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

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

THIRD PARICCHHEDA 151
expanse of the sky. This alludes to the three foot-
steps placed by Vishṇu in त्रिविक्रमावतार. The foot like
a mirror reflected the faces of the divine damsels.
उपमेयोपमालंकारः (28)
उपमानोपमेयत्वं यत्र पर्यायतो भवेत् ।
उपमेयोपमां नाम ब्रुवते तां यथोदितम् ॥ ३७ ॥
37. Where there is reciprocity in the relation-
ship of Upamāna and Upameya, they declare it as
Upameyopamā. Example follows.
37. उपमेयोपमा defined. पर्यायतः In turns. There is
a reciprocal comparison of the Upamāna and Upa-
meya. यथा (वक्ष्यमाणं) उदितम्. The reading यथोदितं does
not fit in.
सुगन्धि नयनानन्दि मदिरामदपाटलम् ।
अम्भोजमिव वक्त्रं ते त्वदास्यमिव पङ्कजम् ॥ ३८ ॥
38. Fragrant, delightful to the eyes and flush-
ing red with the intoxication of wine, your face is
like the lotus and like your face is the lotus.
38. उपमेयोपमा illustrated. Here a lady’s face is
compared to a lotus and vice versa. The three
common characteristics of the Upamāna and Upa-
meya are set out in the first half of the verse. The
purpose of this reciprocal comparison is to suggest
the absence of a third similar object. तृतीयसदृशव्य-
वच्छेदार्थम्.

152 BHĀMAHĀLAṄKĀRA
सहोक्त्यलंकारः (29)
तुल्यकाले क्रिये यत्र वस्तुद्वयसमाश्रये ।
पदेनैकेन कथ्येते सहोक्तिः सा मता यथा ॥ ३९ ॥
39. Where two actions belonging to the same
time but to two different objects are conveyed by
the same expression the figure of speech is Sahokti.
Example follows.
39. सहोक्ति defined. The antithesis of this is
विनोक्ति dealt with by other Ālaṁkārikas, but not by
Bhāmaha. Generally सह and its synonyms are used
to indicate सहोक्ति.
हिमपाताविलदिशो गाढालिङ्गनहेतवः ।
वृद्धिमायान्ति यामिन्यः कामिनां प्रीतिभिः सह ॥ ४० ॥
40. With spaces clouded by the falls of snow
and prompting the tight embraces of couples, nights
attain growth along with the affections of lovers.
40. सहोक्ति illustrated. The lengthening of nights
and the developing of the love of couples are two
simultaneous actions conveyed by the same phrase
— वृद्धिमायान्ति.
परिवृत्त्यलंकारः (30)
विशिष्टस्य यदादानमन्यापोहेन वस्तुनः ।
अर्थान्तरन्यासवती परिवृत्तिरसौ यथा ॥ ४१ ॥

THIRD PARICCHEDA 153
41. The acquisition of something superior by
foregoing something else, coupled with Arthān-
taranyāsa amounts to Parivṛtti. Example follows.
41. परिवृत्ति defined. परिवृत्तिः means an exchange.
According to other Ālaṁkārikas an exchange may
be between equal objects or of an inferior object for
a superior object or of a superior object for an infe-
rior. Our author countenances only an exchange
where a superior object is got in return for an infe-
rior. Further such description of exchange must
always be supported by an अर्थान्तरन्यास or a general
statement in substantiation of a particular case.
But this requirement is dispensed with by others.
प्रदाय वित्तमर्थिभ्यः स यशोधनमादित ।
सतां विश्वजनीनानामिदमस्खलितं व्रतम् ॥ ४२ ॥
42. Giving material wealth to those that
sought, he received the wealth of fame. It is the
unswerving pledge of virtuous men bent on doing
good to all.
42. परिवृत्ति illustrated. The king in question
offers riches and in return gets eternal glory. The
second half of the verse sets out a general state-
ment in support of the exchange. विश्वस्मै जनाय हितः
=विश्वजनीनः.

154 BHĀMAHĀLAṄKĀRA
ससंदेहालंकारः (31)
उपमानेन तत्त्वं च भेदं च वदतः पुनः ।
ससंदेहं वचः स्तुत्यै ससंदेहं विदुर्यथा ॥ ४३ ॥
43. The speech of one who for the sake of
eulogising a thing speaks of its identity with the
Upamāna and of its distinctness, thus expressing a
doubt amounts to Sasandeha. Example follows.
43. ससंदेह defined. Three factors are requisite to
make up this Alaṁkāra. (1) Statement of identity
of the Upameya with the Upamāna, (2) Statement
of a reason which would distinguish it from the
Upamāna, (3) The doubt expressed must contribute
to the eulogy of the Upameya. According to others
the second factor abovenamed is not essential. They
speak of a doubt continuing down to the end or of a
doubt cleared at the end by a right conclusion. Bhā-
maha apparently ignores the latter type. This
verse is cited in Lochana, page 107 while dealing
with the point that in ससंदेह and similar Alaṁkāras
उपमा, रूपक or अतिशयोक्ति is suggested (व्यङ्ग्य).
किमयं शशी न स दिवा विराजते
कुसुमायुधो न धनुरस्य कौसुमम् ।
इति विस्मयाद्विमृशतोऽपि मे मति-
स्त्वयि वीक्षते न लभतेऽर्थनिश्चयम् ॥ ४४ ॥

