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

the sense of वेणुदारेः (of Venudari) and understand the
Maya as belonging to Venudari, then there is some
sense. Because probably his deceit was useful for
some good purpose. No such story however is
available.”
Mr. D. T. Tatacharya says—मायेव भद्रेति यथा यादृशं
तादृशं नेयार्थमिति योजना। एवं सर्वत्र। सैषा वाक्यरचनाऽसाध्वी। न हि का
भद्रा कस्य सा मायेवेति किञ्चिदत्र प्रतीयते। तथा सति शब्दत उपादानमन्तरेणैव
वेणुदाकेर्भद्रा मायेवेति तां प्रकल्पनामुपपादयन्ति। वेणुदाकिः कस्यचित् प्रबन्धस्य
नायकः। भद्रा नायिका। सा तस्य मायेवाभूत्। तथाऽमूमुहदिति। तत्र कथा-
नायकस्योपादानं विना भद्रा मायेवेत्येतावन्मात्राभिधाने नार्थो बुध्यते। तत्र वेणु-
दाकेरित्‍ययमर्थ उन्नेतव्य इति नेयार्थमिदम्। तद्यथा खुरक्षुण्णनागासृग्लोहितादिति
वक्तव्ये लोहितादित्येतावन्मात्राभिधाने नेयार्थमिति दण्डिनोक्तं तादृगिदं द्रष्टव्यम्।
सोऽयमस्मदुपज्ञमर्थः।
We are inclined to observe that the first
commentary presumes that वेणुदाकेः is a scribe's mis-
take for वेणुदारेः. Perhaps so, for in Telugu manu-
script there is not much difference between रे and
के. According to the second commentary भद्रा वेणुदाकेः
मायेव would mean ‘Bhadrā was like an enchantress to
Veṇudāki.’ Then where is the need for importing
the words ‘to Veṇudāki?’ Without that addition the
sense is complete. Bhadrā was like an enchantress
in general. How will Neyārtha arise?
We may add one more suggestion. वेणुं दाकयतीति
वेणुदाकिः कृष्णः. दक is an onomotapoetic verb suggest-
ing the sound of a flute. Kṛṣṇa's deceitful tactics

40 BHĀMAHĀLAṄKĀRA
contributed to the weal of the people. Or generally
Vishṇu's elusive role contributes to the people's
good.
क्लिष्टं अन्यार्थं च दोषौ (2 & 3)
क्लिष्टं व्यवहितं विद्यादन्यार्थं विगमे यथा ।
विजहुस्तस्य ताः शोकं क्रीडायां विकृतं च तत् ॥ ४० ॥
40. Klishṭa (strained) is what is intercepted
or remote. Anyārtha occurs where the intended
meaning appears by the omission of a part of an
expression. Example—Those ladies dispelled (sport-
ed) his grief by sports, and this was done by the
preposition Vi.
40. क्लिष्टं is defined as व्यवहितं Remote or obstruct-
ed. The author gives no example. Vāmana gives
an example of क्लिष्ट thus :—दक्षात्मजादयितवल्लभवेदिकानाम् mean-
ing चन्द्रकान्तवेदिकानाम्. But this will come under अवाचक
according to Bhāmaha. This verse also gives the
definition and illustration of the next Dosha—An-
yārtha. This Dosha arises where in order to make
sense some portion of the speech has to be dropped.
विगमः Dropping (of a part of an expression) e.g., ताः
तस्य शोकं क्रीडायां विजहुः. विजहुः would mean sported, which
does not fit in with the context. If you drop the
preposition वि, जहुः yields an agreeable meaning.

