·No text on this page.

·TO
ZAMINDAR OF VADAGARAI,
Periyakulam Tubuk, Matura District,
THIS VOLUME
IS RESPECTFULLY
DEDICATED
BY THE EDITOR.

·No text on this page.

·PREFATORY NOTE In the following. I have attempted to ples within the easy reach of modern scadents of Sant literature, that alene: (- ery and classic, biz sistorille!:ns (lifticnlt treatise un Alankūras, the Kuvalayananda Karikās if Appiva. Dikshita, with an English trizasiatiu, Tikā comunniars, and explanatory notes, so as to enable them to suficiently orderstand and digess the authject eren in the absence of better reachers, 001- Among the numerous frcari-es nii the Science of poetry. the KĀVTAPRIKASA-the " Illustration of Poetry," -- the SĀHITYA DARPAN1-the "Wirror of Composition-and the KUVALAYANANDA--the "Delight of the lotus,"--are considered the best. Of these, the first-named is by far the most difficult and erudite work, notwithstanding innumerable commenturies thereon by able hands. The second is less difficult, and it is a complete treatise-ne plus celtra-on the whole subject of Sanskrit composition, including Dramaturgy. The last-named treatise, which is the most elementary as well as the most elegant of all, confines itself only to Alankīras 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 Kavyaprakāsa and the Sahitya.Darpana; yet, they, being higher treatises, are intelligible only to advanced students under the guidance of able teachers. And the Kuvalayānanda, with its olementary definitions of the principal Alankāras and its apt examples, is the work that every student of this brunch of Sanskrit Literature usually conimences 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 Kari, who is reputed to have

·No text on this page.

·चन्द्रलोको विजयतां शरदागमसम्भवः | हृद्यः कुवलयानन्दो यत्नमादादभूदयम् ।

May this Chandraloka, the cause of its commentary entitled Sharadagama, from the contact of both of which this charming Kuva Layananda originated, 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 sprang be supreme. The verses, alone as modified and finally adopted by Appaya Dikshita in his treatise, often go by the name of Kuvalayānanda-Kārikās or the memorial verses of Kuvalayānanda, and these have been separately compiled and edited under the title of KUVALAYĀNANDA KĀRIKĀH by the poet Āsādhara, with a lucid commentary of his own. The verses themselves are, as already mentioned, simple and in elegant style, in the Anushţubh metre, the first half of each verse defining tho 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 pecessity 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 krowledge 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 Sanskrit Literature are fouud to have been composed upon fixed principles of Grammar and lthetoric; and formerly, at any rate, no work that was not in complete accordance with the immutable rules of Sāhitya was over allowed to be published. And in those days, the authors also, whatever their sorial position of poctical amo may be, never youtureci nu ·11 with any composition that did not gain the approval of the learned One remarkable instauce of this which occurred in connection with the publication of the Champū Rāmāyana 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 Kālidāsa whom the king in one 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 pnet of India ! Then the whereabouts of Kālidāsa was not known. He therefore proposed to the public the following Samtsya-a part of the stanza or an incomplete stanza--to be completed: कुसुमे कुसुमोत्यत्तिः 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 Sanasya half of his kingdom. Kālidāsa's lady wrote this Sanctsya upon one of the walls of her bed-chamber where Kālidāsa 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, th 18:- बाले तव मुखाम्भोजे नयनेन्दीवरदयम् । • Young dame! There is a couple of eye-lotuses in thy facelotus." The larly then threw Kālidāsa into a pit specially prepared and let fall a big stone upon him; but she, in her hurry to go to the king to get half of his kingdom, did not stop there to see whether Kálidāsa was completely killed or not. The lady went to the king; and the ready-witted king, seeing the ·() .. 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 Kālidāsa 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. Kālidāsa, only half dead then, said to his weeping king that the human life is unstable, that to learned people this world is nothiug 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 Sundarakānda was read, Kālidāsa expired. The king offered to the public his Champū, one of the best poems of the language, up to Sundarakānda only, the remaining two kāņdas, Yuddhakanda 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 ation of any work. It was the look-out of every critic to see whether the particular work has been composed in strict accordance 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 euable him to understand a poem. In other words, a student can very easily master a poem if he bas known something of the Grammar 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. Rāmakrishṇal 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 Second Book :- ·i ) as Ir object has been to render this much a Sanskrit Reading Book as a book on Sanskrit Grammar; in other words, not only to teach Grammatical forms to the student, but to enable hin. to construe Sanskrit.' 'I was not so sanguinc about the success of this book as of the first. But I am very happy 10 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.' No poem 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 Alapkāras is as essential as that of Grammar. contains a verse that is not embellished by one Alankāra or another. For, Alapkāras, by adding to the beauty of word and sense, serve to heighten the favour (RASA) etc., just as orraments 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 difficult than Latin. I do not know if this complaint 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 Education st were true, has been amply proved by the very prominent position 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.

·4 v) avare, no such book has till now been placed within the reach of the Sanskrit students on the subject of Alankāras. And I hare therefore 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 in Sanskpit are generally classed under three heads, viz. :- i. TETIT-Ornament of word ii. adiante Ornament of sense; and ii. Tayfaire-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 equivalent and a literal English translation of the verse has been given under the same together with all the necessary explanations 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- TUTAPRASAMSĀ in its 5 varieties are treated with their appropriate examples taken from the standard works. Additional examples of certain Figures that require such are also giveu. The three Figures-ANUMĀNA – Inference," SAMS- RISHTI— Conjunction, and SANKARA-Commixture, - which are not found in the body of the book are also defined and exemplified. To it are also appended a more or less scientific classification of the Alankāras treated in the book, and an explanatory note, showing the mutual distinguishing peculiarities of many of the Alankāras.

·WAT I musu incution here thu works I have consulten in The course of the publication of the present volume. The first and tureicost of these is the Sahitya-Darpana of Vishranātha Kavırāja vith its English tran-lation by that distinguished scholar, Rudi Bahadur Premada Dasa Mitra of Benares. Many of the English renleriegs of the Figures of Speech are adopted from the work of that able orientalist who borrowed the same from Jr R. T. H Griffith's paper on Indian Figues of Speech appended to his Specimens of Old Indian Poetry. The Chandrika and the Rasikaranjinī, the two famous commentaries on Kuvalayānanda, were also iny chief guides. The Kāvyaprakasa and its - English translation, the Pratapa-Rudrīya of Vidyānātha Bhatta and the Sahitya-Ratnākara of Sri Dharma Sūri were also consulted. My heart-felt thanks are also due to Messrs. J. N. Banerjee and Son of Calcutta for their neat execution 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, in a work of this kind, there must be several defects and errors, and most humbly crave the favour of the public, who will have ccasion to do me the honour of perusing this little book, to be o good as to point ont to me the portions which reqnire mendments or corrections; and I shall be only very willing give my best consideration to those suggestions in any future dition of the work. नत्वा कृष्णाभिधं ब्रह्म ह्यांग्लभाषानुवादिनीम् । कुर्वे कुवलयानन्दकारिकाविवतिं मुदा ॥ MADURA, 1st February, 1903.) 903.) P. R. SUBRAHMANYA SARMA.

·LIST OF CONTENTS, PAGE Ą 1 ... . * * * . . ## 8 3-Simile do. 1-Similes Elliptical... 3 to 13 2 99:--Comparison Absolute ... 13 3 39631771–Reciprocal Comparison 14 4 58197-Converse uo. 2nd kind .. 16 do. 3rd and Ith kinds cio. och kind 18 15 6464-Metaphor ... 18 6 FTUF:--Commutation Representation 23 8 स्मृतिमान्-Reminiscence 25 9 भान्तिमान्- -Mistaker 25 and 26 10 :--Doubt 25 and 26 11 799 --Concealment 27 (1) do. TaT do. Pure 27 (2) do. do. Trith a Reason 28 (3) do. qat do. transferred 28 (4; do. ITT do. under a mistake .. 29 (5) do al do. of the skilful 30 (6) do. par do. of the deceitful 30 62 set-Poetical faney 31 13 yanafa:-Hyperbole 35 (1) a ufanátth-Hyperbole Metaphorical 35 do. #1951Hyperbole founded upon Concealment (2) marfa al-Hyperbole asserting a difference 38 (31 ano do. do. a connection 38 (4) do. do. a disconnection ... 39 FITO do. do. a want of order... 40 (6) चपला. do. do. fickleness (7) hanno do. of the highest degree 41 4. . 37 ### (5) ·PAGE 42 .. TA re 44 45 47 48 ... ... D 4 50 14 Jan-Equal Pairing do. 2nd aat 3rd linds ... 15 .Il...ditor ... 16 2146.***.Tk Illuminator by repetition 17 Tah: 1 Typical Comparison . 18 1917.-Exemplification 19 F671-Illustration do. 2nd and 3r1 kinds 20 fakt, -Dissi... 2 or Contrast 21 " -scription... ... 22 fag, 11-Speech of Absence *** do. 2nd kind... 23 net-Modal Metaphor -masin .. 51 Cinn: 53 53 54 . 56 56 57 58 60 61 62 # 63 I. .. -Paro.." 27 446 FT-Iriirticiption 28 waigt:-The Sprout of Direct Description 29 iam.Periphrasis do. 2nd kind.. 30 25kgfa:Artful Praise or Irony 31 151671-Artful Censure 32 99: -Hint do. 2nd kind 3rd kind .. 53 THTE: or factContradiction 34 fura-Peculiar Causation do. 2nd kind ... do. 3rd and 4th kinds ... do. 5th kinu 0:- kind 8 10 1477--Degen llet CL ** 0 22--Improbauility 7 ET5: -Disconnection do. 2nd and 3rd kinds ॐ विषमम्-Incongruity 63 65 66 67 68 68 69 70 71 72 73 4. ... *** . 75 76 78 NO ·(XI) .. PAGE ... 79 . ... ... 80 81 82 ... 88 84 85 86 87 88 & a 89 90 91 93 93 . a & 4 ## 1997–2nd and 3rd kinds 39 समम्- -The Equal do. 2nd and 3rd kinds ... 40 fafe-Strange 41 - Exceeding do. 2nd kind .. 42 7-Smallness 43 - The Reciprocal 44 fasta:- The Extraordinary do. 2nd and 3rd kinds 45 TETT: Frustration .. do. 2nd kind 46. TUFICT-Garland of Causes... 47 - The Necklace 48 Hote977-The Serial Illuminator 49 FIT: -The Climax 50 ET24-The Relative order 51 quia: The Sequence do. 2nd kind ** 52 after: -The Return 53 afcen-The Special Mention... 54 f*:--The Alternative 55 #2:—The Conjunction do. 2nd kind 56 FTC ET -The Case-Illuminator 57 - The Convenience 58 yarat-The Rivalry . 59 कायार्थापत्ति: or अर्थापत्ति:--The Necessary Conclusion 60 alfa-The Poetical Reason 61 img-The Transition 62 faqet:-The Expansion i 63 HET:-The Bold Speech 64 #1971-The Şupposition 65 f7122752fufa:-The False Determination 66 wanThe Artful Indication 67 7497The Enrapturing . 95 96 96 97 98 99 .. ... ## 99 4. . ### #4. .. 100 101 102 103 103 105 105 106 107 108 108 A ### . ### .

·XII) PAGE .. ... ... . ... 4 .** 4. .. ## 147-2nd kind do. 3rd kind 68 697-The Despondency 69 57:-Abandonment 70 911-Non-Abandonment 477:--The Permission T29: -sesiion 73 F71-2h- Seung 74 Tareai-The Jewelled Necklace 75 90:-The Borrower 76 gaan The Original do. 2nd kind 77 TV: -Tlie Non-Borrower TTT:-The Conformity 79 #fa-The Lost ... 80 HH77--The Sameness 81 Eiica-The Un-Lost ... far :-The Un-Sameness .. 83 ETT-The Reply do. 2nd kind ... 81 -9, The Subtle 85 for --The Covering 86 STIFT:-The Dissembler ** 87 Tah:-The Secrecy 88 faalfa:Open Speech .. 89 fa-Covert Speech 90 fm.-- Popular Saying 91 --The Skilful Speech 92 asfalfa- The Crooked Speech 93 Ha-Description of Nature 94 49-The Vision 95 €7-The Exalted 96 :-The Exaggeration 97 fef:- Exposition 98 -Prohibition 99 forf-Fitness 109 110 110 111 113 114 115 116 117 118 119 119 130 131 122 122 123 128 125 126 127 127 128 129 130 1 30 131 132 132 133 134 134 135 136 136 137 *** *** .. *** ... ## *** . ... ** . ... ### ... #N *** ·100 T: The Cause do. 2ud kind 131 13: . APPENDIX 34 .. . 141 14: • 142 and 14: 143 to 141 144 151 150 151 and 153 43. 2.0 Poetical Conventions Words expressive of comparison Terminations expressive of comparison 32 varieties of sqft (1) FIETF-Garland of Similes Talo1971–Girdle of Similes sfare HT (17)-Additional Example... मालाप्रतिवस्तूपमा do. ZETT: (18) do. negarasigt (27)-And its 5 varieties... rera: (45)--Additional Example CFCGI (53) do. galdi (58) do. afera (60) do. 3. *** 151 C. ... .. 500 S. 7774-Inference 151 to 154 154 155 15€ 156 158 158 158 159 159 and 160 161 to 164 164 to 173 H. ECITH (95) ... enfa-Additional Example do. .. Befes-Conjunction AFT-Commixture Classification of Alankāras Mutual distinctions of certain Alankaras .. Moon

·No text on this page.

·BENEDICTORY VERSES OF OUR AUTHOR,
परस्यरतपःसम्पत्फलायितपरस्परौ।
प्रपञ्चमातापितरौ प्राञ्चौ 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.'
अमरौकबरीभारभ्रमरीमुखरोकतम् ।
दूरीकरोतु दुरितं गौरीचरणपङ्कजम् ॥
"May the foot-lotus of Gaurī made resonant by the female
bees in the masses of braided hairs of the prostrating goddesses!'
AUTHOR'S PREFACE TO THE WORK.
अलंकारेषु बालानामवगाहनसिद्धये ।
ललितः क्रियते तेषां लक्ष्यलक्षणसंग्रहः ।
'This elegant treatise on Alapkāras with their concise
definitions and apt examples has been composed (by me) for
the
purpose of enabling the young
students to understand the
•ornaments easily.

·No text on this page.

·KUVALAYANANDA KÄRIKAS OR THE MEMORIAL VERSES OF APPAYA DIKSHITA'S KUVALAYANANDA. I. उपमा-SIMILE. DEFINITION. उपमा यत्र सादृश्यलक्ष्मीरुल्लसति दयोः । EXAMPLE. हंसीव कृष्ण! ते कौतिः ते कौतिः खगंगामवगाहते ॥ * ( तत्र) where (i. e., in a sen- swara shines forth * (श्रीकादौ) tence of prose or (there) poetry) उपमा the figure Simile'. यी: between two objects, कृष्ण ! OKrishna! (ive., उपमय 'the object ते thy compared' and उपमान कौनिः fame 'the object compared हंसी इव like a she-swan tor) खर्-गंगाम् the celestial Ganges सादृश्यलची: the beauty of resemblance (which will ex- स्वर्गम् गाम् heaven and earth cite poetical delight) अवगाहते enters or pervades. or DEF. Simile is a figure of speech wherein the beauty of resemblance shines forth between the two objects, (i. e., the object compared and the object compared to). * The words supplied are enclosed in circular brackets.

·2 उपमा। O Klishna, thy fame like a she-swan enteri the celestial Ganges (or pervades the celestial regions and this earth). This is an example of qmar ( qur = full, SunT= simile) 'simile complete'; for, it contains all the four essentials of comparison, which are :-- 1. SÆTH, or faqz:-The object compared, i. e., the subject of comparison, such as face &c. 2. SÆTH, WH or fawut-The object compared to, 2. e., the standard of comparison, such as moon, lotus &c. 3. साधारणधर्मः or सामान्यधर्म: or simply धर्म:-The common attribute, i. e., the characteristic resemblance between the two objects (the object compared and the object compared to); or the quality of the said two objects that occasions their similitude such as charmingness or the like. 4. उपमावाचकः or simply वाचक:--The word implying comparison, such as ga 'as' or the like. In the present example : antra: the object compared the object compared to aga, 2. e., Varga Ser='the act of entering or pervading the common attribute 99 = the word implying comparison, Observe :-off: 'faine,' FTÆ 'reputation' and gi# laughter' are always described 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। 8 KINDS OF SIMILE ELLIPTICAL. वण्योपमानधर्माणामुपमावाचकस्य च । एकदिवानुपादानाभिन्ना लुप्तोपमाष्टधा ॥ वर्य-उपमान धर्माणां of the object | एक हि वि-अनुपादानात् by the omis compared, the object sion of the one, twe compared to, the contor three mon attribute अष्टधा eightfold भिन्ना divided उपमावाचकस्य च and of the word implying comparison लुप्तीपमा Elliptimal Simile (भवति) (becomes.) By the omission of one, two or three of the four requisites of simile complete, i. e., the object compared, the object compared to, the common attribute and the word implying comparison) the simile becomes elliptical and is eightfold, which are :- 1. gregar-SIMILE in the omission of the word implying comparison. 2. धर्मलुप्ता- Do.. Do. of the common attribute. 3. धर्मवाचकलुप्ता- Do. Do. of the common attribute and of the word implying comparison. 4. वाचकोपमेव लुप्ता- Do... Do. of the word implying comparison and of the object compared. 5. उपमानवाचकलुप्ता--Do. Do. of the object compared to and the word implying comparison. 6. उपमानचुप्ता Do. Do. of the object compared to.

·4 7. 84417219 Jai-Do. Do. of the object compared to, of the word implying comparison and of the common attribute. 8. 39817Agar Do. Do. of the object compared to and of the common attribute. Examples of the first four Elliptical Similes in their order. तडिगौरौन्दुतुल्यास्या कर्पूरन्तो दृशोर्मम । कान्या स्मरवधूयन्ती दृष्टा तन्वी रहो मया ॥ afestat (as) yellowish (as) the #avenit acts (herself) like the lightning Kāma's bride (God- इन्दुतुल्यास्था having the face like dess of love) the moon (pa'faat) (such a) my slender woman 2: in a lonely place कर्पूरन्ती acts (like) the camby me phor ger by (her) loveliness set of eyes मया was seen, 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. alçatit-If this compound is uncompounded, we have तडिद् इव गौरी, where :- तड़िद-the object compared to mathe common attribute the object compared.

·उपमा। 5 We have, in this example, these 3 requisites, but the remaining requisite, the word ga, expressive of comparison, is indirectly omitted ; and, in the expansion 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). इन्दुतुल्यास्या, when uncompounded, becomes इन्दुना Tai rei je: HT'she whose face is like the moon,' where :- --the object compared to तुल्यम्-the word implying comparison Freq-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 :' is used strictly in the sense in which it is used in the Pānini's Sūtra 'can aja: (I. 1. 60) The disappearance is called "19:. With regard to the omissions of the other three, i, en, 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 expressed or understood, there will be no simile at all.

·6 3. olan ENTHFI Fiorant is the present participial noun, feminine gender, of the nominal verb 'कर्पूरति' haring the विप् affix expressive of comparison omitted. If it is uncompounded, it becomes myfa 917—'she acts like the camphor", where :- (1) gain the second line of the sloka is the object compared and (2) #-is the object compared to. Thus, ve hare here only the above to requisites and the other two ingredients of conparison, 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 common attribute and the word implying comparison ( anagat). 4. HIGIT #raumit-by (her) loveliness, she acts. (herself) like Kāma's bride. The compound FTaaga is the present participial noun, feminine gender, of the nominal verb maafa having the affis ‘kyach' (227) expressive of comparison. If it is uncompounded, it becomes GATTA स्मरवधूम् इव आचरन्ती ; where we have : (1) स्मरवधू-the object compared to (2) FAIT-the common attribute only two essentials of comparison. The other two, i. e., the object compared JARÆ herself' and the word expressive of comparison a asåre indirectly omitted. Hence, we have the example of the Elliptical Simile, No. 4,---in the omission of the ·: ZUHTI 7 word implying comparison and the object compared (EW1hZGAT). Escamples of the Ellipticul Similes Nos. 5 and 6. यत्तया मलनं तत्र लाभो मे यश्च तद्रतेः । तदेतत्काकतालीयमवितर्कितसम्भवम् । त्तया there, 3. e., in that lonely place my with that (lady) which meeting which of the sexual intercourse with that lady OTH: gain तद that this अवित कितसंभवम् accidental or unexpected occurence काकतालीयम् like the maxim of the crow and the palm fruit. यत् मेलनम् सद रतः My meeting with that lady, in that lonely place, and my gain of sexual intercourse with that ladyeach is an accidental occurrence like the maxim of the crow and the palm fruit. This is the most puzzling example. The compound framtræ must be first analyzed; but its analysis can be best understood only when the Pānini's Sūtra Fahy affcura (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 तद्-विषयात् छः । The affix Chha (fa) comes, also in the sense of ·8 उपमा। 'like this', after a compound noun containing in itself the force of 'like this' (hidden). Käsikā commentary on the Sūtra. तद् इत्यनेन प्रकत: इवार्थः निर्दिश्यते--By the word तद् the sense of इव, the subject of discussion, is referred to. इवार्थविषयात् ममामात् अपरस्मिन् इवार्थे एव छः प्रत्ययो भवति- The affix Chha (ईय) comes, only in the second sense of इव 'like this', after a compound containing in itself the force of इव. Examples. 1. काकतालीयम्-Like the maxim of the crow (काक) and the palm fruit (ताल). 2. अजाकपाणीयम् -Like the death of a goat (अजा) by the accidental falling of a sword (कृपाण ). 3. अन्धकवत्तिकोयम्-Like the accidental falling of a quail ( artiait ) into the hands of a blind person (अन्धक). अतर्कितोपनतं चित्रीकरणम् उच्यते-Unintentional and strange coincidences are referred to here. तत् कथम्-How is that. काकस्य आगमनम् यादृच्छिकम्-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 कृतः--By the palm fruit thus falling, the death of the crow occurred.

