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Author दण्डी
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1924.
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काठमावर्श

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·श्रीमदाचार्यदण्डिविरचितः काव्यादर्शः
KĀVYĀDARŚA OF DANDIN
SANSKRIT TEXT AND ENGLISH TRANSLATION
BY
S. K. BELVALKAR, MA., PhD,
Professor of Sanskrit, Deccan College, Poona
POONA.
THE ORIENTAL BOOK-SUPPLYING AGENCY,
1924

·All Rights Reserved PAGES 1-82 (Translation), Printed by A V Patvardhan, B A, at the Aryabhushan Press, Poona, and the rest by K R Gondhalekar at his Jagaddhitecchu Press, 432 Shaniwar, Poona Published by Dr N G Sardesai, M & s, Manager, Oriental Book- Supplying Agency, 15 Shukrawar, Poona, ·... १-२ (1-12) ... १ (1) १ (2) २ (3) २ (3) ३ अनुक्रमणिका PREFACE प्रथमः परिच्छेदः (श्लोकाः१-१०५) ग्रन्थप्रस्तावः (१-९) काव्यलक्षणम् (१०) काव्यभेदा. (११-१३) महाकाव्यलक्षणम् (१४-२२) गद्यप्रभेदाः (२३) कथाख्यायिकयोः पार्थक्यमीमांसा ( २४-३० ) मिश्रकाव्यम् (३१) काव्यस्य भाषाकृतप्रभेदाः (३२-३९) वैदर्भगौडीयमार्गो (४०) वैर्दभगुणा दश (४१-१०१) कवित्वोत्पत्तिहेतुः (१०३-१०४) उपसंहार (१०५) द्वितीयः परिच्छेदः (श्लोकाः १-३६८) अलंकारलक्षणम् (१-३) अर्थालंकाराणामुद्देशः (४-७) स्वभावोक्तिः (८-१३) उपमा (१४-६५) रूपकम् (६६-९६) दीपकम् (९७-११५) आवृत्तिः (११६-११९) आक्षेपः (१२०-१६८) अर्थान्तरन्यासः (१६९-१७९) व्यतिरेकः (१८०-१९८) विभावना (१९९-२०४) समासोक्ति (२०५-२१३) अतिशयोक्तिः (२१४-२२०) उत्प्रेक्षा (२२१-२३४) हेतुः (२३५-२६०) सुक्ष्मः (२६०-२६४) लेशः (२६५-२७२) कमः [यथासंख्यम्(२७३-२७४- . .. ३ (5) ८ (12) ८ (12) ८-३२(13-50) ८ (13) ८ (13) ९ (13) ९ (14) १२ (19) १४ (22) १६ (24) १६ (24) १९ (29) २० (30) २१ (52) २१ (32) २२ (33) २२ (34) २३ (35) २५ (38) २५ (39) १६ (39) . .. .. ...

·17 अनुक्रमणिका ... ••• प्रेयः (२७५-२७९) रसवत् (२८०-२९२) ऊस्वि (२९३-२९४) पर्यायोक्तम् (२९५-२९७) समाहितम् (२९८-२९९) उदात्तम् (३००-३०३) अपहुतिः (३०४-३०९) श्लेषः (३१०-३२२) विशेषोक्तिः (३२३-३२९) तुल्ययोगिता (३३०-३३२) विरोधः (३३३-३४०) अप्रस्तुतप्रशंसा (३४०-३४२) व्याजस्तुतिः (३४३-३४७) निदर्शनम् (३४८-३५०) सहोक्तिः (३५१-३५५) परिवृत्तिः (३५५-३५६) आशीः (३५७) उद्देशपरिपूर्ति. (३५८-३५९) संसृष्टिः [संकीर्णम् ] (३६०-३६३) भाविकम् (३६४-३६६) उपसंहारः (३६७-३६८) तृतीयः परिच्छेदः (श्लोकाः१-१८७) यमकम् (१-७६) गोमूत्रिका (७८-७९) अर्धम्रमम् (८०-८१) सर्वतोभद्रम् (८२) स्वरनियमाः (८३-८७) स्थाननियमाः (८८-९१) वर्णनियमाः (९२-९५) प्रहेलिकाः (९६-१२४) दोषाः दश (१२५-१८५) उपसंहारः (१८६-१८७) INDEX OF TECHNICAL TERMS २६ (40) २६ (40) २७ (41) २७ (42) २७ (42) २८ (42) २८ (43) २८ (43) २९ (45) ३० (46) ३० (47) ३० (48) ३१ (48) ३१ (48) ३१ (48) ३१ (49) ३२ (49) ३२ (49) ३२ (49) ३२ (50) ३२ (50) ३३-४७(51-82) ३३ (51) ३९ (67) ३९ (67) ३९ (67) ३९ (68) ४० (69) ४० (69) ४. (70) ४४ (75) ४७ (82) (85) ... ... ... ...

·PREFACE The circumstances under which I was led, almost in spite of myself, to undertake an edition of Daņ. din's Kāvyādarśa are detailed in the Preface to the Bombay Sanskrit Series edition of that work (1919-1924) The English Translation of the Kāvyādarśa, now offered in this form, was originally intended for inclusion in that edition, but it could not be included there. However, there existed a demand for it not only amongst University students who often have to study this text for Higher Examinations, but also amongst the world of Sanskritists generally, many of whom, although not professed students of Sanskrit Poetics, have occasions, more than once, to refer to so early and primitive a writer as Dandın, and who would accordingly like to be spared the trouble of determining the exact context and the technical outlook of the few stanzas in the body of the treatise that alone, and from an altogether different point of view, might interest them for the moment To such scholars a dependable translation is always a great help There need be nothing original in a mere translation. But translation imposes upon its author the uncompromising necessity to understand the original. The commentator or the annotator might ignore a passage under the cover of one of the several handy formulas like-शेष सुगमम्, अति- रोहितार्थमन्यत् , or इति निगदव्याख्यातो अन्य -or better still, he might preserve a discreet silence. The teacher's ultima ratio is furnished by वाच्यता समयोतीत स्फुटमग्रे भविष्यात । इति पाठयतां अन्ये काठिन्य कुत्र वर्तताम् ॥ -But the translator, if worthy of his salt, has to reproduce in another language all the ideas and implications of his anginal, and he cannot afford to ·vi PREFACE ignore, much less to misunderstand, even a single word of his text His only temptation is to substitute for some uncertain word of the original a word in the other language which is equally uncertain (where it is not positively misleading) This propensity has brought down upon the translator the teruible rebuke contained in the Italian equation of Traduttore, Traditore (Translator, Traitor) But I cannot of course claim to be my own judge upon a charge of High Treason I can only disclaim conscious or deliberate intentions that way Bæhtlingk's German Tianslation of 1890. 15, as far as I know, the only other translation of the Kāvyādaśa in an European language that has hitherto been attempted Except in a few passages here and there, and except in the case of those elaborate word-plays that Dandın gives us in Parichchheda 11, the translation offers no unusual difficules Dandin is a clear and vigorous writer, and his very simplicity of treatment (especially as regards his numerous divisions and sub-divisions within a figure of speech) may easily prejudice the reader, who is taught to expect something elaborately—and even exaggeratingly-subtle and scientific in a treatise on Sanskrit Alamkāraśāstra But Dandın's fault in this case -if fault it can at all be called -is his having lived at a much too early stage in the evolution of the Indian theory of poetry Only Bhānaha can possibly-but only possibly-dispute Dandin's claim to be the very earliest of individual writers on Alamkāra (as different from the Nātya) whose works are now extant. And these early writeis, we must never foiget, were composing mainly a simple hand-book for the aspiring poet, and not an elaborate treatise for the learned critic. Compare in this connection the concluding stanzas of the several Parichchhedas. The text chosen for translation is in the main the one adopted for the edition in the Bombay Sanskrit Series, which was based upon a collation of all the ·PREFACE vil Mss. of the text and of the commentaries that were available to me They number more than twelve, including a Palm-leaf Ms from the Pattan Bhandar bearing a date of Saṁvat 190, which probably stands for either 1090 or 1190 There is another Palm-leaf Ms in the Jaisalmır Bhandar, (of which only variants were made available to me through the courtesy of Divan Bahadur Paunaskar,) which perhaps is the oldest extant Ms. of the Kávyādarśa, and as these readings were not in the BSS edition available to me from the very first, in the present translation I was lead, on their basis, to deviate in part from the readings there adopted Premachandra's editio princeps of A D 1863 admitted certain spurious stanzas in the text, and with a view not to depart from the numbering of that edition, I have retained them in the text, but enclosed them within square brackets. The Madras edition of M Rangacharya (1910) splits the third Parichchheda vf thc regular edition into two Parichchhedas, and gives also four extra stanzas. Although these stanzas are rejected in the B S. S. edition, I thought it useful, in a translation, not to drop them out altogether, and have accordingly inserted them at their regular places, enclosed within square brackets and marked by an asterisk. The fourth Parichchheda has not however been shown as separate By reason of these modifications in text and also for facility of reference I thought it necessary to print the text of the Kāvyādarśa all by itself and prefix it to the translation. For explanations of difficult passages a reference is made to the annotations in the B. S. S. edition, where also will be found an index to the Sanskrit stanzas It was also not thought necessary to summarize for the benefit of the readers of this translation the main conclusions sought to be establised by us in that same edition as regards Dandın's date and works, as also the position that the present treatise occupies in the evolution of the Sanskrit Alamkāraśāstra. Room is however found in this edition for an idex of technical terms used in the ·vi PREPACE treatise (other than those occurring only in the illustrations), along with their English equivalents. The index is mainly based upon that of Bahtlingk. The first two Parichchhedas of the present translation had to be issued in advance for the benefit of University students The immediate demand being thereby somewhat appeased, the translator was led, owing to other more pressing engagements, to postpone from day to day the completion of the entue translation He was fortunate, however, to secure an inexorable monitor in the Manager of the Oriental Book-Supplying Agency, Poona, to whom-now that the work has at last been concluded--it is meet that he should offer his thanks. Finally, it only remains to say that as the present edition was more than half exhausted even before it was completely issued, and as a new edition is therefore likely to be required before very long, I shall be grateful to readers and critics for all inaccuracies detected and for improvements suggested in both the Text as well as the English Translation. BILVAKUNJA, POONA, 31st March 1924. S. K. BELVALKAR ·अथ श्रीमदाचार्यदण्डिनः कृतौ काव्यादर्श प्रथमः परिच्छेदः चतुर्मुखमुखाम्भोजवनहंसवधर्मम । मानसे रमतां दीर्घ सर्वशुक्ला सरस्वती ॥१॥ पूर्वशास्त्राणि संहृत्य प्रयोगानुपलक्ष्य च । यथासामर्थ्यमस्माभिः क्रियते काव्यलक्षणम् ॥२॥ इह शिष्टान शिष्टानां शिष्टानामपि सर्वथा । वाचामेव प्रसादेन लोकयात्रा प्रवर्तते ॥३॥ इदमन्धतमः कृत्स्नं जायेत भुवनत्रयम् । यदि शब्दाह्वयं ज्योतिरासंसारान दीप्यते ॥४॥ आदिगजयशोविम्बमादर्श प्राप्य वाङमयम् । तेषामसनिधानेपि न स्वयं पश्य नश्यति ॥५॥ गौ!ः कामदुघा सम्यक्प्रयुक्ता स्मर्यते बुधैः । दुष्प्रयुक्ता पुनगान्वं प्रयोक्तुः सैव शसति ॥६॥ तदल्पमपि नोपेक्ष्यं का-ये दष्टं कथंचन । स्याद्वपुः सादरमपि श्वित्रेणेकेन दुर्भगम् ॥ ७ ॥ गुणदोषानशास्त्रज्ञः कथं विभजते नरः। किमन्धस्याधिकारोस्ति रूपभेदोपलब्धिषु ॥ ८॥ अतः प्रजानां व्युत्पत्तिमभिसंधाय सूरयः । वाचां विचित्रमार्गाणां निबबन्धु. क्रियाविधिम् ॥९॥ ते शरीरं च काव्यानामलंकाराश्च दर्शिताः। शरीरं तावदिष्टार्थव्यवच्छिन्ना पदावली ॥१०॥ पचं गद्यं च मिश्रं च तत् त्रिधैव व्यवस्थितम् । पचं चतुष्पदी तच्च वृत्तं जातिरिति द्विधा ॥ ११ ॥ छन्दोविचित्यां सकलस्तत्प्रबन्धो निदर्शितः। सा विद्या नौविविक्षूणां गम्भीरं काव्यसागरम् ॥ १२ ॥ १ [ काव्यादर्शमूलम् ]

·[२
काव्यादर्शमूलम् ।
मुक्तकं कुलकं कोशः सघात इति तादृशः।
सर्गबन्धांशरूपत्वादनुक्तः पद्यविस्तरः ॥ १३ ॥
सर्गबन्धो महाकाव्यमुच्यते तस्य लक्षणम् ।
आशीर्नमस्क्रिया वस्तुनिर्देशो वापि तन्मुखम् ॥ १४ ॥
इतिहासकयोद्भूतमितरद्वा सदाश्रयम् ।
चतुर्वर्गफलायत्तं चतुरोदात्तनायकम् ॥ १५ ॥
नगरार्णवशैलतुंचन्द्रार्कोदयवर्णनैः ।
उद्यानसलिलक्रीडामधुपानरतोत्सवै. ॥ १६ ॥
विप्रलम्भर्विवाहैश्च कुमारोदयवर्णनैः ।
मन्त्रदूतप्रयाणाजिनायकाभ्युदयैरपि ॥ १७ ॥
अलंकृतमसंक्षिप्तं रसभावनिरन्तरम् ।
सगैरनतिविस्तीर्णे. श्रव्यवृत्तैः सुसधिभिः ॥ १८ ॥
सर्वत्र भिन्नवृत्तान्तैरुपेतं लोकरञ्जनम् ।
काव्यं कल्पोत्तरस्थायि जायते सदलंकृति ॥ १९ ॥
न्यूनमप्यत्र यैः कैश्चिद. काव्यं न दृष्यति ।
यापात्तेषु सपत्तिराराधयति तद्विद ॥ २० ॥
गुणतः प्रागुपन्यस्य नायकं तेन विद्विषाम् ।
निराकरणमित्येष मार्गः प्रकृतिसुन्दर || २१ ।।
घंशवीर्यश्रतादीनि वर्णयित्या रिपोरपि ।
तज्जयानायकोत्कर्षकथनं च धिनोति न ॥ २२ ।।
अपादः पदसंतानो गद्यमाख्यायिकाकथे।
इति तस्य प्रभेदौ द्वौ तयोराख्यायिका किल ॥ २३ ॥
नायकेनैव वाच्यान्या नायकेनेतरेण वा।
स्वगुणाविष्क्रियादोषो नात्र भूतार्थशंसिनः ॥२४॥
अपि त्वनियमो दृष्टस्तत्राप्यन्यैरुदीरणात् ।
अन्यो वक्ता स्वयं वेति कीदृग्वा भेदकारणम् ॥ २५ ॥
धक्त्रं चापरवक्त्रं च सोच्दासत्वं च भेदकम् ।
चिलमाख्यायिकायाश्चेत् प्रसङ्गेन कथास्वपि ॥ २६ ॥
मार्यादिवत् प्रवेशः कि न वक्त्रापरवक्त्रयोः।
मेदबसे उम्भादिरुच्खासो धास्तु किं मनः ॥ २७ ॥

·३]
प्रथमः परिच्छेदः ।
[१-१२
तत् कथाख्यायिकत्येका जातिः संज्ञाद्वयाहिता ।
अत्रैवान्तर्भविप्यन्ति शेषाश्चास्यानजातयः ॥२८॥
कन्याहरणसंग्रामविप्रलम्भोदयादयः ।
सर्गन्धिसमा एव नैते दैशेषिका गणाः ॥ २९ ॥
कविभावकृतं चिह्नमन्यत्रापि न टुप्यति ।
मुखमिष्टार्थससिद्धा किं हि न स्यात् कृतात्मनाम् ।। ३० ॥
मिश्राणि नाटकादीनि तेषामन्यत्र विस्तर.।
गद्यपद्यमयी काचिच्चम्पूरित्यपि विद्यते ॥ ३१ ॥
तदेतद्वाङमय भूय संस्कृतं प्राकृतं तथा ।
अपभ्रशश्च मिश्र चेत्याहुराप्ताश्चतुर्विधम् ॥ ३२ ॥
संस्कृतं नाम देवी वागन्वाख्याता महर्षिभिः ।
तद्भवस्तत्समो देशीत्यनेकः प्राकृतक्रम ॥३३॥
महाराष्ट्राश्रयां भाषां प्रकृष्टं प्राकृतं विदु ।
सागर सूक्तिरत्नानां सेतुबन्धादि यन्मयम् ॥ ३४ ॥
शौरसेनी च गौडा च लाटी चान्यापि ताशी ।
याति प्राकृतमित्येवं व्यवहारेषु संनिधिम् ॥ ३५ ॥
आभीरादिगिर काव्येष्वपभ्रंश इति स्मृताः ।
शास्त्रे तु संस्कृतादन्यदपत्रंशतयोदितम् ॥ ३६ ॥
संस्कृतं सर्गवन्धादि प्राकृत स्कन्धकादि यत् ।
ओसरादिरपभ्रंशो नाटकादि तु मिश्रकम् ॥ ३७॥
कथा हि सर्वभाषाभि संस्कृतेन च बध्यते ।
भूर्तभाषामयी प्रारद्भुनार्था बृहत्कथाम् ॥ ३८॥
लास्यच्छलितशम्पादि प्रेक्षार्थमितरत् पुन. ।
श्रव्यमेवेति सैषापि द्वयी गतिरुदाहृता ॥ ३२ ॥
अस्त्यनेको गिरां मार्ग सुक्ष्मभेद परस्परम् ।
तत्र वैदर्भगौडीयौ वयेते प्रस्फुटान्तरौ ॥ ४० ॥
श्लेष प्रसाद समता माधुर्य सुकुमारता ।
अर्थव्यक्तिरुदारत्वमाज कान्तिसमाधयः ॥४१॥
इति वैदर्भमार्गस्य प्राणा दश गुणा स्मृताः ।
एषां विपर्ययः प्रायो लक्ष्यते गौरवमनि ॥१२॥

·[१
१.१.]
काव्यादर्शमूलम् ।
लिष्टमस्पृष्टशैथिल्यमल्पप्राणाक्षरोत्तरम् ।
शिथिलं मालतीमाला लोलालिकलिला यथा॥४३॥
अनुप्रासधिया गौडैस्तद्दिष्टं बन्धगौरवात् ।
वैदर्भेर्मालतोदाम लडितं भ्रमरैरिति ॥ ४४ ॥
प्रसादयत् प्रसिद्धार्थमिन्दोरिन्दीवरति ।
लक्ष्म लक्ष्मी तनोति प्रतीतिसुभग वच ॥४५॥
व्युत्पन्नमिति गौडीयै तिरूढमपीष्यते ।
यथानत्यर्जुनाम्जन्मसदृक्षाको वलक्षगु ॥४६॥
समं बन्धेष्वविषम ते मृदुम्फुटमध्यमा ।
बन्धा मृदुस्फुटोन्मिश्रवर्णविन्यासयोनय ॥ ४ ॥
कोकिलालापवाचालो मार्मति मल्यानिल ।
उच्छलच्छीकराच्छाच्छनिझराम्भ कणोक्षित ॥ ४८ ॥
चन्दनप्रणयोग िधर्मन्दो मलयमारुत ।
स्पधते रुद्धमद्धे या वरगमाननानिलै ॥ ४९ ॥
इत्यनालोन्य वैषम्यमील कार डम्बरौ ।
अवेक्षमाणा ववृधे पौरस्त्या काव्यपद्धति ॥ ५० ॥
मधुरं रसवद्वात्रि वस्तुन्यपि रस स्थित ।
येन माद्यन्ति धीमन्तो मधनेव मधत्रता ॥ ५१ ॥
ययाकयाचिच्छत्या यत् समानमनुभूयते।
तद्रूपा हि पदासत्तिः सानुप्रासा रसावहा ॥ ५२ ॥
एष राजा यता लक्ष्मी प्राप्तवान् ब्राह्मणप्रियः ।
तदाप्रभृति धर्मस्य लोकेस्मिन्नुत्सवोभवत् ॥ ५३ ॥
इतीदं नाहत गोडैरनप्रासस्त तत्प्रियः ।
अनुप्रासादपि प्रायो वैदभैरिदमीप्सितम् ॥ ५४ ॥
वर्णावृत्तिरनुप्रासः पादेषु च पदेषु च ।
पूर्वानुभवसस्कारबोधिनी यद्यदृरता ॥ ५५ ॥
चन्द्रे शरनिशोत्तंसे कुन्दस्तबकविभ्रमे ।
इन्द्रनीलनिभं लक्ष्म सदधात्यलिनः श्रियम् ।। ५६ ॥
चारु चान्द्रमस भीरु बिम्बं पश्यैतदम्बरे ।
मन्मनो मन्मथाक्रान्तं निर्दयं हन्तुमुद्यतम् ॥ ५७ ॥

·६]
प्रथमः परिच्छेदः।
[१.७१
इत्यनुप्रासमिच्छन्ति नातिदूरान्तरशृतिम् ।
न तु रामामुखाम्भोजसदृशश्चन्द्रमा इति ॥५॥
स्मरः खरः खलः कान्तः काय. कोपश्च नः कृशः ।
च्युतो मानोधिको रागो मोहो जातोसवो गताः ॥ ५९॥
इत्यादि बन्धपारुप्य शैथिल्यं च नियच्छति।
अतो नैवमत्प्रास दाक्षिणात्याः प्रयुअते ॥ ६० ॥
आवृत्तिमेव संघातगोधरां यमकं विदुः ।
तत्तु नैकान्तमधुरमत. पश्चाद्विधास्यते ॥ ६१ ॥
कामं सर्वोप्यलकारो रसमर्थ निषिञ्चति ।
तथाप्यग्राम्यतैनं भारं वहति भूयसा ॥ ६२ ॥
कन्ये कामयमानं मा त्वं न कामर से कथम् ।
इति ग्राम्योयमर्थात्मा वैरस्यायव कल्पते ॥ ६३ ।।
काम कन्दर्पचाण्डालो मयि घामाक्षि निर्दयः ।
त्वयि निर्मसरो दिष्टयेत्यग्राम्योर्थो रसावहः ।। ६४ ॥
शब्दपि ग्राम्यतारत्येव सा सम्येतर कीर्तनात् ।
यथा यकारादिपद रत्युत्सवनिरूपणे ॥६५॥
पदसधानवृत्या वा वावयार्थत्वेन वा पुनः ।
दुष्प्रतीतिकरं ग्राम्यं यथा या भवत. प्रिया ॥ ६६ ॥
खरं प्रहृत्य विश्रान्तः पुरुषो वीर्यवानिति ।
एवमादि न शसन्ति मार्गयोरुभयोरपि ॥ ६७ ॥
भगिनीभगवन्यादि सर्वत्रैवानुमन्यते ।
विभक्तमिति माधुर्यमुच्यते सुकुमारता ॥ ६८ ॥
अनिष्ठुगक्षरप्रायं सुकुमारमिहेष्यते ।
बन्धशैथिल्यदोषोपि दर्शित सर्वकोमले ॥ ६९ ॥
मण्डलीकृत्य बर्हाणि कण्टैर्मधुरगीतिभिः ।
कलापिनः प्रनृत्यन्ति काले जीमूतमालिनि ॥ ७० ॥
इत्यनूर्जित एवार्थो नालंकारोपि तादृशः।
सकुमारतयैवैतदारोहति सतां मुखम् ॥ ७१ ॥
दीप्तमित्यपरैभूम्ना कृच्छोद्यमपि बध्यते ।
न्यक्षेण क्षपितः पक्षः क्षत्रियाणां क्षणादिति ॥ ७२ ॥

·[९
१.०५]
काव्यादर्शमूलम् ।
अर्थव्यक्तिरनेयत्वमर्थस्य हरिणोद्धता।
भूः खुरक्षुण्णनागासग्लोहितादुधरिति ॥ ३॥
मही महावराहेण लोहितादुद्धृतोदधे ।
इतीयत्येव निर्दिष्ट नेयत्वमुरगासजः॥ ७४ ॥
नेदृशं बहु मन्यन्ते मार्गयोरुभयोरपि ।
न हि प्रतीतिः सुभगा शब्दन्यायविलचिनी ॥ ५ ॥
उत्कर्षवान् गुणः कश्चिदुक्ते यस्मिन् प्रतीयते ।
तदुदाराहयं तेन रूनाथा कास्यपद्धतिः ॥ ७६ ॥
अर्थिनां कृपणा दृष्टिस्वामुखे पतिता सरत् ।
तदवस्था पुनर्देव नान्यस्य मुखमीक्षते ॥ ७७ ।।
इति त्यागस्य वाक्येस्मिन्नुत्कर्षः साधु लक्ष्यते ।
अनेनैव पथान्यच समानन्यायमूहताम् ॥ ७८ ॥
श्लाघ्यैर्विशेषणैर्युक्तमुदारं कैश्चिदिप्यते ।
यथा लीलाम्वुजक्रीडासरोहेमाङ्ग दादयः ॥ ७९ ॥
ओजः समासभूयस्वमेतद्गद्यस्य जीवितम् ।
पोप्यदाक्षिणात्यानामिदमेकं परायणम् ॥ ८० ॥
तद्गुरूणां लघूनां च बाहुल्याल्पत्वमिश्रणैः ।
उच्चावचप्रकारं सदृश्यमाख्यायिकादिषु ॥ ८१ ॥
अस्तमस्तकपर्यस्तसमस्ताीशुसंरतरा ।
पीनरतनस्थिताताम्रकम्रोव वारणी ॥ ८२ ।।
इति पद्येपि पौरस्त्या बननयोजस्विनीगिरः ।
अन्ये त्वनाकलं हृद्यमिच्छन्त्योजो गिरां यथा ॥ ८३ ॥
पयोधरतटोत्सङ्गालग्नसंध्यातपांशुका ।
कस्य कामातुरंतो वारणी न करिप्यति ॥ ८४ ॥
कान्तं सर्वजगत्कान्तं लौकिकार्थानतिक्रमात् ।
तच्चवार्ताभिधानेषु वर्णनास्वपि दृश्यते ॥ ८५ ॥
गृहाणि नाम तान्येव तपोराशिर्भवादृशः।
संभावयति यान्येवं पावनैः पादपांसुभिः॥ ८६ ॥
मनयोरनवद्याङ्गि स्तनयोजृम्भमाणयोः ।
मघकाशो न पर्याप्तस्तव बालतान्तरे ॥ ८७ ॥

·.)
प्रयमः परिच्छेदः ।
[१.१.१
इति संभाव्यमेवैतद्विशेषाख्यानसंकृतम् ।
कान्तं भवति सर्वस्य लोकयात्रानुवर्तिनः ॥ ८८॥
लोकातीत इवात्यर्थमध्यारोप्य विवक्षितः।
योर्थस्तेनातितुष्यन्ति विदग्धा नेतरे यथा ॥ ८९ ॥
देवधिष्ण्यमिवाराध्यमद्यप्रभृति नो गृहम् ।
युष्मत्पादरजःपातधौतनिःशेषकिल्बिषम् ॥२०॥
अल्पं निर्मितमाकाशमनालोच्यैव वेधसा ।
इदमेवंविधं भावि भवत्याः स्तनजृम्भणम् ॥ ९१ ॥
इदमत्युक्तिरित्युक्तमेतद्गौडोपलालितम् ।
प्रस्थानं प्राक्प्रणीतं तु सारमन्यस्य वर्त्मनः ॥ ९२ ॥
अन्यधर्मस्ततोन्यत्र लोकसीमानुरोधिना।
सम्यगाधीयते यत्र स समाधिः स्मृतो यथा ॥ ९३ ॥
कमुदानि निमीलन्ति कमलान्युन्मिपन्ति च ।
इति नेत्रक्रियाध्यासाल्लब्धा तद्वाचिनी शृतिः॥९४ ॥
निष्ठयूतोद्गीर्णवान्तादि गौणवृत्तिव्यपाश्रयम् ।
अतिसुन्दरमन्यत्र ग्राम्यकक्षां विगाहते ॥९५ ॥
पनान्याशुनिष्ठथूताः पीत्वा पावकविनुषः ।
भूयो वमन्तीव मुखैरुदीर्णारुणरेणुभिः ॥९६ ॥
इति हृद्यमहृद्यं तु निष्टीवति वधूरिति।
युगपनैकधर्माणामध्यासश्च मतो यथा ॥ ९७॥
गुरुगर्भभरक्लान्ताः स्तनन्त्यो मेघपङ्क्तयः।
अचलाधित्यकोत्सङ्गमिमाः समधिशेरते ॥ ९८॥
उत्सङ्गशयनं सख्याः स्तननं गौरवं क्लमः।
इतीह गर्भिणीधर्मा बहवोन्यत्र दर्शिताः ॥ ९९ ॥
तदेतत् काव्यसर्वस्वं समाधिर्नाम यो
गुणः
कविसार्थः समग्रोपि तमेकमुपजीवति ॥ १०० ॥
इति मार्गद्वयं भिन्न तत्स्वरूपनिरूपणात् ।
तद्भेदास्तु न शक्यन्ते वक्तुं प्रतिकवि स्थिताः॥१०१॥
इक्षुशीरगुडादीनां माधुर्यस्यान्तरं महत्।
स्थापि, दाण्यातुं सरस्वत्यापि शक्यते ॥१०॥

·१.१.१]
कान्यादर्शमूलम् ।
नैसर्गिकी च प्रतिभा श्रुतं च बहुनिर्मलम् ।
अमन्दश्चाभियोगोस्याः कारणं काव्यसंपदः॥ १०३ ॥
न विद्यते यद्यपि पूर्ववासना.
गुणानुवन्धि प्रतिभानमद्भतम् ।
श्रुतेन यत्नेन च वागुपासिता
ध्रुषं करोत्येव कमप्यनग्रहम् ॥ १०४ ॥
तदस्ततन्द्ररनिशं सरस्वती
क्रमादुपास्या खलु कीर्तिमीप्सुभिः ।
कृशे कवित्वेपि जनाः कृतश्रमा
विदग्धगोष्ठीषु विहर्तमीशते ॥ १०५ ॥
इत्याचार्यदण्डिनः कृतौ काव्यादर्श मार्गविभागो नाम
प्रथमः परिच्छेदः।
काव्यादर्शे द्वितीयः परिच्छेदः
काव्यशोभाकरान् धर्मानलंकागन् प्रचक्षते ।
ते चाधापि विकल्प्यन्ते व रतान् कात्स्न्येन वक्ष्यति ॥१॥
किंतु बीज विकल्पानां प्राचार्ये प्रदर्शितम् ।
तदेव प्रतिसस्कर्तुमयमस्मत्परिश्रम ॥२॥
काश्चिन्मार्गविभागार्थमुक्ताः प्रागप्यलंक्रियाः।
साधारणमलंकारजातमन्यत् प्रदर्श्यते ॥३॥
स्वभावाख्यानमुपमा रूपकं दीपकावृती।
आक्षेपोर्थान्तरल्यासो व्यतिरेको विभावना ॥ ४ ॥
समासातिशयोत्प्रेक्षा हेतुः सूक्ष्मो लवः क्रमः।
प्रेयो रसवदूर्जस्वि पर्यायोक्त समाहितम् ॥५॥
उदात्तापलुतिश्लिष्टविशेषास्तुल्ययोगिता।
विरोधाप्रस्तुतस्तोत्रे व्याजस्तुतिनिदर्शने ॥ ६॥

·९]] द्वितीयः परिच्छेदः । [२.२१ सहोक्ति परिवृत्त्याशीः संकीर्णमथ भाविकम् । इति वाचामलंकारा दर्शिता पूर्वसूरिभि ॥७॥ नानावस्थं पदार्थानां रूपं साक्षाद्विवृण्वती। स्वभावोक्तिश्च जातिश्चेत्याद्या सालंकृतिर्यथा ॥ ८ ॥ तुण्डैराताम्रकुटिलै पहरितकोमलैः । त्रिवर्णराजिभि कण्ठैरेते मञ्जगिरः शुकाः ॥ ९ ॥ कलक्वणितगर्भेण कण्ठेनापूर्णितेक्षणः । पारावतः परिक्षिप्य रिरंसुश्चुम्बति प्रियाम् ॥ १० ॥ बध्नन्नङ्गेषु रोमाञ्चं कुर्वन् मनास निवृतिम् । नेत्रे चामीलयनेष प्रियास्पर्शः प्रवर्तते ॥ ११ ॥ कण्ठेकालः करस्थेन कपालेनेन्दुशेखरः । जटाभि स्निग्धताम्राभिराविरासीदवृषध्वजः ॥१२॥ जातिक्रियागुणद्रव्यस्वभावाख्यानमीदृशम् । शास्त्रेवस्यैव साम्राज्यं काव्येष्वप्येतदीप्सितम् ॥१३॥ यथाकथंचित् सादृश्यं यत्रोद्भुत प्रतीयते । उपमा नाम सा तस्याः प्रपञ्चोयं प्रदर्श्यते ॥ १४ ॥ अम्भोरुहमिवातानं मुग्धे करतलं तव । इति धर्मोपमा साक्षात् तुल्यधर्मनिदर्शनात् ॥१५॥ राजीवमिव ते वक्त्रं नेत्रे नीलोत्पले इव । इयं प्रतीयमानैकधर्मा वस्तूपमैव सा ॥ १६ ॥ त्वदाननमिवोन्निद्रमरविन्दमभूदिति । सा प्रसिद्धिविपर्यासाद्विपर्यासोपमेष्यते ॥ १७ ॥ तवाननमिवाम्भोजमम्भोजमिव ते मुखम् । इत्यन्योन्योपमा सेयमन्योन्योत्कर्षशंसिनी ॥ १८ ॥ त्वन्मुखं कमलेनैव तुल्यं नान्येन केनचित् । इत्यन्यसाम्यव्यावृत्तेरियं सा नियमोपमा ॥ १९ ॥ पद्मं तावत् तवान्वेति मुखमन्यच्च तादृशम् । अस्ति चेदस्तु तत्कारीत्यसावनियमोपमा ॥ २० ॥ समञ्चयोपमाप्यस्ति न कान्त्यैव मुखं तव । ह्लादनाख्येन चान्वेति कर्मणेन्दुमितीशी ॥ २१ ॥ २ [ काव्यादर्शमूहम् ]

·२.२२ ]
काव्यादर्शमूलम् ।
[ १०
त्वय्येव त्वन्मुखं दृष्टं दृश्यते दिवि चन्द्रमाः ।
इयत्येव भिदा नान्येत्यसावतिशयोपमा ॥ २२ ॥
मय्येवास्या मुखश्रीरित्यलमिन्दोर्विकथनैः ।
पद्मपि सा यदस्त्येवेत्यसावुत्प्रेक्षितोपमा ॥ २३ ॥
यदि किचिद्भवेत् पद्ममुद्ध विभ्रान्तलोचनम् ।
तत् ते मुखश्रियं धत्तामित्यसावद्भुतोपमा ॥ २४ ॥
शशीत्युत्प्रेक्ष्य तन्वडगि त्वन्मुख त्वन्मखाशया।
इन्दुमप्यनुधावामीत्येषा मोहोपमा मता ॥ २५ ॥
कि पद्ममन्तर्धान्तालि कि ते लोलेक्षणं मुखम् ।
मम दोलायते चित्तमितीयं संशयोपमा ॥२६॥
न पद्मस्येन्दुनिग्राह्यस्येन्दुलजाकरी गुतिः ।
अतस्त्वन्मुखमेवेदमित्यसो निर्णयोपमा ॥ २७ ॥
शिशिरांशुप्रतिद्वन्द्वि श्रीमत् सरभिगन्धि च ।
अम्भोजमिव ते वक्त्रमिति श्लेपोपमा स्मृता ॥२८॥
सरूपशब्दवाच्यत्वात् सा समानोपमा यथा ।
बालेवोद्यानमालय सालकाननशामिनी ॥ २९ ॥
पद्मं बहुरजश्चन्द्रः क्षयी ताभ्यां तवाननम् ।
समानमपि सोत्सेकमिति निन्दोपमा स्मृता ॥ ३० ॥
ब्रह्मणोप्युद्धव पद्मश्चन्द्र शम्भुशिरोधृत ।
तो तुल्यौ त्वन्मुखेनेति सा प्रशंसोपमोच्यते ॥ ३१ ॥
चन्द्रेण त्वन्मुखं तुल्यमित्याचिल्यासु मे मन ।
स गुणो वास्तु दोषो वेत्याचिच्यासोपमां विदु ॥ ३२ ॥
शतपत्रं शरच्चन्द्रस्त्वदाननमिति त्रयम् ।
परस्परविरोधीति सा विरोधोपमा मता ॥ ३३ ॥
न जातु शक्तिरिन्दोस्ते मुखेन प्रतिगर्जितुम् ।
कलङ्किनो जडस्येति प्रतिषेधोपमैव सा ॥ ३४ ॥
मृगेक्षणाईं तं वक्त्र मृगेणैवाङ्कितः शशी।
तथापि सम एवासौ नोत्कर्षांति चटूपमा ॥ ३५ ॥
न पद्मं मुखमेवेदं न भृङ्गो चक्षुषी इमे ।
इति विस्पष्टसादृश्यात् तत्त्वाख्यानोपमैव सा॥३६ ॥
चन्द्रारविन्दयोः कक्ष्यामतिक्रम्य मुखं तव ।
आत्म वाभवत् तुल्यमित्यसाधारणोपमा ॥ २७ ॥

·११ ]
द्वितीयः परिच्छेदः ।
[२.५२
सर्वपद्मप्रभासार समाहृत इव क्वचित् ।
त्वदाननं विभातीति तामभूतोपमां विदुः ॥ ३८ ॥
चन्द्रबिम्बादिव विषं चन्दनादिव पावक ।
परुषा वागितो वक्त्रादित्यसंभावितोपमा ॥ ३० ॥
चन्दनोदकचन्द्रांशुचन्द्रकान्तादिशीतल ।
स्पर्शस्तवेत्यतिशयं प्रथयन्ती बहुपमा ॥ ४० ॥
इन्दुबिम्बादिवोत्कीर्ण पद्मगर्भादिवोदृतम ।
तव तन्वणि वदनमित्यमौ विक्रियोपमा ॥४१॥
पूष्ण्यातप इवाह्नीव पूषा व्योम्नीव वासर ।
विक्रमस्त्वय्यधालक्ष्मीमिति मालोपमाक्रमः ॥ ४२ ॥
वाक्यार्थेनैव वाक्यार्थः कोपि यापमीयते ।
एकानेकेवशब्दत्वात् सा वाक्यार्थोपमा द्विधा ॥ ४३ ॥
त्वदाननमधीराक्षमाविर्दशनदीधिति ।
भ्रमद्भङ्गमिवालक्ष्यकेसरं भाति पङ्कजम् ॥ ४४ ॥
नलिन्या इव तन्वङ्गयास्तस्या पद्ममिवाननम् ।
मया मधुव्रतेनेव पायं पायमरम्यत ॥ ४५ ॥
वस्तु किचिदुपन्यस्य न्यसनं तत्सधर्मण ।
साम्यप्रतीतिरस्तीति प्रतिवस्तृपमा यथा ॥ ४६॥
नैकोपि त्वादृशोद्यापि जायमानेषु राजसु ।
नन द्वितीयो नास्त्येव पारिजातस्य पादप ॥४७॥
अधिकेन समीकृत्य हीनमेकक्रियाविधी ।
यद्ववन्ति स्मृता सेय तुल्ययोगोपमा यथा ॥ ४८ ॥
दिवो जागर्ति रक्षायै पुलोमारि वो भवान् ।
असुरास्तेन हन्यन्ते सावलेपास्त्वया नृपाः ॥ ४९ ॥
कान्त्या चन्द्रमसं धाम्ना सूर्य धैर्येण चार्णवम् ।
राजन्ननुकरोषीति सैपा हेतूपमा मता ॥ ५० ॥
न लिङ्गवचने भिन्ने न हीनाधिकतापि वा।
उपमादूषणायालं यत्रोद्वेगो न धीमताम् ।। ५१ ॥
स्त्रीव गच्छति षण्ढोयं वक्त्येषा स्त्री पुमानिव ।
प्राणा इव प्रियोयं मे विद्या धनमिवार्जिता॥५२॥

