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

SECOND PARICCHEDA 109
73. The former illustration sets out an Ar-
thāntaranyāsa without an employment of words
such as हि because, to indicate that one statement
is justified or substantiated by another. Now the
author states that Arthāntaranyāsa may sometimes
contain the employment of such words. This does
not alter the nature of the figure of speech but only
makes it clear. However, the author gives a sepa-
rate example to meet such cases in the verse that
follows.
वहन्ति गिरयो मेघानभ्युपेतान्गुरूनपि ।
गरीयानेव हि गुरून्बिभर्ति प्रणयागतान् ॥ ७४ ॥
74. Mountains bear the clouds that approach
them though heavy. Because only a greater one
supports great ones that have approached in friend-
ship.
74. The reception given by mountains to clouds
is substantiated by the readiness of great people
to entertain or support other great people. On the
general treatment of Arthāntaranyāsa by our author
we wish to observe that the first illustration given
in Verse 72 would, under later Ālaṅkārikas,
come under the head of काव्यलिङ्ग of the वाक्यार्थहेतुक
type. According to them the हेतु or cause presented
by one of the two statements going to make up
Arthāntaranyāsa is समर्थक whereas in Kāvyaliṅga it
is निष्पादक. In one case the cause substantiates an

110 BHĀMAHĀLAṄKĀRA
idea, in the other it justifies an idea. In the illustra-
tion given in Verse 72 the king's state of mind be-
tokening an ensuing success is the cause of his ab-
sence of fear in entering the enemies' hosts. So the
हेतु is निष्पादक and depicts काव्यलिङ्ग. In the second illus-
tration given in Verse 74 a special statement is sub-
stantiated by a general statement. So the हेतु involv-
ed is समर्थक. In effect, according to the later Alaṁ-
kārikas, where the relationship of the main idea
and the subsidiary idea is सामान्यविशेषभाव, the figure of
speech is Arthāntaranyāsa, and if it is any other
relationship it is Kāvyaliṅga. There is one other
Alaṁkāra according to later rhetoricians named
अनुमान which seems to overlap on Arthāntaranyāsa
and Kāvyaliṅga. The example of अनुमान is अस्ति किंचि-
द्यदनया मां विलोक्य स्मितं मनाक्. अनुमान occurs where a cause
set out in one sentence or clause serves as an index
of the idea in the main sentence. In Anumāna the
हेतु is ज्ञापक, in Arthāntaranyāsa it is समर्थक, and in
Kāvyaliṅga it is निष्पादक. Fortunately our author
mentions only Arthāntaranyāsa and omits the other
two. His idea is that all the three represent but
one figure of speech.
व्यतिरेकालंकारः (6)
उपमानवतोऽर्थस्य यद्विशेषनिदर्शनम् ।
व्यतिरेकं तमिच्छन्ति विशेषापादनाद्यथा ॥ ७५ ॥

SECOND PARICCHEDA 111
75. Where in a comparison the superiority of
the Upameya is set out they deem it as Vyatireka
since a distinction is brought out. Example
follows.
75. In व्यतिरेक a distinction is set out between
two like objects with a view to bringing out the
superiority of the Upameya. The example given in
Chandrāloka is शैला इवोन्नताः सन्तः किन्तु प्रकृतिकोमलाः.
सितासिते पक्ष्मवती नेत्रे ते ताम्रराजिनी ।
एकान्तशुभ्रश्यामे तु पुण्डरीकासितोत्पले ॥ ७६ ॥
76. Your eyes possessed of eyelashes and shin-
ing like copper are both white and black whereas
the white and black lotuses are solely white or black.
76. A lady's eyes are generally compared to
lotuses, white or blue. A lady's eyes are black in
the centre i.e., the portion represented by pupils and
white around. They also bear the reddish colour of
copper due to transfusion of white and black streaks.
On the other hand the Upamāna viz., पुण्डरीक is pure-
ly white. Vide Amara :- पुण्डरीकं सिताम्भोजम्. And नीलोत्पलं
is wholly blue black. The Upameya is therefore
marked by a distinction which raises it above the
Upamānas.
विभावनालंकारः (7)
क्रियायाः प्रतिषेधे या तत्फलस्य विभावना ।
ज्ञेया विभावनेवासौ समाधौ सुलभे सति ॥ ७७ ॥

