काव्यप्रकाश (आचार्य मम्मट - सम्पूर्ण १० उल्लास सटीक)

CHAPTER, X 353
अवितथमनोरथपथप्रथनेषु प्रगुणगरिमगीतश्रीः ।
सुरतरुसदृशः स भवानभिलषणीयः क्षितीश्वरो न कस्य ॥ ३९५॥
गाम्भीर्यगरिमा तस्य सत्यं गङ्गाभुजङ्गवत् ।
दुरालोकः स समरे निदाघाम्बररत्नवत् ॥३९६॥
‘ The king who held this world in sway through the
four expedients, just as Viṣṇu does by his four arms,—
the expedients and the arms both being ‘atyāyata’ (the
expedients efficient, and the arms long), subjugators of
the wicked, glorious, resplendent and infallible, the abode
of the sportings of the Goddess of Wealth.’
[Here the simile lies in ‘bhujairiva’, which is a ‘nitya’ compound
does not drop the case-termination of the first term.]
(4) [ The Implied Simile, in a Compound ]—
‘ Avitathamanorathapathaprathaneṣu
praguṇa garimagītaśrīḥ
Suratarusadṛśaḥ sa bhavān abhilaṣaṇīyaḥ
kṣitīśvaro na kasya ’
‘ O King, who is there by whom you are not sought
after?—You who, having your great excellence sung as
lying in the opening of the way for desires that never
remain unfulfilled, are similar to the Celestial Tree.’
(5) and (6) [The Directly Expressed and the Implied
Simile, in nominal Affixes]—
‘ Gāmbhīryagarimā tasya satyaṁgaṅgābhujaṅgavat
Durālokaḥ sa samare nidāghāmbararatnavat ’
‘ The profundity of his depth is like that of the Gaṅgā’s
Lover (Ocean) ; and in battle he is hard to look at, like
the summer Sun.’
[In the first sentence, the similitude is expressed directly by the affix
‘ vati ’ in ‘ bhujaṅgavat ’, which is used in the sense of ‘iva’, like ;—the
term ‘ bhujaṅgavat ’ being equivalent to ‘ bhujaṅgasya iva ’ ;—and in

354 KĀVYAPRAKĀŚA
स्वाधीनपतिका कान्तं भजमाना यथां लोकोत्तरचमत्कारभूः
तथा जयश्रीस्त्वदासेवनेनेत्यादिना प्रतीयमानेन विना यद्यपि
नोक्तेर्वैचित्र्यम् । वैचित्र्यं चालंकारः । तथापि न ध्वनिगुणी-
भूतव्यङ्ग्यव्यवहारः । न खलु व्यङ्ग्यसंस्पर्शपरामर्शादत्र
चारुताप्रतीतिः । अपि तु वाच्य वैचित्र्यप्रतिभासादेव ॥ रसा-
the second half it is implied only indirectly, by the same affix in ‘ratnavat’,
which is equivalent to ‘ratnena tulyam’, so that the affix ‘vati’ in this
case can only signify similarity of action; and through this is implied the
similitude between the entities acting.]
[An objection is raised—“ Fanciful Poetry has been
defined in Ch. I as that which, “ endowed with Excellences
and Figures of Speech, is devoid of suggestion;” and
Figurative Poetry is Fanciful Poetry ; so that in poetry
where there is a Figure of Speech, there should be no
suggestion at all ; as a matter of fact, however, such is not
found to be the case ; for instance.] Even in the first
example cited, until we recognise the suggested meaning,
that ‘ the constant attendance of Victory upon the King ’
is as supremely charming as the attachment of the wife to
the devoted husband ’;—there is no fancy, in the verse ;,
and a Figure of Speech is nothing more than a ‘ fancy ’
[so that every one of these examples should be regarded
as instances, not of ‘ Fanciful Poetry, but of either Sugges-
tive Poetry or Poetry of Subordinate Suggestion].’
The answer to this is that, though this is so, yet the
examples are regarded as either ‘ Suggestive Poetry ’ or
‘ Poetry of Subordinate Suggestion ’, because in these
cases the recognition of elegance follows, not from the
perception of the tinge of Suggestion that may be present,,
but purely from the perception of the fanciful character of
the expressed meaning itself.