·SUHTI . 9 Va qoga 77777-In the very same manner, the coming of Devadatta (a person) there. FENTI Bufura:-- In the same manner, the sudden attack of robbers (upon Devadatta). aute qa: :-By them (robbers) his (Devadatta's) death occurred. तत्र यो देवदत्तस्य दस्यूनां च समागमः, सः काकतालसमागमसदृश: There, the coincidence of the person Devadatta and the robbers is like that of the crow and the palm fruit. sfa ut: 549:- This is the first sense of 'like this (in the compound काकतालम्). wa Zacie 29: 7: STOTYHET:-Then, the killing of Devadatta is like that of the crow by the fall of the palm fruit. इति द्वितीयः उपमार्थ:-This is the second sense of 'like this'. aa oh, FHTF:- In the first case, we have the sense of ga in the compound (Frpat hidden). fata, a:- In the second case, we have the same, expressed in the affix in the compound Film arata). समासश्च अयम् अस्मादेव ज्ञापकात्-The implication of such a compound, having the sense of like this' hidden, is indicated by this Sūtra only. afg TeT TT Tai pff-There is no other rule for the formation of this compound but this indica- ·IO उपमा। tion (as such compound with the force of 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 ta arata contains two senses of '99 =like this'; the firs sense is hidden in the compound any and th second sense is expressed by means of the affix chl. in the compound IFATNIĄ. The compound watcx, if uncompounded, be comes 1: 4, alaraq which again become 1711 गमनमिव 'like the coming of the crow' and तालफलपतन fha 'like the falliug of the palm fruit'. 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. ETIT HATTą na ufanfäsiva Harga where 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 comparison, are both hidden in the compound area. The coming of the person (TATTHA) is compared to the coming of the crow (TTH7A) and the coming of the lady is compared to the falling of the palm fruit (atauap). The union of these two, i.e., the person and the lady (: #TH) which is the object compared) is like that of the crow and the palm fruit (काकतालसमागमसदृशम्). The word समागमः, the object compared to, and the word, a, implying comparison, ·STATI 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 यश्च तद्रते: तदेतत् काकतालीयम् अवितर्कितसंभवम् ।। Where: OTH: is the object compared, faarfa#wax is the common attribute and the compound fraaie 1977. contains the object compared to, "SUHT: eating,'hidden and the word implying comparison expressed by the affix (su) because the compound, if uncompounded, becomes IT ga=*#19hagia THTHET: like the eating of the palm fruit by the crow': In this example, we have the above three ingredients of conparison ; and the fourth, ze 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 gfaarata from the sloka which contains the examples for the Elliptical Similes Nos. 5 and 6 and substitute in its place whaq Fəri aath â'='It so * In the Kāsikā commentary on V. 3. 106, this compound stands in its expansion thus-9CIWY 'like the death of the crow by the sudden fall of the palm fruit. The student should note here that this and the other two similar compounds are used to denote the accidental occurrence whether welcome or unwelcome as the case may be.

·I2 उपमा chanced; what shall I tell you'; and read the slok thus यत्तया मेलनं तत्र लामो 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 : HCET 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 para as explained before and so we have the example of the Elliptical Sinile, No. 7,-in the omission of the object compared to the word implying comparison and the common attribute (ETHTTTTTTHHT). In the second example : ATH: is the object compared and the compound THATSITIF 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 common attribute (E4#174HQAT). 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 ·TE: 1 13 ornaments such as : No. II.-Comparison Absolute,' रूपकम् No. V.-Metaphor, उपमेयोपमा No. III.---Reciprocal Comparison, and fath: No. XX.Dissimilitude. In the Rūpaka, the resemblance is suggested whereas it is expressed here. In the Comparison Absolute, 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 Kāvyaprakāsa and for words expressing comparison &c., see the Appendix. II. 9725:-'COMPARISON ABSOLUTE.' DEFINITION. STATTÀCI Jerea aga: 1 इन्दुरिन्दुरिव श्रीमान् इत्यादौ तदनन्वयः ॥ EXAMPLE. moon एकस्य एवं of only one object on श्रीमान् glorious hand. यद which like the moon itself BY#1TTÄ the relation of Pet in the illustrations the object compared like this to and that compared 57792 the figure comparison तत् that absolute When the object compared to and the object compared are one and the same, or in other words, when one and the same object is compared to itself, it is ·14 उपमेयोपमा 1 Confparison Absolute—as in the illustration like everyone रिन्दुरिव श्रीमान् “the glorious moon is like the moon itself &c. :=AIFA YAT: 'connection TRF:-want of connection with any other object in the world in respect of comparison. The word game et cetera' comprises such other examples as :- गगन गगनाकारं सागरः सागरोपमः । रामरावणयोर्युद्धं रामरावणयोरिव ॥ (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 Rāma and Rāvana is like the battle between Rāma and Rāvana. 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 inore expedient for the ready understanding of the identity of the object at the very hearing the seria' holds. better than 9. ' although the latter is a synonym of the former. III. BOHORT_RECIPROCAL COMPARISON. DEFINITION. पर्यायेण इयोस्तच्चेटुपमेयोपमा मता। धर्मोऽर्थ इव पूर्णश्रीरर्थो धर्म इव वयि । EXAMPLE ·प्रतीपम्। 15 pat: of the two, i.e., the if object compared to उपमेयोपमा reciprocal comparison and that compared मता is termed qetev in turn, 1.c., in alter त्वयि in thee nation (thy) virtue ল that, i.e., the posi- : 5 like (thy) riches tion of upamāna and quit: full upameya (taken from 8: (thy) riches the preceding sloka) धर्म: :59 like (thy) virtue Def. That, i.e., the position of Upamāna and Upameya, when alternated is declared the Reciprocal Comparison. Ex. In you, O King ! thy virtue is as full as (thy) riches ; and thy riches as full as thy vertue. 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 impossible 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 at: 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. 44#-CONVERSE. प्रतीपमुपमानस्योपमेयत्वप्रकल्पनम् । वल्लोचनसमं पद्मं त्वक्व सदृशो विधुः ॥ DEFINITION. EXAMPLE.

·I6 प्रतीपम्। moon उपमानस्य of the object compared to उपमेयत्वप्रकल्पनम् assumption as the object compared प्रतीपम् the figure Converse पझम् lotus fa: वल्लीचनममम् equal to thy eye त्वहतीसदृशः equal to thy face Def. The assumption of the object compared to as the object compared, i.e., when Upamāna (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. DEPISITIOS. ERITTÄTarha ARTETT a i EXAMPLE. अलं अलं गर्वण ते वत्र कात्या चन्द्रो भवादृश: ॥ that, i.e., the figure converse qai ! TÄTETÄTA by reason of gain a of another, i.e., the object compared to as the object compared. ते बरावस्य of the object on hand to (face &c.) अलम् disregard कान्या also face thy by the pride enough in splendour the moon like thee भवादृशः Def. When the subject on hand (face &c.) is disregarded 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 death ! Tromen there are 3rd kind of Converse. DEF. वोपमेयलाभेन तथाव्यस्थाप्यनादरः । कः क्रौर्यदर्यस्ते स्मृत्यो त्वत्तुल्याः सन्ति हि स्त्रियः ॥ पोपमेवलाभन by reason of the | मृत्यी ! gain of the object thy compared which isौर्यदर्पः pride on account of the subject on hand cruelty of the object which What is not the subject on because hand स्त्रियः अपि also खज्याः equal to you अनादरः disregard सन्ति 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. Der. वयेनान्यस्योपमाया अनिष्पत्तिवचश्च तत् । Ex. मिथ्यावादो हि मुग्धाक्षि! त्वन्मुखामं किलांबुजम् ॥ वर्षेन by the object on also hand (i.e. face &c.) तत् that,2.4., the Converse अन्यस्य of the object not on सुग्धाक्षि ! O beautiful-eyed larly ! hand अंबुजम् lotus उपमायाः of the resemblance त्वन्मुम्बासम् ecun! » thy fice अनिष्पतिवर्च: the assertion of non मिथ्यावादः untrue assertion accomplishment 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. 0 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. DEr. प्रतीपमुपमानस्य कैमर्थ्यमपि मन्यते । Ex. दृष्टं चेहदनं तन्वााः किं पद्मन किमिन्दुना || of the object com मन्यते is considered pared to तन्वया: of that slender lady समयम् the sense of what is वदनम् the face the use of दृष्टं चेत् if seen अपि also पोर्न किम् what with the lotus प्रतीपम् the Converse इन्दुना 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. उपमानस्थ V. रूपकम्.-Metaphor. DDEr. विषय्यभेदताद्र प्यरञ्जनं विषयस्य यत् । ... रूपकं तविधाधिक्यन्यूनत्वानुभयोक्तिभिः ॥

·रूपकम्। I9 that which tical with the object विषयस्य of the object comcompared to pared तत् विषय्यभेदरञ्जनम् the gratifying re रूपकम् the metaphor presentation as non तत् that (metaphor) different from the आधिक्य in point of superiobject compared to न्यूनत्व Fority, inferiority and विषयिताद्रूप्यरञ्जनम् the gratifying re- अनुभयोक्तिभिः) the absence of both presentation as iden- fayt is three-fold Def. The gratifying representation of the object compared (1) as non-different from, and (2) as identical 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. अधिकाभेदरूपकम्। 4. अधिकताद्रूप्यरूपकम् । 2. न्यूनाभेदरूपकम् । 5. न्यूनताद्रूप्यरूपकम् । 3. अनुभयाभेदरूपकम् । 6. अनुभंयताद्रूप्यरूपकम् । Examples of these in their reverse order. No. 3. अनुभयाभेदरूपकम् । Ex. अयं हि धूर्जटिः साक्षाद् येन दग्धाः पुरः क्षणात्। अयम् (राजा) this (king) ভাবা in person, in bodily/क्षणात् form धर्जेटि: the God Siva दग्धाः हि indeed by whom in a moment the cities (of his foes) were burnt ·20 UTTI Ex. This (king) is indeed the very Gool Siva in bodily forin ; because by him the cities of his foos) were burnt. Here, the king, the upameya, who is said to have burnt the cities of his foes is represented as non-different from the God Siva, the upanāna, 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 havo the example of Rūpaka No. 3, No. 2. ATÂTAUFHI Ex. अयमास्ते विना शंमुस्तायोकं विलोचनम् । 947 (TTTT) this (king) विना without ता यौकम् third 14: God Siva eye वाले iy or stands Es. Here stands (before us) this (king), the God Sambhu hinself without his third eye. Here, the king, the upameya, having only two eyes is represented as non-different from the God Sambhu, the upamūna, in the absence of his third eye, 2.e., with an inferiority in respect of eyes. Hence, this is the example of Rūpaka No. 2. No. 1. quotacou ! Ex. शंभुर्विश्वमवत्येष स्वीकृत्य समदृष्टिताम् । W: (TST) this (king) खौकात्य stat: the God Sambhu समदृष्टिलाम् equality, even eyes, अवति in me विश्वम् having assumed the universe protects ·रूपकम् । 2 Ex. This (king), the God Sambhu hinsell protects the world assuming impartiality (lit. evei 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 removed in as much as his present work is the protection 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 world with the faqe uneven eyes or three eyes, and so this is the example of Rūpaka No. 1. No. 6. #THEATE BETAHI अस्या मुखेन्दुना लब्बे नेत्रानन्दे किमिन्दु ना। of this (lady) when attained मुखेन्दुना face-moon इन्दुना by the moon नेवानन्दे the delight of (our) Fort 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 represented as identical with the moon and in the absence of any superiority or of inferiority between them, we have here Rüpaka No. 6. न्य नतादू प्यरूपकम् । Ex. साध्वीयमपरा लक्ष्मौरसुधासागरोदिता ॥ इयं साध्वी this virtuous woman 2 second Turaya feat not born of the : Goddess of fortune Milky Sea IT: what No. 5. TYTT ·22 परिणामः। 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 identical with an inferiority in as much as the former is not born of the Milky Sea and we have therefore here the example of Rūpaka No. 5. No. 4. अधिकताद्रूप्यरूपकम् । Ex. अयं कलंकिनश्चन्द्रान्मुखचन्द्रोऽतिरिच्यते । भयम् this चन्द्रात् from the moon मुखचन्द्रः face-moon अतिरिचते is superior to कलंकिन: 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. spotted VI. परिणामः-Commutation, Dar. परिणामः क्रियार्थश्चेट विषयी विषयात्मना। Ex. प्रसन्नेन दृगजेन वीक्षते मदिरेक्षया ॥ विषयो the object compared | परिणाम the figure Commuta to tion विषयात्मना under the character of मदिरेक्षणा this lovely-eyed lady the object compared प्रसन्नेन bright क्रिया: serving the purpose | हगनेन eye-lotus दौलते चेत् Def. When the upamāna (i.e., the lotus &c., the object superimposed) is identified with the upameya on hand sees ·GE: 1 23 (i.e., the eye &c., the subject of superimposition) and serves the purpose on hand (c.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 the lady's eye, the subject of superimposition, and is made to serve the purpose on hand, i.e., the act of beholding. In the Rūpaka, as per instance in the sentence Entei ala 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. 59:-Representation. Der. AFFAEHTETET Petne guâ i Ex. ENTH: FTATSTÅÍA: ETE: 4114: Tgfaire #: || ܀ was seen एकस्य of one (object) atfor: by the women afw; by different persons T* as God of love बहुधा under different cha- Ora racters yfa: by the mendicants Bar by delineating as the tree of paraoc: Representation dise इष्यते is regarded by (his) foes #: (:) that God Kțishna To: as God of death Def. When an object is delineated by different people under different characters, it is termed Representation, शत्रुभिः ·24 3:1 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 occasions according to their liking or taste. 2nd kind of Representation. Da angesaet fauca: गुरुर्वचस्यर्जुनोऽयं कौत्तौ भौघ्नः शरासने ॥ (CAIET of one object) (TE) this (king) एकेन by one person वसि in speech विषयभेदतः through difference of गुरुः (is) grave or Bșihaspeculiarities pati बहुधा under various charac- 71 in fame ters yet: (is) white or Arjuna उम्लेरी in the delineation शरासने in bow अपि also (is) terrible or BhIslıma असी that, i.e., Representation 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 (Bhishma ) in bow. Here, one and the same king is represented as distinct by one and the same beholder but through difference of peculiarities belonging to the object delineated.

·स्मृतिमान्, भ्रान्तिमान्, सन्देहः । 25 VIII. fanta-Reminiscence or Rhetorical Recollection. IX. ETGZ_Mistaker. X. :--Doubt DEE. स्यात् मा तिभान्तिसन्द हैस्तदंकालंकृतित्रयम् । ra-a1fat: by (expressions go by the names of of) recollection, mis- Recollection, Mistakei take and doubt and Doubt (respec- नदंकालहवित्रयम् three figares that tively). - Def. (1) Expressions of a certain object capable of arousing an impression in the mind farouring 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 Reminiscence, the Mistaker and Doubt: Or in other words :- (1) A recollection of an object, experienced before, 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.e., 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 delineation is doubted through poetical skill, it is called Doubt. Example of Reminiscence. पंकजं पश्यतः कांतामुखं मे गाहते मनः पंकजम् lotus कांतामुखम् the face of the be seeing loved गाहत enters, i.e., recollect पश्यतः # # my mind ·26 स्मृतिमान्, भ्रान्तिमान्. सन्देहः। Seeing this lotus, my mind recollects the face of my beloved. Example of the Mistaker. अयं प्रमत्तमधुपस्त्वन्मुखं वेत्ति पंकजम् । अयम् प्रपत्तमक्षपः वन्मुखम् this intoxicated bee पंकजम् वेत्ति lotus understands. 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 सुधांशुईत्यस्माकं तु न निर्णयः । to us वा ON अस्माकम् पंकजम् वा lotus so বুনি निर्णयः OT decision not. साधः moon We are not able to decide whether (the object before 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.

·अपहतिः। 27 XI. अपन्हुतिः-Concealment. There are six varieties of this figure which are:-- 1. शुद्धापतिः Concealment pure. 2. हेवपहतिः Do. attended with a reason. 3. पर्यस्तापन तिः Do. transferred. 4. भ्रान्तापहति: Do. under a mistake. 5. छेकापह तिः Do. of the skilful. 6. कैतवापङ्गतिः Do. of the deceitful. 1. शुद्धापन ति:--Concealment pure. Dss, शुद्धापङ्गुतिरन्यस्यारोपार्थी धर्मनिङ्गवः । Ex. नायं सुधांशुः किं तर्हि व्योमगंगासरोरुहम् ॥ अन्यत्र moon of the object no on अयं this hand सुधांशः आरीपार्थः causing superimposi- 7 not tion किं तहि then, what is that धर्मनिङ्गवः denial of the character | व्योमगंगासरीरहम् the lotus of the शुद्धा pure celestial Ganges. अपङ्गुतिः Concealment Def. शुद्धापङ्गुति: 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 अयन तिः। *2. हेलपतिः-Concealment with a reason. Dr. स एव युक्तिपूर्वश्चटुच्चने हेत्वयतिः । B.. मेन्दुस्तौद्रो न निश्यकः सिंधोरोर्वीयमुत्थितः ॥ सः (धर्मनिहवः) एवं the same ie, इन्दुः the Cenial of the moon character based upon a reasoning युक्तिपूर्वः not hot at night तोत्र: লিম্নি अर्कः sun चेत हेवपतिः क not from the ocean Concealment with a reason सिन्धीः उत्थितः औवः sprung up the subinarine fire. is called this अवम् Def. The above, i.e., the 'Concealment pure when based upon a reasoning, is termed caufa: 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. पर्यस्तापगति:-Concealment transferred. Dur. अन्यत्र तस्यारोपार्थः पर्यस्ताप तिश्च सः । Ex. नायं सुधांशुः किं तहिं सुधांशुः प्रेयसीसुखम् ॥ moon भारीपार्थ: 'on another object श्रयम् this of that (object on सुधांश: hand) not causing superimposi-कितई then which is called tion moon) that प्रेयसीमुखम् the face of (my) be- Concealment transloved ferred सुधांशुः - पर्य-तिः moon.

·0fa: 1 29 Def. Paryastāpahnuti is that in which 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 nioon (nectar-rayed—not being endowed with burning character). 4. Titus fa:-Concealment under a mistake. DEr. भ्रान्तापङ्ग तिरन्यस्य शंकायां भांतिवारणे । Ex. atu mitra Fichtri, sat: Tai? HTC HT: 1 * по HT: सीक पम् अन्यस्य of another person तापम् heat शंकायाम् in doubt ofa produces भान्तिवारण in the removal of the ज्वरः किम् is it fever ? mistake सखि friend! 779148fa: it is Concealment under a mistake the God of love. accompanied by trembling 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 off (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. I * Said by a lady pining under separation. Ť Said by her female friend that chanced to be near her. | Reply made by the former to the latter.

·अपगुतिः। 5. केकापहति:-Concealment of the skilful. DEr. छेकापङ्ग तिरन्यस्य शंकातस्तथ्यनिहवे ॥ Ex. प्रजल्यन्मत्यदे लग्नः, कांतः किं ? न हि नूपुरः ।। अन्यस्य of another person সজল pratling शंकातः owing to fear मत्पद in my foot तयनिङ्गवे for the purpose of लनः clung denying the real sense कान्तः किम् is it (thy) lover : छेकापङ्गुतिः Concealment of the न हि skilful anklet no, no Def. When a person (having once given expression to some real object) denies the same (by interpreting it otherwise) for fear of being understood by another person in its real sense), it is teruned the Concealment of the skilful. Es. Pratling (something he) clung to my foot. * Is it thy lover ? † No, no. It is It is my anklet. 6. कैतवापइति:-Concealment of the deceitful. Dar. केतवापहतियक्ती व्याजाद्यैनिइतः पदैः । Ex. निर्यान्ति स्मरनाराचाः कांताक्मातकैतवात् ॥ व्याजाद्यैः निहुतैः पदैः by words of blance of the glances denial व्याज &c. if expressed सारनाराचा: the कैतवापङ्गति: Concealment of the deceitful निर्यान्ति कान्ताक्पावकैतवात् under the semof a damsel arrows of the God of love issue forth * Said by a lady to her confidential companion. † Question asked by another lady that chanced to come there at that time. Reply made by the first lady.

·No text on this page.