·२५३ ] काव्यादर्शमूलम् । [१२ भवानिव महीपाल देवराजो विराजते। अलमंशुमतः कक्षामारोढुं तेजसा नृपः ॥ ५३ ॥ इत्येवमादि सौभाग्यं न जहात्येव जातुचित् । अस्ति च क्वचिदुद्वेग प्रयोगे वाग्विदां यथा ॥ ५४ ॥ हंसीव धवलश्चन्द्रः सरांसीवामलं नभः । भर्तृभक्तो भटः श्वेव खद्योतो भाति भानुवत् ॥ ५५ ॥ ईदृशं वय॑ते सद्भिः कारणं तत्र चिन्त्यताम् । [गुणदोषविचाराय स्वयमेव मनीषिभि ॥५६॥ ] इववद्वायथाशब्दाः समाननिभसंनिभाः । तुल्यसंकाशनीकाशप्रकाशप्रतिरूपकाः ॥ ५७ ॥ प्रतिपक्षप्रतिद्वन्द्विप्रत्यनीकविरोधिनः । सहक्सदृशसंवादिसजातीयानुवादिन ॥५८ ॥ प्रतिबिम्बप्रतिच्छन्दसरूपसमसंमिताः। सलक्षणसदृक्षाभसपक्षोपमितोपमा ॥ ५९॥ कल्पदेशीयदेश्यादि प्रख्यप्रतिनिधी अपि । सवर्णतुलितौ शब्दो ये चान्यूनार्थवादिनः ॥ ६० ॥ समासश्च बहुव्रीहि शशाङ्कवदनादिषु । स्पर्धते जयति द्वेष्टि द्रुह्यति प्रतिगर्जति ॥ ६१ ।। आक्रोशत्यवजानाति कदर्थयति निन्दति । विडम्बयति संधत्ते हसतीय॑त्यसूयति ॥ ६२ ॥ तस्य मुष्णाति सौभाग्य तस्य कान्ति विलुम्पति । तेन सार्ध विगृह्णाति तुलां तेनाधिरोहति ॥ ६३ ॥ सत्पदव्यां पदं धत्ते तस्य कक्षां विगाहते । तमन्वेत्यनुबध्नाति तच्छीलं तनिषेधति ॥ ६४ ॥ तस्य चानुकरोतीति शब्दाः सादृश्यसूचकाः। [ उपमायामिमे प्रोक्ताः कवीनां बुद्धिसौख्यदाः ॥६५॥] ॥ इत्युपमाचक्रम् ॥ उपमैव तिरोभूतभेदा रूपकमुच्यते । यथा बाहुलता पाणिपद्मं चरणपल्लवः ॥ ६६ ॥ अङ्गाल्यः पल्लवान्यासन् कुसुमानि नखार्चिषः ।

·१३] द्वितीयः परिच्छेदः। [ २.८२ बाहू लते वसन्तश्रीस्त्वं न प्रत्यक्षचारिणी ॥ ६७ ॥ इत्येतदसमस्ताख्यं समस्तं पूर्वरूपकम् । स्मितं मुखेन्दोयोत्स्नेति समस्तव्यस्तरूपकम् ॥ ६८ ॥ ताम्राङ्गुलिदलश्रेणि नखदीधितिकेसरम् । ध्रियते मूनि भूपालभवच्चरणपङ्कजम् ॥ ६९ ॥ अङ्गुल्यादौ दलादित्व पादे चारोग्य पद्मताम् । तद्योग्यस्थानविन्यासादेतत् सकलरूपकम् ॥ ७० ।। अकस्मादेव ते चण्डि म्फुरिताधर पल्लवम् । मुखं मुक्तारुचो धने घर्माम्भःकणमअरीः ॥ ७१ ॥ मञ्जरीकृत्य घर्माम्भः पल्लवीकृत्य चाधरम् । नान्यथाकृतमत्रास्यमतोवयवरूपकम् ॥ ७२ ।। वल्गितच गलद्धर्मजलसालोहितेक्षणम् । विवृणोति मदावस्थामिद वदनपङ्कजम् ॥ ७३ ।। अविकृत्य मुखाङ्गानि मुखमेवारविन्दताम् । आसीद्गमितमत्रेदमतोवयविरूपकम् ॥ ७४ ॥ मदपाटलगण्डेन रक्तनेत्रोत्पलेन ते। मुखेन मुग्धः सोप्येष जनो गगमय कृतः ॥ ७५ ।। एकाङ्गरूपक चैतदेवं द्विप्रभृतीन्यपि । अङ्गानि रूपयन्त्यत्र योगायोगी भिदाकरौ ।। ७६ ॥ स्मितपुष्पोज्ज्वलं लोलनेत्रभृङ्गमिदं मुखम् । इति पुष्पद्विरेफाणां गत्या युक्तरूपकम् ॥ ७७ ।। इदमास्मितज्योत्स्नं स्निग्रनेत्रोत्पलं मुखम् । इति ज्योत्स्नोत्पलायोगादयुक्तं नाम रूपकम् ॥ ७८ ॥ रूपणादगिनोङ्गानां रूपणारू पणाश्रयात् । रूपकं विषमं नाम ललित जायते यथा ॥ ७९ ॥ मदरक्तकपोलेन मन्मथस्त्वन्म ग्वेन्दुना। नर्तितधूलतेनालं मर्दितुं भुवनत्रयम् ॥ ८० ॥ हरिपादः शिरोलग्नजझुकन्याजलांशुकः। जयत्यसुरनिःशङ्कसुरानन्दोत्सवध्वजः ॥ ८१ ॥ विशेषणसमग्रस्य रूपं केतोर्यदीदृशम् । पादे तदर्पणादेतत् सविशेषणरूपकम् ॥ ८२ ॥ न मीलयति पद्मानि न नभोप्यवगाहते।

·२.८३] काव्यादर्शमूलम् । [ १४ त्वन्मुखेन्दुर्ममासूनां हरणायैव कल्पते ॥ ८३ ॥ अक्रिया चन्द्रकार्याणामन्यकार्यस्य च क्रिया। अत्र सदर्यते यस्माद्विरुद्ध नाम रूपकम् ॥ ८४॥ गाम्भीर्येण समुद्रोसि गौरवेणासि पर्वतः । कामदत्वाच्च लोकानामसि त्व कल्पपादपः ।। ८५॥ गाम्भीर्यप्रमुखैरत्र हेतुभि. सागरो गिरिः । कल्पद्रुमश्च क्रियते तदिद हेतुरूपकम् ॥ ८६॥ राजहंसोपभोगाई भ्रमरप्रार्थ्यसौरभम् । सखि वक्त्राम्बुजमिदं तवेति श्लिष्टरूपकम् ॥ ८७ ॥ इष्टं साधर्म्यवैधर्म्यदर्शनाद्गौणमुख्ययोः । उपमाव्यतिरेकाख्यं रूपकद्वितयं यथा ॥ ८८ ॥ अयमालोहितच्छायो मदेन मुखचन्द्रमाः। संनद्धोदयरागस्य चन्द्रस्य प्रतिगर्जति ।। ८९ ॥ चन्द्रमाः पीयते देवैमया त्वन्मुखचन्द्रमाः । असमग्रोप्यसौ शश्वदयमापूर्णमण्डलः ॥९० ॥ मुखचन्द्रस्य चन्द्रत्वमिन्थमन्योपतापिनः । न ते सुन्दरि संवादीत्येतदाक्षेपरूपकम् ॥९१ ॥ मुखेन्दुरपि ते चण्डि मां निर्दहति निर्दयम् । भाग्यदोषान्ममैवेति तत् समाधानरूपकम् ॥ ९२॥ मुखपङ्कजरङ्गेस्मिन् भूलतानर्तकी तव । लीलानृत्तं करोतीति रम्यं रूपकरूपकम् ॥९३॥ नैतन्मुखमिदं पद्म न नेत्रे भ्रमराविमौ। एतानि केसराण्येव नैता दन्तार्चिषस्तव ॥९४ ॥ मुखादित्वं निवत्यैवं पद्मादित्वेन रूपणात । उद्भासितगुणोत्कर्ष तत्त्वापह्नवरूपकम् ॥९५॥ न पर्यन्तो विकल्पानां रूपकोपमयोरतः। दिङ्मात्रं दर्शित धीरैरनुक्तमनुमीयताम् ॥९६ ॥ ॥ इति रूपकचक्रम्॥ मातिक्रियागुणद्रव्यवाचिनैकत्र वर्तिना । सर्ववाक्योपकारश्चेत् तदाहुपिकं यथा ॥ ९७ ।। पवनो दक्षिणः पर्ण जीर्ण हरति वीरुधाम् ।

·१५] द्वितीयः परिच्छेदः । [२.११३ स एव च नताङ्गीनां मानभङ्गाय कल्पते ॥९८ ॥ चरन्ति चतुरम्भोधिवेलोद्यानेषु दन्तिनः । चक्रवालाद्रिकुलेषु कुन्दभासो गुणाश्च ते ॥ ९९ ।। श्यामलाः प्रावृषेण्याभिर्दिशो जीमृतपक्तिभिः । भुवश्च सुकुमाराभिर्नवशाद्वलराजिभिः ॥ १०० ॥ विष्णुना विक्रमस्थेन दानवानां विभूतयः । क्वापि नीताः कुतोप्यासन्नानीता देवतर्द्धयः ॥ १०१ ॥ इत्यादिदीपकान्युक्तान्येवं मध्यान्तयोरपि। वाक्ययोर्दयिष्यामः कानिचित् तानि तद्यथा ॥ १०२ ॥ नृत्यन्ति निचुलोत्सङ्गे गायन्ति च कलापिनः । वध्नन्ति च पयोदेष दृशं हर्षाश्रुगर्भिणीम् ॥ १०३ ॥ मन्दो गन्धवहः क्षारो वह्निरिन्दश्च जायते । चर्चाचन्दनपातश्च शस्त्रपातः प्रवासिनाम् ॥१०४ ॥ जल जलधरोद्गीर्ण कुलं गृहशिखण्डिनाम् । चलं च तडितां दाम बलं कुसुमधन्वनः ।। १०५॥ त्वया नीलोत्पलं कर्णं स्मरेणास्त्रं शरासने। मयापि मरणे चेतस्त्रयमेतत् सम कृतम् ॥ १०६॥ शुक्लः श्वेतार्चिषो वृद्धयै पक्षः पञ्चशरस्य सः । स च रागस्य रागोपि यूनां रत्युत्सवश्रियः ॥ १०७ ।। इत्यादिदीपकत्वेपि पूर्वपूर्वव्यपेक्षिणी । वाक्यमाला प्रयुक्तेति तन्मालादीपकं मतम् ॥ १०८ ॥ अवलेपमनङ्गस्य वर्धयन्ति बलाहकाः । कर्शयन्ति च धर्मस्य मारुतोदूतशीकराः ॥ १०९ ॥ अवलेपपदेनात्र बलाहकपदेन च । क्रिये विरुद्ध संयुक्त तद्विरुद्धार्थदीपकम् ॥ ११० ॥ हरत्याभोगमाशानां गृह्णाति ज्योतिषां गणम् । आदत्ते चाद्य मे प्राणानसौ जलधरावली ॥ १११ ॥ अनेकशब्दोपादानात् क्रियैकैवात्र दीप्यते । यतो जलधरावल्यस्तस्मादेकार्थदीपकम् ॥ ११२ ॥ हृद्यगन्धवहास्तुङ्गास्तमालश्यामलत्विषः । दिवि भ्रमन्ति जीमूता भुवि चैते मतङ्गजाः ॥ ११३ ।।

·२.११४] काव्यादर्शमूलम् । [१६ अत्र धमैरभिन्नानामभ्राणां हस्तिनामपि । भ्रमणेनैव संबन्ध इति श्लिष्टार्थदीपकम् ॥ ११४ ॥ अनेनैव प्रकारेण शेषाणामपि दीपक । विकल्पानामनुगतिर्विधातव्या विचक्षणैः ॥ ११५ ॥ ॥ इति दीपकचक्रम् ॥ अर्थावृत्तिः पदावृत्तिरुभयावृत्तिरित्यपि । दीपकस्थान एवेटमलकारत्रय यथा ॥ ११६ ॥ विकसन्ति कदम्बानि स्फुटन्ति कुटजोद्गमाः । उन्मीलन्ति च कन्दल्यो दलन्ति ककुभानि च ॥ ११७॥ उत्कण्ठयति मेघानां माला वर्ग कलापिनाम् यूनां चोत्कण्ठयत्यद्य मानस मकरध्वजः ॥ ११८ ॥ जित्वा विश्व भवानत्र पिहरत्यवरोधनैः । विहरत्यप्सरोभिस्ते रिपुवगा दिव गत ॥ ११९ ॥ प्रतिषेधोक्तिरक्षेपस्त्रकाल्यापेक्षया विधा। अथास्य पुनराक्षेप्यभेदानन्न्यादनन्तता ।। १२० ॥ अनङ्गः पञ्चभिः पोपैविश्व व्यजयतेपुभिः । इत्यसंभाव्यमथवा विचित्रा वस्तुशक्तयः ॥ १२१ ॥ इत्यनङ्गाजयायोगबुद्धिहतुवलादिह । प्रवृत्तव यदाक्षिप्ता वृत्ताक्षेपस्तदीदृशः ॥ १२२ ॥ कुतः कुवलयं कर्णे करोपि कलभापिणि । किमपाङ्गमपर्यातमस्मिन् कर्मणि मन्यसे ॥ १२३ ॥ स वर्तमानाक्षेपोय कुर्वत्यवासितांत्पलम् । कर्णे काचित् प्रियेणैवं चाटुकारेण रुध्यते ॥ १२४ ।। सत्यं ब्रवीमि न त्वं मां दृष्ट्र वल्लभ लप्स्यसे । अन्याचम्बनसंक्रान्तलाक्षारत्तेन चक्षुपा ॥ १२५ ॥ सोय भविष्यदाक्षेपः प्रागेवातिमनस्विनी । कदाचिदपराधोस्य भावीत्येवमरुन्द्ध यत् ॥ १२६ ॥ तव तन्वनि मिथ्यैव रूढमङ्गेषु मार्दवम् । यदि सत्यं मृदन्येव किमकाण्डे रुजन्ति माम् ॥ १२७ ॥ धर्माक्षेपोयमाक्षिप्तमङ्गनागात्रमार्दवम् । कामुकेन यदत्रैवं कर्मणा तद्विरोधिना ॥ १२८ ॥ सुन्दरी सा ममेत्येष विवेकः केन जायते ।

·१७ ] द्वितीयः परिच्छेद.। [-२.१४५ प्रभामात्रं हि तरलं दृश्यते न तदाश्रयः ॥ १२९ ॥ धाक्षेपोयमाक्षिप्तो धर्मी धर्म प्रभाह्वयम् । अनुशायात्र यद्पमत्याश्चर्य विवक्षता ॥ १३० ।। चक्षुषी तव रज्येते स्फुरत्यधरपल्लवः। धुवौ च भुग्ने न तथाप्यदुष्टस्यास्ति मे भयम् ॥ १३१ ॥ स एष कारणाक्षेपःप्रधानं कारणं भियः । स्वापराधो निषिद्धोत्र यत् प्रियेण पटीयसा ॥ १३२ ॥ दूरे प्रियतमः सोयमागतो जलदागमः । दृष्टाश्च फुल्ला निचुला न मृता चास्मि कि विदम् ॥ १३३ ॥ कार्याक्षेपः स कार्यस्य मरणस्य निवर्तनात् । तत्कारणमुपन्यस्य दारुण जलदागमम् ।। १३४ । न चिरं मम तापाय तव यात्रा भविष्यति । यदि यास्यसि यातव्यमलमाशङ्कयात्र ते ॥ १३५ ॥ इत्यनुशामुखेनैव कान्तस्याक्षिप्यते गतिः । मरणं सूचयन्त्यैवं सोनुज्ञाक्षेप उच्यते ॥ १३६ ॥ धनं च बहु लभ्यं ते सुखं क्षेमं च वर्त्मनि । न च मे प्राणसंदेहस्तथापि प्रिय मा स्म गाः ॥ १३७ ।। प्रत्याचक्षाणया हेतून् प्रिययात्राविबन्धिनः । प्रभुत्वेनैव रुद्धस्तत् प्रभुत्वाक्षेप ईदृशः ॥ १३८ ॥ जीविताशा बलवती धनाशा दुर्बला मम । गच्छ वा तिष्ठ वा कान्त स्वावस्था तु निवेदिता ॥ १३९ ॥ असावनादराक्षेपो यदनादरवद्वचः। प्रियप्रयाणं रुन्धत्या प्रयुक्तमिह रक्तया ॥ १४०॥ गच्छ गच्छसि चेत् कान्त पन्थानः सन्तु ते शिवाः । ममापि जन्म तत्रैव भूयाद्यत्र गतो भवान् ॥ १४१ ॥ इत्याशीर्वचनाक्षेपो यदाशीर्वादवर्त्मना । स्वावस्थां सूचयन्त्यैव कान्तयात्रा निषिध्यते ॥ १४२ ।। यदि सत्यैव यात्रा ते काप्यन्या गृह्यतां त्वया । अहमद्यैव रुद्धास्मि रन्धापेक्षेण मृत्युना ॥ १४३ ॥ इत्येष परुषाक्षेपः परुषाक्षरपूर्वकम् । कान्तस्याक्षिप्यते यस्मात् प्रस्थानं प्रेमनिघ्नया ॥ १४४ ॥ गन्ता चेद्रच्छ तूर्ण ते कर्ण यान्ति पुरा रवाः । भार्तबन्धुमुखोद्रीः प्रयाणप्रतिबन्धिनः ॥ १४५ ॥ ३ [ काव्यादर्शमूलम् ]

·२.१४६-] काव्यादर्शमूलम् ।
[ १८
साचिव्याक्षेप एवैष यदत्र प्रतिषिध्यते ।
प्रियप्रयाणे साचिव्यं कुर्वत्येवातिरक्तया ॥ १४६ ॥
गच्छति वक्तुमिच्छामि मत्प्रिय त्वत्प्रियैषिणी।
निर्गच्छति मुखाद्वाणी मा गा इति करोमि किम् ॥ १४७ ॥
यत्नाक्षेपः स यत्नस्य कृतस्यानिष्ठवस्तुनि ।
विपरीतफलोत्पत्तेरानर्थक्योपदर्शनात् ॥ १४८ ॥
क्षणदर्शनविघ्नाय पक्ष्मस्पन्दाय कुप्यतः ।
प्रेम्णः प्रयाणं ते ब्रूहि मया तस्येष्टमिप्यते ॥ १४९ ॥
अयं परवशाक्षेपो यत् प्रेमपरतन्त्रया ।
तया निषिध्यते यात्रान्यस्यार्थस्योपसचनात् ॥ १५० ॥
सहिष्ये विरहं नाथ देह्यदृश्याञ्जनं मम ।
यदक्तनेत्रां कन्दर्पः प्रहर्ता मां न पश्यति ॥ १५१ ॥
दुष्कर जीवनोपायमुपन्यस्यावरुध्यते ।
पत्युः प्रस्थानमित्याहुरुपायाक्षेपमीदृशम् ॥ १५२ ॥
प्रवृत्तैव प्रयामीति वाणी
वल्लभ
ते
मुखात्।
अयातापि त्वयेदानी मन्दप्रेम्णा ममास्ति किम् ॥ १५३ ।।
रोषाक्षेपोयमुद्रिक्तस्नेहनिर्यन्त्रितात्मना।
संरब्धया प्रियारब्ध प्रयाणं यन्निवार्यते ॥१५४ ॥
[ मुग्धा कान्तस्य यात्रोक्तिश्रवणादेव मूर्छिता।
बुवा वक्ति प्रियं दृश्वा किं चिरेणागतो भवान् ॥१५५॥
[इति तत्कालसंभूतमूर्छयाक्षिप्यते गतिः।
कान्तस्य कातराक्ष्या यन्म क्षेपः स ईदृशः ॥ १५६ ॥ ]
नाघ्रातं न कृत कर्णे स्त्रीभिर्मधुनि नार्पितम् ।
त्वद्विषां दीर्घिकास्वेव विशीर्ण नीलमुत्पलम् ॥ १५७ ॥
सानुक्रोशोयमाक्षेपः सानुक्रोशमिवोत्पले ।
व्यावर्त्य कर्म तद्योग्यं शांच्यावस्थोपदर्शनात् ॥ १५८ ।।
अर्थो न संभृतः कश्चिन्न विद्या काचिदर्जिता।
न तपः संचितं किंचिद्गतं च सकलं वय ॥ १५९ ॥
असावनुशयाक्षेपो यस्मादनुशयोत्तरम् ।
अर्थार्जनादेावृत्तिर्दर्शितेह गतायुषा ॥ १६०॥
अमृतात्मनि पद्मानां द्वेष्टरि स्निग्धतारके।
मुखेन्दौ तव सत्यस्मिन्नपरेण किमिन्दुना ॥ १६१ ॥

·१९ ]
द्वितीयः परिच्छेदः। [-२.१७६
इति मुख्येन्दुराक्षिप्तो गुणान् गौणेन्दुवर्तिनः ।
तत्समान् दर्शयित्येति श्लिष्टाक्षेपस्तथाविधः॥१६२ ॥
किमयं शरदम्भोदः किं वा हंसकदम्बकम् ।
रुतं नूपुरसंवादि श्रूयते तत्र तोयदः ॥ १६३ ॥
इत्ययं संशयाक्षेपः संशयो यन्निवर्त्यते ।
धर्मेण हंससुलभेनास्पृष्टघनजातिना ॥ १६४ ॥
चित्रमाकान्तविश्वोपि विक्रमस्ते न तृप्यति ।
कदा वा दृश्यने तृप्तिरुदीर्णस्य हविर्भुजः ॥ १६५ ॥
अयमर्थान्तरक्षेपः प्रक्रान्तो यन्निवार्यते ।
विस्मयोर्थान्तरस्येह दर्शनात् तत्सधर्मणः ॥ १६६ ॥
न स्तूयसे नरेन्द्र त्वं ददासीति कदाचन ।
स्वमेव मत्वा गृह्णन्ति यतस्त्वद्धनमर्थिनः ॥ १६७।।
इत्येवमादिराक्षेपो हेत्वाक्षेप इति स्मृतः ।
अनयैव दिशान्येपि विकल्पाः शक्यमूहितुम् ॥ १६८ ।।
॥ इत्याक्षेपचक्रम् ॥
शेय, सोर्थान्तरन्यासो वस्तु प्रस्तुत्य किंचन ।
तत्साधनसमर्थस्य न्यासो योन्यस्य वस्तुनः ॥ १६९ ।।
विश्वव्यापी विशेषस्थः श्लेषाविद्धो विरोधवान् ।
अयुक्तकारी युक्तात्मा युक्तायुक्तो विपर्ययः ॥ १७० ॥
इत्येवमादयो भेदाः प्रयोगेष्वस्य लक्षिताः ।
उदाहरणमालैषां रूपव्यक्त्यै निदर्यते ॥ १७१ ।।
भगवन्तौ जगन्नेत्रे सूर्याचन्द्रमसावपि ।
पश्य गच्छत एवास्तं नियतिः केन लङ्घयते ॥ १७२ ।।
पयोमुचः परीतापं हरन्त्येते शरीरिणाम् ।
नन्वात्मलाभो महतां परदुःखोपशान्तये ॥ १७३ ॥
उत्पादयति लोकस्य प्रीतिं मलयमारुतः।
ननु दाक्षिण्यसंपन्नः सर्वस्य भवति प्रियः ॥ १७४ ॥
जगदाह्लादयत्येष मलिनोपि निशाकरः।
अनुगृह्णाति हि परान् सदोषोपि द्विजेश्वरः ॥ १७५ ॥
मधुपानकलात् कण्ठानिर्गतोप्यलिनां ध्वनिः ।
कटुर्भवति कर्णस्य कामिनां पापमीदृशम् ॥ १७६ ॥

·२.१७७-
काव्यादर्शमूलम् ।
[२०
अयं मम दहत्यङ्गमम्भोजदलसंस्तरः ।
हुताशनप्रतिनिधिहात्मा ननु युज्यते ॥ १७७ ॥
क्षिणोतु काम शीतांशुः किं वसन्नो दुनोति माम् ।
मलिनाचरितं कर्म सुरभेनन्वसांप्रतम् ॥ १७८ ॥
कुमुदान्यपि दाहाय किमङ्ग कमलाकरः ।
न हीन्दुगृह्येषग्रेषु सूर्यगृह्यो मृदुर्भवेत् ॥ १७२ ॥
॥ इत्यर्थान्तरन्यासचक्रम् ॥
शब्दोपात्त प्रतीते वा सादृश्ये वस्तुनोईयोः ।
तत्र यद्भेदकथन व्यतिरक. स कथ्यते ॥ १८० ॥
धैर्यलावण्यगाम्भीर्यप्रमुखैस्त्वमुदन्वतः ।
गुणैस्तुल्योसि भेदस्तु वपुषेवेदृशेन ते ॥ १८१ ॥
इत्येकव्यतिरेकोयं धर्मेणैकत्रवर्तिना।
प्रतीतिविषयप्राप्तéदस्योभयवर्तिनः ॥ १८२ ॥
अभिनवेलौ गम्भीरावम्बुगशिर्भवानपि ।
असावञ्जनसंकाशस्त्वं तु चामीकरद्युतिः ॥ १८३ ॥
उभयव्यतिरेकोयमुभयोभदको गुणौ ।
कार्य पिशङ्गता चेति यत् पृथग्दर्शिताविह ॥ १८४ ॥
त्वं समुद्रश्च दुर्वारौ महासत्त्वो सतेजसौ ।
इयता युवयोर्भेदः स जडात्मा पटुर्भवान् ॥ १८५ ॥
स एष श्लेषरूपत्वात् सश्लेष इति गृह्यताम् ।
साक्षेपश्च सहेतुश्च दर्यते तदपि द्वयम् ॥ १८६ ॥
स्थितिमानपि धीगोपि रत्नानामाकरोपि सन् ।
तव कक्षा न यात्येव मलिनो मकरालयः॥ १८७ ॥
वहन्नपि मही कृत्स्नां सशैलद्वीपसागराम् ।
भर्तृभावादभुजंगानां शेषस्त्वत्तो निकृष्यते ॥ १८८ ॥
शब्दोपादानसादृश्यव्यतिरेकोयमीदृशः।
प्रतीयमानसादृश्योप्यस्ति सोनुविधीयते ॥ १८९ ॥
त्वन्मुखं कमलं चेति द्वयोरप्यनयोभिदा ।
कमलं जलसंरोहि त्वन्मुख त्वदुपाश्रयम् ॥ १९० ।।
अभूविलासमस्पृष्टमदराग मृगेक्षणम् ।
इदं तु नयनद्वन्द्वं तव तदगुणभूषितम् ॥ १९१ ॥
पूर्वस्मिन् भेदमात्रोक्तिरस्मिन्नाधिक्यदर्शनम् ।
सदृशव्यतिरेकश्च पुनरन्यः प्रदर्श्यते ॥ १९२ ॥

·२१]] द्वितीयः परिच्छेदः । [-२.२०८ त्वन्मुखं पुण्डरीकं च फुल्ले सुरभिगन्धिनी । भ्रमरगमरमम्भोज लोलनेत्रं मुख तु ते ॥ १९३ ॥ चन्द्रोयमम्बरोत्तंसो हंसोय तोयभूषणम् । नभो नक्षत्रमालीदमुत्फुल्लकुमुद पय ॥ १९४ ॥ प्रतीयमानशौक्ल्यादिसाम्ययोवियदम्भसोः । कृतः प्रतीतशुद्धयोश्च भेदोम्मिश्चन्द्रहसयोः ॥ १९५ ॥ पूर्वत्र शब्दवत् साम्यमुभयत्रापि भेदकम् । भृङ्गन्नेत्रादि तुल्य तत् सदृशव्यतिरेकिता ॥ १९६ ॥ अरत्नालोकसंहार्यमहार्य सूर्यरश्मिभिः । दृष्टिरोधकरं यूनां यौवन प्रभवं तमः ॥ १९७ ॥ सजातिव्यतिरेकोयं तमोजातेरिद तमः। दृष्टिरोधितया तुल्यं भिन्नमन्यैरदर्शि यत् ॥ १९.८ ।। ॥ इति व्यतिरेकचक्रम् ॥ प्रसिद्धहेतुव्यावृत्त्या यत्किंचित् कारणान्तरम् । यत्र स्वाभाविकत्वं वा विभाव्य सा विभावना ॥ १९९ ॥ अपीतक्षीबकादम्बमसंमृष्टामलाम्बरम् । अप्रसादितशुद्धाम्बु जगदासीन्मनोहरम् ॥२०० ॥ अनञ्जितासिता दृष्टिभूरनावर्जिता नता। अरञ्जितोरुणश्चायमधरस्तव सुन्दरि ॥२०१॥ यदपीतादिजन्यं स्यात् क्षीबत्वाद्यन्यहेतुकम् । अहेतुकं च तस्येह विवक्षेत्यविरुद्धता ॥२०२॥ वक्त्रं निसर्गसुरभि वपुरव्याजसुन्दरम् । अकारणरिपुश्चन्द्रो निर्निमित्तासुहृत् स्मरः ॥ २०३ ॥ निसर्गादिपदैरत्र हेतुः साक्षानिवर्तितः। उक्तं च सुरभित्वादि फलं तत् सा विभावना ॥ २०४ ॥ वस्तु किंचिदभिप्रेत्य तत्तुल्यस्यान्यवस्तुनः। उक्तिः संक्षेपरूपत्वात् सा समासोक्तिरिष्यते ॥ २०५ ॥ पिबन् मधु यथाकामं भ्रमरः फुल्लपङ्कजे । अग्यसंनद्धसौरभ्यं पश्य चुम्बति कुड्मलम् ॥ २०६ ॥ इति प्रौढाङ्गनाबद्धरतिलीलस्य रागिणः । कस्यांचिदिह बालायामिच्छावृत्तिर्विभाव्यते ॥२०७॥ विशेष्यमात्रभिन्नापि तुल्याकारविशेषणा ।

·२.२०८- काव्यादर्शमूलम् । [ २२ अस्त्यसावपराप्यस्ति भिन्नाभिन्नविशेषणा ॥ २०८॥ कढमूलः फलभरैः पुष्णन्ननिशमर्थिनः । सान्द्रच्छायो महावृक्षः सोयमासादितो मया ॥ २०९ ।। अनल्पाविटपाभोगः फलपुष्पसमृद्धिमान् । सोच्छायः स्थैर्यवान् दैवादेष लब्धो मया दुमः ।। २१० ॥ उभयत्र पुमान् कश्चिद् वृक्षत्वेनोपवर्णितः। सर्वे साधारणा धर्माः पूर्वत्रान्यत्र तु द्वयम् ॥ २११ ॥ निवृत्तव्यालसंसर्गो निसर्गमधुराशयः । अयमम्भोनिधिः कष्टं कालेन परिशुष्यति ॥२१२॥ इत्यपूर्वसमासोक्तिः पूर्वधर्मनिवर्तनात् । समुद्रेण समानस्य पुंसः व्यापत्तिसूचनात् ॥ २१३ ॥ इति समासोक्तिचक्रम् ॥ विवक्षा या विशेषस्य लोकसीमातिवर्तिनी। असावतिशयोक्तिः स्यादलंकारोत्तमा यथा ॥ २१४ ॥ मल्लिकामालभारिण्यः सर्वाङ्गीणाचन्दनाः सौमवत्यो न लक्ष्यन्ते ज्योत्स्नायामभिसारिकाः ॥२१५ ॥ चन्द्रातपस्य बाहुल्यमुक्तमुत्कर्षवत्तया। संशयातिशयादीनां व्यक्त्यै किंचिनिदर्श्यते ॥ २१६ ॥ स्तनयोर्जघनस्यापि मध्ये मध्यं प्रिये तव । अस्ति नास्तीति संदेहो न मेद्यापि निवर्तते ॥ २१७ ॥ निर्णेतुं शक्यमस्तीति मध्यं तव नितम्बिनि । अन्यथानुपपत्त्यैव पयोधरभरस्थितेः ॥ २१८ ॥ अहो विशालं भूपाल भुवनत्रितयोदरम् । माति मातमशक्योपि यशोराशिर्यत्र ते ॥ २१९ ॥ अलंकारान्तराणामप्येकमाहुः परायणम् । वागीशमहितामुक्तिमिमामतिशयाह्वयाम् ॥ २२० ॥ इत्यतिशयोक्तिचक्रम् ॥ अन्यथैव स्थिता वृत्तिश्चेतनस्येतरस्य वा। अन्यथोत्प्रेक्ष्यते यत्र तामुत्प्रेक्षां विदुर्यथा ॥ २२१ ॥ मध्यंदिनार्कसंतप्तः सरसी गाहते गजः । मन्ये मार्तण्डगृह्याणि पद्मान्युद्धर्तुमुद्यतः ॥ २२२ ॥ स्नातुं पातुं बिसान्यतुं करिणो जलगाहनम् ।

·२३ ] द्वितीयः परिच्छेदः। [-२.२३८ तद्वैरनिष्क्रयायेति कविनोत्प्रेक्ष्य वर्ण्यते ॥ २२३ ॥ कर्णस्य भूषणमिदं मदायतिविरोधिनः । इति कर्णोत्पलं प्रायस्तव दृष्टया विलङ्घयते ॥ २२४ ॥ अपाङ्गभागपातिन्या दृष्टेरंशुभिरुत्पलम् । स्पृश्यते वा न वेत्येवं कविनोत्प्रेक्ष्य वर्ण्यते ॥ २२५ ॥ लिम्पतीव तमोगानि वर्षतीवाञ्जनं नमः । इतीदमपिभूयिष्ठमुत्प्रेक्षालक्षणान्वितम् ॥ २२६ ॥ केषांचिदुपमाभ्रान्तिरिवश्रुत्येह जायते। नोपमानं तिङन्तेनेत्यतिक्रम्याप्तभाषितम् ॥ २२७॥ उपमानोपमेयत्वं तुल्यधर्मव्यपेक्षया । लिम्पतेस्तमसश्चासौ धर्मः कोत्र समीक्ष्यते ॥२२८ ॥ यदि लेपनमेवेष्टं लिम्पति म कोपरः। स एव धर्मो धर्मी चेत्यनुन्मत्तो न भाषते ॥ २२९ ॥ कर्ता यापमानं स्यान्नयग्भूतोसौ क्रियापदे । स्वक्रियासाधनव्यग्रो नालमन्यद्वयपेक्षितुम् ॥ २३० ॥ यो लिम्पत्य ना तुल्यं तम इत्यपि शंसतः । अङ्गानीति न सबद्ध सोपि मृग्यः समो गुणः॥२३१॥ यथेन्दुरिव ते बक्त्रमिति कान्तिः प्रतीयते । न तथा लिम्पतेर्लेपादन्यदत्र प्रतीयते ॥ २३२ ॥ तदुपश्लेषणार्थोयं लिम्पतिवन्तिकर्तृकः। अङ्गकर्मा च पुंसवमुत्प्रेक्ष्यत इतीक्ष्यताम् ॥ २३३ ॥ मन्ये शके ध्रुवं प्रायो नूनमित्येवमादिभिः। उत्प्रेक्षा व्यज्यते शब्दैरिवशदोपि तादृशः॥२३४ ॥ ॥ इत्युत्प्रेक्षाचक्रम् ॥ हेतुश्च सूक्ष्मलेशौ च वाचामुत्तमभूषणम् । कारकशापको हेतू तो चानेकविधौ यथा ॥२३५ ॥ अयमान्दोलितप्नौढचन्दनदुमपल्लवैः । उत्पादयति सर्वस्य प्रीतिं मलयमारुतः ॥२३६ ॥ प्रीत्युत्पादनयोग्यस्य रूपस्यात्रोपबृंहणम् ॥ अलंकारतयोदिष्टं निवृत्तावपि तत् समम् ॥ २३७ ॥ चन्दनारण्यमाधूय स्पृष्ट्वा मलयनिर्झरान् ।

·२ २३८-] काव्यादर्शमूलम् । [२४ पथिकानामभाबाय पवनोयमुपस्थितः ॥ २३८ ॥ अभावसाधनायालमेवंभृतो हि मारुतः। विरहज्वरसंभूतमनोशारोचके जने ॥ २३९ ।। निर्वत्यै च विकार्ये च हेतुत्वं तदपेक्षया । प्राज्ये तु कर्मणि प्रायः क्रियापेक्षैव हेतुता॥२४०॥ हेतुनिर्वर्तनीयस्य दर्शितः शेषयाईयोः । दत्वोदाहरणद्वन्द्वं ज्ञापको वर्णयिष्यते ॥ २४१ ॥ उत्प्रवालान्यरण्यानि वाप्यः संफुल्लपङ्कजाः । चन्द्रः पूर्णश्च कामेन पान्थदृष्टेविष कृतम् ॥ २४२ ॥ मानयोग्यां करोमीति प्रियस्थाने कृतां सखीम् । बाला भूभङ्गजिह्माक्षी पश्यति स्फुरिताधरम् ॥ २४३ ॥ गतोस्तमर्को भातीन्दुर्यान्ति वासाय पक्षिणः । इतीदमपि साध्वेव कालावस्थानिवेदने ॥२४४ ॥ अबाध्यैरिन्दुपादानामसाध्यैश्चन्दनाम्भसाम् । देहोष्मभिः सुबोधं ते सखि कामातुरं मनः ॥ २४५ ॥ इति लक्ष्याः प्रयोगेषु रम्या ज्ञापकहेतवः । अभावहेतवः केचिद्व्याक्रियन्ते मनोहराः ॥ २४६ ॥ अनभ्यासेन विद्यानामसंसर्गेण धीमताम् । अनिग्रहेण चाक्षाणां व्यसनं जायते नृणाम् ॥ २४७ ॥ गतः कामकथोन्मादो गलितो यौवनज्वरः । क्षतो मोहश्युता तृष्णा कृतं पुण्याश्रमे मनः ॥ २४८ ॥ वनान्यमूनि न गृहाण्येता नद्यो न योषितः । मृगा इमे न दायादास्तन्मे नन्दति मानसम् ॥ २४९ ॥ अत्यन्तमसदार्याणामनालोचितचेष्टितम् । अतस्तेषां विवर्धन्ते सततं सर्वसंपदः ॥ २५० ।। उद्यानसहकाराणामनुद्भिन्ना न मारी। देयः पथिकनारीणां सतिलः सलिलाञ्जलिः ॥ २५१ ॥ प्रागभावादिरूपस्य हेतुत्वमिह वस्तुनः। भावाभावस्वरूपस्य कार्यस्योत्पादनं प्रति ॥ २५२ ।। दूरकार्यस्तत्सहजः कार्यानन्तरजस्तथा । अयुक्तयुक्तकार्यों चेत्यसंख्याश्चित्रहेतवः ॥२५३ ॥ तेमी प्रयोगमार्गेषु गौणवृत्तिव्यपाश्रयाः।

