Registered under Act

XXV of

f*\

1807.

UC-NRLF

KUVALAYANANDA KARIKAS
THE MEMOPtlAL VERSES OF

APPAYA DlKSHITA'S KUVALAYANANDA.

EDITED AND EXPLAINED

WITH AN
ENGLISH TiKA
FOR THE

COMMENTARY AND

usE'f>r

TRANSLA'ji

ENGLISH S/UDBNTS OF SAVSK

BY

R.

8UBRARMANYA SARMA

Calcutta:
PRINTED AND PUBLISHED BY
J.

N.

BANERJEE & SON, BANER.JEE

119,

..-8,3

PRJ

OLD BOYTAKHANA BAZAR ROAD.

19O3.
All rights reserved by the Editor,

r.iv

GIFT

OF

TO
M. I.

M.

I.

lllAlHilli IAI1J GARU,

ZAM1NDAR OF VADAOARAI,
TalnU,

Madura District,

THIS VOLUME
IS

RESPECTFULLY

DEDICATED
BY THE EDITOR

-L/

PREFATORY NOTE,
In the following, I have attempted to place within the easy
reach of modern students of Sanskrit literature, that elementary and classic, but nevertheless difficult treatise on Alankaras,
the Kuvalayananda Karikas

Appaya Dlkshita, with an

of

English translation, Tika commentary, and explanatory notes,

so as to enable them to sufficiently understand and digest the
subject even in the absence of better teachers.

Among

the numerous treatises on

"

Science of poetry,
the
Illustration of Poetry,"
the

KAVYAPRAKASA the
SAHITYA DARPANA the "Mirror of Composition," and
the
KUVALAYANANDA the "Delight of the moonthe

are considered the best.

lotus,"

Of

these,

the first-named

is

the most difficult and erudite work, notwithstanding

by
The
thereon by able hands.
innumerable commentaries
far

second

is less difficult,

and

it

is

a complete treatise

ne plus

on the whole subject of Sanskrit composition, includThe last-named treatise, which is the most
ing Dramaturgy.
elementary as well as the most elegant of all, confines itself

ultra

Alankaras

'

ornaments

'

the

language, the
portion that forms the subject matter of the tenth chapter of
the first two treatises. There already exist excellent English

only

to

translations of the

or

of

Kdvyaprakdsa and the Sdhitya-Darpana

yet, they, being higher treatises, are intelligible only to advanced

the guidance of able teachers.

And the
with
its elementary definitions of the principal
Kuvalayananda,
Alankaras and its apt examples, is the work that every
student of this branch of Sanskrit Literature usually com-

students under

mences with.

The Kuvalayananda

in the form of

notes,

an ancient work on
^

CHANDRALOKA

a sort of commentary,
and an expansion of the fifth chapter of
the

Science

is

of

poetry,

by Jayadeva Kavi, who

449808

is

known

as

the

reputed to have

'Bourished about the T2th century of the Christian era and who
as more generally known to the public in connection with his
-charming lyric, the Gita-Govinda. The author of the Kuvais

-layananda

mate

'*

i-his

Appaya Dlkshita,*

verse of the

as appears from the penulti-

work:

Appa Dlkshita 'wrote

this

-Kuvalayananda under the orders

'of

(Royal Patron) Venkata,pati, a store-house of guileless mercy.'

From which

it

would

also

appear that

-he

flourished at the

court of the king Venkatapati and that

that the

treatise

admitted on

all

it was at his
suggestion
This Appaya Dlkshita is
hands to have been a native of Adayappa

was written.

Agrahara, near Kanchlpura (the modern Canjeeveram), and to

have lived in the 16th century of the Christian era. He nob
only took the 5-th chapter of the Chandraioka for his basis, but
(has mostly re-written many of the definitions and examples of

that treatise, as he himself says at the very outset

'*

Sucli ^verses

^ts

are found in the Ohandraloka defining and

Alankaras are for the most part adopted here also

but, for some others, new verses have
modifications)

exemplifying the
(with slight

been composed.'

To these verses so modified or newly composed, our author

has also added short elucidatory notes in prose, and to these
notes he gave the name of Kuvalayananda, probably in acknowThus, he
ledgment of his original basis, the Chandraioka.
concludes his work with the following very expressive verse
Called also ^R^f^cf: ^qitfaff

'atcT and

I"

('

)'

Chandraloka^ the cause of its commentary entitled!

from
the contact of both of which this charming KuvaSttradagama,
layananda originated, Be supreme (in. this world).
this

'May

The other meaning

is

moon from

the sight of the autumnal

'May

which the delight

The

of the verse

the contact of

of the moon-lotus sprang be supreme.'

verses, alone as modified

and

finally adopted by Appaya

go by the name of Kuvalayananda-Karikas or the "memorial verses of Kuvalayananda/ and

Dlkshita in his

treatise, often

these have been separately compiled and edited under the title
by the poet Isadhara,

of

KUVALAYANANDA KlRIKlH

with a lucid commentary of his own. The verses themselves

as

already mentioned, simple and

Anushtubh metre, the

first

in

elegant style,

half of each

in

are,

the

verse defining the-

Alankara and the second half exemplifying the same,

Before proceeding to explain the arrangement that I haveit may not be out of place to' say a,

followed in this work,

word or two as

to the

of this

necessity

production and'

as

aim and object which I have had in placing the

same before the public.
For the acquisition of a sound

to

the

any language, a knowledge of the rules of

Grammar, including Rhetoric and Composition; will be

knowledge of
its

admitted to be essential.

This

is

especially the case wheni the

be not a spoken vernacular,.

language
happens
but an unspoken classical' language like the Sanskrit.. All the
works in the Sanskrit Literature are found to have been comin question

to

and
posed ^upon fixed principles of Grammar and Rhetoric
accordat
no
in
work
was
not
that
complete
formerly,
any rate,
ance with the immutable rules of Sahitya was ever allowed to be
;

published.

And

social position

in those days,, the

or

poetical

authors

fame may

be,

also,

whatever their

never ventured ous

with any composition that did not gain the approval of thelearned.
One remarkable instance of this which occurred in
connection with the publication of the

Champu Rdmdyana by

king Bhoja might here be given in illustration of the above

Bhoja Vikramaditya wrote his Champu a poem composed

and verse -during the absence of his favourite poet

in prose

whom

Kalidasa

the king in one of his angry moods had banished

That great learned king did not dare to publish

from his court.

poem without first obtaining the approval of the greatest

Then the whereabouts of Kalidasa was not
poet of India
his

known.

He

therefore

proposed to the public the following

to be

a part of the stanza or an incomplete stanza

Samasya
completed

^ ^rcra T
*

The production

of

another flower upon a flower has been heard

but not actually seen (anywhere).'

The king expected the appropriate fulfilment of this most

difficult Samasya from Kalidasa alone*
He declared publicly
that he would bestow upon whoever completed the Samasya
half of his kingdom.
Kalidasa's lady wrote this Samasya upon
one of the wails of her bed-chamber where Kalidasa was living
When he saw the stanza on the wall, he wrote under
secretly.
it

addressing the lady

same, thus

'

whom

he thought to be the writer of the

Young dame

There

is

couple of eye-lotuses in thy face-

lotus.'

The lady then threw Kalidasa into a

and let fall a big stone upon him but
;

pit specially prepared

she, in her hurry to

go to the king to get half of his kingdom, did not stop there to
see whether Kalidasa was completely killed or not.
The lady

went

to

the

king

and the

ready-witted king/ seeing

th.c

fulfilment of the

male as

stanza addressed
to be, if filled

it

ought
Kalidasa was living in

had spared the life

thrown him into a
expired.

poem
his

in

her, and, thinking that

up by

her house,, asked her whether she

She replied that she had

pit

and did not know

Kalidasa,

weeping king

female and not to &

of Kalidasa.

The king hurried

hand.

to

that

the

to

if he had completely
the scene of action with his

only

half

human

life

dead then, said

is

unstable, that

to
to>

learned people this world is nothing but its proper nothingness,,

and that he should therefore be allowed to pass the remaining

few minutes of his life to meditate upon the Supreme Spirit.

The king wanted his poem on divine Rama to be read over to
him so that he may correct all the blemishes contained in it.
The king read his poem and a running criticism was made by
the Greatest Poet of India, and,

when

the last stanza of the

The king offered to

read, Kalidasa expired.
the public his Charnpu, one of the best poems of the language,

Sundarakanda was

up to Sundarakanda only, the remaining two kandas, Yuddhakanda and Uttara-kanda, having been torn away by the king
on the spot as they were not perused by Kalidasa.
Such was the

criticism going on in India before the public-

was the look-out of every critic to see

whether the particular work has been composed in strict accordation of any work.

It

ance with the fixed rules of Grammar, Rhetoric

is

necessary that

Grammar, Figures

etc.

Hence,

know something

a student should

it

of the

Speech of the language etc., to enable him

poern. In other words, a student can very
of

to understand

easily master a

poem

he has known something of the GramFor the acquirement of the elements of

if

mar and Alankaras.

Grammar

with the Language,

the First and Second Books of Sanskrit were placed before the
the Sanskrit

in

its

connection

over 35 years ago by that great oriental scholar, Mr.

Ramakrishnal Gopala Bhandarakara and they still remain as
model Text Books of the kind. Let me quote here his OWD

public

words from the prefaces to his Second Book

VI

object ha>

'My

been, to

render thie

as

Heading Book a& a, book on Sanskrit Grammar

much

Sanskrit

in other words, not

only to teach Grammatical forms to the student, but to enable him

to construe Sanskrit.'

%
'I
first.

*;

was not so sanguine about the success of this book as of the

But I am very happy to perceive that tHis also has met with

and that along with- the first it has become the means,
howsoever humble, of facilitating and promoting the study of the

favour,

language

As

of"

the ancient Rishis

among

their

modern descendants.'

acquirement of the knowledge of the Alankaras,

almost in every institution,, the Kuvalayananda appears to have
for the

been recommended as a text book

for the

B.A. degree students.

But in the majority, the students either do not read the book,
or they do not care to grasp and digest what their Professors
The study of
might teach them about these Alankaras.

Alankaras

is

as essential

No poem

Grammar.

as that of

not embellished by one Alankara

or another.
For, Alankara-,
by adding to the beauty of
word and sense, serve to heighten the flavour (RASA) etc,,
contains

a-

verse

that

is

just a& ornaments adorn and beautify the human fornu That
great learned Dr. R. G. Bhandarakara in the preface to the
first

edition of his First

Book

of Sanskrit says truly

enough

I have heard students complain that they find Sanskrit

difficult

than Latin.

*"

do not know

if

more

this

com-

plaint has foundation in the structure of the two languages ; but

this,, at least, I am sure of, that Sanskrit would Be considerably
more easy than it is, if there were men educated' in our English

Colleges to teach

it,

and if looks specially adapted for beginners

were available.*

That the above remarks of the great Bombay Educationist

were true, has been amply proved by the very prominent position which his First and Second Books of Sanskrit have been
given in the Indian Educational curriculam.
* The italics arc OUTS.

So

far as

am

vn

<(

aware, *no such book has

'

till

now been placed within

And

of the Sanskrit students on the subject of Alankaras.

have therefore ventured

the

to

this

to -offer

'

the

public in the

some extent the

sincere hope that it

may

want of the students

of this branch of Sanskrit Literature.

The

Alankaras

'three heads, viz.

Sanskrit are generally classed under

in

Ornament

of word

Ornament

of sense

SJo^TITT'SlcRR

iii.

loug-felfc

"SRTnsNrrc

ii.

supply to

'Of these, the 2nd class,

and

"Ornament of both word and sense.

viz.,

Ornaments

now

of Sense alone are

The other

treated in the present work.

two, not being of so
much importance, except to very advanced scholars, are not
dwelt upon here.

In the present volume, each and every word in the verse

containing tihe definition and the example is given in its prose
order (anvaya) in an intelligible way with its English equivalent and a literal English translation of the verse has been

given under the same together with all the necessary explanations that are sufficient to help the student in understanding
the Figure and its example himself without the assistance of

In the Appendix, almost all the conventions of

poets are given UPAMS. in its 32 varieties and the APRASa teacher.

TUTAPRASAMSA

in

its

varieties are treated with

their

appropriate examples taken from the standard works. Additional examples of certain Figures that require such are also
giveu.

The

RISHTI

<

three Figures

ANUMAN A

'

Inference/

SAMS-

Conjunction; and SAN KARA 'Commixture/in the body of the book are also defined

which are not found

and exemplified.

To

scientific classification

and an explanatory
peculiarities of

many

it

are

of the
note,

also

appended a more or

less

Alankaras treated in the book,

showing the mutual distinguishing

of the Alankaras.

l$ow

must mention

works

here- the

have consulted in

course of the publication of the present volume.

and foremost of these

Kaviraja with
scholar,

its

is

The

first

the Sahitya-Darpana of Vishvanatha

translation

English

by that distinguished

Rai Bahadur Pramada Dasa Mitra of Benares.

Many

of the English renderings of the Figures of

from the work of that able orientalist

from Mr. R. T. H.

Speech are adopted

who borrowed the same

paper on Indian Figures of Speech

The
Specimens of Old Indian Poetry.

Griffith's

appended to his
Chandrika and the Rasikaranjini, the two famous commentaries on Kuvalayananda, were also my chief guides. The Kavyaprakasa and

English translation, the Pratapa-Rudrlya of

Vidyanatha Bhatta and the Sahitya-Ratnakara of Sri Dharma
Suri were also consulted. My heart-felt thanks are also due to
its

Son

Messrs. J. N. Banerjee and

of Calcutta for their neat exe-

cution of the work and for their extreme kindness shown to

me

in the course of its publication.