·32 उपचा। two-fold according as the subject of the fancy is an accomplished or unaccomplished one. Felaat 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. हेतूअक्षा is that in which something is imagined to be the effect of some other thing which cannot form its real cause. Tatatat is that in which something is imagined to be the cause of some other thing which is not its real effect. Example of acuta ar (1) where the occasion of the fancy is mentioned. धूमस्तोमं तमः शंके कोकोविरहशुष्मणाम् । the darkness धूमस्तीमम् জ্বন্ধীক্ষিন the fire of sep- { ঘন aration of koki birds the mass of smoke I suspect 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 Ex. Trance. The poet is aware that it is darkness. He altres farmacies it to be the smoke of the fire of separation uki birds which is the occasion of the fancy. व्यक्ती if :ple of Eautahat (2) where the occasion of 914 fa: Cis not mentioned. du Fremragende Tata CHIFT adalajaa 7: 1 * Said by a lady | Question asked sky 8TH collyrium | Reply made by thes it were rains as it were. 288 time. वर्षवि व ·squali 33 soft red. 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 collyrium is not mentioned. Hence we have two instances of garai aprahat where the occasion of the fancy is not mentioned. Ex. रतौ तवांघ्री.मृटुलो भुवि विक्षेपणा वम् । thy faaqua by treading मृदुलो ध्रुवम् certainly अंत्री tender feet रती fa 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 fastenet CÙT I Ex. aCTA 391 Faiqalarea preſti met surely वन्मुखामेच्छया attaining the loveli- ára ness of thy face Oh! Damsel, the moon rivals with the lotuses, surely, with a desire of attaining the loveliness of thy face. moon with a desire of 97: with the lotuses rivals.

·34 ভা। 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 TETET Bahati Ex. Fw: fai que 9: F7FSTÆÍA: 1 कुचयोः Waist of breasts for the support किम् what कनकदामभिः by the golden strings 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 fagfagut maaari Ex. प्रायोऽलं त्वत्पदेनैक्यं प्राप्तुं तोये तपस्यति । त्वत्पदन lotus ATE with thy foot TET: the oneness, i.e., like ata तपस्यति to get perhaps in the water does penance ness Lady : the lotus does penance in the water perhaps to become identical with thy foot. Here, the lotuses naturally grow in water, and the poet artfully attributes another cause for their ·pastatai 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 gas IT STICU TI XIII. faveitfs:-Hyperbole. There are seven kinds of this figure :- 1. famulla: Hyperbole Metaphorical. 2. HEFTATO Do. asserting a difference, 3. Fiq. Do. asserting a connection. 4. FOTO Do. asserting a disconnection. 5. ATO Do. asserting a want of order. 6. QUOTE Do. asserting fickleness. 7. TO Do. of the highest degree. Of these, No. 1 is two-fold. (a) JET-Pure and () #19891-founded upon the ornament of Concealment (XI). 1 (a) 161 eu ofautfa: 1 Der. En fantía: eitiaritafwapina: 1 Ex. 9927 tatagatis:fifa ftat: TTT: 11 निगौर्य having devoured नौलोत्पलदंडात् from a pair of blue ata: through introsusceplotuses tion ftat: sharpened 696analfa: metaphorical hyper- TTT: shafts faifa issue forth खात् g bole (pure) see.

·36 fastütfe: 1 0 Def. When the object on hand (1.e., face &c. the upameya) is swallowed up, or completely taken in, by the upamāna moon &c.' through introsusception, and the upameya is therefore comprehended as upamāna itself, or, in other words, (when the upamāna is used for upaneya), it is called "Hyperbole Metaphorical. fairies is indeclinable past participle in J of the root with fa 'to devour'. 999177:=94a1a+HT ar is the abstract noun formed by adding the affix a to the root with prepositions in and 99, and na is a termination of the ablative case. et 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 completely 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 '240fa- TRIC ZEGT FTTT 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 upamāna words ateriat 'blue lotus' and it: “shafts? for their corresponding upameya words the afa keye' and #rat: "ogles'. Thus, we have the introsusception of the eyes and the ogles of a beloved lady in ·अतिशयोक्तिः। 37 the blue lotuses and shafts with which they are respectively identified. * । see. 1 (3) सापहवा रूपकातिशयोक्तिः । Dur. यद्यपढ्नु तिगर्भत्वं सैव सापहवा मता। Ex. त्वत्सूक्तिषु सुधा राजन् भ्रांताः पश्यंति तां विधौ। यदि if राजन् O king अपह तिगर्भवम् founded upon the | त्वत्सूक्तिषु in thy good speeches ornament 'Conceal- सुधा nectar ment' धांताः infatuated people सैव सापहवा metaphorical hyper- ताम् that bole pure itself found- विधौ in the moon ed upon the ornament पश्यन्ति of Concealment मता is considered (by the poet) Def. If the same, i.e., the Metaphorical Hyperbole No. 1 (a) is founded upon the ornament of Concealment, 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); because 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 over the upamāna, ·38 अतिशयोक्तिः। 2. भेदकातिशयोक्तिः। B. भेदकातिशयोक्तिस्तु तस्यैवान्यत्ववर्णनम् । Ex. अन्यदेवास्य गांभौर्यमन्ययं महीपतेः ॥ तस्व of the object des- | अन्यदेव (is regarded) as anocribed ther, t.e., strange or अन्चत्ववानम् description as another extraordinary भेदकातिशयोक्तिः Hyperbole asser-धैर्य courage ting a difference (is regarded) as anoof this (king) ther, i.e. strange. गांभीर्यम् profundity Def. When the thing described is comprehended as another, i.e., as extraordinary or strange or peculiar, it is called भेदकातिशयोक्तिः । Ex. Strange is the profundity of this king 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. 3. संबवातिशयोक्तिः। DEr. संबंधातिशयोक्तिः स्यादयोगे योगकल्पनम् । Ex. सौधाग्राणि पुरस्यास्य स्पृशंति विधुमंडलम् ॥ no when there is स्यात् is (called) connection of this town : योगकल्पनम् assertion of a connec- सौधायाणि tops of the mansions tion बिधुमण्डलम् the disc of the moon संबंधा-ति: Hyperbole assertinga स्मृशन्ति touch or kiss (fig.) connection ·अतिशयोक्तिः। 39 Def. When a connection is asserted where there is really none, it is called संबन्धातिशयोक्तिः। 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. 4. aamulla i Drs. stisuoritsiaalfauitfaftata i Ex. त्वयि दातरि राजेन्द्र खर्दु मान्नाद्रियामहे ॥ योगे अपि though there is con- TG O best of kings! nection af graft when thou art a donor 13: (the assertion of) dis- agar the trees of the paraconnection dise --Fi: Hyperbole asserting 7 wiigata we wont devote to. a disconnection Def. Denial of connection where there is really a connection is called pegafautia: I 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 अतिशयोक्तिः। 5. अक्रमातिशयोक्तिः । 3xx. अक्रमातिशयोक्तिः स्यात्महत्वे हेतुकार्ययोः । Ex. आलिंगन्ति समं देव ज्यां शराश्च पराश्च ते ॥ thy arrows हेतुकार्ययोः of the cause and ते effect शरा महत्वे in the simultaneity पराश अक्रमा-क्ति: Hyperbole asserting a| ज्याम् want of order समम् देव king! बालिगन्ति foes (1) bow-string (2) earth simulataneously claso. 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 jya 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 अक्रमातिशयोतिः। 6. चपलातिशयोक्तिः। Dur. चपलातिशयोक्तिस्तु कार्ये हेतुप्रसतिजे । K. यास्वामीत्युदिते तन्वा बलयोऽभवटूमिका ।

·fritata: 1 41 was ऊर्मिकर TETA the effect OTT: हेतु प्रसतिजे* when the cause under discussion age: चपला-ति: Hyper bole asserting / अभवत् fickleness यास्यामि इत्युदिते when said (by the lorer) 'I go' of the slender*lady ring bracelet became. 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, i.e., not yet begun, it is then called quafgetra: Ex. No sooner 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 actually take place and we see the effect is produced without the cause. 7. Tomanufa: DEr. अत्यन्तातिशयोक्तिस्तत्पौर्वापर्यव्यतिक्रमे । Ex. अग्रे मानो गतः पश्चादनुनौता प्रियेण सा || Is explained by the commentator as aura---ithout cause. 6 ·42 तुल्ययोगिता। the | पचात् *aq-targe-safata when there to in the begining, i.eu is a violation of the previously priority and posteri. 97T anger ority of those (i.e., a: subsided of the cause and she effect) प्रियेच by her lover -F: Hyperbole of afterwards highest degree অনুশীনা was conciliated. Def. When the relation of priority and posteriority 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 अत्यन्तातिशयोक्तिः। Ex. The anger (of the beloved lady) had previously' 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 aimself of his absence which was unnecessary at that stage. XIV. Joulfat-Equal Pairing'. Dar. वया॑नामितरेषां वा धर्मैक्यं तुल्ययोगिता। Ex. egoía Hiffa eíTTEETIT || Tural of objects on hand is lotuses aiona or of those not on afrotagafa and the faces of hand the adulterous women sameness of attribute efni become contracted. getfra Equal Pairing धर्मे क्यम् aq=nat: of those, de, of the cause and effect.

·तुल्ययोगिता 43 Def. The sameness of attribute of objects on hand or of objects not on hand, is called ga ftat ! 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 movemeifts 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. त्वदंगमार्दवे दृष्टे कुस्य चित्ते न भासते। मालतीशशभृल्लेखा कदलीनां कठोरता ॥ Thea ze when the softness of thy limbs was perceived in whose mind मालती-कदलौनाम् of jasa- कठीरता न भासते mine, moon's ray and the plantain hardness will not become mani. fest. कस्य चित्ते the Ex. Lady! In whose mind will not the hardness 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. DEE. हिताहिते वृत्तितौल्यमपरा तुल्ययोगिता । R.. प्रदीयते पराभूतिर्मित्रशाववयोस्त्वया ॥ हिताहिते in a friend and foe fragraut: to the friend and foe इतितौल्यम् the sameness of be- पराभूति: immense riches (to cu haviour friend) अपरा another पराभूतिः defeat (to a foe) तुल्ययोगिता Equal Pairing दीयते is distributed. by thee Def. The deseription of the sameness of behaviour towards a friend and a foe is another kind of Equal Pairing. Ex. (O king !), Parābūti is equally distributed by thee both to thy friend and to thy foe. परा and भूति: are two separate words meaning immense riches when applied to 'friend'; when taken as one word, पराभूति: means 'defeat' and applies to fou'; 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. DEr. गुणोत्कृष्टः समीकृत्य वचोऽन्या तुल्ययोगिता । Ex, लोकपालो यमः पाशी श्रौदः शक्रो भवानपि ॥

·दीपकम् । 4 Totem with those possessed पाशी of superior qualities te: समीकल्य having placed on the 997: same footing a: description लीकपाल: अन्या another garatfat Equal Pairing JA: God of death भवान् अपि Varuna Kubera Indra as well as thyself & regent of the qual ter (and the ruler o the earth Def. The description of placing one object on : footing of equality with those possessed of superio, qualities is termed a third kind of Equal Pairing. Ex. (O Lord !), Yama, Pāsī, Srīda, Sakra ai well as thyself are each a Lokapāla. Lokapāla = a regent or guardian of a quarter =: ruler of earth. Yama- the God of death, the regent of the Southern quarter. PāsīVaruna, the regent of the Western quarte! and of the oceans. Srīda = Kubera, the regent of the Northern quartei and the God of riches and treasure. Sakra = Indra, the regent of the Eastern quarte and the king of the Gods. XV. -The 'Illuminator'. Dsr. वदंति वावर्थ्यानां धर्मैक्यं दीपकं बुधाः । Ex. मदेन भाखि कलभः प्रतापन महीपतिः -- ·46 दीपकम् । on call young elephant by ichor बविण्यानाम् of objects on hand | वदन्ति and those not 90H: hand मर्दन धमक्यम् the common attribute fa T: the learned stofa: दीपकम् Illuminator प्रतापन shines Lord of earth by valour. Def. When objects on hand and those not op hand are associated with a common attribute (mentioned 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 nominatives. Compare the maxim of the lamp placed over a threshold ad GIANTS: 1 It takes its origin from a lamp hanging orer 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 as in the Definition). In the Illuminator, the objects on hand and those not on hand are together ·आत्तिदोपकम् । 47 associated with one common attribute mentioned only once, Ex. this XVI. Trafareta-The Illuminator by repetition. DBF. विविधं दीपकावृत्तौ भवेदावृत्तिदोपकम् । वर्षयंबुदमालेयं वर्षत्येषा च शर्वरी ॥ #qaat in the repetition of a will be the Illuminator इयं अंबुदमाला range of clouds विविधम् three kinrls वर्षति rains भावचिदीपकम् Illumiinator by re एषा शर्वरी च and this night petition वर्षति looks like a year. त्रिविधम् i.e., by repetition of 1 पद 'word', 2 अर्थ 'signification' and 3 उभय 'both word and signification'. Def. By repetition of (1) word, (2) signification and (3) both, we have the three kinds of the figure आवृत्तिदीपकम् । Ex. This range of clouds rains and this night looks like a year. This is the eccample of No. 1 पदावृत्ति। Here, the verb वर्षति, a पद, is repeated though with different significations. The first is the form of the third person, singular number, present tense of the root ga 'to rain', and the second is the form of the third person, singular number, present tense of the nominal verb derived from the noun वर्ष 'a year'. Example of No. 2. अर्थावत्ति। उम्मीलंति कदंबानि स्फुटंति कुटजद्रुमाः । कदंबानि kadamba flowers कुटजद्रुमाः kutaja creepers उन्मौलन्ति blossom स्फुटन्ति bloom forth.

·48 हप्ताः प्रति वस्तूपमा। Ex. The kadamba flowers blossom and the kutaja creepers bloom forth. Saulaire and the fore mean the same thing and we have here a repetition of signification, Ecample of No. 3. उभयावृत्ति । माद्यन्ति चातकास्तृप्ता मादांति च शिखावलाः । satiater शिखावला: peacocks चातका châtaka birds माद्यन्ति rejoice. भावन्ति rejoice Ex. The satiated chātaka birds rejoice and the peacocks also rejoice (at the sight of the clouds). Here, the same word Arafam is repeated in the same meaning and hence it is called उभयावृत्तिदोपकम् । XVII. प्रतिवस्तूपमा-Typical Comparison. Dur. वाक्ययोरेकसामान्ये प्रतिवस्तूपमा मता। Ex. तापेन भाजते सूरः शूरश्चापेन राजते ॥ the sun वात्ययीः in (the sense of) two सूर sentences तापन with intense heat एकसामान्ये if one common attri-भाजते shines bute (is expressed) शूरश्व and this warrior प्रतिवस्तूपमा Typical Comparison चापन with (his) bow मवा is recognized राजते looks brilliant Def. When, in two sentences one of which describes the object compared and the other the object compared to, the same common attribute is expreŝsed but by different words, it is termed Typical Com-, pariso n.

·SET 1 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. EETG:- Exemplification. DEr. चेहिम्बप्रतिबिंबवं दृष्टांतस्तदलंकृतिः । Ex. त्वमेव नीर्तिमान राजन् विधुरेव हि कांतिमान् ॥ if चैत् 22 Exemplification *ata: in the sense of) twe TI O king! sentences त्वमेव thou only बिंबप्रतिबिंबत्वम् relation of type affihta possessed of fame and proto-type विधुरव हि 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 faciai as excellent, is employed as a type. The difference between this figure and afaqquh is that the common attributes here are similar but in the latter they are identical. In the ufaaeluar 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. , faciat i Illustration (First kind.) Dar. वाक्यार्थयोः सदृशयोरैक्यारोपो निदर्शना। Ex. या दातुः सौम्यता सेयं पूर्णेन्दोरकलंकता ॥ itt: ques: similar in the significations Fira of two sentences सेयम् attribution of identity qet: Illustration अपीकता which of a donor mildness that itself of the full moon stainlessness. Cerita: निदर्शना Def. A description, resulting in the identity of the significations, of two sentences, which are similar, 2.em 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 impossibility of the existence of the full moon without the black spot corresponds to the are ned as two rit, the relative and corrolative cla separate sentences, ·निदर्शना। 51 Thus, non-existence of a donor destitude of anger. We see that the two sentences terminate in a comparison. The difference between this figure and the EZT XVII is that in EET similar attributes are stated whereas here they are not stated. Here, the two sentences employed are dependent upon each other in their meanings but in the car they are independent. 2nd kind of Illustrations. Dss. पदार्थ वृत्तिमप्येके वदंत्यन्यां निदर्शनाम् । Ex. त्वन्नेत्रयुगलं धत्ते लौला नीलांबुजन्मनोः ॥ on एके certain writers वदन्ति say Rhetoric त्वन्नेत्रयुगलम् thy two eyes पदार्थवत्तिम्-पदार्थे in a thing नीलांबुजन्मनीः of the two blue अत्तिम् ऐक्यारोपस्थितिम् the state of lotuses being identical लीलाम् charmingness अन्याम् निदर्शनाम् another kind of पत्ते bears. Illustration Def. If a thing is described as bearing the property of another, then it is another kind of Illustration according to certain writers on Rhetoric. Ex. (Lady !) Thy two eyes bear the charmingness of the two blue lotuses. 3rd kind of Illustration. DEE. अपरां बोधनं प्राहुः क्रिययासत्मदर्थयोः । Ex. नश्येद्राजविरोधीति क्षीणं चन्द्रोदये तमः ॥

·52 निदर्शना। moor क्रियया by an action of तमः darkness certain object बद्रीदये at the rise of the असत्यदर्थधीः of the unreal and real objects राजविरोधी the enemy of a king बोधनम् intimation अपरा third kind of Illus-721a will perish tration इति so intimating (the learned) call vanished. Or moon चौणम् 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 intimating 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 :- उदयन्नेव सविता पद्मष्वर्पयति श्रियम् । विभावयन्ममृद्धौनां फलं सुहृदनुग्रहम् ॥ বিনা the sun विभावयन् (thus) intimating उदयन्द्रव just when it rises पोषु on the lotuses मुहदनुग्रहम् rewarding the friends | श्रियम् splendour समृदीनाम् of one's riches अर्पयति consigns फलम् the chief object Ex. The chief object of one's having riches consists iu rewarding his friends'--thus intimating (to the ·व्यतिरेकः, सहोक्तिः। 53 trorld), 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. Dss. व्यतिरेको विशेषश्चेटुपमानोपमेययोः । Ex. शैला दोन्नताः संतः किंतु प्रकृतिकोमलाः ॥ उपमानोपमेययो: between the object संत: good people compared to and that शैलाः इव as mountains compared उन्नता: are high विशेष: any peculiarity किंतु but चैत् if asserted प्रकृतिकोमला: are delicate by na व्यतिरेक: Dissimilitude or Conture. 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 meri, upameya, and the mountains, upamāna, in one respect and a dissimilitude in another respect. XXI. सहोलिः। Connected Description or a Speech with सह 'with'. DEx. सहोक्तिः सहभावश्चेद्भासते जनरंजनः । Ex. दिगंतमममत्तस्य कौतिः प्रत्यर्थिभिः सह ॥

·54 faatfe: 1 49: EHT: HITA सहीतिः if site: fame pleasing to the peo yafeffa; together with (his) ple's mind foes simultaneity दिगनन् to the end of the shines forth quarters Connected Speech श्रगमत् reached of that (king) Def. A description of simultaneity or conjunction 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 सह । XXII. faalfa:-Speech of Absence or Speech with faat 'without'. DEr. विनोक्तिश्चेदिना किंचित्प्रस्तुतं होनमुच्यते । Ex. विद्या हृद्यापि साऽवद्या विना विनयसंपदम् ॥

·विनोक्तिः। 55 किंचिहिना हृद्या अपि प्रस्तुतम् हीनम् उच्यते विनोक्तिः if in the absence of someother thing the object on hand as inferior is represented Speech of Absence विद्या the learning though pleasing विनयमपदम् excellence of good behaviour विना without सा that, i.e., the learning 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. DzF. तच्चेत्किंचिहिना रम्यं विनोक्तिः सापि कथ्यते । Ex. विना खलैविभात्येषा राजेंद्र भवतः सभा । चेत् तत् किंचिदिना if राजेंद्र the object on hand एषा without some thing| भवतः else सभा as charming खले: विना that too Speech of Absence विभाति is termed O best of kings! this of thy honour council ball in the absence of wicked persons रम्यम् सापि विनीक्तिः कथ्यते shines. Def. When an object on hand is represented as charming in the absence of some 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 समासोतिः, परिकरः। XXIII. Farifa:--Modal Metaphor or Speech of Brevity. Dux. समासोक्तिः परिस्फूर्तिः प्रस्तुतेऽप्रस्तुतस्य चेत् । Ex. अयमैंद्रोमुखं पश्य रक्तचुंबति चंद्रमाः ॥ : चेत if अयम् प्रस्तुते in the description of | चंद्रमाः an object on hand अप्रस्तुतस्य of an object not on t'aqe hand परिस्फूर्तिः apprehension चुंबति समासौतिः Speech of Brevity पश्य this the moon red the face of the eastern quarter kisses 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) gefa the action of which belongs to a human being, (2) चन्द्रमाः in the masculine gender and (3) ऐन्दी in the feminine gender, we understand that a lover, the subject of discourse, out of passion, kisses the face of some beautiful damsel residing in the east. XXIV. परिकर:-Insinuator. - Dr. अलंकारः परिकरः साभिप्राये विशेषणे । Ex. सुधांशकलिवोत्तंसस्तामं हरतु वः शिवः ॥

·परिकरांकुरः । 57 been adorned by the moon fastga if the epithet साभिप्राय signifying the import परिकरः Insinuator fra: अलंकारः figure व: तापम् सुधांशुकलितोस:. whose crest has हरतु the God “Siva' your misery remove. Def. A speech with epithets signifying the import (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). the charming epithet epithet Figarantie: 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 charm agreeable to the effect like the present one. XXV. uftmişt:-Sprout of an Insinuator. Dkr. FTHATê fata o Haaseutight: 1 Bx. चतुणों पुरुषार्थानां दाता देवश्चतुर्भुजः ॥ दाता fase when the noun itself | 7 a: the four-armed God साभिप्राय signifying the import Vishnu परिकरांकुरः Sprout of an Insi-तुणां पुरुषार्थानां of the four objects nuator of human life भवेत् is 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 Four objects of life are th: 'merit', : 'wealth, TA: enjoyment' and #: liberation'. Here, the word as is one of the thousand names of the Lord Vishnu and is used here without epithets. The import of the speaker is that God 7732 alone (being four-armed) is able to distribute the four objects of life. XXVI. 99:-Paronomasia. Der. Tahna: at auf HUE: 1 सर्वदो माधवः पायात् स यो गंगामदीधरत् ॥ held up qiqetweite: relating to (1) 7: who an object on land, Tea the mountain Govar- (2) an object not on dhana hand and (3) both गाम् the earth 77ea: depending upon words peuta having many mea- सर्वदा always nings 1. 377**: the husband of Umā, 4: Paronomasia the Lord Siva सर्वदः all-giver पायात् may protect समाधवः the husband of FT who Lakshmi, the Lord 4TH the river Ganges Vishnu अदौधरत् 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).