·२५ ] द्वितीयः परिच्छेदः । [-२.२६९ अत्यन्तसुन्दरा दृष्टास्तदुदाहृतयो यथा ॥ २५४ ॥ त्वदपागाह्वयं जैत्रमनङ्गास्त्रं यदङ्गाने । मुक्तं तदन्यतस्तेन सोस्म्यह मनसि क्षतः॥२५॥ आविर्भवति नारीणां वयः पर्यस्तशैशवम् । सहैव पुंसां विविधरङ्ग जान्मादविभ्रमः ॥२५६ ॥ पश्चात् पर्यस्य किरणानदीर्ण चन्द्रमण्डलम् । प्रागेव हरिणाक्षीणामदीणों रागसागरः ॥२५७ ॥ राज्ञां हस्तारविन्दानि कुड्मलीकुरुते कुतः । देव त्वच्चरणद्वन्द्वरागवालातप म्पृशन् ॥ २५८ ॥ पाणिपद्मानि भूपानां संकोचयितुमीशते । त्वत्पादनखचन्द्राणामर्चिष कन्दनिर्मलाः ॥ २५९ ।। इति हेतुविकल्पानां दर्शिता गतिरीदृशी। ॥ इति हेतुचक्रम् ॥ इङ्गिताकारलक्ष्योर्थ सौम्यात् सूक्ष्म इति स्मृत ॥ २६० ॥ कदा नौ संगमो भावीत्याकीणे वक्तुमक्षमम् । अवेत्य कान्तमबला लीलापद्म न्यमीलयत् ॥ ६१ ॥ पद्मसमीलनादत्र सूचितो निशि संगमः । आश्वासयितुमिच्छन्त्या प्रियमङ्गजपीडितम् ॥२६२॥ त्वदर्पितदृशस्तस्या गीतगोष्ठयामवर्धत । उद्दामरागतरला छाया कापि मुखाम्बुजे ॥ २६३ ।। इत्यनुद्भिन्नरूपत्वाद्रत्युत्सवमनोरथः । अनुल्लङ्घयैव सूक्ष्मत्वमभूदत्र व्यवस्थित ॥ २.४ ॥ लेशो लेशेन निर्भिन्नवस्तुरूपनिगृहनम् । उदाहरण एवास्य रूपमाविर्भविष्यति ॥ २६५ ॥ राजकन्यानुरक्तं मां रोमोद्भदेन रक्षकाः । अवगच्छेयुरा ज्ञातमहो शीतानिलं वनम् ॥ २६६ ॥ मानन्दाच प्रवृत्तं मे कथं दृष्दैव कन्यकाम् । अक्षि मे पुष्परजसा वातोद्धृतेन दूषितम् ॥ २६७ ॥ इत्येवमादिस्थानेयमलंकारोतिशोभते । लेशमके विदुनिन्दां स्तुतिं वा लेशतः कृताम् ॥२६८ ॥ युधैष गुणवान् राजा योग्यस्तै पतिरूर्जितः । रणोत्सवे मनः सक्तं यस्य कामोत्सवादपि ॥२६९ ॥ ४ ( काव्यादर्शमूलम् )

·२.२७०-]
काव्यादर्शमूलम्।
वीर्योत्कर्षस्तुतिनिन्दैवास्मिन् भावनिवृत्तये ।
कन्यायाः कल्पते भोगान् निर्विविक्षोनिरन्तरान् ॥ २७० ॥
चपलो निर्दयश्चासौ जनः कि तेन मे सखि ।
आगःप्रमार्जनायैव चाटवो येन शिक्षिताः ॥२७१ ॥
दोषाभासो गुणः कोपि दर्शितश्चाटकारिता ।
मानं सखिजनोद्दिष्टं कर्तु रागादशक्तया ॥ २७२ ॥
॥ इति लेशचक्रम् ॥
उहिष्टानां पदार्थानामनूद्देशो यथाक्रमम् ।
यथासंख्यमिति प्रोक्तं संख्यान क्रम इत्यपि ॥ २७३ ॥
धुवं ते चोरिता तन्वि स्मितेक्षणमुखद्युतिः ।
स्नातुमम्भःप्रविष्टायाः कुमुदोत्पलपङ्कजे. ॥ २७४ ॥
॥ इति क्रमः॥
प्रेयः प्रियतराख्यानं रसवद रसपेशलम् ।
तेजस्वि रूढाहंकारं युक्तोत्कर्ष च तत् त्रयम् ॥ २७५ ॥
मद्य या मम गोविन्द जाता त्वयि गृहागते ।
कालेनैषा भवेत् प्रीतिस्तवेवागमनात् पुनः॥२७६ ॥
इत्याह युक्तं विदुरो नान्यतस्तादृशी धृति ।
भक्तिमात्रसमाराध्य. सुप्रीतश्च ततो हरिः ॥ २७७ ॥
सोमः सूर्यो मरुभूमियोम होतानलो जलम् ।
इति रूपाण्यतिक्रम्य त्वा द्रए देव के वयम् ॥ २७८ ॥
इति साक्षात्कृते देवे राज्ञो यद्रातवर्मणः।
प्रीतिप्रकाशनं तच्च प्रेय इत्यवगम्यताम् ॥ २७९ ॥
मृतेति प्रेत्य संगन्तुं यया. मे मरणं मतम् ।
सैघावन्ती मया लब्धा कथमत्रैव जन्मनि ॥ २८० ॥
प्राक् प्रीतिर्दर्शिता सेयं रतिः शृङ्गारतां गता।
कपबाहुल्ययोगेन तदिदं रसवद्वचः॥ २८१ ॥
मिगृह्य केशेष्वाकृष्टा कृष्णा येनाग्रतो मम ।
सोयं दुःशासनः पापो लब्धः किं जीवति क्षणम् ॥ २८२ ॥
इत्यारुह्य परां कोटि क्रोधो रौद्रात्मतां गतः।
भीमस्य पश्यतः शत्रुमित्येतद्रसवद्वचः ॥ २८३ ॥
भजित्वा लार्णवामूर्वीमनिष्टवा विविधैर्मवैः ।
भारस्वा चार्थमर्थिभ्यो भधेयं पार्थिवः कथम् ॥ २८४ ॥

·२७] द्वितीयः परिच्छेदः । [-२.२९९ इत्युत्साहः प्रकृष्टात्मा तिष्ठन् वीररसात्मना। रसवत्त्वं गिरामासां समर्थयितुमीश्वरः ॥२८५ ॥ यस्याः कुसुमशय्यापि कोमलाङ्गन्या रुजाकरी। साधिशेषे कथं देवि हुताशनवती चिताम् ।। २८६ ।। इति कारुण्यमुद्रिक्तमलंकारतया स्मृतम् । तथापरेपि बीभत्सहास्या नभयानकाः ॥२८७ ॥ पायं पायं तवारीणां शोणितं पाणिसंपुटैः। कौणपाः सह नृत्यन्ति कबन्धैरन्त्रभषणैः ॥ २८८ ।। इदमम्लानमानाया लग्नं स्तनतटे तव । छाद्यतामुत्तरायेण नव नखपदं सखि ॥ २८९ ॥ अंशुकानि प्रवालानि पुष्पं हारादिभूषणम् । शाखाश्च मन्दिराण्येषां चित्रं नन्दनशाखिनाम् ॥ २९० ॥ इदं मघोनः कुलिशं धारासंनिहितानलम् । स्मरण यस्य दैत्यस्त्रीगर्भपालाय कल्पते ॥ २९१ ॥ वाच्यस्याग्राम्यतायोनिर्माधुर्य दर्शितो रसः। इह त्वष्टरसायत्ता रसवत्ता स्मृता गिराम् ॥ २९२॥ अपकर्ताहमस्मीति हृदि ते मा स्म भूद्भयम् । विमुखेषु न मे खड्गः प्रहर्तुं जातु वाञ्छति ॥ २९३ ॥ इति मुक्तः परो युद्धे निरुद्धो दर्पशालिना। पुंसा केनापि तज्ज्ञेयमूर्जस्वीत्येवमादिकम् ॥ २९४ ॥ ॥ इत्यूर्जस्वि ॥ अर्थमिष्टमनाख्याय साक्षात् तस्यैव सिद्धये । यत् प्रकारान्तराख्यानं पर्यायोक्तं तदिष्यते ॥ २९५ ॥ दशत्यसौ परभृतः सहकारस्य मञ्जरीम् । तमहं वारयिष्यामि युवाभ्यां स्वैरमास्यताम् ॥ २९६ ॥ संगमय्य सखी यूना सकेते तद्रतोत्सवम् । निर्वर्तयितुमिच्छन्त्या कयाप्यपसृतं ततः ॥ २९७ ॥ ॥ इति पर्यायोक्तम् ॥ किंचिदारभमाणस्य कार्य दैववशात् पुनः । तत्साधनसमापत्तिर्या तदाहुः समाहितम् ॥ २९८ ॥ मानमस्या निराकर्तुं पायोमें नमस्यतः।

·२.२९९-] काव्यादर्शमूलम् ।
[२८
उपकाराय दिष्टयैतदुदीर्ण घनगर्जितम् ॥ २९९ ॥
॥ इति समाहितम् ॥
आशयस्य विभूतेर्वा यन्महत्त्वमनुत्तमम् ।
उदात्त नाम तत् प्राहरलकार मनीषिणः ॥ ३०० ॥
गुरोः शासनमत्येतु न शशाक स राघवः ।
यो रावणशिरश्च्छेदकार्यभारेप्यविक्लवः ॥ ३०१ ॥
रत्नभित्तिषु सक्रान्तः प्रतिबिम्बशतैर्वृतः ।
ज्ञातो लड्डेश्वरः कृच्छादाञ्जनेयेन तत्त्वतः ॥ ३०२ ॥
पूर्वत्राशयमाहात्म्यमत्राभ्युदयगौरवम् ।
सुव्यजितमिति व्यक्तमुदात्तद्वयमप्यदः ॥ ३०३ ॥
अपह्नुतिरपहनुत्य किदिन्यार्थदर्शनम् ।
न पञ्चेषुः स्मरस्तस्य सहस्रं पत्रिणामिति ॥ ३०४॥
चन्दन चन्द्रिका मन्दो गन्धवाहश्च दक्षिणः।
सेयमग्निमयी सृष्टिः शीता किल परान प्रति ॥ ३०५ ॥
शैशियमभ्युपेत्यैव परेप्वात्मनि कामिना ।
औष्ण्यप्रदर्शनात् तस्य सैपा विषयनिहनतिः ॥ ३०६ ॥
अमृतस्यन्दिकिरणश्चन्द्रमा नामतो मतः ।
अन्य एवायमर्थात्मा विषनिष्यन्दिदीधितिः ॥ ३०७ ॥
इति चन्द्रत्वमेवेन्दानिर्वार्थान्तरात्मता।
उक्ता स्मरानॆनेत्येपा स्वरूपापहनतिर्मता ॥ ३०८ ॥
उपमापनुतिः पूर्वमुपमास्वेव दर्शिता।
इत्यपनुतिभेदानां लक्ष्यो लक्ष्येषु विस्तरः ॥ ३०९ ॥
॥ इत्यपह्नुतिः॥
श्लिष्टमिष्टमनेकार्थमेकरूपान्वितं वचः ।
तदभिन्नपदं भिन्नपदप्रायमिति द्विधा ॥ ३१० ॥
असावुदयमारूढः कान्तिमान् रक्तमण्डलः।
राजा हरति लोकस्य हृदयं मृदुभि करैः ॥ ३११ ॥
दोषाकरेण संबध्नन्नक्षत्रपथवर्तिना।
राशा प्रदोषो मामित्थमप्रियं किं न बाधते ॥ ३१२ ॥
उपमारूपकाक्षेपव्यतिरकादिगोचराः।
प्रागेव दर्शिताः श्लेषा दर्यन्ते केचनापरे ॥ ३१३ ॥

·२९ ] द्वितीयः परिच्छेदः [-२.३२९ अस्त्यभिन्नक्रियः कश्चिदविरुद्धक्रियोपरः । विरुद्धकर्मा चास्त्यन्यः श्लेपो नियमवानपि ॥ ३१४ ।। नियमाक्षेपरू पोक्तिरविरोधी विरोध्यपि । तेषां निदर्शनप्वेव रूपव्यक्तिर्भविष्यति ।। ३१५ ॥ वक्राः स्वनावमधुराः शंखन्त्या रागमुल्बणम् । दृशो दृत्यश्च कर्पन्ति कान्तामिः प्रेपिताः प्रियान ।। ३१६ ॥ मधुरा गर्थिन्य' कोमटाः काकिलागिरः। आकर्यते .दरलाः निप्यन्ते चासिनेक्षणाः ॥३१७ ॥ रागमादर्शयन्नेष धारणीयोगवर्धितम् । तिरोभवति घारदजस्तु विजृम्भते ॥३१८ ॥ निस्त्रिशत्वममावेव धनप्येवास्य वक्रता। शरेष्वेव नरेन्द्रस्य मार्गणत्वं च वर्तते ॥ ३१९ ।। पद्मानामेव दण्डेपु कण्टकस्त्वयि रक्षति । अथवा दृश्यते गिमिथुनालिङ्गनप्वपि ॥ ३२० ॥ महीभृद्भरिकटकस्तेजस्वी नियतोदयः । दक्षः प्रजापतिश्चासीत् स्वामी शक्तिधरश्च सः ॥ ३२१ ॥ अच्युतोप्यवृपोच्छी राजा'यविदितक्षयः । दवांग्यविवुधो जज्ञे शकरांप्यभुजगवान् ॥ ३२२ ॥ ॥ इति श्लपचक्रम् ।। गुणजातिक्रियादीनां यत्र वैकल्यदर्शनम् । विशेषदर्शनायैव सा विशेषोक्तिरिष्यते ॥ ३२३ ॥ न कठोरं न वा तीक्ष्णमायुधं पुष्पधन्वनः । तथापि जितमेवासीदमना भुवनत्रयम् ॥ ३२४ ॥ न देवकन्यका नापि गन्धर्वकुलसंभवा । तथाप्येषा तपोभङ्ग विधातुं वेधसोप्यलम् ॥ ३२५ ॥ न बद्धा भृकुटिर्नापि स्फुरितो दशनच्छदः । न च रक्ताभवदृष्टिार्जितं च द्विषतां कुलम् ॥ ३२६ ॥ न रथा न च मातङ्गा न हया न च पत्तयः। स्त्रीणामपाङ्गदृष्टयेव जीयते जगतां त्रयम् ॥ ३२७ ॥ एकचक्रो रथो यन्ता विकलो विषमा हयाः। आक्रामत्येव तेजस्वी तथाष्यकों नभस्तलम् ॥ ३२८ ॥ सैषा हेतुविशेपोक्तिस्तेजस्वीति विशेषणात् ।

·२.३२९-] काव्यादर्शमूलम् । [३ अयमेघ क्रमोन्येषां भेदानामपि कल्पते ॥ ३२९ ॥ ॥ इति विशेषोक्तिचक्रम् ॥ विवक्षितगुणोत्कृष्टैर्यत् समीकृत्य कस्यचित् । कीर्तनं स्तुतिनिन्दार्थ सा मता तुल्ययोगिता ॥ ३३० ॥ यमः कुबेरो वरुण सहस्राक्षो भवानपि । बिभ्रत्यनन्यविषयां लोकपाल इति श्रुतिम् ॥ ३३१ ॥ संगतानि मृगाक्षीणां तडिद्विलसितानि च । क्षणद्वयं न तिष्ठन्ति घनारब्धान्यपि स्वयम् ॥ ३३२ ॥ ॥ इति तुल्ययोगिता॥ विरुद्धानां पदार्थानां यत्र संसर्गदर्शनम् । विशेषदर्शनायैव स विरोधः स्मृतो यथा ॥ ३३३ ॥ कूजितं राजहंसानां वर्धते मदमञ्जुलम् । क्षीयते च मयूराणां रुतमुत्क्रान्तसौष्ठवम् ॥ ३३४ ॥ प्रावृषेण्यैर्जलधरैरम्बरं दुर्दिनायते । रागेण पुनराकान्तं जायते जगतां मनः ॥ ३३५ ॥ तनुमध्यं पृथुश्रोणि रक्तौष्ठमसितेक्षणम्। नतनाभि वपुः स्त्रीणां कं न हन्त्युन्नतस्तनम् ॥ ३३६ ॥ मृणालबाहु रम्भोरु पद्मोत्पलमुखेक्षणम् । अपि ते रूपमस्माकं तन्वि तापाय कल्पते ॥३३७ ।। उद्यानमारुतोद्धृताश्चूतचम्पकरेणव । उदयन्ति पान्थानामस्पृशन्तोपि लोचने ॥ ३३८ ।। कृष्णार्जुनानुरक्तापि दृष्टिः कर्णावलम्बिनी। याति विश्वसनीयत्वं कस्य ते कलभाषिणी ।। ३३९ ।। इत्पनेकप्रकारोयमलकारःप्रतीयते। ॥ इति विरोधचक्रम् ॥ अप्रस्तुतप्रशंसा स्यादप्रक्रान्तेषु या स्तुतिः ॥ ३४० ॥ सुखं जीवन्ति हरिणा वनेष्वपरसेविनः। अर्थरयत्नसुलभैर्जलदर्भाङ्कुरादिभिः ॥ ३४१ ॥ मेयमप्रस्तुतैवात्र मृगवृत्तिःप्रशस्यते । राजानुवर्तनक्लेशनिर्विण्णेन मनस्विना ॥ ३४२ ॥ ॥ इत्यप्रस्तुतप्रशंसा ॥

·३१ ] द्वितीयः परिच्छेदः । [-२-३५६ यदि निन्दन्निव स्तौति व्याजस्तुतिरसौ स्मृता। दोषाभासा गुणा एव लभन्ते यत्र संनिधिम् ॥ ३४३ ॥ तापसेनापि रामेण जितेयं भूतधारिणी । त्वया राज्ञापि सेवेयं जिता मा भून्मदस्तव ॥ ३४४ ॥ पुंसः पुराणादाच्छिद्य श्रीस्त्वया परिभुज्यते । राजनिष्वाकुवशस्य किमिदं तव युज्यते ॥ ३४५ ॥ भुजङ्गभोगसंसक्ता कलत्रं तव मेदिनी । अहंकार परां कोटिमारोहति कुतस्तव ॥ ३४६ ॥ इति श्लेषानुविद्धानामन्येषां चोपलक्ष्यताम् । व्याजस्तुतिप्रकाराणामपर्यन्तः प्रविस्तरः ॥ ३४७॥ ॥ इति व्याजस्तुतिः॥ अर्थान्तरप्रवृत्तेन किचित् तत्सदृशं फलम् । सदसद्वा निदर्यत यदि तत् स्यान्निदर्शनम् ॥ ३४८ ॥ उदयन्नेव सविता पद्मप्वर्पयति श्रियम् । विभावयितमृद्धीनां फलं सुहृदनग्रहम् ॥ ३४९ ॥ याति चन्द्रांशुभिः स्पृष्टा ध्वान्तराजी पराभवम् । सद्यो राजविरुद्धानां सूचयन्ती दुरन्तताम् ॥ ३५०॥ ॥ इति निदर्शनम् ॥ सहोक्तिः सहभावस्य कथन गुणकर्मणाम् । अर्थानां यो विनिमयः परिवृत्तिस्तु सा यथा ॥ ३५१ ।। सह दीर्घा मम श्वासैरिमाः संप्रति रात्रयः। पाण्डुराश्च ममैवाङ्गैः सह ताश्चन्द्रभूषणाः ॥ ३५२ ॥ वर्धते सह पान्थानां मूर्छया चूतमञ्जरी। पतन्ति च समं तेषामसुभिर्मलयानिलाः ॥३५३ ॥ कोकिलालापसुभगाः सुगन्धिवनवायवः । यान्ति सार्ध जनानन्दैवृद्धि सुरभिवासराः ॥ ३५४ ॥ इत्युदाहृतयो दत्ताः सहोक्तेरत्र काश्चन। ॥ इति सहोक्तिः॥ कियते परिवृत्तेव किंचिदूपनिरूपणम् ॥ ३५५ ॥ शलप्रहारं ददता भुजेन तव भूभुजाम् । चिराजितं हृतं तेषां यशः कुमुदपाण्डुरम् ॥ ३५६ ॥ ॥ इति परिवृत्तिः॥

·२.३५७-] काव्यादर्शमूलम् । । ३२ आशीर्नामाभिलषिते वस्तुन्याशंसनं यथा । पातु वः परमं ज्योतिरवाङमनसगोचरम् ।। ३५७ ॥ ॥ इत्याशीः॥ अनन्वयससंदेहावुपमास्वेव दशितो। उपमारूपकं चापि रु पकष्वेव दाशतम ॥ ३५८ ॥ उत्प्रेक्षाभेद एवासावत्प्रेक्षावयवापि च । नानालंकारसंसृष्टिः सास, निगद्यते ॥ ३५९ ॥ अङ्गाङ्गिभावावस्थानं सर्वेषां समकक्षता । इत्यलंकारससृष्टलक्षणीया यी गतिः॥ ३६० ॥ आक्षिपन्त्यरविन्दानि तव मु.५ मुखश्रियम । कोशदण्डसमग्राणा किम दामस्ति देकरम ॥ ३६१ ॥ (लिम्पर्ताव तमोगनिवर्पतीवा जन नमः। असत्पुरुपसेवेव दृष्टिनिपालना ता ॥ ६६२॥) श्लेषः सर्वासु पुष्णाति प्रायां वक्रोए श्रियम् । भिन्नं द्विधा स्वभावोक्तिर्वक्रोनिश्चति वाडायम॥३६३॥ ॥ इति संस्मृष्टिः।। भाषिकत्वमिति प्राहु प्रबन्धविषयं गुणम। भावः वेरभिप्रायः काव्यप्यासिद्धि यःस्थितः॥३६४ ।। परस्परोपकारित्वं सर्वेषां वस्तुपर्वणाम्। विशेषणानां व्यर्थानामक्रिया स्थानवर्णना ॥ ३६५ ॥ व्यक्तिरुक्तिक्रमवलाद्गारस्यापि वस्तुन । भावायत्तमिदं सर्वमिति तद्भाविकं विदुः ।। ३६६ ॥ ॥ इति भाविकम् ॥ यञ्च सध्यङ्गवृत्त्यङ्ग लक्षणाद्यागमान्तरे । व्यावर्णितमिद चेष्टमलकारतयंच नः ॥ ३६७ ॥ पन्थाः स एष विवृत परिमाणवृत्त्या संक्षिप्य विस्तरमनन्तमलंक्रियाणाम् । वाचामतीत्य विषयं परिवर्तमाना- मभ्यास एव विवरातुमलं विशेषान् ॥ ३६८ ॥ ॥ इत्याचार्यदण्टिनः पृतौ काव्यादर्शालंकारविभागो नाम द्वितीयः परिच्छेदः॥

·काव्यादर्श तृतीयः परिच्छेदः अव्यपेतव्यपेतात्मा यावृत्तिर्वर्णसंहतेः । यमकं तश्च पादानामादिमध्यान्तगोचरम् ॥१॥ एकद्वित्रिचतुष्पादयमकानां विकल्पनाः । आदिमध्यान्तमध्यान्तमध्याद्याद्यन्तसर्वतः ॥२॥ अत्यन्तबहवस्तेषां भेदाः संभेदयोनयः । सुकरा दुष्कराश्चैव दर्यन्ते तत्र केचन ॥३॥ मानेन मानेन सखि प्रणयोभूत् प्रिये जने । खण्डिता कण्ठमाश्लिप्य तमेव कुरु सत्रपम् ॥४॥ मेघनादेन हंसानां मदनो मदनोदिना । नुनमानं मनः स्त्रीणां सह रत्या विगाहते ।। ५॥ राजन्वत्यः प्रजा जाता भवन्तं प्राप्य संप्रति । चतुरं चतुरम्भोधिरशनोर्वीकरग्रहे ॥६॥ अरण्यं कैश्चिदाक्रान्तमन्यैः सद्म दिवौकसाम् । पदातिरथनागाश्वरहितैरहितैस्तव ॥ ७ ॥ मधुरं मधुरम्भोजवदने वद नेत्रयोः । विभ्रमं भ्रमरभ्रान्त्या विडम्बयति किं नु ते ॥ ८ ॥ वारणो वा रणोद्दामो हयो वा स्मर दुर्धरः । न यतो नयतोन्तं नस्तदहो विक्रमस्तव ॥९॥ राजितैराजितैश्ण्येन जीयते त्वादशैर्नृपैः। नीयते च पुनस्तृप्तिं वसुधा वसुधारया ॥ १० ॥ करोति सहकारस्य कलिकोत्कलिकोत्तरम् । मन्मनो मन्मनोप्येष मत्तकोकिलनिस्वनः ॥११॥ कथं त्वदुपलम्भाशाविहताविह तारशी। अवस्था नालमारोदुमङ्गनामङ्गानाशिनी ॥ १२॥ निगृहा भेत्र कर्षन्ति बालपलवशोभिना । तरुणा तरुणान् कृष्टानलिनो नलिनोन्मखाः॥१३॥ विशदा विशदामत्तसारसे सारसे जल । कुरुते कुरुतेनेयं हंसी मामन्तकामिषम् ॥ १४ ॥ ५ [ कान्यादर्शमूलम् ]

·३.१५-]
काव्यादर्शमूलम्।
[ ३४
विषमं विषमन्वेति मदनं मदनन्दनः।
सहेन्दुकलयापोढमलया मलयानिलः॥ १५ ॥
मानिनी मा निनीषुस्ते निषङ्गत्वमनङ्ग मे ।
हारिणी हारिणी शर्म तनुतां तनुतां यतः॥ १६ ॥
जयता त्वन्मुखेनास्मानकथं न कथं जितम् ।
कमलं कमलकुर्वदलिमहलि मत्प्रिये ॥ १७॥
रमणी रमणीया मे पाटलापाटलांशुका ।
वारुणीवारुणीभूतसौरभा सौरभास्पदम् ॥ १८ ॥
इति पादादियमकमव्यपेतं विकल्पितम्
व्यपेतस्यापि धर्ण्यन्ते विकल्पास्तस्य केचन ॥ १९ ॥
मधुरेणहशां मानं मधुरेण सुगन्धिना ।
सहकारोन्द्रमेनैव शब्दशेषं करिष्यति ॥ २० ॥
करोतिताम्रो रामाणां तन्त्रीताडनविभ्रमम् ।
करोति सेयॆ कान्ते च श्रवणोत्पलताडनम् ॥ २१ ॥
सकलापोलसनया कलापिन्यानु नृत्यते ।
मेघाली नर्तिता वातैः सकलापो विमुञ्चति ॥२॥
स्वयमेव गलन्मानकलि कामिनि ते मनः ।
कलिकामिह नीपस्य हवा
कां न स्पृशेदशाम् ॥ २३॥
आरुह्याक्रीडशैलस्य चन्द्रकान्तस्थलीमिमाम् ।
नत्यत्येष लसवारुचन्द्रकान्तः शिखावलः ॥२४॥
उदृत्य राजकादुर्वी धियतेद्य भुजेन ते ।
वराहेणोवृता
यासौ वराहेरुपरि स्थिता ॥२५॥
करेण ते रणेवन्तकरण द्विषतां हताः।
करणवः क्षरद्रक्ता भान्ति संध्याघना इव ॥ २६ ॥
परागतरुराजीव वातैलस्ता भेटैश्चमः ।
परागतमिष वापि परागततमम्बरम् ॥ २७ ॥
पातु वो भगवान् विष्णुः सदा नवधनद्युतिः ।
स दानवकुल वंसी सदानवरदन्तिहा ॥ २८ ॥
कमलेः समकेशं ते कमलेाकरं मुखम् ॥
कमलेख्यं करोषि त्वं कमलेवोन्मदिष्णुषु ॥ २९ ॥

·३५]
तृतीयः परिच्छेदः ।
[-३-४२
मुदा रमणमन्वीतमुदारमणिभूषणाः।
मदभ्रमद्दशः कर्तुमदभ्रजघनाः क्षमाः॥३०॥
उदितैरन्यपुष्टानामा रुतैर्मे हतं मनः।
उदितैरपि ते दृति मारुतैरपि दक्षिणः ॥ ३१ ॥
सुराजितह्रियो यूनां तनुमध्यासते स्त्रियः ।
तनुमध्याः क्षरत्स्वेदसुगजितमुखेन्दव ॥ ३२॥
इति व्यपेलयमकप्रभेदोप्येष दर्शितः ।
अव्यपेतव्यपेतात्मा विकल्पोप्यस्ति तद्यथा ॥ ३३ ॥
सालं सालम्बकलिका सालं लं न वीक्षितुम् ।
नालीनालीनबकुलानाली नालीकिनीरपि ॥ ३४ ॥
कालं कालमनालस्यतारतारकमीक्षितुम् ।
तारतारम्यरसितं कालं कालमहाघनम् ॥ ३५ ॥
याम यामत्रयाधीनायामया मरणं निशा।
यामयाम धिया स्व. या मया मथितैव सा ॥ ३६॥
इति पादादियमकविकल्पस्येदृशी गतिः।
एवमेव विकल्प्यानि यमकानीतराण्यपि ॥ ३७ ॥
न प्रपञ्चभयाद्भेदाः कात्स्नाख्यातुमीहिताः।
दुष्कराभिमता ये तु वर्ण्यन्ते तेत्र केचन ॥ ३८ ॥
स्थिरायते यतेन्द्रियो न हीयते यतेर्भवान् ।
अमायतेयतेप्यभूत् सुखाय तेयते क्षयम् ॥ ३९ ॥
सभासु राजन्नसुराहतैर्मुखै-
महीसुराणां वसुराजितैः स्तुताः ।
न भासुरा यान्ति सुरान् न ते गुणा
प्रजासु रागात्मसु राशितां गता ॥४०॥
तव प्रिया सश्चरिताप्रमत्त या
विभूषणं धार्यमिहांशुमत्तया ।
रतोत्सवामोदविशेषमत्तया
फर न मे किंचन कान्तिमत्तया ॥४१॥
भवादृशा नाथ न जानते नते
रसं विरुद्ध खलु सन्नतेनते।
य एव दीनाः शिरसा नतेन ते
चरन्त्यलं दैन्यरसेन तेन ते ॥ ४२ ॥

·[ ३६
५.४३-]] कान्यादर्शमूलम् ।
लीलास्मितेन शुचिना मृदुनोदितेन
व्यालोकितेन लघुना गुरुणा गतेन।
व्याजृम्भितेन जघनेन च दर्शितेन
सा हन्ति तेन गलितं मम जीवितेन ॥४३॥
श्रीमानमानमरवर्त्मसमानमान-
मात्मानमानतजगत्प्रथमानमानम्।
भूमानमानमत यः स्थितिमानमान-
नामानमानमतमप्रतिमानमानम् ॥ ४४ ॥
सारयन्तमुरसा रमयन्ती
सारभूतमुरुसारधरा तम् ।
सारवानुकृतसारसकाची
सा रसायनमसारमवैति ॥४५॥
नयानयालोचनयानयानया-
नयानयाधान् विनयानयायत ।
नयानयासीन्जिनयानया नया
नयानयास्ताजनयानयाधितान् ॥४६॥
रवण भौमो ध्वजवर्तिवीरवे-
रवेजि संयत्यतुलानगौरवे ।
रवेरिवोप्रस्य पुरो हरे रवे-
रवेत तुल्यं रिपुमस्य भैरवे ॥ ४७ ॥
मया मयालम्ब्यकलामयामया-
मयामयातव्यविरामयामया।
मयामयाति निशयामयामया-
मयामया{ करुणामयामया ॥ ४८ ॥
मता धुनानारमतामकामता-
मतापलब्धानिमतानुलोमता ।
मतावयत्युत्तमताविलोमता-
मताम्यतस्ते समता न वामता ॥४९॥
कालकालगलकालकालमुखकालकाल-
कालकालपनकालकालघनकालकाल-।
कालकालसितकालका ललनिकालकाल-
कालकालगतु कालकाल कलिकालकाल ॥ ५० ॥
संदष्टयमकस्थानमन्तादी पादयोद्धयोः ।
उक्तान्तर्गतमप्येतत् स्वातन्त्र्येणात्र कीर्त्यते ॥५१॥

·३७ ]]
तृतीयः पारच्छदः । [-३.६०
उपोढरागाप्यबला मदेन सा
मदेनसा मन्युरसेन योजिता।
न योजितात्मानमनङ्गतापिता-
गन्तापि तापाय ममास नेयते ॥ ५२ ॥
अर्धाभ्यासः समुद्गः स्यादस्य भेदास्त्रयो मता. ।
पादाभ्यासोप्यनेकात्मा व्यज्यते स निदर्शनैः ॥ ५३ ॥
ना स्थेयःसत्त्वया वय॑ः परमायतमानया।
नास्थेयः स त्वयावर्त्यः परमायतमानया ॥ ५४॥
नराजिता माननयासमेत्य
न राजिता माननया समेत्य ।
विनाशिता वैभवतापनेन
विनाशिता वैभवतापनेन ॥ ५५ ॥
कलापिनां चारुतयोपयान्ति
वृन्दानि लापोढघनागमानाम् ।
वृन्दानिलापोढघनागमानां
कलापिनां चारुतयोपयान्ति ॥५६॥
नमन्दयावर्जितमानसात्मया
न मन्दयावर्जितमानसात्मया ।
उरस्यपास्तीर्णपयोधरद्वयं
मया समालिगायत जीवितेश्वरः ॥ ५७ ॥
सभा सुराणामबला विभूषिता
गुणैस्तवारोहि मृणालनिर्मलैः।
स भासुराणामबला विभूषिता
विहारयनिर्विश संपदः पुराम् ॥ ५८ ॥
कलं कमुक्तं तनुमध्यनामिका
स्तनद्वयी च त्वरते न हन्त्यतः।
न याति भूतं गणने भवन्मुखे
कलमुक्तं तनुमध्यनामिका ॥ ५९॥
यशश्च ते दिक्षु रजश्च सैनिका
वितन्वतेजोपम दंशिता युधा।
वितन्वतेजोपमदं शितायुधा
द्विषां च कुर्वन्ति कुलं तरस्विनः ॥ ६० ॥

·३.६१-]
काव्यादर्शमूलम् ।
[ ३८
बिभर्ति भुमेर्वलयं भुजेन ते
भुजंगमोमा स्मरतो मदश्चितम् ।
शृणूक्तमेक स्वमवेत्य भूधरं
भुजं गमो मा स्म रतो मदं चितम् ॥ ६१ ॥
स्मरानलो मानविवर्धितो यः
स निर्वृतिं ते किमपाकरोति ।
समन्ततस्तामरसेक्षणे न
समं ततस्तामरसे क्षणेन ॥६२ ॥
प्रभावतोनाम न वासवस्य
प्रभावतो नामन वा सवस्य ।
प्रभावतो नाम नवासवस्य
विच्छित्तिरासीत् त्वयि विष्टपस्य ॥ ६३ ॥
परंपराया बलवारणानां
परं पराया बलवारणानाम् ।
धूलीः स्थलीयॊम्नि विधाय रुन्धन
परं पराया बलवा रणानाम् ॥ ६४॥
न श्रद्दधे वाचमलज मिथ्या-
भवद्विधानामसमाहितानाम् ।
भवद्विधानामसमाहितानां
भवद्विधानामसमाहितानाम् ॥ ६५॥
सन्नाहितोमानमराजसेन
सन्नाहितोमानम राजसेन ।
सन्ना हितोमानमराजसेन
सन्नाहितो मानम राजसेन ॥ ६६ ॥
सद्विस्त्रिश्च योभ्यासः पादस्यैवं प्रदर्शितः।
श्लोकद्वयं तु युक्तार्थ श्लोकाभ्यासः स्मृतो यथा ॥ ६७॥
विनायकेन भवता वृत्तोपचितबाहुना ।
स्वमित्रोद्धारिणाभीता पृथ्वी यमतुलाश्रिता ॥ ६८ ॥
विनायकेन भवता वृत्तोपचितबाहुना ।
श्वमित्रोद्धारिणाभीता पृथ्वीयमतुलाश्रिता ॥ ६९ ॥
एकाकारचतुष्पादं तन्महायमकालयम् ।
तत्रापि दृश्यतेभ्यासः सा परा यमकक्रिया ॥ ७० ॥

·३९ ]
तृतीयः परिच्छेदः ।
[-३-८४
समानयासमानया समानयासमानया।
समान यासमानया समानयासमानया ॥ ७१ ।।
धराधराकारधरा धराभुजां
भुजा मही पातुमहीनविक्रमाः ।
क्रमात् सहन्ते सहसा हतारयो
रयोद्धरा मानधुरावलम्बिनः ॥ ७२ ॥
आवृत्तिः प्रातिलोम्येन पादार्धश्लोकगोचरा ।
यमकं प्रतिलोमत्वात् प्रतिलोममिति स्मृतम् ॥ ७३ ॥
यामताश कृतायासा सायाता कृशता मया।
रमणारकता तेस्तु स्तुतेताकरणामर ॥ ७४ ।।
नादिनोमदना धीः स्वा न मे काचन कामिता।
तामिका न च कामेन स्वाधीना दमनोदिना ॥ ७५ ।।
यानमानयमाराविकशोनानजनाशना ।
यामुदारशताधीनामायामायमनादिसा ॥ ७६ ॥
सा दिनामयमायामा नाधीता
शरदामुया।
नाशनाजनना शोकविरामाय न मानया ।। ७७॥
वर्णानामेकरूपत्वं यत् त्वेकान्तरमर्धयोः।
गोमूत्रिकेति तत् प्राहुर्दुष्कर तद्विदो यथा ॥ ७८ ॥
मदनो मदिराक्षीणामपाङ्गास्त्रो जयेदयम् ।
मदेनो यदि तत् क्षीणमनङ्गायाऑल ददे ॥ ७९ ॥
प्राहुरर्धभ्रम नाम श्लोकार्धभ्रमणं यदि ।
तदिष्ट सर्वतोभद्रं भ्रमणं यदि सर्वतः ॥ ८० ॥
मानोभव तवानी
नोदयाय न मानिनी।
भयादमेयामा मा वा
वयमेनोमया नत ॥ ८१ ॥
सामायामा माया मासा मारानायायाना रामा।
यानावारारावानाया मायारामा मारायामा ॥ ८२ ॥
यः स्वरस्थानवर्णानां नियमो दुष्करेण्वसौ ।
इष्टश्चतुःप्रभृत्येष दर्श्यते सुकरः परः ॥ ८३ ॥
आम्नायानामाहान्त्या वाग्गीतीरीतीः प्रीतीर्मीती।
भोगो रोगो मोदो मोहो ध्येये वेच्छेहेशे क्षेमे ॥ ८४ ॥