FIRST PARICCHEDA 41
It means removed. तद् विकृतं The Dosha is due to the
particle वि. This will come under अवाचक according
to Mammaṭa.
अवाचकं दोषः (4)
हिमापहामित्रधरैर्व्याप्तं व्योमेत्यवाचकम् ।
साक्षादरूढं वाच्येऽर्थे नाभिधानं प्रतीयते ॥ ४१ ॥
41. Avāchaka is illustrated by the state-
ment, ‘The sky was covered with the bearers of the
enemy of the destroyer of snow (clouds).’ A word
which does not directly denote an object fails to
yield the intended meaning.
41. अवाचक is the employment of round-about
expressions to denote an object which is not their
meaning by direct denotation. An example is—हिमा-
पहामित्रधरैः. हिमं Snow. हिमापहः The destroyer of snow;
fire. तस्य अमित्रं Its foe; water. तस्य धराः Its bearers;
clouds. This expression is tainted with the fault
of Avāchaka. This example is cited in Sarasvatī
Kaṇṭhābharaṇa to illustrate क्लिष्ट. This will come
under क्लिष्ट according to Mammaṭa also.
अयुक्तिमत् दोषः (5)
अयुक्तिमद्यथा दूता जलभृन्मारुतेन्दवः ।
तथा अमरहारीतचक्रवाकशुकादयः ॥ ४२ ॥

42 BHĀMAHĀLAṄKĀRA
42. Ayuktimat (lacking in propriety) occurs
where for the conveyance of messages are used a
cloud, the wind, the moon, a bee, a dove, a ruddy
goose, a parrot and the like.
42. अयुक्तिमत् (Improper) arises where inanimate
objects and unintelligent beings are employed as
messengers.
अवाचोऽव्यक्तवाचश्च दूरदेशविचारिणः ।
कथं दूत्यं प्रपद्येरन्निति युक्त्या न युज्यते ॥ ४३ ॥
43. How can creatures without speech or with
indistinct speech roam over distant countries and be
made to undertake the task of messengers? This
does not stand to reason.
43. न विद्यते वाक् येषां ते अवाचः Dumb creatures. अव्य-
क्ता वाक् येषां ते अव्यक्तवाचः Beings with inarticulate expres-
sions. How will such beings play the role of a
messenger ?
यदि चोत्कण्ठया यत्तदुन्मत्त इव भाषते ।
तथा भवतु भूम्नेदं सुमेधोभिः प्रयुज्यते ॥ ४४ ॥
( कालिदासादिभिः ? )
44. But if through inordinate zeal or infatu-
ation one speaks thus like a lunatic, then be it so.
It is also largely used by intellectual persons.

FIRST PARICCHEDA 43
44. In the face of Kālidāsa's Meghasandeśa
how can the objection of Bhāmaha stand? He jus-
tifies such Kāvyas on the ground that the employer
of messages is labouring under a great tension and
as such speaks like a lunatic. In that view a Kā-
vya of the संदेश type is permissible according to Bhā-
maha. In fact he declares that such method is em-
ployed by men of genius, of course having Megha-
sandeśa in view.
गूढशब्दाभिधानं दोषः (6)
गूढशब्दाभिधानं च न प्रयोज्यं कथंचन ।
सुधियामपि नैवेदमुपकाराय कल्पते ॥ ४५ ॥
45. Gūḍhaśabdābhidhāna (a statement whose
words are hidden in meaning) should not be used on
any account. It is unhelpful even to intelligent
persons.
45. गूढशब्दानां अभिधानं An expression consisting of
words whose meanings are hidden. This is the 6th
and the last fault referred to in the above list.
असितर्त्तितुगद्रिच्छित् खःक्षितां पतिरद्विद्वक् ।
अमिद्भिः शुभ्रदृग्विष्टैर्द्विषो जेघ्नीयिषीष्ट वः ॥ ४६ ॥
46. May the Lord of the occupants of Heaven,
son of the one who leaves a black track (Fire), who