·श्लेषः। 59 or The husband of Umā (Siva) who bore (on his. head) the river Ganges may protect (you). सर्वदो माधवः may be split into (1) सर्वदः माधवः and (2) सर्वदा उमाधवः । may be split into (1) यः अगं गाम् and (2) यः गंगाम्। Here, both Mādhava and Umādhava are objects on hand and this is therefore the Example of No. 1. यो गंगाम् Escample of No. 2. अल्जेन त्वन्मुखं तुल्यं हरिणाहितसक्तिना। . वन्मुखम् thy face . हरिणाहितसक्तिना हरिरीन by the deer आहिता effected #fa: attachment 39 = अजेन having the attach- / Jar ment effected by the deer in the form of the spot by the moon is equal % 3D Or वन्मुखम् thy face अजेन by the lotus हरिणा by the sun तुल्यम् is equal. आहितसक्तिना having an attachment placed (Lady !) thy face resembles the moon having an attachment effected by the deer (in the form of the spot). OI (Lady !) thy face resembles the lotus having an attachment effected by the sun in the act of blooming at the dawn). Here, अज 'moon' and अन ' lotus' which are upamānas are both objects not on hand. , ·अप्रस्तुतप्रशंसा। Example of No. 3. उच्चररिकौलालः शुशुभे वाहिनीपतिः । samfetata: having profuse 3xxfatera: having a vast effusion of blood expanse of water atfeituta: the comander of atigfa: the lord of the rivers the army (Bhishma) (ocean) शुशुभ shone शुशुभ shone The commander of the army, Bhishma, shone by the profuss effusion of blood or The Lord of the rivers, the ocean, shone by the vast expanse of water. Here, the commander Bhishma is the object on hand and the ocean is the object not on hand. XXVII. Gayu-Indirect Description. an अप्रस्तुतप्रशंसा स्यात् सा यत्र प्रस्तुताश्रया । Ex. एकः कृती शकुंतेषु योऽन्यं शक्रान्न याचते ॥ where शकुंतेषु among the birds that (description of #: one only object not on (774) clajtaka bird hand) कृती fortunate one प्रस्तुताश्या referring to an ob- 9: who ject on hand शक्रादन्य other than Indra अप्रस्तुतप्रशंसा स्यात् 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.

·Gagai : 1 61 Ex. (The chātaka bird) is the only fortunate 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 chātaka bird which is not the object on hand. This is not wh#tfall 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. प्रस्तुतांकुरः -The Sprout of Direct Description. प्रस्तुतेन प्रस्तुतस्य द्योतने प्रस्तुतांकुरः । Ex. किं भृग सत्यां मालुत्यां केतक्या कण्टकेचया ॥ प्रस्तुतेन by (description of) IT! an object on hand मालयां सत्यां when there is the प्रस्तुतस्य of another) object on hand कण्टकेडया full of thorns द्योतने in the apprehension केतक्या by the Ketaki प्रस्तुतांकुरः (it is) the Sprout of fa 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 amusement) with the (unblown) Ketaki full of thorns while thou hast here the Malati (Jasamine) flower. O bee ! Mālati fiower ·62 पायोक्तम्। Here, a lady, by the description of the bee's act with the unblown Ketakī 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. uza#-Periphrasis. Dur. पयायोत तु गम्यस्य वचो भग्य तराश्रयम् । E. नमस्तम्म कृतौ येन मुधा राहुबधूकुचौ ॥ गग्यस्य of the fact intended THE homage to be expressed by whom भग्यंतराश्रयम् referring to another | राडबधूकुचौ the breasts of Rahu's by a turn of speech spouse वच: तु the description सुधा useless qaratan Periphrasis were made. e 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 expressed 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 Rāhu's spouse were rendered useless. Here, the intended fact is that homage is to the God Vishnu only, because he was the killer of Rahu and thus rendered the breasts of Rāhu's spouse useless and this fact has been expressed by a turn of ·व्याजस्तुतिः। 53 speech, i.e., by different words which do not express it but by words which suggest it, simply for the purpose of giving a particular strikingness to the description. Periphrasis—A second kind. Dev. पयायोक्त तदप्याहुयद्यानेष्टसाधनम् । Ex. यामि चूतलतां द्रष्टुं युवाभ्यामास्यतामिह || अहम् चूतलताम् यामि I the mango creeper व्याजन under a pretext यत् इष्टसाधनम् the fulfilnment of one's own wish तदपि even that पय्यायीक्तम् Periphrasis (some) call युवाभ्याम् by you both here shall be stayed. बास्यताम् 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. 1979fat:-Artful Praise or Irony. Dur, उक्तिर्व्याजस्तुतिनिंदास्तुतिभ्यां स्तुतिनिंन्दयोः । कः खर्धनि ! विवेकस्त नयस पापिनो दिवम् ॥ Ex.

·64 3167eyfa: 1 frigigfar by (apparent) censure and praise afaricat: of the praise and fa: GT: censure यत् thy judgment what becaus the sinners to the heaven take. B: orfen: 51fa: fo! speech Artful Praise celestial Ganges ! दिवम् नयसे Def. when (1) the praise is understood by apparent censure and (2) censure by apparent praise, it is termed Artful Praise. Ex. O celestial river Gangā! 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 Gangā as taking the sinners to heaven provided they once bathe in her waters. N. B.-wayfa:=2169 ufa: Praise by an artifice-when praise is understood by apparent censure. When censure is understood by apparent praise, algfa: is explained as 29€ur fa: praise consisting in an artifice or a pretended praise. Example of No. 2. साधु दूति पुनः साधु कर्तव्यं किमतःपरम् । यन्मदर्थे विलूनासि दंतैरपि नखैरपि ।

·65 afat! N. B. Thi. SETTI messenger ! कर्तव्यम् to be done well यत् because अतःपरम् than this मदर्थ on my account किम् what other atra even by the teeth साधु good नखैरपि eren by the nails 997: again fagat sa 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 her own lord. Hence a censure resulted in the apparent praise. it, there is no strikingness consisting either in censure or praise. XXXI. TETET-Artful Censure DEN. निंदाया निंदया व्यक्तिर्व्याजनिति गीयते । Exfaat #frient un GTIFCIETIEDOT # ·66 आक्षेपः। as . निंदया by censure is to be censured निदायाः of censure who व्यक्तिः manifestation ते thy ध्यावनिंदा Artfal Oensure प्राक् formerly इति एकमेव only one गीयते is called धिरः head 'विधे creator! took away. he Def. When an apparent censure (of an object moi on hand) results in the censure (of an object not on hand), it is Artful Censure. OCreator ! 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 Brahmā 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 Brahmā, the creator, the object on hand, the speaker censured the God Siva, the object not on hand, in having imprudently suffered the other four heads of Brahmā to remain. XXXII. आक्षेप:-Hint. Dur. आक्षेप: स्वयमुक्तस्य प्रतिषधी विचारणात् । Ex. चंद्र! संदर्शयात्मानमथवास्ति प्रियामुखम् ॥ खयम् আন্নাল self told or expressed संदर्शव show or discover विचारणात् on deliberation or, or why प्रतिषेधः denial प्रियामुखम् face of (my) beloved भाक्षेपः Hint असि by self उस अथवा Omoon !

·qur 67 4 ART: 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. Dar. निषेधाभासमाक्षेपं बुधा: केवन मन्यते । Ex. नाहं दूतौ तनोस्तापस्तस्याः कालानलोपमः । केचन some posts not learned people of her fr ETH semblance of a denial : of the body आक्षेपम् Hint कालानलीपम: resembling the des- मन्बते regard tructive fire at the I end of the world दूती go-between CITY: 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 gobetween, is denied. The fact of excessive hardship, experienced by the lady under the pangs of separation, which was intended to be conveyed by the gobetween, the speaker, is suppressed 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 fattare: 1 A third kind of Hint. Der. Jaats jau a faca factia Ex. 17 GITa ada loft may be. विधी command or permi- nia i lover! ssion oft ea if thou goest when apparent goest निषेधच and the denial सम my तिरीहिते when bidden birth another kind in that same place at: Hint खात् Def. When the permission (to do some thing) is apparent (in words) but the devial (to do that thing) is hidden, it is a third kind of Hint. Es. Departest (thou), my love, if thou art determined 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. FOTIEHTA; or fact-Contradiction. Der. ITHTHE Ferata FATTETHT saai Ex. faafu afa! ETT at it aq TFTTT II बक्षीजी विनापि विरोधख of incongruity he when apparent विरोधाभास: Contradiction wa is called afe! O slender woman! thy breasts by the pearl-necklace though devoid of are charming or lit. possessed of necklace. 49 ·विभावना। 69 Def. When an incongruity (between two things) is apparent in words*), then it is called Contradiction. 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 in in the sense of 'charming only. XXXIV. fahraga-Peculiar Causation. DBF. विभावना विनापि स्यात्कारगां कार्यजन्म चेत् । Ex. अपि लाक्षारसासित रक्त वच्चरणदयम् ॥ cause कारणम् विना अपि though without स्यात् is called त्वचरण इयम् thy two feet कार्यजन्म चेत् if the production of | लाक्षारसासिक्तम् अपि though not the effect take place dyed with red lac विभावना Peculiar Causation रक्तम् red. Def. When the production of an effect is represented as being without cause, it is Peculiar Causation, 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- * ie, the incongruity is to be removed by explaining the words without 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. हेतूनामसमग्रले कार्योत्पत्तिश्च सा मता Ex. atauarta Tafa #HT: अमरत्वे OTTE of the causes God of love when incomplete walaumiaa: neither sharp for कार्योत्पति: the production of an hard effect by weapons also the world सामवा is termed that Pecus afa conquers. liar Causation Def. When the production of an effect is represented 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 deither sharp nor hard (being only five flowers) and are therefore quite inadequate to produce such an effect. The contradiction here must be removed by the supposition of some superhuman cause specially gifted by the Supreme Spirit.

·विभावना। 71 am नरेंद्रान् एव A third kind of Peculiar Causation. DES. कार्योत्पत्तिस्त तौया सा सत्यपि प्रतिबंधके । Ex. नरेंद्रानेव ते राजन् दशल्यसिभुजंगमः ॥ प्रतिबंधक when an impediment a thy सत्यपि though present असिभुजंगम: sword serpenti.e., कार्योत्पत्तिः production the serpent in the effect form of thy sword वृतीया third kind only the curers of that-Pecular Caupoisons 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, Dur. अकारणात्कार्यजन्म चतुर्थों स्यादिभावना। Ex. शंखाहौणानिनादोऽयमुदेति महदद्भुतम् ॥ अकारणात् from a different cause शंखात् from a conch-shell कार्यनम production of अयम् this effect वीणानिनाद: sound of a lute चतुर्थी fourth kind उदति proceeds विभावमा Peculiar Causation महदद्भुतम् great wonder. स्यात् is an ·fawaa ! Def. When the production of an effect is represented as being from a different cause, or, more literally, froin 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-shell-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 gie, the upamāna, because it was used for its upameya, the neck of a damsel. DEF. Fifth kind of Peculiar Causation. fahrlehrfüía UT FTEFEHTATTI Ex. शीतांशुकिरणास्तन्वी हंत संतापयन्ति ताम् ॥ নিৰৱা from an incongruous a alas ! taivístur: moon's (cool-rayed) कार्यसंपत्तिः production of rays effect ताम् that काचित् a certain kind तन्वीम् the slender lady विभावना Peculiar Causation संतापयन्ति inflame. Cause an SET is seen Def. When the production of an effect is produced 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 object 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. DER. कार्यात्कारणजन्मापि दृष्टा काचिदिभावना। Ex. 7: ETETTHCN Hatia | कार्यात् कारणजन्म अपि काचित् विभावना from an effect production of a cause also a certain kind Peculiar Causation is seen thy Atacait: hand-kalpa-tree i.e., wish-yielding tree in the form of the hand 7: TITTAT: ocean of fame अभूत् is produced. SET Def. When the cause is said to have been produced 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 विशेषोक्तिः, असंभवः। XXXV. fata :--Peculiar Allegation. काजनिर्विशेषोलिः सति पुष्कलकारणे । Ex. इदि सहयो बाभूत्स्मरदीये ज्वलत्यपि । ज्वलत्यपि सहक्षयः घुलकार abundant cause when there is कार्यानि: non-production of an effects fanathan: Peculiar Allegation मरदीपे cupid-lamp in the heart though burning diminution of oil (affection) did not take place. ল স্পন Def. The non-production of an effect when there existed abundant cause (for the same) is called Peculiar 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. असंभवः-Improbability. Dur. असंभवोऽर्थनिष्पत्तेरसंभाव्यत्ववर्णनम् । Ex. को वेद गोपशिशुकः शैलमुत्पाटयेदिति ॥

·असंगतिः। 75 अनिष्यत्तेः of the accomplish- 91T17: this sheplerd boy ment of an object মুল the mountain गोवईन 942 in the description of searcía would have eradicateu impossibility who असंभवः Improbability knet. Def. Improbability is the description of the accomplishment of a truly impossible act. Es. 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 Gokūla, the land of the shepherds. XXXVII. quifa:-Disconnection. DEF. विरुद्धं भिन्न देशवं कार्यहेल्लोरसंगतिः। Ex. विषं जलधरैः पौतं मूर्छिताः पथिकांगनाः ॥ cause कार्य हेत्वोः of the effect and the fact पौतम् विरुद्धं inconsistent पधिकांगना: भिन्न देशत्वम् different location असंगतिः Disconnection मूर्छिताः जलधरैः by the clouds poison (lit, water) was drunk the consorts of the travellers fainted. 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 असंगतिः। This figure is only an exception to the ornamento 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 coasorts, 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. Des, 2nd wala atze aaisaia ehiaa #TI lengi yana aftuaniCHUTU DCF, 3rd you autger अन्यत्र in another place to do of a thing to be done | प्रवृत्तस्य of a person engaged other than a face fa: the accomplishment another place quite contrary to the accomplishment too above that, i.e., Disconnec- qui So, i.e., the figure Distion connection. another (thing) afaka अन्यत् 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. Def. An incongruous effect of an object obtained by an agent engaged to do a quite different thing is torniod a third kind of Disconnection.

·fa: 1 Example of the second kind of Disconnection. अपारिजातां वसुधां चिकौर्षन् द्यां तथाऽकृथाः । Lord Kțishna) चिकीर्षन् wishing to do वसुधां the earth द्या the paradise *9915GTATA devoid of gifta agat: did so. or FTTC Lord Krishna who wished to make the earth Apārijātā devoid of the multitude of foest made the celestial world so i.e. quiftsiat devoid of Pārijāta tree. Pārijāta is a celestial tree produced at the churning 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 Satyabhāmā’s pleasure-garden, N. B.-This figure is possible only under a pun. गोवोडारप्रवृत्तोपि गोत्रोद्भेदं पुराकरोः ॥ **+ *festa = 9794-free from fa-assemblage of foes gert: Cent=making the earth devoid of the multitude of foes. अ not + पारिजातः Parijata tree = नास्ति पारिजातः यस्याम् making the paradise devoid of Pārijāta tree. । परित्राणाय साधूनां विनाशाय च दुष्कृताम् । धर्मसंस्थापनार्थाय संभवामि युगे 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। गीबीद्रेदम् (fauty (O lord Vishnu ) गोबोद्धार प्रवत्तः अपि though engaged in raising the earth the splitting of the earth formerly thou didst. अकरी: 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. faqat-Incongruity. Dss. विषमं वर्ण्यते यत्र घटनाऽननुरूपयोः । Ex. वयं शिरीषमृदंगी व तादृङ्मदनज्वरः ॥ यव where द्रयम् अननुरूपयोः of two incongruousक (things) ATEST घटना combination मदनज्वरः aga is described विषमम् Incongruity शिरोषमुहगी having the body soft as the Sirīsha flower this (lady) where that love-fever or torments of God of love where. Def. Vishama is a figure where a combination of two incongruous things is described. Ex. Where this lady with body as soft as the Sirisha 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. DEr. विरुद्ध कार्यस्योत्पत्तिरपरं विषमं मतम् । Ex. कौत्ति प्रसूते धवलां श्यामा तव कृपाणिका ॥ विरुद्धकार्यस्य of the opposite effect dark उत्पत्तिः production क्रपाणिका sword अपरम् another kind धवलाम् white विषमम् Incongruity fame मतम् is considered प्रसूते produces. तव thy Def. The production of an effect from an incongruous cause is considered a second kind of Incongruity. 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. Dus. अनिष्टस्याप्यवाप्तिश्च तदिष्टार्थसमुद्यमात् । Ex. भक्ष्याशयाहिमंजूषां दृष्टाखुस्तेन भक्षितः ॥

·80 URI इष्टार्थसमुद्यमात् from an endeavour भक्ष्याशवा with the hopo of made for a desired getting some catahles object अहिमंजूपाम् the snake basket अनिष्टस्य अपि of an undesired ob- दृष्ट्या having seen ject (ufae:) (entered) ETA: attainment by it तत् it, z.e., Incongruity Haa: was devoured TG: rat Def. The attainment of an undesired object 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 deroured 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. ###.--The Equal. Dur. समं स्यादर्णनं यत्र योरप्यनुरूपयोः । Ex. खानुरूपं कृतं सद्म हारेण कुचमण्डलम् ॥ where by the pearl-necklace अनुरूपयोः यो: of two agreeable | कुचमण्डलम् the circular bosoms objects TE6937 worthy of itself 27 description place समम् The Equal कृतम् selected. 1 ·समम्। 81 Def. F is the description of the combination of two agreeable objects. Ex. The circular bosoms were selected by the pearl-necklace as the (fit) place worthy of itself. Second land of समम् । DEE. सारूप्यमपि कार्यस्य कारणेन समं विदुः ।। Ex. नीचप्रक्णता लक्ष्मि! जलजायातदोचिता ॥ कार्यस of the effect काररीन by the cause मारुम्बम् अपि sameness also समम् Equal विदुः know O Goddess of riches ! जलजायाः born of water thy नीचप्रवणता resorting to the low people उचिता is worthy. नुमि ! 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 churning of the Ocean. Here, the character of Lakshmi is said to be the same as that of its cause, the water which naturally flows in a low direction. Third kind of समम् । DEr. विनानिष्टं च तत्सिविर्यमर्थ कर्तुमुद्यमः । Ex. युत्तो वारणलाभोऽयं स्यान्न ते वारणार्थिनः ।।

·82 विचित्रम् । यम् अर्थम् to do which thing arrutia: seeking for an elephant कतुम् ते thy उद्यमः endeavour अयम् this अनिष्टम् विना without an obstacle वारगलामः attainment of वारण तसिद्धिः the accomplishment of (impediment) that युक्तः स्यात् न is it not worthy. समस् 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 (वारण) impediment worthy of thee that sought for an elephant (वारण). 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 doorkeeper of the king's palace and this was addressed in jest by his (speaker's) brother-in-law who accompanied him saying that this arcu impediment) is equal to that वारण (elephant) sought for. XL. विचित्रम्-Strange. Dar. विचित्रं तत्पयनश्चेदविपरीतफलेच्छया । Ex. नमंति संतस्त्रैलोक्यादमि लब्धुं समुन्नतिम् ॥ the triple world चेत् if संतः good people विपरीतफलेच्छया with a desire toबैलोक्यादपि higher than obtain its opposite effect समुन्नतिम् exalted position प्रयन, an endeavour लम् to attain that नमन्ति bow down. विचित्रम् Strange ·अधिकाम् । 8 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. DEE. अधिकं पृथुलाधारादाधेयाधिक्यवर्णनम् ।। Ex. ब्रह्मांडानि जले यत्र तब मांति न ते गुणाः ॥ पृथुलाधारात् than the more spaci- { यत्र जन्ले ous containant ब्रह्मांडानि आधेयाधिक्यवर्णनम् the description | तव of the contained as ते greater गुणाः अधिकम् The Exceeding in which water the mundane worlds in that thy merits do not contain. न मांति 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. Dur. पृथ्वाधेयाद्यदाधाराधिक्यं तदपि तन्मतम् । कियहागब्रह्म यवैते विश्राम्यंति गुणास्तव ॥

·84 अल्पम् । as पृथ्वाधेयात् than the vast contained घन where यत् which these आधाराधिक्यम् the description of तव thy the containant गुणाः good qualities exceeding विश्रार्थनि come to an end सदपि it too वागतम the speech Bruhinaz that, i.e., Exceeding - Vedas मतम् is regarded कियत् how greato 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. স্মৃন্ম -Smallness. TEr. अल्पतु सूक्ष्मादाधेयाद्यदाधारस्य सूक्षमता । Ex. मणिमालोर्मिका तेऽदा जपमालायते करे । सूक्ष्मात् आधयात् small than the object contained. which of the containant smallness Smallness अद्य to-day ते thy कर in the hand मणिमालोनिका ring inlaid witi precious stones. जपमालायते becomes a rosary. यत् अाधारस्य सूझता अल्पम् 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.