·३८.५-]
काव्यादर्शमूलम् ।
[ ४०
क्षितिविजितिस्थितिविहिति व्रतरतय परमतयः।
उरु रुरुधुर्गुरु दुधुवुर्युधि कुरवः स्वमरिकुलम् ॥ ८५ ॥
श्रीदीप्ती ही कीर्ती धीनीती गीप्रीती।
पधेते द्वे द्वे ते ये नेमे देवेशे ॥ ८६ ॥
सामायामामाया मासा मारानायायानारामा।
यानावारारावानाया मायारामा मारायामा ॥ ८७॥
नयनानन्दजनने नक्षत्रगणशालिनि ।
अघने गगने दृष्टिरङ्गाने दीयतां सकृत् ।। ८८ ।।
अलिनीलाल कलत के न हन्ति घनस्तनि ।
आननं नलिनच्छायनयनं शशिकान्ति ते ॥ ८९ ॥
अनङ्गलचनालग्ननानातका सदङ्गना।
सदानघ सदानन्दनतागासङ्गमङ्गतः ॥ ९० ॥
अगा गां गाङ्गकाकाकगाहकाघककाकहा।
अहाहाङ्ग खगाड्वागकङ्गागखगकाकक ॥ ९१ ॥
रे रे रोरुरुरूरोरुगागोगोगाङ्गगोगगुः ।
कि केकाकाकुकः काको मा मामामाममामम ॥९२ ॥
देवानां नन्दनो देवो नोदनो वेदनिन्दिनः।
दिवं दुदाव नादेन दाने दानवदन्तिनः ॥ ९३ ॥
सूरिः सुरासुरासारिसारः सारससारसाः।
ससार सरसीः सीरी ससूरुः स सुरारसी ॥ ९४॥
नूनं नुन्नानि नानेन नाननेनाननानि नः।
नानेना ननु नानूनेनैनेनानानिनो निनीः ॥ ९५ ॥
इति दुष्करमार्गेऽपि कश्चिदादर्शितः क्रमः ।
प्रहेलिकाप्रकाराणां पुनरुद्दिश्यते गतिः ॥ ६ ॥
क्रीडागोष्ठीविनोदेषु तज्ज्ञैराकीर्णमन्त्रणे ।
परव्यामोहने चापि सोपयोगाः प्रहेलिकाः ॥ २७ ॥
आहुः समागतां नाम गृढार्थी पदसंधिना।
वञ्चितान्यत्र रूढेन यत्र शद्वेन वञ्चना ॥ ९८ ॥
व्युत्क्रान्तातिव्यवहितप्रयोगान्माहकारिणी ।
मा स्यात् प्रमुषिता यस्यां दुर्बोधार्था पदावली ॥ ९ ॥
समानरूपा गौणार्थारोपितैर्ग्रथिता पदै ।
परुषा लक्षणास्तित्वमात्रव्युत्पादितश्रुतिः ॥ १०० ॥

·११] तृतीयः परिच्छेदः। [-३.१११ संख्याता नाम संख्यानं यत्र व्यामोहकारणम् । अन्यथा भासते यत्र वाक्यार्थ सा प्रकल्पिता ॥ १०१॥ सा नामान्तरिता यस्यां नाम्नि नानार्थकल्पना। निभृता निभृतान्यार्था तुल्यधर्मस्पृशा गिरा ॥ १०२ ॥ समानशब्दोपन्यस्तशब्दपर्यायाधिता। संमूढा नाम या साक्षानिर्दिष्टार्थापि मूढये ॥ १०३ ॥ योगमालात्मिका नाम या स्यात् सा परिहारिका। एकच्छन्नाश्रितं व्यक्तं यस्यामाश्रयगोपनम् ॥ १०४ ॥ सा भवेदुभयच्छन्ना यस्यामुभयगापनम्। संकीर्णा नाम सा यस्यां नानालक्षणसकरः ॥ १०५ ॥ एताः षोडश निर्दिष्टाः पूर्वाचार्य प्रहेलिकाः। दुष्टप्रहेलिकाश्चान्यास्तरधीताश्चतुर्दश ॥ १०६ ॥ दोपानपरिसख्ययान् मन्यमाना वयं पुनः। साध्वीरेवाभिधास्यामस्ता दुष्टा यास्त्वलक्षणाः॥ १०७॥ न मया गोरसाभिशतः करमात् प्रकुप्यसि । अस्थानरुदि रेमिग्लमालोहि क्षणे ॥ १०८ ॥ कुब्जामासेवमानस्य यथा ते वर्धते रतिः। नैवं निविशता नारीरमााविम्विनीः॥ १०९ ॥ दण्डे चुम्वति पभिन्यासः कर्कशकण्टके । मुखं वल्गुरवं कुर्वस्तुण्डेनाङ्गानि घट्टयन् ॥ ११०॥ खातयः कनिकाले ते रफानयः स्फाहवल्गवः। चन्द्रे साक्षाद्भवन्त्यत्र वायवो मम सारिणः॥ १११॥ अत्रोद्याने मया दृष्टा वलरी पञ्चपहवा। पल्लवे पल्लवे ताम्ना यस्या कुसममञ्जरी ॥ ११२ ॥ सुराःसरालये स्वैरं भ्रमन्ति दशनार्चिपा। मजन्त इव मत्तास्ते सौरे सरसि संप्रति ॥ ११३॥ नासिक्यमध्या परितश्चतुर्वर्णविभूषिता । अस्ति काचित् पुर्ण यस्यामष्टवर्णाह्वया नृपाः ॥ ११४ ॥ गिरा स्खलन्त्या नम्रेण शिरसा दीनया दशा। तिष्ठन्तमपि सोत्कम्पं वृद्ध मां नानकम्पसे ॥ ११५ ॥ आदौ राजेत्यधीराक्षि पार्थिवः कोऽपि गीयते । सनातनश्च नैवासी राजा नापि सनातनः ॥ ११ ॥ [ काव्यादर्शमलम् ।

·३.११७-] काव्यादर्शमूलम् । [४२ हृनद्रव्यं नरं त्यक्त्वा धनवन्तं व्रजन्ति काः। नानाभङ्गिासमाकृष्टलोका वेश्या न दुर्धराः॥११७ ॥ जितप्रकृष्टकेशाख्यो यस्तवाभूमिसाहयः। स मामद्य प्रभूतोत्कं करोति कलभाषिणि ॥ १९८॥ शयनीये परावृत्य शयितौ कामिनी क्रुधा । तथैव शयितौ रागात् स्वैरं मुखमचुम्बताम् ॥ ११९ ॥ विजितात्मभवद्वेषिगुरुपादहतो जनः । हिमापहामित्रधरैर्व्याप्तं व्योमाभिनन्दति ॥ १२० ॥ न स्पृशत्यायुधं जातु न स्त्रीणां स्तनमडलम् । अमनुष्यस्य कस्यापि हस्तोऽयं न वि लाफ्लः ॥ १२१ ॥ केन कः सह संभूय सर्वकार्येषु संनिधिम् । लब्ध्वा भोजनकाले तु यदि दृष्टो निरम्यते ॥ १२२ ॥ सहया सगजा सेना सभटेयं न चेजिता । अमात्रिकोऽयं मृढः स्यादक्षरशश्च नः सुतः ॥ १२३ ।। सा नामान्तरितामिश्रा वञ्चितारूपयोगिनी। एवमेवेतरासामप्युन्नेयः संकरक्रमः ॥ १२४ ॥ [* इति प्रहे लकामा! दुष्कगत्मापि दर्शितः । विद्वत्प्रयोगतो ज्ञेया मागी प्रश्नोत्तरादय ॥] ॥ इति प्रहेलिकाचक्रम् ॥ [* विशदवुद्धिरनेन सुवर्मना सुकर दुष्करमार्गमवैति हि । न हि तदन्यनयेपि कृतश्रमः प्रभुरिमं नयमेतुमिद विना ॥ इति शब्दालंकाराः॥ [* काव्ये दोषा गुणाश्चैव विज्ञातव्या विचक्षणैः। दोषा विपत्तये तत्र गुणा संपत्तये यथा ॥ अपार्थ व्यर्थमेकार्थ ससंशयमपक्रमम् । शब्दहीन यतिभ्रष्टं भिन्नवृत्तं घिसंधिकम् ॥ १२५ ॥ • एते श्लोकाः कचनाधिकाः पठ्यन्ते, तथा तृतीय परिच्छेद शब्दालकारैः परिम्माप्प दोषविषेचनात्मको पन्यायः चतुर्थपरिछेद लेनोलियो

·१३]
तृतीयः परिच्छेदः ।
[-५.१४१
देशकालकलालोकन्यायागमविरोधि च ।
इति दोपा दर्शवते वाः काव्येषु सूरिभिः॥ १२६ ॥
प्रतिज्ञाहेतुदृष्टान्तहानिर्दोषो न वेत्यसो।
विचारः वर्कशः प्रायस्तेनालीढेन कि फलम् ॥ १२७ ॥
समुदायार्थशून्यं यत् तदपार्थमितीप्यते ।
उन्मत्तमत्तबालानामुक्तेरन्यत्र दुप्यति ॥ १२८ ॥
समुद्रः पीयते देवैरहमस्मि जरातरः ।
अनी गर्जन्ति जामता हरेरैरावणः प्रियः ॥ १२९ ॥
इदमस्वस्थचित्तानामभिधानमनिन्दितम् ।
इतरत्र कविः को वा प्रयुञ्जीतेवमादिकम् ॥ १३०॥
एकवाक्ये प्रवन्धे वा पुर्वापरपराहतम् ।
विरुद्धार्थतया व्यर्थमिति दोषेषु पठ्यते ॥ १३१ ॥
जहि शत्रुवलं कृत्स्नं जय विश्वंभरामिमाम् ।
न च ते कोऽपि विद्वेष्टा सर्वभूतानुकम्पिनः ॥ १३२ ।।
अस्ति काचिदवस्था सा साभिषगस्य चेतसः।
यस्यां भवेदभिमता विरुद्धार्थापि भारती ॥ १३३॥
परदाराभिलाषो मे कथमार्यस्य युज्यते ।
पिवामि तरलं तस्याः कदा न दशनच्छदम्॥ १३४ ॥
अविशेषेण पूर्वोक्तं यदि भूयोऽपि कीर्यते ।
अर्थतः शब्दतो वापि तदेकार्थ मतं यथा । १३५ ॥
उत्वामुन्ननयन्त्येते बालां तदलकत्विपः।
अम्भाधरास्तडित्वन्ता गम्भीगः स्तनयित्नवः ॥ १३६ ॥
अन इम्पाद्यतिशयो यदि कश्चिद्विवक्ष्यते ।
न दषः पुनरुत्तोऽपि प्रत्युतेयमलंक्रिया ॥ १३७ ॥
हन्यते सा वरारोहा स्मरेणाकाण्डवैरिणा।
हत्यते चारुसर्वाङ्गी हन्यते मजुभापिणी ॥ १३८ ॥
निर्णयार्थ प्रयुतानि संशयं जनयन्ति चेत् ।
वांसि दोष एवासौ ससंशय इति स्मृतः ॥ १३९ ॥
मनोरयप्रियालोकरसलोलेक्षणे सखि ।
आरावृत्तिरसौ माता न क्षमा माशम् ॥१४॥
ईदृशं संशय.यैव यदि जातु प्रयुज्यते ।
स्यालंकार एव.सौ न दोषस्तत्र तद्यथा ॥ १४१ ॥

·il
३.१४२-] काव्यादर्शमूलम् ।
[ ४४
पश्याम्यनगजातङ्कलवितां तामनिन्दिताम् ।
कालेनैव कटोरेण ग्रस्तां किं नस्त्वदाशया ॥१४२॥
कामार्ता धर्मतप्ता वेत्यनिश्चयकरं वचः ।
युवानमाकुलीकर्तुमिति दूत्याह नमगा ॥ १४३ ॥
उद्देशानुगुणोऽर्थानामनुदेशो न वेत् कृतः ।
अपक्रमाभिधानं त दापमाचक्षते वुधाः ॥ १४४ ॥
स्थितिरिमाणसहारहेतवो जगताममी।
शंभुनारायणाम्भोजयोनमः पालयन्तु वः ॥ १४५ ॥
यत्नः संबन्धविज्ञानतकोऽपि कृतो यदि ।
क्रमलङ्घनमप्याहः सूरयो नैव दूपणम् ॥ १४ ॥
बन्धुत्यागस्तनत्यागो देशत्याग इति त्रिषु ।
आद्यन्तावायतक्लेशो मध्यमः क्षणिकावरः ॥ १४७ ।।
शब्दहीनमनालक्ष्यलयलक्षणपतिः।
पदप्रयोगोऽशिष्टेष्टः टिस्तु न दुप्यति ॥ १४८ ॥
अवते भवते बाहुमहीमर्णवशकरीम।
महाराजन्नजिज्ञासा नास्तीत्यासी गिरां रसः ॥ १४९ ॥
दक्षिणानेरुपसरन् मारुतशतपारपान् ।
कुरुते ललिताधून प्रवाला कुरोभिनः ॥ १५० ॥
इत्यादि शास्त्रमहात्म्यदर्शनास तसाम् ।
अपभाषणवद्भाति न च सामान्य मुडाति ॥ १५१ ॥
श्लोकेषु नियतस्थानं परछ यति विदुः ।
तदपेतं यतिभ्रष्टं श्रवणोडेजन यथा ॥ १२ ॥
स्त्रीणां सगीतविधिमयमादित्यवश्यो नरेन्द्रः
पश्यत्यक्लिष्टरसमिह शिटैग्मेत्यादि दृष्टम् ।
कार्याकार्याध्ययमधिकलान्यागमेनव पश्यन्
वश्यामुर्वी वहति नृप इत्यति चैव प्रयोगः ॥ १५३ ॥
लुप्ते पदान्ते शिष्टस्य पदत्य निश्चित यथा ।
तथा सविधिकार ५६मेवेति वर्ण्यते ॥ १५४॥
तथापि कट कर्णानां कवयो न प्रयुअते ।
ध्वजिनी तस्य राज्ञः केतृदरत जलदेत्यदः ॥ १५५ ।।
वर्णानां न्यूनताधिक्ये गुरुलध्वयथास्थितिः ।
तत्र तद्भिन्नवृत्तं स्यादेष दोषः सुनिन्दितः ॥ १५६ ॥

·४५ ] तृतीयः परिच्छेदः । [-२०१९ इन्दुपादाः शिशिराः स्पृशन्तीत्यूनवर्णता । सहकारस्य किसलयान्यााणीत्यधिकाक्षरम् ॥ १५७ ॥ कामेन बाणा निशाता विमुक्ता मृगेक्षणास्वित्ययथागुरुत्वम् । मदनस्य बाणा निशिताः पतन्ति वामेक्षणास्वित्ययथालघुत्वम् ॥ १५८ ॥ न सहितां विवक्षामीत्यसंधानं पदेषु यत् । तद्विसंधीति निर्दिष्टं न प्रगृह्यादिहेतुकम् ॥ १५९ ॥ मन्दानिलेन चलता अङ्गनागण्डमण्डले । लुप्तमुद्भदि धर्माम्भो नभस्यस्मद्वपुष्यपि ॥ १६०॥ [* आधिव्याधिपरीताय अद्य श्वो वा विनाशिने । को हि नाम शरीराय धर्मापेतं समाचरेत् ॥] मानेष्ये इह शीर्यते स्त्रीणां हिमऋतौ प्रिये । आसु रात्रिष्यिति प्राज्ञराम्नातं व्यस्तमीदृशम् ॥ १६१ ॥ देशोऽद्रिवनराष्ट्रादिः कालो रात्रिदिवर्तवः। नृत्यगीतप्रभृतयः कलाः कामार्थसश्रयाः ॥ १६२ ॥ चराचराणां भूतानां प्रवृत्तिलोकसंशिता । हेतुविद्यात्मको न्यायः सस्मृतिः श्रुतिरागमः ॥ १६३ ॥ तेषुतेष्वयथारूढं यदि किचित् प्रवर्तते । कवेः प्रमादाद्देशादिविरोधीत्येतदुच्यते ॥ १६४ ॥ कर्पूरपादपामर्शसुरभिर्मलयानिलः । कलिङ्गवनसंभूता मृगप्राया मतङ्गजाः ॥ १६५ ॥ चोलाः कालागुरुश्यामकावेरीतीरभूमयः । इति देशविरोधिन्या वाचः प्रस्थानमीदृशम् ॥ १६६ ॥ पद्मिनी नक्तमुन्निद्रा स्फुटत्यह्नि कुमुद्वती। मधुरुत्फुल्लनिचुलो निदाघो मेघदुर्दिनः ॥ १६७ ॥ श्रव्यहंसगिरो वर्पाः शरदो मत्तबहिणः । हेमन्तो निर्मलादित्यः शिशिरः श्लाध्यचन्दनः ॥ १६८ ॥ इति कालविरोधस्य दर्शिता गतिरीही। मार्गः कलाविरोधस्य मनागुद्दिश्यते यथा ॥ १६९ ॥ * अयमधिकः श्लोकः वचन पठ्यते ।

·१.१..-] काव्यादर्शमूलम् ।
[११
धीरङ्गारयोर्भावी स्थायिनौ क्रोधविस्मयो।
पूर्णसप्तस्वरः सोऽयं भिन्नमार्गःप्रवर्तते ॥ १७० ॥
इत्थं कलाचतुःषष्टिविरोधः साधु नीयताम् ।
तस्याः कलापरिच्छेदे रूपमाविर्भविष्यति ॥ १७ ॥
भाधूतकेसरो हस्ती तीक्ष्णशृङ्गास्तुरंगमः ।
गुरुसारोऽयमेरण्डो निःसारः खदिरदुमः ॥ १७२ ॥
इति लौकिक एवायं विरोधः सर्वगर्हितः।
विरोधो हेतुविद्यासु न्यायाख्यासु निदर्यते ॥ १७३ ॥
सत्यमेवाह सुगतः संस्कारानविनश्वरान् ।
तथाहि सा चकोराक्षी स्थितवाद्यापि मे हृदि ॥ १७४ ॥
कापिलैरसदुद्भूतिः स्थान एवोपवर्णते ।
असतामेव दृश्यन्ते यस्मादस्माभिरुद्भवाः ॥ १७५ ॥
गतिायविरोधस्य सैषा सर्वत्र दृश्यते।
अथागमविरोधस्य प्रस्थानमुपदिश्यते ॥ १७६ ॥
अनाहिताग्नयोऽप्येते जातपुत्रा वितन्वते ।
विप्रा वैश्वानरीमिष्टिमक्लिष्टाचारभूषणाः ॥ १७७ ॥
असावनुपनीतोऽपि वेदानधिजगे गुरोः ।
स्वभावशुद्धः स्फटिको न संस्कारमपेक्षते ॥ १७८ ॥
विरोधः सकलोऽप्येष कदाचित् कविकौशलात्।
उत्क्रम्य दोषगणनां गुणवीथी विगाहते ॥ १७९ ॥
तस्य राज्ञः प्रभावेन तदुद्यानानि जज्ञिरे।
आर्द्राशुकप्रवालानामास्पदं सुरशाखिनाम् ॥ १८० ।।
राशा विनाशपिशुनश्चचार खरमारुतः ।
धुन्वन् कदम्बरजसा सह सप्तच्छदोगमान् ॥ १८ ॥
दालाभिप्रेरणास्तवधूजनमुखोद्गतम् ।।
कामिना लयवैषम्यं गेयं रागमवर्धयत् ॥ १८२ ॥
ऐन्दवादर्चिषः कामी शिशिरं हव्यवाहनम् ।
अबलाविरहक्लेशविह्वलो गणयत्ययम् ॥ १८३ ॥
प्रमेयोऽप्यप्रमेयोऽसि सफलोऽप्यसि निष्फलः।
एकस्त्वमप्यनेकाऽसि नमस्ते विश्वमूर्तये ॥ १८४॥
पञ्चानां पाण्डुपुत्राणां पत्नी पाश्चालपुत्रिका ।
सतीनामप्रणाश्चासीहैवो हि विधिरीशः ॥ १८५ ॥

·१७] तृतीयः परिच्छेदः। [-३.१८७ शब्दार्थालंक्रियाश्चित्रमार्गाः सुफरदुष्कराः। गुणा दोषाश्च काव्यानामिह संक्षिप्य दर्शिताः ॥ १८६ ॥ व्युत्पन्नबुद्धिरमुना विधिदर्शितेन मार्गेण दोषगुणयोर्वशवर्तिनीभिः। वाग्भिः कृताभिसरणी मदिरेक्षणाभि- धन्यो युवेव रमते लभते च कीर्तिम् ॥ १८७ ॥ इत्याचार्यइण्डिनः कृतौ काव्य दर्शे शब्दालंकार-दोष- विभागो नाम तृतीयः परिच्छदः ॥ ॥ समाप्तवायं ग्रन्थः॥

·THE KAVYĀDARŚA OF DAŅDIN LITERAL ENGLISH TRANSLATION NB-In the translation extra words are enclosed within square brackets , explanations and references are inserted in ordinary (curved) brackets , while in the case of paronomastic words the secondary sense is inserted in angular brackets directly after the primary sense In Parichchheda u in particular, various kinds of underlinings introduced are intended to explain the precise nature of the word embellishments illustrated, for which purpose the original Sanskrit stanza had to be transcribed entire in Roman characters and then its translation inserted within brackets.

·THE KĀVYĀDARSA OF DANDIN PARICHCHHEDA I May the all-white Sarasvati--the Hañsi midst the group of the mouth-lotuses of the four-faced (God)-find for long delight in my mānasa (mind) 1 We have condensed earlier treatises, have studied [literary) usages, and, to the best of our ability, are (now) commencing a treatment of Poetry 2 All the dealings of men in this world are in every way rendered possible by virtue of languages alone, be they amongst those formulated in rules by the Sages or be they otherwise 3 This entire triad-of-worlds would have become blinddarkness if the light named Word had not been shining all through the Samsāra The reflecting-object (in the form of the glory of the kings of yore, imaged within the mirror (in the form ) of literature,--though the kings be themselves absent-itself does not, mark ye, perish 5 Word well used is declared by the wise to be the wish-milking cow, the same ill used, however, declares the user's bovine nature 6 Hence not even a slight blemish should by any means be overlooked in poetry A body, albeit beautiful, can become loathsome [even] by one spot of leprosy. 7 How can a man ignorant of the Science distinguish between excellences and blemishes? Has [ever) a blind man the power to comprehend distinctions in colours ? Hence it is that the Sages, with a view to secure people's proficiency-in-letters, have laid down, in the case of compositions of diverse styles, the methods for their making rost 9 1 (Kavyadarba, Tranor) ·1. 10 ) The Kāvyādarsa of Dandı, | 2 They have shown what constitutes the body and what the embellishments of Poetry The 'body' consists of a series of words calculated to aptly convey a desired meaning 10 This (body) is adequately divided into just three sorts Metrical, Prose, and Mixed The 'metrical' consists of four feet, and this (again) falls into two classes Vritta and Jāti 11 The detailed treatment of it (the metrical body) is set forth in Metrical Compendium, and the knowledge of it is (as) a ship for persons wishing to dive into the deep ocean of Poetry 12 There exists that detailed classification of Poetiy into Muktaka, Kulaka, Kosa and Samghāta, but it is not mentioned here, as it is included within Sarga-bandha (or Composition-in-Cantos) 13 Composition in Cantos is a long poem (Mahākāvya) and its definition is being given (now ] Its opening is a benediction, a salutation, or a naming of the principaltheme, 14 It springs from a historical incident or is otherwise based upon some fact, it turns upon the fruition of the fourfold ends and its hero is clever and noble, 15 By descriptions of cities, oceans, mountains, seasons, and risings of the moon or the sun, through sportings in garden or water, and festivities of drinking and love, 16 Through sentiments-of-love in-separation and through marriages, by descriptions of the birth and-rise of Princes, and likewise through state-counsel, embassy, advance, battle, and the hero's triumph, 17 Embellished, not too condensed, and pervaded all through with poetic sentiments and emotions, with cantos none too lengthy and having agieeable metres and wellformed joints, 18 And in each case with an ending in a different metre, furnisher,--such a poem possessing good figures-of-speech tipra ·3 ] English Translation | 1. 28 wins the people's heart and endures longer than [even a Kalpa 19 A poem, although defective in certain of these aspects, is not to be condemned, provided the excellence in respect of things contained in it wins the approval of the experts 20 Having first set forth the hero with [all] his excellences, through him to secure the defeat of his enemies this is a mode natural-and-pleasing 21 While, having (first] delineated the family, the manliness, the learning, and so forth even of the eneniy, to asseit, through his triumph over him, the pre-eminence of the hero, is what is approved by us 22 A succession of words not amenable to division into metrical feet is called Prose Chronicle and Tale are its two varieties Of these Chronicle, we are told, - 23 Is what is narrated by the Hero himself exclusively, the other by the Hero as well as by any other person The showing forth of one's own merits is not here, in view of his being a recorder of events that have actually occurred, a blemish 24 This restriction, however, is not observed, in as much as there (in Akhyāyıkā ] also other persons can narrate That another person narrates or he himself does it-what kind of a ground for distinction is this? 25 If [the metres] Vaktra and Aparavaktra and the having of the title Uchchhvāsa [for a sub-division) are to be the differentiating mark of an Akhyāyıkā, occasionally even in Kathās- 26 Why, as in the case of Āryā and other metres, should there not be scope for Vaktra and Aparavaktra? Lambha and other [titles for sub-divisions) are observed (in Kathās) as a distinguishing characteristic, let Uchchhvāsa be one of them what matters ? 27 Hence, Kathā and Ākhyāyikā constitute just one species denoted by two names Herein also are comprised the remaining species of Narration. 28 ·i. 29 ] The Kāvyādarśa of Dandın ? The abduction of a maiden, battle, deception, somebody's rise-in-fortune, and such other topics are common to it (Akhyāyıkā) no less than to Compositions-in-Cantos. they do not form its differentiating characteristics 29 Any peculiar mark that the poet might affect according to his fancy (in a Katha, etc) he could without impropriety affect in other compositions For accomplished persons, in the attainment of the desired ends, can there be any occasion that may not just as well) serve as an opening 30 Mixed compositions are the drama, etc Details about these { should be followed) in other works There exists likewise a composition partly prose and partly verse known as Champū 31 All this literature, from another point of view, the authorities declare as being fourfold Sanskrit, Prakrit, Apabhramśa, and Mixed 32 The Sanskrit is indeed the speech divine, it has been expounded by great Sages Manifold is the gradation of the Prākrit as being Tadbhava (derived), Tatsama (anologous), and Deśī (provincial) 33 The speech current in the Mahārāshtra is known as the best Prākrit, in it are composed [poems like the Setubandha,- that ocean of the gems of good sayings 34 Sauraseni and Gaudi and Läti, as also any other language of the same kind, is in common usage denoted by [the simple term ] 'Prākrit.' 35 The languages of Abhiras (cowherds) and others are known as Apabhramsa in poetic compositions in a scientific treatise, however, every [language) other than Sanskrit is declared to be Apabhramsa (a debased form) 36 In Sanskrit are Sargabandha and similar compositions, in Prākrit are Skandhaka and the like, Osara and others are in Apabhramsa, while the dramas etc use a mixed language. 37 ·5 English Translation [i 46 for the eye the ear As to a Kathā it is composed in all languages as also in Sanskrit. The Brihatkathā is said to be in the language of ghosts, and contains miraculous incidents 38 Lāsya (dancing), Chhalıta (pantomime), śampā (instrumental music) and such other [elements) are meant The rest on the contrary are exclusively for Here also a twofold division has been made out 39 Manifold is the style of composition with minute mutual differences Of these styles ] the Vaidarbha and the Gaudiya, as being clearly different (from each other), will now be described 40 Cohesion (1 43), Lucidity (1 45), Evenness (1 47), Sweetness (1 51), Tenderness (1 69), Explicitness-ofmeaning (1 73), Pregnancy[-of-expression) (1 76), Floridity ( 180), Grace (1 85), and Transference (1 93), 41 These ten qualities are considered as the soul of the Vaidarbha style, the opposites of these are usually to be noticed in the Gauda style 42 Cohesive is what does not involve Looseness Loose is what consists mainly of faintly-aspirated syllables, as for instance-'Mālıti-mālā lolāli-kalılā (a garlnd of Mālati[ -flowers) laden with longing bees)' 43 In view of alliteration this has been permitted by the Gaudas, by the Vaidarbhas, (however,] because it secures compactness of [syllabic] binding, [expressions] like Mālati-dāma langhitam bhramaraih (a wreath of Mālati invaded by bees)' 44 Having Lucidity is that which conveys a sense that is well-known 'Indor indivara-dyuti lakshma lakshmim tanoti (the spot on the Moon shining like a blue-lotus augments her charm)' is (for instance] an expression conveying the sense without any effort 45 Because it exhibits command over grammar the Gaudas prefer even what is not very conventional, for instance, 'Anatyaijunābjanmasadrikshānko valakshaguh (the white-rayed (Moon) having a spot resembling & water-born [lotus] not-very-white_1. e. blue)' 46 ·i 47 ) The Kavyādarśa of Dandın [6 Even is what is not uneveni as regards syllabicstructures These structures are soft, harsh, and temperate, springing from the grouping together of soft, harsh and mixed syllables. 47 [An instance of soft structure is--] 'Kokılālāpavāchālo mām aiti Malayānilah (garrulous by reason of the cuckoo's notes the Malaya wind approaches me)', [that of harsh structure is--]'Uchchhalachchhikarāchchhächchhanirjharāmbhahkanokshitah (being surcharged with drops of very pure water from rillets with their spouting sprays)' 48 (An instance of temperate structure is-] 'Chandanapranayodgandhir mando Malayamārutah (the soft Malaya breeze with its spreading fragrance due to friendship with sandal-trees)', (an instance of uneven structure is-] Spardhate ruddhamaddhairyo vararāmānanānilaih (hay. ing upset my courage (the wind) vies with the breath from the mouths of excellent damsels)' 49 (The last is an instance of unevenness in one line; but the preceding four lines as a whole constitute a larger example of unevenness ) regardless of this unevenness and with an eye to pompousness in diction and in figures, the poetic style of the Easterners has attained a large volume 50 Sweet is what has Sentiment, (for) in words no less than in things Sentiment exists [Sentiment] whereby the learned are delighted like unto the honey-loving (bees by honey 51 Within any given group-of-audibles (śrutı) one experiences a similarity (in sound), a juxtaposition of words exhibiting that kind of similarity and securing (a specific kind of] alliteration gives rise to Sentiment 52 [For instance-] 'Esha rājā gadā lakshmim prāptavān brāhmanapriyah i Tadā prabhriti dharmasya loke'sminnutsavo'bhavat It (When this king to whom the brahmans are dear attained sovereignty, from that time on, in this world, there has been a jubilant day for Religion) 53 + I read bandheshvavishamam following the Jesalmir Ms ·English Translation (1 61 6 The Gaudas do not pay any regard to such (soundsimilarity), for they love alliteration (Anuprāsa), the Vaidarbhas usually prefer this even to alliteration 54 Anuprāsa is a repetition of syllables, in metrical feet as well as in words, provided there is a contiguity sufficient to awaken latent impressions from earlier cogni. tions 55 [An Anuprāsa in metrical feet is illustrated in-) Chandre sarannisottamse kundastabaka vibhramel Indranilanıbham lakshma sandadhātyalınah sriyam 11 (Upon the moon, the crest-adornment of the autumnal night and exhibiting the grace of a bunch of kunda-flowers, the spot that looks like sapphire wears the charm of a bee)' 56 [ An Anuprāsa in words is illustrated in-] 'Chāru chāndramasam bhiiu bimbam pasyaitadambare i Manmano manmathākrāntam nirdayam hantum udy atam 11 (Look, O timid one, at this beautiful lunar orb in the sky, uprisen to strike ruthlessly at my mind ( already ) invaded by Cupid)' 57 It is Anuprāsa of this sort, with the (similar) audibles not too much removed (from each other), that is approved, and not as in-Rāmāmukhambhojasadrisas chandı amāh (the moon appears like the lotus in the form of the damsel's face)' 58 ( Consider the case-] Smarah kharah khalah kāntah kāyah kopascha nah krisah I (Cruel 18 Cupid and the lover a villain, our body as well as anger has grown feeble)', [or] 'Chyuto māno'dhiko rāgo moho jāto'savo gatāh 11 (my pride is gone and my love is greater, I faint my life is leaving me) 59 (Compositions] like these lead to a roughness of syllabic-structure and to looseness, hence such an Anuprāsa the Southerners do not cultivate, 60 The same repetition having for its object a group (of syllables] is known as Yamaka (Chime), that, however, is not so exclusively condusive to Sweetness and will hence be dealt with later (111 1-77) 61 .

