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

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

160 BHĀMAHĀLAṄKĀRA
is possessed of गाम्भीर्य Dignity and लावण्य Loveliness.
The Ocean is possessed of गाम्भीर्य Depth and लावण्य
Saltishness. The reading लाघव in the place of लावण्य
does not fit in. The king is प्राज्यरत्न possessed of
abundance of riches. The Ocean is also प्राज्यरत्न, har-
bours innumerable gems. That is why he is called
रत्नाकर. गाम्भीर्यलावण्यवतोः प्राज्यरत्नयोः युवयोः As between you
two i.e., the king and the Ocean. त्वं जनानां सुखसेव्यः,
अम्भसां पतिः दुष्टग्राहः. You are easily accessible to the
people. The Ocean possessed of wicked crocodiles
is difficult of approach. ग्राह means a crocodile. In
the first half of the verse श्लेष and उपमा arise or per-
haps strictly according to our author श्लिष्ट arises. In
the second half of the verse arises व्यतिरेक.
अनलंकृतकान्तं ते वदनं वनजद्युति ।
निशाकृतः प्रकृत्यैव चारोः का वास्त्यलंकृतिः ॥ ५१ ॥
51. Your face bearing the splendour of lotus
is unadorned yet charming. What adornment is
there for the Moon who is beautiful by nature ?
51. A further illustration of संसृष्टि. अनलंकृतकान्तं
Unadorned yet charming. Here arises विभावना. वदनं
वनजद्युति Face resembling a lotus in beauty. Here
arises उपमा. प्रकृत्यैव चारोः निशाकृतः का वा अलंकृतिः अस्ति. Here
arises अर्थान्तरन्यास.
अन्येषामपि कर्तव्या संसृष्टिरनया दिशा ।
कियदुद्घट्टितज्ञेभ्यः शक्यं कथयितुं मया ॥ ५२ ॥

THIRD PARICCHHEDA 161
52. On these lines may be effected a combi-
nation of other Alaṁkāras also. How much is it
possible for me to say to men with imagination?
52. The author says that he has given only
two samples of संसृष्टि and other such combinations
can be easily observed by an intelligent reader.
भाविकत्वालंकारः (35)
भाविकत्वमिति प्राहुः प्रबन्धविषयं गुणम् ।
प्रत्यक्षा इव दृश्यन्ते यत्रार्था भूतभाविनः ॥ ५३ ॥
चित्रोदात्ताद्भुतार्थत्वं कथायाः स्वभिनीतता ।
शब्दानाकुलता चेति तस्य हेतुं प्रचक्षते ॥ ५४ ॥
53. They speak of Bhāvikatva as an excel-
lence pervading a literary work where things past
and future are witnessed as if within the range
of immediate perception.
54. The contributory causes to the same are
the presentation of a picturesque, exalted and won-
derful idea, the adaptability of the story to being
presented on the stage or conveyed by gestures and
a harmony of words.
53 & 54. भाविकत्व defined. A special distinction
is to be noticed with reference to this Alaṁkāra.
This is a quality pervading a whole literary work,
11

162. BHĀMAHĀLAṄKĀRA
     not only passages as in the case of the previous
     Alaṁkāras. प्रबन्धविषयं. The word गुणं is significantly
     used. Perhaps the author himself is in doubt as to
     the propriety of treating it as an Alaṁkāra. To
     justify भाविकालंकार a literary work must present vivid-
     ly incidents past and future as if within the range
     of direct perception of the reader. Further the
     ideas must be picturesque, exalted and wonderful.
     Further the plot must admit of being presented on
     the stage and the story must be couched in clear
     language. Moderns treat this Alaṁkāra as discover-
     able in particular passages. In fact the following
     is an oft-quoted illustration of a passage contain-
     ing Bhāvikālaṁkāra.
     मुनिर्जयति योगीन्द्रो महात्मा कुम्भसंभवः ।
     येनैकचुलुके दृष्टौ दिव्यौ तौ मत्स्यकच्छपौ ॥
     Of course our author has not illustrated this fig-
     ure of speech, it being impossible to do so because a
     whole work will come under the purview of this
     Alaṁkāra according to him. Verse 54 is quoted by
     Pratīhārendurāja in his commentary on Udbhaṭa’s
     Kāvyālaṁkārasārasaṅgraha :—तदुक्तं भाविकमुपक्रम्य भामहेन
     ‘चित्रोदात्ताद्भुतार्थत्वं कथायां स्वभिनीतता। शब्दानुकूलता चेति तस्य हेतून् प्रचक्षते’
     इति। स्वभिनीततेत्यभिनयादिद्वारेण शृङ्गारादिरससंवलितत्वं चतुर्वर्गोपायस्योक्तम् ॥
     The second half of the same verse is found
     quoted by Ruyyaka in his Alaṁkārasarvasva at
     page 183—‘शब्दानुकूलता चेति तस्य हेतून् प्रचक्षते’ इति भामहीये ।