·अन्योन्यम्। 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. Haritala-The Reciprocal. DEP. अन्योन्यं नाम यब स्यादुपकारः परस्परम् ॥ Ex. FTOTHT TTIAT HITA TT TFA TETTHET NI where परस्परम् mutual BUTTT: benefit स्यात् (aa) there अन्योन्यम् नाम the figure Reciprocal बियामा शशिना भाति সুমী वियामया called भाति the night by the moon looks splendid the moon by the night looks splendid. Def. When two things benefit each other (by doing the same act causing each other's beauty), it is the Reciprocal. Es. 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 and the moon is the cause of the night looking splendid.

·86 विशेषः । the sun . XLIV. विशेष:--The Extraordinary. DEH. विशेषः ख्यातमाधारं विनाप्याधेयवर्णनम् । Ex. गतेऽपि सूर्ये दीपस्थास्तमश्छिदंति तत्करा: ॥ ख्यातम् well-known सूर्य आधारम् the containant নান ঋদি though set विनापि even without दीपस्थाः abiding in the lamp आधेयवर्णनम् the description of the तत्कराः its (sun's) rays object contained तमः the darkness विशेषः Extraordinary छिदंति expel. Def. The description of something dependent, i.e., the object contained as existing without its wellknown 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 प्रतिपद्याधिक बभौ दिनान्ते निहितं तेजः 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. DEr. विशेष: सोऽपि योकं वस्त्वनेकत्रवर्ण्यते । Ex. अंतर्बहि:पुरःपश्चात्सर्वदिलपि सैव मे । if अंतः यदि एक one वस्तु अनेकव वर्यते सीऽपि विशेष: object in many places is described that too the Extraordinary in बहिः out in the front पश्चात् behind में सर्वदिक्षु अपि in all the directions सैव only she. Def. If one and the same object is described as existing in many places, it is also termed the Extraordinary. 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 have been represented as possible only metaphorically. Third kind of the Extraordinary. DEr. किंचिदारंभतोऽशक्यवस्त्वंतरकृतिश्च सः । Ex. त्वां पश्यता मया लब्धं कल्पद्रुमनिरीक्षणम् ॥

·88 QUITETAT: seeing किंचित् a certain (act) त्वां thee trva: commencing to do पश्यता #uzakat fat even the per- HET by me formance of another agafadtaun the sight of the impossible act kalpa tree the Extraordinary लब्धम् was got. Def. When some one who has commenced to do an act chances to do another impossible act (unconnected with the former), it is the third kind of the Extraordinary. Es. '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. 21910: 1917: Frustration. DEr. स्थायाघातोऽन्यथाकारि तथाकारि क्रियेत चेत् । Ex. येजगत्मीयते हंति तैरेव कुसुमायुधः ॥ चेत् a: (gw:) by which (flowers) तथाकारि the thing which pro- जगत् the world duces its natural effect iga is pleased Theraf as the one which pro-ai ra by the same (flowers) duces another effect कुसुमायुधः the flower-shafted क्रियेत is represented God of love 18ta: enq it is Frustration. हंति torments, Def. When a thing which produces the established result, i.e., the effect natural to its cause is ·QTSTA: 1 89 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 produce 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. Dar. Tu faastra FIAT früfattuati Ex. दया चेहाल इति मय्यपरित्याज्य एव ते ॥ asfa सौकर्येण with facility निबडा begun क्रिया an act faritent the contrary of that act अपि (here) also ( cara:) Frustration मयि on account of being a boy दया चेत् if (thou hast) compassion ते अपरित्याज्य एवं cannot be abandoned. by thee 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. Es. 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 ·90 कारगणमाला। 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. 2 ITT: XLVI. FTTTHICTY—Garland of Causes. Der. Tju: HTTTATGT EITTITUTHUVAth: 1 Ex' 709 :Frar 2073119 Fagor T: -q4791Fiqere: by the causes TGE is called in which a preceding en by morality. object is spoken of it: wealth as the cause of the free by wealth succeeding one donation T'T arrangement caria by donation ATUATGT Garland of Causes tags : 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.

·एकावल्ली। 91 Ex. भवन्ति नरकाः पापात् पापं दारिद्रासंभवम् । दारिद्रामप्रदानेन तस्माद्दानपरो भव ॥ %3 (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. Dur. गृहौतमुक्तरीत्यार्थ श्रेणिरेकावली मता। Ex. नेवे कणांतविश्रांते की दोस्तंभदोलिती ॥ दोस्तंभी जानुपर्यंतप्रलंबनमनोहरौ। जानुनी रत्नमुकुराकारे तस्य महौभुजः । the ears ears ग्टहीतमुक्तारीत्यार्थ श्रेणिः a series of wafasia extending as far as statements in which each suceeeding thing कणों is taken as an attri- TEHETETT extending as far as bute of each precedthe post-like arms ing thing and then दोस्तभौ post-like arms made to as जानुपर्वतप्रलंबनमनीहरौ charming on such account of their exten- एकाकली मता is considered the sion as far as the knees Necklace जानुनी knees तस्य महोभुनः of that king रवमुकुराकार appearing like jewelled eyes mirrors. cease Def. A successive series of statements made in a manner in which each succeeding thing is taken (esta) as an attribute of each preceding thing and that thing which was first taken as an attribute is ·92 Chrasti made to cease (a) as such by being afterwards made a subject and qualified 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 arms 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 negatively by what follows. न तज्जलं यन्न सुचारुपङ्कजं न पङ्कजं तद् यदलौनषट्पदम् । न षट्पदोऽसौ न जुगुञ्ज यः कलं न गुञ्जितं तन्न जहार यन्मनः ॥ Bhatti 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; sud there was not a hum which did not attract the mind. Here, of water, lotuses must be considered as denied ; of lotuses, bees; of bees, humming; and of Drewniany attriction ·मालादीपकम्, सारः । 98 XLVIII. मालादीपकम् -The Serial Illuminator. Der. दीपकैकावलौयोगान्मालादीपकमुच्यते । Ex. स्मरण हृदये तस्यास्तेन त्वयि कृतास्थितिः ॥ दीपकै कावलीयोगात् from a combi- स्मरण by Cupid nation of the figures | तस्याः हृदये in her heart the Illuminator and fefa: setting one's foot the Necklace कृता was made मालादीमकम् the Serial Tiluminator उच्चत is called त्वयि in thee. by him Def. A combination of the figures, दीपकम् (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 hearteof 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 fefa: hat being associated with two objects प्रकृत and अप्रकृत, it is the Illuminator; and by metatarstem of the lady's heart, it is the Necklace (see the preceding figure). Thus, we have a blending of the two. XLIX. सार:-The Climax. Dडा. उत्तरोत्तरमुत्कर्षः सार इत्यभिधीयते । मधुरं मधु पीयुषं तस्मात्तस्मात्कवेर्वचः ॥

·94 यथासंख्यम् । सार इति उत्तरीतरम् successively उत्कर्ष: Excellence the figure Climax अभिधीयते is called honey मधुरम् तस्मात् पौयुषम् तक्षात् कवेः वचः sweet than that the nectar th that poet's speech. Def. Excellence (rising) succe ccessively 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 gradually in excellence. L. यथासंख्यम्-The Relative Order. DEF. यथासंख्यं क्रमेणैव क्रमिकाणां समन्वयः Ex. शत्रु मित्र विपत्तिं च जय रंजय भंजय ॥ क्रमिकाणाम् of serial objects क्रमणैव in due order समन्वयः mutual connection The Relative Order शत्रुम् the foe मित्रम् रंजय विपत्तिम् संजय conquer the friend gratify the calamity destroy. यथासंख्यम् Def. The Relative Order is a mutual connection 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 विपत्तिम् is respectively connected with जय, रञ्जय, and भञ्जय in their due order.

·पर्यायः। 95 LI. पर्याय:--The Sequence. DEr. पर्यायो यदि पर्यायेसैकस्याने कसंश्रयः । Ex. पद्म मुक्ता गता चंद्रं कामिनौवदनप्रभा ॥ यदि if कामिनीवदनप्रभा the lustre of this of one object lovely woman's face पविया in succession पद्मम् the lotus अनेकसंशयः residing in many gat having left places चंद्र पर्यायः 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. the moon Second kind of the Sequence. DEr. एकस्मिन्वद्यनेकं वा पर्यायः सोऽपि संमतः । Ex. अधुना पुलिनं तत्र यत्र स्रोतः पुराऽजनि । or if formerly water सीत: अजनि was यदि वा एकनिन् अनकम् सोऽपि पर्यायः संमतः in one object many that too the Sequence is regarded where अधुना now there sand bank. पुलिनम् यत्र Def. Or, if many objects are said to reside in one and the same place in succession, that too is regarded as the Sequence, ·Ës. 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. परिबत्ति:-The Return. one arrow Das. परिवृत्तिविनिमयो न्यूनाभ्यधिकयोर्मिथः । Ex. जग्राहैकं शरं मुत्ता कटाक्षान् सरिमुश्रियः ॥ न्यनाभ्यधिकयोः of lesser and greater | एकम् शरम् things मुक्का having discharged मिथः mutual रिपुत्रियः of the enemy's God • विनिमयः exchange dess of wealth परिवत्तिः the Return कटाक्षान् (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 (कटाक्षान्). LIII. fast-The Special Mention or The Exclusion of Specification. Dr. परिसङ्ख्या निषिद्धैकमेकस्मिन्वस्तुयन्त्रणम् । Ex. स्नेहक्षयः प्रदीपषु न खान्तेषु नतभ्रुवाम् ॥

·विकल्पः । 97 एकमवन्तु दिषिय in one object on hand प्रदोष one object नाम् having denieri restriction the Special Mention diminution ni ni in the lamps of women of curred eye-brows in the hearts not, यन्ताम् परिमया स्नेहक्षयः Def. The denial of the existence of something in a certain object anil 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. Dur. विरोध तुल्यबलयोर्विकल्यालंकृतिमता। सद्यः शिरांसि चापान् वा नमयन्तु महौभूजः ॥ the kings at once तुल्यबलयोः of equal probability महौसुज; विरीधे when there is opposi-सदा: tion शिरासि विकल्पालंक्रतिः the Alternative नमान्न is considered चापान् वा their heads let bend 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 same time and thus restricts the agent to have recourse to only one of them, it is called the Alternative.

·98 T! 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 bow which are opposed to each other, the former being the mark of surrender and the latter, of war. LV. #99:-The Conjunction, thy foes of many on back see DEP. बडूनां युगपद्भावभाजां गुम्फ: समुच्चयः । Ex. 7 a quicum am a Hagfaa: N युगपसावभाजाम् of actions of simul- } भवहिषः taniety नश्यन्ति take flight वहनाम् पथात् T: combination पश्यन्ति समुनयः the Conjunction वयन्ति च and fall down. Def. The Conjunction is a combination of many actions that are described as being simultaneously produced. Ex. 0 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 over Pharpaces at Tela "I came, saw, conquered (veni, vedi, vici). * The foes of the speaker. !

·कारकदीपकम्। 99 वयः Second kind of the Conjunction. DEr. अहंप्राथमिकाभाजामेककार्यान्वयोऽपि सः । Ex. कुलं रूपं वयो विद्या धनं च मदयन्त्यमुम् ॥ महप्राथमिकामाजाम् of things with | कुलम् noble birth emulaticia छपम् handsome appearance एक कार्यान्वयः that go to effect one the pime of youth thing विद्या learning अपि also धनंच and the wealth that, in the Conjunc- 67 him tion सदयसि exhilerat Def. A combination of many things that go to effect a thing with emulation or competition, is also termed the Conjunction. Or, in other words, a combination 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. Dsr. क्रमिकैकगतानां तु गुंफः कारकदीयकम् । Ex. गच्छत्यागच्छति पुनः पान्धः पश्यति पृच्छति ॥ क्रमिकैकगतानाम् of actions contraveller one गच्छति goes again पान्थः nected with kāraka in succession पुनः गुम्फः combination आगच्छति कारकदीपकम् the Case-Illumina- पश्यति tor प्रकृति comes sees asks.

·100 #47191 Def. A curbiration of actions that are success sively connected with Karaka (case-noun) is called canctum. Or, in other words, whto the same Karaka (Case-1000) is connected with many verbs in successiou, it 15 miétuma. Es. The traveller gous, uyaia cuides, Stey and asks (somelling). Here, wi-a avun in the nominative case, is connected with 4 verbs 1791a, etc., in succession but not simultaneously as in the preceding iyure #4: where simulicniery is desired. LVII. FATE:--The Convenience. Dir. FFTÍST: HTT ATTUPATETTE: 1 Ex. उत्कण्ठिता च तरुणी जगामास्तं च भानुमान् ।। SITUÍsâ: through the pre-sanat young lady sence of some other ficar a longed for (her lover) भाभुमान् कार्यसौं कर्यम् facility of an act अलम् जगाम set in. Cafe: The Convenience cause the sun 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 cailed the Convenience. Ex. No sooner did this youug 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 ·प्रत्यनोकम् । sun's setting (expressed by the two as in the two sentences). The larly longed for her lover and was about to yo to meet him ; and this was easily accomplished by the accidental operation of auother cause the setting of the sun, which enabled the lady to set out freely under the protecting mantle of the dark. LVIII. Teta-The Rivalry. Der. galatai goga: Tat: Ja ATTA: | जैत्रनेत्रानुगी कर्याधुत्पलाभ्यामधः कृती। Ex. of the enemy उत्पलान्याम् by the lilies Sahar the servants of the apen: strong gat: पर on any partisan 1977: attempt प्रत्य नौकम् The Rivalry victorious eyes the ear's ut TET: IT 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. The 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 कायार्थापत्तिः। Der con la #: 5 that moon LIX. ftatuiuffa:-The Necessary Conclusion, hqeala sifafa: #latafufufraza l Ex. स जितस्त्वन्मुखेनेन्दः का बार्ता सरमौरुहाम् ॥ के मुन्थन by the expression 'how is called much more by thy face hefers: accomplishment of an act fara was conquered कालार्धापत्ति' the Necessary Con- सरसौहाम् of the lotuses clusion in the province #1 what of Poetry वाता mention. Def. The accomplishment of an act founded upon the popular maxim fa#ma: 'argument with a stronger reason', is termed the Necessary Conclusion, कैमुत्य is the abstract noun of किमुत 'how much more'. fakta: is usually called quoiquarit: the maxim of the stick and the cakes. When a stick and sume 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 conquered much more becomes a necessary conclusion, 1 ·काव्यलिंगम्, अर्थान्तरन्यासः । 103 Ex. LX. कायलिंगम्-The Poetical Reason. Dsr. समर्थनीयस्यार्थस्य काबलिंग समर्थनम् । जितोऽसि मन्द कन्दर्य! मच्चित्तेऽस्ति बिलोचनः । समर्थनौवस्य to be established जित: असि thou hast been conof a fact quered समर्थनम् justifying in my mind काव्यलिंगम् The Poetical Reason बिलाचनः three-eyed God Siva foolish resides कन्दर्प cupial 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 Sira. 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. अर्थान्तरन्यासः अर्थान्तरन्यासः -The Transition. DEF. उक्तिरर्थान्तरन्यासः स्यात् सामान्यविशेषयोः । हनूमानब्धिमतरदुष्करं किं महात्मनाम् ॥ Ex. सामान्यविशेषयी: of a universal pro- अधिम् the ocean position and a parti- अतरत् crossed cular instance महात्मनाम् of great men उति: assertion टुकरम् impossible अर्थान्तरन्यास: the Transition किम् what. इनमान् the monkey-God Hanuman ·104 Tapi 1:1 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 inpossible for great nen Here, a particular instance is confirmed by a universal proposition. 2 Example of a universal proposition supported by a particular instance. गुणववस्तुसंसर्गाद याति खल्योऽपि गौरवम् । पुष्यमालानुषंगेगा सूत्रं शिरसि धार्यते even गुणवद्वस्तुसंसर्गात् by association of | पुष्यमालानुषंगेगा by the union with a the meritorious wreath of flowers fo the meanest स्तम् thread creature মিমি on the head गौरवम् greatness धार्यते is worn घाति 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.

·विकलर:, प्रौढोक्तिः। 105 LXII. fat:-The Expansion. Ex. in which न जिग्य because महान्तः DEF. यस्मिन्विशेषसामान्य विशेषाः स विकस्वरः । स न जिग्ये महान्तो हि दुईर्षाः सागरा इव ॥ यस्मिन् that (king) विशेषमामान्य विशेषाः particular, genewas not conquered ral and particular assertions great men that सागरा व like the oceans विकखरः the Expansion दुईर्षाः 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. welfa:-The Bold Speech. Dxs. प्रौढ़ोक्तिमत्कर्षाहेतीत तुत्वप्रकल्पनम् । कचाः कलिन्दजातोरतमालस्तोममेचकाः ॥ Ex. a उत्कषाहिती which cannot form as a cause of excellence नहेतुत्वप्रकल्पनम् attribution of certain cause to it प्रौदीक्तिः The Bold Speech the tresses कलिन्दजातौरतमालस्तीममंचका: black as the tamāla group grown on the bank of the Yamunā river.

·106 HATCATI 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 Yamunā. The water of the Yamuna 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 Yamunā river. Still, it is asserted to be so here. Hence it is called the Bold Speech LXIV. 441291-The Supposition. DEr. सम्भावना यदौत्य स्यादित्यूहोऽन्यस्य सिद्धये । Ex. यदि शेषो भवेहता कथिताः स्युर्गुणास्तव ॥ 98: Lord of serpents & narrater अन्यस्य of another act face for the accomplishment यदि इत्थं स्यात् if it were so इति conjecture सभावना the Supposition if भवेत् happen तव thy TUT: merits feat: : would have been desa cribed. Def. A. conjecture assumed through the use of the expression if it were so' for the accomplishment of another (impossible) act, is termed the Supposition, ·मिथ्यावमितिः। 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 subjunctive clause is reckoned by the author of Kāryaprakāsa as the third kind of अतिशयोक्ति. LXV. thotzafera:- The False Determination. Dxr. किञ्चिन्निध्यात्वसिद्धार्थ मिध्यान्तरकल्पनम् । Ex. f9ffidagi qara GETİ 11. किञ्चिन्मिथ्यात्व सिद्धार्थ for the purpose | मिथ्याध्यवसितिः the False Deterof establishing a false Diination assertion वनजम् garland of sky-flowers fe177756477 & statement of 787 wearing another absolute false 1 217 the prostitute thing वायत् 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= reducing 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 afagutra by the author of K. P.

