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

THIRD PARICCHEDA 131
रसवदलंकारः (14)
रसवद्दर्शितस्पष्टशृङ्गारादिरसं यथा ।
देवी समागमद्धर्ममस्करिण्यतिरोहिता ॥ ६ ॥
6. Rasavat is the dramatic disclosure of hidden
love or the like emotion. Example. The virtuous
nun came upon the scene revealed as the queen.
6. रसवत् arises when शृङ्गार or a like emotion is
suddenly displayed by a dramatic turn. The se-
cond half of the verse refers to a case where a queen
disguised as a nun suddenly disclosed her true form.
An apt illustration is given by Mr. D. T. Tatacharya
from Kumārasambhava where Śiva disguised as a
Brahmachārin suddenly discloses his true form
before Pārvatī. In this connection the following
Ślokas may be perused with advantage.
इतो गमिष्याम्यथवेति वादिनी
चचाल बाला स्तनभिन्नवल्कला ।
स्वरूपमास्थाय च तां कृतस्मितः
समाललम्बे वृषराजकेतनः ॥ V—84.
तं वीक्ष्य वेपथुमती सरसाङ्गयष्टि-
र्निक्षेपणाय पदमुद्धृतमुद्वहन्ती ।
मार्गाचलव्यतिकराकुलितेव सिन्धुः
शैलाधिराजतनया न ययौ न तस्थौ ॥ V—85.
Cf. Udbhaṭālaṅkārasārasaṅgraha—
रसवद्दर्शितस्पष्टशृङ्गारादिरसोदयम् ।
स्वशब्दस्थायिसंचारिविभावाभिनयास्पदम् ॥

132 BHĀMAHĀLAṄKĀRA
ऊर्जस्व्यलंकारः (15)
ऊर्जस्वि कर्णेन यथा पार्थाय पुनरागतः ।
द्विः संदधाति किं कर्णः शल्येत्यहिरपाकृतः ॥ ७ ॥
7. Ūrjasvin (a proud statement) is like this—
The serpent discharged with the arrow by Karṇa
towards Arjuna, when it came back, was rejected
by Karṇa with the words, ‘O Śalya, does Karṇa aim
twice?’
7. Here again the author does not define Ūrja-
svin, but illustrates it. When Karṇa and Arjuna
were face to face in battle a snake which had been
waiting for an opportunity to wreak vengeance on
Arjuna for killing its mother at the conflagration
of the Khāṇḍava forest granted to Agni by Arjuna
entered the arrow which was discharged by Karṇa,
but was frustrated and came back to Karṇa, implor-
ing for a second discharge. Karṇa refuses to comply
with the snake’s request by means of words ad-
dressed to his charioteer Śalya thus—हे शल्य द्विः संदधाति
किं कर्णः. This statement of Karṇa exemplifies the
display of a lofty sentiment of valour and as such
illustrates the figure of speech—Ūrjasvin.
पर्यायोक्तालंकारः (16)
पर्यायोक्तं यदन्येन प्रकारेणाभिधीयते ।
उवाच रत्नाहरणे चैद्यं शार्ङ्गधनुर्यथा ॥ ८ ॥

THIRD PARICCHEDA 133
गृहेष्वध्वसु वा नान्नं भुञ्ज्महे यदधीतिनः ।
न³ भुञ्जते ²द्विजास्तच्च रसदाननिवृत्तये ॥ ९ ॥
8 & 9. Paryāyokta is the expression of an idea
in an other than straightforward manner. In Ratnā-
haraṇa the Śāṅga-bowed Kṛṣṇa said to Śiśupāla,
king of Chedis, 'We do not eat the food which the
learned Brahmins have not first eaten, either at
home or in our sojourns.' This is spoken in order
to avoid the administration of poison (in the food).
8 & 9. पर्यायोक्तं is a polite statement, for exam-
ple, where a person rejects the wish of another in
terms which do not expressly negative the request
but have the same effect. रत्नाहरणं is obviously an
ancient work. There Śiśupāla offers food to Kṛṣṇa.
Suspecting it to be mixed with poison, Kṛṣṇa re-
jects it in polite language. He says, 'It is our prin-
ciple to eat food only after offering it first to Brah-
mins and making them partake of it.' Śiśupāla
might retort that that is a principle to be observed
at home and not while halting at a distant place.
Kṛṣṇa's answer is that his rule applies both at
home and abroad. Accordingly he says अध्वसु वा after
गृहेषु. अधीतिनः Persons learned in Vedas. तच्च रसदाननिवृत्तये
is the observation of the author. रस means poison.
The author gives out the motive of Kṛṣṇa in reject-
ing the food offered by Śiśupāla. This verse with
its source as Bhāmaha is referred to in Dhvanyāloka