44 BHĀMAHĀLAṄKĀRA
pierced the mountain and who is possessed of eyes
numbering not two (but twelve) slaughter your ene-
mies by means of his fiery white glances.
46. गूढशब्दाभिधान is illustrated by this verse.
असितर्ति etc. It would be difficult to construe this verse
without the clues given by Ratneśvara Sūri in his
commentary on Sarasvatī Kaṇṭhābharaṇa where it
is cited as an illustration. (1) असिता ऋतिः गतिः (ऋ
गताविति धातोः निष्पन्नः) यस्य सः असितर्तिः = कृष्णवर्त्मा One whose
path behind is black ; तस्य तुक् (तोकं) असितर्तितुक् The
child of fire; Lord Subrahmaṇya. Vide Amara :—
पार्वतीनन्दनः स्कन्दः सेनानीः अग्निभूर्गुहः. Vide Meghasandeśa :—
अत्यादित्यं हुतवहमुखे संभृतं तद्धि तेजः। I—43. (2) छिनत्तीति छित्. अद्रेः
छित् अद्रिच्छित्. The allusion is to the piercing of Mount
Krauñcha by the Lord. Vide Amara :—कुमारः क्रौञ्चदारणः.
(3) खः (स्वर्गे) क्षियन्ति (निवसन्ति) इति खःक्षितः तेषां खःक्षितां पतिः
The lord of the residents of heaven, for he is the
commander of the divine troops. (4) अद्विदृक् One pos-
sessed of more than two eyes. Subrahmaṇya has
six faces and therefore twelve eyes. न मिन्दतीति अमिद्
derived from मिदि स्नेहने. अमिद्भिः अस्निग्धैः or रूक्षैः Fierce, ad-
jectival to शुभ्रदृग्दृष्टैः शुभ्राणां दृशां दृष्टैः By his glances ema-
nating from white eyes When one looks in anger
the pupils will go up leaving the remaining ex-
panse of eyes white. वः द्विषः Accusative. जेघ्नीयिषीष्ट
Benedictive 3rd person singular of the frequenta-
tive of हन्.

FIRST PARICCHEDA 45
अपरे चत्वारो दोषाः।
श्रुतिदुष्टार्थदुष्टे च कल्पनादुष्टमित्यपि।
श्रुतिकष्टं तथैवाहुर्वाचां दोषं चतुर्विधम् ॥ ४७ ॥
47. They declare faults of speech as fourfold,
viz., Śrutidushṭa, Arthadushṭa, Kalpanādushṭa and
Śrutikashṭa.
47. This verse gives another list of 4 Doshas.
श्रुतिदुष्टं दोषः (7)
विड्वर्चोविष्ठितक्लिन्नच्छिन्नवान्तप्रवृत्तयः।
प्रचारधर्षितोद्गारविसर्गहदयन्त्रिताः ॥ ४८ ॥
हिरण्यरेताः संबाधः पेलवोपस्थिताण्डजाः।
वाक्काटवादयश्चेति श्रुतिदुष्टा मता गिरः ॥ ४९ ॥
48. Viṭ, Varchas and Vishṭhita (meaning ex-
crement), Klinna (drenched), Chhinna (cut), Vānta
(vomiting), Pravṛtti (discharge), Prachāra (motion).
Dharshita (outrage), Udgāra (belching), Visarga
(evacuating), Hada (discharging) and Yantrita
(lock-up);
49. Hiraṇyaretas (Fire), Sambādha (vulva),
Pelava (delicate), Upasthita (arrived), Aṇḍaja (bird),
Vākkāṭava (harshness of sound) and such words are
said to be faulty in the hearing.

