अ नेकम् many अजनि was सोऽपि that too अधुना now पर्याय: the Sequence there संमतः is regarded पुलिनम् sand bank. यत्र where '

Def. Or; if many objects are said to reside in one and the same place in succession, that too is regarded as the Sequence.

96 परिव्ृत्तिः, परिसङ्ा।

Ex. Sand bank is now seen in the place where there was water formerly. Here, the water and the sand bank are said to be successively residing in the same place.

LII. परिवृत्ति :- The Return.

DEF. परिवृत्तिर्विनिमयो न्यूनाभ्यधिकयोर्मिथः । Ex. जग्राहैकं शरं मुत्ता कटान्तान् सरिपुश्रियः ॥

न्यूनाभ्यधिकयी: of lesser and greater एकम् परम् one arrow things मुकां having discharged मिथ: mutual रिपुश्रियः of the enemy's God- विनिमयः exchange dess of wealth परिवत्ति: the Return कटाच्ान (many) side-glances . (स राजा) that king जगाह received.

Def. The Return is a mutual exchange of things lesser or greater. Ex. The king discharged (i.e. gave) one arrow and received (in turn, many) side-glances of the Goddess of wealth of his foes. Here, we have an exchange for what is greater, i.e. giving the lesser (शरम्) for the greater (कटान्तान्).

LIII. परिसद्ा-The Special Mention or The Exclusion of Specification.

DEF. परिसद्या निषिड्ैकमेकस्रिन्वस्तुयन्त्रगम्।

Ex. स्नेहक्षयः प्रदोपेषु न स्ान्तेषु नृतभुवाम् ॥

विकल्पः । 97

एकखिमिन्. in one object on hand प्रदीपेषु in the lamps

एकम् वस्तु one object नतभुवाम् of women of curved मिषिध्य having denied eye-brows यन्त्रणम् restriction स्ान्तेषु in the hearts परिमबा the Special Mention न not.

म्रेहच्य: diminution of oil

Def. The denial of the existence of something in a certain.object and the restriction of its existence in another object constitutes the figure the Special Mention.

Ex. The diminution of oil (i.e. affection) was in the lamps and not in the hearts of women of curved eye-brows.

LIV. विकल्प :- The Alternative.

DEr. विरोधे तुल्यवलयोर्विकल्यालंक्कतिर्मता।

Ex. सजः शिरांसि चापान् वा नमयन्तु सहीभूजः॥

of equal probability महौसुजः the kings . सुल्यबलयी: विरोधे when there is opposi- सदा: at once tion शिगांसि their heads विकल्पालंकति: the Alternative नमयन्तु let bend

मता is considered चापान् गा or their bows.

Def. When' there is an opposition of two things of equal probability, or, in other words, when the performance of two such things becomes impossible at the samo time and thus restricts the agent to have recourse to only one of them, it is called the Alternative.

13

98 ममुच्चय: ।

Ex. Let the kings* bend at once their heads or their bows. Here, we see the impossibility of simultaneous action of the bending of the heads and that of the bows which are opposed to each other, the former being the mark of surrender and the latter, of war.

LV. समुच्चय :- The Conjunction.

DEs. बहूनां युगपद्गावभाजां गुम्फः समुच्चयः ।

Ex. नश्यन्ति पञ्चात्पश्यन्ति सश्यन्ति च भवद्द्विषः ।

युगपङ्चावभाजाम् of actions of simul- भवद्द्विषः thy foes taniety नश्यन्ति take flight वहनाम् of many पञ्चात् on back गुम्फ: combination पश्यन्ति se सरुच्चय: the Conjunction भश्यन्ति च and fall down.

Def. The Conjunction is a combination of many actions that are described as being simultaneously produced. Ex. O King ! thy enemies flee, turning their backs, see thee and fall down. Here, though the actions of fleeing, seeing, falling down took place in succession, yet we have the simultaniety of those actions considering their speedy performance. Compare the celebrated laconic report which Cæsar sent to Rome concerning his victory ovėr Pharnaces at Tela ' I came, saw, conquered' (veni, vedi, vici).

• The foes of the speaker.

कारकदीप कम् । 99 .

Second kind of the Conjunction.

Ex. कुलं रूपं वयो विद्या धनं च मट्यन्त्यमुम्॥

अहंप्राथमिकाभाजाम् of things with कुलम् noble birth emulation रूपम् handsome appearance एककार्यान्वय: that go to effect one वय: the pime of youth .thing विद्या learning र्षाप also धनंच and the wealth that, i.e. the Conjunc- त मुम् him tion मदयन्ति exhilerate.

Def. A combination of many things that go to eflect a thing with emulation or competition, is also termed the Conjunction. Or, in other words, a com- bination of many things independent of each other but represented as simultaneously producing the same common effect is called the Conjunction. Ex. Noble birth, handsome appearance. the prime of youth, learning and the wealth exhilerate him.

LVI. कारकदीपकम्-The Case-Illuminator.

DEF. क्रमिकैकगतानां तु गुंफ: कारकदौपकम्। Ex. गच्छत्यागच्छति पुनः पान्यः पश्यति पृच्छति॥

क्रमिकेकगतानाम् of actions con- पान्थ: traveller nected ·with one गच्कति goes kāraka in succession पुनः agaill ..

गुम्फः combination गच्कति comes कारकदौपकम् the Case-Illumina- पश्यति' sces ' tor पृम्कृति asks.

100 समाषि: ।

Dèr. A combination of actions that are succes- sively connected with one Karaka (case-noun) is called कारकढीपकम्. Or, in other words, when the same Kāraka (case-noun) is connected with many verbs in succession, it is कारकदीपकम्. Ex. The traveller goes, again comes, sees and asks (something). Here, पान्य :- a noun in the nominative case, is connected with 4 verbs गच्छति, etc., in succession but not simultaneously as in- the preceding figure समुच्चय: where simultaniety is desired.

LVII. समाधि :- The Convenience.

DEE. समाधि: कार्यसीकर्यं कारणान्तरसन्निधेः।

Ex. उत्करिठता च तरुगी जगामास्तं च भानुमान्। कारणन्तरसव्रिधे: through the pre- तरुखी young lady sence of some other उत्करिठता च longed for (her lover) cause भानुमान् the sun कार्य्यसीकर्य्यम् facility of an act असतम् जगाम set in. समाधि: The Convenience

Def. When the accomplishment of an act is facilitated by the presence of some other cause, or in other words, when the facilitation of an act is obtained through the accidental operation of another agency, it is called the Convenience. Ex. No sooner did this young lady long for her lover than the sun set in. Here, we see the simultaneous occurrence of two actions-the lady's longing for her lover and the

प्रत्यनीकम्। 101 .

sun's setting (expressed by the two as in' the two sentences). The lady longed for her lover and was about to go to meet him ; and this was easily accomplished by the accidental operation of another cause-the setting of the sun,, which enabled the lady to set out frsely under the protecting mantle of the dark.

LVIII. प्रत्यनीकम्-The Rivalry.

DEF. प्रत्यनोकं वलवतः शत्रो: पच्षे पराक्रमः ।

Ex. जैवनेत्रानुगी कर्गावुत्पलाभ्यामधः कृती॥

बलवतः strong उत्पल्नाभ्याम् by the lilies शवो: of the enemy जेवनवानुगौ the servants of the पच्त on any partisan victorious eyes पराक्रम: attempt कर्णैं the ears प्रत्यनीकम् The Rivalry अधः कतो made to bow down.

Def. When any act of injury or mortification is attempted on a partisan of one's powerful enemy (by somebody who is unable to avenge himself directly . on his enemy), it is called the Rivalry. Thę ears, the servants (lit. neighbours) of the victorious eyes, have been made to bow down by the lilies. Woman's eyes and lilies are often compared to each other, the one excelling the other in beauty. Here, the lilies unable to conquer the eyes avenge themselves on their neighbours, the ears, by making them bend down. N.B .- The lilies are usually worn as ornaments on the ears which bend by their weight.

102 काव्यार्थापत्तिः ।

LIX. काव्यार्थापत्ति :- The Necessary Conclusion,

Ex. स जितस्त्वन्मुखेनेन्टु: का वार्ता सरसीरुहाम्। केसुत्येन by the expression 'how दूष्यते is called much more' त्वन्मु खन by thy face अर्थसंसिद्धि: accomplishment of मः दून्टु that moon an act जितः was conquered काव्यार्थापत्ि: the Necessary Con- सरसोरुहाम् of the lotuses clusion in the province का what of Poetry वार्ता mention.

Def. The accomplishment of an act founded upon the popular maxim कमुतिकन्याय: 'argument. with a stronger reason', is termed the Necessary Conclusion. केमुत्य is the abstract noun of किमुत 'how much more'. कैमुतिकन्याय: is usually called दएडापूपन्याय: the maxim of the stick and the cakes. When a stick and some cakes are tied together and, when the stick has been eaten away by a rat, we are naturally led to believe that the cakes also have been eaten by the rat, the two things being so closely connected. Thus, when we say something of the one of two such things, the same naturally applies to the other thing also. Ex. ( Lady ! ) That moon has been conquered by thy face. What necessity is there to speak of (or why we speak of) lotuses. It is an acknowledged fact that lotuses begin to shrink and become faded on the rise 'of the moon. When that moon, the subduer of the lotuses, has been conquered, the fact that lotuses too have been con- quered much more becomes a necessary conclusion.

काव्यलिंगम्, अर्थान्तरन्यासः। 103

.LX. काव्यलिंगम्-The Poetical Reason.

DEE. समर्थनीयस्यार्थस्य काव्यलिंगं समर्धनम्।

Ex. जितोडसि मन्द कन्दर्प। मच्चित्तेऽस्ति तिलोचन:॥

समर्थनीयस्य to he established जितः अरसि thou hast been con- अर्थ-4 of a fact quered समर्थनम् justifying मचित्ते in my mind काव्यलिंगम् The Poetical Reason विलोचनः three-eyed God Siva मन्द foolish श्र्स्ति resides कन्दर्प cupid Def. The Poetical Reason is a reason justifying a statement which requires to be established. Ex. O foolish God of love! Thou hast been conquered (by me). For, in my mind, there resides the three-eyed God Siva. Here, the fact of the presence of the God Siva in the mind of the speaker is a reason for the speaker's conquest of the God of Love who has once been burnt by Siva.

LXI. अर्थान्तरन्यास :- The Transition.

DEF. उत्तिरर्थान्तरन्यासः स्यात् सामान्यविशेषयोः ।

Ex. हनूमानव्धिमतरद्दुष्करं किं महात्मनाम्।

सामान्यविभेषयी: of a universal pro- अब्धिम् the ocean position and a parti- अतरत् crossed cular in'stance महात्मनाम् of great men assertion टुष्करम् impossible » अर्ान्तरन्यास: the Transition हनूमाम्ं किम् what. the monkey-God Hanūmān

104 अर्धान्तरन्यामः।

Def. The assertion of a universal (proposition) and a particular (instance) is termed the Transition. Or, in other words, when a universal proposition is introduced to support a particular instance, or a particular instance to support a universal proposition, it is called the Transition. Ex. Hanūmān crossed the ocean ; what is im- possible for great men ? . Here, a particular instance is confirmed by a universal proposition.

Example of a universal proposition supported by a particular instance.

गुगावट्वस्तुसंसर्गाट् याति खल्पोऽपि गौरवम्। पुष्पमालानुषंगेग सूतं शिरसि धार्यते॥

गुथावद्वस्तुसंसर्गात् by association of पुष्पमालानुषंगेण by the union with a the meritorious wreath of flowers ल्पोऽपि even the meanest मूव म् thread creature शिरसि on the head गौरवम् greatness धार्यते is worn याति attains

Even the meanest creature, by the association of the meritorious, attains to the greatness. A thread united with a wreath of flowers is worn on the head. Here, a universal proposition is confirmed by a particular instance.

विकसरः, प्रौढ़ोक्ि:। 105 .

LXII. विकस्वर :- The Expansion.

DEE. यस्म्मिन्विशेषसामान्यविशेषाः स विकखरः ।

Ex. स न जिम्ये महान्तों हि दुर्द्वर्षाः सागरा दूव॥

य्िन् in which म: that (king) विशेषम्रमान्यविशेषा: particular, gene- न जिग्य was nct conquered ral and particular as- हि because sertions महान्त: great men सः that सागरा दव like the oceans विकखर: the Expansion दुर्द्वर्षाः unassailable.

Def. When a particular is supported by a general which again is supported by a particular, it is called the Expansion. Or, in other words, when a Transition in which a particular instance is supported by a general proposition with a Simile, it is termed the Expansion (of the Transition). Ex. That (king) was not conquered (by his enemies). For the great men are as unassailable as the oceans.

LXIII. प्रौढ़ोक्ि :- The Bold Speech. प्रोढ़ोतिकत्कर्षा है तौ तद् तुत्वप्रकल्पनम् । DEF.

Ex. कचा: कलिन्दजातोरतमालंसोममेचकाः॥

उत्कर्षा हतौ which cannot form as कलिन्दजातीरतमालसीममेचकाः as a cause of excellence black as the tamāla तड्ेतुत्वप्रकल्पनम् attribution of a group grown on the certain cause to it bank of the Yamunā प्रौढ़ीक्ति: The Bold Speech river.

कचा: 'the tresses

14

I06 संभावना।

Def. The attribution of a certain cause, to a statement asserted, which cannot form the cause of excellence (of the object described) is called the Bold Speech. Ex. The tresses (of the Lord Krishna) are as black as the group of tamāla trees grown on the banks of Kalinda's daughter Yamuna. The water of the Yamunā is naturally black as also the tamāla trees. The blackness of the tamāla trees cannot therefore be attributed to their having grown on the banks of the Yamuna river. Still, it is asserted to be so here. Hence it is called the Bold Speech.