112 BHĀMAHĀLAṄKĀRA
. 77. Where an action is negatived but its re-
sult accrues, it is known as Vibhāvanā, provided
an explanation is easy.
77. According to later Alaṁkāra works the ac-
crual of an effect without a cause amounts to विभावना
and its antithesis viz., the non-accrual of an effect
notwithstanding the full complement of causes
amounts to विशेषोक्ति. Cf:—
विभावना विनापि स्यात्कारणं कार्यजन्म चेत् ।
अस्त्रैरतीक्ष्णकठिनैर्जगज्जयति मन्मथः ॥
कार्याजनिर्विशेषोक्तिः सति पुष्कलकारणे ।
हृदि स्नेहक्षयो नाभूत्स्मरदीपे ज्वलत्यपि ॥
विशेषोक्ति is later on dealt with by our author
in Verse 23 of the 3rd Paricchheda. There is no
antithesis between the two Alaṁkāras according to
him. In fact the treatment of these figures of speech
by our author proceeds on different lines from those
set out by later rhetoricians. According to Bhāmaha
three ingredients are necessary for विभावना—the
negation of an action, the accrual of its effect and
an explanation of the strange phenomenon which
can be easily conceived of by the reader. Udbhaṭa's
definition of विभावना is exactly the same as Bhāma-
ha's.
अपीतमत्ताः शिखिनो दिशोऽनुत्कण्ठिताकुलाः ।
नीपोऽविलिप्तसुरभिरभ्रष्टकलुषं जलम् ॥ ७८ ॥

SECOND PARICCHHEDA 113
78. Peacocks not drunk but intoxicated ; divi-
sions of space not careworn but disturbed; Kadamba
not scented but fragrant; water not slipped down
but turbid.
78. This is a description of the rainy season.
Without drinking wine peacocks are intoxicated.
This is due to jubilation. Without feeling anxiety
the points of the sky look ugly. This is due to
the prevailing gloom. Without being scented the
Kadamba is fragrant. This is due to its natural
sweet smell in the season. Without a fall from a
height water is turbid. This is due to the muddi-
ness of earth in rains. In all these four examples
actions are negatived but the results accrue and at
the same time an explanation is easy viz., the
advent of the rainy season. Kuvalayānanda gives
six varieties of Vibhāvanā.
समासोक्तिरलंकारः (8)
यत्रोक्ते गम्यतेऽन्योऽर्थस्तत्समानविशेषणः ।
सा समासोक्तिरुद्दिष्टा संक्षिप्तार्थतया यथा ॥ ७९ ॥
79. Where the description of an object sug-
gests to the mind's eye the picture of a different
object with the same attributes it is said to be Samā-
sokti by reason of the condensed meaning. Example
follows.
8

114 BHĀMAHĀLAṄKĀRA
.79. The suggestion of a non-relevant object
may arise from the description of a relevant object
by force of adjectives which are equally applicable
to both or otherwise. The etymology of the word
समासोक्ति is समासेन (संक्षेपेण) (प्रस्तुताप्रस्तुतवृत्तान्तयोः) उक्तिः A brief
description of the incidents relating to pertinent and
non-pertinent things. The definition given in Chan-
drāloka is समासोक्तिः परिस्फूर्तिः प्रस्तुतेऽप्रस्तुतस्य चेत्. Example:
अयमैन्द्रीमुखं पश्य रक्तश्चुम्बति चन्द्रमाः. In Samāsokti an incident
of a non-relevant object is ascribed to a relevant ob-
ject. Such ascription may take place by a reference
to the action, sex or attributes—कार्य, लिङ्ग or विशेषण or a
combination of any two or all of them though our
author refers to विशेषण alone. Sometimes समासोक्ति in-
vokes the aid of श्लेष or double meaning. Sometimes
it is based on a mere reference to common actions
and attributes. अप्रस्तुतप्रशंसा which is later on dealt
with in Pariccheda 3, Verse 29 is an antithesis
of this Alaṁkāra, where the picture of a relevant
object is suggested by the description of a non-rele-
vant object. While in रूपक there is अप्रस्तुतरूपसमारोप on
the Upameya we have in Samāsokti अप्रस्तुतव्यवहारसमारोप.
Identity with the Upamāna is involved in the one
case, while in the other the picture of the Upamāna
is presented to the mind’s eye of the reader. Verse
cited in Lochana page 35—यत्रोक्तौ...। इत्यत्र समासोक्तेर्लक्षणं
स्वरूपहेतुः नाम तन्निर्वचनमिति पादचतुष्टयेन क्रमादुक्तम् ।