In conclusion, I only hope that the work now offered to the

namely,
public may serve the purpose for which it is intended
to enable the student to thoroughly understand this difficult
branch of Sanskrit Literature without much difficulty and with

very
I

of extraneous

little

work of

this kind, there

help.

am

must be several

fully

aware that, in a
and errors, and

defects

most humbly crave the favour of the public, who will have
me the honour of perusing this little book, to be

occasion to do
so

good as to point out to

amendments
to give

my

or corrections

me

the portions which require

shall be only very willing

and I

best consideration to those suggestions in any future

edition of the work.

MADURA,
9Ast February,
1903.}
ebruary, 1903.

SUBRAHMANYA SARMA,

LIST OF CONTENTS.
PAGE.
Simile

do.

<PTT;

^T^Sf:

^q^sftq^T

Similes Elliptical...

Comparison Absolute

...

13

14

...

...

...

...

...

...

15

do.

2nd kind

...

...

...

...

16

do.

3rd and 4th kinds

...

...

...

17

do.

5th kind

...

...

...

18

...

...

...

18

...

..,

...

22

Reciprocal Comparison

...

^q^TJj

qfTWTTI

Metaphor
Commutation

^sfw:

Representation

...

Reminiscence

wftwr*[

^Tf%*fTT

^%;

10

...

Converse

Jfcftq^

11

3 to 13

...

...

Doubt
Concealment

^rq^fH:
(1)

do.

(2)

do.

(3)

do.

Mistaker

...

...

...

23

....

...

...

25

...

...

25 and 26

.~

...

25 and 26

...

...

...

27

^T

do.

Pure

...

..-.27

fg

do.

with a Reason

...

...

qsh?rr

do.

transferred

...

...

28

..,

2Q

(4)

do. *rr*TT

do.

under

..

29

(5)

do.

%3U

do.

of the skilful

...

...

30

(6)

do.

cfrcnfli

do.

of the deceitful

...

...

30

...

,.

31

...

35

...

35

12

^3?sNT

13

*ff?ro?ff%:
(1)

Poetical fancy

a mistake

...

...

..
...
Hyperbole
a ^q3nfcTO?ftf%! Hyperbole Metaphorical
b
do.
^TTq^T Hyperbole founded upon

Concealment

...

Hyperbole asserting a difference

...

37

...

38

(2)

w^fnfcn^jftiiff:

(3i

^^T

do,

do.

a connection

.,

38

(4)

srete*n

do.

do.

a disconnection

...

39

(5)

^smT

do.

do.

a want of order...

40

(6)

<rq?u.

do.

do.

fickleness

...

40

(7)

^<q^T

do.

,,.

41

of the highest degree

PAGE.

14

Equal Pairing
2nd and 3rd kinds

f|Wftf*T<?fT

do.

15

The Illuminator

^tw[

16

^TeFPfi^ta^nj

17

ufcre^WT

18

^7^;

19

frF^far

20

42
44

...

...

...

45

...

47

repetition

...

...

...

...

51

...

...

53

...

...

53

..

...

54

...

...

..,

55

...

...

...

56

...

...

...

56

...

...

57

...

...

58

...

...

60

of Direct Description

...

61

Dissimilitude or Contrast

24

qft*?;:

25

qfrcjrcrif?::

26

*fisf;

Connected description...
...
Speech of Absence

2nd kind...

do.

Modal Metaphor
Insinuator

Sprout of an Insinuator
Paronomasia
...

^Tff^cfTi^jT

Indirect Description

The Sprout
Periphrasis

2nd kind..

do.

9TT^fa:

31

^rsrfa^T

32

'snrgq;

4<9

50

?j*rret%t

qqlqt^

...

...

23

w^crr^T:

48

...
...

fo*ftfw:

29

...

...

jf?rtcfr;

28

...

2nd and 3rd kinds

22

...

...

...

62

...

...

...

63

...

...

63

...

...

...

65

Artful Praise or Irony

Artful Censure

Hint

...

...

.,

...

66

do.

2nd kind

...

...

...

...

67

do.

3rd kind

...

...

...

...

68

33

ftft^WW. or ftrN:

34

1%vn3*TT

...

...

68

Peculiar Causation

...

...

...

69

...

70

Contradiction

do.

2nd kind

...

...

do.

3rd and 4th kinds

...

...

...

71

do.

5th kind

...

...

...

72

do.

6th kind

...

...

...

73

...

74
74

35

frihft%:

36

%rW

37

^ra^fcT.

do.

38

...

Illustration

TOt%:

30

%i

...

Typical Comparison

21

27

...

...

The Illuminator by

Exemplification

do.

...

fwra

Peculiar Allegation

Improbability
Disconnection

2nd and 3rd kinds

Incongruity

...

...

...

...

...

,..

...

...

75

...

...

...

76

...

...

...

78

PAGE.

[2nd
39

3^_
do.

40
41

fof^nj
%rfirai*l

do.

42

43
44

^sn??^

46.

...

81

Strange

82

Exceeding
2nd kind

...

...

...

83

...

...

...

88

...

...

...

84

...

...

...

85

...

...

...

...

...

...

$6
87

Frustration

...

...

...

88

2nd kind

...

...

...

89

Garland of Causes...

^TTT^'frraT

The Necklace

48

iTT^T^tq^

49

^c

The

The Relative order

srare^^
The Sequence
qsifa:
do.
2nd kind

52

qfrffTi:

53

qfctf mt

54

1w^q:

The Alternative

55

HTT^I:

The Conjunction
2nd kind

57

3fTwftq3nj
^*TTfa:

srfarr^

67

Jnq*U*[

...

95

96

96

...

...

...

97

...

...

...

98

...

...

...

99

...

...

99

...

...

...

100

...

...

...

101

The Case-Illuminator

The Necessary Conclusion

Reason
...

The Expansion

fatznwfafa:

...

...

The Bold Speech

The Supposition

66

94

...

...

qrysif^m The Poetical

The Transition
^rarf^rcTOTC'.

3W*7TT

93

...

Special Mention ...

The Rivalry

64

...

...

95

The Convenience

65

...

...

...

60

frqTOT.

...

...

^TpsTTwtqfa: or ^Rrfqffi:

iftftftr.

93

...

ira^hir^

62

...

...

59

63

...

...

58

61

90
91

...

The Return
The

...
...

Serial Illuminator

The Climax

..*
...

...

51

56

80

...

x3nwt

do.

79

...

...

47

50

...

...

...

2nd and 3rd kinds

do.

...

...

...

The Reciprocal
-spffanj
The Extraordinary
fMfor.
szireTcr:

...

...

Smallness

do.

45

and 3rd kinds

The Equal
2nd and 3rd kinds

...

...

...

102

...

103

...

103

...

...

...

105

...

...

...

105

...

....

...

106

The False Determination

The Artful Indication

The Enrapturing
...

...

...

107

...

...

108

...

...

108

PAGE.

[2nd
f^^T^T^

The Despondency

Abandonment

69

^$TO;

70

^raiJT

71

^inThe

72

jfai;

Suggestion

...

73

* ?T

-The Sealing

...

74

T^T^f^t

Non- Abandonment
Permission

cf^^r:

76

^sq^

77

^cf^ir;

78

^^:

2nd kind

do.

The Non-Borrower

81

The Conformity
The Lost
*?tfcra?(
The
Sameness
*TOT*r^
The
Un-Lost
<3iftf%cT^

82

faws:

7f

80

83

84
85

86
87

The Un-Sameness

The Reply

^fj^
do.

2nd kind

IJ5TR

The Subtle

fqffcf^
oZfTsrtfNT!

j|tfw:

...

110

...

...

...

110

...

...

...

lit

...

...

...

113

...

...

...

114

...

...

...

115

...

116

...

...

117

...

...

...

118

...

...

...

119

...

...

...

119

...

...

...

120

...

...

...

121

...

...

...

122

...

...

...

122

...

...

...

123

...

...

...

125

...

...

...

125

...

...

...

126

...

...

127

...

The Covering
The Dissembler
The Secrecy

109

...

The Jewelled Necklace

The Borrower
The Original

75

...

...

3rd kind

do.

68

kind

...

...

...

127

...

...

...

128

...

...

...

129

130

88

fas<frfir.

...

...

...

89

3%:

...

...

...

130

90

<fN?rfw:

...

...

...

131

91

t^tfk:

...

...

...

132

Open Speech
Covert Speech
Popular Saying

The Skilful Speech

The Crooked Speech

92

wrfa:

93

^FTftfan

94

wrfa^ The

Vision

95

^ifm The

96

*Rzrtw:

Description of

...

Nature
...

...

...

132

...

...

133

...

...

134

Exalted

...

...

...

134

The Exaggeration

...

...

...

...

...

136

...

...

136

97

f?ref7fr,

Exposition

...

98

irfcT^:

Prohibition

...

99

frfr;_Fitness

35

137

PAGE,

100

The Cause

f?j:

...

...

...

2nd kind

do.

138

138

APPENDIX.
t

Poetical Conventions

...

140

...

141

...

,..

Words
...
comparison
Terminations expressive of comparison
32 varieties of <gq*u (1)
...

...

142 and 143

...

143 to 149

Garland of Similes

...

...

Girdle of Similes

...

...

...

150

Additional Example...

...

...

150

expressive of

(17)

do.

(27)

(45)

And

its

...

...

5 varieties...

...

Additional Example

...

149

151 and 152

...

151

151 to 154
...

do.

...

...

...

155

(58)

do.

...

...

...

156

do.

...

...

,..

156

...

...

...

158

...

...

...

158

...

Inference

Additional Example
do.

5)

Conjunction

Commixture

Classification of

Mutual

...

...

(53)

(60)

...

do.

(18)

...

Alankaras

distinctions of certain

...

...

158

...

...

...

159

...

...

159 and 160

...

...

161 to 164

Alankaras

164 to 17S

BENEDICTOEY VEESES OF

We

glorify that ancient

the universe, each of

husband and

whom became

t?E

wife,

the parents of

the fruit of the penance

treasure of the other/

^ftrf
'

May

the foot-lotus of Gauri

foees in the

made resonant by the female

masses of braided hairs of the prostrating goddesses

l'

AUTHOR'S PEEFACE TO THE WOEK.

concise
elegant treatise on Alankaras with their
definitions and apt examples has been composed (by me) for
c

This

the purpose of enabling the young students to understand the

ornaments easily/

'

;E.; /0 Ki%hriai thy fame

like a

/<

she-swan enters

trie

celestial Granges (or pervades the celestial regions

and

this earth).

This

is

an example of TJ^mFTT
G\

simile) 'simile

complete'

essentials of comparison,
1.

^THW, ^Wf
i. e.j

2.

or

for,

it

(*

^J^TT
C\

full,

^trei =

all

the four

contains

which are

The

f%^zr:

object

compared,

the subject of comparison, such as

XX

^TOTTiT, ^srawr or

The

fcfisr^t

fadfe

&c.

object compared
tf

JL

the standard of comparison, such as

e.j
to,
moon, lotus &c.
i.

or

common

or

*JT*U*PW:

attribute,

i.

simply ^T!

The

the characteristic re-

e.,

semblance between the two objects (the object

compared and the object compared to) or the
;

two objects that occasions

quality of the said

their similitude such as charmingness or the like.

TOT^r^cff: or simply ^T^f^f:

comparison, such as

In

*m

the present

'as'

The word implying

or the like.

example

the object compared

the object compared to

^reiT^Tfen = 'the act of entering

the common attribute
pervading'
,

e>,

or

5^ =. the word implying comparison.

snro 'reputation' and ^PET:
'laughter' are always described as white according to
the convention of the poets. Hence, the fame of Krishna
Observe

is

^ra:

'fame,'

compared to a swan which

is

of white colour.

KINDS OP SIMILE ELLIPTICAL.

the object

of

fflfaf

by the omistwo

compared, the object

compared to, the com-

mon

or three

attribute

and

eightfold

or the

word

implying comparison

By

sion of the one,

fastt

divided

W}q*[T

Elliptical Simile

(becomes.)

the omission of one, two or three (of the four

requisites of simile

complete,

i.

the

e.,

object

com-

pared, the object compared to, the common attribute

and the word implying comparison) the simile becomes
elliptical
1.

and

is

^T^i^JHT

eightfold,

SIMILE

which are

in

the omission of the word

implying comparison.
2.

Do.

WT<JHT

Do.

of the

common

attribute.

of the common
Do.
attribute and of the word implying comparison.

Do.

3.

W3T^<pT

4.

cfT^sfnwgf HT

Do.

Do.

of

the

word

implying comparison and of the object compared.

5.

Do.
^WT^rer^^JTTT Do.
to
and
the
word
compared

of the

implying

object

com-

parison.
6.

Do,

^mrTT^JHT

compared

to.

Do.

of the

object

4
Do.

7.

Do.

of the

word implying comobject compared to,

of
the
common attribute.
parison and
of the

Do.

WT^W^HT

8.

Do.

object compared to and of the

Examples of

the first

of the

common

attribute.

four Elliptical Similes in

their order.

