काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER X 465
जटाभाभिर्भाभिः करधृतकलङ्काक्षवलयो
वियोगिव्यापत्तेरिव कलितवैराग्यविशदः ।
परिप्रेङ्खत्तारापरिकरकपालाङ्किततले
शशी भस्मापाण्डुः पितृवन इव व्योम्नि चरति ॥५७१॥
उपमा रूपकम् उत्प्रेक्षा श्लेषश्चेति चत्वारोत्र पूर्ववत्
अङ्गाङ्गिंतया प्रतीयन्ते ।
कलङ्क एवाक्षवलयमिति रूपकपरिग्रहे करधृतत्वमेव साधक-
प्रमाणतां प्रतिपद्यते । अस्य हि रूपकत्वे तिरोहितकलङ्करूपम्
Another example of the same—
‘ Jaṭābhābhirbhābhiḥ karadhṛtakalaṅkākṣabalayo
Viyogivyāpatteriva kalitavairāgyavishadaḥ
Paripreṅkhattārāparikarakapālāṅkitatale
Shashī bhasmāpāṇḍuḥ pitṛvana iva vyomni charati ’.
‘ The Moon roams in the sky, which has its surface
marked by skulls in the shape of the moon and stars, as
if it were in a crematorium,—shining, as he does, with the
colour of the knotted hair,—wearing in his hand (rays)
the bracelet of rosary-beads, in the shape of the black
mark,—having attained the purity (whiteness) of dis-
passion (freedom from redness) consequent upon the
trouble brought upon separated lovers (the destruction of
the objects of sense),—and is white like (with) ashes ’.
Here the four Figures, Simile, Metaphor, Poetical
Fancy, and Pun appear, as in the foregoing verse, to be
‘ mutually subservient ’.
When we expound the expression ‘ Kalaṅkākṣabalaya ’
as ‘ Kalaṅka eva akṣabalayam ’, (the black mark itself being
‘the bracelet of rosary-beads ’), and as such involving the
figure of Metaphor,—the n the fact of ‘ being held in the
hand (rays) ’ is to be regarded as the basis justifying that