CHAPTER X 355
दिस्तु व्यङ्ग्योऽर्थोऽलंकारान्तरं च सर्वत्राव्यभिचारीत्यगणयित्वैव
तदलंकारा उदाहृताः । तद्रहितत्वेन तु उदाह्रियमाणा विर-
सतामावहन्तीति पूर्वापरविरुद्धाभिधानमिति न चोदनीयम् ॥८७॥
तद्वद् धर्मस्य लोपे स्यान्न श्रौती तद्धिते पुनः ।
धर्मः साधारणः । तद्धिते कल्पबादौ त्वार्थ्येव ॥ तेन पञ्च ॥
Then, as regards the presence of suggestion of Charm
and other factors or of Figures of Speech other than the
one, a particular verse is quoted to exemplify,—this will
always be found in all cases. Hence when examples of
particular Figures are cited, all these (concomitant issues)
are entirely ignored.
In fact, if we were to cite examples entirely devoid
of any suggestion (of charm and other factors), they would
be extremely distasteful.
For these reasons, it would not be right to urge that
in citing the above examples there is an inconsistency with
what has been said before (regarding Figurative or Fanci-
ful Poetry being devoid of suggestion).
[The 19 kinds of the Elliptical Simile are next described.] 87.
The property being omitted, this (form of Elliptical Simile)
would be like the foregoing (Complete Simile) ; but in that
case the Directly Expressed Simile would not occur in a word
built with a nominal formative affix.
‘ Property ’—i. e., the common property. ‘ In a nominal
formative affix ’,—i. e., in such affixes as ‘ kalpa ’, ‘ vā ’ and
so forth ; in connection with which we could have the
Implied Simile only. It is thus of five kinds.
(1) Example [of the Elliptical Simile, omitting the
common property, and directly expressed, in a sentence]

356 KĀVYAPRAKĀŚA
उदाहरणम्--
धन्यस्यानन्यसामान्यसौजन्योत्कर्षशालिनः
करणीयं वचश्चेतः सत्यं तस्यामृतं यथा ॥३९७॥
आकृष्टकरवालोऽसौ संपराये परिभ्रमन् ।
प्रत्यर्थिसेनया दृष्टः कृतान्तेन समः प्रभुः ॥३९८॥
करवाला इवाचारस्तस्य वागमृतोपमा ।
विषकल्पं मनो वेत्सि यदि जीवसि तत्सखे ॥३९९॥
Dhanyasyānanyasāmānyasaujanyotkarṣaśālinaḥ
Karaṇīyaṁ vachashchetaḥ satyaṁ tasyāmṛtaṁ yathā
‘ He being generous and possessed of uncommon
gentlemanly qualities, his words, true and like nectar as
they are, should be acted up to.’
[Here the common property, sweetness, of nectar and words, has
been omitted].
(2) [Example of the Elliptical Simile omitting the
common property, implied.]
‘ Ākṛṣṭakarabālosau saṁparāye paribhraman
Pratyarthisenayā dṛṣṭaḥ kṛtāntena samaḥ prabhuḥ’
‘ Roaming in battle with the drawn sword, he was
looked upon by the enemies, as equal to the Death-god.’
[Here the common property, cruelty, has been omitted; and as it
is the sameness of action that is meant, the Similitude is ‘implied.’]
(3)-(4)-(5) [Example of the Elliptical Simile, omitting
the common property, (a) directly expressed, in a com-
pound, (b) implied, in a compound and (c) implied, in a
nominal affix.]
‘ Karavāla ivāchārastasya vāgamṛtopamā
Viṣakalpaṁ mano vetsi yadi jīvasi tat sakhe’
‘ You will live if you know that (a) his behaviour is
like that of the sword, (b) his speech is almost like nectar,
and (c) his mind is like poison.’

CHAPTER X 357
उपमानानुपादाने वाक्यगा समासगा ॥ ८८ ॥
सअलकरणपरवीसामसिरिविअरणं ण सरसकव्वस्स ।
दीसइ अह वा णिसम्मइ सरिसं अंसंसमेत्तेण ॥४००॥
कव्वस्सेत्यत्र कव्वसममिति सरिसमित्यत्र च णूणमिति पाठे
एषैव समासगा ॥८८॥
वादेर्लोपे समासे सा कर्मधारक्यचि क्यङि ।
कर्मकर्त्रोर्णमुलि ॥
[(a) ‘Karabāla-iva, is a ‘nitya’ compound, where the case-termina-
tion of the first member is not elided, and the common property of
murderousness is omitted ;—(b) ‘amṛtopamā’ omits the common property
of sweetness, and the similitude is implied, the term ‘upamā’ directly
expressing merely resemblance in general;—(c) ‘viṣakalpam’ ends in the
nominal affix ‘kalpa,’ which denotes approximate resemblance in general,
and hence the Simile is an implied one, and the common property
of harmfulness has been omitted.]
(6) (7) On the omission of the ‘object compared to’, the
Simile occurs in a sentence and in a compound.
(6) [Example of Elliptical Simile, omitting the object
compared to, occurring in a sentence]—
‘Saalakarāṇaparavīsāmasiriviaraṇaṁ ṇa sarasakavvassa
Dīsaï aha vā ṇisammaï sarisaṁ aṁsaṁsametteṇa’
‘ ‘For affording pleasure to the highest senses, nothing
is either known or seen to be equal to charming poetry,
even in its smallest part.’
[The object to which Poetry is compared is not mentioned, and
the similitude is implied by the sentence.]
(7) In this same verse if we read ‘kavvasamaṁ’ for
‘kavvassa,’ and ‘ṇūnaṁ’ for ‘sarisaṁ’, we have an example
of the same kind of Simile occurring in a compound. 88.
On the omission of ‘vā’ and such other terms (expressing
similitude), it occurs (8) in a compound, (9) in the affix