SECOND PARICCHEDA 115
स्कन्धवानृजुरव्यालः स्थिरोऽनेकमहाफलः ।
जातस्तरु रयं चोच्चैः पातितश्च नभस्वता ॥ ८० ॥
80. This tree grew with a big trunk, straight,
free from snakes, firm, yielding plenty of fruit
and lofty; and it was felled down by a storm.
80. This verse is an example of समासोक्ति. A
tree, big and lofty, thrown down by the wind is
described. This suggests the picture of a man grow-
ing to the height of opulence and turned down by
misfortune. Here some adjectives have double
meanings applicable both to the relevant tree and
the non-relevant rich man, and some adjectives set
out the common qualities of both. स्कन्धवान् Possessed
of a thick stem ; surrounded by a host of kinsmen.
ऋजुः The tree is straight and erect ; the great man is
straightforward. अव्यालः The tree is free from snakes
or from the hollows harbouring snakes ; the great
man is free from the company of bad men. स्थिरः The
tree is firm ; likewise is the great man. अनेकमहाफलः
The tree yields fruits in plenty ; the great man
confers numerous benefits on his dependents. उच्चैः
The tree is lofty ; the great man is high in status.
The two चs convey the cumulation of the two ac-
tions viz., rise to a great height and its being blown
down by a storm. The latter feature presents the
picture of the downfall of a great man.

116 BHĀMAHĀLAṄKĀRA
अतिशयोक्त्यलंकारः (9)
निमित्ततो वचो यत्तु लोकातिक्रान्तगोचरम् ।
मन्यन्तेऽतिशयोक्तिं तामलंकारतया यथा ॥ ८१ ॥
81. A statement which for some reason refers
to an idea surpassing the ordinary experience is
known as Atiśayokti as a figure of speech. Example
follows.
81. This verse defines अतिशयोक्ति—Hyperbole.
Something transcending the ordinary experience in
the world, its description being based upon some
reason, constitutes Atiśayokti. Bhāmaha refers to
only one type of Atiśayokti. Alaṁkārasarvasva re-
fers to five types. भेदेऽभेदः । अभेदे भेदः । संबन्धेऽसंबन्धः । असं-
बन्धे संबन्धः । कार्यकारणपौर्वापर्यविध्वंसश्च. Chandrāloka refers to
six other types—अक्रमातिशयोक्ति, अत्यन्तातिशयोक्ति, चपलातिशयोक्ति,
संबंधातिशयोक्ति, भेदकातिशयोक्ति and रूपकातिशयोक्ति to which Ku-
valayānanda adds one more variety viz., सापह्वाति-
शयोक्ति. The fundamental principle of Atiśayokti is
exaggeration. The next two verses are two illus-
trations for Atiśayokti.
स्वपुष्पच्छविहारिण्या चन्द्रभासा तिरोहिताः ।
अन्वमीयन्त भृङ्गालिवाचा सप्तच्छदद्रुमाः ॥ ८२ ॥
82. The Saptaparṇa trees obscured by the
moonlight which stole the hue of their own flowers
were inferred from the hum of bees.

SECOND PARICCHEDA 117
82. सप्तच्छद or सप्तपर्ण is a kind of tree whose bran-
ches abound in seven leaves and whose flowers are
said to be highly fragrant. The flowers of those trees
are white and in moonlight they become invisible,
their white colour being drowned in moonshine.
But the hum of bees hovering round them enables
a person to identify the trees. That the trees in
their full bloom could not be identified by an ob-
server is certainly an exaggeration. But it is based
on the poet’s desire to bring out the extreme white-
ness spread over the trees by their flowers. Cf. the
following illustration from Daṇḍin :—मल्लिकामालभारिण्यः
सर्वाङ्गीणार्द्रचन्दनाः । क्षौमवत्यो न लक्ष्यन्ते ज्योत्स्नायामभिसारिकाः ॥
अपां यदि त्वक्शिथिला च्युता स्यात्फणिनामिव ।
तदा शुक्लांशुकानि स्युरङ्गेष्वम्भसि योषिताम् ॥ ८३ ॥
83. If the loose skin of waters drops down
like the slough of serpents then it will become
white garments on the limbs of ladies (sporting) in
water.
83. Here is the description of ladies sporting
in water. If waters can be conceived of as shedding
their skin in the same way as snakes cast off their
slough, the skin thus shed will be extremely fine
and white. The fine garments of ladies engaged in
bathing are compared to such supposititious skins
cast off by the waters.