46 BHĀMAHĀLAṄKĀRA
48 & 49. विट् and the succeeding words given
in these two verses exemplify श्रुतिदुष्ट. Though pos-
sessed of good meaning they are tabooed in poetry
since they have other indecent meanings. विट्
Vaiśya; people; excrement. वर्चः Valour; semen.
विष्ठितः Established; discharged, excrement. क्लिन्नं Wet;
drenched in blood etc. छिन्नं Cut; also suggests the
breaking of Maṅgala sūtra. वान्तं Vomited; given
out. प्रवृत्तिः Engagement; discharge. प्रचारः Broadcast-
ing; motion. धर्षितं Insult; outrage on a woman.
उद्गारः An outflow; belching. विसर्गः Release; eva-
cuating. हद पुरीषोत्सर्गे. यन्त्रितं Locked up in intercourse;
fixed up. हिरण्यरेताः Fire; one whose semen is gold.
संबाधः Congestion; vagina. पेलवः Delicate; its ob-
scene meaning in Tamil is known. Mr. Naganatha
Sastri says that पेल in the Lāṭa dialect means the
scrotum. उपस्थितः Arrived; also suggests उपस्थ. अण्डजः
A bird; suggests वृषण. वाक्काटवं Harshness of speech.
With regard to the other meaning see the following
extract from Kāmadhenu, commentary on Vāmanā-
laṅkāra II—i—19. अत्र काट इत्येकदेशेन लिङ्गप्रतीतिः व्रीडादायी,
काटश्शार्णवश्च इत्यत्र मन्त्रभाष्ये तथा दर्शनात्. According to this
काट means the male organ. Mr. D. T. Tatacharya
says—अत्र कांटेत्यंशः क्वचित् प्रेतवाहनं अवगमयतीत्याहुः (A corpse-
carrier.)
२ अर्थदुष्टं दोषः (8)
अर्थदुष्टं पुनर्ज्ञेयं यत्रोक्ते जायते मतिः ।
असभ्यवस्तुविषया शब्दैस्तद्वाचिभिर्यथा ॥ ५० ॥

FIRST PARICCHEDA 47
50. Arthadushṭa arises where a statement
suggests the idea of an indecent thing by means of
words which denote it as well. Example follows.
50. अर्थदुष्ट is defined. Illustration follows.
हन्तुमेव प्रवृत्तस्य स्तब्धस्य विवरैषिणः ।
पतनं जायतेऽवश्यं कृच्छ्रेण पुनरुन्नतिः ॥ ५१ ॥
51. To one bent on assault, stiff and craving
for a weak point (hole) a downfall is bound to be,
and his rise is resumed with difficulty.
51. Cited in Kāvya Prakāśa for अश्लील with
the comment—अत्र पुंव्यञ्जनस्यापि प्रतीतिः.
कल्पनादुष्टं दोषः (9)
पदद्वयस्य संधाने यदनिष्टं प्रकल्पते ।
तदाहुः कल्पनादुष्टं स शौर्याभरणो यथा ॥ ५२ ॥
52. Where an odious sense arises by a juxta-
position of two words, they say it is Kalpanāduṣṭa
(faulty in comprehension). Example:—स शौर्याभरणः
One whose ornament is valour.
52. शौर्य and आभरण are words which do not con-
vey indecent meanings separately. When they are
juxtaposed याभ is suggested, noun form of यभ मैथुने.
श्रुतिकष्टं दोषः (10)
यथाऽजिह्लाददित्यादि श्रुतिकष्टं च तद्विदुः ।
न तदिच्छन्ति कृतिनो गण्डमप्यपरे किल ॥ ५३ ॥

48 BHĀMAHĀLAṄKĀRA
53. Ajihladat—‘He caused delight’. Such ex-
pressions are Śrutikashṭa (harsh to the hearing),
which clever people do not approve of. They don’t
approve of ‘Gaṇḍa’ (cheeks) too.
53. अजिह्लदत् Aorist of ह्लाद्, Too harsh for the-
hearing. गण्डं meaning a cheek is ग्राम्य, not used in
refined society.
संनिवेशविशेषात्तु दुरुक्तमपि शोभते ।
नीलं पलाशमाबद्धमन्तराले स्रजामिव ॥ ५४ ॥
किंचिदाश्रयसौन्दर्याद्धत्ते शोभामसाध्वपि ।
कान्ताविलोचनन्यस्तं मलीमसमिवाञ्जनम् ॥ ५५ ॥
54. But even a faulty expression will appear
to advantage by reason of its setting like a green
leaf strung in the intervals of a wreath.
55. Even a bad word gains elegance due to
the elegance of its background like black collyrium
applied to the eyes of a damsel.
54 & 55. The author refers to some exceptions
to the rule relating to defects. An expression objec-
tionable by itself will become permissible under
two circumstances—संनिवेशविशेष and आश्रयसौन्दर्य. The
former means a peculiar juxtaposition and the latter
the elegance of the object containing the specified
attributes. The former is illustrated in Verse 56,
the latter in Verses 57 & 58.