LXIV. संभावना-The Supposition.

DEF. सम्भावना यदौत्य स्यादित्यूहोऽन्यस्य सिद्दये ।

Ex. यदि शेषो भवैद्त्ता कथिता: सयुर्गुणास्तव॥

श्रन्यस्य of another act शेष: Lord of serpents सिङ्ध ये for the accomplish- वक्ता narrater ment भवेत् happen यदि इत्यं स्यात्ं if it were so तव thy इति so गुणा: merits

ऊहः conjecture कथिता: सु: would have been des- संभावना the Supposition cribed. र्यादि if

"Def. A conjecture assumed through the use of the expression 'if i' were so' for the accomplish- ment of another (impossible) act, is termed the Sup- position.

मिध्याध्ववसितिः । 107

Ex. O God ! If the Lord of the serpents were to be the narrater, then all thy merits would have been described. This form of supposition introduced by a subjunc- tive clause is reckoned by the author of Kāvyaprakāsa as the third kind of ततिशयोक्ति.

LXV. मिथ्याध्यवसिति :- The False Determination.

DEP. किञ्ञिन्मिथ्यात्वसिद्ार्थं मिथ्यार्थान्तरकल्पनम्।

Ex. मिथ्याध्यवसितिर्वेश्यां वशयेत् खस्जं वहन्॥

किञ्चिन्मिध्यात्वसिड्ाथें for the purpose । मिध्याध्यवसिति: the False Deter- of establishing a false mination assertion खसनजम् garland of sky-flowers मिध्यार्थान्तरकल्पनम् a statement of वहन् wearing another absolute false वेश्याम् the prostitute thing वषयेत् can win over.

Def. When, for purposes of establishing a false assertion, another absolute false one is introduced, or, in other words, if one false assertion is made to depend upon another absolute false one, then it is called the False Determination. (Reductio ad absurdum = redu- cing a position to an absurdity). Ex. Wearing a garland of sky-flowers, one can win over a prostitute. Sky-flower is an absolute nonentity and does not exist in any period, past, present or future. So the winning over a prostitute becomes also a non-entity. This ornament is also reckoned as one of the kinds of तिशयोकि by the author of K.P.

108 ललितम्, प्रहर्षगम्।

LXVI. ललितम्-The Artful Indication,

DEE. वराये स्याइसर्यवृत्तान्तप्रतिबिम्बस्य वर्गानम्।

Ex. ललितं निर्गत नौरे सेतुमेषा चिकीर्षति॥

वपयें in the object on hand एषा this (maiden) वरर्यवत्तान्तप्रतिबिम्बस्य of the reflective नोरे when water representation of an निर्गते had gone out incident on hand सेतुम् bund व र्णानम् delineation चिक़ीर्षति wishes, त्लितम् स्यात् is the Artful Indica- tion Def. ललितम् is a delineation of an incident not on hand which ends in a reflective comparison to an incident on hand. Ex. This (maiden) wishes to raise a bund when all the water had gone out. This is said by a maid to her mistress who wanted to send for her once neglected lover. The maid instead of telling her mistress that she missed the opportunity and now foolishly wants to bring her lover who has now fallen in love with anothei lady indirectly intimates the same meaning which is reflec- tively represented in the expression given in the text. The sending for the lover who once came to the lady and was neglected by her is the same as the raising of a bund after all the water had gone out. '

LXVII. प्रहर्षणम्-The Enrapturing. DEE. उत्करिठतार्थसंगिद्िर्विना यत्नं प्रहर्षम्। Ex. तामेव ध्यायते तम्म निसष्टा सैव दूतिका।

प्रहर्षगम् । 109

सत्नम् विना without an effort साम् एव only her उत्करिहितार्थसंसिद्धि: accomplishment ध्यायत तम्मे to him thinking of a thing longed for प्रहर्षणम् the Enrapturing सव दूतिका tiat same messenger निसृष्टा was sent.

. Def. When the accomplishment of a thing eager- ly longed for takes place without any effort for it, or, in other 'words, when the desired object is obtained by chance, it is called the Enrapturing. Ex. That same messenger-a confidante-was sent (by a lady) to him (her lover) who was thinking of her only. This incident took place without any effort on the part of the lover. He was thinking that her lady would send him a disagreeable messenger and, when he saw his own confidante coming as a messenger to him, he could not contain for joy and hence this is called the Enrapturing-the delight beyond measure.

The Second kind of the Enrapturing.

DBT. वाञ्क्विताद्धिकार्धस्य संसिद्िश्च प्रहर्षगाम्।

Ex. दीपमुद्योजयेद् यावत्तावदभ्युदितो रविः।।

वाञ्छ्ितात than the desired दीपम् the lamp अधिकार्थस् of something more उद्यीमयेत् kindle संसिद्धि: attainment तावत् than प्रहर्ष शम् the Enrapturing रवि: the sun यावत् no sooner अभ्यदितः rose.

Def. The attainment of something more than what was desired is called the second kind of the Enrapturing.

1I0 विषादनम्।

Ex. 'No sooner did she kindle the lamp, than the sun rose.

Here the lady rose and wanted to kindle the lamp and, when she came out of.her room, she saw the sun risen. This is more than what was desired.

Third kind of the Enrapturing.

DEE. यत्नाटुपायसिद्यर्थात्माक्ताल्वाभ: फलस्य च।

Ex. निध्यञ्जनीषधीमूलं खनता साधितो निधि:॥

उपायसिद्मार्थात् attainment of a निध्यंजनौषधौमूलम् the root of a means magic plant यननात् from an effort खनता by a digger साच्तात् फलम्य of the object itself निधि: treasure लाभ: च attainment also साधित: was obtained.'

Def. When, by an effort made for the attainment of a means to get the object desired, the desired object itself is obtained, it is the third kind of the Enrapturing. Ex. By him who dug the root of the magic plant for the purpose of discovering the treasure hidden under the earth, the treasure itself was obtained.

LXVIII. विषादनम्-The Despondency.

DEE. दूध्यमागा विरुद्धार्थसंप्राप्तिस्तु विषादनम्।

Ex. दीपमुद्योजयेट् यावन्निर्वाणस्तावदेव सः ।

उल्लाम: । III

दृथ्यमायाविरुदार्थसंप्राप्रि: तु the attain- दौपम् the lamp ment of a thing oppo- उद्यीजयेत् kindles sed to what was desir- तावदेव than ed मः that विषादनम् the Despondency निर्वागः extinguished. यावत् no sooner

Def. The attainment of a thing quite opposed to what was desired is termed the Despondency. Ex. No sooner did she kindle the lamp, than it extinguished.

LXIX. उल्लास :- Abandonment.

DEF. एकस्य गुणदोषाभ्यामुल्लासोऽन्यस्य तो यदि।

Ex. अपि मां पावयेत्साध्वी स्नात्वेतीक्कति जाइवी॥

ए क स्य of one object स्नात्वा having bathed गुणदोषाभ्ाम् by merit and demerit माम् अरप me also

अन्य स्य of another object पावयेत् may purify यदि तौ if those two इति 80

उल्लास: Abandonment जाड़वो the river Gangā साध्वी chaste woman इ चकृति desires.

Def. If the delineation of merit and demerit of one objęct conveys a reference to the merit and de- merit of another object, or, in other words, if (1) the merit of one object refer to.the merit of another object, (2) the demerit, to the demerit, (3) the merit, to the demerit, and (4) the demerit, to the merit, then it is called the' Abandonment.' Ex. 'Will not a chaste woman (come and) bathe

desires. (in my waters) and purify me also', so the river Ganga

II2 उल्लाम: ।

Here the merit-the purificating character of a chaste woman refers to the merit of the Ganga who prays for purification. Hence this is the example of No. 1 merit referring to a merit.

Example of (2) demerit referring to a demerit.

काठिन्यं कुचयो: सष्टं वाञ्कन्तयः पादपद्मयोः। निन्दंति च विधातारं त्वड्ञाटीष्वरियोषितः ॥

कुचयी: of the bosoms अरियोषित: the women of (thy) foes काठिन्यम् hardness त्वडाटोषु in thy cavalry पादपद्मयीः lotus like feet विधातारम् the Creator सृष्ट म् created निन्दंति censure. वाञ्क त्य: desiring Ex. O king ! the widows of thy foemen desiring, (when they are pursued by) thy cavalry, the hardness created for their bosoms to be created for their lotus- like feet censure the Creator (Brahmā). Here, the widows of the foemen censure the creator for not having created the hardness of their bosoms in their soft feet, the former being useless because of their widow-hood and the latter being now useful to enable them to flee away from the pursuing cavalry of the king. The demerit of the bosoms in their widow-hood refers to the demerit of their soft feet unfit for fleeing away from the enemy.

Example of (3) Merit referring to a demerit.

तदभाग्यं धनस्यैव यन्नाश्रयति सज्जनम् ॥

यत् because तत् that

सज्जनम् the good man of the riches only न आश्रयति does not resort to तभाग्वम् misfortune.

अ्रवज्ञालंकृतिः । 1I3

Ex. It is the misfortune of riches themselves in that they do not resort to the good people. Here, the merit of the good people refers to the demerit of the riches in, their not resorting to the good people.

. Example of (4) demerit referring to u merit.

लाभोयमेव भूपालसेवकानां न चेद्दध: ।। चेतु if न not भूपालसेवकानाम् of the servants of अ्यम् एव this itself the king लाभ: a boon.

वध: killing

If the servants of this king are not killed, then it itself is a boon (to them). The king referred to is such a cruel man that non- killing his servants is considered a great boon even if they do not get their pay. Here, the cruelty, the demerit of the king, refers to the merit on the part of his servants, i.e., their continuance without being killed. '

LXX. अवज्ञालंक्ति :- Non-Abandonment.

DEF ताभ्यां तो यदि न स्यातामवज्ञालंकृतिस्त सा।

Ex. सल्पमेत्रांबु लभते प्रस्थं प्रांप्यापि सागरम् ॥

यदि if प्रस्थम् a measuro

ताभ्याम् by those two सभरम् ocean तौ those two प्राप्यापि though reached न स्याताम् do not occur सत् मेव only a small quantity सा that अंबु' water . श्रवज्ञालंकति: Non-Abandonment लभते gets. 15

II4 अ्नुज्ञा।

Def. If, by the delineation of them, i.e., merit and demerit of one object, they-the merit and de- merit of another object-do not occur, then it is called the Non-Abandonment. Ex. This measure (of 32 palas) gets only a small quantity into it even though it reached the ocean. The particular measure holds the same quantity of water even in the ocean which is the receptacle of immense water and which is not able to supply more water. Here, the merit of the measure refers to no merit of the ocean.

Example of demerit occasioning no demerit.

मौलंति यदि पद्मानि का हानिरमृतदयुतेः ॥

यदि if अमृतद्युतेः to the moon पद्मानि lotuses का what मौलंति contract हानि: detriment. '

If the lotuses were to contract (at night), then what detriment accrues to the moon (nectar-rayed). Here, the demerit of the lotus refers to no demerit of the moon.

LXXI. अनुज्ञा-The Permission.

DEE. दोषस्याभ्यर्थनाऽनत्ता तत्वैव गुणदर्शनात्।

Ex. विपदः सन्तु नः शश्वट् यासु संकीताते हरिः॥

लेशः । 1I5 .

दीषस्य of an undesired न: to us object श्ृत् always अभ्यर्थना praying for विपदः 'calamities तचेव in itself सन्तु let occur गुदर्शनात् on account of the या मु in which result of good quali- हरि: God Vishņu ties संकीत्यंते is glorified. अनुद 'the Permission Def. The praying for an undesired object on the ground of the acquirement of virtuous qualities result- ing from it, is called the Permission. Ex. Lord Krishna ! Let calamities always occur to us-the calamities in which the God Hari is glorified. This is a request made to Krishna by Kunti, the mother of the Pandavas.

LXXII. लेश :- The Suggestion.

Ex. उखिलेषु विहङ्गेषु हन्त स्वच्छन्दचारिषु॥ शुक! पञ्चरवन्धस्ते मधुराणां गिरां फलम्॥

दोषगुगायो: , of demerit and merit शुक! parrot ! गुणदोषत्वकल्पनम् attribution of ते thy merit and demerit पञ्चरबन्ध: confinement in a cage लेशः स्यात् is'the Suggestion मधुराणम् melodious

हन्त Alas ? गिराम् of songs अखिलेषु विहंगेषु when all the birds फलम् result. सच्कन्दचारिषु freel wander

Def. asr: is a figure in which the mertt and de- merit of one thing are respectively construed to be the demerit and merit of the other.

116 मुद्रा।

Ex. Alas ! parrot ! when all other birds freely wander about at their will, thy confinement in the cage is the result of thy melodious songs. Here, the utterance of melodious sounds is cons- trued to be a demerit in a parrot and the non-utterance is construed to be a merit in other birds.

LXXIII. JRT-The Sealing.

DEF. सूच्यार्थसूचनं मुद्रा प्रकृतार्थपरैः पदैः।

Ex. नितंबगुर्वी तरुगी टृग्युग्मविपुला च सा॥

प्रक्ृतार्थपरै: serving the sense मुंद्रा the Sealing on hand सा तरुणी that young maiden पदैः by words नितंबगुर्वी having large buttocks सूच्यार्थमूचनम् intimation of the टृग्युग्मविपुला च having a couple of object to be hinted at spacious eyes.