358 KĀVYAPRAKĀŚA
वाशब्दः उपमाद्योतक इति। वादेरुपमाप्रतिपादकस्य लोपे
षट् समासेन कर्मणोधिकरणाच्चोत्पन्नेन क्यचा कर्तुः क्यङा
कर्मकर्त्रोरुपपदयोर्णमुला च भवेत्॥
उदाहरणम्—
ततः कुमुदनाथेन कामिनीगण्डपाण्डुना।
नेत्रानन्देन चन्द्रेण माहेन्द्री दिगलंकृता॥४०१॥
तथा
असितभुजगभीषणासिपत्रो रुहरुहिकाहितचित्ततूर्णचारः।
पुलकिततनुरुत्कपोलकान्तिः प्रतिभटविक्रमदर्शनेयमासीत्॥४०२॥
‘kyach’ as denoting the objective, (10) in the same affix
as denoting location, (11) in the affix ‘kyaṅ’, (12) in the
affix ‘ṇamul’ used with a substantive used accusatively, and
(13) in the same affix used with a substantive used nominatively.
The term ‘vā’ is expressive of similitude;
and on the omission of this term ‘vā’ and of others
similarly expressive of similitude,—there are six kinds of
Simile, as occurring—(8) in a compound, (9) in the
affix ‘kyach’ as used in the sense of the accusative, (10)
in the affix ‘kyach’ as used in the sense of the location;
(11) in the affix ‘kyaṅ’ as used in the sense of the nomi-
native, (12) in the affix ‘ṇamul’ with a substantive used
ccusatively, and (13) in the affix ‘ṇamul’ with a substan-
ive used nominatively.
Example of (8)—
‘Tataḥ kumudanāthena kāminīgaṇḍapāṇḍunā
Netrānandena chandreṇa māhendrī digalaṅkṛtā
‘The eastern quarter was thereupon adorned by the
Moon, a joy to the eyes, pale like the cheeks of a lóve-`
stricken woman.’

CHAPTER X 359
पौरं सुतीयति जनं समरान्तरेसा-
वन्तःपुरीयति विचित्रचरित्रचुञ्चुः ।
नारीयते समरसीम्नि कृपाणपाणेर्
आलोक्य तस्य चरितानि सपत्नसेना ॥४०३॥
मृधे निदाघघर्मांशुदर्शं पश्यन्ति तं परे ।
स पुनः पार्थसंचारं संचरत्यवनीपतिः ॥४०४॥
Another example of the same—
‘Asitabhujagabhīṣaṇāsipatro ruharuhikāhitachittatūrṇachāraḥ
Pulakitatanurutkapolakāntiḥ pratibhaṭavikramadarśanayamāsīt’
‘This king, his sword-blade terrible like the black
snake, and his movements inspired by energy, became
thrilled, whereupon the freshness of his cheeks became
manifested.’
(9)—(10)—(11)—
‘Pauram sutīyati janam samarantaresā-
Vantaḥpurīyatī vichitracharitrachuñchuḥ.
Nārīyate samarasīmni kṛpāṇapāṇer
Ālokya tasya charitāni sapatnasenā.’
‘He treats the citizens as his children ; famous for his
wonderful deeds, he behaves in battlefield as if it were
his harem; and the army of his enemies, seeing him, sword
in hand, performing extraordinary feats in battle, come
to behave like women.’
[(a) In ‘sutīyati’ we have the ‘kyach’ affix in the accusative sense;
(b) in ‘antaḥpurīyati,’ we have the same affix used in the locative sense,
and (c) in ‘nārīyate,’ we have the affix ‘kyaṅ’ in the nominative sense.]
(12)—(13)—
‘Mṛdhe nidāghagharmāṁśudarśaṁ paśyanti taṁ pare
Sa punaḥ pārthasaṁchāraṁ sañcharatyavanīpatiḥ.’