स एकश्रेणि जयति or स एकश्रेणी जयति?
Wait, let's look at the letter: स एकश्रेणि जयति (wait, is it श्र or क्र?):
It has क with ् and र? Wait, क्रे or श्रे?
Wait, Bhamaha 4.29:
"स एकत्रैव जयति"? No.
Let's look at the letters:
स ए क श्रे णि (or क्रे?):
Wait, it is: स एकत्रेव? No, it has णि at the end: णि!
Wait, Bhamaha 4.29:
"स एकश्रेणी जयति"?
Wait, look at line 25:
स एकश्रेणि जयति 144
Wait, let's look at the glyph:
स (space) ए क श्रे णि (short i!) ज य ति.
Wait, is that क्रे or श्रे?
It's श्रे! Look at श्रेयसो in line 17: श्रे has the exact same loop and stroke: श्रे.
So स एकश्रेणि जयति.

212 BHĀMAHĀLAṄKĀRA
Page Page
• समाहितं राजमित्रे 134 साधुसाधारणत्वादिः 82
समुदायाभिन्नस्य 119 साध्यधर्मानुगमतः 174
समुदायार्थशून्यं यत् 167 साध्यसाधनधर्माभ्यां 174
संस्कृतं प्राकृतं चान्यत् 13 साध्यसाधनयोरुक्तिः 177
संस्कृतानाकुलश्रव्य 24 साध्येन लिङ्गानुगतिः 174
संस्कृताऽसंस्कृता चेष्टा 24 साध्यः खगेहेष्विव 90
सरः शरत्प्रसन्नाम्भो 93 सामान्यगुणनिर्देशात् 84
सरूपवर्णविन्यासं 54 सालातुरीयमतमेतदनुक्रमेण 184
सरूपशेषं तु पुमान् 182 सावर्ण्यवर्ज्ययो हस्य 184
सर्गबन्धोऽभिनेयार्थे 15 सा समासोक्तिरुद्दिष्टा 113
सर्गबन्धो महाकाव्यं 16 सितासिताक्षी 61
सर्वथा पदमप्येकं 9 सितासिते पक्ष्मवती 111
सर्वे सर्वेण सारूप्यं 88 सिद्धो यश्चोपसंख्यानात् 181
सर्वशास्त्रविरुद्धत्वात् 173 सुखसेव्यो जनानां त्वं 159
सर्वेभ्यश्च मृशादिभ्यो 182 सुगन्धिकुसुमानम्रा 169
सर्वैवातिशयोक्तिस्तु 118 सुगन्धि नयनानन्दि 151
स लोलमालालीलालि 54 सुजनावगमाय भामहेन 185
ससंदेहं वचः स्तुत्यै 154 सुधियामपि नैवेदं 43
ससंशयमिति प्राहुः 168 सुपां तिङां च व्युत्पत्तिं 11
स साम्यमापादयति 82 सूत्रकृत्पदकारेष्ट 169
सहितं सहितं कर्तुं 58 सूत्रज्ञापकमात्रेण 182
सहोक्तिपरिवृत्ती च 128 सूत्राम्भसं पदावर्तं 179
साक्षादरूढं वाच्येऽर्थे 41 सूर्याशुसंमीलितलोचनेषु 90
साधुना साऽधुना तेन 58 सैषा सर्वैव वक्रोक्तिः 118
साधु वाऽसाधु वाऽऽगामि 108 सोदाहरणलक्ष्माणो 85
• साधुः संसारात् 59 • सौधेषु घनमुक्तानां 168

THIRD PARICCHHEDA 155
44. Is he the Moon ? But he does not shine in
the day. Is he the flower-armed Cupid ? But the bow
of this one is not made up of flowers. Thus does
my mind speculate in wonder while looking at you,
but does not reach a conclusion.
44. ससंदेह illustrated. In eulogy of a king the
doubt is first raised—किमयं शशी to bring out his extra-
ordinary resplendency. It is immediately followed
by an argument to the contrary. The moon does not
shine in the day whereas this king does. Next the
doubt is raised whether he is Cupid in view of his
extraordinary loveliness. It is followed by an argu-
ment to the contrary. Cupid's bow is formed of
flowers whereas the king's is made of steel and the
like. In the first foot the negative statement refers
to the absence of the Upameya's quality in the Upa-
māna. In the second foot it refers to the absence
of the Upamāna's quality in the Upameya.
अनन्वयालंकारः (32)
यत्र तेनैव तस्य स्यादुपमानोपमेयता ।
असादृश्यविवक्षात्तस्तमित्याहुरनन्वयम् ॥ ४५ ॥
45. Where the relationship of Upamāna and
Upameya is of an object with itself— (where an
object is compared to itself) to suggest the absence
of likeness in any other object the figure is Anan-
vaya.