118 BHĀMAHĀLAṄKĀRA
इत्येवमादिरुदिता गुणातिशययोगतः ।
सर्वैवातिशयोक्तिस्तु तर्कयेत्तां यथागमम् ॥ ८४ ॥
84. Thus the entire range of Atiśayokti pro-
ceeds from the description of an extraordinary qua-
lity. One should find it out in keeping with the
science of poetics.
84. The entire range of Atiśayokti is prompt-
ed by a desire to bring out a superior quality. That
is the fundamental basis of Atiśayokti. Though
Bhāmaha expressly refers to only one type the basic
principle applies equally to the six types of Atiśa-
yokti mentioned in Alaṁkārasarvasva and the se-
ven types mentioned in Chandrāloka and all other
types set out by other rhetoricians. The author
says तर्कयेत् तां यथागमम् The reader will find out for him-
self the further types of Atiśayokti in keeping with
the science of poetics. The author does not propose
to go into all those details.
सैषा सर्वैव वक्रोक्तिरनयार्थो विभाव्यते ।
यत्नोऽस्यां कविना कार्यः कोऽलंकारोऽनया विना ॥ ८५.
85. All this is only a clever twist of the
speech. By this an idea is well brought out. A
poet should direct his efforts this way. What is
literary embellishment without it?
85. The author apparently equates Atiśayokti
with Vakrokti. Vakrokti, a skilful utterance, is

SECOND PARICCHEDA 119
at the basis of all charming poetry. There is an
element of Atiśayokti in all figures of speech.
Daṇḍin endorses the same opinion as follows:—
अलंकारान्तराणामप्येकमाहुः परायणम् ।
वागीशमहितामुक्तिमिमामतिशयाह्वयाम् ॥
Kāvyādarśa II—220.
Dhvanyāloka at page 208 also states that Ati-
śayokti is at the root of all Alaṁkāras and contri-
butes to the eminence of poetry. See the following
extract therefrom at page 207. प्रथमं तावदतिशयोक्तिगर्भता
सर्वालंकारेषु शक्यक्रिया । कृतैव च सा महाकविभिः कामपि काव्यच्छायां पुष्य-
तीति । कथं ह्यतिशययोगिता स्वविषयौचित्येन क्रियमाणा सती काव्ये नोत्कर्षमावहेत् ।
भामहेनाप्यतिशय लक्षणे यदुक्तं—सैषा सर्वैति, तत्रातिशयोक्तिर्यमलंकारमधितिष्ठति
कविप्रतिभावशात् तस्य चारुत्वातिशययोगः अन्यस्यालंकारमात्रतैवेति सर्वालंकार-
शरीरस्वीकरणयोग्यत्वेनाभेदोपचारात् सैव सर्वालंकाररूपेत्ययमेवार्थोऽवगन्तव्यः ।
Kāvyaprakāśa in the 10th Ullāsa while dealing
with the Alaṁkāra विशेष, says—सर्वत्र, एवंविधविषयेऽतिशयोक्ति-
रेव प्राणत्वेनावतिष्ठते. तां विना प्रायेणालंकारत्वायोगात् । अत एवोक्तम्—सैषा
सर्वत्र वक्रोक्तिः...विना ॥ Verse cited also by Premachandra
in his commentary on Kāvyādarśa II-220 with सर्वत्र
for सर्वैव. Verse quoted also by Hemachandra in his
Ṭīkā on Kāvyānuśāsana, page 267 (सैषा सर्वैव).
हेतु-सूक्ष्म-लेशाः अनलंकाराः ।
हेतुश्च सूक्ष्मो लेशोऽथ नालंकारतया मतः ।
समुदायाभिधानस्य वक्रोक्त्यनभिधानतः ॥ ८६ ॥