·i 62 ) The Kāvyādarśa of Dandin [ 8 Granted that each and every figure imbues the sense with Sentiment, nevertheless it is the absence of coarseness that for the major part bears this brunt 62 'O girl, how is it that while I long for thee thou dost nat long for me!'-the nature of the sense here conveyed 18 coarse and tends rather † to lack-of-Sentiment 63 No doubt this low-born Cupid, O fair-eyed one, is ruthless unto me, but, happily, he 18 free from malice for you!'-here the sense, not being coarse, gives rise to the Sentiment 64 There does exist coarseness even in word It (springs] from the utterance of what is not polite, as for instance, a word beginning with 'ya' in the description of the joys of love 65 Through the expressive power of words when taken in conjunction, and further through the [secondary) sense conveyed by a sentence as a whole), there results vulgarity causing an unpleasant cognition, as an instance of the former]—' Yā bhavatah priyā (she who is dear unto you < she who is dear unto the man with sexual propensity > 66 [An instance of the latter is-] 'Kharam prahritya visrāntah purusho viryavān (having struck (the demon] Khara Clusily > the heroic personage (Rāma] < the virile youth > is taking his rest)'. (Compositions] like these are not commended in both the Styles. 7 [ Expressions] like bhagini (sister)', 'bhagavati (honoured lady)', eto are universally permitted Thus far [has been exhibited) the (two-fold) division of Sweetness , now Tenderness will be described 68 Now Tender is thought to be that which for the most part has no harsh lettere, while the fault of a looseness 10 structure has been [ already, 1 43] exhibited in a composition with all soft (vocables] 69 [Consider for instance-] Mandalikritya barhāni kanthair madhura-gitibhıh | Kalāpinah pranrityantı kāle + I read vairasyāyeva, following the Josalmır Ms ·9 English Translation ( 78 jimūtamālını 11 (Spreading their plumage in a circle these feathery-peacocks with their throats full of sweet songs are dancing ( this ] season that gathers clouds)' 70 Here the sense is by no means exalted, nor 18 there any striking figure It is only through Tenderness that this ( stanza) gains a place upon the lips of the good people 71 Under the idea that it secures Grandeur others very often produce compositions although very difficult to pronounce, for example,- Nyakshena pakshah kshapitah kshatriyānām kshanāt(Parasurāma in an instant destroyed the troop of kshatriyas)'. 72 Explicitness-of-meaning consists in the meaning requiring nothing (extraneous ) to be brought over [ for completion ), for example- 'Hari ( incarnated as Boar) uplifted the earth from the ocean reddened by the blood of serpents' 73 "The earth was by the Great Boar uplifted from the reddened ocean'- it so much alone had been expressed the 'blood of serpents' would have to be ( extraneously ) brought over. 74 Such a [composition ] is not much esteemed in both the Styles, for, the sense is not easily understood if the law of (the expressive power of) words is transcended 75 When upon the recitation of a composition a certain eminent charm is experienced, that composition ) 18 styled Pregnant-in-expression This [ charm ) lends excellence to poetic style 76 [ For example-] The forlorn look of the mendicants fell upon Your face (but once, and thereafter, Your Majesty, it had not in that same condition to look upon another's face' 77 In this statement of liberality the eminence is very well perceived In this very manner, by the application of & similar standard, other instanoes should be followed out. 78 2 Ibavyadarsa, traas | ·179 ] The Kavyādarsa of Dandın | 10 Some considera composition) with becoming epithets as being Pregnant-in-meaning, for example, la composition making use of epithets likel 'sportive lotus', 'pleasure. pond', 'golden bracelet,' etc 79 Floridity consists in a superabundance of compounds, This is the soul of Prose Even in Poetry, for the non- Southerners, this is their sole resort 80 That is of manifold varieties in accordance with the profusion or sparceness of heavy or of night syllables, or with an equal ) mixture uf them, and can be illustrated in Chronicles, etc 81 (For example-] 'Astamastakaparyastasamastārkāmsusamstarā i Pinastanasthitātāmrakamravastreva vāruni II (Clad in the drapery of all the beams of the Sun scattered on the sunnit of the Setting-mountain, the Western direction [ looks ) like a dame with a beautiful reddish garment covering her expansive bosom)' 82 In this way even in poetry the Easterners cultivate fordity in expressions The others however prefer Floridity of expressions when it 18 charming and not confusing For example- 83 'Payodharatatotsangalagnasamdhyātapāmšukā 1 Kasya kāmāturam cheto văruni na karishyatı II (With her garment in the form of the evening rays clinging to the sloping ridge of the bosom in the form of the clouds, whose mind cannot < the damsel in the form of the Western direction make love-affiicted ?)' 84 Graceful is what is agreeable to the whole world because ( being striking, withal ] it does not transcend ordinary possibilities It is met with in friendly inquiries and also in descriptions. 85 (For example-] 'Those alone are verily bouses which a great ascetic like you thus honours by the punifying dust ot his feet' 86 [O-] 'O thou of faultless limbs, unto these thy breasts as they are expanding there is no room adequate between thy two creeper-like hands 87 ·11 ] English Translation 11 97 [In these two examples, the matter is quite within the limits of possibility and is embellished by being expressed in a telling fashion It is considerad graceful by every one who is content to keep within the normal run of things. 88 When a matter is sought to be described, by an excessive superimposition, as transcending the ordinary, thereby it is the connoisseurs who are much pleased, and not the others For example 89 Like a Sanctuary of Gods this our house from to-day onwards is to be honoured in as much as its sin has been entirely washed off by the falling of the dust from your teet' 90 [Or-) Small has been the Aērial space created by the Creator, quite unmindful of this so extensive an expansion of your breasts that was to be!' 91 This has been styled 'exaggerated statement', it 18 made too much of by the Gaudas The mode eauler illus. trate is the essence of the other st; le 92 When, keeping within the limits of mundane possibilities, the nature of a thing is neatly transferied to another thing distinct from it that is known as Tiansfer- For example 93 "The night-lotuses close in while the day-lotuses open up' Here by reason of the superimposition of the action of the eyes ( upon the lotuses! words expressive [of that action ) have been predicated ( of the lotuses ] 94 Spitting belching, vomitting and such other words, only when appearing under a secondary sense, are very pleasing , elsewhere they fall within the limits of vuigarity. 95 (For example--] The lotuses, having drunk the sparks of fire emitted by solar rays, seem once again to vomit them through their mouths that eject reddish pollen' 96 This is agreeable disagreeable however is an expre.. sion like-'the young-lady 18 spitting' A simultaneous ence ·| 97 ] The Kāvyādarsa of Dundin ( 12 superimposition of many qualities is [ likewise ) declared [to constitute the same guna ). For example 97 The rows of clouds thundering, [lıke moaning women encelente, ) overpowered by the heavy weight of the footus Sin the form of water> are here lying upon the lap of the <friend in the form of the mountain table-land.' 98 Here, lying upon the lap of the friend, moaning, heaviness, fatigue--these manifold characteristics of the encelente are exhibited [ by transference ] 99 This quality that is called Transference is indeed the all-in-all of poetry , all poets whatsoever, without exception, follow its guidance 100 Thus these two Styles are differentiated by a description of the nature of each (Subsidiary) divisions of them as existing in the individual poets it is not possible to describe. 101 Great is the difference in the sweetness of sugar-cane, of milk, and of molasses, and yet it is not possible to have it described even by the Goddess-of-Learning 102 An inborn genius, learning quite free from defects, and no slight application these constitute the one ) cause of this excellence in poetry. 103 Even though there be not that extraordinary genius which depends upon the specific] nature of the earlier latent impressions, yet Speech, cutivated with study and effort, certainly grants her own rare favour 104 Therefore, verily, it behoves those seeking fame to put away sloth and persistently cultivate Speech For, even though the poetic power be meagre, yet people who have made the effort are able to hold their own an assemblies of the wise 105 Thus ends the First Chapter entitled “Differences of Style" of the Kavyādarsa or Mirror of Poetry, the work of Acharya Dandin ·PARICHCHHEDA II The attributes that lend elegance to poetry they call Embellishments They are yet being formulated, who can [possibly] describe them in their entirety ? 1 But the punciple underlying the formulation has been indicated by earlier Teachers This oui endeavour aims at giving the same once more in a revised form 2 Some Embellishments have been already described before [1 52, 55, 61] while distinguishing the two] Styles, other Embellishments common [to both ) will (now) be exhibited 3 Vature description (11 8), Similc (n 11), Metaphor (11 66), Illuminator (11 97), and Repetition (11 116), Interdiction (11 120), Corroboration (11 169), Out-matching (11 180), Cause-searching (11 199), Inclusion (Inclusive-Assertion) (u 205), Transcending (Hyperbole] (11 214), and Poetic-Conception ( 11 221 ), Cause (11 235), The Subtle (u 260), The Slender 11 205), Relative-Order (11 273), The Joyous (11 275), The Impassioned (11.275, 281), The Vigorous (u 275, 294), Penphrasis (11 295), Facilitation ( 1298), 5 The Exalted (11 300), Concealment, 11 304', Paronomasia (1 310), Effectuation-through-}lindei ance (11 323), Equal-Pairing (11 330), Contradiction (u 3.33), Vicarious- Praise (11 340), Disguised-Eulogs (11 343) Illustration (11. 348), 6 Conjoint-Description (11 351), Bartei (1 351), Benediction (11 357), Commixture ( 1359), and Sustained- Intuition (u 364), These are the Embellishments of Language exhibited by ancient Sages 7 Making bodily manifest the (real) nature of things in varying situations, the first of these Embellishments is called 'Nature-Description' ou 'Class-Portiayal' For example- 8 ·il 9 ] The Kavyādarśa of Dandin [ 14 6 With their beaks reddish and curved, their feathers green and tender, with their throats exhibiting tae tricol. our line here are these parrots with their sweet talk' 9 [Or]' With his throat thrilling with sweet cooing and his eyes rolling about, this pigeon, full of lust, has covered up and is kissing his mate 10 (Or-] 'Causing the hair on the body to stand on end, affording bliss unto the mind, and making the eyes close, this is my Beloved's touch gaining upon me' 11 (Or, again-1 Black at the throat and holding a skull in his hand, the moon-crested and bull-bannered (God Siva] with his softly reddish matted hair became visible' 12 Such 18 Nature-description as referring (respectively) to a class, an action, a quality, and an individual substance It is this very [description) that rules supreme in scientific treatises, and in poetry too the same is in requision. 13 When in some sort or other a likeness is experienced as springing up (between two things that is called Simile It will now be exhibited in all its details 14 The palm of your hands, O pretty maiden, 18 red like a water-lily'-This is Simile with [specified] Quality in as much as the common quality is directly exhibited here. 15 * Thy face is like a red-lotus, thy eyes like two blue lotuses '—This is Simile [direct] between Things seeing that the common) quality is merely to be inferred 16 'Like your face this lotus has become blooming'-This is understood as Reversed Simile because the cstablished order (of things) is here controverted 17 The lotus is like thy face, thy face is like the lotus' This one is Mutual Simile as it shows forth mutual ex cellence 18 Thy face is to be likened to the lotus alone to nothing else whatsoever'--This, in as much as it negatives semblance with another thing, is Restrictive Simile. 19 'Lotus for its part imitates thy face, if another there be of the same sort let it do likewise'. This is Unrestric. ted Simile 20 6 6 ·151 English Translation I ii 30 A Cumulative Simile also their 18 of the following type-' not in splendou alone but in the action of delighting also thy face imitates the Moon' 21 'In thee alone is thy face to be seen, while the Moon is seen in the sky this much is the only difference, no other'-This is a Transcendent Simile 22 'Let not the Moon boast, thinking-in me alone is the splendour of her face, since it does exist even in the lotus' --This is Fancied Simile 23 'If there were to be a kind of a lotus with upraised eye-brows and with eyes rolling in it, that might be admitted to wear the beauty of thy face'- This is called Hypothetical Simile 24 'Fancying thy face, O slender-bodied one, to be the Moon, in my yearning for thy face I am running even after the Mocn-This is considered Simile of Illusion 25 'Is it a lotus with bees rolling inside ? --Is it thy face with tremulous eyes ? -- thus does my heart waver'--This one 18 Simile with a Doubt 26 'In a lotus that the Moon can overpower, there cannot be a splendour that puts the Moon to shame, hence this is only thy' face'-This is Determinative Simile 27 Out-rivaling, the cold-rayed (Moon), full of splendour and possessing a fragrant breath, thy face is like a lotus <that hates the Moon, that smells fragrantly, and wherein the Goddess-of-Wealth resides >'This is declared to be Paronomastic Simile 28 Because it can be expressed in words having identical forms a Simile is called a Simile of Agreement, for example-This row of gardens looking beautiful by reason of forests of Săla trees is like a gırl beaming with her face and flowing hair>.' 29 'A lotus 18 full of pollen (or dust), the Moon is subject to waning (or consumption] Thy face, though similar to them, tuwers proudly above them'--This is declared to be Condemnatory Simile 30 ·il 31 ) The Kāvyādarśa of Dandin [ 16 “Lotus is the place-of-origin of even God Brahmadeva, the Moon is held by God Sambhu upon his head, and these two) are like thy face'-This is called Laudatory Simile 31 ‘My mind desires to declare that thy face is like the Moon that may be a merit or a blemish'--This is known as Simile with Suppiessed Judgment 32 'The hundred-petaled [lotus], the autumnal Moon and thy face this triad is inutually opposed'-This is considered Simile of Opposition 33 There does not at all exist any power in the cold < dull > and spotted Moon to ri ar against (or rival) the face'-This is no other than Inhibitive Simile 34 Thy face is marked with the eyes of deer the Moon is marked by the deer itselt, and yet the Moon is merely thy equal and does not surpass thee'-This is Cajoling Simile 35 This is not a lotus but the face itself, these are not two bees but the eyes '- This, because the point of similarity is quite evident, is no other than a Simile based upon a Statement of Fact 36 'Having transcended the equality with the Moon and with the lotus, thy face has become like unto itself alone'-This is called) an Absolute Simile 37 * Thy face shines like the essence of the splendour of all lotuses as if gathered together in a place'-- This is known as Abnormal Sunile 38 'That harsh speech should issue from this mouth is as though poison should issue from the Moon or fire from sandal'-This is Simile of Impossibility 39 * Thy touch is cool like sandal-water, like Moon-beam, lıke Moon-stone, and such other things'--This, as bringing out the excess of the quality ), is called Multiplex Simile 40 As if chiselled out of the lunar orb, as if extracted from lotus-interior, is, O slender-bodied one, thy face'- This is Modificatory Simile 41 ·17 ] English Translation [ il. 52 'Valour has lent thee charm as light does unto the Sun, as the Sun does unto the day, as day does unto the sky This is the sequence for a Stringed Simile 42 If the sense of a whole sentence is compared with just the sense of another sertence, that is Sentence-Simile, which is twofold according as the word [of comparison] iva (like) is one or not-one 43 (For example-] 'Thy face with its tremulous eyes and exhibiting the brilliance of the teeth shines as does a lotus with hovering bees and with filaments appearing into view? 44 [Or, again--] 'Of the slender-bodied one, as of the lotus-creeper-the face, like the lotus-I, like the honeyloving ( bee), repeatedly drank and then desisted' 45 Having made an assertion about a thing, the putting forth of another thing alike (to it] in qualities-as leading to a recognition of similarity between them-is Simile based upon a Correspondence of Types For example- 46 'Amongst kings that are being born not even one like thee as yet exists indeed for the Pārijāta a second (similar) tree does not at all exist' 47 Having equalısed a lower [thing) with a higher in the matter of ( performing] identical function, when an assertion is made, that is declared as Simile of Analogous Pairing. For example- 48 The destroyer of Puloma is awake for the protection of Heaven, thou for that of the Earth. By him the demons are killed, by thee arrogant kings' 49 "By thy splendour the Moon, by effulgence the Sun, by courage the Ocean, thou, O king, dost imitate'- This is considered Simile with a Reason. 50 Neither difference in gender and number nor inferi. ority and superiority, at which the learned people are not pained, is enough to constitute a blemish in a Simile [For example-] 'Like a woman he walks, this eunuch', 'this woman talks like a man', 'hę iş dear unto 3 [Kavyadarsa, Trans ] 6 51 ·ii. 52 ] The Kavyādarśa of Dandin [ 18 1 But in > me like my life-breaths', 'learning was acquired like wealth'. 52 [Or again--] 'Like you, O Lord of the Earth, does the Lord of Gods shine', 'the king is well able to stand on an equality with the Sun in lustre 53 Examples like these do not at all lack charm certain composition persons with a taste for literature feel pain 54 For example- Like a Hañsi is the Moon white', 'the sky lıke lakes is spotless', 'the warrior is, like a dog, attached to his master'; 'the fire-fly shines like the Sun' 55 Such a thing is avoided by the wise, the reason whereof can well be imagined [ * by the learned themselves with a view to ascertain the good and bad points (in a Simile ]] 56 The words iva (lake), vat (as), vũ (in like manner), yatha (according as), together with samāna (similar), mbha (alıke), samnibha (looking like), tulya (equal), samkāsa (similar looking), nikāsa (appearing like), prakāsa (shining alıke), pratırūpa[ka] (of corresponding form), 57 Pratıpaksha (rival), pratıdvandvin (matching with), pratyanika (opposed to), virodhin (adverse to), sadrık (akin), sadrśa (accordant), samvādın (cognate), sajātīya (kindred), anuvādın (attuned to), 58 Pratibemba (reflection), pratichch handa (image), sarūpa (conforming to), sama (same), sammita (coterminus), salakshana (of like character), sadrikshābha (of like appearance), sapaksha (mated with), upamita (compared with), upama (comparable with), 59 [Taddhitas such as] kcalpa (about), desiya (bordering with) and desya (on the border-land of), as also prakhya (going by the name of) and pratınıdı (representative), the words savarna (of like type) and tulita (weighing evenly with) as also [ all] words expressing the sense 'not-defective'; 60 & Interpolated line.

·him, 19 ] English Translation tii. 71 The Adjectival Compound as seen in examples like śasān kavadanā (the moon-faced [lady]), he rivals, conquers, hates, bears malice towards, decries, 61 He runs down, disdains, torments, censures; mocks, makes peace with, rails at, is jealous of, envies, 62 He robs his beauty, he takes away his splendour, he disputes with him, he mounts the balance with him, 63 He walks in his foot-steps, he enters into his region , he follows him, possesses his characteristic, repudiates 64 And he copies him--these are words indicative of similarity [* in a Simile, here enumerated to help the intellect of the poets ] 65 END OF SIMILE Simile itself with the difference between the standard and object of comparison) concealed is called Metaphor For example, arm-creeper','hand-lotus','foot-foliage' 66 (Or,] “Thy fingers were the leaves, the rays (issuing] from [thyl nails the flowers, and the arms the creepers. thou wast the Vernal Beauty [herself) vividly moving before our eyes" This [latter) is what is called Metaphor out of Compound, the former was Metaphor in a Compound “The face-moon's smile is moon-light" is a Metaphor both in and out of Compound 68 "With the red fingers for a row of petals and the nailrays for filaments, your foot-lotus is placed by kings on their head" 69 In as much as, having superimposed upon fingers etc. the nature of petals etc, and upon foot the nature of a lotus, this last is placed in a becoming position [1 e. the head], this is called a Total Metaphor. 70 [Consider the example] “For no cause whatsoever, O wrathful lady, with the throbbing lower-lip for the foliage thy face is exhibiting blossoms in the form of drops of perspiration that glitter lıke pearls". 71 99 67 * Interpolated line.

·ii. 72 ) The Kavyādarsa of Dandin [ 20 Here, having transformed the drops of perspiration into blossom and the lower-lıp into foliage, the face has not been transformed into anything else, hence this is Metaphor of the Constituent-parts (alone). 72 "With the dancing eye-brow, trickling drops of perspiration, and reddened eyes this face-lotus exhibits a state of intoxication" 73 Without transforming the constituent parts of the face, the face alone was here changed into a lotus, hence this is Metaphor of the Constituted-whole (alone) 74 “Lured by the face with its cheeks reddened by intoxication and having red lotuses in the form of eyes, this person here has been suffused with clove in the form of > red colour" 75 This is Metaphor of a Single Constituent-part, in the same way there is a Metaphor of two or more Constituentparts, in regard to which their compatibility or its absence causes [further) subdivisions 76 “Bright with the flower of laughter and with bees in the form of tremulous eyes is this face" Here by reason of the companionship of bees with flowers the Metaphor 18 Compatible. 77 “ Endowed with a soft smile for moon-light and mild eyes for lotuses is this face -Here owing to the incompatibility of the lotus with moon-light the Metaphor is what is called Incompatible 78 By the transformation of the constituted-whole and by having recourse to a transformation and non-transformation of the constituent parts there results & beautiful Metaphor known as Uneven l'or example- 79 “With thy face-moon with the cheeks reddened by intoxication, and with creepers in the form of its eye-brows made to dance, the God-of-Love 18 capable of reducing the three worlds" 80 [In the example) “Triumphant is Hari's foot, the banner of joyous festivity of the Gods no longer in dread of the Demons, having the water of Jahnu's Daughter streaming from its top for its banner-cloth."- 81 99 ·21 ) English Translation [ ii 92 Since the form of the banner as completed by the adjective [ śirolagnaJahnukanyājalām ukah) is as such assigned unto the foot, this is Adjective-metaphor 82 (Take the example] “It does not close the [day-Jlotuses, neither does it traverse the sky your face-moon is able only to take away my life" 83 The non-performance of the functions of the moon and the performance of the function of some one else is here exhibited , hence this Metaphor is called Contrary 84 "In profundity thou art the ocean), in gravity thou art the mountain, and by reason of the granting of the peoples' desire thou art the Wish-yielding-tree" 85 Here through motives beginning with 'profundity' (the king) is made an ocean, a mountain, and the Wishyielding-tree, so this is Motivated-metaphor 86 Worthy of being relished by royal hañsas c in the form of great kings > and having a fragrance that is to be longed for by bees < in the form of lovers such as this thy face-lotus, O friend" -This is Paronomastic Metaphor 87 That pair of Metaphors in which between the subordinate and the principal there is seen to be accordant and discordant natures is accepted as Comparison-Metaphor and Contrast-Metaphor. For examples (in order]- 88 "This face-lotus rendered slightly-reddish by intoxication vies with the moon suffused with the reddish] tinge at rising" 89 (And] "The moon is drunk by the Gods even though it 18 not-full, by me, however, thy face-moon which has ever a full orb" 90 “Unto thy face-moon that thus torments another, o beautiful one, the character of moon is not accordant" This is Negatived Metaphor 91 "Even thy face-moon, O wrathful one, pitilessly burns me-assuredly by my own failing luck" -This 18 Solacing Metaphor. 92 ·ii. 93 ) The Kavyādarśa of Dandın [ 22 “On this stage in the form of the face-lotus the dancing-maid in the form of thy eyebrow-creeper 18 performing a playful dance"-This is an excellent Duplicated Metaphor. 93 "This is not a face : this is a lotus. These are bees, not eyes. These (again) are filaments themselves they are not the splendours of thy teeth" 94 Having in this manner negated the nature of face etc., since the same] is described by the nature of lotus etc, this is the Metaphor of Negated-reality wherein the excellence of the qualities (of the face) is made to shine out 95 There is no end to distinctions in Metaphor as well as Simile , hence merely an outline has been indicated What is untold should by the talented be inferred 96 END OF METAPHOR If (an expression) standing in one place and denoting either genus or activity or quality or individual can [syntactically) serve a number of sentences, that is called Illuminator For examples (in order) 97 “The courteous southern> wind removes the withered leaf of creepers, the same also accomplishes the breaking of the anger of delicate ladies” 98 “ (Thyl elephants are roaming in the gardens on the shores of the four oceans, as also thy glories of the colour of kunda-[flowers in the bowers of the Chakravāla mountain 99 "The quarters are darkened by the clusters of clouds belonging to the rainy-season, as also the fields by delicate rows of fresh grass". 100 [And] "By Vishnu as he planted his footsteps the glories of the demons were driven away one-knows-notwhere, and from one-knows-not-where were fetched back the fortunes of the gods" 101 The Illuminators (above) illustrated are Initial, similarly we will exhibit a few belonging to middle and final sentences. They are as follows- 102 ·23 ] English Translation [ ii. 113 99 "[They) dance at the foot of the Nichula (tree) and sing the peacocks do, and fix upon the watery-clouds an eye welling with tears of joy 103 "A soft wind [becomes] repugnant, and the moon becomes fire while the fall [on the body) of sandal-ointment [becomes] a iall of weapon in the case of travellers (stay. ing away from home)" 104 "Water outpouring from a watery.cloud, the troop of domestic peacocks and the quivering strap of lightning [eonstitute) the force of the God of flowery bow" 105 [And] “ By thee a blue lotus upon the ear, by cupid an arrow on the bow, and by me likewise my heart on death: the three have been thus simultaneously placed" 106 "The bright fortnight leads to the growth of the white-rayed (moon), the latter to that of the five-arrowed God, he to that of the passion of youths, and that to the glory of sensual enjoyment" 107 Even in this (variety of] Initial Illuminator a string of sentences has been used each depending upon its predecessor, so this is considered a Stringed Illuminator 108 “The clouds, with their sprays wafted by the wind, augment the violence of Cupid, but diminish that of heat" 109 Here with the word 'violence' and with the word cloud' two opposite actions are brought together, so this is Illuminator of Contraries. 110 "It robs the quarters of their expanse, it captures the host of fiery-orbs [stars), and it to-day takes away my life-this cluster of rainy-clouds" 111 Since here one and the same function of the cluster of clouds, through being expressed in more than one word, is made an object of [syntactical] illumination, therefore this is Illuminator of Self-same Object. 112 “The clouds, sable-hued like the Tamāla and accompanied by accordant winds, wander aloft in the sky, as do also on earth these maddened elephants < tall, exhud- 99 ·ii. 113 ] The Kavyādarśa of Dandın [ 24 ing agreeable rutting odour > and [sable-hued like the Tamāla]". 113 Here there is a syntactical relation with 'wandering' of both clouds' as well as 'elephants' having self-same characteristics, so this is Paronomastic Illuminator 114 In this very manner the remaining species in Illuminator should be followed out by the learned 115 END OF ILLUMINATOR The repetition of the sense alone, the word alone, or of both in thevery place of an Illuminator is considered as (giving rise to) three figures For examples (in order)--116 "The Kadambas are opening, the Kutaja sprouts are bursting forth, the Kandalis are expanding, and the Kakubhas are blossoming" 117 “The row of clouds causes the group of peacocks to stretch up their necks, and the fish-bannered (Cupid] to-day creates longing in the minds of youths" 118 [And,] “Having subdued all-earth Your Majestey is sporting here with harem-ladies, while the host of your enemies transplanted to heaven are sporting [there) with celestial-nymphs" 119 Interdiction is an expression of opposition, and is tb ree-fold according to the three [divisions of] time, but, in view of the distinctions in the things interdicted, its varieties are infinite 120 "The God-of-love with five flowery arrows has conquered the universe' this is impossible or rather, marvellous are the powers (inberent) in things" 121 Here the notion of the incompatibility of Cupid's victory which, by virtue of the reason (adduced), was already gaining (upon us] has been interdicted such then 18 Interdiction-of-what-has-happened. 122 Wherefore, O sweet-tongued one, dost thou place the blue-lotus on thy ear? Thinkest thou that thy corner. glance is incapable of discharging the function ?" 123 ·25 l English Translation ( ii. 134 This 18 Interdiction-of-what-is-happening as the lover obstructs gallantly a certain lady in the very act of placing a blue lotus on the ear 124 “I declare the truth You shall not, dear-lover, obtain a sight of me with your eye reddened by the lākshā-juice transferred in the act of kissing another woman" 125 This is Interdiction-of-what-will-happen since, even in advance, an excessively proud lady has interdicted (her lover] lest he might some time commit the fault 126 “It is false, O slender-bodied one, this reported tenderness of your limbs if they be tender in reality, why do they all of a sudden pain me?" 127 This is Interdiction of a Quality since the lover has here in this manner interdicted the tenderness of the body on the ground of an action contrary to it. 128 "That she is my [own] beloved-how is it possible to ascertain it? For, a mere quivering light is [all that is] seen and not any substratum for it" 129 This is Interdiction of the Thing-having-qualities as, while the quality in the shape of light is admitted, the Thing-having-qualities is here interdicted in the act of expressing its extremely marvellous beauty. 130 “Thy eyes are becoming red and thy leaf-like lowerlip is throbbing while thy brows are knitted; and yet there is no fear in me who am blameless" 131 99 This is Interdiction of the Cause since the principal cause of fear-his own fault-is here denied by the clever lover: 132 'Away is the dearest-lover, and here has come the advent of the clouds, the nichulas are seen in blossom and [yet] I am not dead wbat can it mean?” 133 This is Interdiction of the Effect (in as much as) after having introduced the cause, the terrible advent of the clouds, its effect-death-18 negated, 184 4 [KIvykdarba, Trans ] ·ii. 135 ) The Kavyādarsa of Dandın [ 26 Not for long will your departure cause me affliction, if you are going, go [by all means] have no fear about anything here" 135 Here, even prefacing it by a permission, there is an interdiction of the lover's departure by [the lady) who thus suggests her death : th18 18 styled Permissive Interdiction 136 "There is much wealth to be obtained by thee and there is pleasure and safety in the way, nor is there any anxiety about my life and yet, my dear, don't you 137 go" While negating the reasons disagreeing with the lover's departure (he) is obstructed [by the lady] through her very authority (over him), such then 18 Authoritative Interdiction 138 "Powerful is my hankering for life feeble is my hankering for wealth Go or stay, my dear, just as you please I have merely reported my own condition" 139 This 18 Slighting Interdiction Since the loving lady, obstructing the departure of the lover, has here used slighting words. 140 "Go, my dear, if you mean to go may your ways be auspicious! May I also come to life again there where you would be gone!" 141 This is Benedictory Interdiction, since, by way of a benediction, [the lady), all the while suggesting her own condiction, 18 hindering the departure of the lover 142 "If indeed there is to be your departure, then accept some other lady I am even to-day captured by Death that[always) waits for a loop-hole" 143 This is Ruthless Interdiction in as much as by the (lady), overwhelmed by love, 18 interdicted the departure of the lover through the use of ruthless words. 144 "If you are going do it quickly lest there would fall upon your ear cries issuing from the mouths of afflicted relatives and causing hinderance to your departure." 145 ·27 ] English Translation [ ii. 155 This is merely Subservient Interdiction, since here 18 opposed, by one fondly in love, the departure of the lover while as-it-were assisting it. 146 “Wishing to do what is dear to you I have been meaning, my dear, to say 'Go', but 'Do not go' is what escapes from my mouth what can I do?" 147 This is Interdiction-with-an-Effort as there is shown the futility of the effort made for an undesired object, because it produces contrary result 148 "Unto my Affection that resents the winking of the eye-lash because it becomes a momentary hinderance to your sight, do thou announce thy departure what it desires I desire" 149 This is Dependent Interdiction seeing that the lady, being a slave to her affection, obstructs the [lover's] departure by the indication of a third object (upon which she depends] 150 "I shall, my lord, endure thy separation [only] give me the pigment for invisibility, so that when I paint my eyes with it the God-of-Love-that tormentor-will not see me". 151 SO By putting forward an impracticable remedy for life there has been opposed here the departure of the husband, so they call this kind an Interdiction-with-a-Remedy 152 After all, Dearest, it has issued from thy mouth: the expression 'I am going,' now even though you be not going what have I to do with you whose love is slight?" 153 This is Wrathful Interdiction since the departure commenced by the lover is opposed by the lady in passion, her mind being constrained by ebullient love 154 [*“The simple lady, even at the mention of the lover's departure, fainted, anon, having recovered consciousness and seeing the lover, she asks-why have you been away so long?'"] 155 Interpolated stanza ·ii. 156 ] The Kavyādarea of Dandin [ 28 99 [* Thus through the faint that came upon her at the time, the lady of tremulous eyes has interdicted the going of the beloved, such accordingly is Interdiction-with- Fainting] 156 "It was neither smelt nor placed upon the ear by the ladies nor put into liquor the blue lotus in the wells of the enemies just perished" 157 This is Interdiction with Compassion since, feeling compassion for the lotus as it were, its piteous condition has been set forth after denying the action suited to it 158 “No wealth of any kind has been gathered, no learning whatsoever has been attained, ard no sort of penance acoumulated. gone is all life" 1617 This is Interdiction-with-Remorse, since after feeling remorse (for it) an aged man has made here a denial of wealth-gathering, etc 162 When there exists your face-moon, full of nectar, the hater < vanquisher > of lotuses and having soft stars <eye-balls >, what is the use of another moon ?" 159 Thus has the real moon been interdicted by exhibiting qualities similar to it as residing in the secondary moon; hence of such sort is Paronomastic Interdiction 160 “Is this an autumnal cloud or a group of hansas ? There is heard a noise similar to that of an anklet, so this is not a cloud". 163 This is Interdiction-after-a-Doubt, since the doubt is here removed by means of a quality easily to be found hansa and having no relation with the genus cloud. 164 "It 18 strange that your valour, although it has pervaded the universe, is not (yet] satisfied, or rather of the flaring fire when can one notice the satisfaction ?" 165 This is Interdiction by-Corroboration in as much as the wonder already gaining upon us has been restrained by the setting forth of a new fact analogous to it 166 * Intorpolated stanza + The transposition of stanzas 161-162 18 intentional.

·29 English Translation [ ii. 177 "Thou art not, O lord of men, praised at any time to the effeot that thou givest, since mendicants take away thy wealth thinking it to be just their own" 167 Interdiction of this and similar sort is declared to be Interdiction-with-a-Reason In this very manner it is possible to make out other [distinct] species also 168 END OF INTERDICTION use That is to be understood as Corroboration where, having introduced a certain thing, there is the putting forth of another thing capable of corroborating it 169 Of universal application (1), the specifically limited (2), tinged by paronomasia (3), incompatible (4), doing what is discordant(5), of accordant disposition (6), accordant-and-discordant (7), and the reverse of it [discordant accordant) (8)-- 170 These and other varieties of it are observed in literary- A series of examples of them (in order] is given for making their nature manifest 171 "The exalted ones [that are] the eyes of the world - the sun and the moon-mark-you, cannot help setting who can transgress destiny ?" 172 These rain-clouds are removing the heat from [the bodies of) men, verily the birth of the great is for putting down the miseries of others" 173 "The Malaya-wind is causing delight unto the people, verily one endowed with civility < ielated to the south > becomes dear unto all" 174 Although spotled, this moon delights the world, for a good brahman, although possessing defects, [nevertheless] brings luck to men 175 “The noise of the bees, though issuing out from a throat sweetened by drinking honey, becomes bitter to the ear of lovers, such is (the nature of] sin (committed]" 176 "This bed of lotus-leaves here is burning my body verily it is in the fitness of things that one that (in yellow and reddish colour] resembles fire should have the nature of burning". 177 66 ·ji 178 ] The Kavyādarśa of Dandin [ 30 "Let the moon if he pleases afflict me why does the spring torment me! Verily, an action done by the wicked becomes improper (when done by the sweet-smelling one 178 Even moon-lotuses cause affiiction, how much more the host of sun-lotuses? for when the partisans of the moon are fierce the partisan of the sun will not be soft ". 179 END OF CORROBORATION When, in the case of two things, their similarity has been expressed by words or suggested, if, between the same, a difference is stated to exist), that is called Out-matching 180 “With qualities such as courage < permanence>, beauty <saltishness >, and serenity <depth>, thou art a match for the ocean, the difference is only in thy body such-as we-see-it” 181 This is One-sided Out-matching because through a quality belonging to one party there has been brought within the range of cognition a difference existing between both. 182 "Incapable of transgressing the bounds and unfathomable are the ocean as well as Your Honour that one appears like black soot, you on the contrary have the brilliance of gold" 183 This is Double-sided Out-matching in as much as the distinctive qualities of both (the parties ]-blackness and yellowness-are here shown separately. 184 “You and the ocean are both irresistible and possess great stamina C aquatic-animals and brilliance < the [sub-marine ] fire >, only in this much is there a distinction between you two he has a stupid disposition <water in him> while you are clever" 185 This one, because of the nature of Paronomasia, might be regarded as Paronomastic [Out matching], the two [varieties) with Interdiction and Reason are also being shown 186 97 ·31 ] English Translation [ ii. 196 66 Although he has firm position and courage <permanence and is the store of jewels, yet that dirty ocean does not at all attain equality with you" 187 Although sustaining the entire earth with all the mountains and continents and oceans upon it, the Sesha, as possessing the sovereignty over snakes <as being the entertainer of sycophants >is inferior as compared with you" 188 What has been hitherto exemplified 18 Out-matching with the similarity Expressed-in-words, there is also one with the similarity Inferrible that will presently be described. 189 "Thy face and the lotus this is the difference between the two the lotus springs up in water and thy face is [always) with thee" 190 "The eyes of the deer have no dancing eyebrows and are not through liquor tinged red, this thy pair of eyes however, is adorned with those qualities 191 In the former is a statement of distinction alone in this is the exhibition of additional (qualities) Accordant, Out-matching is again another kind, which is now exhibited 192 “Thy face and the lotus are [ both ) blooming and possessed of fragrance, the lotus has bees hovering while thy face has rolling eyes " 193 "This moon is the crest of the sky. this hañsa is the ornament of the water, this sky is studded with stars the water ( 18 studded ] with blooming lotuses" 194 In this [example), between sky and water the simil. arity in whiteness of which is being inferred, and between the moon and the hañsa the spotlessness of which is ( already) inferred, a distinctness has been indicated 195 In the earlier example (11 193) the similarity was expressed in words; in both examples (11 193 and 11. 194) what brings in the distinction-bees, eyes, etc.-is analogous, so there is [exhibited] the nature of Acoordant Out-matching. 196 .

·ii. 197 ) The Kavyādarśa of Dandin 32 99 "Not to be dispelled by jewelled lamps, not to be removed by the sun's lays and obstructing the vision of youths is the darkness that springs from youth" 197 This is Out-matching in the same Genus, since this [youth-]darkness, agreeing with the genus darkness in obstructing the vision is shown as distinot by other [characteristios] 198 END OF OUT-MATOHING Through negation of the well-known causes when some sort of a new cause, or naturalness, has to be presumed, that 18 Presumption 199 [For examples-] “With the hañsas intoxicated though not drunk, with the sky spotless though not wiped off, with water clear though not (artificially) purified, the world appeared delightful to the heart" 200 [And] “Thy eye, though not painted with collyrium, is black, thy brow 18 bent, though not knitted, and this thy lip, though not dye-coated, 18 red, 0 beautiful one". 1 2 The intoxicatedness etc. which may not be caused by drinking etc, and are either caused by another (cause ] or are without cause, of them ap assertion 18 here intended, so there is nothing Contradictory 202 "The mouth is naturally full of fragrance, the body 18 through-no-artifice beautiful, the moon is causeless enemy and Cupid a gratuitous destroyer of life". 203 Here by means of words 'naturally' etc. the cause 18 directly negatived and [yet] the effect-fragrance etc.--18 asserted, so this is Presumption 204 END OF PRESUMPTION Having a certain object in mind when an assertion is made about another object analogous to it, that, as being a shortened mode [ of expression ), 18 considered Inclusive Assertion 205 (For example) "In the full-blown lotus, while sipping honey according to his desire, the bee, mark you, is (now] kissing a bud in which the fragrance is not yet developed". 206 a ·33] English Translation [ ii. 216 Here can be made out, in the case of a certain passionate man having amorous dalliance with a grown up matron, the tendency of his desire for a certain younggirl 207 'There is another [variety of Inclusive Assertion) having adjectives of identical form hut giving only the qualified subsiances separately, thure is yet another with adjectives (partly) identical and (partly) un identical 208 (For examples in order]' Here huve I come across this great tree having stout roots <secure Cupital and ample shade Cfleshy appearance and always sustaining with loads of fruits <bounties> those that seek them" 209 "I have fortunately secured this tall Seminent> tree having stability and great expanse of huge biances and possessing abundance of fruit and flower' 210 In both these (examples) a certain person is described as having the nature of a tree, in the former [example) all the characteristics are common, in the lattei only two 211 "Pity it is that this ocean) tat haid no contact with poisonous-snakes wicked.companions and the water Cheat of which was naturally sweet is, by time, being dried up" 212 This is Novel Inclusive-Assertion seeing that there is an indication of the adversity of a person who 18 likened to ocean by its earlier (normal) characteristics being negated 213 END OF INCLUSIVE-ASSERTION The desire to describe a characteristic in a manner transcending worldly limits is (gives rise to] Hyperbole, it is the best of figures For example 214 Wearing wreaths of mal ikā, all their body anointed with fresh sandal, and clad in linen-garments, the assignation seekers are not to be distinguished in the moonlight" 215 Here is asserted, as being of a pre-eminent degree, the aburbance of the moon-light A few illustrations are now given in order t) bring out clearly (the nature of varieties like Hyperbole-with-a-Doubt, etc 216 5 (Kirv.darka Trang.1 3 ·ii. 217 ] The Kāvyādarśa of Dandın [ 3. "Not even yet, my beloved, is my doubt dispelled as to whether there does or does not exist to thee a waist between thy breasts and hips" 217 "That there exists, O thou of (well-formed] hips, a waist unto thee is possible to be ascertained, for otherwise the position of thy heavy breasts could not be explained" 218 "How great, o king, must be the inside of the triad of worlds seeing that it measures (contains) the heap of your glory, impossible to be measured though it is!" 219 "They declare it to be the one mainstay of all other figures—this mode-of-expression honoured by Masters of speech and going by the name of Hyperbole 220 END OF HYPERBOLE When the condition of some sentient or insentient being is poetically-conceived as being otherwise than what it is in reality, that is known as Poetic-Conception For example- 221 "Oppressed by the mid-day sun the elephant plunges into the lake, eager, me-seems, to up-root the lotuses, the partisans of the sun" 222 (Here) the plunge of the elephant for the purpose of bathing, drinking, and eating lotus-fibres is poetically conceived by the poet and described as being for the purpose of avenging his wrongs 223 "This serves as an ornament unto the ear that hinders my expansion', probably for this reason it is that the ear-lotus is being invaded by the eye". 224 With the beams of the eye falling towards outercorner the lotus is being touched-or may-be is not so touched , [this fact] is poetically conceived and thus described by the poet 225 “ The darkness as if anoints the limbs, the sky is as-if pouring down lamp-soot"-this (example) also has in the main the characteristics of a Poetic-Conception 226 Hearing the word rva (as-if) some wrongly imagine a simile in this [example), setting aside the authoritative ruling that a verb cannot become the standard-of-comparison. 827 ·351 English Translation ( ii. 235 It is only as depending upon some common property that things are assigned the nature of a standard-of-comparison or the object-of-comparison, between the (verb) anointing' and 'darkness' what is the (common) property that can be thought of? 268 If the (action of] anointing is to be thought of (as the required common-property ) what then is the (verb) anoint5 ing as distinct from it? That one and the same thing is the common-property and also the object-possessing-thecommon-property no man who-has-not-lost-bis-senses can say 229 (Besides, if the agent be considered as the standard-ofcomparison it is submerged into the verb is busy accomplishing its [own] proper activity and is not (therefore] capable of discharging any other function (such as being the object- or the standard-of-comparison] 230 Even according to the view that-Darkness resembles the agent of anointing', the ſword] ‘limbs' is not connected, and the common quality (between darkness and the agent] has to be sought for 231 Just as in-Thy face is like the moon' the brilliance (as common property) is what is suggested, not so from anointing' is anything but the anointing suggested 232 So let it be concluded that the (verb] 'annointing having the sense of besmeaning and related to "darkness' as the agent and to‘limbs' as the object is thus poeticallyconceived by the person 233 Poetic-Conception is indicated by words like manye (me-thinks) šanke (I trow }, dhruvam (certainly), prāyas (probably ), nūnam (assuredly ), etc , the word iza (as-if) is of the same sort 234 6 END OF POETIC-COACEPTION The Cause, the Subtle, and the Little are the best embellishments of speech The Cause is either Efficient or Probatory and both of them have numerous varieties For examples 235 ·- & sellers". ii. 236 ] The Kavyādarsa of Dandın [ 36 "This Malaya-wind, causing the foliage of grown up sandal trees to shake, creates joy in everybody". 236 Here it is intended that the figurativeness [ of the expression] -hould consist in an application of that aspect [of the Malay-wini) which ia capable of creating Jiy, the sa ne holls good even in dustruction (or cessation of (creative) activity 237 "After causing the sandal-forest to shake, and having touched the Malaya-rlle's, this wind has set in with a view to annihilate the 238 A wind of this nature is verily capable of accomplishing annihilation in the case of persons in whom has been produced, by the fever of separation, an aversion for what is lovely 239 When an object is to-be-originated or transformed, the causal relation exists with reference to that, when however it is to be merely) re ched, the causal relation, as a rule, concerns itself with the action only 240 With reference to an object to be-originated, its Cause has been exhibited ( above 11 236,238] Of the two remaining [Causes) will first be given a pair of examples, and then the Probativ. [ Cause) will be described. 241 [A Transformative Cause is illustrated in- ] “The forests with leaves sprouting up, the wells with full-blown lotu-es, and the full moon have been by Cupid, for the signt of the traveller, transformed into a poison” 242 [ And the thiri 1:-1"With a view to exercise herself in anger the young lady, with quivering lips and eyes askance by the knitting of the brows, directs her gaze towards liei friend who was made to play the part of the lover" 243 An example involvir an actual (and not figurative) reaching) such as- 'The sun has gone to the Setting [-mountain]', 'The moon is coming into view', or The birds are repairing to their nests', 18 good enough (as a Probatory Cause when an indication of the time is intended 244 ·37] English Translation [ li. 254 [A regular example would be~ ] “From the heat of your body that is not to be allayed by lunar rays and not to be cured by sandal juice 0 liinil, it is easy to inter that your heart is love-afflictel" 245 These and others charming Frobatory Causes are to be observed in literary-use A few beautiul Negative Couses are now elucidated. 246 "By an absence-of-the-study of the śāst:as, by an absence of the-contact with the wise, and by an absence of the-restraint of the senses is produced (as a consequence) (all) human misery 247 "Gone is all enthusiasm for tales of love, allaved is the fever of youth, delusion is ended and thirst is over [my] heart is set on the holy āśraina" 248 "These forests are not houses, nor these rivers the wives, these deer [also) are not the relatives this delights my mind". 249 "It is absolutely non-existent an unreflecting conduct from the Āryas, hence it is that in their case all kinds of prosperity are ever on the increase" 250 [And-] 'Not unbloomed has remained the blossom on the garden-mangoes an offering of sesamum-mixed water has [therefore] to to be made for the wives of the travellers" 251 In these [ examples is exhibited successively) an object having the form of an antecedent and other negations as being the cause for the production of an effect which [in some cases, the form of existence in others) of nonexistence 52 Producing the effect in a distant place, originating the same time as that, being born subsequent to the effect, as also having a incompatible or compatible effect in this wise diverse and innumerable are the Causes 253 All these, taken in a secondary significance, are found o be extremely ,charming in literary usage. heir illustrations- 254 Here are ·ii. 235) The Kūvyādar sa of Dandin ( 38 "That conquering missile of Cupid, called side-glance, that you have although it was, O lady, hurled in another direction, here am I wounded (thereby) in my heart". 255 “The youth of maidens, having set aside (mere) girlishness makes its appearance just simultaneously with the varied playful-symptoms of love-infatuation in the case of young-men" 256 Spreading its rays all around, it was later that the moon-orb rose in full even prior to it arose in full-tide the love-ocean of the deer eyed ones" 257 “Whence is it, Your Majesty, that the early-sun in the form of the colour of your two feet causes, at its touch, the hand-lotuses of kings to fold (in supplication) like a bud?" 588 [And-] "They are able to cause the band-lotuses of kings to fold-up the kunda-white rays of the nail-moons of your feet" 259 Thus has been exhibited the nature of the [ several forms of the Cause END OF CAUSE A thing gathered from gesture or posture 18, by reason of its subtleness, known as the Subtle 260 (For example--] "When is their going to be our meeting ?-finding her lover unable to ask this question] in the company the poor-girl closed the lotus-that-she-was dallying-with" 261 Here by the closing of the lotus the meeting at night was suggested by [the woman ) wishing to comfort her loveafflicted lover 262 “During the song and-the-tale there was noticed upon her face-lotus-while her eyes were directed towards youan increasing blush that passes description and that was throbbing with out-bursting love < red colour" 263 Here (the lady's) longing for dalliance in love, its f m being not-too-perceptible, has been sufficiently-defined, although never transcending the limits of subtleness. 264 END OF THE SUBTLE ·39] English Translation ( ii 274 or a The Slender is the concealing by some slender (pretext] of the nature of a thing about to be disclosed It is in the illustration alone that the nature of this (figure) will become evident 265 “The guards will discover through this rising horripilation that I am attached to the Princess'-Ah, I have it, -'Oh! How cold is the forest wind!!! 266 “How now! At the very sight of this girl my tears of joy are falling down'-'my eye is soie by reason of the wind-wafted pollen from the flowers'” 267 In cases like this and others this figure is very becom. ing Others consider the Slender as either a praise censure effected under some slender (pretext] 268 "He is a youth, possessed of qualities, a king, a meet and excellent husband for thee, seeing that his heart 18 set upon the joys of battle even more than upon the joys of love 269 This praise of (the king's) pre-eminent valour is nothing but censure which is calculated, in the case of [this] maiden longing for uninterrupted enjoyments, to turn her love away from him 270 "He is a rash and ruthless person what have I to do with him, my dear friend, him who-merely for wiping away his faults-has learnt bis coaxing-expressions?" 271 Here a certain good-quality-coaxing manner--is exhibited as a pseudo-fault by (the lady ) who, through her love, is unable to assume the proud-resentment that her friends taught her to assume 272 END OF THE SLENDER Unto a series of things enumerated a subsequentreference in the same ) order is called Relative-Order, as also Enumeration or simply] Order 273 Certainly, O slender-bodied one, it must have been robbed the beauty of thy smile and look and face by the white-lotus and blue-lotus and red-lotus ( in order], as thou didst enter the water for bath" 274 66 IND 0 THE ORDER ·ii 275 ] The Kāvyādarsa of Dandın 40 The Joyous is the statement of something very pleasing, the Impassioned is tender through passionateness, the Vigorous is what displays egoism such is the triad (of ugures] when exhibiting pre-eminence 275 “The pleasure, O Govinda, that has been mine to day by thy coming to mv house that pleasure will be [mine) again in time by this same arrival of thine [and by nothing else]" 276 This proper speech Vidula uttered, from none else (was to be expected] such self confidence And Hari- [ ever) to be wiopitiated by devotion alone--became wellpleased at at 277 What power have we, Sire, to see you with our eyes -you who remain transcending the forms (-of-manifestation) like the Moon, the Sun, the Wind, the Earth, the Sky, the Puiest, the Fire, and the Water ?" 278 This exhibition of pleasure on the part of King Rātavarman, aftor he had visualised the God, is what can be regarded as the Joyous 279 END OF THE JOYOUS Thinking her to be dead, she to meet whom after death I had longed for (my own] death how has it come about that that same Avanti-Princess--and in this very life-I have secured?' 280 It was the feeling-of-pleasure that was illustrated before ( 11 276), this is love that has, by reason of the intensity of manifestation, developed into the Sentiment called the Amorous this then is an illustration of the Impassioned 281 "He who had, in my very presence, dragged the sister of Krishna (Draupadi) by the hair that same sinner Dussāsana-18 before me here. Can he live (now) another moment?" 282 Here the wrath of Bhima, mounting to the highest point as he sights the enemy, is developed into the Sentiment (called) the Furious. this accordingly is Impassioned Speech 283 ·41 English Translation [ ii. 293 "Before I conquer the earth [bounded) with the oceans -before I perform various sacrifices-before I give away wealth to mendicants--how can I become [truly] a king ?" 284 Here the king's) enthusiasm, assuming a pre-eminent form, abides as the Sentinent (called] the Heroic, and is [accordingly ] able to establish the Impassioned nature of these expressions 285 “My Queen! Thou unto whom of delicate body even a flowery-bed caused pain how dost thou ( now ] repose upon the flaming pyre ?" 286 Heie the Pathos being ebullient is regarded as the figure [called Impassioned] The same applies to the other [Sentiments, namely] the Abhorrent, the Comic, the Marvellous, and the Terrible 287 [For examples in order-] “Having repeatedly drunk by vessels in the form of hands the blood of your enemies, the ghosts decked with entrails are dancing in the company of their [head-less] trunks" 288 Here, my Friend, thou whose angry-pride knows no abating, let at least this fresh nail-mark imprinted upon thy breast be covered up by thy upper garment!' 289 "Strange that of the Nandana-trees their (very) sprouts serve as garments, their flowers as wreaths and other ornaments, and their branches as mansions 290 [And-] "This is Indra's thunderbolt with fire present at its blade, the (very) memory of which causes abortion of the foetus of Daitya-females" 291 The Sentiment exhibited in the quality called ] Sweetness (1 51,62) springs from [the merely negative condition of) the non-vulgarity of the expressed sense, here, however, the imbuing of the speech by the eight Sentiments 18 regarded as the essence of [the figure] Impassioned. 292 END OF THE IMPASSIONED "That I am an offender'-don't you entertain on that ground any fear in your heart; my sword never at all wishes to strike those that have shown their back (in the hottlal" 293 .