FIRST PARICCHEDA 49
आपाण्डुगण्डमेतत्ते वदनं वनजेक्षणे ।
संगमात्पाण्डुशब्दस्य गण्डः साधु यथोदितम् ॥ ५६ ॥
56. O lotus-eyed damsel, this thy face is pos-
sessed of cheeks slightly white. It has been said
that Gaṇḍa (cheeks) is good through its relation to
the word Pāṇḍu (white).
56. गण्ड (cheeks) is a word considered unpar-
liamentary in poetry. But when it is prefixed with
पाण्डु the expression ceases to be objectionable.
अन्यान्यदपि ज्ञेयं दिशा युक्तमसाध्वपि ।
यथा विक्ल्निन्नगण्डानां करिणां मदवारिभिः ॥ ५७ ॥
मदक्लिन्नकपोलानां द्विरदानां चतुःशती ।
यथा तद्वदसाधीयः साधीयश्च प्रयोजयेत् ॥ ५८ ॥
57. In this manner any other word too though
faulty, will appear good. Example :—मदवारिभिः विक्ल्निन्न-
गण्डानां करिणां Of elephants possessed of cheeks wet
with streams of ichor.
58. A further example :—मदक्लिन्नकपोलानां द्विरदानां
चतुःशती Four hundreds of elephants with temples
drenched in ichor. Accordingly one should employ
good words or even bad ones thus made good.
57 & 58. अनया दिशा अन्यदपि असाध्वपि. This refers
to the 2nd exception to the defect of expressions.
The 2nd half of Verse 57 and the 1st half of Verse
4

50 BHĀMAHĀLAṄKĀRA
58 illustrate defective expressions rendered good by
आश्रयसौन्दर्य. क्लिन्न and गण्ड are generally considered sepa-
rately words unfit for poetry. But these two defec-
tive expressions used together attain fitness by rea-
son of two elegant factors viz., elephants and ichor
of which they are attributes. The objection to क्लिन्न
seems to arise from the suggestion of रक्तक्लिन्न or रेतः-
क्लिन्न. But when मदक्लिन्न is expressed क्लिन्न loses its ob-
jectionable character.
एतद्ग्राह्यं सुरभि कुसुमं ग्राम्यमेतन्निधेयं
धत्ते शोभां विरचितमिदं स्थानमस्यैतदस्य ।
मालाकारो रचयति यथा साधु विज्ञाय मालां
योज्यं काव्येष्ववहितधिया तद्वदेवाभिधानम् ॥५९॥
॥ इति भामहालंकारे प्रथमः परिच्छेदः ॥
59. Just as a garland-maker strings a garland
after knowing pretty well, 'This fragrant flower is
to be included, that one the vulgar is to be passed
over, this one when strung will shine to advantage,
this the proper place for this, the other one for that,'
—just as he strings it, so should one employ expres-
sions in poetry after a careful consideration.
59. This verse enjoins that great care should
be taken by poets in the choice of words and their
employment in proper places. अभिधानं A statement
or composition.
End of the First Pariccheda.

द्वितीयः परिच्छेदः ।
माधुर्यमभिवाञ्छन्तः प्रसादं च सुमेधसः ।
समासवन्ति भूयांसि न पदानि प्रयुञ्जते ॥ १ ॥
केचिदोजोऽभिधित्सन्तः समस्यन्ति बहून्यपि ।
यथा मन्दारकुसुमरेणुपिञ्जरितालका ॥ २ ॥
श्रव्यं नातिसमस्तार्थं काव्यं मधुरमिष्यते ।
आचिद्वदङ्गनाबालप्रतीतार्थं प्रसादवत् ॥ ३ ॥