120 BHĀMAHĀLAṄKĀRA
86. Hetu, Sūkshma and Leśa are not accepted
by me as Alaṁkāras since the statement of matters
of routine does not involve cleverness of speech.
86. This verse refers to three figures of speech
recognised by some other Alaṁkārikas but rejected
by our author. Daṇḍin belonging to the opposite
school deals elaborately with the three—Hetu, Sū-
kshma and Leśa. Hetu is dealt with in Kāvyādarśa,
2nd Pariccheda, Verses 235 to 259, Sūkshma in
Verses 260 to 264 and Leśa in Verses 265 to 272.
In fact he says—हेतुश्च सूक्ष्मलेशौ च वाचामुत्तमभूषणम्. By
saying that these three Alaṁkāras are a superior
ornament of speech it is obvious that he directly
attacks Bhāmaha. समुदायाभिधानं A statement of ordi-
nary routine. It does not involve Vakrokti. There-
fore it is not to be considered an Alaṁkāra. Verse
cited by Premachandra on Kāvyādarśa II-265 (समु-
दायाभिधेयस्य).
गतोऽस्तमर्को भातीन्दुर्यान्ति वासाय पक्षिणः ।
इत्येवमादि किं काव्यं वार्तामेनां प्रचक्षते ॥ ८७ ॥
87. The Sun has set; the moon shines; birds
fly to their nests. Is all this poetry? They say
this is prosaic news.
87. It is not to be presumed simply because
this verse follows the mention of the rejected Alaṁ-
kāras that it will come in as an illustration of any

SECOND PARICCHEDA 121
of the said three Alaṁkāras. The author here gives
instances merely of prosaic statements or समुदायाभिधान.
The idea of the author is that the instances of the
said three Alaṁkāras are matter of fact statements
on a par with the three statements given here. Such
prosaic utterances do not deserve to be ranked as
figures of speech. For an opposite view see Daṇḍin
who cites this to illustrate Hetu. गतोऽस्तमर्को भातीन्दुर्या-
न्ति वासाय पक्षिणः । इतीदमपि साध्वेव कालावस्थानिवेदने ॥ Kāvyādarśa
II—244. Evidently Daṇḍin refers to Bhāmaha's
view and condemns it. Yet others like Hemachan-
-dra (in Kāvyānuśāsana) impute any number of sug-
gested meanings in this verse. For example, it
conduces to a tryst between lovers and so on. This
verse is cited in Kāvyaprakāśa, 7th Ullāsa, also to
indicate varieties of the व्यङ्ग्य according to the nature
of the वक्तृ and the बोद्धृ.
अपरौ द्वावलंकारौ ।
यथासंख्यमथोत्प्रेक्षामलंकारद्वयं विदुः ।
संख्यानमिति मेधाविनोत्प्रेक्षाभिहिता क्वचित् ॥ ८८ ॥
88. They recognise two more Alaṁkāras—
Yathāsaṅkhya and Utprekshā. Medhāvin some-
times calls Utprekshā as Saṅkhyāna.
88. This verse introduces two more Alaṁkā-
ras—Yathāsaṅkhya and Utprekshā. The latter is
called संख्यानं by Medhāvin, an ancient writer of

122 BHĀMAHĀLAṄKĀRA
Poetics. This Medhāvin has been already referred
to as the propounder of the seven उपमादोषs in Verse
40 infra. This verse as given above represents the
reading based on manuscripts. It is adopted in
Trivedi's edition in the Appendix to Pratāparudra-
yaśobhūshaṇa, in the Chowkhamba edition and in
Mr. Naganatha Sastri's edition. Mr. D. T. Tata-
charya has changed the reading of the second half
of the verse into संख्यानमिति मेधावी नोत्प्रेक्षाभिहिता क्वचित्. He
bases his suggestion on the following extract from
Daṇḍin. यथासंख्यमिति प्रोक्तं संख्यानं क्रम इत्यपि. We have
however followed the reading based on manuscripts
and adopted by a majority of learned editors in
view of the fact that such an important Alaṁkāra
as Utprekshā is not likely to be ignored by any
writer in Poetics.
यथासंख्यालंकारः (10)
भूयसामुपदिष्टानांमर्थानामसधर्मणाम् ।
क्रमशो योऽनुनिर्देशो यथासंख्यं तदुच्यते ॥ ८९ ॥
89. Where several objects varying in quality
are mentioned at first, a subsequent treatment relat-
ing to them in the same order amounts to Yathā-
saṅkhya.
89. This verse defines Yathāsaṅkhya. In it
a number of objects are mentioned at first and in
the same order a different set of objects is subse-