·il 294 ] The Kāvyādarsa of Dandin t 42 With these words a certain hero full of pride allowed an enemy hemned in battle to depart, this and such other [composition] is to be regarded as the Vigorous. 294 END OF THE VIGOROUS Without actually making an intended statement, the expressing of the same in another manner [but] calculated to serve the same end, is considered as Periphrasis 295 "This cuckoo is biting the blossom of the mango: I shall ward him off you two may remain [here ) undisturbed 296 Thus having united her friend with a young person at the appointed place, with a view to bring about their loving dalliance, a certain woman excused herself away from that place. 297 END OF PERIPHRASIS When unto one about to commence à certain action there results, through the influence of good luck, a further accession of means for the same [end], that they call Facilitation 298 [For example-] "While with a view to remove her angry-pride I was about to prostrate myself at her feet, fortunately there arose, to favour me, this roaring of the clouds" 299 END OF FACILITATION That pre-eminent greatness either of the emotion or of the affluence of some one) is what the experts call the figure Exalted. 300 (For examples-] "That scion of Raghu was not able to transgress the command of his father-he who was undaunted even at the weighty task of lopping off the heads of Rāvana". 301 [And] "It was with difficulty that by the son of Añjanā (Hanumat] was recognised the real Lord of Lankā surrounded (as the latter was) with hundreds of images (of his own) mirrored into the jewelled walls". 302 ·43 ] English Translation [ ii. 311 In the earlier example was well indicated the greatness of the emotion, and here the magnitude of prosperity So this (pair of examples] is clearly a pair of [the figures called ] Exalted 303 END OF THE EXALTED Concealment is the concealment of one thing and the exhibition of another [For example-] 'Cupid is not fivearrowed he has a thousand arrows' 304 "Sandal and moon-light and the gentle fragrance-bearing Southern wind this is all a creation made out of fire It is said to be cool unto others!" 305 Here, even while conceding, in the case of others, the coolness of the creation ), in as much as the love-afflicted person has shown the same to be ſin his own case) hot, this is the Concealment of the Range-of-the-Quality 306 "It is only in name that the moon is said to possess nectar-dripping rays in essence it is quite different its rays are poison-dripping" 307 Here the moon's essential-nature is negated and the love-afflicted person has predicated of it the nature of another thing so this is deemed Concealment of the Essential-Nature 308 A Concealment based upon Simile has been already exhibited before amongst the Similes ( 11 36, cp also 11 94) In this very way is to be followed out the details of the classification of Concealment in literary-compositions 309 END OF CONCEALMENT Paronomasia is defined as a composition having one (and the same ) form but more than one sense It is of two kinds having-identical-words, and having-for-the-mostpart-distinct-words 310 (For examples-] "Asāvudayam ärūdhah kāntimān raktamandalah 1 Rājā haratı lokasya hridayam mridubhih karaih 11 This king <moon rising up into prosperity Cascending the Eastern-mountain, full of <brilliance > beauty and with a loyal-and-loving kingdom <with a red-tinged orb delights the heart of the people by gentle taxes <cooling rays>)" 311 ·ii 312 ] The Kāvyādarśa of Dandin [ 44 - [And-] "Doshākarena sambadhnan nakshatrapathavartinā Rājñā pradosho mām ittham apriyam kim na bădhate 11 (This advent-of-the-night <extremely wicked person being proximate to the moon related to the king> who is ſhimself] th father of the night <store of (all) wickedness > and abiding in the path of the stars < not following the conduct of a (true) kshatriya-how can it be that it (he) would not torment me who am thus bereft of my beloved <out of his good graces > ?" 312 Paronomasias as occurring in Simile, Metaphor, Interdiction, Out-matching etc have been already illustrated (op 11 28, 87, 159, 185 ), a few others will now be illustrated. 313 There exists a (variety of] Paronomasia with identical action; another with [two) non-contrary actions, a third with (two) contrary actions, as also one with a restrictive-predication, 314 There is further one having the form of an interdiction of a restricted-predication, as well as one involving a non-[self-contradiction and involving a [self.]co .tradiction The nature of these will be evident from the illustrations themselves (which follow in order)- 315 “Vakrāh svabhāvamadhurāh śamsantyo rāgam ulbanam l Driso düty aścha karshantı kāntābhih preshitāh priyan 11 (The side-wise <crooked and naturally pleasing Csweet-tempered > glances, as also the love-messengers, sent by the beloved ones and indicating cdeclaring> effusive love, enrapture Cdrag after them the lovers)" 316 “Madhurā rāgavardhinyah komalāh kokılāgirah Akarnyante madakalāh slishyante chāsitekshanāh 11 (The sweet Clovable> and gentle <tender-bodied> tunes of the cuckoo, as well as the blue-eyed [ladies), augmenting [men's) passion and suffused with (youth-Jintoxication Csweet through (wine-Jintoxication> are [the one of them] being heard and [the other) being embraced)" 317 Rāgam ādarsayannesha vāruniyogavardhitam i Tirobhavatı gharmāmsurangajastu vijţibhate II (Exhibiting B ·45] English Translation [ ii. 323 reddish tinge producing amorous-passion> heightened by contact-with-the-West <recourse-to-wine>, the hot-rayed [Sun) is passing out of sight while the mind-born (Cupid] 18 growing stronger)” 318 Nistrimsatvam asāveva dhanushyevāsya vakratā! Sareshveva narendrasya mārganatvam cha vartate ll (In the case of this Lord-of-men ruthlessness measuring over thirty (finger-breadths] >exists only in the sword, crookedpolicy Courvature > only in his bow, and mendicancy Cseeking the goal> only in (hıs) arrows)". 319 “With you as the guardian, annoying-enemy (kantaka) <prickly hairs> were to be seen only upon the styles of the lotuses, or rather, the same (kantaka) Chorripilation> is to be observed also on the occasion of the embraces of loving couples" 320 "Mahibhridbhūrikatakastejasvi niya todayahi Dakshah Prajāpatıśchāsīt svămi saktıdharascha sah 11 (The Lordof-the-earth <mountain) had extensive capital <ridge or zone >, he was full of splendour < the shining [sun]> with his prosperity unshaken <his risings fixed >, he was alert <Daksha > and guardian of his subjects <Lord of Creation >, and he was a sovereign < Skanda> wielding power <his missile >)" 321 [And-] "Achyutopyavrishochchhedi rājāpyaviditakshayahi Devopyavibudho jajñe Samkaropyabhujangavānii (Established in power <Krishna> though he was, he turned out a non-killer of Vrishāsura <non-uprooter of religion >, king <moon > though he was, he never became cognisant of waning <loss of power> king <god> though he was, he never became divine without learned men >, the author of good < Samkara > though he was, he became devoid of snakes <sychophants >)" 322 an 95 END OF PARONOMASIA When in the quality, genus, function, and so forth (of a thing) there is shown a deficiency [of some sort] just with a view to bring out its special characteristic, that is regarded as Effectuation-through-Hinderance. 323 ·ii. 324 ] The Kāvyādarse of Dandın [ 46 [Examples in order-] "It is neither hard nor sharpthe weapon of the God-of-flowery-bow and yet by it the triad of worlds was conquered". 324 "She is neither a celestial woman nor one descended from the family of the Gandharvas, and yet she is well able to thwart the penance of even the Creater". 325 9 “No eye-brow was knitted, nor was the lip quivering, neither even did the eye become red (in anger), and yet was the horde of the enemy vanquished' 326 [And-] “There were neither cars nor elephants nor horses nor foot soldiers it is just by the side-wise glance of the women that the triad of the worlds is being conquered" 327 "The car has but one wheel, the driver deformed and the horses uneven (in number], and yet the Sun-that fiery [orb]-does cross the surface of the sky” 328 This [last] is an Effectuation-through-Hinderance withthe-cause-expressed, in as much as the adjective 'fiery' is mentioned, The same mode is applicable in the case of the other varieties 329 END OF EFFECTUATION-THROUGH-HINDERANCE When with a view to praise it or to blame it, there is the description of some one person or thing] by putting it on a par with others possessing the quality in question in eminence, that is regarded as Equal-Paring 330 [Examples in order-] "Yama (the god of death), Kubera (the god of wealth), Varuna (the god of the ocean), the thousand-eyed (god Indra] as also Your Majesty merits the title of exclusive application, viz 'Guardian of the world''. 331 [And-] "[All] unions with the deer-eyed ladies, as also the playful-dancings of the lightening-even though commenced-in-right-earnest <heralded-by-clouds > do not stay for ( as much as ] two moments". 332 END OF EQUAL-FARING ·47 ] English Translation [ ii. 341 Where there is exhibited the bringing-together of contrary things just with a view to bring out their special characteristic, that is considered as Contradiction For examples- 333 “The cooing of royal-hañsas, charming through youthintoxication, waxes, while the note of the peacocks, destitute of loveliness, is on the wane" 334 "The sky is rendered sombre by the clouds of the rainy season, and yet (at the same time) the mind of the people is invaded by red-tinge < passion> 335 "Slender at the waist (and yet] heavy at the hips, with red lips (and yet) with blue eyes , with the navel hollow (and yet) with the breast protruding-whom might not the women's body hit?" 336 Your form, O slender-bodied one, albeit endwed with lotus-like arms, plantain-shaped thighs and having the face and the eyes like [red-] and [blue-]lotuses (respectively) nevertheless causes us to burn" 337 " Thrown up by the garden-winds the pollens of the mango and the champaka (trees] cause the eyes of travellers to water, although not actually touching them ". 338 How can thy sight, O thou of sweet words, hanging upon Karna Celongated upto the ear> although (already) attached to Krishna and Arjuna Cblack and white and anon red (in colour]>, be liable to gain any person's confidence ?" 339 In this wise this figure is observed to present diverse varieties. END OF CONTRADICTION That is Vicarious-Praise which is a praise of objects not-forming-the-theme-on-hand. 340 [For example-] "In blessedness do the deer pass their life in forests not serving others and living on objects easy to obtain without effort such as water and grassblades". 341 ·ii. 342 ] The Kāvyādar śa of Dandin [ 48 Herein is praised the life of the deer even though not the theme-on-hand, by a high-souled person dispirited through the worry of dancing attendance upon a king. 342 END OF VICARIOUS-PRAISE When one praises while apparently censuring that is considered Disguised-Eulogy, wherein it is the good qualities themselves that, under the guise of defects, come into evidence 343 A mere ascetic-Rāma-had [once] conquered this [Earth, the) Sustainer-of-being, that you & king should have conquered that same (Earth] for this entertain no pride 344 "Snatching her away from the aged person <Great- Lord who-is-beyond-Time >, his [wife] Sri Cwealth > 18 being enjoyed by you, [I ask,] O King, is this meet for your [great] Ikshvāku family?" 345 [And] "Medini < Earth > who is attached to enjoyment with paramours Cresting upon the body of the Serpent (Sesha] > is your wife, how then can your pride rise to highest pinnacle?" 346 In this manner should be followed out the varieties of Disguised-Eulogy, both based upon paronomasia and otherwise its detailed classification (would be] endless 347 END OF DISGUISED-EULOGY When while about to achieve one end there is deduced another somewhat allied fruit from it, either existing or non-existing, that is Illustration 348 [For examples] “Soon as he rises the sun confers glory unto the lotuses, just to bring home [to men) the fruit of prosperity, viz , confering favours unto friends" 349 (And-] "The host of darkness, as soon as it comes into contact with the rays of the moon, meets defeat, indicating [thereby] the sudden and evil ending of those that are opposed to the king < the moon > ". 350 END OF ILLUSTRATION Conjoint-Description is a statement of qualities, and of actions, as being simultaneous; while what is [known) as the exchange of things Is Barter (Examples in order)- 361 ·English Translation 1 il. 361 "Along with my breaths are these nights now lengthened-out; and along with my own limbs, likewise, they, with the moon for the ornament, are getting pale 352 Along with the fainting of the travellers the mangoblossom is on the increase : and along with their lives, likewise, the Malaya-breezes are falling <in> ". 353 (And-]"Charming by reason of the notes of the ouckoo and sending forth fragrant breezes, the days of the Chaitra are getting bigger along with the joys of the people" 354 Thus have some examples been given here of Conjoint- Description END OF CONJOINT-DESCRIPTION Now will be illustrated to some extent the nature of Barter 355 "Your arm, while it gave a blow of the weapon unto the kings, took away from them their long accumulated glory white like the lotus". 356 END OF BARTER Benediction is known as the expressing of good wish unto what is an object of regard; for example-May the great Light-beyond the reach of word and mind protect 357 END OF BENEDICTION Solf-Comparison and the Doubtful are exhibited (already, under different names] even amongst the Similevarieties ( op ii 37, ii. 26), while Comparison-Metaphor is shown already amidst Metaphor-varieties (11.88). 358 Wbat 18 [k nown as) Accessory to Poetic-Conception is merely a variety of Poetic-Conception itself; while & mixing-together of different embellishments is what is called Commixture. 359 A relation as of the whole-to-the-part in the case of the several [embellishments), or their equivalence : such is the two-fold method of the Commixture-of-Embellishments that one has to mark. 360 (For example-] "The lotuses, o heedless (girl), are traducing the beauty of thy face; [for,] can anything be hard to achieve for those that are in full possession of rea-17 hul and power-to-punish <styles ?" 361 i (Kevykdo to. Trara) you !

·ii. 362 ) The Kavyzdarsa of Dandin [*"The darkness as-it-were anoints the limbs; the sky as-it-were pours out lamp-soot; like service tendered unto wicked persons has four] sight been rendered fruitless"). 362 Generally in all artistio-compositions it is Paronomasia that heightens the charm All literature is divided into the two varieties of Naturalistic and Artistic compositions. 363 END OF COMMIXTURE Sustained-Intuition is declared to be a quality pervading (the whole) poetic-composition, Intuition 18 the idea of the poet which abides in the compositions (from beginping) to the end 364 The mutual-subservience of all the segments of the theme; the non-employment of purposeless adjectives; the docription of a locality , - 365 By force of the manner of narration the elucidation of even a deep theme-all this is based upon Intuition; so this is known as Sustained-Intuition 366 END OF SUSTAINED-INTUITION What are detailed in other treatises as the charac. teristics and so forth of the [dramatic-]Nodes with their minor constituents or the Rhetorical modes and their further (literary) distribution-all that as well as the case above considered is acceptable to us as nothing but embellishments (of one sort or the other). 367 Thus has been laid open in a synoptical fashion this path (to literary composition), after having curtailed the infinite details concerning the embellishments; the specific modes of composition which pass the province of words and which are noticed everywhere can be fully expounded only in and through constant-study. 368 Thus ends the Second Chapter entitled "Classification of Sepse-Embellishments" of the Kāvgădarsa or Mirror of Poetry, the work of Achārya Dandin. * Interpolated stanza.

·PARICHCHHEDA III The repetition of syllabic-groups, with or without (other ) intervening (syllables), is Yamaka (Chime); and it occurs at the beginning (iii. 4-18, 20-32, 34-36) in the middle (11i. 39-40), and at the end (iii. 41-42) of the metrical feet 1 Yamakas occurring in one (i11. 4-7), in two (iii. 8-13, 20–25), in three (ii. 14-17, 26-28), and in (all the ) four metrical-feet (111 18, 29, 30-32, 34-36, 39-50) can be [further) distributed according as they ocour at the beginning (iii. 4-18, 20-32, 34-36 ), in the middle (ili 39-40), at the end (iii 41-42), in both the middle and the end (iii. 43-44), the middle and the beginning (iii. 45-46), the beginning and the end ( 111 47-18), and in all these places (simultaneously] (iii. 49-50). 8 Extremely many are the divisions of them arising from oommixture, some easy to compose, others difficult; a fow of them will be exhibited. 3 [An example of continguous initial Chime in the first foot ism) "Mānena mā'nena sakhi pranayo'bhūt priye janel Khanditā kaptham āślishya tam eva kuru satrapam II (Not with this angry-pride my friend, should you show your affection for the beloved person, betrayed-in-love you should wound (your arms ) round (the traitor's ) neok and even (so) put him to shame" 4 (An example of contiguous initial Chime in the second foot is~] "Meghanādena hamsānām madano madanodina i Nunnamānam manah strinām saha ratyā vigāhate II (With their angry-pride dispelled by the roaring-of-clouds that incites the passion of hansas, love gains free access into the mind of ladies, along with eagerness-for-sport)". 6 (An example of contiguous initial Chime in the third foot ism) "Rājanvatyah prajā jātā bhavantam prăpya samprati i Chaturam chaturambhodbirašanorvikaragrahe # (Having obtained you, now, the subjects have become ·fif. 61 The Kavyādarea of Dandin t 52 blessed-in-their-ruler, - you who are adept in grasping-thehand receiving taxes > of the Earth with the four oceans for her girdle)". 6 (An example of contiguous initial Chime in the fourth foot is-] "Aranyam kaischid akrāntam anyaih sadma divaukasām l Padātırathanāgāśvarahitai rahitais tava 11 (Deprived of foot-soldiers, chariots, elephants and horses your enemies have, some of them, repaired unto the forest and others unto the abode of the gods)". 7 (An example of contiguous initial Chime in the first and the second feet 18—] "Madhuram madhur ambhojavadane vada netrayoh I Vibhramam bhramarabhräntyă vidambayatı kim nu te 11 (Tell me, does the Spring, by the wandering of the bees, (merely] imitate the sweet playfuldance of the two eyes upon thy lotus-face?)". 8 [An example of contiguous initial Chime in the first and the third feet 28-] "Vārano vā ranoddämo hayo vā Smara durdharah I Na yato nayato 'ntam nas tadaho vikramas tava II (Seeing that it is neither a war-infuriated elephant nor a horse difficult-to-control, the valour, O Godof-love, of thee who leadest us to [dire) end is truly wonderful)". 9 [An example of contiguous initial Chime in the first and the fourth feet is--] "Rājitairäjitaikshnyena jiyate tvädrišair pripaih | Niyate cha punas triptim vasudha Vasudbārayā II ( By kings like thee, adorned with a keenness for battle, the earth is conquered, and is anon led to contentedness by [the pouring of] & stream of wealth (upon it])". 10 [ An example of contiguous initial Obime in the second and the third feet is-] "Karoti sahakārasya kalikotkalikottaram | Manmano manmano'pyesha matta-kokilanisvanah 11 (The blogsom of the mango renders my mind full of passionate-eagergess, as also does this sweet-andindistinct note of the (youth-}intoxicated ogokoa)". 11 ·*53] English Translation [ Mi. 16 An example of contiguous initial Chime in the second and the fourth feet is-)"Katham tvadupalambhāśāvihatā viha tādrisi i Avasthā nālamārodhumapganāmanganasini | (When the hope of securing you is frustrated, why would that sort of plight, calculated to wither away her body, not be able to overwhelm that woman?)”. 12 (An example of contiguous initial Chime in the third and the fourth feet is-] "Nigrihya netre karshanti bālapallavasobbinā Tarunā tarunan krishţānalino nalinonmukhāh II (Bees, eager for the lotus, constrain the eyes and attract (unto themselves] the young persons, drawn [to the site ] by some tree [looking) charming by reason of young foliage)". 13 (An example of contiguous initial Chime in the first, second, and third feet 18-] "Visadā visadāmattasärase sårase jale I kurute kuruteneyam hansi mam antak.. mishain II (In [this] lake-water wherein maddened sårasas are entering, this hansi, (although) white-looking, makes me, by her ugly-note, a prey to the God-of-death)". 14 [An example of contiguous initial Chime in the first, Becond, and fourth feet is-] “Vishamam vishamanveti madanam madanandanah | Sahendukalayāpodhamalaya malayānilah 11 (This Malaya-wind that causes no joy unto me has become, along with the stainless moon-digit, & companion of the God-of-Love, [who is like ) bitter poison [unto me]". 15 (An example of contiguous initial Ohime in the first, third, and fourth feet is-] “Mānini mā ninishus te nishangatvam Ananga me 1 Hārini hārini śarma tanutām tanutăm yataḥ ll (This proud dame that desires, O Bodyless (Cupid], to make me a quiver for thee-may this (samo) charming-beauty with the necklace bring weal unto me already reduced to skeleton)! " 16 ·tii. 17 ) Kavyādarsa of Dandin (An example of contiguous initial Chime in the second, third, and fourth feet is-] "Jayatā tvanmukhenāsmā. nakatham na katham jitam Kamalam kamalamkurva. dalimad dalı matpriye # ( While vanquishing us, how should your face not have vanquished, O my Love, a lotus, beautifying the water, possessing petals with bees, and void of speech ( as it is ] ?" 17 (An example of contiguous initial Chime in all the four feet is-]"Ramani ramanlyā me pātalāpātalām ukā i Vārupīvāru nibhūtasaurabhā saurabhāspa dam II (My beloved with her garment dark-red like the pāțală [tree. or its flower ) 18 lovely like the West Clike wine > with her reddeding solar splendour < with her colour resembling the reddening sun >, and (is) an abode of fragrance < sunshine > ". 18 Thus has been exhibited [in its varieties]initial Ohime which is contiguous of the non-contiguous (class of it also are described now certain varieties. 19 (A non-contiguous initial Chime in the first and the second feet is illustrated in-"Madhur enadrisām mānam madhurena sugandhināl Sahakārodgamenaiva sabdaśesham karishyati Il (The spring, even with the sweet and fragrant blossoming of the mango,would reduce the pride of fawn-eyed (damsels ] to mere name.)" 20 [A non-contiguous initial Chime in the first and the third feet is illustrated in-) Karo'titāmro rāmānām tantritādanavibhramam | Karoti sershyam kānte oba śravanotpalatādanam I ( The very-red hand of damsels effects sportive striking of the lute, as also, through spite, a beating unto the lover by means of the lotus on the ear.)" 21 [A non-oontiguous initial Chime in the first and the fourth feet is illustrated in-] "Sakalāpollasanayå kalā. pinyā 'nu prityate | Meghali nartitā vātaiḥ sakalapo vimuñchati II (Dancing is being effected by a peabep with ·5$ English Translation ( ui. 27 her spreading plumage, subsequently:[prior to that) a row of olouds, made to dance by winds, is letting down all its waters.)" 22 (A non-contiguous initial Chime in the second and third feet is illustrated in-] "Svayameva galanmānakalı kāmini te manah 1 kalikāmiha nipasya drishţvā kām na sprišed daśām II (O sportful lady, your mind with its haughty-pride-{the source of] quarrel-dissipating of its own accord, having observed this bud of the Nipa (tree) here, to what condition would it not reach?)" 23 (A non-contiguous initial Chime in the second and fourth feet is illustrated in-] Āruhyākridaśailasya chandrakāntasthalim imāmi Nrity atyesha lasachchāruchandrakāntah sikhāvalah II ( Perching upon this spot (paved) with moon-slabs of the pleasure-mount,this peacock, of a form lovely with the glitter of the beautiful eyes-in his-plumage, is dancing.)" 24 (A non-contiguous initial Chime in the third and fourth feet is illustrated in--]"Uddhritya rājakādurvidhriyate'dya bhujena te 1 Varābenoddhritā yāsau varāherupari sthitā ll (Having uplifted it from the circle-of-kings this earth is to-day being sustained by thy arm [the earth ) which formerly was uplifted by the Boar and was placed upon the eminent Snake)" 25 (A non-contiguous initial Chime in the first, seoond, and third feet is illustrated in- )“Karena te raneshvantakarena dvishatam hatāh i Karenavah ksharadraktā bhānti samdbyāghanā iva II (Killed with thy hand that causes destruction of the enemy the elephants in the battles with their gushing blood appear like sunset-clouds.)" 26 (A non-contiguous initial Chime in the first, third, and fourth feet is illustrated in- ] "Parāgatarurājiva vātairdhvastā bhataisohamūḥ Parāgatamiva kvāpi Parāgatatam ambaram II (As by winds a row of trees on a lofty mountain, so by warriors was devastated the army ; the sky seemed as if vanished somewhere, being filled with dust.)" 27 ·iii. 28 ) The Kavyadarsa of Dandin [ 56 (A non-contiguous initial Chime in the second, third, and fourth feet is illustrated in-]" Pātu vo Bhagavān Vishnuh sadā navaghanadyutih I Sa dā navakuladhvams sadanavaradantihā 11 (May Lord Vishnu protect you ever, he of a splendour like that of a fresh cloud, the destroyer of the families of demons and killer of mighty elephants in rut. )" 28 (A non-contiguous initial Chime in all the four feet is illustrated in-] "Kamaleh samakesam te Kamalershyakaram mukham | Kam alekhyam karoshi tvam Kamalevonmadignushu II (Your head has hairlike the bee, and your face is the cause of jealousy to the lotus: whom would you-even like the Goddess of Wealth--make un-included amongst persons liable to be intoxicated?)" 29 [A non-contiguous initial Chime similar in the first and second and d1881milar in the third and fourth feet is illustrated in-]"Mudā ramanamanvitamudāramanıbhūshanab Madabhramaddriſah kartumadabhrajaghanah kshamäh 11([These ladies) adorned with sumptuous jewels, with their eyes rolling through intoxication and having expansive hips, are capable of making their lover gladly follow after them.)" 30 (A non-contiguous initial Chime similar in the first and third and dissimilar in the second and fourth feet is illustrated in-1 "Uditairanyapushtănāmā rutair me hatam manahi Uditairapi te dūti Mārutairapi dakshinaiḥ il ( Ab! By the up-rising notes of the cuckoos my mind is tormented, as also, O messenger, by thy words, as well as by the Southern Ccourteous > winds.)" 31 [ A non-contiguous initial Chime similar in the first and the fourth and dissimilar in the second and third feet is illustrated in-] "Surājitahriyo yünām tanumadhyāsate striyahıTanumadhyāh ksharatsvedasurajitamukhendavaķu (The women with their modesty overoome by wine, with slender waists and moon-faces glittering with gathering perspiration, are reclining upon the bodies of youths.)"82 ·57] English Translation [ iii. 37 Thus far ( in 20-32 ) has been exhibited the variety of non-contiguous chime also (in addition to the contiguous variety illustrated in 111 4-18), there is besides a variety having both contiguous and non-contiguous form : for example 33 ( A contiguous-noncontiguous initial ohime similar in the first and second and dissimilar in the third and fourth feet is illustrated in-1 "Sālam sālambakalikāsālam sālam na vikshitum i Nālinālinabakulānāli nālikınir api ll (She is not able to look at the Sāla ( tree ), venomous by reason of down hanging buds, nor is (my] friend [ able to look ] at the bees who have swarmed the Bakula [ trees), nor at the lotus-creepers) 34 [A contiguous-noncontiguous initial chime similar in the first and fourth and dissimilar in the second and the third feet is illustrated in--] "Kālam Kālamanālakshyatāratārakam ikshitum i Tārataramyarasitam kālam kālamahāghanam II ( Who would be able to look upon a time --Death (incarnate )-when there are no stars to be seen overhead, when there are huge black clouds, and thunderings unpleasant on account of their loudness?)". 35 [ A contiguous-noncontiguous initial chime similar in all the four feet is illustrated in- ] “Yāma Yāmatrayā. dhināyāmayā maranam nišā | Yāmayāma dhiyā'svartyā" yā". mayā mathitaiva sā ll (May we attain death within a night whose length is compressed in (just) three watches : She whom, in mind, we approached has been in her agony of life even killed by me [by going on journey ]) 36 Such is the mode of arrangement of initial chime: in the very same manner are to be exhibited the other [varieties of chime also 37 * The hyphenated words could be treated either as separate words or as one word 8 [Kavyādaría Trans.]