Def. If the words that serve to signify the sense on hand intimate also the object to be hinted at, then it is called the Sealing. Ex. This maiden has large buttocks and à couple of spacious eyes. Here, युग्म विपुला serves to signify the sense required for the description of the lady the subject on hand. The same word is also the name of a metre of H class containing 8 syllables for each quarter wherein the seventh syllable of the 2nd and 4th quarters must be short. Thus, we see that the same word that served the purposé on hand-the description of the lady-also names the metre of the verse to be hinted at by the poct, the stanza being the illustration of that metre.

रत्नावली। 117

It is usual among the Sanskrit prosodians to illus- trate a metre, defined, by a stanza containing the name of that metre which will also serve to explain the sense contained in the stanza. Hence the figure is called Har-an expression of things by their right names.

LXXIV. रत्नावली-The Jewelled Necklace.

DEF. क्रमिकं प्रक्ृतार्थानां न्यासं रतावलीं विटुः।

Ex. चतुरास्य: पतिर्लत्षा: सर्वन्ञसत्वं महोपते॥

प्रक्ृतार्थानाम् of the words serving । चतुराम्य: * having handsome the sense on hand face or f four headed क्रमिकं serial God Brahmā

न्यासम् putting लच्मा: of riches = of Goddess

रवनावलौम् The Jewelled Necklace LakshmĪ

विढ: (poets) know पतिः lord

महोपते 0 king ! सरवज्ञ: omniscient or God

त्वम् thou Siva.

Def. Ratnavalī is a figure containing a number of words serving the sense on hand but put in an established order of succession (with reference to objects not on hand). Ex. O ,Lord of earth ! thou hast a handsome face (art god Brahma) ; thou art the lord of wealth (the Lord Vishnu) ; thou art omniscient (Lord Siva). Here, the words चतुरास्य: eic., serve the sense on hand in describing the king and are also names of

· * चतुरं आ्स्यं यस्य सः + चत्वारि आस्यानि यस् सः

118 तट्गुण: ।

the Hindu Triad, in their order-Brahma, Vishnu and Siva, the objects not on hand to which the king is identified in succession. The difference between - this figure and the figure HT (LXXIII) is that in this figure the sense of the words referring to objects not on hand-i. e. the sense to be hinted at-also serves to explain the sentence in another way under a pun, but it is not so in the Mudra.

LXXV. तट्गुण :- The Borrower.

DEF. तट्गुगा: खगुगत्यागादन्यदीयगुगाग्रहः।

Ex. पझमरागायते नासामौलिकं तेऽधरत्विषा॥

खगुणात्यागात् by quitting one's own नासामौक्तिकम् nose-pearl quality पधरत्विषा by the lustre of the अन्यदोयगुपग्रह: assuming the qua- lower lip. lity of another पझमरागायते becomes Padmarāga त्गुण: the Borrower (ruby of lotus colour). thy

Def. When a thing quits its own quality and assumes that of another (excellent one), it is the Borrower. Ex. O Lady! The pearl of the nose-ornament becomes a padmarāga ruby by coming in contact with the luster of thy (red) lower lip. Here, the colour of the lady's lower lip, being superior, makes the white pearl of her nose ornament appear like a padmaraga ruby. *

• The pearl has been eclipsed by the lady's lip.

पूर्वरूपम्। 119

LXXVI. पूर्वरूपम्-The Original.

DEF. पुनः खगुगासंप्राप्तिः पूर्वरूपमुदाहंतम्।

Ex. हरकरठांशुलिप्तोऽपि शेषस्वद्यशसा सितः ॥

पुनः agair . with the lustre of खगुणसंगप्ति: assumption of one's Siva's neck own quality शेष: the serpent lord पूर्वरूपम् the original त्वद्यशसा by thy fame उदाहृतम् is called सित: white. हरकरठांशुलिप्रोऽपि though covered

Def. When an object that has quitted its form as in the preceding figure is again restored to its original state by the presence of some other agency, it is called the Original. Ex. O king! The lord of the serpents शेषः, though covered with the lustre of Siva's neck, is made white by thy fame. Here, the serpent-lord worn round Siva's neck of dark-'lue colour-on account of the existence of the Kalakūta poison in it-changed his colour and thus became a borrower and by the operation of another agency-the white fame of the king-he is restored to his former state.

Second kind of the Original.

DEF. पूर्वावस्थानु्टत्तिश्च विकृते, सति वस्तु नि ।

Ex. दीपे निर्वापितेऽप्यासीत्कांचीरत ्महन्महः॥

120 अतदुग: ।

वम्तुनि an object निर्वापिते अपि though extinguished विक्ृते सति when disappeared कांचीरतैः by the jems inlaid in पर्वावस्थानुव्नत्ति: continuity of the the girdle of a lady original state महत् ample च also महः light दोपे lamp आसीत् was.

Def. The continuity of thé original condition, notwithstanding the disappearance of an object- the cause of such continuance, by the operation of another agency, is called the second kind of the Original. Ex. Although the lamp was put out (by a lady in the bed chamber), still there was ample light issuing from the jems of the girdle (of that lady). Here, a pretty young maiden but an artless one (gTaT ) put out the lamp of the bed chamber through bashfulness ; still the light continued as before by the lustre of the jems inlaid in the girdle of that maiden.

LXXVII. अतह्गुरः-The Non-Borrower.

DEF. संगतान्यगुगानंगोकारमाहुरतद्गुगम्।

Ex. चिरंरागिषि सच्चित्ते निहितोऽपि न रञ्जसि।

संगतान्यगुणनंगोकारम् non-assuming चिरस for a long time the quality of another रागियि red (affectionate) object though con- मच्चित्ते ín my mind nected with it निहितीऽपि though seated अतद्गणम् Non-Borrower न रञ्जसि dost not become red

आ्राङ: call (affectionate). Def. The non-assuming, by an object, of the quality of another though connected with it (or in

अ्रनुगुगाः । I2I

other words, when an object does not borrow the quality of another object, it) is called the Non- Borrower. Ex. O Lover ! though seated long in my red (affectionate) mind, yet thou dost not become red (affectionate). The strikingness of this example rests upon the use of the word TIn which means both redness and affection. Here, the lover does not become red (affectionate) though he is seated in the red (more affectionate) mind of the lady. Hence it is the Non-Borrower.

LXXVIII. अमुगुग :- The Conformity.

DEF. प्राक्सिद्वखगुगोत्कर्षोडनुगुगः परसव्निधेः ।

Ex. नीलोत्पुलानि दधते कटाचैरतिनीलताम्।।

परसब्रिध: by the presence of अ नु गुणा: the Conformity . another object नोलोत्पलानि blue lotuses प्राकसिद्वस्वगुणोत्कर्ष: the pre-emi- कटाच: by the side-glances. nence of one's own अतिनीलताम् extreme blueness previously settled दधत bear. quality.

Def. The pre-eminence, of ,one's own previously settled quality, by the presence of another agency, (or, in other words, when the original quality of an object is made pre-eminent 'by the proximity of another object, it) is called the Conformity. ' Ex. The blue lotuses attain more, blueness by the side-glances (of a lady falling on them). 16

I22 मिलितम्, मामान्यम्।

Here, the dark bluc lustre of the lotuses is increas- ed by the pre-eminent blue side-glances of the lady falling on them.

LXXIX. मीलितम् -- The Lost.

DEE. मीलितं यदि साहश्याद्भेद एव न लच्ष्यते। E.x. रसो नालकि लाक्षायाश्चरगे सहजारुथे॥

यदि if मौलितम् the Lost

साष्टश्यास् on account of resem- सहजारुप naturally red blance चर in the foot भेंदः a distinction लाचाया: of the red lac

एव alone रस: dye न लच्ष्यत is not perceived न अलचचि was not perceived.

Def. When distinction alone is not perceived (between two objects on hand) on account of their resemblance, then it is the Lost. Ex. The dye of the red lac was not perceived in the naturally red feet (of this beautiful maiden). Here, we see the disappearance of the dye of the red lac on account of its having been eclipsed by the natural redness of the maiden's feet.

LXXX. सामान्यम्-The Sameness.

DEE. सामान्यं यदि सादृश्याद्विशेषो नैव लच्चते।

Ex. पद्माकरप्रविष्टानां मुखं नालि सुभुवाम् ॥

उन्मीलितम् विशेषक: । I23 .

यदि if पद्माकरप्रविष्टामाम that entered the शाहशाद् on account of resem- lotus-pool blance सुभ्रवाम् 'of women of beauti- विशेष: distinguishable pecu- ful eye-brows liarity . मुखम् face नेव लच्चते is not at all perceived न अलचत was not perceived. सामान्यम् The Sameness

'Def. When any distinguishable peculiarity what- ever is not perceived (between two objects coming in contact) on account of their close resemblance, it is called the Sameness. Ex. The faces of the women of beautiful eye- brows that entered the lotus-pool are not perceived. Here, the faces of the women were not distin- guishable from the lotuses in the absence of any dis- criminative quality between the two which are spoken of as having become identical. In the मीलित (LXXIX), one of the objects is infe- rior in quality and is not apprehended by its being eclipsed by the superior quality of the other. In this figure, the two objects could not be dis- criminated through their close resemblance. In the मीलित, the inferior object gives up its own quality. Here both the objects do not give up their qualities. Hence, this figure is different from the मोलिंत.

LXXXI. एभ्ीलितम्-The Un-Lost. LXXXII. विशेषक :- The Un-Sameness.

Der. भद्वैशिष्टायो: स्फूर्तावुन्मीजितविशेषकी।

Ex. हिमाद्रिं त्वद्यशोमग्नं सुरा: शोतेन जानते॥

I24 'उन्मीलितम्, विशेषकः ।

भेदवैभ्िष्टायी: of any distinction and सुरा: the celestial beings of any discriminating त्वद्यशेमग्रम् eclipsed by thy fame peculiarity हिमाद्रिम् the Himalaya moun- स्फ़ूर्तौ in the manifestation tain उन्ोलित विशेषकौ The Un-Lost and शैतेन by chillness The Un-Sameness नानत recoguize.

Def. If any distinction prohibited in the मोलित (LXXIX) become manifest afterwards, it is called the उन्मोलितम्. Def. If any discriminating peculiarity prohibited in the सामान्य become manifest afterwards, it is called the विशेषक :. Ex. O king ! The celestial beings recognize the Himalaya mountain, eclipsed by thy (all.pervading) fame, through its chillness. This is the example of the figure उन्मोलित. Here, the Himalaya which is white was lost in the whiter fame of the king and was afterwards recognized by the Gods on account of its chillness.

Example of the विशेषक.

लच्ितान्युदिते चन्द्र पद्मानि च मुखारनि च।

चन्रे उदिते when the moon had | मुखानि च and the faces risen लच्चितानि became distinguish- पद्मानि lotuses able.

Ex. After the rise of the moon, the lotuses and the faces of the damsels became distinguishable .- In the शामान्य, the faces of the damsels that entered the lotus-pool were undistinguishable from the

उत्तरम्। 125

lotuses on account of their likeness but after the rise of the moon the lotuses faded and, the faces began to appear more beautiful and hence they became discriminated.

LXXXIII. उत्तरम्-The Reply.

DEF. किंचिदाकूतसहितं स्याद्गूढ़ोत्तरमुत्तरम् ।

Ex. यवासी वेतसी पान्थ! तत्ेयं सुतरा सरित्।

किंचिदाकूतसहितम् containing some यत where import असी वेतसी that ratan गूढ़ी त्तरम् a secret reply तव there . एत्तरं स्यात् is The Reply दूयं सरित् this river

पान्य ! O traveller ! मुतरा is fordable.

Def. A secret reply containing some indirect import (of the speaker) is called the Reply. Or, in other words, when the speaker indirectly expresses his or her own intention in a reply made to a query previously put by some person (which query is to be inferred from the answer), it is called the Reply. , Ex. O Traveller ! (the place) where that ratan is seen-there this river is fordable. From this,' we understand that a traveller has asked the speaker, a lady here, the place where a particular river can be crossed. The lady becoming enamoured of him makes this reply by showing a particular place which was also indirectly named by her as a place of assignation for their meeting.

I26 उत्तरम्।

Second kind of the Reply.

DEF प्रभ्नोत्तरान्तराभिन्नमुत्तरं चित्रमुच्यते ।

Ex. के दारपोषगरताः के खेटाः किं चलं वयः॥

प्रश्न+उत्तराकर+अभिन्नम् consisting their wives of same words of the केदारपोषणरता: those hat are bent query and its two upon bringing the replies lands to perfection = चिवर मुत्तरन् a skiiful reply husbandmen उत्तरम् The Reply के खेटा: who move in the air के who किं चलम् which is transitory दारपीषएरता: those that are en- वय: (1) birds (2) the age. gaged in maintaining

Def. When a skilful reply is not different from the query, or in other words, when a reply made consists of the same words of the question asked, and when ove reply made serves for two queries asked, then it is called also the Reply. Ex. Q. Who are those that are engaged in maintaining their wives ?- R. Those that are bent upon bringing the lands to perfection or husbandmen. Q. Who move in the air and which is transitory- R. वयः (1). birds (2) age. के दार: = a field. The first question के दारपोषगरताः and its answer केदार पोधगरता: consist of the same words (lit. letters). aa: is the one reply made to the two questions asked. वय: when it means, 'birds' is the nominative plural of the word fa m ; and when it means 'the age' it is the nominative singular of the neuter noun वयस्. Hence these are styled the skilful replies.