SECOND PARICCHEDA 123.
quently mentioned with a view to predicating a
common attribute as in the illustration that follows
given by the author; or several predicates may be
enjoined in the same order as in the illustration
given in Chandrāloka—शत्रुं मित्रं द्विषत्पक्षं जय रञ्जय भञ्जय.
Note the antithesis between उपदेश, a first mention
and अनुनिर्देश, a second reference. Udbhaṭa's defini-
tion of यथासंख्य is the same as Bhāmaha's.
पद्मेन्दुभृङ्गमातङ्गपुंस्कोकिलकलापिनः ।
वक्त्रकान्तीक्षणगतिवाणीवालैस्त्वया जिताः ॥ ९० ॥
90. You have vanquished the lotus, the Moon,
the black bee, the elephant, the male cuckoo and
the peacock by your face, splendour, glances, gait,
voice and hair.
90. An illustration of Yathāsaṅkhya. The
lotus and others are conquered by the lady by means
of her face and others. Cf. Pāṇini :—यथासंख्यमनुदेशः
समानाम्.
उत्प्रेक्षालंकारः (11)
अविवक्षितसामान्या किंचिच्चोपमया सह ।
अतद्गुणक्रियायोगादुत्प्रेक्षाऽतिशयान्विता ॥ ९१ ॥
91. Without setting out the common charac-
teristic but slightly tinged with Upamā, the de-
scription of an excellence through association with

124 BHĀMAHĀLAṄKĀRA
a quality or action which does not belong to itself
is Utprekshā.
91. This defines Utprekshā. In it the attri-
bute common to Upamāna and Upameya is not ex-
pressly mentioned. But there is an element of
simile. The quality or action not belonging to the
Upameya is ascribed to it and there is an element
of exaggeration. Later rhetoricians define Utpre-
kshā as meaning poetic fancy. The Upameya is
poetically fancied as Upamāna itself. Kuvalayā-
nanda defines thus :—अन्यधर्मसंबन्धनिमित्तेन अन्यस्य अन्यतादात्म्य-
संभावनं उत्प्रेक्षा. The example there given is धूमस्तोमं तमः
शङ्के कोकीविरहशुष्मणाम्. Certain expressions are considered
indicative of Utprekshā. मन्ये शङ्के ध्रुवं प्रायो नूनमित्येवमादयः ।
उत्प्रेक्षाव्यञ्जकाः शब्दा इवशब्दोऽपि तादृशः ॥
In Utprekshā an object is poetically conceived
of as identical with a different thing. The essential
requisite of Utprekshā is संभावना which means उत्कटैक-
तरकोटिकसंशयः. The real character is not totally lost
sight of, but at the same time it is made the sub-
ject of a doubt with special leaning towards one of
the alternatives. 1-In भ्रान्तिमदलंकार not mentioned by
our author, the identity of the relevant object is
completely mistaken. 2-In ससंदेहालंकार (III—43) the
two alternatives of a doubt are of equal weight.
In अपह्नुति (III—21) the real character of the rele-
vant object is expressly negatived. 4 In अतिशयोक्ति
(II-81) the fictitious assumption is absolutely taken

SECOND PARICCHHEDA 125
for granted. Whereas in उत्प्रेक्षा there is no illusion
as in भ्रान्तिमान्, and the real character also makes
itself felt. As in संसंदेह, so also in उत्प्रेक्षा there is a
peculiar doubt about the identity of an object. But
of the two alternatives in a doubt there is more a
leaning towards the fictitious character in Utprek-
shā, whereas in संदेह, both the alternatives are of
equal force. Further in उत्प्रेक्षा the real character is
not expressly negatived as in अपह्नुति. Again in उत्प्रेक्षा
the fictitious character that is attributed is not
wholly taken for granted, and hence its distinc-
tion from अतिशयोक्ति.
किंशुकव्यपदेशेन तरुमारुह्य सर्वतः ।
दग्धादग्धमरण्यान्याः पश्यतीव विभावसुः ॥ ९२ ॥
92. Under the guise of Kiṁśuka flowers, fire
after ascending the tree surveys all round the forest
to see which portions are burnt and which unburnt.
92. This verse illustrates Utprekṣā. Here
the Kiṁśuka bloom on the trees is conceived of as
fire. This is cited also in Bhoja's Sarasvatī Kaṇṭhā-
bharaṇa to illustrate उत्प्रेक्षोपमा.
स्वभावोक्त्यलंकारः (12)
स्वभावोक्तिरलंकार इति केचित् प्रचक्षते ।
अर्थस्य तदवस्थत्वं स्वभावोऽभिहितो यथा ॥ ९३ ॥