1. Poets desirous of sweetness and perspicuity
   avoid largely the use of compound words.
2. Some desirous of bombast compound any
   number of words. Example—मन्दारकुसुमरेणुपिञ्जरितालका A
   damsel possessed of forelocks of hair rendered yel-
   low by the dust of Mandāra flowers.
3. Poetry agreeable to the ear, without too
   many compounds, is deemed to be sweet. Poetry
   which presents meaning to all including learned
   men, women and children is possessed of perspi-
   cuity.
   1 to 3. This and the next Paricchheda mainly
   deal with Alaṁkāras. But at the outset the au-
   thor in the first three verses of this chapter refers

52 BHĀMAHĀLAṄKĀRA
to the three guṇas of poetry—माधुर्य, प्रसादः and ओजः.
The definitions of माधुर्य and प्रसाद are given in the two
halves of Verse 3.
माधुर्य is defined by Bharata thus—बहुशो यच्छ्रुतं काव्य-
मुक्तं वापि पुनः पुनः । नोद्वेजयति तस्माद्धि तन्माधुर्यमुदाहृतम् ॥ Daṇḍin's
definition is माधुर्यं रसवद्वाचि.
Kāvya Prakāsa defines प्रसाद thus:—
श्रुतिमात्रेण शब्दात्तु येनार्थप्रत्ययो भवेत् ।
साधारणः समग्राणां स प्रसादो गुणो मतः ॥
ओजस् is generally equated with समासभूयस्त्वं An
abundance of compounds. The first two are gene-
rally popular with the Vaidarbha school, and the
last with the Gauḍa school. The citation of मन्दारकुसुम-
रेणुपिञ्जरितालका as an example of Ojas shows that verbal
bombast or high-sounding language ordinarily con-
ceived of as characteristic of Ojas is not essential for
Ojas according to Bhāmaha. The soft and flowing
words, unaspirated and abounding in nasals in the
passage cited, contribute to and do not detract from
Ojas according to him. Bhāmaha gives two charac-
teristics—श्रव्यत्व and नातिसमस्तत्व as together constitut-
ing the definition of माधुर्य, but his view is dissented
from by Dhvanyāloka and Lochana since they over-
lap on the province of Ojas also. Vide Dhvanyā-
loka, page 79. श्रव्यत्वं पुनरोजसोऽपि साधारणम् and Lochana—
ननु 'श्रव्यं नातिसमस्तशब्दार्थं मधुरमिष्यत' इति माधुर्यस्य लक्षणम् । नेत्याह—
श्रव्यत्वमिति । सर्वं लक्षणमुपलक्षितमोजसोऽपि । 'यो यः शस्त्रं' (Veṇīsaṁ-

SECOND PARICCHEDA 53
hāra III—32) इत्यत्र हि श्रव्यत्वमसमस्तत्वं चास्त्येवेति भावः । यो यः
शस्त्रं etc. is generally accepted as an illustration of
Ojas. Hemachandra also in his Kāvyānuśāsana
Ṭīkā criticises the view of Bhāmaha at page 201
thus—तेन ‘श्रव्यं नातिसमस्तार्थशब्दं मधुरमिष्यते’ इति माधुर्यलक्षणत्वेन
श्रव्यत्वं यद्बामहेनोक्तं तन्न युक्तमित्यर्थः ।
पञ्चालंकाराः ।
अनुप्रासः सयमको रूपकं दीपकोपमे ।
इति वाचामलंकाराः पञ्चैवान्यैरुदाहृताः ॥ ४ ॥
4. Others have propounded only five Alaṁ-
kāras—Anuprāsa, Yamaka, Rūpaka, Dīpaka and
Upamā as figures of speech.
4. In this chapter Bhāmaha treats of 2 Śabdā-
laṁkāras and 19 Arthālaṁkāras. This verse as a
1st instalment sets out a batch of 5 figures of speech
viz., 2 Śabdālaṁkāras—अनुप्रास and यमक and 3 Arthā-
laṁkāras—रूपक, दीपक and उपमा. पञ्चैवान्यैरुदाहृताः. This
refers to the earliest stage in the development of
Alaṁkāra Śāstra. अन्यैः is used because Bhāmaha is
going to treat of many Alaṁkāras, 16 more in this
and 24 in the next chapter. शब्दालंकार means a literary
embellishment bearing upon the sound, अर्थालंकार bear-
ing upon the sense. Of course a combination of
both is possible in a particular passage. The clas-
sification into Śabdālaṁkāra and Arthālaṁkāra is
not made by Bhāmaha as such.