360 KĀVYAPRAKĀŚA
एतद्द्विलोपे क्विप्समासगा ॥ ८९ ॥
एतयोर्धर्मवाच्योः । उदाहरणम्—
सविता विधवति विधुरपि सवितरति तथा दिनन्ति यामिन्यः ।
यामिनयन्ति दिनानि च सुखदुःखवशीकृते मनसि ॥ ४०५ ॥
परिपन्थिमनोराज्यशतैरपि दुराक्रमः ।
संपरायप्रवृत्तौसौ राजते राजकुञ्जरः ॥ ४०६ ॥ ८९ ॥
'In battle his enemies look upon him as they would
upon the summer-sun; and the King himself moves
about as if he were Arjuna.'
[In the first sentence the 'ṇamul' affix has the force of the accusative
and in the second that of the nominative.]
(14)—(15)—On the omission of both these, it occurs
in the 'kvip' affix and in a compound. 89.
'Of these two'—i. e., of the common property and
the term expressive of similitude. (14) Example
(of the Elliptical Simile, omitting both, occurring in the
affix 'kvip')—
'Savitā vidhavati vidhurapi savitarati tathā dinanti yāminyaḥ
Yāminayanti dināni cha sukhaduḥkha-vashīkṛte manasi'.
'When the mind is under the influence of pleasure,
the sun becomes the moon and the nights become days;
when, on the other hand, it is under the influence of pain,
the moon becomes the sun and days become nights.'
[Here the Simile lies in the 'Kvip' affix in the words 'vidhavati',
'savitarati', 'dinanti' and 'yāminayanti'.]
(15) [Of the same, in a compound]—
'Paripanthimanorājyashatairapi durākramaḥ
Saṁparāyapravṛttosau rājate rājakuñjaraḥ'.

CHAPTER X 361
धर्मोपमानयोर्लोपे वृत्तौ वाक्ये च दृश्यते ।
तुण्टुण्णन्तो मरिहिसि कण्टअकलिआइँ केअइवणाईं ।
मालइकुसुमसरिच्छं भमर भमन्तो ण पाविहिसि ॥४०७॥
कुसुमेण सममिति पाठे वाक्यगा ।
क्यचि वाद्युपमेयासे ।
आसे निरासे ।
अरातिविक्रमालोकविकस्वरविलोचनः ।
कृपाणोदग्रदोर्दण्डः स सहस्रायुधीयति ॥४०८॥
‘ The chief of kings shines resplendent in battle,
being unapproachable, as he is, by even the dreaming
desires of his enemies. ’
[Here the said Simile lies in the compound “rā̃jakuñjaraḥ.] 89.
(16)—(17)—
On the omission of the common property and the object
compared to, it is found in a compound and in a sentence.
(16) ‘ Ṭuṇṭuṇṇanto marihisi kaṇṭaakaliāiṁ keaivaṇāiṁ
Mālaikusumasarichchhaṁ bhamara bhamanto ṇa pāvihisi’
‘ O black bee ! thou shalt perish, wandering among
Ketakī-bowers ; but however much thou mayst wander,
thou shalt never find anything like the Mālatī-flower. ’
[The Simile lies in the compound ‘ mālai-kusuma—sarichchhaṁ ].’
(17) If we read ‘ kusumeṇa samaṁ ’ (in place of ‘ kusuma-
sarichchhaṁ ’), the same verse becomes an example of
the same kind of compound as occurring in a sentence.
(18)—On the omission of the term expressive of simi-
litude and the object compared, it occurs in the affix ‘ Kyach ’.
‘ Āsā ’ means “ nirāsā ’, ‘ on the omission.’ (18)—
[Example]—
‘ Arātivikramālokavikasvaravilocanaḥ
Kṛpāṇodagradordaṇḍaḥ sa sahasrāyudhīyati ’