126 BHĀMAHĀLAṄKĀRA
93. Some say that Svabhāvokti (natural de-
scription) is also a figure of speech. A natural de-
scription is to describe a thing as it is. Example
follows.
93. This verse introduces the Alaṁkāra known
as Svabhāvokti, a natural description. The descrip-
tion of a child and her movements, lions in a jump-
ing posture, horses galloping, birds flying, deer in
an attentive mood, in short, of anything doing an
action consistent with its nature comes under the
head of Svabhāvokti.
आक्रोशन्नाह्वयन्नन्यानाधावन्मण्डलै रुदन् ।
गो वारयेति दण्डेन डिम्भः सस्यावतारिणीः ॥ ९४ ॥
94. By crying out, by calling, by walking to-
wards in circles and by weeping the child prevents
the cows entering into the crops with his stick.
94. An illustration of Svabhāvokti. This re-
fers to the series of acts done by a boy engaged in
watching a field to safeguard the crops from moles-
tation by cows and bulls. In the place of रुदन् at the
end of the first half of the verse there is also the
reading नुदन्.
समासेनोदितमिदं धीखेदायैव विस्तरः ।
असंगृहीतमप्यन्यदभ्यूह्यमनया दिशा ॥ ९५ ॥
95. This has been expounded in brief. An
elaboration will only cause worry to the brain. That

SECOND PARICCHEDA 127
which has not been enumerated is also to be guessed
on similar lines.
95. The author states that his treatment of
Alaṁkāras is brief and further elaboration may be
worked out by the reader himself on the lines indi-
cated above.
स्वयं कृतैरेव निदर्शनैरियं
मया प्रकॢप्ता खलु वागलंकृतिः ।
अतः परं चारुरनेकधाऽपरो
गिरामलंकारविधिर्विधास्यते ॥ ९६ ॥
॥ इति भामहालंकारे द्वितीयः परिच्छेदः ॥
96. This treatment of figures of speech has
been done by me with examples of my own.
Hereafter another codification of Alaṁkāras, beau-
tiful in a variety of ways, is going to be made.
96. From this it is clear that the author’s
treatment of Alaṁkāras is not yet exhausted and in
fact a further treatment follows in the next chapter.
End of the Second Pariccheda.

तृतीयः परिच्छेदः ।
अपरे त्रयोविंशतिरलंकाराः ।
प्रेयो रसवदूर्जस्वि पर्यायोक्तं समाहितम् ।
द्विप्रकारमुदात्तं च भेदैः श्लिष्टमपि त्रिभिः ॥ १ ॥
अपह्नुतिं विशेषोक्तिं विरोधं तुल्ययोगिताम् ।
अप्रस्तुतप्रशंसां च व्याजस्तुतिनिदर्शने ॥ २ ॥
उपमारूपकं चान्यदुपमेयोपमामपि ।
सहोक्तिपरिवृत्ती च ससंदेहमनन्वयम् ॥ ३ ॥
उत्प्रेक्षावयवं चान्ये संसृष्टिमपि चापरे ।
भाविकत्वं च निजगुरलंकारं सुमेधसः ॥ ४ ॥
1 to 4. Wise men propound the following
Alaṁkāras also:—(1) Preyas, (2) Rasavat, (3) Ūr-
jasvin, (4) Paryāyokta, (5) Samāhita, (6) The two-
fold Udātta, (7) The threefold Ślishṭa, (8) Apahnuti,
(9) Viśeshokti, (10) Virodha, (11) Tulyayogitā, (12)
Aprastutapraśaṁsā, (13) Vyājastuti, (14) Nidar-
śanā, (15) Upamārūpaka, (16) Upameyopamā, (17)
Sahokti, (18) Parivṛtti, (19) Sasandeha, (20) Anan-
vaya, (21) Utprekshāvayava, (according to some)
(22) Saṁsrshṭi (according to others) and (23) Bhā-
vikatva.