·108 afway, ET1 LXVI. faa--The Artful Indication. Der. Te Ratayfalat ada E afar faraja att hgaar feilfa in the object on hand एषा this (maiden) awaryfafqan of the reflective 2017 when water representation of an निते had gone out incident on hand सेतुम् bund avia delineation fitofa wishes. ৱিষ is the Artful Indica. tion Def. area 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 another lady indirectly intimates the same meaning which is reflectively 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 buod after all the water had gone out. LXVII. JEITH-The Enrapturing. Dr. उत्कण्ठितार्थसंसिद्धिविना यत्वं प्रहर्षणम् । Ex. तामेव ध्यायते तत्म निसृष्टा सैव टूतिका ।

·प्रहर्षणम् । 10g यनम् विना without an effort ताम् एव only her उत्कण्ठितार्थससिद्धिः accomplishment ध्यायत तस्मै to him thinking of a thing longed for मव दूतिका that same messenger प्रहर्षणम् the Enrapturing निसृष्टा was sent. Def. When the accomplishment of a thing eagerly 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 lamp The Second kind of the Enrapturing. Dar. aliadatefului HE ESTE Ex. दीपमुद्योजये यावत्तावदम्युदितो रविः ॥ arfoseala than the desired दीपम् अधिकार्थस्य of something more उद्योजयेत् kindle furs: attainment तावत् than the Enrapturing tra: यावत् no sooner अभ्युदितः Def. The attainment of something more than what was desired is called the second kind of the Enrapturing प्रहर्षणम् the sun rose, ·110 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. Ex. Dar. यत्नाटुपायसिद्धार्थात्माक्षाल्लाभः फलस्य च । निध्यञ्जनौषधीमूलं खनता साधितो निधिः । उपासिद्धार्थात् attainment of निध्यंजनौषधीमूलम् the root of a magic plant यत्नात् from an effort by a digger साक्षात् फलस्य of the object itself निधिः treasure attaininent also साधित: was obtained. means खनता लाभःच 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. D. दृष्यमाणविरुद्धार्थसंप्राप्तिस्तु विषादनम् । Ex. दीपमुद्योजयेद् यावनिर्वाणस्तावदेव सः ।

·उल्लामः। III इष्यमाणविरुद्धार्थसंप्रापिः तु the attain- दौपम् the lamp ment of a thing oppo- उद्योजयेत् kindles sed to what was clesir- atas than ed that faureat the Despondency निवांग: extinguished. थावत् 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. DEr. एकस्य गुणदोषाभ्यामुल्लासोऽन्यस्य तो यदि । Ex. अपि मां पावयेत्साध्वी नावेतीच्छति जाह्नवी ॥ एकस्य of one object TVÉTET2477 by merit and demerit अन्यस्य of another object यदि तौ if those two उल्लासः Abandonment साध्वौ chaste woman माम् अपि पायत् इति having bathed me also may purify SO जाह्नवी the river Ganga desires, इच्छति Def. If the delineation of merit and demerit of one object conveys a reference to the merit and demerit 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 (in my waters) and purify me also', so the river Gangā desires.

·II2 उल्लासः। Here the merit--the purificating character of a chaste woman refers to the merit of the Gangā who prays for purification. Hence this is the example of No. 1 merit referring to a merit. censure. Example of (2) demerit referring to a demerit. काठिन्यं कुचयोः सृष्टं वाञ्छन्त्यः पादपद्मयोः । निन्दंति च विधातारं त्वबाटीष्वरियोषितः ॥ कुचवीः of the bosoms Sfruitfea: the wonien of (thy) foes काठिन्यम् hardness वडाटीषु in thy cavalry पादपद्मयो: lotus like feet विधातारम् the Creator सष्टम् created निन्दंति वाञ्छ 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 lotuslike feet censure the Creator (Brahma.). 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 यन्नाशयति सज्जनम् ॥ because तत् that, सजनम् । the good man धनस्थ एव of the riches only न पश्यति does not resort to अभाग्यम् misfortune. यत् ·अवज्ञालंकृतिः। II3 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. not this itself a boon. Example of (4) demerit referring to a merit. लाभोयमेव भूपालसेवकानां न चेहधः ॥ चेत if भूपालसेवकानाम् of the servants of अयम् एव the king लाभः वधः 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 nonkilling 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. अवज्ञालंकृति:-Non-Abandonment. DEr. ताभ्यां तौ यदि न स्यातामवज्ञालंकृतिस्तु सा। Ex. स्वल्पमेवांबु लभते प्रस्थं प्राप्यापि सागरम् ॥ a measure Ocean यदि ताभ्याम् by those two तौ : those two न खाताम् do not occur that अवज्ञालंकाति: Non-Abandonment प्रस्थम् सागरम् प्राध्यापि खल्पमेव अंबु लमत though reached only a small quantity water gets.

·114 अनुना। Def. If, by the delineation of them, i.e., merit and demerit of one object, they—the merit and demerit 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. 2 Example of demerit occasioning no demerit. मौलंति यदि पद्मानि का हानिरमृतद्युतेः ॥ यदि पद्मानि मौलति if lotuses contract aga: to the moon का what हानिः 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. अनुजा-The Permission. Der. दोषस्थाभ्यर्थनाऽनुन्ना तवैव गुणदर्शनात् । Ex विपदः सन्तु नः शश्वद् यासु संकोताते हरिः ॥ .

·लेशः। II5 on दीपस्थ undesired ohject शवत always अभ्यर्थना praying for विपदः calamities सद in itself let occur गुणदर्शनात् account of the यामु in which result of good quali- हरिः God Vishnu ties संकोचते is glorified, মা the Permission Def. The praying for an undesired object on the ground of the acquirement of virtuous qualities resulting 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 Kuntī, the mother of the Pandavas. LXXII. लेश:--The Suggestion. DEr. लेशः स्याद्दोषगुणयोर्नुणदोषत्वकल्पनम् । Ex. अखिलेषु विहङ्गेषु हन्त स्वच्छन्दचारिषु ॥ शुक! पञ्जरबन्धस्ते मधुराणां गिरां फलम् ॥ दोषगुणयोः of demerit and merit शुक! parrot ! गुणदोषत्व कल्पनम् attribution of a thy merit and demerit पसरवन्धः confinement in a cage is the Suggestion मधुराणाम् melodious Alas! गिराम् अखिलेषु विहंगेषु when all the birds | फलम् result. खच्चन्दचारिषु freely wander Def. लेश: is a figure in which the merit and demerit of one thing are respectively construed to be the demerit and merit of the other. लेश: स्यात् of songs ·116 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 construed to be a demerit in a parrot and the non-utterance is construed to be a werit in other birds. sense मुद्रा ou hand LXXIII. FT-The Sealing. DEN. सध्यार्थसूचनं मुद्रा प्रकृतार्थपरैः पदैः। Ex. fadagaf agit pohragat a FT I प्रकृतार्थपरैः serving the the Sealing It that young maiden by words नितंबगुवाँ having large buttocks सूयार्थ सूचनम् intination of the rafayet 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 Bject to be hinted at, then it is called the Sealing. Ex. This maiden has large buttocks and a couple of spacious eyes. Here, yrafayat 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 ga 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 purpose on hand—the description of the lady--also names the metre of the verse to be hinted at by the poet, the stanza being the illustration of that metre.

·रत्नावली। 117 It is usual among the Sanskrit prosodians to illustrate a metre, defined, by a stanza contaiuing the name of that metre which will also serve to explain the sense contained in the stanza. Hence the figure is called 781-an expression of things by their right names. LXXIV. Tara-The Jewelled Necklace. Dns. क्रमिकं प्रकृतार्थाना न्यासं रतावली विदुः । Ex. चतुरास्यः पतिलक्ष्मयाः सर्वजस्त्वं महीपते ।। harafatą of the words serving | agok: the sense on hand क्रमिक serial न्यासम् putting HIT: रत्नावलौम् The Jewelled Necklace fas: (poets) know ufa: महीपते O king! : त्वम् thou * having handsome face or four headed God Brahma of riches=of Goddess Lakshmi lord omniscient or God Siva. Def. Ratnávali 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 agte: etc., serve the sense on hand in describing the king and are also names of * चतुरं आसं यस्य सः +चत्वारि आखानि यस्य सः ·I18 agy: 1 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 HET (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 Mudrā. LXXV. ETT: -The Borrower. DEF. तद्गुण: खगुण त्यागादन्यदीयगुणग्रहः । Ex. पद्मरागायते नासामौक्तिकं तेऽधरत्विषा । TUETA by quitting one's own quality etayott: assuming the quality of another तद्गुणः the Borrower thy नासामौक्तिकम् nose-pearl अधरविषा hy the lustre of the lower lip. TTTTā becomes Padmaragas (ruby of lotus colour), 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 padmaräga 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 padmarāga ruby. * The pearl has been eclipsed by the lady's lip.

·119 पूर्वरूपम्। LXXVI. पूर्वरूपम्-The Original. DEr. पुनः स्वगुणसंप्राप्तिः पूर्वरूपमुदाहृतम् । Ex. हरकण्ठांशुलिप्तोऽपि शेषस्त्वद्यशसा सितः ॥ शेषः again खगुणसंप्राप्ति: assumption of one's own quality पूर्वरूपम् the original उदाहलम् is called हरकण्ठांशु लिप्तोऽपि though covered with the lustre of Siva's neck the serpent lord by thy fame white. त्वद्यशसा सितः 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-blue colour-on account of the existence of the Kālakūta 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. DEr. पूर्वावस्थानुवृत्तिश्च विकृते सति वस्तु नि । Ex. दोपे निर्वापितेऽप्यासीत्कांचौरत महन्महः ।

·I20 Han: I was. वन्तुनि an object निर्वापिते अपि though extinguished विकते सति when disappeared metta: by the jems inlaid in पूर्वावस्थानुवति: continuity of the the girdle of a lady original state महत् ample also light दोपे lamp आसीत् Def. The continuity of the original condition, notwithstanding the disappearance of an objectthe 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 ( Haar) 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. HAFT: The Non-Borrower. संगतान्यगुणानंगीकारमाहुरतद्गुणम् । Ex. चिरंरागिणि मच्चित्ते निहितोऽपि न रजसि । -- संगतान्यगुणानंगीकारम् non-assuming | चिरम् for a long time the quality of another tfifu red (affectionate) object though con- मच्चित्ते in my mind nected with it fafedtsfa though seated ETTE Non-Borrower न रचसि dost not become red call (affectionate) Def. The non-assuming, by an object, of the quality of another though connected with it (or in ·POT: 121 other words, when an object does not borrow the quality of another object, it) is called the Non- Borrower. Ex. 0 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 to 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. TUT:-The Conformity Dr. प्राक्सिहखगुणोत्कर्षोऽनुगुणः परसन्निधेः । Ex, नौलोत्पलानि दधते कटाक्षरतिनौलताम् ॥ que: by the presence of 1994: the Conformity another object salaatta blue lotuses arahfezarot. the pre-emi. #T": by the side-glances. nence of one's own अतिनीलताम् extreme blueness previously settled/ धत 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 ·T22 मिनितम्. सामान्य Hers, the dark blue lustre of the listusis is increase ed by the pre-eviuent blue side-ziances of the lady falling on them. LXIIX. मीलितम्--The Lost. Dss. मौलितं यदि सादृश्याभेद एव न लक्ष्यते । Ex. रसो नालक्षि लानायाश्चरगो सहजाको ॥ मीलितम् यदि साहश्यात् सहजारुण चरण the Lost naturally red in the foot of the red lac dye was not perceived. On account of reserblance a distinction alone is not perceived भदः एव न लक्ष्यते लातावा: न अलति Def. When distinction alone is not perceived (between two objects on hand) on account of their resemblance, then it is the Lot. 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. Dur. सामान्यं यदि सादृश्याविशेषो नैव लक्ष्यते । Ex. पक्षाकरप्रविष्टानां मुखं नालक्षि सुधुवाम् ॥

·Saatiana. Fa: 1 1: if यदि पहा करप्रविष्टानाम् that entered t on account of reseniotus-pool blance सुधवार of women of 0039 fare distinguishable pecuful eyebrows liarity face नैव लक्ष्यते is not at all perceived 7 was not perceived. सामान्यम् The Sameness Def. When any distinguishable peculiarity what ever is not perceived (between two objects comin in contact) on account of their close resemblanco, i is called the Sameness. Ex. The faces of the Fomen of beautiful eye brows that entered the lotus-poul 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 spoker of as hariny becoine identical. In the Atran (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 tht Atran, 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 Fifaa. LXXXI. treat -- The Un-Lost. LXXXII. fafat:- The Un-Sameness. Dxr. Wafuerat: rnaigrufaaraat Ex. FEHTE वयशोमम्नं मुराः शीतेन जानते ॥

·124 einn fagna: 1 Refuerat: of any distinction and HT: the celestial beings of any discriminating an eclipsed by thy fame peculiarity हिमाद्रिम् the Himālaya moun- मूतौं in the manifestation lain grtfa fanaat The Un-Lost and a by chillaess The Un-Sameness Helgulve जानले Def. If any distinction prohibited in the area (LXXIX) becone manifest afterwards, it is called the catinaa. Def. If any discriminating peculiarity prohibited in the #THI become manifest afterwards, it is called the faina 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 orna. 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 fastua. लक्षितान्युदित चन्द्र पद्मानि च मुखानि च । चन्द्र उदिते when the moon had ] मुखानि च risen লম্বিনালি पमानि lotuses and the faces became distinguishable. Ex. After the rise of the moon, the lotuses and the faces of the damsels became distinguishable. In the FTAR, the faces of the damsels that entered the lotus-pool were undistinguishable from the ·#7 I25 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. 3TT-The Reply. Der. Farfatnauiga स्थाढूढ़ोत्तरमुत्तरम् ! Ex. यत्नासी वेतसी पान्थ! तवयं सुतरा सरित् ॥ यन असौ वैतसौ father afect containing some import गूढ़ोत्तरम् a secret reply is The Reply ORIO O traveller 1 where that ratan there this river is fordable, na इयं सरित् नुतरा उत्तरं स्यात् 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.

·126 3717 Second kerid of the Reply. DEP. ATTUTTHAY fanaâ ! Ex â Triantai: T: = 22: I +3707** - 1HTH Curssting their wives of same words of the 267667997at: those that are bent query and its two upon bringing the replies lands to perfection - चिव मुत्तरम् a skilful reply husbanduen उत्तरम् * The Reply EZT: who move in the air who which is transitory 17779utat: those that are en- (1) birds (2) the age gaged in maintaining कि चलम् 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 one reply marie serres 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. 27: (1) birds (2) age. के दारः =a field. The first question के दारपोषणग्ता: and its auswer GEITUTTAT: consist of the same words (lit letters). 23: is the one reply made to the two questions asked. 23: when it means, .birds' is the nominative plural of the word fa in; and when it means the age' it is the nominative singular of the neuter noun वयस्. Hence these are styled the skilful replies.

·सूमम. पिचितम् । 127 LXXXIV. सूक्षयम्- -The Subtle. Dx. सूक्ष्म पराशयाभिशेतरसाकृत वेष्टितम् । Ex. मयि पश्यति सा केशैः सोमन्तमणिमावृणोत् ॥ परा-चेष्टितम् - परामायाभिन्न: skilled साम् The Subtle in understanding the that (maiden) import of another मयि पश्यति when I was looking इतरः a second person by the tresses his सोमन्तम मिन् the erest-jewel साकृतष्टितन, a significant आहगणोत् 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 crestjewel 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.. Dss. पिहितं परवृत्तांतज्ञातुः साकृतष्टितम् । Ex. प्रिये गृहागते प्रातः कान्ता तल्यमकल्पयत् ॥ परवृत्तान्त ज्ञातुः of one that knows साकूतचेष्टितम् significant act the secret of the an insinuation other पिहितम् । The Covering ·I28 fax: 1 ya: in the morning TTTT the lady प्रिये यहागते when the lover came तत्पम् the bed to the house স্মথ 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 kuown his secrets. LXXXVI. Trifa The Disembler. Dar. व्याजोक्तिरन्यहेतूक्त्या यदाकारस्य गोपनम् । Ex सखि ! पश्य गृहारामपरागैरस्मि धूसरा ॥ see अन्य हेतू क्या by an attribution to | सखि ! friend! a different cause पश्य which TETTTRYCI: by the pollens of the धाकारस्थ of the appearance house-garden गीपनम् concealment I am made greyish. atofa: The Disembler यत् सरा पनि Def. The Disembler is the dissimulation of one's appearance by attributing to a different cause. Friend ! See I am made greyish by the pollens of (my) house-garden. Here, a lady, the speaker, having her body made dirty by the dust in her toying with her lover, artfully ·TIF 129 Cause. conceals the saine by saying that she was made greyish by the pollens, i.e., by attributing it to some different 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. fa:— The Secrecy. Der. erfarejteszi Sapa ufa #mai Ex. वृषापहि परक्षेत्रादायाति क्षेत्ररक्षकः ॥ परक्षेत्रात् from another & field अन्योद्देश्यम् or wife अन्यम् प्रति intended for another to another is told The Secrecy O bull or luster अपेहि Qar: कथ्यते TF: begone the land-lord or hus band Tafa 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 landlord. 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 graziug in & third man's field. The intended meaning to be conveyed is :- O Luster ! begone, yonder comes the husband of the lady with whom thou art boldly turing.

·or wife SO 130 विकृतोक्ति., युक्तिः। LXXXVIII. fagatfa:--Open Speech. Dur. विकृतोक्तिः श्लिष्टगुप्तं कविनाऽविष्क तं यदि । Ex. वृषापहि परक्षेत्रादिति वक्ति ससूचनम् ॥ शिष्टगुप्तम् hidden under a pun প্রধা from another's field अविना by the poet भाविकृतम् यदि if purposely ex-अपेहि begone pressed इति विवशोक्ति Open Speech समूचनम् with a gesticulation or luster! यति (he) speaks Def. Open Speech is that which is hidden under a pun as in the preceding figure but purposely expressed by the poet by some kind of indication. Ex. "0 bull! begone from another's field", 80 the speaker speaks with a gesticulation. By use of the word वृषापहि, this is also hidden under a pun; and, by the employment of the word ससूचनम्, in the example by the poet, the secrecy becomes expressed. LXXXIX. युधि:--Covert Speech. Dar. युक्तिः परातिसंधानं क्रियया मर्मगुप्तये Rx. त्वामालिखन्तौ दृष्ट्वान्य धनुःपौष्यं करेऽलिखत् ॥ अमराप्त for concealment of IR one's own design आखिन्ती painting क्रियया by an act अन्य दृष्टा seeing another (lady) प्राविसंधानम् deception played upon, पौषं धनुः Howery bow another in the hand । पविखन drew. thee .. JA ·लोकोक्तिः। 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 that 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 (LXXXIV) in the Sahitya Darpana. XC. #thm: Popular Saying Dur. लोकप्रवादानुकृतिर्लोकोक्तिरिति भण्यते। Ex. सहख कतिचिन्मासान्मौलयित्वा विलोचने ॥ Hargtona: resembling a pro- fara the eyes verb मौलयित्वा having closed 27 fitfaftfa Popular Saying कतिचित् मासान् a few months भग्यते is called FEE 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 scope to reward our desires entertained in our separation. “With thy eyes closed" is even now more current in the sphere of the lovers and distressed people.

·छकोति:, वक्रोतिः sen.se XCI. mfa:--The Skilful Speech DET. छेकोतिर्यदि लोकोक्तः खादातरगर्मिता। Ex. भुजङ्ग एव जानौते भुजङ्ग वर्ग सखे ! लोकीले of the Popular Saying | भुगः एव only the serpent or अर्थान्तरमर्मिता containing another Villain सुजंगचरणाम् the feet of the serif pent or the behaviour कोक्तिः Skilful Speech of a villain Eriend! পানীৰ knoys. 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. यदि स्यात् सद्धि ! . affected दिन प्राप्तम् XCII. वक्रोक्ति:--The Crooked Speech. Dsr. वक्रोक्तिः श्लेषकाकुभ्यामपरार्थप्रकल्पनम् ॥ Ex. मुंञ्च मानं दिनं प्राप्तं नेह नन्दी हरान्तिके ॥ श्रेषकाकुभ्याम् by means of a pun } मुश्च मानम् remove thy anger or by an day appeared change of voice here अपरार्थ प्रकल्पमम् construing one's नन्दी न no Nandin speech differently हरान्तिके near the God Siva वक्रोकि The Crooked Speech Def.. when a person construes a 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. ।

·ewrathm: 1 133 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 “मुच्च मा नन्दिनं प्राप्तम् = leavest not the Nandin that has arrived here" angrily replies thus, “No Nandin here ; bnt he is near the God Siva." For an example under 19, see the Appendix. XCIII. EHTatím: Description of Nature. Dur. स्वभावोक्तिः खभावस्य जाल्यादिस्थस्य वर्णनम् । Ez. Fa: 412 elegan मात्यादिस्थस्य belonging to a genus | खभावोक्ति: Description of Nature &c., i.e., quality, an 89TTE: tremulous eyes action and a substance स्तम्भकर्णे: pricking up ears स्वभावस्ख of one's own state S: by antelopes 4TH description Belga 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 erfa: according to Dandi. This kind of description is cousidered the best by the poets.

·134 भाविकम्, उदात्तम् । I XCIV. भाविकम्-The Vision. Tes. भाविकं भूतभाव्यर्थसाक्षात्कारस्य वर्णनम् । Ex. अहं विलोकयेऽद्यापि युध्यन्तेऽत्र सुरासुरा: ॥ भूत भावि अर्थ-साक्षात्कारस्य of percep- सुगराः the gods and demons tion of things past or युध्यन्ते fight future वर्णनम् description अद्यापि भाविकम् The Visiou विलोकये behold, 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 placeeven now I seem to behold it! even now XCV. 56177#-The Exalted. DEr. उदात्तमृद्देश्चरितं श्लाध्यं चान्योपलक्षणम् । Ex. सानो यस्याभवद्युद्ध तजटिकिरीटिनोः ॥ of prosperity यस्य of which (Himālaya चरितम् description mountain) उदाचम् The Exalted सानी in the summit also तत् that=celebrated शाध्यम् commendable action poffefaefeat: between God Siva अन्वय of another and Arjuna उपलचणम् indirect representa- युद्धम् fight tion of importance अभवत् took place. Def. A description of prosperity of an object is termed the Exalted. PF ·TOTA: 1 135 And any commendable action of some great personage represented indirectly or collaterally to the object under delineation is termed also the Exalted. This is that Himālaya Mountain in whose summit that celebrated fight between the God Siva and Arjuna took place. Here, the celebrated fight of the great God Siva with Arjuna is represented collaterally to the Himālaya 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. OTT: XCVI. hef: The Exaggeration. Dr. अत्युक्तिरहुतातध्यशौर्योदार्यादि वर्णनम् । Ex. aru graít TEE! JET: Cuatreg: marvellous TTSTE ! O king ! false afe paft when thou art a donor शौर्य valour #mife: Kalpa trees पौदार्यादि generosity etc. mendicants वर्शनम् description भवन्ति become अत्युक्तिः 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-yielding (kalpa) trees of paradise become thy mendicants. This is a false exaggeration of a king's liberal munificence.