मूच्मम्, पिहितम्। I27

LXXXIV. सूक्ष्मम्-The Subtle.'

Der. सून् पराशयाभिज्ञेतरसाकृतंचेष्टितम् । Ex. मयि पश्यति सा केशैः सीमन्तमगिसाहगोत् ।।'

परा-चेष्टितम्= पराश्याभिन्ः skilled मूच् म् The Subtle in understanding the सा that (maiden) import of another मयि पश्ति when I was looking दूतर: a second person केप्रा: by the tresses तस्य his मीमन्तमगिम् the crest-jewel साकृतचष्टितम् a significant शावृगीत् concealed. act

Def. A significant act or gesture, of a person, intimated to another who is able to understand such gestures of others is called the Subtle. Ex. ( Friend ! ) When I was seeing (her anxi- ously for time of assignation), she concealed her crest- jewel under her tresses. Here, the time of assignation eagerly inquired for by the lover is guessed from the lady's act of concealing her bright crest-jewel under her dark tresses-a mark indicating the time of night when the bright sun is concealed under the darkness of the night.

LXXXV. पिहितम्-The Covering.

DEr. पिहितं परवृत्तांतज्ञातुः साकृतचेष्टितम्।

Ex. प्रिये गहागते प्रातः कान्ता तल्यमकल्पयत्॥ परवृत्तान्तज्ञातु:, of one that knows साकृतचेष्टितम् significant act or the secret of the पिितम् an vinsinuation other The Covering

I28 व्याओक्ि: ।

प्रात: ' in the morning कान्ता the lady प्रिये ग हागते when the lover came सल्यम् the bed to the house अक ल्पयत् prepared.

Def. A significant act or an insinuation of a person that he or she knows the secret of another is called The Covering. Ex. Early in the morning, when the lover came to the house, his lady prepared bed (for him). Here, a lady when she saw her husband coming to her house in the morning with the marks of his having toyed with another lady, a rival one, at once prepared bed for his rest thus intimating to him that she has known his secrets.

LXXXVI. व्याजोकि :- The Disembler.

DEF. व्याजो्तिरन्य हेतूकृत्या यदाकारस्य गोपनम् ।

Ex. सखि! पश्य गृहारामपरागैरस्मि धूसरा॥

अ्रन्य हेतू कत्या by an attribution to सखि ! friend ! a different cause पश्य see

यत् which ग्टहारामपर। गै: by the pollens of the प्राकारस्य of the appearance house-garden गोपनम् concealment धूसरा ब्ति I am made greyish. व्याजीक्ि: The Disembler

Def. The Disembler is the dissimulation of one's appearance by attributing to a different cause. Ex. Friend ! See. I am made greyish by the pollens of (my) house-garden. Here, a lady, the ¿peaker, having her body made dirty by the dust in her toying with her lover, artfully

मूढ़ोति:। I29

conçeals the same by saying that she was made greyish by the pollens, i.e., by attributing it to some different cause. Her first state was not expressed and then denied and so this is different from the ornament of Concealment (XI) where an object is first mentioned by a person who then conceals it.

LXXXVII. गूढ़ोक्ि :- The Secrecy.

DEr. गूढ़ोक्तिर न्योदेश्यं चैद्यदन्यं प्रति कथ्यते।

Ex वृषापेहि परक्षेत्रादायाति क्षेत्ररक्षक: ॥

चेढ if परचेनात् from another's field अन्योद्देश्य म् intended for another or wife अ्रन्यम् प्रति to another अपेहहि begone कथ्यते is told सेवरकक: the land-lord or hus- गूढ़ीकि: The Secrecy band O bull ! or luster ! आायरति comes.

Def. When a speech intended to be communicated to a particular person is addressed to another who is also before the speaker, and when that speech conveys also the intended meaning of the speaker, it is termed the Secret Speech. Ex. O bull! begone, yonder comes. the land- lord. This speech is intended to be communicated to a person toying with the wife of another person and this is addressed to the bull that was grazing in a third man's feld., The intended meaning to be con- veyed is :-- O Luster ! begone, yonder 'comes the husband of the lady with whom thou art boldly toying. 17

130 विव्रतोकिः, युक्ति:।

LXXXVIII. विष्टतोकि :- Open Speech.

DEF. विव्ृतोत्तिः प्निष्टगुप्तं कविनाडविष्क तं यदि।

Ex. वृषापेहि परक्षेत्रादिति वत्ति ससूचनम्॥

प्निष्टगुप्तम् hidden under a pun परचेताद् from another's field कविमा by the poet or wife पाविष्कृतम् यदि if purposely ex- पपेहि begone pressed दूसि विहसोकि: Open Speech समूचनम् with a gesticulation सष ! bull ! or luster ! वक्ति (he) speaks

Def. Open Speech is that which is hidden under a pun as in the preceding figure but purposely ex- pressed by the poet by some kind of indication. Ex. "( bull! begone from another's field", so the speaker speaks with a gesticulation. By use of the word वषापेहि, this is also hidden under a pun ; and, by the employment of the word H, in the example by the poet, the secrecy becomes expressed.

LXXXIX. युत्ति :- Covert Speech.

DEF. युक्ति: परातिसंधानं क्रियया मर्मगुप्तये।

Ex. त्वामालिखन्तौ दष्ट्रान्य धनुःपौष्पं करडलिखत्॥

सर्म मंप्वे for concealment of त्दाम् thee one's own design' आलिखन्ती painting क्रियया ( by an act अन्य टष्दा seeing another (lady) परातिसंधानम् deception playen upon पौष्ं धनुः flowery bow another करे in the hand युक्ति: Covert Speech अलिखत् drew.

लोकोक्ि: । 131

Def. Covert Speech is a deception of a person by an act played upon another for concealment of his or her own design. Ex. Lover ! Thy lady painted thee and, seeing another person coming to her at that time, drew the figure of a flowery bow in the hand, thus intimating to thas stranger that she painted the cupid and not thee. This is said by a go-between. This figure is properly reckoned as one of the kinds of सूक्ष (LXXXIV) in the Sahitya Darpana.

XC. लोकोलि :- Popular Saying.

DEE. लोकप्रवादानुक्तिर्लोकोतिरिति भख्यते।

Ex. सहस्व कतिचिन्मासान्मौलयित्वा विलोचने।

लोकप्रवादानुक्कति: resembling a pro- विलीचने the eyes verb मौलयित्वा having closed लोकीक्तिरिति Popular Saying कतिचित् मासान् a few months भ यय्र ते , is called सहस्व wait or be patient. Def. An expression resembling a proverb is called the Popular Saying. Ex. .Lady! wait for a few months .with thy eyes closed. This is one of the'messages sent by a separated lover to his lovely wife. The full meaning is :- "Lady ! Let a few months be spent unmarked by thee ; and then, we shall both meet, and have full saope to reward our desires entertained in our separation. "With thy'eyes closed" is eveit now mose current in the sphere of the lovers and distressed people.

132 कैकोकि:, वक्रोलिः।

XCI. छेकोशि :- The Skilful Speech,

DEF. छेकोलिर्यदि लोकोके: स्यार्दर्थान्तरगर्भिता।

Ex. भुजङ्ग एव जानौते भुजङ्गचरणं से॥

लोकीके: of the Popular Saying भुजंग: एव only the serpent or अर्थान्तरगर्भिता coMtaining another villain ' sense भुजंग चरयम् the feet of the ser- यदि स्यात् if pent or the behaviour केकोक्ि: Skilful Speech of & villain सखे। friend ! आनौते knows.

Def. If the Popular Saying were to contain another sense, then it is called the Skilful Speech. Ex. A serpent alone knows the feet of a serpent. Another sense is :- A villain alone knows the behaviour of a villain.

XCII. वक्रोक्ि :- The Crooked Speech.

DEF, वक्रोकि: श्नेषकाकुभ्यामपरार्थप्रकल्पनम्॥

Ex. मुञ्ज मानं दिनं प्राप्तं नेह नन्दी हरान्तिके।

श्रषकाकुभ्याम् by means of a pun मुख् मानम् remove thy anger or by an affected दिनं प्राप्तम् day appeared change of voice इह here अपरार्थ प्रकल्पनम् construing 'one's नन्दो न no Nundin speech differently हरान्तिके near the God Siva. वक्रीति: The Crooked Speech

Def. when a person construes & speech of another in a different sense by means of a pun or by an affected change of voice, it is called the Crooked Speech.

समावोशिः। 133

Ex. Lady! Remove thy anger as day has appeared. Here the lady construing it otherwise by a division of words मानं दिनम् into मा नन्दिनम् and reading it thus "मुञ् मा नन्दिनं प्राप्तम् = leavest not the Nandin that has arrived here" angrily replies thus, "No Nilndin here; bnt he is near the God Siva." For an example under airgi, see the Appendix.

XCIII. स्वभावोत्ति :- Description of Nature.

DEF. स्भावोकि: सभावस्य जात्यादिस्थस्य वर्गनम्। Éx. कुरङ्गेरुत्तरङ्गाच्े: स्ब्धकरगौरुदीच्चते॥

जात्यादिस्थस्य belonging to a genus खभावीक्ति: Description of Nature &c., i.e., quality, an उत्तरड्राच्: tremulous eyes action and a substance स्नब्ध कर्रे: pricking up ears स्भावस्य of one's own state ' description कुरङ्र: by antelopes वर्यनम्, उदोच्यत is looked at.

Def. Description of Nature is the delineation of . of a peculiar state of an object belonging to a genus etc., i.e., a quality, an action and a substance. Ex. These antelopes having tremulous eyes and pricking up their ears behold !' As the term 'antelopes' denotes many, we have here the description of nature of a genus. Another name of this figure is arfa: according to Dandi. This kind of description is considered the best by the poets.

134 ' भाविकम्, उदात्तम्।

XCIV. भाविकम्-The Vision.

DEF. भाविकं भूतभाव्यर्घसाक्षात्कारस्य वर्मानम्। Ex. श्हं विलोकयेडद्यापि युध्यन्तेऽच सुरासुराः॥

भूत भावि अर्थ-साक्षात्कारस्य of percep- the gods and demons tion of things past or युध्यन्ते fight , ' future अद्टम् I वर्षनम् description पद्यापि even now भाविकम् The Vision विलोकये behold.

भव in this place

Def. When something past or future is delineated by a poet in such a manner as can bring the subject of description vividly before the mind's eye, it is called the Vision. ( Ex. The gods and demons fight in this place- even now I seem to behold it !

XCV. उदात्तम्-The Exalted.

DEF. उदात्तमृद्वेश्वरितं प्नाध्यं चान्योपलक्षगाम्:

. Ex. सानी यस्याभवदुद् तडूर्जटिकिरीटिनो:॥

ड्े: of prosperity यस्य of which (Himālaya घररितम् description mountain) उदात्तम् The Exalted सानी in the summit also तत् that= celebrated

प्नाध्यम् commendable action धूर्जटिकिरोटिनो: between God Siva भन्यस्य of another and Arjuna उपलच्याम् indirect representa- युद्धम् fight tion of importance अ्रभवत् took place. Def. A descriptiont of prosperity of an object is termed the Exalted.

7

प्रत्युत्ति: । 135.

. And any commendable action of some great personage represented indirectly or collaterally to the object under delineation is termed also the Exalted. Ex. This is that Himalaya Mountain in whose summit that celebrated fight between the God Siva and Arjuna took płace. Here, the celebrated fight of the great God Siva with Arjuna is represented collaterally to the Himalaya Mountain-the object under delineation. This kind of representation attaches much importance to the subject on hand-now the Himalaya Mountain. For an example of Prosperity, see the Appendix.

XCVI. अत्युत्ति :- The Exaggeration.

DEE. अत्युक्रिरडतातध्यशौर्यौदार्यादि वर्गानम्।

Ex. त्वयि दातरि राजेन्द्र! याचका: कल्पशाखिन ः ॥

अहुत marvellous राजेन्द्र ! O king ! श्रतथ्व false त्वयि दातरि when thou art a donor शैर्य ' valour कल्यशाखिन: Kalpa trees बौदार्यादि generosity etc. ग्ाचका: mendicants वर्यनम् description भर्वान्त become. पत्युक्ति: Exaggeration Def. A description of marvellous and also false statement'of one's valour, generosity, etc., is called the Exaggeration. Ex. king ! When thou art a donor, even the wish-yiolding (kalpa) trees of paradise hecome thy 'mendicànts. .This is a false exaggeration of a, king's liberal munificence.

I36 'निरुक्तिः, प्रतिषेधः ।

XCVII. निरुति :- Exposition.

DRF. निरुत्तिर्योगतो नाम्नामन्यार्थत्वप्रकल्पनम्।

Ex. ई दशैश्रितैर्जाने सत्यं दोषाकरो भवान्॥

माम्राम् of words these योगतः by derivation चरितै: by acts of thine, सन्यार्थत्वप्रकल्पनम् construing in a भवान् thy honour sense different from दीषाकरः * maker of night or what is intended faulty निरुक्ति: Exposition सत्यम् verily (चन्द्र ! O moon ! ) जाने I know

Def. Exposition consists in construing words, in a sense different from what is intended, by an artificial derivation of those words. Ex O Moon! By these acts of thine, I know, truly, as much that thou art faulty (lit. the mine of faults). This is addressed to the moon by a damsel pining under separation.

XCVIII. प्रतिषेध :- Prohibition.

DgB. प्रतिषेधः प्रसिद्स्य निषेधस्यानुकीर्तनम् !

Ex. न दयूतमेतत् कितत्र! क्रौड़नं निशितैः शरैः॥

प्रसि इस्य well-known एतत् द्यूतम् म this is not the play- निषेधस्य of prevention ing at dice प्रनुकीतनम् announcement निशितः पूरः by sharpened arrows प्रतिषेध: । Prohibition क्रोड़नम् playing. कितव! gambler !

• दाषाम् night करोति does =moon and दोषाश्ाम् of faults भाकर: mine - a mine of fauits.