54 BHĀMAHĀLAṄKĀRA
अनुप्रासः शब्दालंकारः (1)
सरूपवर्णविन्यासमनुप्रासं प्रचक्षते ।
किं तया चिन्तया कान्ते नितान्तेति यथोदितम् ॥ ५ ॥
5. They declare an arrangement of similar
letters as Anuprāsa. Example :—किं तया चिन्तया कान्ते
नितान्ता Ah, beloved, why are you so much worried
by that care ?
5. In Verses 5 to 8 the author deals with
अनुप्रास. सरूपाणां वर्णानां विन्यासः An arrangement of similar
letters. किं तया etc. is an example of अनुप्रास. हे कान्ते
तया चिन्तया किं (त्वं) नितान्ता. नितान्ता Much jaded. तया चिन्तया
probably refers to the lady's anxiety caused by
the idea that her lord is attached to some other
woman. Here the alliteration consists in the fre-
quent repetition of न्त.
ग्राम्यानुप्रासमन्यत्तु मन्यन्ते सुधियोऽपरे ।
स लोलमालानीलालिकुलाकुलगलो बलः ॥ ६ ॥
6. Other learned men postulate Grāmyānu-
prāsa, a vulgar or ordinary alliteration. Exam-
ple :—स लोलमालानीलालिकुलाकुलगलो बलः That Balarāma
whose neck is congested with swarms of black bees
hovering round his tossing wreath.
6. ग्राम्यानुप्रास consists in an inelegant repetition
of letters like ल in the example given. स लोल etc.
बलः refers to Balarāma. He is reputed to bear a

SECOND PARICCHHEDA 55
garland round his neck reaching down to his toe.
लोला माला लोलमाला, तस्यां यत् नीलं अलीनां कुलं तेन आकुलः गलः यस्य.
In the place of नीला Mr. D. T. Tatacharya suggests
a better reading लीना. In this example the sound is
merely repeated a number of times without any
elegance.
नानार्थवन्तोऽनुप्रासा न चाप्यसदृशाक्षराः ।
युक्त्यानया मध्यमया जायन्ते चारवो गिरः ॥ ७ ॥
7. Alliterations are formed of words differing
in meaning but similar in sound. By this middle
course are formed beautiful speeches.
7. The two essential traits of अनुप्रास or allite-
ration are that the words should possess different
meanings but at the same time should not be dis-
similar in sound. This is referred to as a middle
course by the author, because it cares both for the
meaning and the sound.
लाटीयमप्यनुप्रासमिहेच्छन्त्यपरे यथा ।
दृष्टिं दृष्टिसुखां धेहि चन्द्रश्चन्द्रमुखोदितः ॥ ८ ॥
Others accept Lāṭānuprāsa, alliteration
prevalent in the Lāṭa country. Example:—दृष्टिं दृष्टि-
सुखां धेहि चन्द्रश्चन्द्रमुखोदितः O Moon-faced one, cast your
glance pleasing to the eyes; the Moon has risen.
8. In लाटानुप्रास the same word may be repeated
in the same meaning but with a different purport.