?ET

ct^ft

acts (herself) like the

yellowish (as) the

(as)

II

lightning

Kama's

having the face like

dess of love)

the

moon

(such

(like)

by me
was seen.

cam-

the

phor
(her) loveliness

by

A
place

woman

in a lonely place

of eyes

acts

(God-

a)

slender

my

bride

woman was seen by me in a lonely

woman (as) yellowish as the lightning

slender

and, having the face like the moon,

she acts

(like)

my eyes, and by (her) loveliness she acts

camphor
(herself) like the Goddess of love.
to

1.

fff%ft^t

If this

is

compound

have ?fff^ f ^ JTKt where

the object compared to

the
t

common

attribute

the object compared.

uncompounded, we

We

have, in this example,

the word

the remaining requisite,

3 requisites, but

these

expressive of
and, in the expans^r,

comparison, is indirectly omitted

sion of the compound, it becomes expressed and so this
in the
is the example of the Elliptical Simile, No. 1,
;

omission of the word implying comparison

2.

when uncompounded, becomes

^nJfJW^TT,

^TT^t sren:

g^f

moon/ where

'she

^T

whose

face

like the

is

the object compared to

the word implying comparison

the object compared.

Here, we have the above three requisites

remaining requisite

the

common

and the

such as

attribute

charmihgness &c., we have not got. Hence, this is

the example of the Elliptical Simile, No. 2, in the
omission of the
Observe

common

attribute

W^HT

With

to
Similes
Elliptical
regard
attribute
in the omission of the common
only, the
word omission '^far:' is used strictly in the sense in

which

it is

used

in

the

Panini's Sutra

60) 'The disappearance

regard to the omissions of the other

(I. 1.

is

'^sM

three,

i.

^R'/

With

called '^far:'.

e.,

object compared, the object compared to and the

the

word

implying comparison, they are indirectly omitted

but when the compounds which contain them are
;

uncompounded, they come to light, and thus, we see,

they are understood. Moreover, the student should
note that,

without these three

requisites,^ either ex-

pressed or understood, there will be no simile at

all.

3.

3T!T?;?r?t ^STfaRTT

3fTcnc'rft is

the present participial

of the nominal verb

feminine gender,
'oRTrcf??' having the fgnr affix expressive of comIf it is uncompounded, it beparison omitted.
noun,

comes

camphor', where
in

rf*^

(1)

^fT^ftft

3RTjTfiT3r

acts

'she

the

like

the second line of the sloka

is

the

object compared and

(2)

common

to.

requisites

other two ingredients of comparison, the

attribute and the word implying comparison,

omitted.

Hence,
Simile, No. 3,

Elliptical

mon

attribute

4.

the object compared

we have here only the above two

Thus,
and the

are

is

^n^<r*f

the example of the

in the omission of the com-

this

is

word implying

and the

comparison

*\

by
Kama's

^TCT3ST?r?t

cRfcSTT

fr\

(herself) like
is

^HZfrft

(her)
bride.

she acts

The compound

^rc-

the xpresent participial noun, feminine

J

fr\

gender, of the nominal verb

affix

If

loveliness,

it

'kyach'

( "Sftrf

^T^Sffa having the

of comparison.

expressive

uncompounded, it becomes
^3 W^^*rft ; where we have

is

^TConCTT
(1)

^ff?;3n*

(2)

^ri<3n

3(T3TT<T7[

the object compared to

the

common

attribute

only two essentials of comparison.

i. 6.,
the object compared ^TT^TTTH

the word

c^

The other two,

*

herself

and

are
'as'
expressive of comparison
Hence, we have the example of
indirectly omitted.
the Elliptical Simile, No. 4, in the omission of the

word implying comparison and the object compared

)

Examples of

there,

the Elliptical Similes

in that

i. e.,

Nos. 5 and

6.

gam
that

lonely place

this

w ith

accidental or un-

that (lady)

which

expected occurrence
like the maxim of

meeting
which
of the

sexual inter-

the

crow

palm

fruit,

and

the

course with that lady

My meeting

with that lady, in that lonely place,

and my gain of sexual intercourse with that lady
each is an accidental occurrence like the maxim of the

crow and the palm

fruit.

most puzzling example. The combut its

pound 3?T3Kn^fter*T must be first analyzed
This

the

is

analysis can be best understood only when the Panini's

Sutra WT^rW rff%^TTcT (V. 3. 106) with its commentary
is

rightly and fully understood.

This Sutra contains

and one word ^: is to be supplied from

the preceding Sutra (V. 3. 105) and the full Sutra
3 words

stands thus

The

affix

Chha

t*T

comes, also in the sense of

8
a

after

'like this',

compound noun containing

'like this

the force of

in itself

(hidden).

Kasikd commentary on the Sutra.

trefrr.

of

sense

WTO

frft*3ra

w>

the

the word ?f^ the

subject of discussion, is

By

referred to.

The

Chha

affix

sense of

comes, only in the second

a cdhipound conthis'', after

fer

'like

taining in itself the force of

W-

Examples.
1.

Like the maxim of the crow

3fT3irIT<ft3IT[

and the palm

2.

3.

fruit (rH^r).

Like the death of a goat (

by the accidental falling of a sword ( gnri^

^^TlTm^t^H

Like the accidental

^^oR^fTHftgrr
quail

^frNfl'

into the

falling of a

hands of a blind person

and

Unintentional
strange coincidences are referred to here.

How

<TcT 3f3T<R

is

that.

The coming
is

of the

crow

accidental.

TJfft

^ As

also the

(sudden)
fruit (on the head of the crow).
TTfffiT

thus

3TT3R^T

falling,

^^:

^frf!

By

fall

of the

palm

the palm fruit

the death of the crow occurred.

the

In

very

manner, the coming of Devadatta

(a

same

person)

there.

In the same manner, the sudden

HqfiTOTrr.

attack of robbers (upon Devadatta).

By them

(robbers) his (Devadatta's)

death occurred.
*ft

There, the coincidence of the person Devadatta and the robbers is like that of the crow

and the palm

This

tnTTsh
(in

the

fruit.
is

compound

^TTST ^:,

^r:

the first sense of

this'

^TTcffffra^).

Then, the killthat of the crow by the

^TSffrrra^nTOSSi:

ing of Devadatta is like

fall of the palm fruit.

This

f^fa: 'STOTsr:

'like

is

the second sense of

'like

this'.
GTRTO*.

of
,

In the

in the

JTc5T2T:

compound

affix

TcT

*ff% ^HST

(<^ra?TT^r?T hidden).

(in

WIT

is

indicated

^ra*!T

^f^r

by

the compound

The

compound, having the

hidden,

sense

In the second case, we have the same,

expressed in the

we have the

first case,

this

There

implication of such
sense of 'like this*

Sutra only.
is

no other rule

for

the formation of this compound but this indica-

tion (as no such

compound with the

force of

taught in the chapter on compounds).

is

a careful study of this Sutra with its commentary, we come to know that the compound ^T^ff-

By

rfT^ffa*[

sense

contains two senses of

'^ = like

hidden in the compound

is

second sense

is

this'

first

and the

3?rarfTf<F[

expressed by means of the

the

chha

affix

in the

compound 3TT3firfT^tenF[.
The compound 3TTRrH*T*(,

comes

gffT3fT.

uncompounded, bewhich
f ST, rfraftre
again become
the coming of the crow' and
if

the falling of the palm

'like

Prom
example

fruit'.

the sloka quoted above, let us first take the

for the Elliptical Simile, No. 5,
in the

omission of the

object

to

compared

and the word

implying comparison and consider the same.

rlcT

^f^rri^rf^frrpf

cirrarfT^H

where

compared and ^fafff^rrew^T is

the common attribute. Here, we have only the above
the object

is

The other two the

comparison.
and the word implying compariobject compared
hidden
in the compound 3H3firfra*r. The
are
both
son,
two

essentials

of

to

coming of the person (g^TWTO) is compared to the

coming of the crow (3fn3T*TTTH) and the coming of
the lady

is

compared to the

(rrra^^rtTrr^R).

falling

of the

The union of these two,

palm

fruit

i.e.,

the

person and the lady (?nft: ^WT) which is the object

compared) is like that of the crow and tne palm fruit

The word
compared

to,

?ET?rmJT:,

the object

and the word, ^3, implying comparison,

Simile,

to

Hence, we have the

both omitted.

are

No.

Elliptical

in the omission of the object

5,

compared

and the word implying comparison.

Let us then consider the example

Simile No. 6.

Where

for the Elliptical

the ohject compared, ^f%rffafi<TO*Tqr?T is the

attribute and the compound 3RT3fiffrafaH con-

^fTVf: is

common

tains the object

eating/ hidden
comparison expressed by the

compared

and the word implying

to,

'^mrfaT:

because the compound,

affix 3? (f^f)

becomes ^T^TrTRH

if

uncompounded,

= ^TWHm^TWfrTO3l:

'like

the eating of the palm fruit by the crow'

In this
example, we have the above three ingredients of comand the fourth, the object compared to, is
parison
:

Hence, this is the example of the Elliptical

in the omission of the object compared
Simile, No. 6,

omitted.

to.

Now,

we

if

for

substitute

in

away the

common

attribute

from the sloka which contains the

^rfa<Tra?<TOVT3*{

examples

take

the
its

Elliptical Similes

place

^r*T3R

f^

Nos. 5 and 6 and

sNftfir

^='It

so

* In the Kasika commentary on V. 3.

106, this compound stands in its
expansion thus ^n^cTT'Snn^^sr. 'like the death of the crow by the sudden
fall of

the palm

fruit'.

The student should note here that

this

and the

other two similar compounds are used to denote the accidental occurrence
whether welcome or unwelcome as the case may be.

12

chanced
thus

what

shall I tell you'

and read the

si

oka

era

We

have

here

the

omission of

the

common

above two examples.

attribute in the

In the Jirst example

the

object compared and, of the

other three essentials of comparison, the common
attribute is directly omitted, and the object compared
is

irefnT

word implying comparison are indirectly

omitted in the compound 3n^?TT^nT as explained before
and so we have the example of the Elliptical Simile,
No. 7, in the omission of the object compared to the
to and the

word implying comparison and the common

In
is

the second

example

attribute

the object compared and the compound

contains the object compared to hidden

and the word implying comparison expressed in the

so we have
affix f and we have no common attribute
of
the
No.
in the
the example
8,
Elliptical Simile,
;

omission of the object compared to and of the com-

mon

attribute

(^TOffiW^fTTT).

one sloka, we have the examples of the

Thus,
This
second four Elliptical Similes Nos. 5 to 8.
in

ornament ^mf\

is

distinguishable from certain other

such

ornaments
Absolute/

No.

^tTcffJT

III.

No.

'Comparison

V.

Metaphor,
and
Comparison,
resemblance

Rupaka, the

it

is

expressed
Absolute, only one object

two

II.

Dissimilitude.

In the
whereas

No.

*n?n?3r.

Reciprocal

XX.

No.

as

13

here.
is

is

suggested

In the Comparison

compared to

itself.

Here,

different objects are compared.

In the Reciprocal Comparison, two sentences are

employed
In

here, only one sentence.

the

whereas

For

it is

Dissimilitude,

also

is

stated,

not so in this figure.

other

peculiarities

according to

varieties

contrast

of

this

figure

and

its

Sabityadarpana and Kavya-

prakasa and for words expressing comparison &c.,

see the Appendix.
II.

^TT^gr:

'COMPARISON ABSOLUTE/

DEFINITION.

EXAMPLE.

of only one object on

hand.

moon

which

like

the

relation

of

glorious

in

the

the

the object compared

to and that compared

like this

that

absolute

When

moon

itself

illustrations

the figure comparison

the object compared to and the object compared are one and the same, or in other words, when
one and the same object is compared to itself, it is

14

Comparison Absolute
'the

ft^f^ ^HT^T

as in the illustration like

glorious

moon

is

like

the inoon

itself &c.

^^SP^^lf^T

^r^r: 'connection' 3IW H:=*want of

connection with any

other object in

the world in

respect of comparison.

The word
examples as

^Sfift

*et cetera!

comprises such other

(As regards spaciousness), the sky is

itself.
(As regards vastness), the ocean
the ocean

is

the sky

similar to

(As regards awfulness), the battle

and Eavana is like the battle between

itself.

Rama

between

like

Rama and Havana.

Here and

the example given in the text, the

self-comparison of the moon, ocean, sky and the battle
is to show the non-existence of their like.

In

in

this figure, a

sameness of terms would be more

expedient for the ready understanding of the identity

holds
of the object at the very hearing.
'?^: ^*^f^'
better than "f^: ^?: ^' although the latter is a

synonym
III.

EXAMPLE.

of the former.

^wzrtiWT

$Q

'RECIPROCAL COMPARISON/

f 5f

of the

two,

i.e.,

the

object compared to
and that compared
in turn,

if

^q^sfcTRT

reciprocal comparison

is

i.e.,

nation
that,

(thy) virtue
i.e.,

the posi-

like (thy) riches

upamana and
upameya (taken from

tion of

fall

(thy) riches
like (thy) virtue

the preceding sloka)

Def.

termed

in thee

in alter-

That,

i.e.,

Upameya, when

the

position

alternated

Comparison.
Ex. In you,
King
riches and thy riches as
;

of

Upamana and

declared the Reciprocal

is

thy virtue

full as

is

as full as (thy)

thy vertue.

Here, the object of comparing the king's virtue

with his riches and again liis riches with his virtue
excluding the other similar objects is to show that
there is nothing else equal to the virtue &c., of the
king.

possible only in two

sentences as the interchange of comparisons is imone sentence. The Upamana in the
possible in

Observe

This

is

figure

becomes Upameya in the second and

the Upameya in the first becomes Upamana in the

first

sentence

second

in

compared

the
to.

total

But

absence of a third thing to be

the figure ^T3Sf: No. II. is

possible in one sentence,

the

object

compared to and

that compared being the same in the total

a second thing to be compared to.

IV.
DEFINITION.

EXAMPLE.