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

THIRD PARICCHEDA 157

teeth and with eyes resembling lotuses, your face
is like your face.
46. अनन्वय illustrated. ताम्बूलस्य राग एव वलयः यस्य तत्
ताम्बूलरागवलयं. This refers to the presence of the red
lower lip on the face of a lady to whom this verse
is addressed. स्फुरन्त्यः दशनानां दीधितयः यस्मिन् तत् स्फुरद्दशनदीधिति
Possessed of lustrous teeth. इन्दीवराभ्यां सदृशे नयने यस्मिन्
तत् इन्दीवराभनयने Possessed of eyes resembling blue lo-
tuses. तव वदनं तव वदनमिव.
उत्प्रेक्षावयवालंकारः (33)
श्लिष्टस्यार्थेन संयुक्तः किंचिदुत्प्रेक्ष्यान्वितः ।
रूपकार्थेन च पुनरुत्प्रेक्षावयवो यथा ॥ ४७ ॥
47. Utprekshāvayava includes the element of
Ślishṭa, slightly accompanied by Utprekshā and
also by Rūpaka. Example follows.
47. उत्प्रेक्षावयव defined. This figure of speech is
not mentioned in other works. According to them
this will be treated only as a combination of two or
more Alaṁkāras. The elements of three Alaṁkāras
are involved in this figure of speech according to
our author viz., श्लिष्ट defined in III—14, उत्प्रेक्षा defined
in II—91 and रूपक in II—21.
तुल्योदयावसानत्वाद्वैतेऽस्तं प्रति भास्वति ।
वासाय वासरः क्लान्तो विशतीव तमोगृहम् ॥ ४८ ॥

158 BHĀMAHĀLAṄKĀRA
48. Their rise and close being equal, when
the Sun is gone to set, the day fatigued goes as
it were into the home of darkness for residence.
48. उत्प्रेक्षावयव illustrated. Inasmuch as तमस्—
Darkness is identified with गृहं—Residence, the ele-
ment of रूपक arises. Inasmuch as the पञ्चम्यन्त (तुल्योद-
यावसानत्वात्) is employed the element of श्लिष्ट arises. The
double meaning in उदय and अवसान is to be noted. उदय
means both beginning and sunrise. अवसान means
both the end and sunset. Inasmuch as the day is
fancied as entering into the abode of darkness, the
element of उत्प्रेक्षा arises. This verse is cited in Lo-
chana, page 41. Vide the following extract :— तृतीयः
प्रकारः—यत्रैकवाच्यांशोऽनेकोऽर्थालंकारस्तत्रापि द्वयोः साम्यात्कस्य व्यङ्ग्यता ।
यथा—‘तुल्योदयावसानत्वादद्गतेऽस्तं प्रति भास्वति । वासाय वासरः श्रान्तो विशतीव
तमोगुहाम् ॥’ इति । अत्र हि स्वामिविपत्तिसमुचितव्रतग्रहणहेवाकिकुलपुत्रकरूपण-
मेकदेशविवर्तिरूपकं दर्शयति । उत्प्रेक्षा चेवशब्देनोक्ता । From this state-
ment it also appears that the identity of the day
with a faithful servant following his master's mis-
fortune is also suggested.
संसृष्ट्यलंकारः (34)
वरा विभूषा संसृष्टिर्बह्वलंकारयोगतः ।
रचिता रत्नमालेव सा चैवमुदिता यथा ॥ ४९ ॥
49. A superior ornament is Saṁsṛṣṭi by the
combination of a number of Alaṁkāras—like a

THIRD PARICCHEDA 159
necklace formed of a number of gems. Example
follows.
49. The author refers to संसृष्टि or a combination
of several Alaṁkāras. It is referred to as वरा विभूषा,
a superior ornament. The author refers to only one
type i.e., the co-existence of a multiplicity of Alaṁ-
kāras. Moderns recognise two types—संसृष्टि and संकर.
The former is a mixture of the तिलतण्डुल type. the
latter a compound of the क्षीरनीर type. संकर arises in
three ways—अङ्गाङ्गिभाव, समप्रधान and संदेह to which a
fourth type is added by Kuvalayānanda viz., एक-
वचनानुप्रवेश. The reader is fortunate in having been
spared all the later ramifications by our author
who recognises only a mixture of several Alaṁ-
kāras. रत्नमालेव Just as a necklace strung of several
gems confers additional beauty on the human per-
son a string of several Alaṁkāras confers beauty
on a literary passage.
गाम्भीर्यलावण्य¹वतोर्यु³वयोः प्राज्य²रत्नयोः ।
सुख⁶सेव्यो जनानां त्वं⁵ दुष्ट⁴ग्राहोऽम्भसां पतिः ॥ ५० ॥
50. Both of you being possessed of depth (unfa-
thomableness) and loveliness (salineness) and both
possessed of an abundance of gems, you are easy of
approach to the people whereas the Ocean is pos-
sessed of wicked crocodiles.
50. संसृष्टि illustrated. This verse is addressed
to a king. He is compared to the Ocean. The king