362 KĀVYAPRAKĀŚA
अत्रात्मा उपमेयः ।
त्रिलोपे च समासगा ॥ ९० ॥
त्रयाणां वादिधर्मोपमानानाम् । उदाहरणम्—
तरुणिमनि कृतावलोकना ललितविलासवितीर्णविग्रहा ।
स्मरशरविसराचितन्तरा मृगनयना हरते मुनेर्मनः ॥४०९॥
अत्र सप्तम्युपमानेत्यादिना यदा समासलोपौ भवतः । तदेदमुदा-
हरणम् ॥
‘ Having his eyes widely opened by the sight of his
enemy’s prowess, and arms terrible through his sword,
he disports himself like the thousand-armed king Kārtta-
vīrya.’
[Here the king’s own self is the object compared ; the Simile,
occurring in the affix ‘ Kyach ’ in the word ‘ Sahasrāyudhīyati ’, means
‘ disports himself like the thousand-armed king ’.]
(19)—On the omission of the three, it occurs in a compound. 90.
‘ Three ’—the term expressing similitude, the common
property and the object compared to.
Example—
‘ Taruṇimani kṛtāvalokanā lalitavilāsavitīrṇavigrahā
Smarasharavisarāchitāntarā mṛganayanā harate munermanaḥ.’
‘ Just peeping into youthfulness, surrendering her
body to graceful dalliance, and having her heart pierced
by a flight of Cupid’s arrows, the fawn-eyed one captivates
the heart of even the ascetic.’
This verse forms an apposite example only when the
compound ‘ mṛganayanā ’ is expounded in accordance
with the Vārtika on Pāṇini 2.2.24 (as mṛganayanā iva nayane
yasyāḥ), involving the elision [(1) of the former ‘ nayane ’,
which is the ‘ object compared to ’, and (2) of the term

CHAPTER X 363
क्रूरस्याचारस्यायःशूलतयाध्यवसायाद् अयःशूलेनान्विच्छति
‘आयःशूलिकः’ इत्यतिशयोक्तिर्न तु क्रूराचारोपमेयतैक्ष्ण्यधर्मवा-
दीनां लोपे त्रिलोपेयमुपमा ।
एवमेकोनविंशतिर्लुप्ताः पूर्णाभिः सह पञ्चविंशतिः ॥
अनयेनेव राज्यश्रीर्दैन्येनेव मनस्विता ।
मम्लौ साथ विषादेन पद्मिनीव हिमाम्भसा ॥४१०॥
इत्यभिन्ने साधारण धर्मे ॥
ज्योत्स्नेव नयनानन्दः सुरेव मदकारणम् ।
प्रभुतेव समाकृष्टसर्वलोका नितम्बिनी ॥४११॥
इति भिन्ने च तस्मिन् एकस्यैव बहूपमानोपादाने मालोपमा ।
‘iva’ expressive of similitude ; in addition to these there
is the omission (3) also of the common property of ‘fickle-
ness.’]
The term ayaḥshūlikaḥ, ‘one who behaves like a spear’,
has been taken by some people to be an example of that
kind of Simile which omits the three factors of (1) the
object compared—the cruel person, (2) the common pro-
perty—cruelty and (3) the term expressive of similitude—
‘vā’ and the rest. But this is not right ; as what the term
means is ‘ayaḥshūlena anvichchhati’ ‘who behaves like the
spear,’ and what is done here is that ‘cruel behaviour’
is spoken of as the ‘spear’, and this involves the figure
of Atishayokti, Hyperbole,—and not that of Simile with
three factors omitted.
These nineteen kinds of Elliptical Simile, along with
the six kinds of the Complete Simile, make up the twenty-
five varieties of Simile.
As regards other varieties of Simile that have been
described by others, we find—(a) the Mālopamā, String-
simile, where a single object is compared to several, with
its two varieties—one in which the same common property
II-5

364 KĀVYAPRAKĀŚA
यथोत्तरमुपमेयस्योपमानत्वे पूर्ववदभिन्नधर्मत्वे
अनवरतकनकवितरणजललवभृतकरतरङ्गिताथिततेः ।
भणितिरिव मतिर्मतिरिव चेष्टा चेष्टेव कीर्तिरतिविमला ॥४१२॥
मतिरिव मूर्तिमधुरा मूर्तिरिव सभा प्रभावचिता ।
तस्य सभेव जयश्रीः शक्या जेतुं नृपस्य न परेषाम् ॥४१३॥
· इत्यादिका रशनोपमा च न लक्षिता एवंविधवैचित्र्य-
सहस्रसंभवात् उक्तभेदानतिक्रमाच्च ॥९०॥
of prowithering appears throughout the ‘string’—as in the
verse.—‘ Like royal splendour, through injustice and corrup-
tion,—like prowess through poverty,—like the lotus
through frost,—she has withered through sorrow ;’
—and the other in which diverse common properties are
involved,—e. g., in the verse—‘ Like light, she is a joy
to the eyes ; like wine, she is maddening; and like sove-
reignty, she attracts to herself all the world ;’—and (b)
the Rashanopamā, the ‘Girdle-simile’, where the object
compared in the preceding Simile becomes the object com-
pared to in the succeeding one, with its two varieties, as
before; with the same or diverse common properties ;
e.g., (A) “ When the King brings together hosts of suppli-
cants like waves on his hand which is full of water used,
in his continuous gifts of gold, his heart is like his words,
like his heart his actions, and his fame pure like his ac-
tions ’;—and (B) ‘ Of the King, the body is sweet like
his heart, his court powerful as his body, and his victory
irrepressible by enemies, like his court.’
But we have not described these, because in the first
place there are thousands of such possible varieties, and
secondly, they are not such as cannot be included under
the varieties already described above. 90.