134 BHĀMAHĀLAṄKĀRA
Lochana at page 40, N. S. P. Edn., where Abhina-
vagupta points out that the expressed idea of non-
participation of food not already partaken of by Śro-
triyas being happier than the suggested idea of the
suspicion of poison, this verse falls properly within
the province of Alaṁkāra and does not amount to
Dhvani. Cf. definition given in Kuvalayānanda—
पर्यायोक्तं तु गम्यस्य वचो भङ्ग्यन्तरेण चेत् ।
नमस्तस्मै कृतौ येन मुधा राहुवधूकुचौ ॥
समाहितालंकारः (17)
समाहितं राजमित्रे यथा क्षत्रिययोषिताम् ।
रामप्रसत्त्यै यान्तीनां पुरोऽदृश्यत नारदः ॥ १० ॥
10. Samāhita (providential help) is illustrated
in Rājamitra. When Kshatriya ladies were going
to appease Paraśurāma, Nārada appeared in their
front.
10. राजमित्र is apparently an ancient work in
vogue in the days of Bhāmaha. This has been al-
ready referred to in II-45. The appearance of Nā-
rada before Kshatriya ladies that went to appease
Paraśurāma is an illustration of this figure of
speech. Here also समाहित is not defined but illustra-
ted by the author. A providential help that comes
about unexpectedly amounts to Samāhita. The
idea is that Nārada will suggest how best to
please Paraśurāma. The treatment of Samāhita

THIRD PARICCHEDA 135
by Daṇḍin follows that of Bhāmaha. But by later
rhetoricians this समाहितं is called समाधिः whereas their
समाहितं is entirely different as explained in our Notes
under Verses 1 to 4 infra.
उदात्तालंकारः (18)
उदात्तं शक्तिमान् रामो गुरुवाक्यानुरोधकः ।
विहायोपनतं राज्यं यथा वनमुपागमत् ॥ ११ ॥
11. Udātta (a noble picture) is like this. The
powerful Rāma obeying his father's words gave up
the kingdom that came to him and went to the forest.
11. उदात्तं too is not defined. Perhaps the author's
idea is that the very mention of the name suggests
the definition. उदात्तं is nobility of sentiment as may
be deduced from the illustration given. The aban-
donment of his kingdom and exile into the forest by
Rāma in pursuance of his father's bidding though
he was himself possessed of strength to retain the
kingdom go to show an extraordinary noble senti-
ment on the part of Rāma. Another type of उदात्त
which is more in consonance with a different school
of rhetoricians is set out in the next verse.
एतदेवापरेऽन्येन व्याख्यानेनान्यथा विदुः ।
नानारत्नादियुक्तं यत्तत्किलोदात्तमुच्यते ॥ १२ ॥
12. Others construe this figure of speech it-
self in a different light. The picture of a thing

136 BHĀMAHĀLAṄKĀRA
that contains a variety of precious features is
Udātta according to them.
12. According to a different school उदात्तं ऋद्धेश्चरितं,
उदात्त presents a picture of high prosperity. नानारत्नादियुक्तं.
It is coupled with different kinds of gems or riches,
in short, the zenith of prosperity or the height of
opulence. युक्तं used with reference to the Alaṁkāra
is perhaps not quite correct. In fact it is the sub-
ject matter of the speech that is possessed of नानारत्नs.
It is loosely extended to the speech as well. Daṇḍin
refers to two types of Udātta; that which sets out
आशयमहत्त्व Nobility of sentiment and that which sets
out विभूतिमहत्त्व a height of prosperity, riches or gems.
Verse 11 above exemplifies the first type. The se-
cond type is defined in this verse and illustrated in
the next. Cf. आशयस्य विभूतेर्वा यन्महत्त्वमनुत्तमम् । उदात्तं नाम तं
प्राहुर्लंकारं मनीषिणः ॥ Kāvyādarśa II—300.
चाणक्यो नक्तमुपयान्नन्दक्रीडागृहं यथा ।
शशिकान्तोपलैश्छन्नं विवेद पयसां कणैः ॥ १३ ॥
13. Example. Chāṇakya going to the pleas-
ure-house of Nanda found out it was pervaded by
moonstones from the drops of water.
13. The opulence of Nanda's pleasure-house
is brought out in this verse. His enemy Chāṇakya
who went to reconnoitre his house inferred from the
drops of water that the house was constructed of

