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

SECOND PARICCHEDA 75
tion Page 40) refers to this verse, sets out the ob-
jector’s view that this is an example of Dhvani
inasmuch as Upamā is suggested between each pre-
ceding statement and every succeeding sentence in
this verse and refutes it by explaining that व्यङ्ग्य is
not dominant, but only follows the expressed idea.
The passage from Lochana runs thus:—मदो जनयति...
शुचम् । इति । अत्राप्युत्तरोत्तरजन्यत्वेऽप्युपमानोपमेयभावस्य सुकल्पत्वात् ।
From the illustration given it is not to be presumed
that each succeeding idea in Dīpaka should be con-
nected with its preceding idea. In fact there may
be Dīpaka between disconnected objects as in the
illustration in Chandrāloka :—मेधां बुधः सुधामिन्दुर्बिभर्ति वसुधां
भवान् which will be an example of मध्यदीपक according
to Bhāmaha.
मध्यदीपकम् (ii)
मालिनीरंशुकभृतः स्त्रियोऽलंकुरुते मधुः ।
हारीतशुकवाचश्च भूधराणामुपत्यकाः ॥ २८ ॥
28. Spring beautifies ladies decorated with
wreaths and clad in garments, beautifies the voices
of Mynas and parrots and also the adjoining slopes
of mountains.
28. Here the predicate अलंकुरुते governs three
objects—स्त्रियः, वाचः and उपत्यकाः. This verse describes
the influence of the spring season on womenfolk,
on the voices of birds and on natural sites like