·136 निरुक्ति, प्रतिषेधः। XCVII. fagfa: -Exposition. Dsr. निरुक्ति ?गतो नाम्नामन्यार्थत्वप्रकल्पनम् । Ex. शश्चरितैर्जाने सत्यं दोषाकरो भवान् ॥ নিবন্দি जाने मानाम् of words these बोगतः by derivation चरितः by acts of thine अन्यार्थलप्रकल्पनम् construing in & গশ্বৰ thy honour sense different from दीपाकर: * maker of night or what is intended faulty Exposition सत्यम् verfly (चन्द्र ! Omoon!) I know Def. Exposition consists in construing words, in 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 faalts). This is addressed to the moon by a damsel pining under separation. a . XCVIII. afata : --Prohibition. Dur. प्रतिषेधः प्रसिद्धस्य निषेधस्यानुकौर्तनम् । न द्यूतमेतत् कितव! क्रौड़नं निशितैः शरैः प्रसिद्धख well-known বিধ of prevention अकीर्तनम् announcement प्रतिषेधः Probibition कितव! gambler! एतत् द्यूतम् = this is not the playing at dice निशितैः शरैः by sharpened arrows playing. মীন दाषाम् night करौति does = moon and दीपाषाम् of faults पाकरः mine ** xine of faults.

·fara: 1 137 Def. Prohibition is the announcement of prevention 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 Pāndavas to go into exile and thus became the cause of that dreadful war. The statement that this is not the place of gambling but of warman 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. fafy;Fitness. Der. सिहस्यैव विधानं यत्तदाहुर्विध्यलंकृतिम् । Ex. पंचमोदंचने काले कोकिल: कोकिलो भवेत् ॥ season यत् which TE#+36 am in the spring सिद्धस्य एव of that thing previously effected after: kokila bird or the विधानम् declaration Indian cuckoo तत् that कोकिल: kokila, 2.e., charming afy + far the figure Fitness nea shall become. the learned call Def. A declaration of a thing previously effected, the learned call as the figure Fitness. * In the season in which panchama note becomes manifest 18 ·138 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. 8. हेतु:--The Cause. Dur. हैतोहेतुमता सार्धं वर्णनं हेतुरुच्यते । Ex. असावुदेति शीतांशुर्मानच्छेदाय सुभुवाम् ॥ हेती: of a cause असो शीतांशु: that moon हेतुमता सार्धम् along with its effect | सुधुवाम् of women of beauti- वर्णनम् description ful eye-brows The Cause मानच्छेदाय for quelling the pride उच्यते is termed उर्दति 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. हेतुहेतुमतोरक्यं हेतु केचित् प्रचक्षते । Ex. लक्ष्मीविलासा विदुषां कटाक्षा वेंकटप्रभोः ॥ हेतुहंतुमतीः of cause and effect एक्यम् identity केचित् इतुम् certain rhetoricians as the figure Reason ·S: 1 139 वेटप्रभोः call TET: glances of the Lord of the विदधाम् of learned poets mount Venkata ahtractat: graces of the Goddess 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. इत्थं शतमलंकारा लक्षयित्वा निदर्शिताः। प्राचामाधुनिकानां च मतान्चालोच्य 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 Dikshita ·APPENDIX. S. D. denotes Sāhityadarpana of Visvanātha Kavirāja, and its English Translation. KP. Kāvyaprakäsa of Mammaţa. R. G. Rasagangadhara of Pandita Jaganna tha. D. K. Dandi's Kā vyādarsa. P. A. Påņini's Ashțādhyāyī by Mr. S. C. Vāsu. 99 Poetical Conventions, The student should know first some of the conver 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 Tāmraparni 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 chakorá ·APPENDIX, 14: birds are said to drink the moonlight. The chakravāka birds always move in couple ; and the couple occupying the opposite banks of a river nevei see each other during the whole night. The Goc 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. STAT—Simile. Words expressive of comparison. $998 at TET (TT:) #HTC-FTTH-FACHT: 1 «-75T--401-gfaaTat: || प्रतिपन-प्रतिहन्दुि-प्रत्यनौक-विरोधिनः । सदृक्-सदृश-संवादि-सजातीयाऽनुवादिनः ॥ gfafaa-afae-760-A- HAT: HTT-HEWISSH-Hatufaataat: 11 04-11th-ERIT (55f?) yet-ufafaat (fa) Hauigrani (rat a amariafen:) . D. K.

·142
APPENDIX.
Of these, ac, 164, ara, utg are taddhita termina
tions. The last three express a slight incomplete
comparison. See V. 3. 67 P. A.
Other terminations expressive of comparison.
क्यच (3) a denominative termination Parasmaipada.
STATTETETT (III. 1. 10). The affix my is
optionally employed, in the sense of treatment, after
a word ending in a case-affix denoting the object
of comparison. Thus, gafharafa Flax=y=rafa
ay=he treats the pupil as a son, P. A.
PIE () a denominative termination-Ātmanepada.
7: 5 FT, (III. 1. 11).
The affix the 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 of the noun if it ends with a 7. Thus, seat sa
matra profi:=TTÄ on:= the crow behaves like a
hawk. P. A.
Tanq (nil) a krit termination which is usually omitted.
The affix ferq comes optionally in the sense of
behaving like some one after all crude nouns (Vārtika
of III. I. 11). Thus, Teafa or THTUQ = he behaves
like an ass or he asses.
P. A.
e a taddhitā termination.
Gauge (V. 3. 98). When a man is denoted, the
affix aq expressing comparison iş elided, the word

·APPENDIX. 143 retaining its number and gender. Thus 79 (FET 39 989:) a straw-man, i.e., an effigy in straw. P. A. fufa (57) a krit termination. कर्तर्युपमाने (III. 2. 79). The affix fufc comes after a verb 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, gafu='He who makes a noise like a camel'. P. A. णमुल the gerundial affin in अम्. Suha HAT (III. 4. 45). The affix णमुल comes after a root, when an object or an agent, denoting · similitude, is in composition with it. Thus, gaan fared H='water was kept as ghee was kept'. P. A. (SU) a taddhita termination. HHHT aferua (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 3 AT according to S. D., K. P. and R.S. Of the ornaments of sense, STAT forms the essence of all the figures that are founded on similarity and therefore its complete study becomes essential. Observe. Byxt is first two-fold gout complete and gar felliptical. These again are la direct when the comparison is expressed by the employment of such words as gat, 59, Tor all in the sense of English as'; and are indirect when the comparison is ·144 APPENDIX. expressed by the use of the words get, FATT, eto, all in the sense of English 'like'. iit conveys the notion of similarity at the very hearing and ref 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 (तद्धितगता). Thus, there are 6 varieties of पूर्णा ; and but of लुप्ता, there are26 varieties. पूर्णा-6 varieties. 1 श्रौती-तद्धितगता. 4 प्रार्थी -तृद्धितगता. 2 Do..-समासगता. 5 Do.-समासगता. 3. Do.-~-वाक्यगता. 6 Do.. वाक्यगता. HP लुप्ता-26 varieties. 7 8 9 वाचकलुप्ता-समासगता. 11 वाचकलुप्ता-कर्म-णमुल्-गता. Do.- *कर्म-क्यच्-गता. 12 Do. -"कर्तृ-do. Do.-आधार-क्यच- 13 Do. -णिनि-गता. गता. 14 Do. -कन्-गता. Do.- क्य-गता. 15 Do. -क्विप्-गता. 16 धर्मलुप्ता-श्रौती-वाक्यगता. 17 Do.-आर्थी- do. 18 Do.-श्रौती-समासगता. Do.-आर्थी- do. Do..--do. --|| तद्वितगता. 19 20 * Referring to -object in the accusative case, † Referring to a locality. In the passive sense. In the active sense. || No श्रौती-तद्धितगवा. .

·APPENDIX. IAS ! धर्मवाचकलुप्ता-विप्-गता. Do. -समासगता. 23 वाचकोपमेयलुप्ता-क्यच्-गता. 24 वाचकोपमानधर्मलुप्ता-समासगता. 25 वाचकोपमानलुप्ता- 26 उपमानलुप्ता-छ-प्रत्यय-गता. 27 Do. -वाक्यगता. do. 28 Do. -समासगता. 29 उपमानधर्मलुप्ता-वाक्यगता. 30 Do. -समासगता. 31 उपमेयलुप्ता-क्यच-गता. 32 उपमेयधर्मलुप्ता- do. Examples in their order. सोरभमभोरुहवन् मुखस्य कुम्भाविव स्तनौ पौनौ । हृदयं सदयति वदनं तव शरदिन्दुर्यथा बाले ॥ I to 3 श्रौती 3 S.D. 0 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 सुधावदधर: पल्लवतुल्योऽतिपेलवः पाणिः । पार्थों चकितमुगलोचनाभ्यां सदृशी चपले च लोचने तस्याः । 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 tremulous like those of a frightened fawn. 7to 15 दरदलदरविन्दसुन्दरे हा हरिणदृशो नयने न विस्मरामि ॥ बाचकलुप्ताः R.S.

·146 APPENDIX. Alas ! I will not forget the eyes of my fawn-eyed lady beautiful like slightly expanded lotuses. 8 9 मलयानिलमनलौयति मणिभवने काननीयति क्षणतः । विरहेण विकलहृदया निर्जलमीनायते महिला ॥ 10 R. G. भ 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 अनलौयति = अनलमिवाचरति, we have अनलम् in the accusative case because the मलयानिलम् , the upameya, is also in the accusative case. Hence it is कर्म-क्यच. In काननीयति = कानने इव आचरति, we have कानन in the locative case and it is therfore आधार-क्यच. In निर्जलमीनायते-निर्जल-मौनवत् आचरति, we have क्यङ्. निरपायं सुधापायं पयस्तव पिबन्ति ये। जमुजे ! निर्जरावासं वसन्ति भुवि ते नराः ॥ R.G. 0 Jahnu's daughter (Ganga)! Those people who drink thy harmless water resembling the nectar-they all live in this world like immortal beings. Here, in सुधापायम् =सुधामिव पौत्वा, we have सुधा in the accusative case ; and hence it is कर्म-णमुल् of root या 'to drink'. In निर्जरावासम्-निर्जराः इव उषित्वा, we have fasiet: in the nominative case like its upameya नराः and hence it is of root वस् 'to dwell. कर्तृ-णमुल् * The words connected by a (or its equivalent) must be in the same case. Apte's Guide. 257 Obserye.

·APPENDIX. 147 13 कोकिलालापिनी येषा This maiden speaks like an Indian cuckoo. 14 चञ्चापुरुषः सोऽयं योऽत्यन्तं विषयवासनाधीनः ॥ R.G. He that is wholly addicted to sensual pleasures is a straw-like man, 15 गर्दभति श्रुतिपरुषं व्यक्त निनदन् महात्मनां पुरतः ॥ S.D. He pratling loudly and harshly before the great behaves like an ass. 16 17 -- 16 to20 धर्मलुप्ताः मुखमिन्दुर्यथा, पाणि: पल्लवेन समः प्रिये। वाचः सुधा इवोष्ठस्ते बिंबतुल्यो मनोऽश्मवत् ॥ 18 19 120 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 21 22 धर्मवाचकलुप्तौ विधवति मुखाजमस्याः S. D. The lotus-like-face of this lady acts like the moon. In विधवति=विधुरिवाचरति, we have the omission of इव and the common attribute charmingness' in the क्विप् affix. In मुखाजम् =मुखम् अन्नमिव, we have the same in a compound. 23 वाचकीपमेय- तया तिलोत्तमौयन्त्या मृगशावकचक्षुषा । लुप्ता ममायं मानुषो लोको नाकलोक इवाभवत् ॥ and 4. 23 24 24 उपमानवाचक धर्मलुप्ता ·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 young deer and who thinks herself like Tilottamā. In तिलोत्तमौयन्त्या तिलोत्तमामिव प्रात्मानं आचारन्या, we have the omission of the upameya TT and of the word इव' expressive of comparison. In मृगशावकचक्षुषा = मृगशावकस्य चक्षुषी इव चञ्चले चक्षुषी यस्याः तया, we have the omission of the upamana qat', of the word 'sa', expressing comparison and of the cotnmon attribute चञ्चले. 25 यचीराणामस्य च समागमो यच्च तैर्वधोऽस्य कतः। बाचकीपनान- लुप्ता उपनतमेतदकस्मादासीत्तत्काकतालीयम् ॥ 26 to 28 R. S. उपमानस्लुप्ताः 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 इव' expressing comparison in a compound. In काकतालीयम्, we have the omission of the upamana. 'मरण' in a compound with E-chy which expresses comparison. See pages 7 to 12. 2526 ८ 27 28 तस्या मुखेन सदृशं रम्यं नास्ते न वा नयनतुल्यम् । S.D. A charming likeness to her face or to her eyes does not exist (any where). गाहितमखिलं विपिन परितो दृष्टाश्च विटपिन: सर्वे 29&30 29 अपमानधर्म- सहकार! न प्रपेदे मधुपेन तथापि ते समं जगति ॥ जसा ·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 upamāna and of the common attribute in a sentence. If we remove 30 the words 'तथापि ते समम्, and substitute भवत्समम्, we have the sanie in a compound. 31 अरातिविक्रमालोकविकस्वरविलोचनः । उपमयलुप्ता कपाणोदग्रदोर्दण्डः स सहस्रायुधौयति ॥ 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 weapons. Here, in सहस्रायुधौयतिसहस्रायुधमिव आत्मानमाचरति, we have the omission of the upameya आत्मानम् only. 32 उपमेयधर्म- यशसि प्रसरति भवतः नौरोदीयन्ति सागरा: सर्वे॥ लुप्ता S.D. When the fame of thy honor has pervaded, all the oceans act the Milky-sea. Here, in क्षीरोदीयन्ति = क्षीरोदमिव 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 me upamanas, it is called मालोपमा.

·150 APPENDIX. Ex. वारिजेनेव सरसौ शशिनेव निशीथिनी। यौवनेनेव वनिता नयेन श्रीमनोहरा ॥ 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. रशनोपमा-Girdle of Similes. Def. When the upameya in the first comparison is made the upamana. in the second, and so on, it is called रशनोपमा. चन्द्रायते शुक्लरुचापि हंसो हंसायते चारुगतेन कान्ता। कान्तायते स्पर्शसुखेन वारि वारीयते स्वच्छतया विहायः। 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 कुशलाः साधुहितप्रत्यूहकर्मणि । निपुणाः फणिनः प्राणानपहर्तु निरागसाम् ॥ R.S. The wicked people are expert in working obstacles to the wellbeing of the good. The serpents are clever in taking away the lives of the innocent. Here, prar: and fagur: are similar attributes. This ornament is also found in a series-माला- प्रतिवस्तूपमा.

·APPENDIX. 151 Ex. वहति विषधरान् पटोरजन्मा शिरसि मसौपटलं दधाति दी.. विधुरपि भजतेतरां कलङ्कम् पिशुनजनं खलु बिभ्रति क्षितीन्द्राः ॥ 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 बिनति are similar attributes. 18. दृष्टान्त:-Exemplification. Ex. सत्पुरुषः खलु हिताचरणैरमन्द- मानन्दयत्यखिललोकमनुक्त एव । आराधितः कथय केन करैरुदारै- रिन्दुर्विकासयति कैरविणोकुलानि ॥ R.S. Certainly, a good man without being urged (by any body) gladdens the whole world, not a little, by his agreeable behaviour. Propitiated 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 अप्रस्तुत, i.e., what is not the subjectmatter, must convey a reference to the nga i.e., the subject-matter. S. D., K. P. and R. S., mention five varieties of this figure कार्ये निमित्ते सामान्ये विशेष प्रस्तुते सति । तदन्यस्य वचस्तुल्ये तुल्यस्येति च पञ्चधा ।। - .

·152 APPENDIX. कार्ये प्रस्तुते सति = when an effect is the subject-matter, तदन्यस्य वचः the description of its contrary, i.eu, cause (FITC); POFFE yaa gía when a cause is the subject-matter, qemer := the description of its contrary, i.e., the effect (Fra); Fraga aict= when a general is the subject matter, तदन्यस्य वचः == the description of its contrary, i.e., the particular ( fa); fana ed efa = when a particular is the subject matter, तदन्यस्य वचः the description of its contrary, 1. €., the general (FIAT); Jahwa ufa=when a similar thing is the subject matter, gee aa:= the description of another similar thing; sfar in this manner, 47= 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) a 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, 14) 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 of a cause. आनम्य वलुवचनैर्विनिवारितेऽपि रोषात्प्रयातुमुदिते मयि दूरदेशम् । बाला कराङ्गुलिनिदेशवशंवदेन क्रीड़ाबिडालशिशुनाशु रोध मार्गम् ॥ R. S. When I began to start, through anger, for a distant country though I was obstructed, by sweet words, (by my lady) bending 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 lover's departure is to be understood. (2) Cause is understood from the description of mint effect. इन्दुर्लिप्त इवाञ्जनेन जड़िता दृष्टिर्मगौणामिव प्रन्लानारुणिमेव विद्रुमदलं श्यामेव हेमप्रभा। कार्कश्यं कलया च कोकिलवधूकण्ठेष्विव प्रस्तुतं सौतायाः पुरतश्च हन्त शिखिनां वर्हाः सगी इव । S. D. Alas! In the presence of Sītā, the moon looked as if besmeared with lamp-black, the eyes of the does appeared to practice stapefaction, 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 Sītā, are understood. (3) The particular is understood from the description of a general. कृतमपि महोपकारं पय इव पौवा निरातङ्कः । 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 ·154 APPENDIX. (4) A general is understood from the description of the particular. हारं वक्षसि केनापि दत्तमजेन मर्कटः । लेढ़ि जिघ्रति संक्षिप्य करोत्युनतमासनम् ॥ R. S. The monkey, on whose bosom a necklace was placed by some ignorant fellow, licks and smells it (lilcklace) 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 possession 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 description of another, similar to it- 791: argfaut alifa: FIE' FÀ: 5:1 खगुणैरेव पटौरज ! यातो.सि तथापि महिमानम् ॥ Bhāminivilā sa. O Sandal tree! Thy father (native place) is a particular mountain (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. TTIA: -Frustration. S. D. defines this figure thus : Frustration is when by the same means that one employed in bringing a thing to a particular state, another brings it to ·APPENDIX, 155 an opposite one'--and quotes the following as an example दृशा दग्ध मनसिज जीवयन्ति दृशैव याः । विरूपाक्षस्य जयिनीस्ताः स्तुमो वामलोचना: 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 भूषणं सुदृढ़मत्र यशो न रत्न किं कार्यमायंचरितं सुकतं न दोषः । किं चक्षुरप्रतिहतं धिषणा न नेत्रम् जानाति कात्वदपरः सदसद्विवेकम् ॥ What is an imperishable (lit. very firm) ornament here (in this werld) -fame, 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 पुण्वं कश्च सेव्यः 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 finad beatitude. marvaur.com.auSAREER * *and notsin' is understood.

·156 APPENDIX. Here, sin etc., which are to be denied, ale under stood, here also preceded by a query. Without queries :- भक्तिभवे न विभवे व्यसने शास्त्र न युवतिकामास्त्र । चिन्ता यशसि न वपुषि प्रायः परिदृश्यते महताम् ।। Devotion to God Siva and not to riches, intent attachment to the science and not to young naiden, the weapon of God of Lore; anxiety for fame and not for body are generally found in the great Here, things to be denied are expressed. बलमाभयोपशान्तये विदुषां सम्मतये बहुश्रुतम् । वसु तस्य न केवलं विभोर्गुणवत्ताऽपि परप्रयोजनम् ।। The strength of that lord is for quelling the fear of the distressed. His great learning is for honouring the scholars. Not only his riches but his possession of good qualities too are for the purpose of others. This figure founded upon a Paronomasia is more striking. For example see the text. 58. gaat##_Rivalry, Ex. मध्येन तनुमध्या मे मध्यं जितवतीत्ययम् । इभकुन्भौ भिनत्तास्याः कुचकुम्भनिभौ हरिः । This slender-waisted maiden vanquished my waist with hers go thinking, the lion cleaves the frontal globes (on the forehead) of the elephant which resemble the jar-like bosonis 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 elephant, 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. 60. -Poetical Reason. Def. When a reason is implied in a sentence or in a word or words, it is called Poetical Reason.