. विवि:। I37

Def. Prohibition is the announcement of preven- tion of a well-known act. Ex. O Gambler Sakuni | This is not the playing at dice but this is the playing by sharpened arrows (the famous battle of Kurukshetra). This is addressed by a true warrior to Sakuni, the 'uncle of Duryodhana, who at the celebrated gambling match threw the dice, won the game and obliged the good Pandavas to gointo exile and thus became the cause of that dreadful war. The state- ment that this is not the place of gambling but of war-an expression of a true fact-conveys the intended meaning of the speaker that Sakuni could do well at the gambling and not at this battlefield.

XCIX. विधि :- Fitness.

DEF. सिद्धस्यैव विधानं यत्तदाहुर्विध्यलंक्कतिम्।

Ex. यंचमोदंचने काले कोकिल: कोकिलो भवेत्॥

यत् which पच्चम +उदच्ने काने sin the spring सिद्धस्य एव ,of that thing previ- season ously effected कोकिल: kokila 'bird or the विधानम् declaration Indian cuckoo

तत् that कोकिल: kokila, i.e., charming विधि+अलंक्ृतिम् the figure Fitness भवेत् shall become.

बराहु: the learned call

Def. A declaration of a thing previously effocted, the learned call as the figure Fitness.

• In the season in which panchama note becomes manifest. 18

138 हेतुः।

Ex. Only in the spring season, the kokila bird shall become a kokila, i.e., charming. Here, the re-declaration of kokila bird, a thing already effected, is to show its extreme charmingness in the spring season-a season for singing in the panchama tone.

C. हेतु :- The Cause.

DEF. हेतोर्हेतुमता साध वर्गनं हेतुरुच्यते।

Ex. असावुदेति शौतांशुर्मानच्कैदाय सुभुवाम्॥

हेतोः of' a cause असी शीतांभ: that moon हतुमता सार्धम् along with its effect सुभुवाम् of women of beauti- वर्षनम् description ful eye-brows हेतु: The Cause मानच्केदाय for quelling the pride उच्यते is termed उदति rises.

Def. The description of a cause along with its intended effect is termed the Cause. Ex. That moon rises for quelling the pride of women of beautiful eye-brows.

Second sort of हेतु :.

DEF. हेतुहेतुमतोरक्ं हेतु केचित् प्रचनते। लत्मीविलासा विटुषां कटाक्षां वेंकटप्रभोः॥

हेतुहेतुमतीः of cause and effect कैचित् certain rhetoricians ऐक्यम् identity हेतुम् as the figure Reason

हेतुः। 139

. प्रचचते call कटाचा: glances वेङ्टप्रभो: of the Lord of the विदुषाम् of learned poets mount Venkata* लत्मोविलासा: graces of the God- dess of Fortune. . Def. The identity of a cause with its effect is reckoned by some as, the figure the Cause. Ex. The glances of the God Vishnu (lit. the Lord of the Mount Venkata) are the graces of the Goddess of Furtune to the learned.

Here, the glance, the cause, is mentioned as identical with its effect, the graces of the Goddess of Fortune. This representation rests on the complete identification and indicates the speedy simultaneous effect.

दूत्यं शतमलंकारा लक्षयित्वा निदर्शिताः । प्राचामाधुनिकानां च मतान्यालोच्य सर्वशः।।

These one hundred figures of speech have been thus defined and exemplified (by the author) after having studied all the dogmas of the rhetoricians, ancient as well as modern.

:0:

.

• Or the King Venkata, the patron of our author Appaya Dīkshita.

.

APPENDIX.

S. D. denotes Sāhityadarpaņa of Visvanātha Kavirāja, and its English Translation. K. P. Kāvyaprakāsa of Mammața. R. G. Rasagangādhara of Paņdita Jagannātha. D. K. Daņdī's Kāvyādarsa. P. A. Pāņini's Ashțādhyāyī by Mr. S. C. Vāsu.

Poetical Conventions.

The student should know first some of the conven- tions of poets to understand this as well as other works better. The sky, sin, sorrow, sea, clouds, serpents, infamy, etc., are described as black ; fame, laughter, renown, virtue, umbrella, water, flower, cloth, etc., as white; anger, love, sun, learning, etc., as red; valour as red and hot. Lotuses, lilies, etc., can be described as growing in all the rivers, seas and in small. tanks. Flamingoes and other birds are said to haunt in all receptacles of water. Water-elephants live in celestial Ganges too. Gems and the fish 'makara' are found in oceans; pearls in the river Tāmraparnī only. Bhūrja trees grow in the Himālaya alone; Sandal trees grow only in the Malaya Mountain and bear no flowers and fruits. Asoka does not fructify. Lotuses bloom only in the day ; lilies only in the night. Mālatī does not bloom in the spring. The Indian cuckoos utter sweet notes only in. the spring season. The cries and dances of peacocks and the emigration of the flamingoes to the Mānasa Lake occur only in the rainy season. The chakora

APPENDIX. I41.

birds are said to drink the moonlight. The chakravāka birds always move in, couple; and the couple occupying the opposite banks of a river never see each other during .the whole night. The God of love bears a flowery bow with only five flowery shafts and his bow-string is strung with bees. There is* moonlight throughout the bright fortnight; and darkness throughout the black fortnight. The de- scription of the setting sun must be followed by that of the rising moon. Separated lovers are affected at the sight of the clouds and feel the moonlight and the Malaya breeze as fire and also suffer very much from love fever' The moon on the crest of God Siva is always described as young. The description of men must be from head to foot and, in case of Gods, from foot to head.

1. उपमा-Simile.

Words expressive of comparison.

दूव वद् वा यथा (शब्दाः) समान-निभ-सन्निभा:। तुल्य-सङ्गाश-नौकाश-प्रकाश-प्रतिरूपकाः ॥

कल्प-देशीय-देश्या (SSदि) प्रखव्य-प्रतिनिधी (अपि)। सवर्य-तुलिती (शब्दौ ये चान्यूनार्थवादिन:)।। D. K.

I42 APPENDIX.

Of these, वत्, कल्प, देश्य, देशीय are taddhita termina- tions. The last, three express a slight incomplete comparison. See V. 3. 67 P. A.

Other terminations expressive of comparison. क् च् (य) a denominative termination-Parasmaipada. उपमानादाचार (III. 1. 10). The affix क्यच् is optionally employed, in the sense of treatment, after a word ending in a case-affix denoting the object of comparison. Thus, पुतमवाचरति छ्वात्रम्=पुन्नौयति छ्ात्रम् = he treats the pupil as a son. P.A.

क्यङ् (य) a denominative termination-Atmanepada. कर्तु: क्यङ् सलोपचच, (III. 1.11). The affix क्यड् is optionally employed in the sense of behaving, after a word ending in a case-affix denoting the object of comparison of the agent and there is elision of the final स of the noun if it ends with a स. Thus, श्येना इव आचरति काक := श्येनायते काक: = the crow behavesdike a hawk. P. A.

feny (nil) a krit termination which is usually omitted. The affix fenu comes optionally in the sense of behaving like some one after all crude nouns (Vārtika of III. I. 11). Thus, गर्दभति or गर्दभायत .= he behaves like an ass or he asses. P. A.

कन a taddhita termination. लुम्मनुष्ये (V. 3.98).' When a man is denoted, the affix a expressing comparison is elided, the word

5 APPENDIX. I43.

retaining its number and gender. Thus चञ्चा (चञ्चा दव पुरुष:) a straw-man, i.e., an effigy in straw. P. A.

शिनि (इन्) a krit termination. कर्तर्युपमाने (III. 2. 79). The affix सिनि comes after a ver's when it is in composition with a word denoting an object of comparison, expressing the agent, the sense of the affix being 'doing something like that'. Thus, उष्टक्रोश्तिन्= 'He who makes a noise like a camel'. P. A.

ण मुल the gerundial affix in अम्. उपमाने कर्मगि च (III. 4. 45). The affix एामुल् comes after a root, when an object or an agont, denoting similitude, is in composition with it. Thus, छतनिधायं निहितं जलम्= 'water was kept as ghee was kept'. P.A.

क्व (ईय) a taddhita termination.

समासाच्च तह्विषयात् (V. 3. 106) is fully explained in pages 7 to 10 of the text. After carefully studying the above, the student " should try to understand the following 32 varieties of the Figure उपमा according to S.D., K.P. and R. S. Of the ornaments of sense, EUHT forms the essence of all the figures that are founded on simi- larity and therefore its complete study becomes essential. Observe. उपमा is first two-fold पूर्ा 'complete' and लुप्तां 'ellip- tical'. 'These again are Ffat direct when the comparison is expressed by the employment of such words as यथा, दव, वा or वत् all in the sense of English 'as'; and mraff indirect when the comparison is

I44 APPENDIX.

expressed by the use of the words तुल्य, समान, etc., all in the sense of English 'like'. श्रौती conveys the notion of similarity at the very hearing and Taf is to'be understood only through the meaning of the expression. These two kinds are again three-fold as they occur in a sentence (वाक्यगता), in a compound (समासगता) and in a nominal affix (तद्ितगता). Thus, there are 6 varieties of पूर्णा ; and but of लुप्ता, there are 26 varieties.

पूर्णा-6 varieties.

1 4

2 Do .- समासगता. 5 Do .- समासगता.

3 Do .- वाक्यगता. 6 Do .- वाक्यगता.

लुप्ता-26 varieties.

7 वाचकलुप्ता-समासगता. 11 वाचकलुप्ता-कर्म-एमुल्-गता.

8 Do .-* कर्म-क्यच्-गता. 12 Do. -Iकर्तृ-do. 9 Do .- +आधार-क्ाच्- 13 Do. -शिनि-गता.

गता. 14 Do. -कन्-गता.

10 Do .- क्ङ्-गता. 15 Do. -क्किप्-भता.

16 धर्मलुप्ता-श्रीती-वाक्यगता. 17 Do .- आर्थी- do. 18 Do .- श्रीतो-समासगता.

19 Do .- शर्थी- do.

20 Do .- do .- ॥ तद्ितगता.

• Referring to कर्म = object in the accusative cast. + Referring to a locality. ț In the passive sense. 1 In thć active sense. I| No ग्रौती-तद्ितगता.

APPENDIX. 145

21 22 Do. -समासगता. 23

24 वाचकोपमानधसलुप्ता-समासगता. 25,वाचकोपमानलुप्ता- do. 26 उपमानलुप्ता-क्व-प्रत्यय-गता. '27 Do. -वाक्यगता. Do. -समासगता.

29 उपमानधमखुप्ता-वाकयगता. 30 Do. -समासगता.

31 उपमेयलुप्ता-क्यच्-गता. 32 उपमयधमलुप्ता -- do.

Examples in their order.

1 to 3 सोरभमओ्ोरइवन् मुखस्य कुभ्भाविव स्तनौ पौनौ। श्रीती वृदयं मदयति वदनं तव शरदिन्दुरयथा वाले॥ S. D.

O young maiden ! the fragrance of thy mouth is as the lotus ; thy bosoms are large as jars; thy face exhilerates (my) heart as the autumnal moon.

4 to 6 मधुरः सुधावदधरः पह्लवतुल्वोऽतिपेलवः पाखिः। 4

धार्थो चकितमृगलोचंनाभ्यां सहगी चपले च लोचने तस्या:॥ S. D. The lower-lip of that lady is sweet like nectar; her hand is exceedingly tender like a young leaf ; and her eyes are tremylous like those.of a frightened fawn. 7 to 15 बाचकलुप्ता: दरदलदरविन्दसुन्दरे हा हरिसटृशी नयने न विस्मरामि॥ R. S.

19

I46 APPENDIX.

Alas ! I will not forget the eyes of my fawn-eyed lady beautiful like slightly expanded lotuses.

मलयानिलमनलीयति मणिभवने काननीयति क्षरतः। विरहेण विकलहृदया निर्जलमीनायते महिला॥ R. G. That lady devoid of heart through pining in separation feels the Malaya breeze as fire itself ; herself, residing in a jewelled mansion, thinks in a moment as if she is in a desert ; and she is troubled like a fish out of water. Here, in अनलीयति=अनलमिवाचरति, we have अनलम् in the accusative case because the मलयानिलम्, the upameya, is also in the accusative case .* Hence it is कर्म-क्च्. In काननीयति=कानने दूव आचरति, we have कानन in the locative case and it is therfore आधार-क्यच्. In निर्जलमीनायत-निर्जल-मौनवत् आचरति, we have क्यङ.

निरपायं सुधापायं पयस्तव पिबन्ति ये।

जङ्गुजे! निर्जरावासं वसन्ति भुवि ते नराः॥ 'R. G. O Jahnu's daughter (Gangā)! Those people who drink thy harmless water resembling the nectar-they all live in this world like immortal beings. Here, in सुधापायम्=सुधामिव पौल्वा, we have सुधा in the accusative case;and hence it is कर्म-एमुल of root पा 'to drink'. In निर्जरावासम्-निर्जरा दव उषित्वा, we have निर्जरा: in the nominative case like its upameya नर: and hence it is कर्तृ-एमुल् of 'root वस् 'to dwell'.

• The words connected by ₹a (or its equivalent) must be in the same case. Apte's Guide. 257 Observe.

· APPENDIX. 147,

कोकिलालापिनी ह्येषा This maiden speaks like an Indian cuckoo.

चञ्चापुरुष: सोडयं योऽत्यन्तं विषयवासनाधीनः॥ 14

R. G.

He that is wholly addicted to sensual pleasures is a straw-like man.

गर्दभति श्रुतिपरुषं व्यतां निनदन् महात्मनां पुरतः ॥ S. D.

He pratling loudly and harshly before the great behaves like an ass.