5T<k*r

'CONVERSE/

absence of

i6
the

of

oom-

object

pared to

q<?r?r

lotus

ftg:

moon
equal to thy eye

assumption as the

equal to thy face

object compared

the figure Converse

The assumption

Def.

the object compared,

is

to

compared

when the

i.e.,

Upameya

of the object compared to as

when Upamana (moon

&c.)
or
in
other
words,
(face &c.),

form of comparison

usual

is

inverted,

it is

the Converse.
Ex.

moon

the

Lady

is like

The

lotus

is

like

thy eyes

and

thy face.

2nd kind of Converse.

DEFINITION.

EXAMPLE.

by reason
of

another,

of
i.e.,

gain
the

mi

face

the object compared.

thy

on hand

the figure

converse

object compared to as

of the object

i.e.

that,

by the pride

(face &c.)

enough

disregard

in splendour

the

also

moon

like thee

When

the subject on hand (face &c.) is disregarded by reason -of the gain of another object (i.e.,
moon &c.) which is not the subject under discourse it is

Def.

also

termed Converse.

Ex.

moon

face

enough of thy pride

equal to thee

in

splendour.

(there is) the

Srd kind of Converse.

D.
EX.

<srr^rr:
?f

by reason

gain

pride on account of

is

the subject on hand

of the object which
is

cruelty

what

not the subject on

because

hand

fWT

women

also

tSTfT'^rr.

equal to you

^f%

there are

sj

disregard
so,

cfsjT

is

i.e.,

the Converse

When

the subject on hand,

kind of Converse.

which

the object which is not the subject on

disregarded by reason of gain of another object

Def.

hand

thy

object

which

compared

death

the

of

the

of

is

death

Ex.

it is

wherefore

declared the third

dost thou bear the

pride on

account of cruelty ; because,

(many) women equal to thee (in cruelty),

there are

4th kind of Converse.

f%

EX.

by the object on
hand (i.e. face &c.)
of the object

not on

hand
of the

also
that, i.e., the

Converse

beautiful-eyed lady
lotus

resemblance

equal to thy face

the assertion of non-

untrue assertion

accomplishment

truly

i8

The

assertion of non-accomplishment of the

resemblance of the object not on hand with the object

Def.

on hand

is

also

termed the Converse.

The assertion that

beautiful-eyed lady
the lotus has the likeness of thy face is an untrue one.
Ex.

Hence, we see here that the resemblance between

the two objects lotus and face being stated as untrue

becomes an unaccomplished one

and so

it

is

the

Converse.
5th Idnd of Converse.

EX.
of

the

object

com-

is

pared to

of that slender lady

the sense of
the use of

what

the face

is

'

if

seen

what with the

also

The

assertion

lotus

what with the moon

the Converse

Def.

considered

'

what

is

the

use of

the

'

(with reference to the upameya which is the

subject on hand) is also considered as one of the

upamana

Pratipas.

Ex.

what

is

When

the face of that slender lady was seen,

the use of the lotus or of the moon.

V.

Metaphor.

of

with the object

tical

which
the

object

compared to

com-

that

pared

the metaphor

re '

presentation as nonthe
different from
object compared

to

the gratifying

that (metaphor)

cm

*ufw-

1 in

point of

superi-

and
fority, inferiority
^g^RtlllfffalJ the absence of both

^csfre-

presentation as iden-

f^y

is

three-fold

The

gratifying representation of the object

compared (1) as non-different from, and (2) as identical with, the object compared to is termed Rupaka.

Def.

And

each (of the said two kinds)

again three-fold
in point of (1) superiority, (2) inferiority and (3) the
absence of both.

The Metaphor
and

(2)

is first

is

held two-fold

ffTz^^T. Each

of these

is

point of superiority &c., of the

over the object compared to.

in

Hence the Metaphor

is six- fold

i.

4.

2.

5.

3.

6.

Examples of
No.

object

compared

which are

ifar ^reri:

by whom

this (king)

in bodily

form

God Siva

indeed

three-fold

3.

c\

the

(1)

aain

these in their reverse order.

EX.

in person,

in a

moment

the cities (of his

foes)

were burnt

20
This (king) is indeed the very God Siva in
bodily form because by him the cities (of hi& foes)

Ex.

were burnt.
Here, the king, the upameya, who is said to have
burnt the cities of his foes is represented as non-different from the
of

God

Siva, the upamana, the destroyer

the three cities of gold, silver and iron of the

demon

and

tripura,

in the absence of

or of inferiority between these

the example of Rupaka No. 3.

No.

?mw

EX.

two

any superiority
objects, we have

2.

fa ^TT

(TT5TT)

this (king)

without

fa

third

God &va

eye

is

or stands

Here stands

Ex.

Sambhu

(before us) this (king), the

himself without his third eye.

God

Here, the king, the upameya, having only two

eyes is represented as non-different from the God

Sambhu, the upamana,

i.e.,

this

in the absence of his third

with an inferiority in respect of eyes.

is

Rupaka No.

the example of

No.

Hence,

2.

1.

EX.

having assumed

this (king)

the

God Sambhu

equality,

even

impartiality

the universe
eyes,

protects

eye r

21
king ), the God Sambhu
protects the world assuming impartiality
This

Ex.

himself,

(lit.

even

eyes).

God Sambhu

Here, the

two eyes
eye

in protecting the

clever

moved

much

said to

have assumed

world while his third

firey

now

re-

consuming the

in

in as

is

world was

as his present

work

is

the

protec-

world and not consuming. Hence, we

have here the superiority, i.e., the protection of the
tion of the

world with reference to the destruction of the world

with the f^STJTlfe uneven eyes or three eyes, and so
this is the example of Rupaka No. 1.

No.

6.

Ex.

Ex.

of this (lady)

when

face-moon

by the

the

what

delight of (our)

attained

moon

When

the delight of (our) eyes has been

attained by (seeing) the face-moon of this (lady), what
is the
good of seeing the moon.

Here, the face of the lady in question is represented as identical with the moon and in the absence
of any superiority or of inferiority between them,
have here Rupaka No. 6.

No.

5.

we

EX.
this virtuous

woman

not born of

Milky Sea

the

a second

Goddess of fortune

22

trft<?rm:

Ex.

This virtuous

woman

is

a second Lakslim!

(Goddess of fortune) not born of the Milky Sea.

Here, two different objects, the virtuous woman
and the Goddess of fortune, are represented as identical with an inferiority in as much as the former is not

born of the Milky Sea and we have therefore here the

example of Rupaka No. 5.

No.

4.

EX.
this

^T?(
^fafr^

face-moon

from the moon

is

superior to

spotted

Ex.

This face-moon

(of

this

lonely

woman)

is

superior to the spotted moon.

Here, we have the superiority expressed in the

example which needs no comment

Commutation.

VI.
DBF.

the object compared

the figure Commuta-

to

tion

under the character of

this lovely-eyed lady

the object compared

serving the purpose

bright

on hand

sees

eye-lotus

if

Def.

When

the upamana

object superimposed)

is

(i.e.,

the lotus &c,,

identified with the

the

upameya

23

the eye &c., the subject of superimposition) and

serves the purpose on hand (i.e., seeing &c.) it is
(i.e.,

the Commutation.

Ex.

This lady of lovely eyes beholds with her

bright eye-lotus.

Here, the superimposed lotus not possessed of the

power of beholding is identified with the lady's eye,

and

the subject of superimposition,

made

is

to serve

the purpose on hand, i.e., the act of beholding.

In
the Rupaka, as per instance in the sentence '^Jl^fr ^t%
I see the eye-lotus,' the imposed lotus served only to
gratify

the expression.
to

In

this

the act of

figure,

the subject of superimposition,

seeing belonging
the eye, is transferred to the

object superimposed,
the lotus, as in the present example.

VII.
DEF.

^ww:

Representation.

^^Tf^T^WW^I

EX.

^T^mfa:

mw.
as

different persons

under

different

sr^forcfw

*r:

God

of love

was seen

cha-

racters

by the mendicants

by delineating

as the

Representation

dise

is

Def.

by

regarded

that

God Krishna

When

an object

as
is

it is

tree of para-

(his) foes

God

delineated

people under different characters,

sentation.

II

by the women

of one (object)

by

&ffi

of death

by

different

termed Repre-

He

(God Krishna) was regarded as the God

of love by the women, as the tree of paradise by the
mendicants, and as the God of death by (his) foes.
Ex.

Here, the one and the same object is represented

as distinct by different beholders on different occasions according to their liking or taste.

2nd kind of Representation.

EX.

u
of one object)

this (king)

(TTOT)

by one person

in speech

through difference of

(is)

grave or Brihas-

peculiarities

pati

under various charac-

in fame

ters

(is)

in the delineation

in

also
that,

(is)
i.e.,

Representa-

When

an object

white or Arjuna

bow

terrible or

Bhlshma

tion

Def.
i.e.,

by

one

is

under

perciever,

through difference of

delineated

by one person,

various

peculiarities,

is

it

characters

also

termed

Representation.

Ex.
speech,
(

He

white

Bhlshma

the king
(

is

Arjuna

grave
in

fame,

Brihaspati

and

in

terrible

in bow.

Here, one and the same king is represented as

distinct by one and the same beholder but through
difference of peculiarities belonging to the
lineated.

object de-

25

VIII.

Reminiscence or Rhetorical

^HTWf

Recollection.

IX.

^TfeTwr
X.

by

^^:

(expressions

of) recollection,

Mistaker.

Doubt

go by the names of

mis-

Recollection,

take and doubt

and

three figures that

Doubt

Mis baker
(respec-

tively).

Expressions of & certain object capable

of arousing an impression in the mind
favouring a
recollection,
(2) mistaking a certain object to be
Def.

(1)

similar

else

to

and

doubting the
certainty of an object are respectively termed ReminiOr in other words
scence, the Mistaker and Doubt

something

it,

(3)

(1)

A recollection of

(2)

The Mistaker

an

experienced before, that arises from the sight of some other object
similar to it, is termed Reminiscence.

-object, i.e., face &c. as

is

object,

the representation of an

something

else,

i.e.,

lotus &c.,

suggested by the skill of the poet, on account of

the close resemblance of those two objects.

as

(3)

neation

When
is

the certainty of an object under deli-

doubted through poetical

skill,

it is

called

Doubt
Example of Reminiscence.

lotus

the face of the

seeing

loved

my mind

enters,

i.e.,

be-

recollects.

26
Seeing this

my

lotus,

my

mind

recollects the face of

beloved.

Example of

the MistaJcer.

this

lotus

intoxicated bee

understands.

^f^T

thy face

Lady

this

intoxicated

bee understands thy

face to be the lotus (through mistake).

The
(

is,

between this figure and the Rupaka

the latter, we identify the face with

difference
that,

in

the lotus without mistaking the one for the other,

whereas, in this figure, the mistake is clearly expressed
as in the foregoing example.

Example of Doubt.
3TT
to us

or

lotus

so

or

decision

moon

not.

We

are not able to decide whether (the object before us ) is the lotus or the moon ( nectar-rayed ).

Thus, we see that these three figures are founded

upon the

the objects seen and

that gave rise to a recollection,

close resemblance,

experienced before,
mistake or doubt.

of

XI.

27

Concealment.

*mgftr:

There are six varieties of this figure which are

1.

Concealment pure.

WTTOft:
s>

2.

f &Tj^ fh:

Do.

attended with a reason.

3.

TO^nror^fa:

Do.

transferred.

4.

WrTT^ fa:

Do.

under a mistake.

5.

fNrmi^fa:

Do.

of the

Do.

of the deceitful.

6.

sfiffcfroi^ftf:

skilful.

Concealment pure.

^ITtrwfH:

not on

this

hand

moon

causing

superimposi-

not

of the object

tion

then,

denial of the character

what

is

that

the lotus of the

celestial

pure

Ganes.

Concealment

Def.
(of

is

spfTiJ^fH!

the denial of the real character

an object on hand such as moon &c.)

for the

purpose of superimposing (upon it) the character of

another (object lotus &c., not on hand).

Ex.

moon

This

(the object

(nectar-rayed

Ganges.

but

it is

before

us)

is

not

the

the lotus of the celestial

28

ft:

2.

Concealment with a reason,

DEF.

same

the

33
the

denial

moon

i.e.,

not

the

of

hot

character

based upon a reason-

at night

ing

sun
not

if

Concealment with a

from the ocean

trot:

reason
is

sprung up
the submarine

called

fire;

this

The

Def.

above,

when based upon

Ex.

This

a reasoning,

fire

is

not the moon,

is

(not even) the sun, (because

submarine

'Concealment pure
termed %c^m? ft-

the

i.e.,

it is)

(because

night

it is)

but

hot

it is

the

come out of the ocean.

3.

Concealment transferred.

ft:

ir

on another object
of

that

hand

object

this

on

moon
not

causing superimposi-

then \vhich

tion

moon)

ferred

called

the face of (my) be-

that

Concealment

(is

trans-

loved

moon.

29

Paryastapahnuti is that in which the real

character of an object (moon &c.) is denied and the
same is superimposed upon another object (face of a
Def.

damsel).

Ex.

which

is

This

is

moon

(nectar-rayed

not the

The

not

moon

face of

being

(nectar-rayed).

my

beloved

endowed

is

the

with

Then
moon

burning

character).
4.

EX.

*3rTrTT

re fa:

cTR 5fi*T

Concealment under a mistake.

^f?WJ *3(V.

sfi

^^

produces

in the removal of the

is it

mistake

friend

is

heat

of another person

in doubt

it

3TC

fever

no

Concealment

under a mistake

the

God

of love.

accompanied by trembling

When

a person is in doubt (i.e., under a

mistaken notion as to the real character of an object

Def.

on hand) and when that doubt is warded off (by the

mention of the real thing), it is Bhrantapahnuti.
produces heat accompanied by the
trembling of the body* Is it fever ? f No, friend
It is the God of love.