·üi 38 ) The Kavyādarsa of Dandın [ 58 Through fear of prolixity it is not intended to state all the varieties in their entirety ; only some of those deemed as difficult to compose are here described. 38 [A contiguous-noncontiguous chime in the middle of the foot and similar in all the four feet is illustrated in-] "Sthirāyate yatendriyo na hiyate yater bhavāni Amă. yateyate'pyabhūt sukhāya te yate kshayam ( you whose future is assured, you lack nothing for an ascetio, having your senses under control, your freedom from delusion has itself conduced to so much felicity which suffers no diminishing )" 39 (A non-contiguous middle chime similar in all the four feet is illustrated in-1 Sabhāsu rājannasurāhatair mukhair Mahisurānām vasurăjitaih stutäh! Na bhā. surā gānti surān na te gunāh Prajāsu rāgātmasu rāśitām gatāh I (O king, praised in assemblies by the Brahmins with their mouths brightened by wealth and un-invaded by wine <Asuras >, thy brilliant qualities piled, amongst thy well-affected subjects, into heaps (as it were), do not fail to mount up unto the gods ) " 40 (A non-contiguous chime at the end of the foot and similar in all the four feet is illustrated in-]"Tava priyā'sachcharitā'pramatta yã Vibhūshanam dhāryam ihāmśumat tayā | Ratotsavāmodaviseshamattaya Na me phalam kimchana kāntimattayā ll (That beloved of yours of excellent morals that there is, O shrewd one, by her (when) particularly intoxicated by the joy of your contact is to be worn this dazzling ornament No more any advantage unto me by brilliant decoration.)" 41 [A contiguous-noncontiguous final chime similar in all the four feet is illustrated in -] "Bhavādrišā nātha na jänate nate Rasam viruddhe khalu sannatenate | Ya 99 eva dināh sirasā natena te Charantyalam dainyarase: na tena te (Persons like you, Sire, know not the taste ·59] English Translation | iii. 45 of bending-down; for, abjectness and sovereignty are verily contradictory It is only those that are poor that accost with bended head: hence do not try to taste, humility)" 42 [ A non-contiguous chime occuring both in the middle and at the end of a foot and similar in all the four feet is illustrated in-] "Lilāsmitena suchinā mridunoditena Vyālokitena laghunā gurunā gatena 1 Vyājrimbhitena jaghanena cha darsitena Sā hanti tena galitam mama Jivitena II ( With her bright sportive smile, her soft speech, her furtive glance, heavy gait, yawning, and the showing of her hips she murders me [ quite ] so my life is departing)". 43 [A contiguous-noncontiguous middle-final chime similar in all the four feet is illustrated in-] "śrīmān amāṇ amaravartmasamānamānam Ātmānam anatajagatprathamānamānam i Bhūmānam ānamata yah sthitimān amāna- Nāmānam ānamatam apratimānamānam 11 (The glorious immeasurable One who possesses stability Him whose greatness is like that of (Akāśa) the path of the Gods, the Ātman whose greatness is proclaimed by the world in reverence, the Great One whose names are infinite, who is revered by beings and whose greatness is unmatched Him do ye salute )" 44 A non-oontiguous chime in both the beginning and middle of a pāda and similar in all the four feet is illus. trated in -] “Sārayantam urasā ramayanti Sārabhūtam urusāradharā tam i Sāravā'nukritasārasakāñchi Sā rasāyanam asāram avaitill(She, while delighting with embrace the most-prized lover as he approaches her, being decked with golden-ornaments, with her girdle jingling and so imitating the gārasa ( birds ]: she deems even the elixer a insipid)". 45 ·iii. 46 ) The Kāvyādarśa of Dandın ( 60 [A contiguous-noncontiguous initial-middle chime similar in all the four feet-or a contiguous-noncontiguous initial-middle chime in the second and fourth fest and initial-final chime in the first and third-is illustrated in-] Nayānayālochanayā 'nayānayā nayānayāndhān vinaya 'nayā yate | Nayān ayasir Jinayānayān ayā nayā' nayams tāñjanayānayasritānil (With this discrimination between righteousness and unrighteousness, O thou sage, that dost tread the not-improper path, do thou instruct persons blind alike to morality and immorality. Thou hast followed righteousness do thou bring those immoral persons taking to improper paths unto the steady, paths of Lord Jina)" 46 47 ( A non-contiguous initial-final chime similar in all the four feet is illustrated in-]"Ravena Bhaumo dhvajavartiviraver aveji samyaty atulāstragaurave Raver ivograsya puro Harer aver aveta tulyam ripum asya bhalrave 11 ( The demon Bhauma was scared by the roar [even] of the heroic bird ( eagle ) perched on [ Krishna's ] banner in that terrific battle augmented by matchless missiles. Before Hari Clion > himself who is fierce like the sun consider his enemy as equal to a (mere) goat)” (A contiguous-noncontiguous intial-final chime similar in all the four feet is illustrated in -] “Mayā mayālambyakalā mayāmayām ayām ayātavyavirāmayāmagă i Mayāmayārtım niśayā'maya'mayā 'mayāmayā'müm karunāmayāmayā 11 (Through the measureless night, void of glory, whose watches know no coming-to-an-end, I have suffered pain consequent on love-sickness. O thou friend without deceit and full of compassion, unite with me, the afflicted, her who I also ) gets pain from the moon with its digits unassailed by wasting disease)". 48 ·61 ] English Translation | iii. 52 [A. non-contiguous initial, middle and final chime similar in all the four feet is illustrated in-] Matā dhunānāramatām akāmatām atāpalabdhāgrimatānulomatā | Matāv ayaty uttamalāvilomatām atāmyatas te samatā na vāmatā 11 ( In thy mind is that evenness which is desirable and which shakes the envy-lessness { excites the envy ) of the dispassionate ( saints), which has without trouble acquired preeminence and agreeableness, and which does not reach the opposite of excellence. there is not [in it ) any crookedness)" 49 [A contiguous-noncontiguous middle and final chime similar in all the four feet is illustrated in-]"Kālakāla galakāla kālamukhakālakāla Kālakālaghanakālakālapanakāla kāla Kālakālasıtakālakā lalanıkā'lakāla Kālakālagatu kālakāla kalıkālakāla 11 (thou black like the neck of [Siva, ] the Death of Time, thou who wearest the blackness of the black-mouthed (monkey ), thou who art the season when sable-crested [ peacocks ] utter forth cries, thou season of black clouds, O thou my death, let the charming woman with hair adorning the head by their blackness embrace me, O thou season of seasons, thou season when buds look beautiful, Othou whose power [ to give plenty ] is as great as that of [ Kubera ) the lord of Alakā )" 50 The position of an interlocking chime is the end and the beginning of two [ successive ] feet Although inoluded in the varieties given, it is here described independently. 51 (For instance - ] Upodharāgāpyabala madena sā Madenasā manyurasena yojită | Na yojitāmānam anangatāpītāngatā'pi tāpāya mamāsa neyate 11 (That lady, although full of passion excited by intoxication, was yet thrown into angry-mood in consequence of my lapses ; and so, although all her limbs were scorched by Love, she would not join her body (with mine) that caused me immeasurable affliction)". 52 66 ·iii. 53 ) The Kavyādasa of Dandın [ 62 99 A (chime with) repetition extending to half the stanza is called Casket of which there are three varieties (ui. 54, 55, 56). Repetition of a pāda only has many forms, it 18 illustrated by examples (111 57-66): 53 [Repetition of pādas 1 and 3, and 2 and 4 is illustrated in-] “ Nā stheyassattvayā varjyah paramāyatamānayā i Nāstheyas sa (t)tvayāvarjyah paramāyatamānayā || ( By thee whose mood is haughty and whose angry-pride has gone too far the lover should no longer be avoided he should be welcomed and should even be sought after by excessive endeavour)" 54 [Repetition of pādas 1 and 2, and 3 and 4 is illustrated in – ] “Narā jitā mānanayāsam etya na rājitā mānanayā sametyā | Vināśitā vaibhavatāpanena vināśitā vai bhava. tāpanena II (Vanguished by you the warriors, having suffered privation from pride and statecraft, do not shine out, O you who are with glory and who deserve laudation Destroyed by you through your all-reaching blaze of power [ they were killed and ) eaten up by birds )" 55 [Repetition of pādas 1 and 4, and 2 and 3 18 illustrated in-] "Kalāpinām chārutayopayānti vrindānı lāpodhaghanāgamānām | Vrindānilāpodbaghanāgamānām kalāpi. nām chārutayopayānti il ( Troops of peacocks whose notes indicate the approach of the clouds ( appear now) endowed with beauty; while the tunes of the water-cooing [hansas) whose tendency to merry-dance has been taken away by the gathering storms ( at the approach of the rains) vanish away)". 56 [Repetition of the first pāda as the second is illustrated in- ] "Naman dayāvarjitamānasātmayā na mandayavarjitamānasātmayā | Urasy upāstirnapayodharadvayam mayā samalingyata jiviteśvarah II ( By me, with a mind and soul destitute of compassion and full of anxiety so as not to give up my angry-pride, stupid as I have been, was not embraced the lord of my life, when prostrate before me, 80 as to press my pair of breast against his bosom ". 57 ·631 English Translation [ iii. 62 [Repetion of the first pāda as third is illustrated in-) "Sabhā surānam abalā vibhūshitā gunais tavārohi mrinālanirmalaihi Sa bhäsurānām abalā vibhushitã viharayan nirvisa sampadah purām ! ( The assembly of the Gods, made rid of the demon ) Bala and having lord [Indra ) at the helm, is being invaded by thy qualities spotless like a lotus Do you now, sporting with adorned damsels, enjoy the glories of resplendent cities )" 58 [Repetition of the first pāda as fourth is illustrated in – ] “Kalam kam uktam tanumadhyanāmikā stanadvayi cha tvadrite na hanty atah I Na păti bhūtam ganane bhavanmukhe kalankamuktam tanumad by ana. mikā 11 (The sweet talk and the pair of breasts causing the slender waist to bend: whom would these not smite 8&ve yourself ? Hence it is that in an enumeration headed by you the ring-finger has no other embodied being to count that is free from all taint)”. 59 [Repetition of the second pāda as third is illustrated in-1 "Yaśaś cha te dikshu rajas cha sainikā vitanvate- 'jopama damsitā yudhā | Vitanv atejo'pamadam šitāyudha dvishām cha kurvanti kulam tarasvinah ll (0 thou who art like Aja, thy warriors, armoured and keen-weaponed, spread through war in all the quarters thy glory as well as the dust; and they, the impetuous ones, make the host of enemies body-less, lustre-less and pride-less )". 60 [Repetition of the second pāda as fourth pāda is illustrated in "Bibharti bhumer valayam bhujena to bhujamgamo'mā smarato madañchitam | Srinūktam ekam svam avety a bhūdharam bhujam gamo māsmarato madam chitam II (Along with thy arm the Serpent sustains' the earth's globe. from me cognisant of this hear this commendable speech-Deeming thy one arm as alone the earth-sustainer, do not with complaisance assume lofty pride)." 61 (Repetition of the third pāda as fourth is illustrated in-] "Smarānalo mānavivardhito yaḥ sa nirvșitim te kim ·iii. 62 ] The Kavyādar sa of Dandin [ 64 99 apākaroti 1 Samantatas tāmarasekshane na saniam tatas tām arase kshanena 11 (That fire of love which was fanned by thy angry-pride and which, O thou unsentimental lady of lotus eyes, is all through pervaded by festivity will it not (if you repel thy lover now) obstruct that your own pleasure ?)" 62 (Repetition of pādas 1, 2, and is illustrated in-] "Prabhāvato'nāma na Vāsavasya Prabhāvato nămana vā savasya ! Prabhav ato nāma navâsavasya Vichchhittir āsīt tvayı vishtapasya 1l (O thou through prowess unbending, thou that dost bend down [the enemy), neither of Indra's glorious sacrifice nor indeed, as a consequenca, of fresh liquor was there, while thou wast the Lord of the world, any dwindling away)" 63 [Repelition of pādas 1, 2, and 4 is illustrated in-] " Paramparāyā balavāranānām Paramparāyā balavārapānāmi Dhūlih sthalir vyomni vidhāya rundhan Param parāyā balavā ranānam II (By an excellent phalanx of powerful, enemy subduing elephants thou that dost withstand an army, after placing the battle-grounds as dust into the sky, hast, by hemning in a valiant opponent, subdued him)". 64 Repetition of pādas 2, , and 4 is illustrated in-) "Na sraddadhe vācha'n alajja mithyābhavadvidhānām asamāhitānām | Bhavadvidhānām asamāhitānām bhavadvi. dhānām asamāhitānām 1l (O shameless one, I put no trust in the speech of persons like you who are my unequal enemy and who know no contentment, & speech whose lengthening 18 like that of a crooked serpent, whose outward-form runs counter to the inward motive and whose life-purpose (āna ) is duplicity from the very start)”. 65 [Repetition of all the four pādas is illustrated in- "Sann ābitomânamarājasena sannā hito mānamarājasenal Sanpåhito 'mānama rājasena sannābito mā 'nama rājase na 1l (O thou who art powerful by [ the help of ] God [Śiva) ·65 ) English Transiation [iii 72 who has Umā and the crescent moon-king on his ( lap and head ), being as you are a good and beneficient person, thou to whom armies of kings render homage simultaneously and who art master of the turbulent and possessed of im. measurable treasure, having vanquished your enemy, and bedizened in armour, it is not that thou, O unbending one, dost not shine)" 66 What the repetition of a metrical line once, twice, or thrice is, has been thus illustrated, two [identical ] verses expressing a continuous sense is known as Verse-repeti. tion. For example- 67 'Vi-nāyakena bhavatā vrittopachitabāhunā| Sva-mi. troddhā'rinā bhîtā prithvi Yama-tulâ.sritā II (By thy enemy, becoming devoid of the leader and having all the arms <tributary forces > close to the funeral pyre,--by him who had abandoned his wealth and friends, and had been put to fright-the great scale-pan of the God of Death has been mounted)"; - 68 "Vinayakena bravatā vrittopachitabāhunal Svamitroddhārınā 'bhita Prithvivam atula śritā 11 (By you ſhowever), an eniment leader with massive and rounded arms and able to quite uproot the enemy, this incomparable earth that knows no fear has been supported)" 69 A verse of four identical feet is called Great Chime if there is a repetition within the foot that is an extreme of chime-making 70 [For example) Samānayā'samānaya Samānayā. samānayāl Sa mā na yā'samānayā Samānayāsamānayā 11 (O my peerless friend, do tbou unite me with this proud and peerless lady whose measure of suffering is equal (with mine) and who is not without beauty and cleverness)." 71 [A mixture of several kinds of Chimes 16 illustrated in--] "Dharādbarākāradhara dharābhujām bhujā mabim pătum abinavikramāhi Kramāt sa hante sahasā hatārayo rayoddhurā mānadhuravalambinaḥ|| (The arms of the 9 TKāvvadarka. Trans.l ·iii. 72 ) The Kavyādarśa of Dandın ( 66 Lords of the earth that possess the form of [the Snake-lord ] who sustains the earth, that are endowed with no mean prowess, that have at a stroke killed the enemy, that are brimful of energy and that bear the brunt of dignity-andpride are quite capable of protecting the earth in due succession)" 72 A repetition in the reverse order extending to a metrical-foot, half the stanza, or a full stanza is known, by reason of the reversal, as the Reverse Chime. 73 [ An example of a Reverse Chime extending to a metri. cal foot 18-] "Yāmatāsa kritāyāsā sā gātā krisatā mayā! Ramanārakatā te'stu stutetākaranāmara ll (O thou that dost hanker for the reprehensible, thou fallen from praise that dost prove thyself immortal like a god in misconduct, thou my beloved, may thou have thy departure: I have already secured the ematiation that has given me [80 much) trouble)" 74 [An example of a Reverse Chime extending to half the stanza 184] "Nādinomadanā dhih svā na me kāchana kämital Tamıkā pa cha kāmena svādbinā damanodinā 11 (The mind of me who am intent on Brahma-contemplation is devoid of cupid as it is self-controlled and there does not exist any kind of hankering in me whatsoever, nor have I any anguish caused by the love that dispells self-posses- Bion)." 75 (An example of a Reverse Chime extending to a full stanza 18 given in the next two stanzas-] "Yānamānaya mårāvikasonānajanāsapā | Yām udāraśatādhināmāyāmāya. manādisa 11 Sa dināmayamā'yāmā nādbitā saradāmuyāl Našanājananā šokavirāmāya na mācayā ll (She that is the very whip to the goat of cupid who 18 given to dispel all churlishness and pride, who is sure to destroy men of slight stamina, who has subdued a century of generous patrons, who would put an end to all practices beginning with sense control, and with whom I was united; she who doems day as disease, who is imbued with festivity and who 9 ·67 ) English Translation [lii, 82 is under the full sway of the present autumnal season, she who makes havoc [amongst the youth] and who attains hautiness: It is not that she cannot effect an allaying of the grief)." 76, 77 END OF THE CHIME. When alternate syllables of the two halves of a stanza are identical in form that is called (the zigzag or] the "Bull urination" and this is declared by the connoisseurs to be difficult to compose [For example 78 “Madano madırākshinām apāngāstro jayedayam I Madeno yadı tat kshinamanangāpāñjalım dade II (Cupid whose weapon is the side-glance of the wine eyed ladies is sure to triumph in case that sin of mine were exhausted. I offer my homage to the Body-less one)" 79 That is known as “Half-whirl" in case there be a whirling round of balf the stanza, while that is taken to be "Full-whirl" if there be a whirling round in each direction 80 (An example of the first 15-] Manobhava tavānikam Nodayāya na mūnini! Bhayādamevāmā mā vā Vayamenomayā nata || (O Mind-born one, it is not that your army-the proud lady-1s not for triumph Othou revered one, it cannot be that we are full of crime, and (yet) througb terror we are immeasurably afflicted)" 81 [ An example of the second is—] Sāmāyāmā māyā māsā 66 Mārānāvāyānā rāmāl Yānārārārāvūnāyā Māyārāmā mārāyāmāli ·kl. 82 ) The Kavyādarśa of Daņdin ( 68 (That lady who is [more] beautiful than Lakshmi, who inflicts a long dole of affliction, and whose approach is the harbinger of Cupid: that bewitching-damsel who spreads out & snare in the form of the jungling of the anklets upon her treading-foot is-along with the moon- meant for (men's) destruction)." 82 That[familiar) restriction as regards vowels, classes of consonants, and consonants is also held to constitute & difficult achievement when four and less are involved. varieties beyond four are easy. 83 [An example with only four vowels repeated 18---] Āmnāyānām āhāntyā vāg gitir ītih pritir bhītihi Bhogo rogo modo moho dhyeye vechchhed dese kshemell (The concluding portion of the Vedas declares songs to be catastrophes, affections as dangers, enjoyment as a disease, rejoicing as infatuation and that in a secure place one should ever hanker after the object of meditation, viz , the two (feet of God])". 84 (An example with only three vowels repeated is-) "Kshitivijitisthitivihitivrataratayah paramatayahı Uru rurudhur guru dudhuvur yudhı Kuravah svam arikulam Il (The Kurus of excellent intellects, with their hearts set upon the sole-occupation of conquering the earth and securing consolidation, beseiged and routed in battle their mighty and extensive host of enemy) ” 85 [An example with only two vowels repeated 18–) Śridipti brikirti dhiniti gihpriti | Edhete dve dve te ye neme deveģe II (Wealth and splendour, modesty and fame, talent and morality, and eloquence and affection--these qualities by twos which are not to be found [even) in the Lord of the Gods—they all prosper in you. 86 [An example with only one vowel repeated is*-] " Sāmāyāmā māyā māsā Mārānāyāyānā rāmāl Yānāvārārāvānāyā Māyārāmā mārāyāniāli (That lady who is [more] beautiful than Lakshmi, who inflicts & long dole of affliction, and whose approach is the harbinger of Cupid: that * Same as stanza 82 above, ·69 ) English Translation [lii. 92 bewitobing-damsel who spreads out a snare in the form of the jingling of the anklets upon her treading-foot is-along with the moon-meant for [men's) destruction)." 87 (An example with only four consonant-classes is-] "Nayanānandajanane nakehatraganaśālını! Aghane ga. gane drishtir angane diyatām sakrit ll (O my beloved lady, for once only direct the gaze towards this cloudless sky that oauses delight to the eyes and that is studded with clusters of stars)" 88 [An example with only three consonant-clagses is- "Alinilalakalatam kam na hantı ghanastanil Ananam nalinachobhāyanayanam saśıkāntı tell (O thou of massive bosom, whom would not thy face on whioh (hangs like a) creeper thy hair that is dark like the bee, with its splendour as that of the moon, and endowed with eyes that possess the charm of the lotus: [whom would it not] smite ?)" 89 [An example with only two consonant-classes is-) "Apangalanghanālagnanānātankā sadanganā | Sadā nagha sadānanda natāngāsamgasamgata 1l (O thou ever blamless, thou ever joyful and of well-formed limbs, thou that art seeking association with the recluses, that good lady has many an affliction clinging to her in consequence of her abstenance from love)" 90 (An example with only one consonant-olass is-] Agā gām gāngakākākagābakā'ghakakākahā 1 Ahāhānka khagānkāgakankā'gakhagakākaka 1l (Thou hast (already] attained Heaven, thou that hadst bathed in the girgling and winding waters of the Ganges, after having abandoned the crow in the form of dismal sin, thou that art not marked out for cries of woe and alas, thou that art (sure) to attain the mount (Meru] which is marked by the rising of the Sun, O thou that art not addicted to the wretched paths of the deviously-wandering senses) 91 [An example with only four consonants is-] "Re re rorururūrorugāgogo'gāngago'gaguh! Kim kekākākukah kāko mā mām āmā'mamāmama II (Ho thou that hast brought upon thee the sin of [infiicting) injury upon the ·iii. 92 ] The Kavyādarsa of Dandin [ no bosom of the piteously-roaring Ruru-deur, thou that dost scale the sides of mountains and hast thy gaze (ever) upon trees, O thou that dost cause pain unto the sages] who are devoid of all sense of the “mine," do thou not approach me. (for) can the crow be ever capable of the youth. ful note of the peacocks ?)." 92 [An example with only three consonants 18--] "Devă. nām nandano devo nodano Vedanindinah! Divam dudāva nádena dāne dānavadantinahll (The divine (Narasimhal, the gladdener of the gods and the dispeller of the slanderers of the Vedas-at the killing of the elephant in the form of the demon (Hiranyakasipul, did by his roar send terror through the Heavens)." 93 [An example with only two consonants 18-] "Sūrih surāsurāsārisārah sārasasārasāhi Sasāra sarasih Blro sasūrūh sa surārasi ll (That wise Baladeva whose prowess encompasses the gods as well as demons and who is addicted to wine, plunged, along with his wife (Revati) of excellent thighs, into the lakes full of the noisy sārasa birds)." 94 [An example with only one consonant 18-- "Nūnam nunnāni pānena nānanenāpanāninahi Nāgenā nanu nānū. nenainenānānino ninih ll (Assuredly, it 18 not that he has not routed by his force our forces, hence surely, [our] lord and leader, wishing to bring his forces into conflict with this perfect [fighter), cannot surely be free from reproach).” 95 Thus far has been exhibited the general method [to be followed) as regards these difficult compositions. Now 18 being enumerated the modes to be followed as regards different varieties of the “Prahelikā" or the Riddle. 96 As pastimes or recreations at social gatherings, for preserving secrets amongst the connoiseurs only while speaking out in crowded places, or for baffling the other party, these riddles have a use for them 97 That is called Cohesive by name wherein the coalesoence of two words obscures the sense. That is Decep- ·71 ] English Translation (ii). 107 tive where deception is occasioned by a word the current sense of which is other than the one intended. 98 That is Disjointed where confusion is caused by employing words too far away syntactically That is called Clandestine where the group of words is very hard to understand. 99 That is Semblable which is put together by words used in figurative or ascribed senses That is Desperate where some sounds (not to call them words) are by forced etymology made to have a sense that is only barely possible by grammatical rules 100 That is Numerical where some enumeration 18 the cause of confusion That is Manipulative wherein the (prima facie) sense of the sentence appears otherwise 101 That is Synonymic wherein different senses are attri. buted to one and the same noun That is Cryptic in which by means of a statement that applies to something else to which the same description applies, the other intended) thing is kept concealed 102 That is Paronomic which is achieved by the usage of other-words That is Baffling which baffles inspite of the sense being directly stated. 103 That which is made up of a series of etymologistio interpretations is called Etymologistic or Restrictive. That is one with Obscure-container wherein the contained 18 manifst but the container is obscure 104 That would be one with Both (container and contained] Obscure where both these are obscure That is Intermired wherein 18 a mixture of different characteristics 105 These sixteen Riddles are enumerated by earlier Teachers, and they have also taught, besides these, fourteen faulty Riddles. 106 We however consider that there can be innumerable faults possible, and are going to teach therefore only the faultless varieties. The faulty ones do not deserve to be defined. 107 ·iii 108 ) The Kāvyādarsa of Dandin ( 72 3 11 1 2 6 7 10 5 (A Cohesive Riddle is illustrated in-] "Na mayāgo rasābhijñam chetah kasmāt prakupyasi i Asthānaruditair ebhir alam ālohitekshane II (Not by me is (made my] heart set upon milk <not mine is the heart addicted to oriminal passion >, why dost thou then get angry? Enough, with these weepings, O thou of reddened eyes, that are not in place at all) 108 (A Deceptive Riddle is illustrated in--] The way in which your joy waxes as thou dost enjoy the hump-backed one <the lady from the city of Kanyakubja >, not so does it wax when thou dost enjoy other ladies that mook even the celestial damsels. 109 (A Disjointed Riddle is illustrated in--] "Dande chu mbatı padmingā hansah karkasakantakel Mukham valguravam kurvams tundenângāni ghattayan | (Theswan, rub. bing his limbs against the stalk of the lotus-plant which has a rough, hairy exterior, and giving out a sweet note, kisses with his beak the (plant's] face) 110 [A Clandestine Riddle is illustrated in--] “Khātayah kani kāle te sphātayah spārhavalgavahi Chandre sākshād bhavantyatra vāyavo mama sārirah !! (O virgin-lady, the anklets (khatayah) of joyful jingling are [of] expansive [beauty] upon thy feet that are dazzling ; my breaths are at that actually departing) 111 (A Semblable Riddle is illustrated in-] Here in this garden was observed by me a creeper Ca lady's arm> with five tender-leaves <fingers > at each of the tender. leaves of which there was a reddish bunch of flowers <nails>. 112 (A Desperate Riddle is illustrated in--] The liquorvendors (surāh) <gods > with their blooming teeth are wandering unrestrained in the house-of-liquor (surālaye) <temple-of-gods > ; and being intoxicated they seem now as it were to be immersed into the [very] lake of wine (sauro) <into the divine (Mānasa) lake >. 113 (A Numerioal Riddle is illustrated in-] With a Nasal in the middle and on the sides adorned by four ·73 ) English Translation lii. 120 letters (in all), there exists a certain city (to wit 'Kanchi') wherein are kings whose name contains eight letters [to wit, 'Pallaväh'). 114 (A Manipulative Riddle is illustrated in-] With a faltering voice, bent-down head, piteous look, and trem. blingly although I am standing, yet wouldst thou, o olddame so Goddess of Wealth > not have pity upon me! 115 [A Synonymic Riddle 18 illustrated in-] 0 thou of restlers eyes, some one (namely, the tree called 'Rajātana' or 'Rájādana' or 'Privāla 'l belonging to the earth Cearthlord is in the earlier part of the name <at first > designated as 'Rāja'<kivg>, and is also not-without the syllabic) tana' (at the end] <is also eternally-enduring>; and yet is it neither the king nor one eternally-enduring. 116 (A Cryptic Riddle is illustrated in-(What are they that abandon the man <their support, the mountain>despoiled of his wealth <mass of uprooted trees, branches, etc. > ] and advance towards one possessing wealth <the ocean? -the dreadful ones who attract all men to themselves by their multiform gestures <ripples >: they are not the cour. tezans (but are rather the rivers*] 117 (A Paronomio Riddle is illustrated in--] That (8.dhara or lower lip] of yours which has a name that signifies 'not earth' and which surpasses that the pra-vāla, ooral] which is styled 'pra-initiated hair': that makes me to-day, 0 thou of sweet voice, full of much eagerness. 118 (A Baffling Riddle is illustrated in-] The two lovers, turning their faces in opposite directions in anger, slept upon the bed; and continuing to sleep in the same manner they freely kissed each other's face in affection. 119 [Etymological Riddle is illustrated in-] People afflicted by the rays of the Sun,] the father of the enemy [Karna) of the son [Arjuna] of him [Indra] who was vana • A more straight-forward interpretation with the bidden referonos to 'wealth' which always seeks pot tbose that do not have it, but rather those that already have it, 18 also possible. 10 [Kavyddapka, Trans.]

·iii. 120 ) The Kūvyādarśa of Dandin [ 74 quished by the bird (Garuda), rejoice at the sky when covered with those ſolouds) that hold (the water, the enemy of that (the fire) which dispells cold. 120 (A Riddle with absoure container is illustrated in-] It does neither at any time touch the weapon nor the rounded bosom of damsels; and get this hand of some non-human being this tree called Gandharvahasta or Eranda > is certainly not fruit-less. 121 SA Riddle with both-container and contained-obsoure is illustrated in-) After having attained vioinity and secured co-operation in all functions with whom (=kena, reply kena by the head), and who (= kah, reply kah=hair) is it, that is ejected if seen at the time of dinner? 122 [An Intermixed Riddle is illustrated in-) If this army <alphabet> containing horses <the letters ha and ya > and elephants the letters ga and ja> and warriors <the letters bha and ta>be not mastered, then is our son, although kpowing the Immutable <alphabet> [by rote), quite stupid as being not expert in the dealings of sense sunacquainted with vowel-signs >. 123 (This contains intermixture of the Synonymio (form) with the form of the Deceptive; in this very manner is to be made out the method of commixture of the other species of Riddles. 124 END OF THE RIDDLES. [* Thus has been exhibited the general method as regards the Riddles, although their nature is hard to master. The methods concerning Queries and Replies and the like are to be learnt from the usage of the learned.] [* By [following] this well laid out path one gets his intelleot clarified and attains the knowledge of the easy and difficult styles of composition. For even though one were to exercise oneself in other branches of study one would not be capable of attaining this knowledge in the absence of this (path). ] END OF FIGURES OF WORDS # These extra stanzas are found in some M88. and la tho Madras odation af 1910.

·75] English Translation ( iil 135 [* The Merits and Defects of poetry should be studied by discerning persons Of these the Defects lead to failure, the Merits to suocess ] Senseless, Self-contradicting, Iterative, Dubious, Nonsequent, Defective-in-word, Defective-in-caesura, Defec. tive-in-metre, Defective-biatus ; 125 And Not-conforming to requirements of place, time, science, experience, pbilosophy or scriptures these are just the ten Defects which wise men should avoid in poetry 126 Whether the departure from original-position, or failure to assign proper-ground or apt-illustration be a Defect or not-this is on the whole & vexed question : what is the good of troubling oneself about it? 127 That is held to be Senseless which, as a unified-whole, yields no sense. This counts for defeat except in utterances of the delirious, of the intoxicated, and of the infants, 128 [For example-] The ocean is being drunk by the Gods; I am striken with age, here are clouds roaring; to Indra the [elephant] Airāvata is dear. 129 This would be a blameless assertion in the case of persons of discomposed minds. In other cases what poet 18 there that would employ this or the like? 130 In one sentence or one composition if the earlier portion conflicts with the latter by conveying contradictory senses, that is enumerated amongst the defects as being Self-contradictory. 131 (For example-] Kill the entire force of the enemy and win this earth, there exists no enemy to thee who art compassionate towards all beings. 132 There does exist a peculiarly-engrossed condition of the mind when even a self-contradiotory assertion is appreciated. 133 * An extra stanza given in the Madras edition as introductory to the treatment of the “Doshan" which are held to constituto & distipuf (lontb) Parichcbbeda, our 11. 126 11. 2 of Madras edition, ·ni. 134 1 The Kavyādarśa of Dandın ( 76 [For example How can attachment to another's wife be proper in the case of one of noble descent like myself ! — Ah! when is it that I can kiss her tremulous lip? 134 When a statement made earlier without qualification is again repeated verbally or in sense that is called Iterative. For example- 135 This girl in her longings is highly perturbed by these water-clouds that have the [black] colour of her hair: these lightning-possessing, reverberating, thundering Ones. 136 If, however, some sort of an extreme of compassion and the like is sought to be conveyed, then iteration is not & defeot: on the other hand it is an embellishment. 137 [For example-] She is being killed, that lady of lovely hips, by Cupid suddenly turning into an enemy; she is being killed, that lady all whose limbs are charming she is being killed, that lady of sweet voice ! 138 If expressions intended for the clearing of doubt give rise to doubt that is just the defect known as Dubious 139 [For example-] O thou friend with eyes agitated with the passion for seeing your lover that is dear to thy wish, the mother is in the distance <vicinity>: she will not be able to see <to tolerate > any such thing. 140 Such an expression, if ever used, does itself lead to doubt. This however would be just an embellishment and not at all a defeot in a case like- 141 I observe that that blameless beauty is overwhelmed with an affiliotion caused by Cupid <by no physical diseaso>, but is under the influence of just the unendurable BBason <just the God of Death >: what avails then our looking up to you? 142 This speech is dubious as to whether the lady is afflio. ted by Cupid or by the heat [of the season ]; the femalemessenger used this in frolio with a view to torment the youthful.lover.

·English Translation | iii. 152 3 1 2 If the sequence of enumeration be not conformed to in a subsequent reference (to the things), that the wise have declared to be the Defect entitled Non-sequent. 144 (For example-] The causes of the stability, creation, and dissolution, may, they protect you these sambhui, Nārāyana, and the Lotus born (Brahmadeva] 145 If however a special effort of some kind be made for the ready-comprehension of the reference in order, then in that case the wise have declared even the violation of the sequence as no Defeot. 146 (For example of the three, viz the abandonment of one's relatives, the abandonment of one's body, and the abandonment of one's country: the first and the last cause a long enduring affliction; the middle one causes momen. tary anguish. 147 Defective-in-word is that wherein ocours an employ. ment of words the usage of which has no warrant from grammatical rules and no sanotion in the use of the learn. ed. When there is a sanction from the use of the learned then it does not constitute a Defect 148 (For example-] "Avate (for Avatı) bhavate (for bhavato) bāhur mabim arnavasakvarim (for arnava akvarikām or better, arnavamekhalām) Mabārājan (for Mahārāja) na Jijñātā Dāstityåsām girām rasah II (Your arm affords protection to the earth with the ocean for its girdle: O great king, there is nothing to-be-ascertained (in the matter) in these words there exists no sentiment of any kind. 149 Approaching from (rather, unto) the Southern mountain the wind makes the mango trees charming with their coral (rather, tender) blossoms slightly shaken. 150 This and the like would seem an incorrect idiom to those whose intellect ig too dull to examine the rulings of the [grammatical treatises: but it does not nevertheless depart from correctness. 151 The separation of words at specific places in [the feet of) the stansas is known as Olosura; a composition lacking ·ear. iii. 152 ) The Kāvjādarśa of Dandin [ 78 this is called Defective-in-oaesura and it is jarring to the For example, 152 "Strinām samgiltavidhim ayam āldityavamsgo narendrah Paśyatyaklılshtarasam iha šishta irametyadi dushtami Kāryākargālnyayam avikalālnyāgamenaiva paśyan Vaśyam urvim vahati nripa iltyastı chaivam prayogah il (This king who is a soion of the Solar race watches along with experts the musical performance of undiminished flavour as given by these ladies--this portion 18 defective. And, this king, supervising the duties and delinquacies in their entirety and in conformity with the Sāstras, supports the docile earth-such kind of usage does exist)." 153 For, just as when the final letter (or letters) of a word are elided, the remaining are yet held to constitute the word, so too the portion of the word anterior to the syllable modified through coalescence (e. g. "Kārgākāryā"] is regarded 88 & complete word (for the present purpose). 154 Even so, however, poets do not employ what migbt be offensive to the ear, For example,"Dhvajini tasya rājñah keltūdastajaladetyadah 11 (The army of that king has lifted the clouds further upwards)." 155 Where ocours a shortage or excess of syllable or the incorrect disposition of the long and the short (vowels) that is called Defective-in-metre. this defect is highly reprehensible. 156 Indupādāh śrśırāh sprisantityūnavarnatā | Sahakāra. sya kısalayānyārdrānityadhikâksharaml(The cooling moonrays touch-this has & shortage of syllables-the blossoms of the mango that are moist-this has an excess of syllables)." 157 "Kámena bāņā nisätá vimukta Mrigekshanasvityayathagurutvami Madanabānā nisitaḥ patanti Vimekshapisvityayathilagbutvam il ·79 ] English Translation [ ili. 164 (Cupid has discharged sharpened arrows at the fawn-eyed ladies here long vowel is misplaced; sharpened arrows of Cupid alight upon the charming-eyed ladies-here a short vowel is misplaced)." 158 With the pretext that I do not intend to join the words together the leaving of a hiatus between words where it is not due to non-coalescent vowels is designated Defeotivebiatus. 159 (For example-] “Mandānilena chalatā angajāgandamandale i Luptam udbhedi gharmāmbho nabhasyasmadvapushyapili (The soft blowing breeze has removed, in this month of Srāvana, the up-rising drops of perspiration upon the round cheeks of the ladies and also upon our body)" 160 [* "Adhivyādhiparitāya adya svo vā vināśine i ko hi nāma sarirāya dharmāpetam samācharet 11 (For the sake of this body that is overwhelmed with diseases and disquietudes and that is to perish be it to-day, be it to-morrow, who indeed would think of acting in a way contrary to righteousness—[this is permissible according to some ).)"] “Mānershye iha sirgete strinām himaritau priye 1 Asu rātrishviti prājñair ājñātam vyastam Idrisam ! (Here in this season of Autumn, O beloved, in nights like these, the pride and jealousy of ladies dwindle away-this kind of non-coalescence is permitted by the learned)." 161 The country, mountain, forest, nation and the like; time such as night, day, and seasons; A rts calculated to achieve the ends of love, such as danoing, singing, eto. ; 162 The behaviour proper to all the movable and immova. ble creation in the way it is recognised amongst the people; Logic which consists in the science of excogitation; Scripture comprising the Vedas and the Smritis; 163 If in all these anything whatsoever contrary to the convention is put forth through a lapse on the part of the poet, that is called Not-conforming to country, eto 164 Extra stanza road in the Madras edition.