16 to 20 मुखमिन्दुर्यथा, पागि: पल्लवेन समः प्रिये। धर्मलप्ता: वाच: सुधा इवोछ्ठस्ते बिंबतुल्यो मनोऽश्मवत्। 120

S. D.

O beloved ! thy face is as the moon; thy hand is like a sprout; thy speeches are as nectar; thy lip (lower) is as the bimba fruit; and thy heart is like the stone. 21 & 22 विधवति मुखानमस्या: 21 22 धर्म वाचकलुती S. D. The lotus-like-face of this lady acts like the moon. In विधवति-विधुरिवाचरति, we have the omission of sa and the common attribute 'charmingness' in the क्विप affix. In मुखाञ्म्=मुखम् अजमिव, we have the same in a coihpound. 23 वाचकोपमेय- तया तिलोत्तमीयन्तया मृगशावकचच्तुषा । लुपा ममायं मानुषो लोको नाकलोक इवाभवत्॥ and 24 R. S.

उपमानवाचक धम लप्ता

148 APPENDIX.

This mortal world has become a celestial one to me being in company with this lady who has eyes tremulous like those of x young deer and who thinks herself like Tilottama. In तिलोत्तमीयन््या=तिलोत्तमामिव आत्मानं आचारन्ता, we have the omission of the upameya शत्मानम and of the word 'ga' expressive of comparison. In मृगशावकचन्ुपा = मृगशावकस्य चन्तुषी इव' चजतले चकुषो यस्या: तया, we have the omission of the upamana 'चचुषी', of the word 'दव', expressing comparison and of the common attribute चज्जले. 25 यज्चीराणामस्य च समागमो यञ्च तैर्वधोऽस्य क्वतः। वाधकीपमाम- उपनतमेतदकआ्मपादासीत्तत् काकतालीयम्॥ 25 26 लप्ता 26 to 28 R. S. उपमानलुप्ताः The meeting of that man with the robbers and the killing of that man by the robbers-each has occurred accidentally like the maxim of the crow and the palm fruit. Here in काकतालम्, we have the omission of the upamana 'समागमः' and the word 'दव' expressing comparison in a compound. In काकतालीयम्,we have the omission of the upamana 'HTU' in a compound with छ्व-प्रत्यय which expresses comparison. See pages 7 to 12. .

तस्या मुखेन सद्ृशं रम्यं नास्ते न वा नयनतुत्यम्। 27 28

S. D. A charming likeness to her face or to her eyes does not exist (any where). गाहितमखिलं विपिनं परितो द्ष्टास विटपिनः सवें। 29 & 30. 8 पमानध्म- सह़कार : न वरपेदे मधुपेन तथापि ते समं जगति॥ खप्ता: R. S.

APPENDIX. ' 149

All the forest has been explored and all the trees were seen; still O mango tree! thy likeness in the world was not obtained by this bee. Here, there is the omission of the upamana and of the common attribute in a sentence. If we remove

the words '.तथापि ते समम्, and substitute भवत्समम्, we 30

huve the same in a compound.

31 ° अरातिविक्रमालीकविकस्रविलोचनः। उपमेयलुप्ता कवपाणोदग्रदोर्दएड: स सहस्रायुधीयति। S. D. He (a king) whose eyes expanded on seeing (his) enemies' prowess and whose strong arm (lit., stick-like arm) is fearful with the sword behaves as if he is wielding thousand weapong. Here, in महस्त्रायुधीयति=सहस्रायुधमिव आात्मानमाचरति, we have the omission of the upameya आत्मानम् only. 32 उपमेयधर्म- यशसति प्रसरति भवतः च्तौरोदौयन्ति सागरा: सर्वे। लुप्ता S. D. When the fame of thy honor has pervaded, all the oceans act the 'Milky-sea. Here, in नीरोदीयन्ति=त्तीरोदमिव आत्मानमाचरन्ति, we have the omission of the upameya 'आत्मानम्' and of the common attribute 'शुक्लता = whiteness'. S. D. mentions two other varieties of उपमा, viz., . मालोपमा and रशनोपमा.

मालोपमा-Garland of Similes. -Def. When one object is compared to many, or in other words, when one upameya is compared to many upamanas, it is called मालोपमा.

I50 ( APPENDIX.

Ex. वारिजेनेव सरसी शशिनेव निशथिनी। यौवनैनेव तनिता नयेन श्ीर्मनोहरा॥ S. D. Fortune attended with morality charms the heart as a lake with the lotus, as night with the moon, as a damsel with bloom of youth.

रशनोंपमा-Girdle of Similes.

Def. When the upameya in the first comparison is made the upamana in the seoond, and so on, it is called रशनोपमा. चन्द्रायते शुक्करुचापि हंसो हंसायते चारुगतेन कान्ता। कान्तायते स्पर्शसुखेन वारि वारीयते स्वच्छतया विहाय:॥ S. D.

The swan, even by its white lustre, behaves like the moon ; this beautiful maiden by her lovely gait acts like the swan; the water by its gratifying touch resembles a beautiful maiden; and the sky by its pellucidness resembles the water.

17. प्रतिवस्तूपमा-Typical Comparison. Ex. खलास्तु कुशला: साधुहितप्रत्यूहकर्मणि। निपुणा: फशिन: प्राणानपहर्तु निरागसाम्। P. S. The wicked people are expert in working obstacles to the well- being of the good. The serpents are clever in taking away the lives of the innocent. Here, कुशला; and निपुणा: are similar attributes. This ornatent is also found in a series-माला- प्रतिवस्तूपमा.

APPENDIX. I51

Ex. वहति विषधरान् पटौरजन्मा शिरसि मसौपटलं हधाति दीपः। विधुरपि भजतेतरां कलङ्गम् पिशुनजनं खलु बिम्रनति च्ितीन्द्रा: ।। R. S. The sandal tree bears serpents. The lamp. has on its head a mass of soot. The moon too possesses a black spot. The kings foster the tale-beares. Here, वहति, दधाति, भजते and बिभ्नति are similar attributes. 18. दृष्टान्त :- Exemplification. Ex.'सत्पूरुषः खलु हिताचररौरमन्द- मानन्दयत्यखिललोकमनुत़ एव। आराधितः कथय केन करेरुदारै- रिन्टुर्विकासयति कैरविणीकुलानि॥ R. S. Certainly, a good man without being urged (by any body) gladdens the whole world, not a little, by his agreeable behaviour. Propitiåted by whom, tell me, does the moon cause the assemblages of blue lotuses to blow by his illustrious rays ?

27. अप्रस्तुतप्रशंसा-Indirect Description. The principal feature of this figure is that the description of the तप्रस्तुत, i.e., what is not the subject- matter, must convey a reference to the प्रस्तुत i.e., the subject-matter. S. D., K. P. and R. S., mention five varieties of, this figure :- कार्ये निमित्ते सामान्ये विशेषे प्रस्तुते,सति। तदन्यस्य वचस्तुत्ये तुल्यस्येति च पञ्चधा॥

I52 APPENDIX.

कार्ये प्रस्तुते सति = when an effect is the subject-matter, तदन्यस् वच := the description of its contrary, i.e., cause (कारय); निमित्ते प्रस्ुते सति = when a cause is the subject-matter, तदन्यस्य वच: = the description of its contrary, i.e., the effect (कार्य); सामान्ये प्रस्तुते सति = when a general is the subject matter, तदन्यस्य वच: = the description of its contrary, i.e., the particular (विशेष); विशेष प्रस्तुत सति = when a particular is the subject matter, तदन्यम्य वच: = the description of its contary, i.e., the general (सामान्य); तुल्धे प्रस्तंने सति = when a similar thing is the subjest matter, तुल्यस् वच := the description of another similar thing; दूति= in this manner, yuT=five-fold.

When the subject-matters in hand are (1) an effect (2) a cause, (3) a general, (4) a particular, the descriptions of their contraries, i.e., cause, effect, particular, general, respectively and when (5) & similar thing is the subject-matter, the description of another similar thing, (or in other words, when the descriptions of (1) a cause, (2) an effect, (3) particular, (4) a general, and (5) a similar thing convey reference to (1) effect, (2) cause, (3) the general, (4) the particular and (5) another similar thing which are respectively in question, such descriptions) are called the five varieties of this figure.

Examples in their order.

(1) Effect is understood from the description oj a cause.

रोषात्प्रयातुमुदिते मयि दूरदेशम्। बाला कराड्ुलिनिदेशवशंवदेन क्रोड़ा बिड़ालशिशुनाशु रुरोध मार्गम्। R. S.

When I began to start, through anger, for a dlistant country though I was obstructed, by sweet words, (by my lady) hending on her knees, that young maiden immediately arrested my way by her sportive kitten acting obedient to her will pointed out by her fingers.

APPENDIX. 153.

. Here, the cause, the lady's act, is described, when the effect, the prevention of her laver's departure is to be understood. (2) Cause is understood from the description of an effect. मून्दुल्लिप्त द्वाञ्जनेन जड़िता दृष्टिर्मगीणामिव प्रम्नानारुणिमेव विद्रुमदलं श्यामेव हेमप्रभा। कार्कश्यं कलया च कोकिलवधूकराठे्विव प्रस्तुतं सौताया: पुरतश्न हन्त शिखिनां वर्हाः सगर्हा दूव॥ S. D. Alas ! In the presence of Sīta, the moon looked as if besmeared with lamp-black, the'eyes of the does appeared to practice stapefac- tion, the vidruma leaf seemed to have attained faded redness, the lustre of the gold became black, harshness seemed to' have resided in the throats of the female cuckoos when they uttered sweet notes, and the tails of the peacocks deserved censure. Here, from the supposed effects of the moon being besmeared with the lamp-black etc., their causes, the extraordinary beauty of the face etc. of Sīta, are understod. (3) The particular is understood from the descrip- tion of a general. कतमपि महोपकारं पय दव पीत्वा निरातङ्ग:। प्रत्युत हन्तुं यतते काकोदरसोदरः खलो जगति। R. S. In this world a'wicked man, the type of a serpent, swallowing up even the great favour done (to him) like milk fearlessly tries on the contrary to kill (his benefactor). Here, the description of a wicked man in general conveys a reference to a particular person,' before the speaker, the subject matter, 20

. I54 APPENDIX.

(4) A general is understood from the description of the particular. हारं वक्षसि केनापि दत्तमज्ञेन सर्कटः। सेद़ि जिघ्रतत संच्िम्य करोत्युन्नतमासनम्॥ R. S. tey,on tvhose bosom a necklace was placed by some iguorant fellow, licks and smells it (necklace) and compressing the same makes it to serve as a high seat (for himself). Here, the description of the particular which is not the subject-matter refers to a general statement that ignorant persons should not be placed in posses- sion of charming and valuable things which they do not deserve. Compare the proverb. "To throw pearls before swine". (5) A similar thing is understood from the descrip- tion of another, similar to it- जनकः सानुविशेषो जाति: काष्ट भुजङ्गमैः सङ्ग:। स्वगुसेरेव पटोरज! यातोऽसि तथापि महिमानम्॥ Bhāminī ilāsa. O Sandal tree ! Thy father (native place) is a particular moun- tain (Malaya); thy creed is wood; and thy association is with the serpents; still thou hast attained to the greatness by thy own good qualities. Here, the description of the sandal tree conveys a reference to a similar object, a good person born of a low caste and living amidst villains. '

45. व्यावात :- Frustration. S. D' defines this figure thus :- 'Frustration is when by the same meahs that one employed in bring- ing a thing to a particular state, another brings it to

APPENDIX. $155.

an opposite one'-and quotes the following as, an example दृशा दग्धं मनसिजं जौवयन्ति दृशैवं या:। विरूपाक्षस्य जयिनौस्ता: स्तुमो वामलोचनाः। We eulogize the fair-eyed women, the conquerors of God Siva of uneven (lit. deformed) eyes in that they (women) with their eyes restore to, life' the God of Love who was burnt by the eye (of God Siva).

.53. परिसंख्या-Special Mention.

S. D. defines this figure thus :-- 'When with, or without a query, something is affirmed for the denial, expresssed or understood, of something else similar to it, it is Special Mention.' Ex. किं भूषरं सुदृढ़मत्र यशो न रत्न किं कार्यमार्यचरितं सुक्तं न दोषः। किं चक्षुरप्रतिहतं धिषणा न नेत्रम् जानाति कसत्वदपरः सदसद्विवेकम् ॥ What is an imperishable (lit. very firm) ornament here (in this world) ?- sfame, not a gem. What ought to be performed ?- a good deed practised by the venerable men, and not a crime. Which is called an unimpeded eye ?- the intellect, not the eye (itself). Who else than thee (O king !) knows the discrimination between good · and evil. Here, a gem etc., which are to be denied as an ornament etc., are expressed, each preceded by a query. किमाराध्यं सदा पुएयं कश्च सषेव्यः सदागमः । को ध्येयो भगवान् विष्णुः किं काम्यं परमं पदम्॥ What is ever to be practised ?- virtue .* What is to be resorted to-the study of'good science. Who is to be meditated upon-the God Vishnu. Which is to be desired-the abode of Vishnu or final beatitude. J

• 'and not sin' is understood.

156 APPENDIE.

„Here, sin etc., which are to be denied, are under- stood, here also preceded by a query. Without gueries :- भत्तिर्भवे न विभवे व्यमन शास्त्र न युवतिकामास्त्र। चिन्ता यशसि न वपुषि प्रायः परिद्ृश्यते महताम्॥ Devotion to God Siva and not to riches, intent' attachment to the science and fiot to young maiden, the weapon of God of Love, anxiety for fame and not for body are generally found in the great. Here, things to be denied are expressed. बलमार्त्तभयोपशन्तये विदुषां सम्पतये बहुत्रुतम्। वसु तस्य न केवलं विभोर्गुएवत्ताऽपि परप्रयोजनम् । The strength of that lord is for quelling the fear of the dis- tressed. His great learning is for honouring the seholars. Not only his riches but his possession of good qualities too are for the parpose of others. This figure founded upon a Paronomasia is more striking. For example see the text.