CHAPTER X 365
उपमानोपमेयत्वे एकस्यैवैकवाक्यगे ।
अनन्वयः ॥
उपमानान्तरसंबन्धाभावोऽनन्वयः । उदाहरणम्—
न केवलं भाति नितान्तकान्तिर्नितम्बिनी सैव नितम्बिनीव ।
यावद्विलासायुधलास्यवासास्ते तद्विलासा इव तद्विलासाः ॥४१४॥
विपर्यास उपमेयोपमा तयोः ॥ ९१ ॥
तयोः उपमानोपमेययोः । परिवृत्तिः अर्थात् वाक्यद्वये ।
इतरोपमानव्यवच्छेदपरा उपमेयेनोपमा इति उपमेयोपमा ।
II—Ananvaya—Comparison Absolute
When one and the same thing appears in a single sentence
as both the ‘object compared’, and the ‘object compared to’
it is ‘Comparison Absolute’.
‘Comparison Absolute’ means that there is no other
thing to which the thing described could bear
comparison.
Example—
‘It is not only that possessed of exquisite loveliness,
that woman shines as that woman herself ; in fact, her
graces also, which are the abode of the Cupid’s blandish-
ments, are like her own graces.’
III—Upameyopamā—Reciprocal Comparison
When there is alternation of these two, it is Reciprocal
Comparison. 91.
‘Of these two’ i. e., of the object compared and the
object compared to ;—there is ‘alternation’, interchange,
in two separate sentences,—this means that there is no
third thing with which either of them could bear
comparison, we have ‘Upameyopamā—i. e., a figure,
where there is ‘Upamā’—(comparison, of the object
compared to) with the ‘Upameya’ (object compared) itself.

366 KĀVYAPRAKĀŚA
उदाहरणम्--
कमलेव मतिर्मतिरिव कमला तनुरिव विभा विभेव तनुः ।
धरणीव धृतिर्धृतिरिव धरणी सततं विभाति बत यस्य ।।४१५।।९१॥
संभावनमथोत्प्रेक्षा प्रकृतस्य समेन यत् ।
समेन उपमानेन । उदाहरणम्-
उन्मेषं यो मम न सहते जातिवैरी निशायाम्
इन्दोरिन्दीवरदलदृशा तस्य सौन्दर्यदर्पः ।
नीतः शान्तिं प्रसभमनया वक्त्रकान्त्येति हर्षात्
लग्ना मन्ये ललिततनु ते पादयोः पद्मलक्ष्मीः ।।४१६।।
Example—
‘His heart is like Lakṣmī,—Lakṣmī is like his heart;
his splendour is like his body, and his body is like his
splendour; his fortitude is like the earth, and the earth is
like his fortitude.’ 91.
IV—Utprekṣā—Poetic Fancy.
Poetic Fancy consists in the imagining of the thing described
as (identical) with a similar thing.
‘Similar thing’—i.e., that to which it is meant to be
compared.
Example—
‘O beautiful one! I think that the beauty of the
lotus attaches itself to your feet, on being happy at the
idea that her born enemy the Moon, who brooks not her
blossoming during the night, has had the pride of his
beauty quickly suppressed by the splendour of the face
of this lotus-eyed girl.
[Here the object compared is the beauty of the girl’s feet, and
this has been imagined to be the beauty of the lotus fallen on her feet,
which, in reality, is the object to which the former is meant to be
compared.]