·iii. 165 ) The Kavyādarśa of Dandin [ 80 [Non-conforming to country and to mountain is illustrated in--] The Malaya-breeze is fragrant by reason of the contact with the camphor-trees, the elephants reared in the forests of the Kalinga country are of the size of the deer. 165 The Cholas comprise the bank-regions of the Kāverl river, which are dark on acoount of sandal-trees-guoh 18 the mode in which are put forth descriptions not-conforming to country and the like. 166 The day-lotus blooms at night, the night-lotus breaks open at day, the spring causes the Nichuls to blossom ; while summer is overcast with clouds; 167 The rainy-season is one where delightful to hear are the notes of swans, wbile the autumns are seasons when the peacocks get excited; the end of the cold-season is marked by a clear sun while the cold is the season when sandal-ointment is to be recommended 168 Thus in this manner has been exhibited the mode of non-conforming to time; we are [next] briefly enumerating the mode in which non-conformity with the Arts takes place. 169 The permanent underlying sentiments of the Heroio and the Amorous are wrath (rather, energy) and astonishment (rather, impulse to enjoy): bere is being chanted a melody consisting of all the seven Notes from which are excluded the non-accordant Notes 170 In a like manner may be brought out the discordance with all the sixty-four Fine Arts; the nature of these (sixty-four) will become manifest in the section dealing with the Arts. 171 The elephant shakes bis main; the horse has pointed horns; this castor-oil plant has a weighty trunk; this catechu plant is light-in-tissue. 172 This involves a conflict even with ordinary experience and this is reprehended by all. We will now exhibit oonfliot with branobes of philosophy called Nyaya eto, 173 ·81 ] English Translation ( i. 183 Truly has the Benevolent (Buddha) declared that all composite-things are non-transient. and hence it is that that chakord-eyed lady still abides in my heart. 174 Aptly it is that the followers of Kapila announce ori. gination-from-nonexistence <prosperity of the wicked> ; because we do notice the prosperities of only the wicked person8 175 In this manner everywhere is to be seen the mode of conflict with Philosophies, now is being declared the method in whiob conflict with Soriptures takes place. 176 These Brahmins, who have not performed the ceremony of laying on the Fires, are employed in the celebration, at the birth of sons to them, of the Vaisvānarly & sacrifices considering as they do the non-failure in their (religious, duties as their true] ornament 177 This boy, although his rite of Initiation was not performed, learnt the Vedas from the teacher; for crystal, naturally pure, does not stand in need of any purification <purificatory ceremony >. 178 All confliot whatsoever of this kind at times, through the skill of the poet, gets beyond the range of defects and oomes to be classified as an excellence. 179 (For example- In consequence of the prowess of that king his gardens became the home of the heavenly trees wbose foliage furnished freshest garments (to ladies). 180 [Or-) A grating-wind presaging destruction of the kings was blowing, shaking off the sprouts of the (autumnal] Saptachchbada trees along with the pollen of the (rainy-season ] Kadamba flowers. 181 [Or--] The singing, with its dis-harmonious blending of tunes as uttered by the mouths of their female compa. nions who were frightened by the propelling of the swing, served to inflame the passion of the lovers. 182 (Or-] This love-lorn youth, tormented by the affiiotion caused by separation from his lady-love, regards fire as cooler than the lunar rays. 183 11 [Kavyadarsa, Trans ) ·iii. 184 ) The Kūvyādarśa of Dandın [ 82 [Or-) Although fit-to-be-known thou art unknowable. although yielding fruit thou hast no fruit [to win). although one thou art multiform: homage to thee who dost assume all forms! 184 [Or-] The daughter of the Panchāla king, although wife of the five sons of Pandu, became the foremost of chaste ladies : such is the Divine dispensation 185 Thus then, the Embellishments of Word and Sense, the easy and difficult Styles of Composition involving deft. word-grouping, and the Excellencies and the Defects of poems have been so far briefly exhibited 186 A person exercising his intellect along the method exhibited by the above prasoriptions, and by his conver sations that are in striot consonance with the requirements of) Excellences and Defects, having [attracted) many a wine-eyed lady seeking his company,-he, like a blessed youth that he is, secures enjoyment and wins fame 187 Of Kāvyādarśa (Mirror of Poetry), the work of Achirya Dandin, here ends the Third Parichohheda entitled the Seotion on Word-embellishments and Defects. HERE ALSO ENDS THE TREATISE ·CORRIGENDA 1 11 1l 159 1 210 111 111 (1) FROM THE TEXT 24-For विष्क्रियादोषो read विकिया दोषो 63 --- For वैरस्यायैव read वैरस्यायेय 73 - For "दुदधरिति read 'दुदधेरिति 31 - For °प्युद्धवः read °प्युद्भव 1 148 -- For °निष्ठवस्तुनि read °निष्टवस्तुनि Fol वय read वय I 193 - For THT read CH - For अनल्पा° read अनल्प 11 213 — For je read get 11 232 For बक्त्र read वक्त्र 11. 274-For 'मम्भ प्रविष्टाया read मम्भः प्रविष्टाया 11 311 --- For y read #: 11 313- For व्यतिरकादि read व्यतिरेकादि 11 344- For संवेय read सैवेय 34-For साल लं read सालं सालं 38-For कात्स्येना read कात्स्न्यैना' 41-For फर read फलं 46 --- For विनयानयायत read विनयानयायते 46-For नयानयास्ता° read नयानयास्ता 49-For मता धुनाना read मता धुनाना' 69-For क्ष्वमित्रां° read स्वमित्रो 81-For मानोभव read मनोभव 85-For °विहिति व्रत° read °विहितिव्रत' 86 — For at araft read sierat 90 -For सङ्गत 111. second st after 124 For सुकर दुष्कर' read सुफरदुम्कर' 111 third st after 124 For यथा ॥ read यथा ॥] 11. 131 -- For gafarrº read gaigtº 11. 145-For 'योनमः read प्यानय. ill I5I For 'महात्म्य° read °माहात्म्य ii. 16r-For रात्रिष्याति read रात्रिष्विति ii 175-For 'वर्णते read 'वर्ण्यते 11. 180-For प्रभावेन read प्रभावेण 111. 184 - For ya lº read tº 111 111 111 111 111 111 111 111 111 मङ्गत read - - ·4 The Kāryādarśa of Dandin (2) FROM THE TRANSLATION 1 ܢܝܙ 1 1 1 11 21 11 140 11 142 11 170 43 - For garlnd read garland 56 - For 'stabaka vibhrame read ºstabakavibhram 57 - For Manmano manmaº read Manmano manniaº 61 For condusive read conducive 72 - For pakshah kshapitah read kshapitah pakshah 11 6, 145, 149, 323, 329 and the heading after 327 - For Hinderance read Hindrance For their read there For Since read since For condiction read condition For (discordant read [discordant- . 175 For spotled read spotted 11 202 – For Contradictory read contradictory 11 216 For abun bance read abundance 11 225 - For towards read towards its 11 229- For anoidt 5 read anoint- 11 233 - For' annointing' read ' anointing' 11 246 - For others read other 11 253 — For having a read having an 11 261 For their read there For Creater read Creator 11 349 - For confering read conferring 11 365 -- For decription read description 45 For elixer a read elixer as 46 -- For vinaya 'nayā read vinayā 'nayā 49 For “Matā read Matām 81 - For lāmā read rāmā 82 - Foy jungling read jingling 85 - For 'vrataratayah read ºvrataratayalı 90 For blamless read blameless 92 - For [inficting) read (inflicting] 111 94 — For slro read sîro 111 104 - For manifst read manifest Ill. III For (khātayah) read (khātayah) 111 148 - For employments read employment 111 152 For stanzes read stanzas 1 156 - For syllable read syllables 11 325 111 111 111 111 111 111 ·INDEX OF IMPORTANT AND TECHNICAL TERMS IN THE KĀVYĀDARŠA* NB-Words are arranged alphabetically After the uninflected form of Sanskrit words follow the senses in which they occur in Kāvyādarśa Next come the inflected forms (arranged in the order of declension) with the citation of their references Last are given references to the word when occurring in a compound as its first member (-0), or as its middle member (0-0), or as its final member (0--) The number within the semi-circular brackets, wherever it occurs, denotes the number of the sense given previously atı sayopamā transcendent simile Il 22 atyukti exaggerated statement -hi 92 akshara (1) immutable (2) letter (3) syllable (4) word -o (1) and (2) 111 123 0-0 (3) 1 43 , 1 69, (4) 11 144 agrāmya not coarse —ah 1 64 agrāmyatā non-vulganty, absence of coarseness i 62 , 11 292 anga constituent part --ānām adākshinātya non-southerner -ānām i 80. adbhuta marvellous 0-0 1 287. adbhutopamā hypothetical simi- 11 79 le u 24 -ah 11 79 angāngibhāva relation of the adhikatā superiority 11 51 whole to the parts --011 360 adhrkāra power, capacity. -ah angin the constituted whole 1 8 adhyāsa super-imposition - atırūdha highly conventional 1 97 0-āt i 94 -am i 46 anatıkrama non-transgression. atı saya (1) excess, extreme (2) 04āt i 85 hyperbole, transcending hyper- ananvaya self-comparison. - bole - (2) 1 220. 0-0 11 358 (2) u 5 04h (I) 111. 137 anādarākshepa slighting interdicatı sayoktı hyperbole. - 11 214. tion -hu 140. * I have to particularly thank Mr R D Vadekar for the pains he took with this Index ·86 The Kāvyādarśa of Dandın 11 0 111 -m 55 Aanischaya indecision -0 111 143. apabhram satā possessing a deaniyama irregularity, absence of based form -tayā i 36. restriction -h1 25 aparavaktra name of a metre. aniyamopamā unrestricted simi --In 1 26 0-yoh 1 27 le 11 20 apahnuti concealment -h anishthura not harsh 0 i 69. 304 0 11 309 0-0 11 6 anukampā compassion apāda not divided into metrical 137 foot hi 23 anugati comprehending -h 11 apārtha senseless 111 125, 115 128 anujñā permission -011 136. apūrvasamāsoktı novel inclusive anurñākshepa permissive interasserion 11 213 diction -h 11 136 aprastuta prasam sā vicarious anuprāsa alliteration -hi 54, praise u 340 - am i 58, 60. —āt i 54 aprastutastotra vicarious praise 01 44 0-ā i 52. 0-611 6 anubhava cognition 0-01 55 abhāva annihilation ---āya ii 24 anuśayākshepa interdiction-with- O 11 239 remorse -h11 160 abhavalielu negative cause anuddeśa subscquent reference vah 11 246 -h11 273 , 111 144 abhidhūna assertion -m ili 130 anūrnita not exalted. -hi 71 abhinnaknya with identical acaneyatva not bringing over --m tions -h 11 314 1 73 anyathānupapattı inexplicability abhinnapada not having distinct words ni 11 310 yā u 218 anyonyopamā mutual simile abhiyoga application -h 1 103 abhūtopamā abnormal simile u 38 apakrama non-subsequent -m 111 125 abhyāsa (1) repetition (2) conapakramābhidhāna entitled non stant study -h (2) 11 368, subsequent --m 111 144 (1) 111 67, 70 apabhāshanavat like incorrect abhyudaya prosperity --011 303 idiom 111 151 amātrika (1) not expert in the apabhramsa (1) composed in the dealings of sense (2) unac- Apabhramša language, (2) the quainted with the vowel signs. Apabhramśa language, (3) lite -h (1) and (2) 111 123 rature in the Apabhramsa lan- ayrıkta incompatible -mu 78 guage -h (3) 1 32, (2) 1 36, ayuktakārın doing what is dis- (1) 1 37 cordant 7 u 170 11 18 ·Index of Technical Terms 87 111 137 1 43 1 111 111 ayuktayuktakārya having a com alamkāratā being a figure, figupatible and incompatible ef rativeness ---tayā 11 237, 287, fect -yai 11 253 367 ayoga incompatibility 0-au 11 alamkriti embellishment, figure 76 (of speech) -h 11 8 0M 1 19 artha (1) meaning, sense (2) ob alamkriyā cmbellishment, figure ject, thing (3) desircd end (4) -āh 11 3 0–āh111 186 diction ----h (1) 1 64, 71, (2) alpaprāna faintly-aspirated- 1 89, (1) 11 233 - sya (1) 1 73, (2) 11 150 --the (I) 1 62 Avantī n of a princess 11 280. - (4) 1 50 , (1)1 62 (-0 (1) avayavarūpaka metaphor of con- 1 10, (3) 1 30, (2) 11 308 , (I) stituent paits -m 11 72 186 04h (1) 11 430M avayavirūpaka metaphor of con- (1) 1 45 04thena (1) 11 43 stituted whole --Mi 11 74 arthakalpanā attribution of sense avina svara non-evanescent -ān 102 111 174 arthatah in the sense 111 135 aviruddhakriya with non-conarthavyaktı explicitness of meantrary actions —h 11 314 ing -hi 41, 73 avirodhin not involving self-conarthāntaranyāsa corroboration tradiction —dhi 11 315 --hu 4, 169 aviscsha non-qualification, nonarthāntarākshepa interdiction by specification --ena 111 135 corroboration -h 11 166 avishama not uneven -m 1 47 arthāvrıttı repetition of sense avyapeta contiguous --m 111 19. -h11 116 avyapetavyapetātman both conardha half — yoh 111 78 tiguous and non-contiguous. 111 73 -mā ui I, 33 ardhabhrama half-whirl aśāstrajña ignorant of science. 80 -h18 ardhābhyāsa repetition of a half aśishteshta not appioved by the -hul 53 learned -h 111 148 alakshana not deserving a defi asadudbhūti origination from nition -āh 111 107 non-existence -h 111 175 alamkāra figure of speech, emasamdhāna not joining m 111 bellishment --hi 62, 71 , 11 159 268, 340 , 111 141 –āh 1 10, asamastākhya being out of com- 117 -am 11 300 -ān 11 I, -m 11 68 -0113, 116, 214, 214, 220, asambhāvitopamā simile of im- 3600-01 50 , 11 359 possibility 11 39 -M 111. pound ·88 The Kávyādarśa of Dandın 11. 37 11 23, 28 m asādhāranopamā absolute simile aropya having superimposed 11. 70 ahetuka without any cause. --m āryān of a metre. -01 27. 11. 202. āvrittı repetition -h 111 I, 73. ākāra posture 0-011 260. mi 61 0-2 11 4 ākshipta interdicted -h11 130, āśamsana expression (of a good 162 -ā 11 122 —M 11 128 wish) --M 11 357 ākshepa interdiction -h 11 5, āśaya hcart-sya 11 300 O 11 120, 158, 168 0-011 313. 303 āksheparūpaka negatived meta āśis benediction --ih i 14, phor m 11 91 7, 357 ākshepya thing to be interdictāśirvachanākshepa benedictory ed -0 11 120. interdiction -h 11 142 ākhyāna narration -01 28 āśārvāda Lenediction -11 142. ākhyāyıkā chronicle i āśraya container, substratum -yāh i 26 -01 23, 81. -0 111 104 0-h11 129 āgama (1) scriptures (2) treatise āśrta contained 111 104 -h (1) 111 163 Lena (1) 111 Ikshvāku n of a king 011 345 153 - (2) 1 367, (I) 111 ingita jesture 0 11 260 176. 0-0 (1) 111 126 itihāsa history 01 15 achrkhyāsopamā simile with a suppressed judgment 11 32 Indusekhara the god Śiva --h u āñaneya Hanumant -yena 11 uchchhvāsa a sub-division -h 302 ādıdīpaka initial illuminator utkarsha eminence -h i 78 -ānr 11. 102 ādidipakatva being initial illumiuttara reply ao 111 124a nator -e11 108 utpādana production -m 11 252. ādırāja king of yore-0 15 utprekshā poetic conception 11. ādhikya excess -01 192 Ore 234 m 11 221 -0 11 226, 111 156 359 0- 11 5 ānantya infinity -āt 11 120 utprekshāvayava a variety of ānarthakya futılty-01 148 poetic conception -h11 359 āpta authority, reliable source. utprekshitopamā fancied simile āhi 32 -01 227. 11 23. ābhira a tribe, cowherd-01 36. utsāha enthusiasm -h11 285 amnāta, said to be, regarded udātta exalted -Mu 300 m 1 161 11 6, 303 ārochaka aversion - 11 239 udāra pregnant in meaning. -M āropita ascribed. - aiḥ w. 100. 1. 79.-01 76. 12 1 27 ·Index of Technical Terms 89 11 116 a -m --M 111 son -11 11 udāratva pregnancy (of expres- ubhayavyatıreka double-sided outsion) -mi 41 maching --h 11 184 udāharana example-011 171 ubhayāvritti repetition of both uddishta enumerated -ānām (the word and the sense) -h 11 273 uddesa enumeration - 11l 144 ūrjasvin vigorous --Svē 11 5, 294 udbhava prosperity –āh 111 175 ekarūpatva identity -m 111 78 unmi sya mixed o- -01 47 ekavyatireka one-sided out-matchupabrimhana amplification --M ing -h11 182 11 237 ekāngarūpaka metaphor of upamā simile 11 4, 14, 66 -āsu single constituent part 11, 309, 358, -0 11 51, 227, 11 76 313 0-ayoh 11 96 ekārtha iterative 125, upamāna standard of compari 135 -In 11 227, 230 ekārthadipaka illuminator of the upamānopameyatva the relation self-same object II2 between the subject of com ojas floridity 1 41, 80, 83 parison and the standard of ojasvin florid -nih i 83 comparison m 11 228 osara a variety of Apabhramsa upamāpahnuti concealment bascomposition 01 37 ed upon simile -0 h 11 309 kantaka (1) thorn (2) horripilaupamärūpaka comparison-meta tion --h (1) and (2) 11 320 phor --- M11 358 kathā (1) incident i 15 (2) tale upamāvyatirekākhya called com- 1 28, 37, -āsui 26,0-ei 23. parison (-metaphor) and con kartrı agent -rtā 11 230 0-kah trast(-metaphor) -m 11 88 11 233 upalobdh comprehension karman object il 240 shu 1 8 0-mā 11 233 upaślesha na besmearing 0-0 11 Kalinga name of a country 233 111 165 upasūchana indication - nāt 11 kalā fine art -0 111 171 150 kalāparıchchheda section dealupādāna use 0-āt 11 ing with arts e uli 171 upāya remedy 0m-am 11 152 kalāvirodha non-conformity with upāyākshepa interdiction with a the arts --sya iu 169. remedy --m11 152 kavitva poetic power ei 105 ubhayachchhanna riddle in which kānta graceful -mi 85, 88. both (the container and the kāntı grace 0-01 41. contained) are concealed -ā Kāpila follower of Kapıla --arh 111 105 111 175 12 Kavyādaréa, Index -тап? II2 ·90 The Kāvyādarśa of Dandın 1 80 - 11 253 0 111 166 ) kāraka efficient -0 11 235 kriyārdhi method of making. kārana cause -M 11 132 11 mi 9 199, 0-01 203. 0m 1 134 krodha wrath -h1 283 O 11 kāranākshepa interdiction of the 170 cause -h u 132 gadya prose m 1 II, 23 sya kārunya pathos ---m 11 287 kārya effect-sya 11 134, 252 gadyapadyamayi partly prose kāryākshepa interdiction of the and partly verse 1 31 effect --h 11 134 guna quality, mcrit, excellence kāryānantaraja born subsequent -hi 76, 11 32, 231, 272 -au to effect 11 184 -āhi 29, 42 , 11 343 , kālavu odha non-conformity to 111 124c (twice), 186 -am 11 time -Sva 111 169 364 -01156, 323, 111 179 Kāverī n of a river 0-011 13, 97 0-yoh 111 187 kāvya (1) poetry (2) poem, poetic gunadosha excellences and blecomposition --- m (2) 1 19, 20 mishes -āni 8 -ānām (1) 1 10, 111 186 guru (1) long (2) heavy -ūnām (1) 1 7, 111 1240 --eshu (2) 1 (1)1 81 --O (2) 111 156 36, (1) 11 13 , 111 126, (1) 11 grihya partisan o-homāni 11 364 - (I) 1 12, 50, 76, 100, 222 0-cshu 11 179. 103, 111 go word gauh 1.6 kāvyalakshana treatment of gomūtrikā "bull-urination poetry ---In 1 2 78 kulaka group of verses forming goshthi (1) assembly, gathering one utterance with one prin (2) conversation -O (1) iu cipal verb -am 1 13 97 -shthyām (2) u 263 0- krichchhi odya ufficult to pro shu (1) 1 105 -mi 72 Gauda name of a people and their komala soft orei 69 country --arhi 44, 54 kośa anthology-hi 13 1 42, 92 krama (1) order, relative order, Gaudi name of a Prāknit lansequence (2) method -h (1) guage i 35 11 5, (I) 11 273, 329, (2) 111 gaudīya belonging Gauda (qv) 96 ---O (I) 111 146 -arh 1 46 0- yau i 40 kriyā action, activity, function gauna secondary, subordinate -11 IIV O 011 13, 97, 230, 011 88, 162, 254 323 gaunavritti secondary -01 95 krzyāpada verbe 11 230 gaunārtha secondary sensekriyāpeksha depending on action 111 100 gaurava greatness 0-m11 303. 111 0 nounce ā 11 240 ·Index of Technical Terms 91 11 99 O -01 I 0 --hi 33 II vah 11 271 grāmya coarse, vulgar -h 1 63. jñāpaka probative -h u 24I. -m 1. 66 -01 95. 0-kam 11 235 grāmyatā coarseness i 65 jñāpakahetu probatory cause Chakravāla n, of a mountain -tavah 11 246 jyotis light-h1 4 chatūpamā cajoling simile 11 35 dambara pompousness 0-2014 chaturodātta clever and noble 1 50 1 15 tattvākhyānopamā simile based Chaturniukha the four-faccd God upon statement of fact 1 36 tattvāpahnavarūpaka metaphor chaturvarga fourfold end of negated reality --m 11 95 1 15 tatsama analogous (language) chatushpūda consisting of four teet 1 tatsahaja originating simultanechampū a particular composiously (with the effect) --- 11 tion -ūhi 31 253 chātu coaxing expression -tatadbhava derived (language) -h 1 33 chätukāra agreeable speaker tinanta verb-tena 11 227 -ena 11 124 tulyadharnia common quality chātukāritā coaxing manner 11 --011 15 272 tulyayogitā equal pairing 11 6, chitrahctu diverse cause -tavah 330 11 253 tulyayogopamā simile of pairing Chola n of people —āh 111 166 11 48 chhandovichiti metrical compen- tejasvin vigorous-su7 11 275 dium -vām i 12 traikālya the thrce divisions of chhalita pantomime 0-01 39 time -0 11 I 20 Jahnukaryā the Ganges 0-0 11 dakshinūdri the southern moun- 81 tain --dreh 111 150 gātı (1) genus, species, class (2) dakshinātya southerner -āh i of a figure (class-por 60 trayal) (3) a metre which de dipaka illuminator -am 11 97 pends upon the number of --ke 11 115 -0114, 116 syllabic instantsh (3) 1 II, dipta grand ---mi 72 1 28, (2) 11 8 — (I) 13, Duhsāsana p-h11 282 (1) 11 323 0-tayah dushta blemish-mi 7 (I) 1 28, 11 198 0--tinā (I) 0-tinā (1) dushpratāti unpleasant cognition. 11. 164 name 97 0 -01 66 ·92 The Kāvyādarśa of Dandin ena 1 107 -eshu 11 30 dūrakārya producing effect in a namaskrzyā salutation 1 14 distant place --h 11 253. naya branch of study-m 111 düshana blemish -āya 11 51. 124b (twice) drshtānta apt-illustration. 0-0 nātaka drama 0-1 31, 37 111 127 nāmāntarta synonymic 111 102 devarāja lord of the gods -h nāmāntanıtāmı śrā intermixed 11 53 with the synonymic (form) 111 dešādivirodhin non-conforming 124 to countıy etc-dhi 111 164 nāyaka hero -mi 21. deśā provincial (language) 1 33 24 (twice) -01 220-mi 15 dosha blemish, fault, defect -h 0-01 17 11 32, 127, 137, 141, 156 --āh nidarśana illustration -M 11 348 111 124c (twice), 126, 186 ---am 0-e11 6 111 144 –ăn 111 nindopamä сondcmnatory simile 111 131 -0 111 179, 187 11 56 0 --h 1 24, 69 nibh rita cryptic 111 102 doshābhāsa appearing as fault niyatasthāna whose place is de- --h 11 272 –āh 11 343 cided -M 111 152 dravya (individual) thing or subniyama restriction -h 1 83. stance 0-0 11 13, 97. niyamavat having restiicted predharma quality, property, characdication oãn 11 314 teristic-h 11 228, 229 –āh 211 m 11 130 niyamāksheparūpoktı having the form of an interdiction of -mena il 164, 182 _marh 11 restricted predication -h 11 114 0-011 213, 228 , 111 102 0-5 11 16 o-hi 93 - mā- 315 nám i 97 niyamopamā restrictive simile 11 dharmākshepa interdiction of a 19 quality -h11 128 nirnaya decision, clearing - 111 dharmin one possessing a quality 139 or property--mi 11 130, 229 nirnayopamā determinative sidharmopamā simile with a quality 11 15 nirvartaniya object-to-be-origidharmyākshepa interdiction of a nated -sya il 241 thing having qualities -h11 nirvartya to be originated - 11 130 240 dhishnya sanctuary, abode 0-m nivartana negation -āt 11 134. I go Onāt u 213 nandana Indra's garden. -O11 nivritti cessation --ttau 11 237. 290 nivedana indication o-11 244. 11 an 11 I mile 11 27 ·Index of Technical Terms 93 nishkraya redemption, avenging parava šākshepa dependent inter- -āya 11 223 diction --h11 150 neyatva act of bringing over parasparopakārıtva mutual subin 1 74 servience -M 11 365 naisargikā inborn i 103. parāyana mainstay, last resort nyagbhūta submerged --h 11 M 11 210 230 nyasana putting forth -911 11 46 parāhata opposed om 111 131 nyāya (1) law, rule (2) philoso- parimānavritti concise manner phy (3) Nyāya philosophy (4) -ttyā 11 368 Logic (5) (sımılaı) standard parıvrıttı barter -h 11 7, 351 --h (4) 111 163 -0 (3) 111 173, tteh 11 355. (2) 111 176 0-0 (1)1 75, (2) parhārıkā restrictive 111 104 111 126 0—m (5) 1 78 parushā desperate 111 100 nyāsa putting forth --hu 169 parushākshepa ruthless interdicnyünatä shortage -0 111 156 tion pada word paryayokta periphrasis --m 11 5, 111 100 - słu i 55, 111 159 295 66, 111 148 0---dena 110 (twice) 0-aih 11 204 pāda mctu.cal foot-sya 111 67 padachchheda separation of the --yoh 111 51 --deshu 1 55 words --111 111 152 111 73 padatva being a word --m 111 pādādıyamaha initial chime --m 154 111 19 - 111 37 padasa mtāna succession of words pādābhyasa repetition of a foot - h 11 144 ----11 111 154 -aih O 1 11 . 0 -hi 23 Ch 111 53 pada samdhi coalescence of words nā 111 98 padāvalı series of words i -h 1149 IO, 111 99 padūvrittı repetition of words h11 116 padāsattı juxtaposition of words -hi 52 punarukta reiterated -h 111 137 Pulomāri Indra paurastya eastern – i 50, 83 prakalpita manipulative 11 IOI. pragnhya non-coalescent vowel 111 159 pratiñā orginal position - 1. 126 pratinidhi substitute, representative omhil 177 pratibhā genius i 103 pratibhāna genius -mi 104 pratiloma reverse m 11 73 paddhati style, method o--hi 50 , 111 148 padya metrical (composition), poetry -M1 II (twice) --ye 1 80, 83 01 13 paddhati style o-hi 76 ·94 The Kāvyādarśa of Dandin 111 73 le 11 34 O 1 47 1 prativastūpamā simile based prāgabhāva antecedent negation upon the correspondence of -01 252 types 11 46 prātilomya reverse order ena pratishedhopamā inhibitive simiprāpya (thing) to be reached. - pratila cognised -4 11 180 11 240 pratītı si nse (perception) -h i prekshā seeing -01 39 75 -01 45 , 11 182 04h preyas the joyous -ah 11 5,275, 11 46 279 pratīyamāna to be inferiod - phalotpattı iesult 0-tteh 11 148 11 16, 189 bandha structure -ah prapañcha prolixity --O 111 38 -eshu 1 47 0 1 69 prabandha (1) any composition, bandhagaurara compactness of (poetic) composition (2) treat stiucture -āti 44 ment-e (1) 111 131 ---O (1) bandha pārushya toughness of 11 364 0-2 (2): 12 Stiuctuit mi i 60 prabhutvākshepa authoritative bahuvrīhi adjectival (compound) interdiction -h11 138 -h 11 61 prayoga use, employment usage bahūpamā multiplex simile 11 40 -h 111 153 —ān i bimba icflicting-object 0-mi 5 54 —eshui 11 171 246 bābhatsa abhoirent -0 11 287 254 0h 111 148 0--āt 111 Buhatkalhū a work by Gunā- 99 dhya --ām i 38 pravnit behaviour ----h 111 163 bodhini awakening 0-1 55 prasam sopamā laudatory simile Brahman ( icator -nah 11 31 11 31 bhayānaka terible 0-kah u praśna query - 111 124a 287 prasāda lucidity-h 1 41 bhavishyadākshepa interdiction of prasādavat lucid i 45 what will happen --h 11 126 prasthāna mode, method --m bhāratã words 111 133 1 92 , 111 166, 176 bhāva (1) intuition (2) emotion prahelıkā uddle 111 96 -āh ini (3) intention, fancy (4) sentiment -- (1) 11 364. -au (4) 111 170 0-0 (2) 1 18, (3) 1 30 Prākrita (1) the Prākrit language bhāvanırvritti suspension of love. (2) compoesd in Prākrit (3) -ttaye 11 270 Prākrit literature am (3) 1 bhāvābhāvasvarūpa having the 32 (1) 1 34, 35, (2) 1. 37 -0 the form of existence and non- (2) 1 37.0 (1) 1 33 existence --sya 1l. 252 2 e 11 -O 11 111 124a 0-āh 97, 106 111 106 ·Index of Technical Terms 95 bhāvāyatta based on intuition -M 11 366 bhāvika sustained intuition --M 11 7 mālādīpaka stringed illuminator -m11 108 mālopamā stringed simile. - 11. 142 māhātmya magnanimity-M 11 303 misra mixed II, 32 -āni i 31 miśraka mixed - 111 1 37. muktaka a detached stanza -ni] m 1 13 bhāvikatva sustained intuition ---M 11 364 bhāshā language. --bhih i 38. bhinnapada having different words - 11 310. bhinnavrıtta defective-in-mctre -M 111 125 bhūtabhāshā language of the ghosts -01 38 bhcda (1) difference, distinction (2) variety ---h (2) 11. 181, 185 -āh (2) 11 171, 111 38, 53 120 -sya (1) 11 182 - (1) 180, 192.0-ū (1) 11 66 bhedaka distinguishing-in 196 --au 11 184 madhura sweet – 1 51. madhyama temperate 0-āh i 47 Malaya name of a mountain --āt 11 ----111 111 11 1 49 mukha opening 0-11 14 mukhya original, puncipal - 162 0-yoh 11 188 un ūrchhūkshepa intuidiction with fainting-hui 156 inndu soft 01 47/twicc) mohopamā simile of illusion 11 25 vati Citsura 152 yatıbhrashta detective in caesura -I11 111 125, 152 yatnā) shepu intu diction with an effort -h11 148 vathäsa mhiva iclative order-mi 11 273 yamaha chime ---1111 01, iu I, 73 -āni 111 37 -O 11170 0- unāru 111 2 yātrā departure 11 143, 150 --O 11 155 0-011 138 (--11 142 vuklarū para compatible mctaphor -1 11 77 yuktātman of accordant disposition--trā 11 170 yuktāyukta accordant and discordant -h 11 170 yoga compatibility -01176 yogamālātmikū made up of a series of etymological interpretations 111 104 O mahākāvya long pocm-mi 14 mahāyamaka great chime - 111 70 Mahārāshtra n of a country -01 34 mādhurya sweetness --m 1 41, 68 -sya i 102yye 11 292 mārga mode, style, way, couise -h 1 21, 40, 111 169 –āh 111 124a --ena 11 187 --yoh i 67, 75 -01 IOI, 11 3 O-h 11 1240 , 111 170, 186 0 124b 0-sya i 42 04ānām 9, 0e 111 96. Omeshu 11 254 am 111 ·96 The Kāvyādarśa of Dandın 11 yogyā exercise 0-M 11 243. (1) 1 14 0-0 (2) 11 226, 367 ratr love -h11 281 111 105, (3) 11 148 rasa (1) sentiment (11) passionate lakshanā grammatical operaness -h (1) 1 51 , 11 292 , 111 tion 11 100 149 –am (1) 1 62 (1) 1 lakshya (1) literary composition 18, 51, 52, 64, (2) 11 275 (2) (grammatical) form -eshu rasavat impassioned 11 5, 275, (1) 11 309 0-0 (2) 111 148 281, 283 laghu (1) light (2) short -ūnām rasavattā impassioned character (1)1 81 0-0 (2) 111 156 11 292 lambha a sub-division 01 27 vasavattva impassioned nature laya tune -0 111 182 ---1 u 285 lava the slender -h 11 5 rasāvatta depending upon senti Lāti n of a language i 35 ments 0— 11 292 lāsya dancing-01 39 Rātavarman n of a king -nah linga gender -011 51 11 279 lesa (1) slender (2) little -h 11 rūdha (1) curient, conventional 265 -ni 268 0-au (2) (2) reported, well-known --m 11 235 (2) 11 127 —ena (1) 111 98, lokayātrā the course of wordly 0-m (1) 111 164 life, normal run of things rūpa nature 0-0 11 265 13 rūpaka metaphor --IN 11 4, 66, lokasīmā the way of the world 78, 79, 84 -eshu 11 358 01 93 , 11 214 88 laukrkārtha ordinary possibility 313 01 85 vaktra name of a netie rūpakarūpaka duplicated meta- -0 1 27 phor 0-M 11 93 vakroktz artistic composition rūpana description, (inetaphorical) description -- nātii 79, 95 --h 11 363 --shu 11 363 vachana number (grammatical) rūpanārūpana (metaphorical) description and non-descrip- O-O11 51 vanchita deceptive 111 tion rūpabheda distinction in colours 111 124 -01 8 varna (1) consonant (2) syllable roshākshepa wrathful interdic- -ānāın (2) 111 78, 156.-O tion -h11 154. (2) 111 I 0-0 (2) 1 47 0 raudra furious -011 283 ānām (1) 111 83 lakshana (I) definition (2) charac varnāvritti repetition of syllateristic (3) formation m bles -hi 55 -01 88 O 11 11 Om 11 68 1 26 -O 11 79 98 ·Index of Technical Terms 97 0-0 111 vrkāra modification 154 vikārya to be transfermed 240 vikriyopamā modificatory simile e il 11 41 vartamānākshepa interdiction of what is happening -h 11 124 vartman way, style --nah i 92. 0_nā 11 142 vastu thing, object 11 46, 168, 205 -nah 11 169 --noh 11 180 -ni i 51 0-0 11 265 0-nah 11 205 vastunurdeśa naming of the main theme -hi 14 vastuparvan segment segment of the theme —nām u 365 vastūpamā simile between things 1 16 vākya sentence -yoh 11 102, - 11 97 Dejli 131 vākyamālā string of sentences 11 108 vākyārtha sense of a sentence h1 43 , 11 IOI -ena 11 43 vākyārthatva sense conveyed by a sentence ena i 66 vākyārthopamā sentence simile vijñānahetuka, due to (ready) comprehension o-h 111 146. vidura n p --h 11. 277 vidyā knowledge, science 1 vinimaya exchange. -h 11 351. vinyāsa arrangement, grouping. 0-01 47. viparyaya opposite, reverse_h 1 42,11 170 vparyāsa contravension -āt 11 17 viparyāsopama reversed simile 11 17 vibhāvanā cause-searching, presumption 11 4, 199, 204 vabhūvya to-be-presumed --m 11. 199 vibhūti affluence --eh 11 300 viruddha contrary (metaphor). -m 1 84 viruddhakarman with contrary actions -mā 11 314 viruddhārtha self-contradictory, -ā 111 133 viruddhārthatā self-contradiction. --ta yā 11 131. viruddhārthadīpaka illuminator of contraries -т 11 ӀӀо mrodha conflict, contradiction. -hu 333, 11 173 (twice), 179 6 Ohu 171 0--sya iu 176 (twice). nodhaoạt incompatible. Joãn 11 170. 11 43 0-0 vānmaya literature -mi 5, 32, 11 363 vāch composition. -ām i 9 vāchya the expressed sense-sya 11 292 vārtā inquiry ou 85. vāsanā latent impression 1 104 vira heroic - 111 170 vērarasa heroic sentiment 1 285 vikalpa variety, (different) arrangement -h w 33 –āh n. 168, w 19 —ānām 11. 2, 96, 115 0-sya 111 37. Omānām u 260. 13 [Kavyadarsa, Index] ·98 The Kāvyādarśa of Dandin 01 88 1 29 virodhin involving self-contra vrittākshepa interdiction of what diction -dhi 11 315 has happened -h 11 122 virodhopamā simile of opposition vritti (1) way, mode (2) condi- 11 33 tion (3) life (4) power--h (2) vivakshā desmie of mentioning, 11 221 O_o (1) 11 254 Omh describing 11 202, 214 (3) 11 342 0-tyā (4) 1 66 višesha (1) special characteristic vya nga rhetorical modes and (2) effectuation through hin then distribution 0-0 11 367 drance -sya (1) 11 214 -0 Vrshadhvaja the god Śiva - h (1) 11 323, 333 0-āh (2) 11 6 1) 12 višeshana cpithet, adjective varkalya deficiency -0 11 323 -naih 1 79 -āt 11 329 - Vardarbha name of the inhabi- -ānām 11 365 -01 82 0--ā tant of Vidarbha --arh 1 44, 11 208 (twice) 54 -01 40, 42 viseshastha specifically limited vairasya lack of sentiment -h11 170 --āya i 63 vi beshākhyāna peculiar (telling) var seshika differentiating -āh e pression Vi seshoktı effectuation through Vaišvānari pertaining to l'aishindrance - h 11 323 lãmara –ẽm 111 177 viseshya the subject of qualifica- vardharmya discordant nature tion 0-011 38 vi śvavyāpın universally applica- vaishamya unevenness, disharble -piii 170 mony IN 1 500 vishama uneven --M 11 79 vyaktı manifestation -tyar 11 vishayanıhnuti concealment of 171 the range of the quality -h wyatıreka out-matching ---h u 11 306 4, 180 0-0 11. 313. Omh 11, visamdhr defective hiatus 189. 111 159 vyapekshā regard, consideration visamdhika defective in hiatus 0-ayā 11 228 111 111 125 vyapeta non-contiguous. -sya vismaya astonishment. 0-au 111 170 vyapetayamaka non-contiguous Dritta (I) a stanza whose metre chime - 111 33 depends upon the number vyartham self-contradictory 11, and position of syllables in a 125, 131 quarter (2) metre. -m (1) 1 vyastam non-coalescence 11. 161. IIO-M (2) 111. 156 0-0 (2) vyāgastuti disguised eulogy 11. 1. 19. -arh (2) 1 18. 343.-0u 6, 347. - 11 208 111 182 111 19 ·Index of 1 echnical Terms 99 m 1 60. --O 111 100 0 1 75, 11 vyāvritti (1) negativation (2) exclusion (3) denial -h (3) 11 1600-ttyā (2) 11 1990- tteh (1) 19 vyutkrānta disjointed 111 99. vvutpatti proficiency-in-letters -11 1 9 pyutpanna learned, eiudite -m 1 46 vyut pādita ctymologically delived sabda word 112, 180, 111 186 -6 i 65 sabdatah verbally 111. 135. Sabdo paryāya (different) arrangement of words 0-0 111 103 sabdahīna defective in words -11 111 125, 148 śabdūhvaya (light) called word -In 1 4 sabdo pādāna expressing in words --011 189 śainpū instrumental music o 1 39 Śambhu the god Śiva -01 31 śarīra body -M 1 10 (twice) śāstra (1) science (of grammar) (2) treatise, scientific treatise ---eshu (2) 11 13 --o () 111 151 0-āni (2) 1 2 Śrthrla loose m 1 43 sishta the remaining –ānām 1 3 śrshtānusishta formulated by the sages -ānām i 3 śishteshta approved by the wise. -h 111 148 Śringāra amorous 0-yoh 111. 170 śringāratā amorousness. —ām 11 281 śaithilya looseness. 0401 69 0-m 1 43 Saurasenä name of a Prākrit i 35 Sravya (1) meant for the ear (2) agrecable ---m 1 39 -0 (2) 1 18 śruti (1) audible (2) sound (3) the Vedas --h (3) 111 163 -tyā (1) 1 52 Omh (2) 111 100 O-m (1) 1 58 ślishta (1) cohesive (2) paro nondsia -m (1) 1 43, (2) 11 310 0-0 (2) 11 6 Ślishtarūpaka paronomastic metaphor -m 11 87 ślishtākshepa paronomastic interdiction -h11 162 ślishtarthadipaka paronomastic illuminator m 11 114 ślesha paionomasia -h1 41 , 11. 314, 363 —āh 11 313 O 11. 347 śleshar ūpatva nature of paronomasia -āt 11 186 śleshāviddha tinged by paronumasia -h11 170 śleshopamā paronomastic simile o 11 28 śloka stanza, verse-eshu 111 152 0 111 67, 80 0-0 111 73 ślokābhyasa verse-repetition --h 111 67 śvitra leprosy -ena i 7 sam saya doubt --h 11 164 -am 111 139 —āya 111 141 samśayākshepa interdiction after a doubt -h 11 164 samsayātı saya hyperbole with a doubt - 1 216.

·100 The Kāvyādarśa of Dandın ni 11 samsayopamā simile with a sadn savyatırekitā accordant outdoubt 11 26 matching 11 196 samsarga association -01 333 sadharman analogous, having samsrisht commixture -h 11 like property -nah 11 166 359 - 11 359 0-teh u 0-nah 11 46 360 samdashtayamaka interlocking chime - 111 51 samskāra (1) refinement, polish (2) latent impression (3) comsamdhāna conjunction 0-01 66 samdlı coalescence, joining posite thing -m (1) ui 178 -ān (3) iu 174 0-0 (2) 1 55 11 154 0-bhihi 18 samdhyanga the (dramatic) no- Samskrita (1) the Sanskrit landes with minor constituents guage, (2) composed in Sans- 0 11 367 krit language (3) Sanskrit litesamnidhi appearance rature -m (3) 1 32, (I) 1 33 , 343 (2) 1 37-ena (1) 1 38 -āt (I) sama (1) common (2) even -h i 36 (1) 11 231 -am (2) 1 47 samstara bed 0h 11 177 samakakshatā equivalence 11 360 samhatı group --teh u I samatā evenness 1 41 samhetā combination of letters samasta expressed in com- -ām iu 159 pound -m 11 68 sakalarūpaka total metaphor samastavyastarūpaka metaphor, -m 11 70 both in and out of compound. samkara mixture 0-h11 105 – 1. 68 samkarakrama method of comsamāgatā cohesive --am iu 98. mixture -h 1 124 samādhānarūpaka solacing metasamkirna (1) intermixed (2) phor -m 1 92 commixture --m (2) u 7-ā samādhr transference -h1. 93, (1) 11 105 100 Omdhayah 1 41. samkhyātā numerical 111 101. samkhyāna enumeration -m u. samāna similarity-mi 52 samānarūpa semblable 111 100 273 sanghāta (1) group (2) longer samānaśabda paronomic 111 103 poem-h (2) 1 13.-(1)1 61 samānopamā simile of agree ment u. 29. sajātívyatıreka out-matching in the same genus. -h u 198. samāpattı accession, encountersamjñā name, appellation -- ing o-hu 298 samāsa (1) compound (2) inclusadn savyatıreka accordant out sive assertion -h (I) u 61 - matching-hii. 192. (2) u 5. а. 1 28.

·Index of Technical Terms 101 11 88 -h11 205 - h 111 53 -h 14 111 111 samāsabhūyastva superabundance sādharmya accordant nature. -O of compounds -mi 80 samāsoktı inclusive assertion sūd niya similarity -m 11 14 -11 180 - 1 65 0-0 11 saināhita facilitation 11 5, 298 1890-āt 11 36. samuchchayopamā cumulative sādhana (1) means (2) accomsimile 11 21 plishment (3) corroboration samudāyārtha sense of the uni 0 (3) 11 169, (2) 11 130, fied whole - 111 128 (1) 11 298 Omāya (2) 11 239 samudga casket Sūdhārana common -āhu 211 sambheda commixture Olli 3 sānukrosa interdiction with comsammudha baffling 111 103 passion -h1 158 Sarastat? the Goddess of learning Sanukrosam feeling compassion or speech -(1)1 I, 105 -- tya 11 158 1 102 sābhishanga peculiarly engrossarga canto --aihi 18 sargabandha a compostition in sed -sya 111 133 cantos Dl 13, 29, sāmya similarity ---m11 1960 37 11 46 040 11 19 0-yoh 11. sarvatobhadra full whuul 195 80 sukumāra tender -M i 69 saviseshanarūpaka adjectival sukumāratū tenderness 41, metaphor -m 11 82 (8 -taya 1 71 saślesha paronomastic (out- Sugata the benevolent (Buddha) matching) -h11 186 sasamdcha doubtful sīkshma the suhtle --hu 5, 260 vil 235 Susam saya dubious sūns) inatua subtleness ---M 111 125 264 sahabhāra simultaneity -sya 11 Setubandha a work in Prākrit 351 language -01 34 sahetu (out-matching) with reasochchhrāya elevater -- 11 210 -h11 186 sahoktı conjoint-description -h sochchhvāsatva having the title 11 7, 351 eh 11 355 uchchhvāsa for the sub-divisisākshepa (out-matching) with ons Mi 26. interdiction -h11 189 saubhāgya charm, grace. --m 11 sāchivya assistance. -M 11 146 54, 151. sāchivyākshepa subservient inter skandhaka a Prākrit metre diction -h11 146 1 37 1 --) 111 174 O -au 11 358 --h 111 139 11 son ·102 The Kávyādarśa of Dandin sthāna place of utterance of any häsya ludicrous, comic 0-0 11 letter. 0-0 111 83 287 sthānavarnanā description of hinatā inferiority 11 51 locality 11 365 hetu cause, reason, (proper) sthāyin permanent (underlying cause -h 11 5, 204, 235, 241 sentiment) --nau 11 170 tū 11 235 --011122, 260 sphuta harsh 0-0 1 47 (twice) 0--011 199, 202 , 111 127, 159 smriti law-book -hm 163 hetutā causal relation 11 240 hetutra casual relation m 11 svabhāvākhyāna natural description -m 11 4 O-M11 13 11 240, 252 heturūpaka motivated metaphor “vabhāvokti naturalistic descrip- -m11 86 tion, composition -h 11 8, hetuvidyā science of inference, 363. excogitation. -āsu 111 173 --O svara (I) vowel (2) musical note 111 163 - 11. 83. 04h (2) 111 170 hetuvišeshokta effectuation throsvarūpāpahnuti concealment of ugh hindrance -h 11 329. essential character -h11 308 hetūpamā simile with a reason svābhāvikatua naturalness-m11 11 50 199. hetvākshepa interdiction with a hāni loss, omission o-h11 127. reason. -h11 168

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