THIRD PARICCHEDA 137
moon-stone slabs. It is a well-known phenomenon
that Chandrakānta or moonstone is bedewed with
particles of water at contact with the rays of the
moon. नक्तं an Indeclinable meaning 'at night'.
श्लिष्टालंकारः (19)
उपमानेन यत्तत्त्वमुपमेयस्य साध्यते ।
गुणक्रियाभ्यां नाम्ना च श्लिष्टं तदभिधीयते ॥ १४ ॥
14. Śliṣṭa occurs where the identity of the
Upameya with an Upamāna is established, which
may take place in three respects, quality, action
and name.
14. Verses 14 to 20 deal with श्लिष्ट. This verse
defines Śliṣṭa. Where in respect of quality, action
or name the identity of Upamāna is ascribed to the
Upameya the figure of speech is Śliṣṭa. Other
rhetoricians speak only of श्लेष, not of श्लिष्ट as a figure
of speech.
लक्षणं रूपकेऽपीदं लक्ष्यते काममत्र तु ।
इष्टः प्रयोगो युगपदुपमानोपमेययोः ॥ १५ ॥
15. This definition will apply to Rūpaka too ?
We admit. But here the employment of the Upa-
māna and the Upameya (strictly speaking, their
characteristics) is made at one stroke.

138 BHĀMAHĀLAṄKĀRA
15. This verse sets out an objection to treat-
ing श्लिष्ट as separate from रूपक. In Rūpaka too the
identity of Upamāna is ascribed to the Upameya.
कामं True. No doubt the objection arises. अत्र तु etc.
gives the answer by showing the contrast of this
Alaṁkāra from Rūpaka. The distinction is that in
Śliṣṭa the attributes of the Upamāna and Upameya
are set out by the same set of words whereas in
Rūpaka they are conveyed by different words. In
other words, in Śliṣṭa one and the same set of
words sets out the qualities of both Upamāna and
Upameya by reason of its double meaning. The aid
of double meaning is not invoked in Rūpaka. Each
attribute of the Upamāna is identified with another
attribute in Rūpaka. So the distinction is clear.
युगपत् Simultaneously. तन्त्रेण प्रयोगः.
शीकराम्भोमदसृजस्तुङ्गा जलददन्तिनः ।
इत्यत्र मेघकरिणां निर्देशः क्रियते समम् ॥ १६ ॥
16. 'The elephants of clouds, high up and dis-
charging ichor in the form of showers of water."
Here the reference to clouds and elephants is placed
on an equal footing.
16. The author refers to an illustration of
Rūpaka already given in II-23 and points out where
it differs from Śliṣṭa. There sprays of water
are identified with ichor, the former being the at-

THIRD PARICCHEDA 139
tribute of clouds, the Upameya, and the latter being
the attribute of elephants, the Upamāna. The said
attributes being conveyed by two different words,
it is a case of Rūpaka. समं. The attributes are
employed on an equal footing; not युगपत् Simultane-
ously or by the same word.
श्लेषादेवार्थवचसोरस्य च क्रियते भिदा ।
तत्सहोक्त्युपमाहेतुनिर्देशात्तिविधं यथा ॥ १७ ॥
17. Whereas this Alaṁkāra is distinguished
by the Ślesha or double meaning of expressions.
And it arises in three ways—coupled with the ele-
ments of Sahokti, Upamā or Hetu. Examples follow.
17. Having referred to an equal employment
characteristic of Rūpaka in the previous verse, the
author distinctly points out the characteristic of
Ślishṭa. अर्थवचसोः श्लेषादेव By the double meaning of
the idea and its expression. Strictly speaking, it is
the expression that has got double meaning. The
ideas comprising गुण, क्रिया and नामन् are no doubt dif-
ferent for the Upamāna and the Upameya. Hence
the employment of the word अर्थ in अर्थवचसोः is to be
justified with strain. अस्य च means श्लिष्टस्य च. भिदा क्रियते
A distinction is made out. That Ślishṭa arises in
three ways is pointed out in the second half of the
verse. It may be aided by Sahokti or co-existence.