Ex.

(It)

Said by a lady pining under separation.

Said by her female friend that chanced to be near her.

Keply made by the former to the

latter.

30

^rcngfa:
5.

Concealment of the

%GfiTtnir f?p.

skilful.

DBF.
I)

f%
of another person

pratling

owing to fear

in

for

the

purpose of

my

clung

denying the real sense

is it

Concealment of the

no, no

skilful

anklet

When

foot

(thy) lover

(having once given expression to some real object) denies the same (by interpreting it otherwise) for fear of being understood by
Def.

another person

a person

(in its

Concealment of the
Ex.
Is

is

it

termed the

skilful.

Pratling (something he) clung to

thy lover

it

real sense),

6.

No, no.

It

is

my

foot.*

anklet. {

Concealment of the

f?f!

my

deceitful.

EX.

by words
denial
if

osri^T

of

the

expressed

Concealment of the

f
time.

God

arrows of

the

of love

issue forth

deceitful
<

blance of the glances

of a damsel

&c.

under the sem-

Said by a lady to her confidential companion.

Question asked by another lady that chanced to come there at that

Eeply made by the

first

lady,

When

Def.

an object on hand)
denial o^T^T

is

clearly expressed

by the words of

the Concealment of the deceitful.

etc., it is

The arrows

Ex.

denial of the real character of

(the

of the

God

of love

forth

issue

under the semblence of the glances of a damsel.

= under

under the pretext

includes such other words

etc.

the semblence

^m

XII.

of,

Poetical fancy.

rewiftrfTW^
under 'the
of

racter

(1)

(2)

effect

object

of

11

mentioned

nature

is

not

or

mentioned

(3)

the other two

another

i.e., ^Ztfc

^ ^TT and

where the sub-

imagining
Poetical fancy

is

tit

sion of the fancy

cha-

and

cause

of.

ject of the

fancy

is

of these

an

first i.e.,

unaccomplished one.

accomplished

or

where the occa-

The

Poetical fancy is the imagining of an

object on hand under the character of another object
not on hand under three heads, viz., (1) nature,

Def.

(2) cause

and

three-fold).

(3) effect.

Of

these,

(And thus the

the

first

figure

^T^raT

is first

or as

it is

generally called ^^Ffaf ^T is two-fold according as the

occasion of the fancy is mentioned or not mentioned.
The other two, i.e.,
^T and tfi^t^f ^f are each

%gf

32
according as the subject of the fancy

two-fold

is

an

accomplished or unaccomplished one.

that in which

the state, condition or

natural appearance of an object is imagined by the
poets to be the state, condition or natural appearance
of another similar object,
^T is that in which
T is

^sf

something is imagined to be the effect of some other

tfi^tsf ^T is
thing which cannot form its real cause.
that in which something is imagined to be the cause
of some other thing which

is

Example of ^^ftef ^T
the fancy

is

not

(1)

its real effect.

where the occasion of

mentioned.

cm: *f%
the mass of smoke

the darkness
the

fire

of

I suspect

sep-

aration of koki birds

I suspect (this) darkness to be the mass of

of the fire of separation of the koki birds.

smoke

Here, the darkness and the smoke are similar in

appearance. The poet is aware that it is darkness. He
then fancies

it

to be the

of the koki birds which

smoke of the
is

is

of separation

the occasion of the fancy.

Example of ^pftc[ir^T
the fancy

fire

(2)

where the occasion of

not mentioned.

darkness

sky

limbs
anoints as

collyrium
it

were

rains as it were.

33

The darkness

Ex.

Sky

limbs).

(lit.

anoints, as

it

were, the bodies,

rains, as it were, the collyrium.

the description of the thick darkness of a

In the first sentence, the subject,
particular night.
of darkness which was fancied by
i.e.., the pervasion

This

is

the poet as anointing the bodies is not mentioned.

In the second sentence too, the pouring down of the

the subject of the raining of collynot mentioned. Hence we have two instances

darkness which

rium

is

is

of ^fp?TO^T ^Tf*raT where the occasion of the fancy

is not mentioned.

thy

by treading

soft

certainly

tender feet

on the

^jfei

Oh

Lady

red.

floor

),

thy

soft

feet

by their treading on the

Here, the treading on the

certainly

have

become red

floor.

floor is

fancied as a

cause for the natural redness of the lady's feet

the redness being an accomplished one, this

is

and
an

instance of

moon

surely

with a desire
attaining

of

the loveli-

with the lotuses

rivals.

ness of thy face

Oh

Damsel, the moon rivals with the lotuses,

surely, with a desire of attaining the loveliness of

thy

face.
5

34
Here, the enmity, between the moon and the
lotuses, on account of the latter' s contraction on the
appearance of the former, is natural, and the cause
ascribed to it, i.e., with a desire of attaining the

beauty of the lady's face

is

not real and

is

due to the

fancy of the poet. The cause not being an established

one, this forms an instance of
EX.

what

waist
of breasts

for the support

by the golden
was tied.

strings

the support of thy breasts that

thy waist was tied by the golden strings (in the form
of the lady's foldings) ?

Lady

Is

it for

Here, the lady's breasts are naturally placed above

whereas, the poet describes the natural
goldlike folds over the navel of the lady as three
golden strings tied round the waist as if to support the

the waist

breasts.

The

fact being

an accomplished one,

this is

an instance of
EX.

m^tsif c^ccf^^r m*r

to get

lotus

with thy foot

the oneness,
ness

i.e,,

perhaps
like-

in the water

does penance.

the lotus does penance in the water perhaps to become identical with thy foot.
Here, the lotuses naturally grow in water, and

Lady

the poet artfully attributes another cause for their

35
which

standing in the water,

his imagination

one,

and

no doubt the work of

is

being an unaccomplished

this

an instance of

it is

XIII.

Hyperbole.

There are seven kinds of

this figure

Hyperbole Metaphorical.
Do.
asserting a difference.

2.

Sr^cfilfrlo

3.

^^[To

Do.

asserting a connection.

4.

'srefe^To

Do.

asserting a disconnec-

5T3ftTTo

Do.

tion.
5.

want of

asserting a
order.

6.

^J^fTo

Do.

7.

^r^T*fTTo

Do.

Of

these, No.

(b) JJTW^T
ment (XI).

1 is two-fold,

asserting fickleness.
of the highest degree.

^T

(a)

Pure and

founded upon the ornament of Conceal-

EX.

ftrm: snr.
having devoured
through

%\7{

introsuscep-

tion
:

metaphorical hyper-

from a pair of blue

lotuses

sharpened

TO:

shafts

bole (pure)

issue forth

is

see.

36

When

the object on hand (f.e., face &cv the

swallowed up, or completely taken in,

Def.

upameya) is
by the upamana 'moon &c.' through introsusception,
and the upameya is therefore comprehended as

upamana
is

itself, or, in

other words, (when the upamana

used for upameya),

it is

'Hyperbole Meta-

called

phorical'.

root

ij

with fa

'to

past participle in

devour'.

of the

^^^T^fi^^^ffT^-t-rrcr

the abstract noun formed by adding the

^pf to the root ?=ft with prepositions ^fe and <%m,

^Rra^TT
affix

indeclinable

is

fajftsr

and ?nj

is

a termination of the ablative case.

is

^n3T^TT means the

two objects
of which the one is the object on hand and the other
not on hand in such a manner that the former is comidentification of

pletely absorbed into the latter.

When
moon

man comprehends* the

face of a

damsel as

by the word 'moon' without

mentioning the proper word 'face', then the face
'upameya' is said to have been swallowed up by the

moon

itself

and

calls it

'upamana'.

Ex.

Behold

There issue forth sharpened shafts

from a pair of blue lotuses.

Here, the speaker, instead of saying
5RCTSFT

side

glances

'tn^^tT^rTTf^r-

fal^TCnSTft there issue forth

from a

woman who was

upamana words

oles or

pair of

before him,

eyes of this lovely

says thus by using the

and spa: 'shafts'

upameya words the ^ff^ 'eye'
and ^ZTOT: 'ogles'. Thus, we have the
introsusception of the eyes and the
ogles of a beloved lady in
sft^fcrer 'blue lotus'

for their corresponding

37
the blue lotuses and shafts
identified. *

with which

they are

respectively

EX.

it

o\

O
founded upon the

ornament

nectar

'Conceal-

infatuated people

ment'

that

hyper-

metaphorical

bole pure itself found-

in the

ed upon the ornament

of Concealment

see.

moon

(by the

considered

is

!j{cn

king

in thy good speeches

poet)

the Metaphorical Hyperi.e.,

founded upon the ornament of Con-

If the same,

Def.
bole No.

(a)

is

cealment, then it
Ex. O king

is

called

^T^^TT

Nectar exists

^q"3TTf?TO2fffin

in

thy good speeches

but the infatuated people see the same in the moon.
Here, 'the sweetness in the good speeches of the
!

king is the nectar'

cause the upamana
'sweetness*.

is

the Hyperbole No. 1 (a)

be'nectar'
is used for upameya
;

Again, the nectar which

is in

the

moon

denied and that which exists in the good speeches

of the king is called nectar and hence we have the
is

ornament of Concealment
* This

also.

comprehension brings about the superior excellence of the

upameya over the upamana,

38

2.

EX.

*ifto?h
the

of

des-

object

(is

cribed

i.e.,

strange or

extraordinary

asser-

Hyperbole

11

regarded) as ano-

ther,

description as another

courage

ting a difference

(is

of this (king)

ther,

regarded)
i.e.

as ano-

strange.

profundity

When

Def.

as another,
liar, it is

Ex.
strange

i.e.,

the thing described

as

the profundity of this king and

is

Strange

comprehended

extraordinary or strange or pecu-

called H^lfasistflff:

is

is

his courage also.

Here, the profundity and the courage of the king

are considered as extraordinary because a difference
asserted between the profundity and courage of an
ordinary man and those of the king.

is

3.

when

there

'

is

no

is (called)

town

connection

of this

assertion of a connec-

tops of the mansions

tion

the disc of the moon-

Hyperbole asserting a
connection

touch or kiss

(fig.)

39

When

Def.
is really

Ex.

a connection

it is

none,

The

is

asserted where there

called

tops of the mansions of this

town

kiss

the disc of the moon.

Here, the tops do not really touch the disc of the

moon still they are asserted to do so on account of
;

their extraordinary height.

4.

EX.

though there

is

con-

best of kings

when thou

nection
(the assertion of)

art a donor

the trees of the para-

dis-

connection

dise

we wont

Hyperbole asserting

devote

to,

a disconnection

Def.

Denial of connection where there

a connection
Ex.

is

is really

called

best of kings

here, as our liberal donor,

As long as thou remainest

we won't devote ourselves

to the wish-yielding trees of Indra's paradise.

addressed by the mendicants to a king of

very liberal donations. They, the mendicants, say
that as long as this king is their donor, they sever

This

is

with the Kalpa tree. Here, the

connection of the mendicants with their wish-yielding

their

connection

tree which

is,

as its very

its liberality is

denied.

name

implies,

renowned

for

40
5.

the

of

cause

and

thy
arrows

effect

in the simultaneity

Hyperbole

want

(1)

of order

king

Def.

foes

asserting a

bow-string (2) earth

simulataneously

clasp.

When

the cause and effect are said to have

taken place simultaneously, or, in other words, when

the effect is said to co-exist with the cause, it is called

Ex.

king

Thy arrows and thy

foes

both

ihejya simultaneously.
Observe the pun on the word jya which means
4
The arrows are said to
bow-string' and 'earth/
clasp

clasp the bow-string, and the foes, the earth, i.e., they
fall down on earth dead being struck with the arrows

of the king.

is

usual that cause precedes the

effect.

the falling down dead on earth,

said to co-exist with the cause, the issuing of an

Here, the
is

It

arrow.

effect,

Hence,

it is

called

6.

DEF.

ss

5RTS5?

41
of the slender lady

the effect

when
-

far.

the cause Was

under discussion

bracelet

Hyperbole

became,

asserting

fickleness

when
lover)

*I

said (by the

go'

described to have taken place

or, literally, if the effect is said to

If the effect

Def.

is

without the cause,

have taken place when the cause was under discussion,
i.e.. not
yet begun, it is then called ^raif?fS3Rftfiff
I

No

Ex.

sooner did the lover say *I shall go*

than the ring of his slender lady became her bracelet.

When the lover simply said <I shall go' but did
not actually go, his beloved became so very thin at
the very thought of her lover's future separation
that the ring of her finger served as bracelet for her
hand.
Here, the cause was only expressed but did
not actually take place and we see the effect is pro-

duced without the cause.

7.

Is explained

by the commentator as

%t=fVttt

without cause.

in the begining,
is

a violation of the

and

priority
of

ority
of

the

previously
-anger

posteri-

those

(i.e.,

cause

and

.&,

subsided
she

by her lover

effect)

afterwards

the

of

Hyperbole

was

highest degree

Def.

When

Ex.

The anger

conciliated.

the relation of priority and posteriority is violated, i.e., when the due order is inverted,
or, in other words, when the effect is said to have
preceded the oause, it is

ously subsided.

(of the beloved lady)

had previ-

Afterwards, she was conciliated by

her lover.
Here, a lady' angry, through love, at the absence
of her lover removed her anger at the moment the

The

not knowing the

subsidence of the anger of the lady excused himself
of his absence which was unnecessary at that stage.

lover

came before

her.

XIV.

lover

'Equal Pairing'.

EX.

of

or

objects
of

on hand

lotuses

those not on

and the

faces of

women

hand

the adulterous

sameness of attribute

become contracted.

