काव्यालङ्कार (आचार्य भामह - भारतीय काव्यशास्त्र एवं अलङ्कार-सिद्धान्त मूल महाग्रन्थ सटीक)

156 BHĀMAHĀLAṄKĀRA
45. अनन्वय defined. Where an object is com-
pared to itself the figure of speech known as अनन्वय
arises. Vide Kuvalayānanda—एकस्यैव वस्तुनः उपमानोपमेय-
त्ववर्णनमनन्वयः. Here a lady's face is compared to her
face itself. अनन्वय is so called because a similarity
of an object to itself is not consistent. न विद्यते अन्वयः
यस्मिन् सः अनन्वयः. The motive for such a comparison
is to suggest that the object dealt with is beyond
comparison. अनन्वयिनोऽप्यर्थस्याभिधानं सदृशान्तरव्यवच्छेदेन अनुपमत्व-
द्योतनाय. The distinction between Upamā and Anan-
vaya is quite apparent. In Upamā there are two
objects, one of which is compared to the other,
whereas in Ananvaya an object is compared to it-
self. The distinction of this figure from उपमेयोपमा may
also be noticed in this connection. उपमेयोपमा arises
where similarity between two objects is described
as reciprocal. The etymology of the word उपमेयोपमा
is to be explained as उपमेयस्य उपमा. The motive for
this reciprocal comparison is to suggest that there
is no third object with which the Upameya can be
compared. Vide Kuvalayānanda:—द्वयोः पर्ययेण उपमानो-
पमेयत्वकल्पनं तृतीयसदृशव्यवच्छेदार्थम् । This ślokā is cited by
Appayya Dīkshita in his Chitramīmāṁsā and by
Viśveśvarapaṇḍita in his Alaṁkārakaustubha.
ताम्बूलरागवलयं स्फुरद्दशनदीधिति ।
इन्दीवराभनयनं तवेव वदनं तव ॥ ४६ ॥
46. Possessed of the circular ring red with
Tāmbūla (pan supari), shining with the lustre of