140 BHĀMAHĀLAṄKĀRA
Upamā or simile, or हेतुनिर्देश or an assignment of rea-
son. The singular in निर्देशात् may be justified as a समा-
हारद्वन्द्व. - Or dissolve it as सहोत्युपमाहेतूनां निर्देशः तस्मात्. These
three types of Śliṣṭa are illustrated in the three
succeeding verses. The 2nd half of the verse cited
by Pratīhārendurāja in the commentary on उद्भटालंकार-
सारसंग्रह.
छायावन्तो गतव्यालाः स्वारोहाः फलदायिनः ।
मार्गद्रुमा महान्तश्च परेषामेव भूतये ॥ १८ ॥
18. Yielding shade (possessed of splendour),
free from snakes (dissociated from rogues), easy to
climb (approach) and yielding fruits (benefits),
wayside trees and great men contribute only to the
happiness of others.
18. This illustrates Śliṣṭa involving सहोक्ति or
cumulation towards a common predicate. Wayside
trees and great men contribute to the good of others.
Both the Upamāna and the Upameya are qualified
by four adjectives having double meanings. (1) छाया-
वन्तः Trees yield an abundance of shade ; great men
are imbued with great lustre. (2) गतव्यालाः Trees are
free from snakes ; for it is only such trees that will
be beneficial to the public ; great men are free from
the contact of rogues. Amara :—शठे व्यालः पुंसि श्वापद-
-सर्पयोः. (3) स्वारोहाः Trees are easy to climb ; great men
are easy of approach. (4) फलदायिनः Trees yield fruits

THIRD PARICCHEDA 141
in plenty; great men confer benefits on others. This
is an instance of श्लिष्ट arising from सहोक्ति or समुच्चय or
co-ordination in a common predicate.
उन्नता लोकदयिता महान्तः प्राज्यवर्षिणः ।
शमयन्ति क्षितेस्तापं सुराजानो घना इव ॥ १९ ॥
19. Eminent (risen high up), dear to the world,
great and showering in plenty, good kings like
clouds quell the torment of the world.
19. This illustrates Śliṣṭa arising from उपमा.
Good kings quell the torment of the world like
clouds. Here also the Upamāna and the Upameya
are qualified by four adjectives having double mean-
ings. (1) उन्नताः Clouds are risen aloft: good kings
are lofty in character. (2) लोकदयिताः Clouds endear
the world by their showers; good kings endear their
subjects by benign rule. (3) महान्तः Clouds are huge
as they mass together; good kings are great. (4)
प्राज्यवर्षिणः Clouds shower in plenty; good kings are
munificent. क्षितेस्तापं शमयन्ति represents the common
action predicated. घना इव brings out the simile
which supports the श्लिष्टालंकार.
रत्नवत्वादगाधत्वात् स्वमर्यादाऽविलङ्घनात् ।
बहुसत्त्वाश्रयत्वाच्च सदृशस्त्वमुदन्वता ॥ २० ॥
20. By possessing the best of every thing
(gems), by being unfathomable, by keeping within

142 BHĀMAHĀLAṄKĀRA
your bounds and by being a repository of enormous
strength (numerous living beings), you are equal to
the Ocean.
20. This verse illustrates श्लिष्ट arising from
हेतुनिर्देश. This is addressed to a king. त्वं उदन्वता सदृशः
You are on a par with the Ocean. Four reasons are
assigned for the parity by four पञ्चम्यन्तs which have
double meanings. (1) रत्नवत्त्वात् The Ocean has an
abundance of gems which accounts for its appella-
tion as रत्नाकर; the king has an abundance of riches.
(2) अगाधत्वात् The Ocean is unfathomable; the king
is imperturbable. (3) स्वमर्यादाऽविलङ्घनात् स्वमर्यादायाः अविलङ्घनं
तस्मात् The sea does not transgress its shore; the king
does not transgress his rule of conduct. (4) बहुसत्त्वाश्र-
यत्वाच्च The sea harbours any number of living beings,
whales, fish etc; the king is possessed of great sta-
mina or courage. Here the phrases setting out the
reasons for the parity have got double meanings
applicable to the Upamāna and the Upameya which
support the श्लिष्टालंकार.
अपह्नुत्यलंकारः (20)
अपह्नुतिरभीष्टा च किंचिदन्तर्गतोपमा ।
भूतार्थापह्नवादस्याः क्रियते चाभिधा यथा ॥ २१ ॥
21. Apahnuti is accepted where there is an
under-current of Upamā. Since there is a conceal-