Equal Pairing

= c^t;

of those, *,&, of the cause

and

effect.

43

The

Def.

sameness

of

on hand or of objects not on hand,

Example of

The

of

attribute

objects on

is

hand.

become contracted as well

lotuses

objects

called

as the faces

of the adulterous women.

This being the description of the
the lotuses are said to contract

rise

of the

moon r

and the moonlight

being an impediment to the free movements of the

harlots, their faces also

Observe

women

are

with one

are said to contract or 'droop.

-Here, the lotuses and the faces of the

the objects on hand and are associated

common

attribute.

Example of

objects that

are not on hand.

II

when

the softness

of thy limbs

was

per-

hardness

ceived
fair

in

whose mind
the

of

Ex.

Lady

mine, moon's ray and

the plantain

will not
jasa-

In whose mind

become mani

fest.

will

not the

hard-

ness of the jasamine, the lunar ray and the plantain be

manifest when the softness of thy limbs was perceived ?

Here, the jasamine &c., the objects unconnected

with the subject, are associated with one and the same
attribute, that

is,

the quality of hardness.

44
Equal Pairing, second kind.

f%mf? ^
EX.

W^fclfa^ra^^t^SIT

JT^fafT

in a friend

and foe

the sameness of

tt

to the friend

immense

be-

and foe

riches (to

haviour

friend)

another

defeat (to a foe)

Equal Pairing

is

distributed.

by thee

The

description of the sameness of behaviour towards a friend and a foe is another kind of

Def.

Equal Pairing.
Ex.

(O king

!),

Parabuti

is

equally

by thee both to thy friend and to thy

TJ?J

and

*jffl:

are

distributed

foe.

two separate words meaning im-

when applied to 'friend' when taken as

one word, trtHjf?H means 'defeat* and applies to 'foe' ;
however the same word being used to friend and foe y
this must be taken as instancing the figure without

mense

riches

referring to its meaning.

Observe

This

is

possible only under a pun.

Equal Pairing, third

kind.

45
with those possessed

Varuna

of superior qualities

Kubera

having placed on the

same footing

as well as thyself

Indra

description

a regent of the quar-

another

ter (and the

Equal Pairing

the earth).

God

ruler of

of death

description of placing one object on a

footing of equality with those possessed of superior

Def.

The

qualities is

Ex.

termed a third kind of Equal Pairing.

(0 Lord

!),

Yam a,

Pasi,

Srida,

Sakra as

well as thyself are each a Lokapala.

Lokapala = a regent or guardian of a quarter = a

ruler of earth.

Yama = the God

of

death,

the

regent of the

Southern quarter.
Pasi*= Varuna, the regent of the Western quarter
and of the oceans.

Srida = Kubera, the regent of the Northern quarter

and the God of riches and treasure.

Sakra = Indra, the regent of the Eastern quarter

and the king of the Gods.

XV.

^T^T The

Illuminator'.

DEF.

II

46
on hand

of objects

and

call

on

not

those

young elephant

hand
the

by ichor

common

attribute

shines

the learned

Lord

Illuminator

by

of earth

valour.

Def.
When objects on hand and those not on
hand are associated with a common attribute (mentioned only once), the learned call

Ex,

The young elephant

this lord of earth

it

the Illuminator.

shines

by

its

ichor and

by his valour.

Here, the elephant, the object not on hand, and

the king, the object on hand, are together associated
with one and the same attribute, the action of shining.
Just as a lamp standing in one place illumines the
several objects round it, so in the present figure one
finite verb serves as predicate to two or more nominatives.

Compare the maxim of the lamp placed over a

It takes its origin from a

threshold ^iHft^to5TT2n
lamp hanging over the threshold of a house which, by
I

peculiar position, serves to light the rooms on both

sides, and is used to denote something which serves a
its

two-fold purpose at the

same time.

Apte.

In the Equal Pairing No. 1 (Fig. XIV), the objects

on hand if associated with one and the same attribute
formed one kind of the figure and the objects not on
;

hand if associated with one and the same attribute

formed another kind of the same figure (observe
In the Illuminator,
the word ^T in the Definition).
the objects on hand and those not on hand are together

47

associated with one

common

attribute mentioned only

once.

XVI.

^TT^f^r^cr^

by

EX

The Illuminator

repetition.

in the

repetition

of

will

the Illuminator

rans

three kinds

and

Illuminator by re-

Def.

and

(3)

Ex.

and

By

repetition of 1 tf^ 'word', 2

T
3 ^tfZT 'both w ord and signification'.

by

i.e.,

^signification'

repetition of (1)

we have

both,

this night

looks like a year.

petition
FT

be

this range of clouds

word,

(2) signification

the three kinds of the figure

This range of clouds rains and this night

looks like a year.

This is the example of No. 1 tr^Tlf%
Here, the
verb 3T5ff?f, a "CT^, is repeated though with different
The first is the form of the third person,
significations.
I

singular number, present tense of the root ^ 'to rain',

and the second is the form of the third person, singular
number, present tense of the nominal verb derived

from the noun

^GT 'a year'.

Example of No.

kadamba
blossom

flowers

2.

kutaja creepers

bloom

forth.

The kadamba

Ex.

creepers bloom

flowers blossom and the kutaja

forth.

mean

PrT an d IVR zfcf

have here a repetition of

the same thing and

we

signification.

Example of No.

3.

satiated

peacocks

chataka birds

rejoice.

rejoice

chataka birds rejoice and the

peacocks also rejoice (at the sight of the clouds).
Here, the same word sn^ff^T is repeated in the

The

Ex.

satiated

same meaning and hence

ufaw^T

XVII.

EX.

srra

CTT

it is

Typical Comparison.

w^r ^

^TT:

in (the sense of)

one

bute

with intense heat

common

(is

11

the sun

two

sentences
if

called

shines

attri-

and

expressed)

this warrior

bow

Typical Comparison

with

is

looks brilliant

Def.

recognized

When,

in

(his)

two sentences one of which des-

cribes the object

compared
but

to,

compared arid the other the object

the same common attribute is expressed

by different words,

pariso n.

it

is

termed Typical Com-

49

The sun

Ex.

with intense heat and this

shines

warrior looks brilliant with his bow.

Here, the actions of shining and looking brilliant,

though mean the same thing, are expressed by
different

words to avoid the

XVIII.

fault of repetition.

Exemplification.

DBF.

re
if

Exemplification

O king
thou only

two

in (the sense of)

sentences
relation

of

type

possessed of fame

and proto-type

moon only

then

radiant.

If two sentences, one of which contains the

Def.

object compared and the other the object compared to,

stand in relation of type and proto-type, or, in other
words, contain similar attributes reflectively expressed,
it is

called Exemplification.

Ex.

king
of fame and the

Thou art tie only being possessed

moon is the only object having

radiance.

Here, possessing fame and having radiance are

similar attributes and the two sentences stand in
relation of type

and proto-type.

The

first

sentence

exemplified by the second in which a renowned

object, the moon, whose radiance has been experienced

is

Taken from the preceding

7

verse.

50
as

excellent,

employed as a type. The difference

and tff?f3^rtJ*TT is that the
figure

Is

^between this

common

attributes

here are similar

but in the latter

In the trfh^gnWF the couple of

^sentences terminates in conveying the same sense ;
tfchey are identical.

example of

the present figure the

-sentences have similar sense reflectively expressed
and not the same,

whilst in the

XIX.

f*r?&TT

Illustration (First kind.)

DBF.

n
of a donor

similar

in

the

of

two sentences

mildness

significations

that

itself

moon

attribution of identity

of the full

Illustration

stainlessness.

which

Def.

description,

resulting in the identity of

sentences, which are similar,

the significations, of two

which terminate in a comparison or similarity,
i.e.,

is

called Illustration.

Ex.

That mild nature

possessed by a donor
answers to the stainlessness of the full moon.*
if

Here, the impossibility of the existence of the

full moon without the black
spot corresponds to the
* In
Sanskrit, the relative and correlative clauses are reckoned as two
separate sentences.

TT

non-existence of a donor destitude of anger. Thus,

We see that tbe two sentences terminate in a comparison.

The

XVII

difference

between

this figure

and the fSTW

that in

ISTff similar attributes are stated

whereas here they are not stated. Here, the two
is

sentences employed are dependent upon each other

in their meanings but in the ^2T*rT they are independent.

2nd kind of

Illustration,

DBF.

writers

certain

on

Bhetoric

say
thy two eyes

in a thing

of

the state of

being identical
kind of
T^ another

the

two bin

lotuses

eharmingness
bears.

Illustration

Def.

described as bearing the prothen it is another kind of Illustra-

If a thing

perty of another,

is

tion according to certain writers on Rhetoric.

(Lady !) Thy two eyes bear the charmingness of the two blue lotuses.
Ex.

3rd kind of

urf

Illustration.

by an

action

of

darkness

certain object
of

the

and

unreal

the

intimation
Illus-

vanished.

by an agent engaged in a
of the unreal and the real state of

intimation,

action,

itself,

it is

"The enemy of a king (moon)

Ex.

this,

a king

will perish

(the learned) call

The

th#

of

of

so intimating

things signified by the action

third kind of Illustration.

telling

enemy
moon

tration

Def.
certain

or

kind of

rise

moon

real objects

third

the

at

termed

tber

will perish/'

the darkness, on the rise of the moon,

vanished.

Here, the darkness is the agent in the act of intimating to the world the above fact, the result of its

own

experience which is certainly unreal.

the example of unreal state of things.

Example of the

real state of things

the sun
us t
3

when

This forms

(thus) intimating
it rises

rewarding the friends

of one's riches

on the lotuses
splendour
consigns

the chief object

'The chief object of one's having riches conin rewarding his friends'
thus intimating (to the

Ex.
sists

S3

own

its
world), the sun, just on its rise, consigns
treasures (splendour) to the lotuses.

Here, the sun is the agent in the act of intimating

to the world the above fact which is real as the lotuses

bloom only on the

XX.

rise of the sun.

Dissimilitude or Contrast.

between the object

compared to and that

good people
as mountains

33

compared

are high

any peculiarity

but

if

asserted

are delicate by na-

Dissimilitude or Con-

ture.

trast

Def.

If

any characterestic

difference is asserted

between the object compared to and that compared,

then

it is

Ex.

called Dissimilitude or Contrast.

Good men

they (good men)

Here,

we

are

as high as mountains

are delicate

see a similitude between the

in

good men,
one respect

Connected Description
or a Speech with
'with'.
HTfffff:

but

by nature.

upameya, and the mountains, upamana,

and a dissimilitude in another respect.

XXI.

^ftr:

54
tf

%t

fame

pleasing to the people's

together

mind

with

foes

the end of

to

simultaneity
shines forth

the

quarters

Connected Speech
of that (king)

Def.

which

tion

the

description af simultaneity or conjuncwill excite a

pleasing (poetical) delight in

people's

mind

is

the

called

Connected

Description*

Ex.

The fame

of that king has reached the end

of the quarters together with his foes.

Here, the reaching of the fame to the end of the

expressed and that of the foes is
denotes
indirectly expressed by the word
simultaneity of two actions that are of one and the
quarters

is

directly

^ ^
I

same

kind.

The

idea conveyed in the present example

that both the king's fame and the enemies reached

the end of the quarters at the same time. Thus we
is

that this

see

figure

consists

in

the description of

simultaneous action connected with

XXII.

EX

Speech of Absence or Speech

with f^U 'without'.

f^Htfw:

fasn irsnfo

55
the learning
in the absence of some-

though pleasing

other thing
the object on hand

excellence

as inferior

without

is

that,

represented

Speech

Def.
inferior

of

of

good

behaviour

Absence

i.e.,

the learning

censurable.

When

an object on hand is represented as

the absence of some other object, it is

in

termed the Speech of Absence.

Ex.

In the absence of excellent good behaviour,

the learning, though pleasing,

is

censurable.

Speech of Absence, second kind.

EX.

tfife
best of kings

if

the object on hand

without

Def.

some thing

of thy

honour

else

council hall

as

in

charming

the

absence

that too

wicked persons

Speech of Absence
is termed

shines.

When

this

an object on hand

of

represented as
charming in the absence of some other object, it is
also called Speech of Absence.

Ex.

is

best of kings
Thy council hall shines
splendid in the absence of wicked persons.
!

XXIII.

Modal Metaphor or
Speech of Brevity.

TOT

EX.

11

this

if

in the

moon

description of

the

an object on hand
of an object not on

red
the face of

hand

tern quarter
kisses

apprehension

Speech

the eas-

of Brevity

by the description of an object on hand,

an object not on hand is apprehended, or in other
words, when the description of an object on hand
Def.

If,

conveys a reference to an object not on hand,

called

it is

Modal Metaphor.

Ex.

My beloved

see,

this

moon becoming red

kisses the face of the Eastern (Indra's) quarter.

by the use of the words (1) ^^f?T the

action of which belongs to a human being, (2) ^*5*u:
Here,

gender and (3) Tj^ft in the feminine

gender, we understand that a lover, the subject of
in the masculine

discourse,

out of

passion,

kisses

the

face

of

beautiful damsel residing in the east.

XXIV.

Insinuator.

DEF.

ftra: u

some

57
If

the epithet

been adorned by the

signifying the import

Insinuator

moon
the God

figure

your misery

whose

Def.

crest has

'Siva'

remove.

speech with epithets signifying the im-

port (of the speaker)

is

termed Insinuator.

Let God Siva whose crest has been adorned

with nectar-rayed (moon) remove your misery (lit.
Ex.

mental heat).
the

Here,

charming

epithet

This figure
suggests that the heat is removable.
occurs even when only one epithet is employed and
when that epithet invests the verse with a peculiar

charm agreeable

XXV.