56 BHĀMAHĀLAṄKĀRA
दृष्टि etc. This is addressed by a Dūtī to her master
with a view to bringing about a reconciliation bet-
ween her master and mistress. चन्द्र इव मुखं यस्य तत्र संबुद्धिः
हे चन्द्रमुख. दृष्टिं दृष्टिसुखां धेहि Direct your glance pleasing
to the eyes ; be gracious. चन्द्रः उदितः The moon has
risen. Moonrise is unbearable to a lady separated
from her lover. Dire consequences will follow to
your sweetheart if you do not approach her at once.
Lāṭa is the name of a country said to lie to the west
of the Narmadā ; it probably included Broach,
Baroda and Ahmedabad, and Khaira also according
to some.
यमकं शब्दालंकारः (२)
आदिमध्यान्तयमकं पादाभ्यासं तथावली ।
समस्तपाद्यमकमित्येतत्पञ्चधोच्यते ॥ ९ ॥
9. Yamaka is said to be fivefold—Yamaka at
the beginning, Yamaka at the middle and the end,
repetition of a foot, a string of repetitions and Ya-
maka in all the feet.
9. In eight verses beginning from here the
author treats of Yamaka. On the other hand Daṇḍin
treats of Yamaka elaborately in the first 77 verses
of the 3rd Pariccheda of Kāvyādarśa. Bhāmaha
first refers to a fivefold division of Yamaka viz.,
आदियमक, मध्यान्तयमक, पादाभ्यास, आवली and समस्तपाद्यमक. As
appears from the next verse-he is particular in re-

SECOND PARICCHHEDA 57
stricting the number of classes of Yamaka to five.
Hence मध्यान्तयमक has to be taken as a single type.
Really speaking, there is no justification for re-
stricting the number to five. As pointed out by
Dandin there may be आदियमक, मध्ययमक, अन्तयमक or आदि-
मध्ययमक, आद्यन्तयमक and मध्यान्तयमक, thus bringing the
number to six so far as this aspect is concerned.
An immediate repetition of a group of syllables is
called a Yamaka. This may be placed at the begin-
ning or at the middle or at the end or in as many
places as far as possible in a śloka or a pāda. Yama-
ka is defined later on in Verse 17.
संदष्टकसमुद्गादेरत्रैवान्तर्गतिर्मता ।
आदौ मध्यान्तयोर्वा स्यादिति पञ्चैव तद्यथा ॥ १० ॥
10. Sandaṣṭaka, Samudga and others can be
included in these. Yamaka is either at the begin-
ning or it is at the middle and end. So it is only
fivefold. Examples follow.
10. संदष्टक literally, held in a pair of tongs.
समुद्गक is a box with a lid exactly corresponding to the
lower portion. संदंश or a pair of tongs points to two
ends, but the roots are joined together almost ap-
pearing like one. Based on the analogy of tongs,
the verse employed in the संदष्टक type of यमक contains
the same group of syllables occurring at the end of
a pāda and at the beginning of a succeeding pāda.

58 BHĀMAHĀLAṄKĀRA
Thus this will arise in three ways. (1) Where the
same group of syllables occurs at the end of the first
pāda and at the beginning of the second pāda. (2)
At the end of the second pāda and the beginning of
the third pāda. (3) At the end of the third pāda and
at the beginning of the fourth pāda. Example given
in Kāvyādarśa :—
उपोढरागाप्यबला मदेन सा मदेनसा मन्युरसेन योजिता ।
न योजितात्मानमनङ्गतापिताङ्गतापि तापाय ममास नेयते ॥ III-52.
Defn. given there :—संदष्टयमकस्थानमन्तादी पादयोर्द्वयोः। III-51.
This proceeds on the lines of what is popularly
known as अन्तादि. समुद्गक is the wholesale repetition
of one half of a verse. Definition in Kāvyādarśa :—
अर्धाभ्यासः समुद्गः स्यात् III-53. Example given there :—
नास्थेयः सत्वयावर्ज्यः परमायतमानया ।
नास्थेयः स त्वया वर्ज्यः परमायतमानया ॥ III-54.
Bhāmaha's view is that the above two types
and many others as well are but ramifications of
the five types referred to.
आदियमकम् (i)
साधुना साधुना तेन राजता राजता भृता ।
सहितं सहितं कर्तुं संगतं संगतं जनम् ॥ ११ ॥
11. In order to associate his followers with
advantages and to make those who seek his refuge
prosperous, an illustrious kingship was now borne
by him, virtuous and glorious that he was.