THIRD PARICCHEDA 143
ment of the real fact it is called Apahnuti (conceal-
ment). Example follows.
21. अपह्नुति lit., concealment. The two elements
of this figure of speech are an under-current of
Upamā and a suppression of the real character of the
Upameya. The first half of this verse and the whole
of the next verse are cited in Lochana (Page 38) to
show that in a case covered by अपह्नुति the suggestion
of उपमा is eclipsed in beauty by अपह्नुति as a result of
which it will not be treated as Dhvani. Udbhaṭa
has the same definition of Apahnuti with the last
foot modified as निबन्धः क्रियते बुधैः.
नेयं विरौति भृङ्गाली मदेन मुखरा मुहुः ।
अयमाकृष्यमाणस्य कन्दर्पधनुषो ध्वनिः ॥ २२ ॥
22. This is not a row of bees often humming
noisy with intoxication. It is the twang of Cupid's
bow being drawn.
22. Here the real character of the hum of
bees is suppressed and the character of the twang
of Cupid's bow is superimposed thereon. Verse cited
in Lochana page 38; also in Hemachandra's Kāvyā-
nuśāsana, page 28.
विशेषोक्त्यलंकारः (21)
एकदेशस्य विगमे या गुणान्तरसंस्थितिः ।
विशेषप्रथनायासौ विशेषोक्तिर्मता यथा ॥ २३ ॥

144 BHĀMAHĀLAṄKĀRA
23. Where at the loss of one element another
survives to enhance the superiority of an object the
figure of speech is Viśeshokti. Example follows.
23. विशेषोक्ति occurs where despite the extinction
of a quality in an object another quality survives
which brings out its effectiveness all the more. This
and the next verse are cited in Lochana page 38 to
show that there is no व्यङ्ग्य in the latter; also quoted
by प्रतीहारेन्दुराज on Udbhaṭa's काव्यालंकारसारसंग्रह.
स एकस्त्रीणि जयति जगन्ति कुसुमायुधः ।
हरतापि तनुं यस्य शंभुना न हृतं बलम् ॥ २४ ॥
24. He, the flower-armed one, single that he
is, conquers the three worlds, of whom Śambhu de-
stroyed the body but not the strength.
24. Here Cupid is described as having his
strength in tact in spite of the destruction of his
body by Śiva. With that strength he singly conquers
the three worlds. This verse is cited in Kāvya Pra-
kāśa. Mammaṭa defines विशेषोक्ति thus :—विशेषोक्तिरखण्डेषु
कारणेषु फलावचः and he sub-divides it into 3 types—अनु-
क्तनिमित्ता, उक्तनिमित्ता and अचिन्त्यनिमित्ता—where the cause is
not given, where it is given and where it is inca-
pable of being given. To illustrate the third sub-
division Mammaṭa cites this verse. Sāhityadarpana
gives two divisions only—उक्तनिमित्ता and अनुक्तनिमित्ता and
includes अचिन्त्यनिमित्ता under the latter and cites this