58. प्रत्यनीकम्-Rivalry. Ex. मध्येन तनुमध्या मे मध्यं जितवतीत्ययम्। दूभकुभ्भी भिनत्तास्या: कुचकुश्भनिभी हरिः ॥ 'This slender-waisted maiden vanquished my waist with hers'- so thinking, the lion cleaves the frontal globes (on the forehead) of the elephant which resemble the jar-like bosoms of that lady. Here, the lion unable to avenge itself directly on the lady, its conqueror in vanquishing its waist by hers, cleaves the frontal globes, of the elepkant, which have a connection of resemblance with the circular bosoms of the lady. This kind of description proves the excellence of the waist of the lady.

59. काव्यलिङ्गम्-Poetical Reason. Def. W'hen a reason is implied in a sentence or in a word or words, it is called Poetical Reason.

APPEDIX. 157

Ex. वपुःप्रादुर्भावादनुमितमिदं जन्म्ननि पुरा पुरार! न प्रायः क्चिदपि भवन्तं प्रसतवान्। नमन्म ताः संप्रत्यहमतनुरग्र Sप्यनतिभाक् महेश! चन्तव्यं तदिदमपराधद्दयसपि॥ O God Śiva (lit. Destroyer of 3 cities) ! By this (my) body coming into existance, it must be inferred that, I never saluted thee in aly of my previous births. And now saluting thee, I am eman-

birth. cipated; and I therefore, bodiless, cannot salute thee in my future Thus these two faults of mine should be pardoned O Great Lord ! Here, non-salutation becomes the reason for the faults committed and this fact is expressed by two sentences. A-'non-assumption of the body' is the reason for अग्रे अनतिंभाक 'non-salutation in the future birth' and we have काव्यलिंग in a single word. नमन्मुत्त: 'final emancipation by saluting' is the reason for vaT: 'non-assumption of the body' and this fact having been expressed by two words Haa:, we have the Poetical Reason in more than one word. N.B-This figure occuring in a sentence should not be confounded with the figures अर्थान्तरन्यास 'Tran- sition' (59) nor with अनुमानम् 'Inference' ;* on this, S. D. says as follows :- ' In the province of poetry the reason is three-fold, as being Informative, Com- pletive and Justificative (or Confirmative). Of these three sorts, the Infirmative Reason is the subject of the figure Inference,* the Completive of the Poetical Reason and the Justificative &f the Transition. Thus the Transition, founded upon a causation is evidently distinct from the Poetical Reason.'

• This figure is not treated in this book.

158 APPENDIX.

.S. D. defines it thus :- 'The notion, expressed in a peculiarly striking manner, of a thing established by proof, is termed Inference,' and exemplifies thus :- यत्र पतत्यबलानां दृष्टिनिशिता: पतन्ति तत्र शराः। तच्चापारोपितशरी धावत्यासां पुरः स्रो मन्ये॥ 'Wherever falls the sight of women, there fall sharpened arrows ; Hence, I infer, Cupid runs before them with his bow furnished with shafts'.

92. वक्रोकि :- Crooked Speech. at 'Emphasis' is an emotional alteration of the sound or an affected change of voice in such a manner as to imply the contrary meaning of the expression employed by the speaker. Ex. असमालोच्य कोपस्ते नोचितोऽयमितीरिता। नैवोचितोयमिति तं ताड़यामास मालया। 'Lady ! Thy anger is an inconsiderate one and is not just ;' thus told (by her lover), she saying (in a prolated and affected tone) 'NOT just' gave him a blow with her garland.

93. उदात्तम्-The Exalted.

Example of the description of prosperity. रत्नस्तश्भेषु संक्रान्तेः प्रतिबिम्बशतैर्वृतः । ज्ञातो लंकेश्वरः क्क्कादाञ्ज्रनेयेभ तत्वतः॥ Rāvaņa surrounded by the innumerable images of his own reflected in the jewelled pillars (of his palace) was with great difficulty recognized by Hanūmān (lit. son of rur). From this, the super-mundane 'prosperity of Ravana, king of Lanka, the object under description, is apprehended.

APPENDIX. I59

It is essentially necessary that student should know what is संसृष्टिः 'Conjunction' and what is संकरः 'Commixture' as they are not treated in this book. Def. A combination. of two or more of the orna- ments treated in this book which exist independently of each other in one place is called the Conjunction #Efe. On the contrary, a combination of two or more ornaments, in one and the same place, which are subordinate to one another and about which there is dubiousness is called the Commixture HET.

Example of Conjunction. देव: पायादपायान्नः स्ेरेन्दीवरलोचनः। संसारध्वान्तविध्वंसहंसः कंसनिसृदनः॥ , May that God (Krishna) of the blooming lotus-like eyes-the Slayer of Kamsa-the Sun in annihilating the darkness of this worldly life protect us from calamity. ('#=Sun). In the compound to, we have an Elliptical Simile No. 1 in the omission of the word implying comparison ; and in the compound HHT., we have a Metaphor by the superimposition of the God Sun upon Krishna. These two ornaments exist in the same place independently of each other. Example of Commixture. ददमाभाति गगने भिन्दानं सन्ततं तमः। श्रमन्दनयनानन्दकरं मएडलमैन्दवम्। This lunar orb dispelling the thick darkness and causing excessive delight to the eyes, shines in the sky. ' This can bẻ taken as :- (1) अप्रस्तुतप्रशंसा-Indirect Description, as this description of the resplendent moon shining in the sky-the object not on hand-conveys a reference

160 APPENDIX.

to & beautiful dame standing on the top of a sky- kissing mansion, her circular face alone being visible above the parapet wall ; (2) A Metaphor No. 1.अनुभयामेदरूपकम् as the moon's orb is superimposed upon a fair face intimated by the pronoun '=this'; (3) अ्रतिशयोत्ति No. 1 (रूपकातिशयोक्रि=Metapheri- cal Hyperbole), through the introsusception of the circular face in the orb of the moon ; (4) पर्यायोक्तम्-Periphrasis, as the advent of the night that excites delight in the minds of the united lovers-the fact to be intimated by the speaker-has been expressed by a turn of speech-the description of the moon; (5) समासोत्ति-Modal Metaphor, as the face inti- mated by 'H-this'-the object not on hand, is understood by the description of the moon-the object on hand, from a sameness of action, i.e., the action of expelling the darkness of the night by their splen- dours ; (6) तुत्ययोगिता-Equal Pairing, as the face and 'the lunar orb which can be taken as objects on hand are associated with a sameness of attributes-hining and expelling the darkness ; (7) दौपकम्-Illuminator, as the face and the lunar orb the former of which is now taken as the object on hand and the latter as one not on hand are together associated with one and the same attribute-the verb आभाति ; and so on. As we kave here a dubiousness about all these ornaments, this figure is called HET I

All the Alankāras treated in thisbook may be classified under the following heads :-

, I. .Figures founded on Similavity .- औपम्यमूलाः।

1. उपमा। 17. प्रतिवस्तूपमा। 2. अ्नन्वय। 18. दृष्टान्त।

2. उपमेयोपमा। 19. निदर्शना।

3. प्रतीप। 20. व्यतरेक।'

4. रूपक। 21. महोक्ि।

5. परिणाम। 23. समासोकि।

6. उल्लेख। 26. सेष।

7. स्मृतिमान्। 27. अप्रस्तुतप्रशंसा। 9. भ्ान्तिमान्। 28. प्रस्तुतांकुर। 10. सन्देह। 29. पर्यायोक्त।

8. अ पड़ुति। 66. ललित। 12. उत्प्रेक्षा। 75. तह् गा। 13. त्तिशयोक्ति 1st .and 76., पूर्वरूप। 2nd kinda. 78. अनुगुख । 14. तुल्ययोगिता,। 70. मीलित 15. दौपक। 80. सामान्य। 16. आवृत्तिदौपक। 81, उन्मोलितु। 82. विशेषक।

21

162 APPENDIX.

II. Figures founded on Contrast .- विरोधमूलाः। 13. अतिशयोक्ति3rd and/ 42. अल्य। 4th kinds. विशेष। 33. विरोधाभास। 54. विकल्य। 38. विषम। 77. अतह् य , 41. त्रधिक।' 94. भाविक। 97. निरुक्ति।

III. Figures adhering to, or violating, the law of causation.

13. अतिशयोक्ति 5th, 6th | 40. विचित्र। and 7th kinds. 43. अन्योन्य। 34. विभावना। 45. व्याघात।

14. विशेषोतति। 55. समुच्चय। 36. असंभव। 63. प्रौढ़ोक्ति। 37. असंगति। 100. हेतु।

IV. Figures relating to the Logical connection of words in a sentence .- वाक्यन्यायमूला: ।

50. यथासंख्य। /56. कारकदीपक।0 53. परिसंख्या। 59. काव्यार्थाप्त्ति। 74. 'रत्नावली।'

V. Figures relating to the Logical connection of 'censes of two sentences .- तकन्यायमूलाः।

60. काव्यलिंग। 61. अर्थान्तरन्यास। 62. विकसर।

APPENDIX. 163.

. VI. Figures founded on Universality .- लोकव्यवहारमूला:।' 22. विनोकि। 69. उल्लास। . 39. सम। 70. त्रवज्जा। 51. पर्याय।. 71. अनुज्चा। 52.परिवत्ति। 72. लेश। 57. समांधि। 90. लोकोकि

58. प्रत्यनीक ! 91. केकोलि।

59. संभावना। 93. स्वभावोक्ति: 65. मिध्याध्यवसिति। 95. उदात्त।

60. प्रहषया।. 96. अत्युक्ति। 68. विषादन। 98. प्रतिषेध।

61. विधि।

VII. Figures founded on Dissimulation .-- अपह्नवमूलाः ।

30. व्राजस्तुति। 85. पिहित।

31. व्याजनिन्दा। 86. व्याजोकि।

32. आ्रच्तेप। 87. गूढ़ोति।

33. उत्तर। 88. विव्वतोकि।

34. सूच्म। 89. , युत्ति। 92. वकीति। .

VIII. Figures founded on striking chain-like . description .- मृंखलावैदित्वामूलाः।

46. कारसमाला। 48.' मालादीप के। 47. एकावली। 49. सार।

164 APPENDIX.

1X. Figures founded on striking epithets .- विशेषणवेचित्रामूलाः । 24. परिकर। 25. परिकरांकुर।

X. Figure relating to convention of. Poets .- कविसमयमूल: ।

73. मुद्रा।

Mutual distinctions of some of the more important Figures treated in this book.

DISTINCTION OF-

उपमा In UPAMA, we have a striking ex- 1 pressed resemblance that has been sanc- प्रतीप tioned by convention of poets and that 4 will exite poetical delight and give an and agreeable surprise. In PRATIPA, we उत्प्रेक्षा have not got that striking resemblance. 12 The usual form of comparison is invert- ed and the excellence of upameya over upamāna is implied. In UTPREK- SHA, we have a möre `stricking sug- gested resemblance not confined to the convention of poets but solely due to the imaginative skill of the poet.

APPENDIX. 165

उपमा In UPAMA, the comparison is be- tween two distinct, objects -- upameya and and upamāna. In ANANVAYA, one श्रनन्वय . and the.same object is compared, i.e., to 2 itself in the absence of a second thing to be compared to. Thę resemblance is not a striking one.' .

उपमा In UPAMA, we have the compari- 1 son in one sentence. In the other, we and have the reciprocal comparison between उपमेयोपमा two distinct objects and the recipro- 3 eation is possible only in two sentences. . The comparision is not a striking one.

उपमा In UPAMA, the comparison is ex- 1 pressed. In RUPAKA, the comparison and is not expressed but is suggested be- रूपक tween two distinct objects represented 5 as identical.

उपमा In UPAMA, the comparison is not . 1 accompanied with a difference. In and VYATIREKA, the difference is also व्यतिरेक stated, i.e., comparison is stated in one 20 respect and donied in another respect.

उपमा In UPAMA, we have real expressed 1 sesemblance resting in the senses of ' and words. In SLESHA, the suggested resemblance rests in mare words with- 26 out reference to their meanings.

166 APPENDIX.

रूपवा In RUPAKA, two distinct objects -. 5 upamāna and upameya-are represented and as identical on account of their close re- अतिशयोक्ि semblance. In ATISAYOKTI No. 1, No.1 upameya is comprehended as identical (13) with upamāna through introgusception and is'expressed by the word represent . ing the upamāna.

रूपक In RUPAKA, upamāna and upa- 5 meya are identified without their dis- and tinct characters being concealed. In अपह्क ति APAHNUTI the real character of the 11 upameya is concealed, i.e., denied and that of another imaginary upamāna is superimposed upon it.

रूपक In RUPAKA, the identification is 5 not a mistaken one. In BHRANTI- and

भान्तिमान् MAN, it is mistaken one.

9

'परिणाम In PARINAMA, the act of the

6 sentient upameya is transferred to the and upamāna. In RUPAKA, the upamāna रूपक is not connected with any act of the 5 upameya.

उल्लेख In ULLEKHA, the upameya is 7 looked upon as identical with several and upamānas by one or different perceivers रूपक thivugh difference of peculiarities ac- 5 cording to their taste. In RUPAKA,

AFPENDIX. 167

the upameya is simply identified . with one or many upamānas on account of their close resemblance only and not under any differential peculiarity.