·APPENDIX 157 Ex. वपुःप्रादुर्भावादनुमितमिदं जन्मनि पुरा पुरार! न प्रायः कचिदपि भवन्तं प्रणतवान् । नमन्मुक्ताः संप्रत्यहमतनुरग्रेऽप्यनतिभाक् महेश ! क्षन्तव्यं तदिदमपराधयमपि । O God Siva (lit. Destroyer of 3 cities)! By this (my) body coming into existance, it must be inferred that I never saluted thee in any of my previous births. And now saluting thee, I am emancipated ; and I therefore, bodiless, cannot salute thes in my future birth. 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. 795:- non-assumption of the body' is the reason for 90 wafara'non-salutation in the future birth' and we have a fear in a single word. नमन्मुक्ताः ' final emancipation by saluting' is the reason for at: non-assumption of the body and this fact having been expressed by two words Thai, 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 guiaTransition' (59) nor with THIĘ Inference'; on this, S. D. says as follows :- In the province of poetry the reason is three-fold, as being Informative, Completive 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 of the Transition. Thus the Transition founded upon a causation is evidently distinct from the Poetical Reason.' 7 *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 :- GT ATTGTai afefafyat: cafo TA TTT: 1 तचापारोपितशरी धावत्यासां पुरः स्मरो 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. astfa:-Crooked Speech. '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, onun fatsgfenfiar नैवोचितोऽयमिति 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. $ 95. ETT#—The Exalted. Example of the description of prosperity. रत्नस्तम्भेषु संक्रान्तैः प्रतिबिम्बशतैर्वृतः । जातो लंकेश्वरः कछादाञ्जनेयेन तत्वतः ॥ Rāvana 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 7). From this, the super-mundane prosperity of Rāvana, king of Lankā, the object under description, is apprehended.

·APPENDIX. 159 It is essentially necessary that student should know what is संसृष्टि: 'Conjunction' and what is संकरः Commixture' as they are not treated in this book. Def. A combination of two or more of the ornaments treated in this book which exist independently of each other in one place is called the Conjunction Fefe. 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 सङ्कर. ' Example of Conjunction, देव: पायादपायानः स्मरन्दोवरलोचनः । संसारध्वान्तविध्वंसहंस: कंसनिसूदनः ॥ May that God (Krishpa) 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 FĦTo, 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. इदमाभाति गगने भिन्दानं सन्ततं तमः । अमन्दनयनानन्दंकर मण्डलमैन्दवम् ॥ This lunar orb dispelling the thick darkness and causing excessive delight to the eyes shines in the sky. This can be taken as (1) gaguar-Indirect Description, as this description of the resplendent moon shining in the sky--the object not on hand-conveys a reference ·160 APPENDIX. 6 by the to a 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 JHUTĀCETAĦ as the moon's orb is superimposed upon a fair face intimated pronoun: =this'; (3) inatiah No. 1 (Eu alfatat fer=Metaphorical Hyperbole), through the introsusception of the circular face in the orb of the moon ; (4) matatay-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) FAF-Modal Metaphor, as the face intimated by 6# - this'--the object not on hand, is understood by the description of the moon-the object on hand, from a sameness of action, ie, the action of expelling the darkness of thu night by their splendours (6) gastroat Equal Pairing, as the face and the lunar orb which can be taken as objects on hand are associated with a sameness of attributes--shining and expelling the darkness ; (7) au-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 THTfa ; and so on. As we have here a dubiousness about all these ornaments, this figure is called I ·All the Alankāras treated in this book may be classified under the following heads :- aurus I. Figures founded on Similarity.-- औपम्यमूलाः । श्लेष। 1. उपमा। 17. प्रतिवस्तूपमा। 2. अनन्वय। 18. दृष्टान्त। 3. उपमेयोपमा ! 19. निदर्शना। 4. प्रतीप । 20. व्यतिरेक । 5. रूपका 21. सहोक्ति। 6. परिणाम। 23. समासोक्ति। 7. उल्लेख। 26. 8. स्मृतिमान् । 27. अग्रस्तुतप्रशंसा। 9. भ्रान्तिमान् । 28. प्रस्तुतांकुर । 10. सन्देह । 29. पर्यायोक्ता 11. अपङ्गुति। 66. ललिता 12. उप्रेक्षा। 13. अतिशयोक्ति 1st and 76. 76. पूर्वरूप। 2nd kinds. 78. अनुगुण। 14. तुल्ययोगिता। 79. मौलित। 15. दीपक। 80. सामान्च। 16. आवृत्तिदीपक। 81. उन्मीलित। 82. विशेषक। 75. तहण। 21 ·162 APPENDIX. II. * Figures founderl on Contrast.-विरोधमूला: ३ 13. अतिशयोक्ति 3rd and 42. 4th kinds. 44. विशेष 33. विरोधाभास। 54. विकल्प। 38. विषम। 77. अतगण। 41. अधिक। 94. भाविक। 97. निरुक्ति। III. Figures udhering to, or violating, the law of causation, 13. अतिशयोक्ति 5th, 6th 40. विचित्र। and 7th kinds. 43. अन्योन्य। 34. विभावना। 45. व्याघात। 35. विशेषोक्ति। समुच्चय। 36. असंभव। 63. प्रौढोक्ति। 37. असंगति। 10. हेतु। 55. IV. Figures relating to the Logical connection of words in a sentence.-वाक्य न्यायमूला: । 50. यथासंख्य। 56. कारकदीपक। 53. परिसंख्या। 59. काव्यार्थापत्ति। 74. रत्नावली। V. Figures relating to the Logical connection of senses of two sentences.-तकन्यायमूलाः । 60. काव्यलिंग। 61, अर्थान्तरन्यास। 62. विकखर ।

·APPENDIX. 16: VI. Figures founded. on Universality.- लोकव्यवहारमूलाः । 22. विनोक्ति। 169. उल्लास। 39. सम। 70. अवजा। 51. पर्याय। 71. अनुज्ञा 52. परित्ति। 72. लेश। 57. समाधि। 90. लोकोक्ति। 58. प्रत्यनीक 91. छेकोक्ति। 64. संभावना। 93. खभावोक्ति 65. मिथ्याध्यवसिति। 95. उदात्त। 67. प्रहर्षण। 96. अत्युक्ति। 68. विषादन। 98. प्रतिषेध। 99. विधि। - VII. Figures founded on Dissimulation.- अपनवमूला: । 30, व्याजस्तुति। 85. पिहित। 31. व्याजनिन्दा।। 86. व्याजोति। 32. आक्षेप। 87. मूढ़ोक्ति। 83. उत्तर 88. विवृतोक्ति। 84. 89. युक्ति। 92. वक्रोक्तिः। सूक्ष्म । VIII. Figures founded on striking chain-like description.-शृंखलावैचित्रामूलाः | 48. मालादीपक। 47. एकावलौ। 149. 46. कारणमाला।

·164 APPENDIX. IX. Figures founded on striking epithets.-- विशेषणवैचित्रामूलाः । 24. afati | 25. aftAtin An X. Figure relating to convention of Poets.-- कविसमयमूलः ! 73. FGT! Mutual distinctions of some of the more important Figures treated in this book. DISTINCTION OF- उपसा 1 - प्रतीप 4 and उत्प्रेक्षा 12 In UPAMA, we have a striking expressed resemblance that has been sanctioned by convention of poets and that will exite poetical delight and give an agreeable surprise. In PRATIPA, we have not got that striking resemblance. The usual form of comparison is inverted and the excellence of upameya over upamāna is implied. In UTPREK- SHA, we have a more stricking suggested resemblance not confined to the convention of poets but solely due to the imaginative skill of the poet.

·APPENDIX. 165 শুল 1 and TTT 2 In UPAMA, the comparison is between two distinct objects--upameya and upamāna. In ANANVAYA, one and the same object is compared, i.e., to itself in the absence of a second thing to be compared to. The resemblance is not a striking one. उपमा فسم and उपमेयोपमा In UPAMA, we have the compari- • son in one sentence. In the other, we have the reciprocal comparison between two distinct objects and the reciprocation is possible only in two sentences. The comparision is not a striking one. उपमा 1 and In UPAMA, the comparison is expressed. In RUPAKA, the comparison is not expressed but is suggested between two distinct objects represented as identical. रूपक O उपमा 1 and व्यतिरेक 20 In UPAMA, the comparison is not accompanied with a difference. In VYATIREKA, the difference is also stated, i.e., comparison is stated in one respect and denied in another respect. उपमा 1 and श्लेष 26 In UPAMA, we have real expressed resemblance resting in the senses of words. In SLESHA, the suggested resemblance rests in mere words without reference to their meanings.

·166 APPENDIX In RUPAKA, two distinct objects upamāna and upameya-are represented and as identical on account of their close refaTaTTa semblance. In ATISAYOKTI No. 1, No. 1 upameya is comprehended as identical (13) with upamāna through introsusception and is expressed by the word representing the upamāna. रूपक In RUPAKA, upamāna and upa- 5 meya are identified without their disand tinct characters being concealed. In अपंहुति APAHNUTI the real character of the 11 upameya is concealed, i.e., denied and that of another imaginary upamāna is superimposed upon it. रूपक. 5 and In RUPAKA, the identification is not a mistaken one. In BHRANTI- MAN, it is mistaken one. भ्रान्तिमान् परिणाम 6 and IU PARINAMA, the act of the sentient upameya is transferred to the upamāna. In RUPAKA, the upamāna is not connected with any act of the upameya. रूपक es उल्लेख 7 and In ULLEKHA, the upameya is looked upon as identical with several upapānas by one or different perceivers. through difference of peculiarities according to their tasto. In RUPAKA, रूपक 5 ·APPENDIX. 167 the upameya is simply identified with one or many upamānas on account of their close resemblance only and not under any differential peculiarity. स्मृतिमान् 8 भ्रान्तिमान् 9 In SMRITIMAV, the sight of the upamāna brings to the mind of the beholder the recollection of the upameya. In BHRANTIMAN, we mistake u pameya for upamāna. In SANDEHA, we doubt the certainty of an objectwhether it is upamāna or upameya. . and संदेह 10 अपहति 11 व्याजोक्ति 86 and आक्षेप 32 In APAHNUTI, the upameya is. denied, i.e., is concealed and some other, i.e., upamāna is imposed upon it. In VYAJOKTI, we have the artful concealment of an object, though discovered, which is not mentioned by the 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 himself. squar 12 and ufarutta No. 1 (13) In UTPREKSHA, the introsusception is not complete, i.e., the upameya is fancied under the character of upamāna. In ATISA YOKTI, the introsusception is complete, as the upameya which is comprehended as upamāna is ·168 APPENDIX. not mentioned and is expressed by the word expressing the upamāna. অস্ব 12 and धान्तिमान् 9 In UTPREKSHA, the poet who entertains the fancy is fully aware of the distinct nature of the upameya to which he attributes the imaginary character- upamana. In BHRANTI- MAN, the person who mistakes the upanieya for upamāna is not conscious of the upameyam-the subject mistaken, on account of its close resemblance with the upamāna. ভট্টা 12 and 10 In UTPREKSHA, the fancied upamāna is apprehended more prominently than the upameya. In SANDEHA, both upamāna and upameya are apprehended 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 14 and दीपक 15 In TULYAYOGITA, we have the sameness of attribute of objects on hand, or of objects not on hand. In DIPAKA, the objects on hand and those not on hand are together associated with one and the same attribute mentioned only once. (See pages 46 and 47.)

·APPENDIX 169 प्रतिवस्तूपमा 17 दृष्टान्त 18 fACJIGT 19 and अर्थान्तरन्यास 61 In PRATIVASTUPAMA, we have a parallel representation of the same common attribute expressed by different words. In DRISHTANTA, we have a reflective representation of similar attributes. (See page 50.) In PRATI- VASTUPAMA, the two sentences* employed terminate in conveying the same sense. In DRISHTANTA, the sentences * have a similar sense reflectively 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. afata 20 #fan 79 सामान्य 80 उन्मीलित 81 and fasta 82 In VYATIREKA, we have an expressed resemblance accompanied by a difference. In MILITA, we have a suggested resemblance; but the difference between upameya and upamāna is not perceivable on account of the one having been eclipsed by the other, il., the upameya, inferior in quality, is not at all apprehended by its being eclipsed by the upamāna, superior in quality. In SAMANYA, the two objects, upa- * Are independent of cach other. † Are dependent upon each other, ·APPENDIX. māna and upameya, could not be distinguished 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 discriminating peculiarity which was absent 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 deshayrie 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 intitrefa 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 apparent censure and censure is understood by apparent praise. विभावना 34 In VIBHAVANA, we have an effect in the absence of a cause. In VISE- ·APPENDIX, 171 ৰিীঘানি 35 विरोध 33 असंगति 37 विषम 38 व्याघात 45 प्रौढ़ोक्ति 63 and हेतु 100 SHOKTI, we have an absence of the effect notwithstanding the existence of a cause, or in other words, we have a cause without an effect. In VIRODHA, we have both the objects represented as apparently contradicting each other. In ASANGATI, we have a cause and the effect represented as occupying two different localities. In VISHAMA, We have a cause opposed to its effect. In VYAGHATA, we have one and the same cause producing different effects one natural and the other the exact opposite. In PRAUDHOKTI, we 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. पर्याय 51 and faga 44 In PARYAYA, we have one object residing in many places, or many objects in one and the same place, in succession. In VISESHA 2ND KIND, we have one object existing in many places, i.e., residing in many places simultaneously. समाधि 57 and In SAMADHI, the effect of an act through one cause is facilitated by the accidental operation of another cause and this cause is therefore more powerful than the other and hence we have in समुच्चय 55 ·172 APPENDIX, samadhi unequal causes. In SAMU- CHCHAYA 2ND KIND, all causes are equally powerful in bringing out the same effect with eniulation the Maxim of the Threshing floor and the Pegions*, i.e., just as the pegions alight together upon a threshing Hoor, each with emulation. FUATAVE 61 and काव्यलिंग 60 In ARTHANTARANYASA, WO have two statements one of which illustrates the other, B.en, one contains a justificative reason for confirming the other and thus we have here a relation of general and particular. In KAVYA- LINGA, one statement forms an implied completive reason for the other and we have no such relation of the general and the particular. In MILITA, an object of inferior quality is lost in the superior quality of the other. In TADGUNA, the object gives up its own inferior quality and assumes the superior quality of the other. ATV 1 and Hiraa 79 OTT 83 परिसंखया 53 and In UTTARA, we infer from a statement made that a question has been previously made. In PARISAN- KHYA 2nd kind (see Appendix), we have both question and answer. In fanat:

·APPENDIS. 173 काव्यलिंग 60 KAVYALINGA, the reason which is not preceded by a question is an implied one and is to be inferred by the student from the context. स्वभावोक्ति 93 and भाविक 94 In SVABHAVOKTI, we have an exact delineation of an object with reference to its peculiar action or natural appearance as is perceived by the poet alone. In BHAVIKA, WA have a description of an event past or future in such a manner as can bring the subject of description vividly before the wind's eye. प्रणम्य परमात्मानमांग्लभाषानुवादिनी। कता कुवलयानन्दकारिकाविहतिर्मया।। THE END.

·INDEX ... - ... ... .. .. .. ... .. ... ... ... Page. Page: अक्रमातिशयोक्तिः 40 उपमा (1) 1-13, 143-149, 164, 165 अवगुणः (77) 120 उपमावाचकशब्दाः 141 अतिशयोक्ति: (13) 35-42, 1.66,167 Do. प्रत्ययाः 142, 143. अत्यन्तातिशयोक्तिः 41 उपमेयोपमा (3) ... 14, 165 अत्युक्तिः (96) 135 उल्लासः (69) 111 अधिकम् (41) 83 उल्लेखः (7) ... 23, 166 अनन्वयः (2) ... 13, 165 एकावली (47) 91 अनुगुणः (18) ... 121 कवि-समयाः 140 अनुज्ञा (71) 114 कारकदीपकम् (56) ... 99 গলুলাল 158 कारणमाला (46) अन्योन्यम् (43) 85 | काव्यलिङ्गम् (60) 103,172,173 अपगुति (11) 27-30, 166, 167 | काव्यार्थापतिः (59) 102 अप्रस्तुतप्रशंसा (27) ... 60, 151, 170 कै बवाफङ्ग तिः 30 अर्थान्तरन्यासः (61) 103-105, 169, 172 129 अर्थापत्तिः (19) 102/चपलातिशयोक्तिः 40 अल्पम् (42)" 84 | छे कापतिः 30 अवज्ञा (70) . . 113 छकोतिः (91) असंगतिः (37) 75, 76, 171 सदगुणः (75) 118, 172 असम्बन्धातिशयोक्तिः 39 तुल्ययोगिता (14) 42-44, 168 असंभव: (36) 74 दीपकम् (15) 45, 168 श्राक्षेपः (32) . 66-68, 167 | दृष्टान्तः (18) 49, 151, 169 आवृत्तिदीपकम् (16) 47 निदर्शना (19) 50,51, 169 उत्तरम् (83) 125, 126, 172 निरुक्ति: (97) 136 उत्प्रेचा (12) 31-34, 164, 167, 168 परिकरः (24) 56 उदात्तम् (95) 134 | परिकराकुरः (25) 57 अमौलितम् (81) 123, 169 परिणामः (6) 22,166 ... ... गूढीति: (87) .. .. ... ... ... ... 132 ... .00 ... . ... ...

·Page. 108 ... ... 115 ... 131 ... ... ... ... 132 ... 97 ... .. ... 105 ... 82 137 ... ... 54,55 69-74, 170 68,171 130, 170, 171 86, 87, 171 123, 169 a.. ... Page. 'परिवत्तिः (52) .. 96 ललितम् (66) परिसंख्या (53) 96, 172लेश: (72) पर्यस्तापगु तिः 28 लोकोक्तिः (90) पर्यायः (51) 95, 171वक्रोक्तिः (92) पर्यायोक्तम् (29) 62, 63, 170 विकल्पः (54) पिहितम् (85) ... 127 विकखरः (62) पूर्वरूपम् (76) ... 119 विचिवम् (40) प्रतिवस्तूपमा (17) 48, 150, 169 विधि: (99) प्रतिषेधः (98) 136 विनीति: (22) प्रतीपा (4) 15-18,164 विभावना (34) प्रत्यनौकम् (58) 101 विरीधाभासः (33) प्रस्तुतांकुरः (28) 61 विहतीक्तिः (88) प्रहर्षणम् (67 108-110 विशेष: (44) प्रौढ़ीक्तिः (63) 105, 171 विशेषकः (82) भाविकम् (94) 134, 173 विशेषोक्तिः (35) भेदकातिशयोक्तिः 38| विषमम् (38) 29/ विषादनम् (68) धान्तिमान् (9) 25, 26, 166, 167, 168 व्यतिरेक: (20) मालादीपकम् (48) 93 व्याघातः (45) मालाप्रतिवस्तूपमा 151, 152/ व्याजनिन्दा (31) मालीपमा 149/व्याजस्तुतिः (30) मिथ्याध्यवसितिः (65) ... 107 व्याजीक्तिः (86) मौलितम् (79) 122, 169, 172 शुद्धापड तिः मुद्रा (73) 116 श्लेष: (26) यथासंख्यम् (50) 94 संसृष्टि युक्तिः (89) ... रबावली (74) ... 117 | सन्देहः (10) रशनीपमा ... 150 समम् (39) रूपकम् (5) 18-22, 165, 166 समाधिः (57) रूपकातिशयोक्ति: शुद्धा 351 समासीतिः (23) 74 ... 78,79, 171 धान्तापन ति: 110 ... ... 53, 165, 169 88,89, 171 ... 65 ... 63, 170 128, 167 ... ... 27 ... . 58,165 ... ... ... 159 .., 130 159, 160 25, 26, 167, 168 80,81 ... 100, 171 56,170 340

·I
Page.
93
...
127
समुच्चयः (55)
सम्बन्धातिशयोक्तिः
संभावना (64)
सहीक्तिः (21)
सापहवरूपकातिशयोक्तिः
सामान्यम् (80)
Page
98, 99, 171 सारः (49)
38 सूक्ष्मम् (81)
106 स्मृतिमान् (8)
53 स्वभावोक्तिः (93)
37 हेतु. (100)
122, 169 | हेत्वपङ्गतिः
...
25, 167
133, 173
138, 171
28

·ERRATA. Page Line For Feat Freface ix panel . 19 लेका: लोका: List of Contents Contents 10 Insert the words fremove (ou sin'! after “prostrating goddesses वण्यो वयों 14 compared to compared to, 14 Vertue virtue 19 देहलीदोपन्यायः देहलौदीपन्चायः 8 from bottom ततुणां चतुणां do. ग्रहीत गृहीत. 15 57 13 95 96 101 पद्म अझ 2 from bottom निषिद्धैक० निषियक 9 do. The ears xa. Ex. The cars die 8 do. अनुष्टुप अनुष्टुभ 14, 22, 23 Disembler Dissembler 116 148 4 आचारन्त्या आचरन्या 151 7 tale-beares tale-bearer's 157 5 from bottom Infirmative Informative 158 The first 8 lines should be read in continuation of the foot-note on page 157. And such other errors as can be easily detected by the reader such as a for a and a for a &c. have been omitted. AM

·No text on this page.

·No text on this page.