CHAPTER X 367
लिम्पतीव तमोऽङ्गानि वर्षतीवाञ्जनं नभः ।
असत्पुरुषसेवेव दृष्टिविफलतां गता ॥४१७॥
इत्यादौ व्यापनादि लेपनादिरूपतया संभावितम् ॥
ससंदेहस्तु भेदोक्तौ तदनुक्तौ च संशयः ॥ ९२ ॥
भेदोक्तौ यथा
अयं मार्तण्डः किं स खलु तुरगैः सप्तभिरितः
कृशानुः किं सर्वाः प्रसरति दिशो नैष नियतम् ।
कृतान्तः किं साक्षान्महिषवहनोसाविति चिरं
समालोक्याजौ त्वां विदधति विकल्पान् प्रतिभटाः ॥४१८॥
In the following verse—
‘Limpatīva tamoṅgāni varṣatīvāñjanaṁ nabhaḥ
Asatpuruṣaseveva dṛṣṭirviphalatāṁ gatā’
‘Darkness besmears the limbs as it were ; the sky is,
as it were, showering soot ; and vision has become as
useless as the service of a wicked master’ ;—what is
done is that the pervading (of darkness) has been imagined
to be besmearing.
[And the spreading of darkness has been imagined to be the showering
of soot : so that this is an instance of Poetical Fancy, and not Simile,
as some people have taken it to be, having been misled to this
view by the presence of the particle ‘iva’]
V—Sasandeha—Doubtful.
The statement of a doubt constitutes the Doubtful,—the
distinction being asserted or not asserted. 92.
For example, we have the ‘difference stated’, in the
following verse—
‘Is this the sun ?—But the sun is carried by seven
horses. Is he the Fire ?—Surely, Fire never flames on
all sides. Is he the Death-god ?—But the Death-god
has the buffalo for his conveyance. Thus, O King, on

368 KĀVYAPRAKĀŚA
भेदोक्तावित्यनेन न केवलमयं निश्चयगर्भो यावन्निश्चयान्तोपि
संदेहः स्वीकृतः ।
यथा
इन्दुः किं क्व कलङ्कः सरसिजमेतत् किमम्बु कुत्र गतम् ।
ललितसविलासपचनैर्मुखमिति हरिणाक्षि निश्चितं परतः ॥४१९॥
किं तु निश्चयगर्भ इव नात्र निश्चयः प्रतीयमान इति उपे-
क्षितो भट्टोद्भटेन । तदनुक्तौ यथा
अस्याः सर्गविधौ प्रजापतिरभूच्चन्द्रो नु कान्तिप्रदः
शृङ्गारैकरसः स्वयं नु मदनो मासो नु पुष्पाकरः ।
वेदाभ्यासजडः कथं नु विषयव्यावृत्तकौतूहलो
निर्मातुं प्रभवेन्मनोहरमिदं रूपं पुराणो मुनिः ॥४२०॥१९२॥
seeing you in battle, do your enemies entertain various
doubts.’
Inasmuch as the definition speaks of the difference
being stated, it follows that we have this Figure, not only
when the certainty is left concealed (implied), but also
when the cogitation leads on to certainty. e.g.—
‘ Is this the moon ?—But where is the dark stigma ?
Is this the lotus ?—But where is the water gone to ? O
Fawn-eyed one ! that what was seen was the face
ascertained later on through the presence of sweet and
elegant speech.’
But this variety of the Doubtful has been omitted by
Rudraṭa, on the ground that in this case the certainty is
not merely suggested, as it is in that variety where the cer-
tainty is left concealed [and hence it loses its effectiveness.]
The following is an example of the case where the
difference is not stated—‘ In the creating of this woman,
was the position of the creator occupied by the Moon,

CHAPTER X 369
तद्रूपकमभेदो य उपमानोपमेययोः ।
अतिसाम्याद् अनपह्नुतभेदयोः अभेदः ।
समस्तवस्तुविषयं श्रौता आरोपिता यदा ॥ ९३ ॥
आरोपविषया इव आरोप्यमाणाः यदा शब्दोपात्ताः तदा
समस्तानि वस्तूनि विषयोस्येति समस्तवस्तुविषयम् । आरोपिता
इति बहुवचनमविवक्षितम् । यथा
ज्योत्स्नाभस्मच्छुरणधवला बिभ्रती तारकास्थी-
न्यन्तर्धानव्यसनरसिका रात्रिकापालिकीयम् ।
द्वीपाद् द्वीपं भ्रमति दधती चन्द्रमुद्राकपाले
न्यस्तं सिद्धाञ्जनपरिमलं लाञ्छनस्यच्छलेन ॥३२१॥
the source of effulgence ? or was it the Love-god him-
self abounding in the erotic passion ? Or was it the
season of spring ?—How else could the ancient sage,
whose sensibility had been deadened by Vedic study and
whose interest had been withdrawn from all objects, be
able to create such a heart-ravishing body ?' 92.
VI—Rūpaka—Metaphor.
Where there is non-difference between the 'object compared
to' and the 'object compared', it is Metaphor.
What is meant by 'non-difference' is that idea of
non-difference which is based upon extreme likeness
between two objects, whose difference is not entirely
concealed.
(1) In cases where what is imposed is directly expressed,
it is Metaphor Universal. 93.
In cases where, as the objects imposed upon, so the
objects imposed also, are directly mentioned by words,
it is that Metaphor which is called 'Universal',—in the
sense that the whole (samasta) of what is imposed (nyasta) is its
expressed objective (viṣaya).