THIRD PARICCHHEDA 145
verse as an example. This verse is cited in Lochana.
page 38. Also quoted by Hemachandra in his Kāv-
yānuśāsana, page 270. As to the difference between
विभावना and विशेषोक्ति according to other rhetoricians see
our Notes under II-77 infra.
विरोधालंकारः (22)
गुणस्य वा क्रियाया वा विरुद्धान्यक्रियाभिधा ।
या विशेषाभिधानाय विरोधं तं विदुर्बुधाः ॥ २५ ॥
25. The description of an action contrary to
one's own quality or action with a view to bringing
out an excellence, wise men hold as Virodha.
25. विरोध defined. Cf. Chandrāloka :—
विरोधोऽनुपपत्तिश्चेद्गुणद्रव्यक्रियादिषु ।
अमन्दचन्दनस्यन्दः स्वच्छन्दं दन्दहीति माम् ॥
Daṇḍin's conception of विरोध is different. It
arises where two opposite ideas are set out conti-
guously. Vide Kāvyādarśa.
विरुद्धानां पदार्थानां यत्र संसर्गदर्शनम् ।
विशेषदर्शनायैव स विरोधः स्मृतो यथा ॥ II—333.
This figure is not mentioned in Kāvya Prakāśa
or Sāhityadarpaṇa nor even in Kuvalayānanda.
उपान्तरूढोपवनच्छायाशीतापि द्यौरसौ ।
विदूरदेशानपि वः संतापयति विद्विषः ॥ २६ ॥
10

146 BHĀMAHĀLAṄKĀRA
26. This yoke (of sovereignty), though cool by
the shade of parks grown on the frontiers, burns
your enemies in distant lands.
26. विरोध illustrated.
तुल्ययोगितालंकारः (23)
न्यूनस्यापि विशिष्टेन गुणसाम्यविवक्षया ।
तुल्यकार्यक्रियायोगादित्युक्ता तुल्ययोगिता ॥ २७ ॥
27. Where in order to convey parity of qua-
lities between an inferior and a superior object
they are associated in one and the same action the
figure of speech is Tulyayogitā.
27. तुल्ययोगिता defined. A common action is here
predicated in a single sentence while Dīpaka in-
volves different sentences.
शेषो हिमगिरिस्त्वं च महान्तो गुरवः स्थिराः ।
यदलङ्घितमर्यादाश्चलन्तीं बिभृथ क्षितिम् ॥ २८ ॥
28. Śesha, the mountain Himavān and your-
self are great, heavy and firm—inasmuch as you
bear the tottering Earth, without transgressing
your bounds.
28. तुल्ययोगिता illustrated. Cited also in Dhvanyā-
loka, N. S. P. Edition, Page 236. Vide the following
extract :—दृष्टपूर्वा अपि ह्यर्थाः काव्ये रसपरिग्रहात् । सर्वे नवा इवाभान्ति
मधुमास इव द्रुमाः ॥ तथा विवक्षितान्यपरवाच्यस्यैव शब्दशक्त्युद्भवस्यानु-

THIRD PARICCHEDA 147
-रणनरूपव्यङ्ग्यप्रकारसमाश्रयेण नवत्वम् । यथा—‘धरणीधारणायाधुना त्वं शेषः’
(Bāṇa's Harshacharita) इत्यादौ ‘शेषो हिमगिरिस्त्वं च महान्तो गुरवः
स्थिराः । यदलङ्घितमर्यादाश्चलन्तीं बिभ्रते भुवम् ॥’ इत्यादिषु सत्स्वपि तस्यैवार्थ-
शक्त्युद्भववानुरणनरूपव्यङ्ग्यसमाश्रयेण नवत्वम् ।
अप्रस्तुतप्रशंसालंकारः (24)
अधिकारादपेतस्य वस्तुनोऽन्यस्य या स्तुतिः ।
अप्रस्तुतप्रशंसेति सा चैवं कथ्यते यथा ॥ २९ ॥
29. The description of an object which has
no relevancy to the context is called Aprastutapra-
śaṁsā. Example follows.
29. अप्रस्तुतप्रशंसा defined. It is the antithesis of
समासोक्ति. In समासोक्ति the description of a relevant
object suggests the picture of a non-relevant object.
In अप्रस्तुतप्रशंसा a non-relevant object is described and
the picture of the relevant object is suggested to
the mind’s eye of the reader. This is cited in
Lochana, N. S. P. Edition, Page 42.
प्रीणितप्रणयि स्वादु काले परिणतं बहु ।
विना पुरुषकारेण फलं पश्येत शाखिनाम् ॥ ३० ॥
30. Behold the fruit of trees, pleasing to the
seekers, sweet and plentifully ripe in time without
the effort of man.
30. अप्रस्तुतप्रशंसा illustrated. From the descrip-
tion of non-relevant trees is suggested the picture

