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

68 BHĀMAHĀLAṄKĀRA
as it does in Arthālaṁkāras or figures of speech.
The fourth and last is शब्दचित्र which abounds in Śabdā-
laṁkāras or embellishments bearing on the sound.
The four types have been beautifully summarised
by Nīlakaṇṭha Dīkshita thus:—
कृते युगे व्यञ्जनयाऽवतीर्णे त्रेतायुगे सैव गुणीबभूव ।
युगे तृतीये तु ततोऽर्थचित्रं युगे तुरीये यमकप्रपञ्चः ॥
अर्थालंकारेषु रूपकम् (1)
उपमानेन यत्तत्त्वमुपमेयस्य रूप्यते ।
गुणानां समेतां दृष्ट्वा रूपकं नाम तद्विदुः ॥ २१ ॥
21. Rūpaka arises where on a consideration of
the equality of qualities the characteristic of an
Upamāna is ascribed to the Upameya.
21. From this verse onward Bhāmaha deals
with Arthālaṁkāras. It is to be borne in mind
that since Bhāmaha belongs to a very early stage
in the history of Sanskrit poetics his definitions are
crude and the finish of later rhetoricians cannot be
expected of him. In the rest of this Pariccheda
he mentions nineteen Arthālaṁkāras and in the 3rd
Pariccheda he deals with twentyfour Arthālaṁkā-
ras. While all the later Aalaṁkāra treatises which
are now popular set out Arthālaṁkāras with Upamā
as the starting point, Bhāmaha begins with रूपक in
consonance with his statement—रूपकादिमलंकारं in I-14