EX.

to the effect like the present one.

qft^nriirc:

Sprout of an Insinuator.

ll

^r
when

the noun

^cT

3Trtf*r: H
the four-armed

itself

Sprout of
nuator

an

Insi-

of the four objects

of

When

Def.

the noun

life

without epithets)
speaker, it is called the

itself

(i,e.,

The four-armed God (Vishnu)

of the four principal objects of

8

human

giver

of the
signifies the import
Sprout of an Insinuator.

Ex.

God

Vishnu

signifying the import

life.

is

the giver

Four

objects of

are >^R:

life

'merit',

^Hh

'wealth',

'enjoyment' and iff^; 'liberation'.

Here, the word ^rgp?r: is one of the thousand

r:

names of the Lord Vishnu and

is

used here without

of the speaker is that God

Vishnu alone (being four-armed) is able to distribute
four objects of life.

The import

epithets.

XXVI,

Paronomasia.
inft

to

relating

who

(1)

an object on hand,
(2) an object not on

dhana

liand and

the earth

(3)

the mountain Govar-

both

depending upon words

many

having

held up

aiea-

nings

the husband of

Paronomasia

the Lord Siva

all-giver

the

husband of

Lakshmi,

the

in

bore (on his head).

protect

Paronomasia

Def.

protect

the river Ganges

Lord

Vishnu

may

may
who

Uma,

is

the

expression by

words

having more than one signification referring (1) to

an object on hand, (2) to an object not on hand

and

(3) to

both.

The

Madhava who

held up the
mountain (Govardhana on his head) and the earth may

Ex.

protect (you).

all-giver

59
or

The husband

of

Uma

wha

(Siva)

bore (on his

head) the river Ganges may protect (you).

sHr^t WPr: niay be split into (1) ^%:

*i^T

(2)

ST

may be

*f*TT*{

**RT*T

OTTW

iw&C and

split into (1)

9:

*R

TT^J

and

(2)

q:;

Here, both Madhava and Umadhava are objects

n hand and this is therefore the Example of No. 1.

Example of No.

2.

ment

by the
deer in the form of

thy face
*s

fltl

^f^fa By the

deer ^Tf%crr
^ffir:

the

having

the spot
by the moon

effected

=
*\

attachment

effected

is

attach-

equal

or

thy

by the

face-

by the sun
having an

is

lotus

equal.

attach-

ment placed

thy face resembles the moon having art

attachment effected by the deer (in the form of the

(Lady

I)

spot).

or

(Lady !) thy face resembles the lotus having an

attachment effected by the sun (in the act of blooming
at the dawn).
'

Here,

^fef

moon

'

and

^f

'

lotus

upamanas are both objects not on hand.

'

which

are?

60

Example of No. 3
:

or

having

having a vast
expanse of water

profuse

effusion of blood

commander

the
the

the lord of the

of

army (Bhlshma)

rivers-

(ocean)

shone

shone

The commander

of the army, Bhlshma, shone

by

the profuse effusion of blood

or

The Lord

of the rivers,

the ocean, shone by the

vast expanse of water.

Here, the commander Bhlshma is the object on

hand and the ocean is the object not on hand.

XXVII.
DEP.

3TM<t)dMtti*u

^rs

^TT

where
that

an

among
(description

object

not

of

on

referring to an

^TfT

ob-

on hand
is

the birda

one only
chataka bird
fortunate one

hand)

ject

Indirect Description.

called Indirect

who
other than Indra

never begs

Description

When

the description of an object not on

hand conveys a reference to an object on hand, it is
called Indirect Description.
Def.

61

(The chataka bird) is the only fortunate one,

among the birds, which never begs of any other than

Ex.

Indra.
It

is

known

fact that chataka bird

drops and that Indra

is

lives

on rain

the bestower of rain.

Here, the object in question is a noble man who

never begs of any man except the Indra-like king and
this is conveyed through the description of a chataka
bird which

is

not the object on hand.

not J-nT^l? where a description of an

object on hand conveys a reference to an object not

This

on hand

is

whilst, in this figure, it

XXVIII.

is

quite contrary.

The Sprout of Direct

Description.
DEF.

EX.

Obee

by (description of)
an object on hand
of

(another)

there

full of

in the apprehension

the Sprout of

is

the

Malatl flower

object

on hand

(it is)

when

thorns

by the Ketaki

what

is

the use.

Direct Description

When

the description of an object on hand

conveys a reference to another object on hand, it is
called Prastutankura.
Def.

Ex.

Bee

What

the use of thy amusement) with the (unblown) Ketaki full of thorns
while thou hast here the Malatl (Jasamine) flower.
I

(is

62
Here, a lady, by the description of the bee's act
with the unblown Ketaki bud witnessed by her in her
pleasure garden indirectly intimates the same to her
lover, the subject of discourse, who is at present in
love with a maiden who has not yet arrived at

puberty.

The bee and the

N. B.

lover are both objects on;

hand.

XXIX,

tisipftm*r

Periphrasis.

H
of the fact intended

homage
by whom

to be expressed
referring to

the breasts of Rahu's

another

by a turn of speech

spouse

the description

were made.

Periphrasis
to

?pl

Def.

him

When

a fact intended to be intimated

is

conveyed by a circumlocutory speech, or in other

words,

when

a fact intended to be

pressed by a turn of speech, or,

expressed in a different manner,

Ex.

Homage

to

if

described

is

ex-

the intended fact

it is

is

Periphrasis.

him (God Vishnu) by

whom

the

breasts of Rahu's spouse were rendered useless.

Here, the intended fact is that homage is to the

God Vishnu only, because he was the killer of Eahu

and thus rendered the breasts of Rahu's spouse useless and this fact has been expressed by a turn of

63
>speech,

i.e.,

by

different

words which do not express

simply for the purto the descrippose of giving a particular strikingness

it

but by words which suggest

it,

tion.

Periphrasis

second kind*

gi?
I

under a pretext
fulfilment

the
one's

the

of

own wish

mango

creeper

go

even that

by you both

Periphrasis

here

(some)

Def.

shall

call

Even the

fulfilment

of

one's

be stayed.

own wish

under an artful pretext of doing some thing

.also called Periphrasis by some.

else is

depart hence for the purpose

of seeing (my) mango creeper and it shall be stayed
here by you both.

Ex.

Lovers

the speaker is a female messenger who

having united her mistress with her intended lover
departs from that piace under the pretext of seeing

Here,

own chuta

creeper so that the couple

enjoy in the absence of a third person.

her

XXX.

Ex.

^.

srrsr^fH:

may

freely

Artful Praise or Irony.

64
cen-

by (apparent)
sure and praise
of

the

thy

judgment
what

and

praise

censure

because

speech
Artful Praise

the sinners

celestial

when

to the heaven

Ganges

take.

the praise is understood by apparent censure and (2) censure by apparent

praise, it is
Def.

(1)

termed Artful Praise.

EK.

judgment

celestial river

Ganga

Thou

art devoid of

thou conveyest the sinners to the

in that

heaven.
This

is the

example of No.

1.

Here, the real praise has resulted by the apparent

censure and it consists in representing the Ganga as
taking the sinners to heaven provided they once
bathe in her waters.

N. B. WSf^fH: = ^TTW^ ;gfa: Praise by an artiwhen praise is understood by apparent censure.

fice

When

censure

is

understood by apparent praise,

explained as ctHSRgiTT ^jf?p. praise consisting in an artifice or a pretended praise.

:

is

Example of No.

Cy

2.

65
to be done

well

because

than this

on

my

account

what other

even by the teeth

good

even by the nails

wast injured.

again

Well (done) messenger

this can again be

done

what other good than

because thou, on

wast injured even by (my

lover's) teeth

my

and

account,

nails.

Here, the speaker a lady pining under separation

sent her maid-servant as a messenger to her lover

and on seeing her returning with marks,

in her body,

of her having toyed with her (lady's) lord, censures

her under pretext of Praise saying that she (lady)
was saved by her (the maid servant) from the injury

by her

lord's teeth

and

nails

whereas in fact she was

angry when she saw her servant coming single

without her lord and was more angry when she
observed on her body the marks of sexual intercourse
with her own

lord.

Hence a censure

resulted in the

apparent praise.

N.
it,

there

is

This

is

not

^r^rfTO^T (XXVII),

for,

in

no strikingness consisting either in censure

or praise.

XXXI.

5TT^ff^T^T

Artful Censure.

66
to be censured

by censure

is

of censure

who

manifestation

thy

Artful Censure

formerly

as

only one

is called

creator

fe:

head
took away.

fee

When

an apparent censure (of an object

hand) results in the censure (of an object not

Def.

not

-oa

Artful Censure.

<<m hand), it is

Ex.

Creator

he (Siva) is to be censured he
only one head of thine formerly.
i

that has lopped off

Here, the speaker, a poor man in very distressed
^circumstances, fancies himself that, if all the five

heads of the God Brahma were lopped off by Siva,

then both the creator and the sufferings of the created

would

been

simultaneously put an end to.

Instead of directly censuring the God Brahma, the
creator, the object on hand, the speaker censured the

God

have

the object not on hand, in having imprudently suffered the other four heads of Brahma to
remain.
Siva,

XXXII.
DEF.

STT%IT:

Hint.

IjfrTWt

Ex.

by

self

self

told or expressed

show or discover

on deliberation

or, or

denial

face of (my) beloved

Hint

O moon

is.

why

A denial,

Def.

after

67

some

deliberation, of

has been expressed, is called Hint.

Ex.
O moon Discover thy self (to me).
Here is the face of (my) beloved.
!

what

Why

Here, we see only a semblance of denial. Thisfigure is distinct from the Concealment (XI) where
the property of an object on hand is denied and that
of another not on hand is superimposed upon it,

EX

second kind of Hint.

some poets

not

learned people

of her

semblance of a denial

of the

Hint
regard

resembling the destructive fire at the

end of the world

go-between

Ex.

Some

am no

residing in

destructive

fire

her

fever of separation.

crrq;

learned people
of a denial as the figure Hint.
Def.

body

regard the semblance

but the

go-between

love-fever

body, resembling the

at the end of the world.
(mistress

Here, the character of a person that of the gobetween, is denied. The fact of excessive hardship,
experienced by the lady under the pangs of separation,

which was intended to be conveyed by the go-

between, the speaker, is suppressed in order to suggest

more strikingly that the lady is sure to die if her
lover delays even for a

moment

in

meeting

her.

68

third kind of Hint.

command

or

lover

permi-

%f

thou goest

ssion

TT^fH

when apparent

jj^g

goest

and the denial

TpFf

my

when hidden

^ffr;

birth

another kind

cr^Nr

in that

Hint

^TRT

niay be.

if

same place

When

the permission (to do some thing)

is apparent (in words) but the denial (to do that
thing) is hidden, it is a third kind of Hint.
Def.

Ex.

Departest (thou),

my

love, if

thou art deter-

and may my rebirth take place

same place (where thou hast gone).

mined

to go,

in that

Here, the apparent permission of going granted

by the lady suggests a

clear prohibition,

the meaning

conveyed thereby being that the lover ought to desist

from departing from her presence.

XXXIII.

Ex.

Contradiction.

clef
of incongruity

breasts

when apparent

by the pearl-necklace

Contradiction

though devoid of

is

O
IW

or

are

called

slender

thy

woman

charming or

lit.

possessed of necklace.

69
i

When

Def.

an incongruity (between two things)

words* ), then it is called Contra1

is

apparent

(in

diction.

slender lady
thy breasts though devoid
of pearl necklace are yet possessed of pearl necklaces,
i.e., are yet charming.

Ex.

Here, the apparent contradiction is to be explained

7
by taking the word ^Tf^h" in the sense of 'charming
only.

XXXIV.

Peculiar Causation.

fTOFRT

EX.

ftTT ^rfq

though without

is

if

called

thy two feet

cause

the production of

though not

dyed with red

the effect take place

Peculiar Causation

lac

red.

When

the production of an effect is represented as being without cause, it is Peculiar CausaDef.

tion.

thy two feet are red though they

were not dyed with red lac.
Ex.

its

Lady

Here, the contradiction in the red feet without

cause, the lac, is due to the redness of the lady's

feet being natural.

*
i.e.,

the incongruity

out the pun,

Therefore,

is

to be

we

see

that the pro-

removed by explaining the words with-

duction of an effect in the absence of

inconsistent

in as

much

as

its

cause

the denial of a

is

not

known

cause

suggests that the effect produced must be

natural or is due to some other hidden cause.

second kind of Peculiar Causation.

EX,

God
when incomplete
the production of an

of love

neither

sharp

hard

effect

by weapons

also

the world

^TT *TcfT

is

termed that 'Pecu-

nor

conquers.

liar Causation'

When

the production of an effect is represented as having taken place while its causes are
Def.

apparently incomplete, (to produce such an effect),

then it is the second kind of Peculiar Causation.

weapons, neither sharp nor hard, the

of love conquers the whole world.

Ex.

God

By

Here, the conquest of the world by the God of love

is represented as
having taken place though his
weapons are neither sharp nor hard (being only Jive
flowers) and are therefore quite inadequate to produce
The contradiction here must be
such an effect.

removed by the supposition of some superhuman cause

specially gifted

by the Supreme

Spirit.

third kind of Peculiar Causation.

EX.

when an impediment
though present

an

of

production

thy
sword
the

serpent

i.e.,

serpent in

the

form of thy sword

effect

third kind

only

Cau-

'Pecular

that
sation'

king

the

curera of

poisons or kings
bites.

When

the production of an effect is said to

have taken place though there was an impediment

Def.

(to

such an

effect),

it is

the third kind of Peculiar

king

thy

sword-serpent

Causation.