148 BHĀMAHĀLAṄKĀRA
of a relevant hero, magnanimous and showering
benefits in plenty on those that approach him.
व्याजस्तुत्यलंकारः (25)
दूराधिकगुणस्तोत्रव्यपदेशेन तुल्यताम् ।
किंचिद्विधित्सोर्या निन्दा व्याजस्तुतिरसो यथा ॥ ३१ ॥
31. The censure of a relevant object where
under the pretext of extolling the virtues of a thing
far from and high above the same the poet desires
to lay down some equality amounts to Vyājastuti.
Example follows.
31. व्याजस्तुति defined. Here from an apparent
censure praise is suggested. Cf. this definition
from that given in Chandrāloka. उक्तिर्व्याजस्तुतिर्निन्दा-
स्तुतिभ्यां स्तुतिनिन्दयोः. There from an apparent censure or
praise is suggested praise or censure in reality. Ac-
cording to our author censure is always expressed
but praise is suggestsd.
रामः सप्ताभिनत्सालान् गिरिं क्रौञ्चं भृगूत्तमः ।
शतांशेनापि भवता किं तयोः सदृशं कृतम् ॥ ३२ ॥
32. Rāma pierced the seven Sāla trees. Para-
śurāma pierced Mount Krauñcha. What have you
done equal to a hundredth part of what they did?
32. व्याजस्तुति illustrated. By belittling the hero
as compared to Rāma and Paraśurāma the greatness
of the hero is really extolled.

THIRD PARICCHEDA 149
निदर्शनालंकारः (26)
क्रिययैव विशिष्टस्य तदर्थस्योपदर्शनात् ।
ज्ञेया निदर्शना नाम यथेववातिभिर्विना ॥ ३३ ॥
33. Nidarśanā is to be known where one teaches
a superior lesson by action alone without the use of
words—Yathā, Iva or the suffix Vat.
33. निदर्शना defined. The name is true to its
etymology. निदर्शनं means an example or teaching a
lesson. Where a lesson is described to be imparted
by action alone the figure of speech is निदर्शना. This
is essentially different from निदर्शना as conceived by
Chandrāloka. There the ascription of identity be-
tween two parallel ideas constitutes the figure of
speech. Here the teaching of precept by example is
the essence of the Alaṁkāra. Vide Chandrāloka:—
परि० | वाक्यार्थयोः सदृशयोरैक्यारोपो निदर्शना ।
उदा० | यद्धातुः सौम्यता सेयं पूर्णेन्दोरकलङ्कता ॥
अयं मन्दद्युतिर्भास्वानस्तं प्रति यियासति ।
उदयः पतनायेति श्रीमतो बोधयन्नरान् ॥ ३४ ॥
34. Yonder Sun, dim in lustre, heads towards
sunset, teaching prosperous men that a rise leads
to a downfall.
34. निदर्शना illustrated. The sun by his very ac-
tion of setting teaches a lesson to people in the

150 BHĀMAHĀLAṄKĀRA
height of prosperity. This verse is cited in Lochana,
page 209 while dealing with the point that exam-
ples of निदर्शना will come under गुणीभूतव्यङ्ग्य ; quoted also
by प्रतीहारेन्दुराज in his commentary on उद्भटालंकारसारसंग्रह.
उपमारूपकालंकारः (27)
उपमानेन तद्भावमुपमेयस्य साधयन् ।
यां वदत्युपमामेतदुपमारूपकं यथा ॥ ३५ ॥
35. Where the poet while establishing an
identity of an Upameya with an Upamāna, intro-
duces Upamā, the figure is Upamā-rūpaka. Exam-
ple follows.
35. उपमारूपक defined. We fail to see any dis-
tinction between this and रूपक. Moderns do not ac-
cept this Alaṁkāra. Perhaps in the view of our
author the poet lays emphasis on the Upamā aspect
rather than the रूपक in any passage illustrating this
Alaṁkāra.
समग्रगगनायाममानदण्डो रथाङ्गिनः ।
पादो जयति सिद्धस्त्रीमुखेन्दुनवदर्पणः ॥ ३६ ॥
36. Viṣṇu’s foot triumphs, the foot which is a
yardstick to the entire expanse of the sky and a fresh
mirror to the moon-like faces of celestial damsels.
36. उपमारूपक illustrated. Viṣṇu’s foot is com-
pared to a yardstick employed to measure the vast