THIRD PARICCHEDA 163
आशीरलंकारः (36)
आशीरपि च केषांचिदलंकारतया मता ।
सौहृद्याविरोधोक्तौ प्रयोगोऽस्याश्च तद्यथा ॥ ५५ ॥
55. According to some Āśīs (benediction) is
also an Alaṁkāra. It occurs where friendship or
extinction of opposition is wished for. Example
follows.
55. So far twenty-three Alaṁkāras which were
mentioned at the outset of this chapter have been
dealt with. Now the author deals with आशीस् recog-
nised as an Alaṁkāra by others. The use of केषांचित्
will lead us to presume the disapproval of our au-
thor. But an elaborate treatment of the same with
its definitions and illustrations points rather to the
conclusion that Bhāmaha does not seriously dissent
from those that hold आशीस् as a separate Alaṁkāra.
आशीस् means benediction which may arise in two
ways viz., a wish for friendship or a wish for the
absence of opposition. सुहृदयस्य भावः सौहृद्यं. विरोधस्य
अभावः अविरोधः.
अस्मिञ्जहीहि सुहृदि प्रणयाभ्यसूया-
माश्लिष्य गाढममुमानतमादरेण ।
विन्ध्यं महानिव घनः समयेऽभिवर्ष-
न्नानन्दजैर्नयनवारिभिरुक्षतु त्वाम् ॥ ५६ ॥

164 BHĀMAHĀLAṄKĀRA
56. Leave off your anger of love towards this
your loving friend. Closely embrace him as he bends
down with tenderness. Let him drench you with
tears of joy as a big cloud discharging its seasonal
shower would the Vindhya mountain.
56. आशीस् expressing a wish for friendship is il-
lustrated in this verse. This verse is the pronounce-
ment of a true well-wisher who brings about re-
conciliation between two friends that had recently
come to be on bad terms due to the mischief of tale-
bearers. प्रणयाभ्यसूया Anger in love subsists between
two friends notwithstanding the recent disaffection.
अस्मिन् सुहृदि प्रणयाभ्यसूयां जहीहि. The mediator says, ‘Give
up your anger towards your friend. He is your सुहृत्
or friend. He continues to be so notwithstanding
the estrangement. In your turn your bitterness too
is not real, but only prompted by your fondness of
him.’ अमुं गाढं आश्लिष्य Embrace him closely and show
your affection. आदरेण आनतं As he bows before you
in affection. When you are thus reconciled to him
he will shed tears of joy and drench you as a cloud
would drench the Vindhya mountain with its sea-
sonal showers.
मदान्धमातङ्गविभिन्नसाला
हतप्रवीरा द्रुतभीतपौराः ।
त्वत्तेजसा दग्धसमस्तशोभा
द्विषां पुरः पश्यतु राजलोकः ॥ ५७ ॥

THIRD PARICCHEDA 165
57. Let the host of princes witness your ene-
mies' cities with ramparts broken by your elephants
blinded by intoxication, with heroes slain, with
citizens fleeing in panic and with their beauty to-
tally extinguished (burnt) by your valour.
57. This is an illustration of आशीस् praying
for extinction of opposition—अविरोध. राजलोकः द्विषां पुरः
पश्यतु Let the host of kings behold your enemies' ci-
ties, ravaged, destroyed or demolished as set out in
the first three feet of the verse. मदान्धैः मातङ्गैः विभिन्नः
सालः यासां ताः The ramparts of their cities will be
broken down by your elephants mad with intoxica-
tion. हतप्रवीराः The warriors therein will be killed.
द्रुतभीतपौराः The panic-stricken citizens will flee the
city. त्वत्तेजसा दग्धसमस्तशोभाः The entire opulence and
splendour of the cities will melt away in your
valour. The twofold आशीरलंकार dealt with here does
not find a place in most other works of poetics
though Daṇḍin mentions it.
गिरामलंकारविधिः सविस्तरः
स्वयं विनिश्चित्य धिया मयोदितः ।
अनेन वागर्थविदामलंकृता
विभाति नारीव विदग्धमण्डना ॥ ५८ ॥
58. I have thus expounded the elaborate code
of the figures of speech by the exercise of my own

166 BHĀMAHĀLAṄKĀRA
judgment. The speech of poets who know how
best to put their ideas in keeping with the same
shines resplendent like a lady tastefully decorated.
58. The author winds up the chapter on Alaṁ-
kāras. गिरां अलंकारविधिः The code of the figures of speech.
सविस्तरः In elaborate detail. स्वयं विनिश्चित्य धिया shows
that most of Bhāmaha's conceptions of figures of
speech are original. This shows that though later
authors have made large improvements thereon,
Bhāmaha deserves very great respect as his treat-
ment represents one of the earliest contributions to
the science of literary criticism. Prose order of the
third foot-अनेन (अलंकारविधिना) अलंकृता अर्थविदां वाक् विदग्धमण्डना
नारीव विभाति A literary work conforming to the above
rules and composed by poets who know what are
the best ideas and how best to put them appears
charming like an elegantly decked damsel.
End of the Third Parichheda.