स्मृतिमान,, In SMRITIMAN, the sight of the 8 upamana briugs to the ihind of the be- भ्ान्तिमान् holder the recollection of the upameya. 9 In BHRANTIMAN, we mistake upa- and meya for upamāna. In SANDEHA, संदेह we doubt the certainty of an object- 10 whether it is upamāna or upameya.

अपड्क ति In APAHNUTI. tho upameya is 11 denied, i.e., is concealed and some other, व्याजोक्ति i.e., upamana is imposed upon it. In 86 VYAJOKTI, we have the artful con- and cealment of an object, though discover- आच्तेप ed, which is not mentioned by the , 3$2 person who conceals the same. In AKSHEPA, we have only a semblance of denial, i.e., a pretended denial of what has been said by the. speaker him- self.

.

उत्प्रेक्षा In UTPREKSHA, the introsuscep- 12 tion is not complete, i.e., the upameya

अतिशयोक्ति' mana. In ATISAYOKTI,. the intro- and · ·* is. fancied uuder the character ,of upa-

No. r susception is complete, as the upameya (13) which is comprehended as upamana is

168 APPENDIX.

not mentioned and is expressed by the word expressing the upamana.

उत्प्रेक्षा In UTPREKSHA, the poet who 12 entertains the fancy is fully aware of and the distinct nature of the upameya to म्ान्तिमान् which he attributes the imaginary 9 character-upamana. In BHRANTI- MAN, the person who mistakes the upameya for upamana is not conscious of the upameya-the subject mistaken, on account of its close resemblance with the upamāna.

उत्प्रेक्षा In UTPREKSHA, the fancied upa- 12 mana is apprehended more prominently and than the upameya. In SANDEHA, मंदेह both upamāna and upameya are appre- 10 hended as equally prominent on account of their close resemblance which creates a doubt in the mind of the perceiver who is therefore unable to decide whether the object before him is really upameya 'or. upamāna itself.

तुल्ययोगिता In TUIYAYOGITA, we have the

14 sameness of attribute of objects on hand, and or of objects not on hand. In DIPAKA, दोपक. the objects on hand and those not on 15 hand are together associatèd with one . lnd the same attribute mentióned only once. (See pages 46 and 47.)

APPENDIX 1691

प्रतिवस्तूपमा In PRATIVASTUPAMA, we hạve 17 a parallel representation of the same टृष्टान्त common attribute expressed by different 18 words. In DRISHTANTA, we have निदर्शना a reflective representation of similar 19 , attributes. (See page 50.) In PRATI- and · अर्थान्तरन्यास VASTUPAMA, the two.sentences* employed terminate in conveying the 61 same sense. In DRISHTANTA, the sentences * have a similar sense reflec- tively expressed. In NIDARSANA, the senses of two sentencest terminate in a comparison. In ARTHANTARA- · NYASA, we have the relation of general and particular between the senses of two sentences employed one of which serves to illustrate the other.

व्यतिरेक In VYATIREKA, we have an ex- 20 pressed resemblance accompanied by a मोलित difference. In MILITA, we have a 79 suggested resemblance ; but the differ- सामान्य ence between upameya and upamāna is 80 not perceivable on account .of the one उन्मौलित having been eclipsed by the other, i.e., 81 the upameya, inferior in quality, is not and at all apprehended by its being eclipsed विशेषक by the upamāna, superior in quality. 82 -In SAMANYA, the two objects,, upa- .

• Are independent of rach other. + are dependent upon each other, 22

.

170 APPENDIX.

māna and upameya, could not be dis- tinguished on account of their having like properties and in the absence of any discriminating peculiarity. In MILI- TA, the inferior object gives up its own quality. In SAMANYA, both the objects do not give up their qualities. In UNMILITA, the difference which was not perceivable as in MILITA, becomes manifest by some act of the perceiver. In VISESHAKA, the dis- criminating peculiarity which was ab- sent in SAMANYA becomes manifest by the accidental operation of another agency.

समासोक्ति In SAMASOKTI, the object not on 23 hand, aprastuta, is intimated by the des- अप्रस्तुतप्रशंसा cription of an object on hand, prastuta. 27 In APRASTUTAPRASAMSA, the पर्यायोक्तम् object on hand is intimated by the des- 29 cription of an object not on hand. In and PARYAYOKTAM, what is to be inti- व्याजस्तुति mated is expressed by a turn of speech 30 -by words which do not express it but by words which suggest it: In VYA- JASTUTI, praise is understood by ap- parent censure and censure is understood by apparent praise.

विभावना . In VIBHAVANA, we have an effect 34 in the absence of a cause. In VISE-

APPENDIX. 171

विशेषोक्ति SHOKTI, we have an absence of the 35 effect notwithstanding the existence of · विरोध a cause, or in other words, we have a 33 cause without an effect. In VIRODHA, असंगति we have both the objects represented 37 व्रिषम as apparently contradicting each other. ' In ASANGATI, we have e "cause and 38 the effect represented as occupying two व्याघात different localities. In VISHAMA, 45 we have a cause opposed to its effect. प्रौढ़ोकि In VYAGHATA, we have one and the 63 same cause producing different effects- and one natural and the other the exact हेतु · opposite. In PRAUDHOKTI, we 100 have simply an attribution of a cause to an effect as boldly asserted by the poet which cause cannot form the cause of that effect. In HETU 2ND SORT, we have a cause identified with its effect.

पर्साय In PARYAYA, we have one object 51 and residing in many places, or many objects in one and the same place, in succession. विशेष In VISESHA 2ND KIND, we have one 44 object existing in many places, i.e., resid- - ing in many placep simultaneously.

समाधि In SAMADHI, the effect of an act 57 through one cause is facilitated by the aud accidental operation of another ' cause समुच्य and this cause is therefore more power- 55 ful than the other and hence wc have in

4

172 APPENDIS.

samadhi unequal causes. In SAMUJ- CHCHAYA 2ND KIND, all causes are equally powerful in bringing out the same effect with emulation as the Maxim of the Threshing floor and the Pegions*, i.e., just as the pogions alight together upon a threshing floor, sach with emulation.

अर्थान्तरन्यास In ARTHANTARANYASA, we 61 have two statements one of which illus- and trates the other, i.e., one contains a काव्यलिंग justificative reason for confirming the 60 other and thus we have here a relation of general and particular. In KAVYA- LINGA, one statement forms an im- plied completive reason for the other and we have no such relation of the general and the particular.

तट्गुण In MILITA, an object of inferior 75 quality is lost in the superior quahty of and the other. In TADGUNA, the object मीलित gives up its own inferior quality and as- 79 c sumes the superior quality of the other.

उत्तर In UTTARA, we infer from a state- 83 ment made that a question has been परिसंखरा previously made. In PARISAN- , 53 KHYA 2nd kind (see Appendix), we anG have both question and answer. In

• खले कपोतिकान्यायः ।

APPENDIX. 173

काव्यलिंग KAVYALINGA, the reason which is 60 not preceded by a question is an implied one and is to be inferred by the student from the context.

सभावोक्ति In SVABHAVOKTI, we have an 93, ' exact delineation of an objèct with refer- and ence to its peculiar action or natural भाविक appearance as is perceived by the poet 94 alone. In BHAVIKA, we have a description of an event past or future in such a manner as can bring the subject of description vividly before the mind's eye.

प्रणाम्य परमात्मानमांग्लभाषानुवादिनी। क्वता कुवलयानन्दकारिकाविव्ृतिर्मया।।

THE END,

C

" INDEX.

Page Page. श्रक्रमातिशयोकि: ... ... 40 उपमा (1) 1-13, 143-149, 164, 165 पतद्गुण: (77) .. 1 ... 120 उपमावाचकशब्दा: ... .... 14I अतिशयीक्ति: (13) 35-42, 166, 167 Do. प्रत्यया 142, 143

41 उपमेयोपमा (3) 14, 165 अत्युक्ति: (96) 135 ... उल्लास: (69) ... 111 अधिकम् (41) 83 ... उल्ल ख: (7) 23,166

अ्नन्वय: (2) 13,165 एकावलौ (47) 91

त्र नुगुग: (78) 12I ... कवि-समया: 140

अनुज्ञा (71) ... 11+ कारकदौपकम् (56) 99

अनुमानम् ... 158 कारणमाला (46) 90

अन्योन्यम् (43). ... ... 85 काव्यलिङ्गम् (60) 103, 172, 173.

अपह्नति (11) 27-30, 166, 167 काव्यार्थापत्तिः (59) ... ... 102

श्र प्रस्तुतप्रशंसा (27) ... 60, 151, 170 कतवापड्ग तिः 30

अर्थान्तरन्यास: (61) 103-105, 169, 172 गूढ़ीक्ति: (87) ... ... 129

अर्थापत्ति: (59) I02 चपलातिशयोक्ति: ... 40

अल्यम् (42) 84 के कापड्ग ति: '30 ... ...

अवज्ञा (70) 113 क्ेकोकि: (91) ... 132

त्रमंगति: (37) 75, 76,171 तट्गुस: (75) ... 113, 172

... 39 तुल्ययोगिता (14) ... 42-44, 168

असंभव: (36) 74 दीपकम् (15) ... 45,168

आन्तेप: (32) 66-68, 167 द्ष्टान्त: (18) 49, 151, 169

आउत्तिदीपकम् (16) 47 निदर्शना (19) 50,51,169

उत्तरम् (83) ... 125, 126, 172 निरुक्ति: (97) ... 136 उत्प्रेचा (12) 31-34, 164, 167, 168 परिकर: (24) ... .... 56

उदात्तम् (95) ... 134 परिकराङुर: (25) 57

उन्मोलितम् (81) ... 123,169 परिणाम: (6) 22, 166 s ...

Page. ) Page.

परिव्रत्ति: (52) ... ... 96 ललितिम् (66) 108

परिसंख्या (53) 96,172 लेश: (72) ... 115 ...

पर्यसापड्न तिः 28 लोकोक्ि: (90) 131

पर्याय: (51) 95, 171 वक्रोक्ति: (92) ... 132

पर्यायोक्तम् (29) 62, 63, 170 विकल्प: (54) ... 97

पिहितम् (85)' . 127 विकखर: (62), 105

पूर्वरूपम् (76) 119 विचिवम् (40) 82

प्रतिवस्तपमा (17) 48, 150,169 विधि: (99) 137

प्रतिषेध: (98) ... 136 विनोकि: (22) 54,55

प्रतीपम् (4) 15-18, 164 विभावना (34) 69-74,170

प्रत्यनीकम् (58) ... 101 विरीधाभाम: (33) 68,171

प्रस्तुतांकुर: (28) ... 61 विव्तौकि: (88) 130, 170, 171

प्रहर्ष गाम् (677 108-110 विशेष: (44) 86, 87, 171

प्रौढ़ोक्ति: (63) 105, 171 विशेषक: (82) 123, 169

भाविकम् (94) 134, 173 विशेषोक्ति: (35) ... 74

भेदकातिशयोक्ति: 3S विषमम् (38) 78, 79, 171

भान्तापड्न तिः 29 विषादनम् (68) ... ... 110

भ्रान्तिमान् (9) 25, 26, 166, 167, 168 व्यतिरेक: (20) ... 53,165, 169

मालादीपकम् (48) .. ... 93 व्याघात: (45) S8, 89,171

मालाप्रतिवस्तपमा 151, 152 व्याजनिन्दा (31) ... 65,

मालोपमा ... 149 63, 170 ... व्याजस्तुति: (30) मिध्याध्यवसिति: (65) ... 107 व्याजोकि: (86) 128, 167 मोलितम् (79) ... 122, 169, 172 शुद्वापड्न तिः ... 27 मुद्रा (73) a 116 सेष: (26) 58,165 यथा संख्य म् (50) 93 संमृष्टि ... 159 युक्ति: (89) 130 सङ़गर: 159, 160 रवावली (74), 117 सन्देह: (10) 25, 26, 167, 168 रशनोपमा 150 समम् (39) ... 80,81 रृपकम् (5). 18-22, 165, 166 समाधि: (57) ... 100, 171 दपकातिशयीक्ि: शद्धा ... 35 समासीक्ति: (23) ... 56,170

III

Page. Page.

समुच्य: (55) ... 98, 99,171 सार: (49) ... 9.3

सम्वन्धातिशयोकि: 38 सून्तम् (84) ... ... 127

संभावना (64) 106 स्पतिमान् (8) ... 25,167

सहोकि: (21) 53 सभावालि: (93) 133, 173

37 हतु: (100) 138, 171

सामान्यम् (80) 122, 169 हेत्वपङ्ग तिः 28

0

न

ERRATA.

Page Line For Read

Preface ii 19 ० स्रेका: ० सोका:

ix ,1,' List of Contents Contents

XV 10 Insert the words 'remove (our) sin' ! after 'prostrating goddesses'

3 वरयो० व रर्थो

12 14 compared to ompared to. 15 14 Vertue virtue

46 19 देहलीदोपन्याय दहलौदीपन्यायः

57 8 from bottom त्ततुणां चतुर्ां

93 6 do. ग्रहीत० सहीत०

95 3 पझ्म पद्म

96 2 from bottom निषिड्वैक० निषिद्ेक०

101 9 do. The ears &c. Ex. The ears &e.

116 8 do. त्रनुष्टप् त्नुष्टुभ् 128 14, 22,23 Disembler Dissembler

148 4 आचारत्या आचरन््या

151 7 tale-beares tale-bearers

157 5 from bottom Infrmative Informative

158 The first 8 lines should be read in continuation of the foot-note on page j157. And srch .other errors as can be easily detected by the reader such as a for a and a, for a &c. have 'been omitted.

C

PK Appaya Dikşita 840 Kuvalayananda-karikāh A65 1903

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title:Kuvalayananda-karikah author:Appayya DÜk*sita.