अत्र पादत्रये, अन्तर्धानव्यसनरसिकत्वमारोपितधर्म एवेति
रूपकपरिग्रहे साधकमस्तीति तत्संकराशङ्का न कार्या ॥९३॥
श्रौता आर्थाश्च ते यस्मिन्नेकदेशविवर्ति तत् ॥
केचिदारोप्यमाणाः शब्दोपात्ताः केचिदर्थसामर्थ्यादवसेयाः
इत्येकदेशविवर्तनात् एकदेशविवर्ति । यथा

CHAPTER X 371
जस्स रणंतेउरए करे कुणंतस्स मण्डलग्गलअं ।
रससंमुही वि सहसा परंमुही होइ रिउसेणा ॥४२२॥
अत्र रणस्यान्तःपुरत्वमारोप्यमाणं शब्दोपात्तम् मण्डलाग्र-
लतायाः नायिकात्वम् रिपुसेनायाश्च प्रतिनायिकात्वम् अर्थ-
सामर्थ्यादवसीयते इति एकदेशे विशेषेण वर्तनादेकदेशविवर्ति ।
साङ्गमेतत् ॥
उक्तद्विभेदं सावयवम् ॥
Where some of the imposed factors are directly
expressed by words, while some are cognised only
through the force of the meanings of the words,—
it is 'partial', ekadeshavivarti',—so called, because of its
functioning directly (vivartana) in one part (ekadesha).
'Jassa raṇaṁteurae kare kuṇaṁtassa maṇḍalaggalaaṁ
Rasasaṁmuhī vi sahasā paraṁmuhī hoi riuseṇā'.
'When, in the harem of the battle-field, he takes in
his arms the sword-blade (his beloved wife). the oppo-
sing army (her rival), even though passionate, turns away
from him'.
Here the character of 'harem' as imposed upon the
'battlefield' is directly expressed by the words, while the
fact of the 'sword-blade' being the 'beloved wife',
as also that of the 'opposite army' being her 'rival',
is comprehended only through the force of the meaning
of the words employed ; and thus the Metaphor, being
particularly, explicit in only a part of it, is called 'partial'.
This is complex, with all its constituents.
The two kinds of Metaphor just described are
equipped with all constituents.
[i. e. in these what is imposed is not only the object compared to,
by itself alone, but along with all its accessories.]

372 KĀVYAPRAKĀŚA
निरङ्गं तु शुद्धम् ॥
यथा
कुरङ्गीवाङ्गानि स्तिमितयति गीतध्वनिषु यत्
सखीं कान्तोदन्तं श्रुतमपि पुनः प्रश्नयति यत् ।
अनिद्रं यच्चान्तः स्वपिति तदहो वेद्म्यभिनवां
प्रवृत्तोस्याः सेक्तुं हृदि मनसिजः प्रेमलतिकाम् ॥४२३॥
माला तु पूर्ववत् ॥ ९४ ॥
मालोपमायामिवैकस्मिन् बहव आरोपिताः । यथा
सौन्दर्यस्य तरङ्गिणी तरुणिमोत्कर्षस्य हर्षोद्गमः
कान्तेः कार्मणकर्म नर्मरहसामुल्लासनावासभूः ।
(3) That which is devoid of constituents is the Pure
Metaphor.
[When the object alone by itself is imposed.]
Example—‘While listening to songs, she keeps her
limbs unmoved, like the doe ; asks her friend the news
about her lover, even though she has already heard it ;
she lies down within, without sleep ; from all this I
gather that the Love-god has begun to water the fresh
sprout of affection in her heart’.
[Here, all that is imposed upon the affection is the character of
the sprout ; and nothing is said regarding any detailed properties of
the latter.]
The ‘String’ is like the foregoing. 94.
Just as in the ‘String Simile’ so in the ‘String
Metaphor’ also, the character of several objects is imposed
upon a single object.
Example—‘That beloved one is the stream of beauty,
the joyous effusion of youthful exuberance, the touch-
stone of resplendence, the abode of loving confidences,