Ex.

Narendran,

i.e.,

bites

only

curers of poisons only (lit. kings).

dealer in antidotes.
Here, serpent

cft^ king =
biting the curers of poison implies an impediment to
the effect.

Fourth kind of Peculiar Causation.

EX.

u
from a different cause
production

of

effect

an

from a conch-shell
this

sound of a lute

fourth kind

proceeds

Peculiar Causation

great wonder.

72

When

the production of an effect is represented as being from a different cause, or, more literally,
from a similar cause, it is the fourth kind of Peculiar
Def.

Causation.

Ex.

It

wonder

a great

is

that

sound of a lute proceeds from a

conch-shell-like neck of a damsel).

We

know

sound of a

this

musical

conch-shell

(i.e.,

that a conch-shell cannot produce the

lute and therefore this is a Peculiar

Causation.

We

N.B.

have

Metaphorical Hyporbole in
s?% the upamana, because it was used for its upameya,
the neck of a damsel.
a

Fifth kind of Peculiar Causation.

DEF.

<r

from an incongruous

tfmwfrr

alas

moon's (cool-rayed)

cause
of

an

effect

rays
that

a certain kind

the slender lady

Peculiar Causation

inflame.

production

Def.

seen

When

the production of an effect

duced from an incongruous cause,

to the real one,
quite opposite

i.e.,

it is

is

pro-

from a cause

the fifth kind of

Peculiar Causation.

Ex.

Alas

the rays of the

inflame that slender lady,

moon

(lit.

cool-rayed)

73
This

the state of

is

the object on

damsel,

pining under separation from her lover.

The rays of the moon have a peculiar charm of
exciting the passions of such women and therefore it

hand,

is

said so.

Sixth kind of Peculiar Causation.

DBF.

^RT^f^n'T^^f'WTN isFT ^flf^f

||

from an

effect

thy

production of a cause

hand-kalpa-tree

also

wish-yielding tree in

a certain kind

the form of the hand

ocean of fame

Peculiar Causation
s

duced

seen

is

When

Def.

from

the cause

its

effect,

i.e.,

is

it

produced.

have been proalso termed Peculiar

said to
is

Causation.

An

fame has been

formed out of thy hand-kalpataru (wish-yielding tree
in the form of thy hand).
Ex.

king

ocean

Here, the king referred to

of

is

Karna renowned

for

his liberal donations.

The kalpa

tree

was produced from the ocean at

the time of churning. Here, the kalpa tree in the

fofm of the king's hand is said to be the cause of the

ocean in the form of the king's fame for his unusual

liberality.
10

74

XXXV.

Peculiar Allegation

m:

abundant cause

in the heart

when

though burning
diminution of

there

is

non-production of an
effect

(affection)

Peculiar Allegation

did not take place.

oil

cupid-lamp

The non-production

Def.

of an effect

existed abundant cause (for the same)

is

when

there

called

Pecu-

liar Allegation.

The diminution

Ex.

of

oil

(lit.

affection) did not

take place in the heart (of this lady pining under

separation) even though the cupid-lamp is burning
(there).

is

is

Here, the burning of the cupid-lamp, the cause,

present and yet the effect, the diminution of oil,
represented as not taking place.

can, however, be

The

contradiction

removed by explaining the word

in the sense of 'affection' only.

XXXVI.
DEF.

EX.

<%\

'SRW.

Improbability.

of

the

ment
5fT[

this

accomplish-

of

75

an object

shepherd boy

the mountain

would have eradicated

the description of

impossibility

who

Improbability

knew.

Def.

Improbability is the description of the accomplishment of a truly impossible act.

Who knew

Ex.

that this shepherd boy

would

have eradicated the Mountain Govardhana.

The shepherd boy

is

the

up the Mountain Govardhana

Lord Krishna who held

for seven

days as a large
umbrella to shelter his beloved Gopis and their cattle
from the heavy and incessent rain caused by Indra to
deluge the Gokula, the land of the shepherds.

XXXVII.

EX.

^TOTrf?r:

Disconnection.

fotr
of the effect

and the

poison

(lit.

water)

cause

was drunk

inconsistent

the consorts of the

different location

travellers

Disconnection

fainted.

by the clouds

Def.

The

description of the effect and the cause

as inconsistent and
is

as occupying

different

locations,

termed Disconnection.

The poison

water) was drunk by the

clouds and the consorts of the travellers fainted.

Ex.

(lit.

76
This figure is only an exception to the ornament of
Contradiction (XXXIII) and not Contradiction itself,

where the mutual inconsistency of two objects resides

in one place but in this figure in two different places.
;

The drinking
effect,

of poison (water) by the clouds and its

the fainting of the consorts, take place in two

a convention of poets that

are affected at the sight of the clouds in
It

different localities.

the

women

is

the rainy season being separated from their lovers

therefore hasten to meet their beloved.

who

Second and third kinds of Disconnection.

DBF. 2nd
*

DEF. 3rd

in another place
of a thing to be

to

done

other than

do

of a person engaged
<TcT

fo^fSjfa:

the accomplishment

another place

quite contrary to the

accomplishment too

above

that,

i.e.,

Disconnec-

tion

cfSfT

so, i.e.,

the figure Dis-

connection.

another (thing)

When

the accomplishment or effect of an

in a certain locality is represented
object to be produced
as having taken place in a quite different locality, it is
Def.

called the second kind of Disconnection.

An

incongruous effect of an object obtained

by an agent engaged to do a quite different thing is
termed a third kind of Disconnection.
Def.

77

Example of the second kind of

Disconnection.

sit
(Lord Krishna)
the earth
devoid

wishing to do
the paradise

3ft

did

of

so.

or

Krishna who wished to make

Lord

the earth

Aparijata devoid of the multitude of foesf made the

celestial world so i.e. STinftsTTrfT devoid of Parijata
tree.

Parijata is a celestial tree produced at the churnKrishna at the request of

ing of the milky-ocean.
one of his wives Satyabhama carried off this tree

conflict ensued
from Indra's garden (Nandana).
between Indra and Krishna in which the latter was

victorious.

The

tree

was brought to the

city

Dvaraka

and was planted in the Satyabhama's pleasure-garden.

N. B.

This figure

is

possible only under a pun.

free

from ^fwcf^

making the earth devoid

cr.

Parijata tree

paradise devoid of Parijata

=-

II

assemblage of foes

of the multitude of foes.

?nfa qifWcf

sren^ making tha

tree.

For the protection

of the

and for the establishment

good and for the destruction of the wicked

am born in every Yuga.

of the righteousness I

(0 lord Vishnu
.

^fq

the splitting of the

!)

though engaged

in raising the earth

earth

formerly

thou didst.

Lord Vishnu

engaged

in

the

(the opposite,

formerly though thoti wert

thou didst
raising of the earth,

i.e.)

the splitting of the earth (by the

foot-prints of the Varaha).

This refers to the third incarnation of Vishnu in

the form of a boar in order to raise the earth which

was immersed

in

water.

After raising the earth he

walked on the earth and the foot prints made by him

are referred to here.

XXXVIII.

Incongruity.
sra

EX.

a?
where
of

this (lady)

two incongruous

where

(things)

that

combination

love-fever or torments

is

described

of

Incongruity
having the body soft

God

of love

where.

as the Sirisha flower

Vishama

a figure where a combination of

two incongruous things is described.
Ex. Where this lady with body as soft as the

Def.

Sirisha flower

the

God

is

and where these torments or fever of

of love.

79

we

incongruity or incompatible
relation of two things which are opposed to each
other, i.e., the nature of the God of love is quite

Here,

see

the

under description,
opposed to the nature of the lady,

whose body

is

soft as the Sirisha flower.

Second kind of Incongruity.

EX.

dark

of the opposite effect

sword

production
another kind

white

fame

Incongruity
is

considered

produces.

thy

<ff

Def.

The production of an

gruous cause
gruity.

Or

is

effect

from an' incon-

considered a second kind of Incon-

in other words,

when the

quality

of the

opposed to that of its cause, it is Incongruity.

Ex. O king
Thy dark sword produces a white

effect is

fame.

Here, we have white fame arising from the dark

sword which has been figured here as the cause in
contravention

to the

quality of an effect

general convention

must conform to

its cause.

Third kind of Incongruity.

EX.

that the

8o
from an endeavour

made

for a

with

desired

hope

of

getting some eatables

the snake basket

object

an undesired ob-

of

the

having seen

ject

(entered)

attainment
it, i.e.,

by

it

devoured

Incongruity

rat

The attainment of an undesired object from

an endeavour made for a desired one is termed the
third kind of Incongruity.
Or in other words, when
a desired object for which an endeavour is made is
Def.

not obtained but, on the contrary, an unfavourable

result is obtained, it is the third kind of Incongruity.

The

Ex.

seeing the snake-basket (entered

into the same) in the hope of obtaining some eatables

and was

the

eatables for
it

devoured by

itself

Here,

and

rat

object of

it

(snake).

the rat

to

some

obtain

by boring the basket was not attained

it

became a pray to the hungry snake lying

in

the basket.

XXXIX.

The Equal.

EX.

||

where
t:

of

two agreeable

by the pearl-necklace
the circular bosoms
of itself

objects

worthy

description

place

The Equal

selected.

81
Def.

TTO

is

the description of the combination

of two agre'eable objects.

Ex.

The

circular

pearl-necklace as the

bosoms were selected by the

place worthy of

(fit)

itself.

Second kind of

Ex.

u
of the effect

born of water

by the cause

thy

sameness also

resorting to the low

Equal

people

know

O
Def.

is

Goddess of riches

worthy.

The sameness of an

eifect

with

its

cause

is

termed a second kind of Sama.

Ex.

Goddess of riches

resorting to the low (people)

of water.

is

Thy

character

of

worthy of thyself born

The Goddess Lakshmi was produced

at the churn-

Here, the character of Lakshmi

ing of the Ocean.
is said to be the same as that of its cause, the water

which naturally flows

in a

low direction.

Third kind of
DEF.

EX.

82
which thing
to do

seeking for an elephant

endeavour

this

thy
j

without an obstacle

attainment of

the accomplishment of
that

(impediment)
not worthy.

is it

*?TT<T

the Equal

Def.
of an

The accomplishment, without any

which an

object for

effort

obstacle,

has been made,

is

termed a third kind of Sama.

Ex.

Friend

Is not this

worthy of

impediment

thee

of (cJKW)

acquisition

that

sought for an

elephant (mr^).
This is possible only under a pun.
The speaker here is a person that went to his king
He was obstructed by the doorfor an elephant.

keeper of the king's palace and this was addressed in

jest

by

his (speaker's) brother-in-law

who accompanied

him saying that this 3TTC*U (impediment)

that giT^ (elephant) sought for.

XL,

is

equal to

Strange.

EX.

Jl
with a desire to
obtain

its

opposite

good people
than
higher
triple

world

effect

exalted position

an endeavour

to attain

that

bow down.

Strange

the

83
If an endeavour

Def.

made by a person

exact opposite

to attain the

Strange.
Ex.

is

effect,

The good people bow down

it

is

desiring

called the

for the

purpose
of attaining an exalted position higher than the triple
world.

is

Here, the act is bowing down and the desired

elevation over the triple world.

XLI.
DEF.

^rf^nr

Exceeding.

^T^ iJSRTIlJTTreF*2ITra35r3TOTtr
than the more

spaci-

ous containant
the
of

effect

description

the contained as

II

in which water

the

mundane worlds

in that

thy

greater

merits

The Exceeding

do not contain.

When

the object contained is described as

vaster than the containant itself (which is really more

Def.

spacious),

Ex.

termed the Exceeding.

Lord
The waters which contain these
it is

mundane worlds could not contain

all)

thy good

(within themselves

qualities.

Second kind of Exceeding.

DEF.

84
than the vast contained

where

?i?r

which

these

tne description

of

thy

as

exceeding

good qualities
come to an end

it 'too

the speech

containant

the

that,
is

Def.

-Vedas
how great.

Exceeding

i.e.,

regarded

When

the containant itself

vaster than the vast contained, then

kind of Exceeding.

Ex.

where

How

great

is

Brahman

the speech

these thy good qualities

become completely described.
all

XLII.

is

described as

we have

a second

Brahman = Vedas,

come

to an end,

i.e.,

Smallness.

EX.

small

to-day

than the object con-

thy

tained,

in the

which

hand

ring

inlaid

with

of the containant

precious stones.

smallness

becomes a rosary.

Smallness

Def.

When

the containant

than the object contained which

is

is

described as smaller

is

really very small, it

called Smallness.

Ex.

Lady

Thy

ring inlaid with precious stones

has become to-day a rosary in thy hand.

85
Here, the thinness of the hand or the finger which
The lady under descripcontained the ring is meant.
tion was suffering from the pangs of seperation from
her lover on a certain day and so her hand or finger,
the containant, became so thin that the ring, the
object contained,

became greater than the hand, the

containant, and served as a rosary.

^Nnr

XLIII.

The Reciprocal
11

EX.

f^gTHT SjfSRT HTfcT spt

where

benefit

looks splendid
the moon

there
the

faqT

the night
by the moon

mutual

(era)

*TTfcT

by the night
figure

called

looks splendid.

Reciprocal

When two things benefit each other (by

the
same act causing each other's
doing
beauty), it is
the Reciprocal.
Def.

The night is splendid by (the presence of)

the moon and the moon looks splendid on account of
Ex.

the night.

Here, the night and the moon beautify each other.

The night is the cause of the moon looking

splendid
and the moon is the cause of the
night looking
splendid.

86

XLIV.

The Extraordinary.

ftsfa:

EX.
Os

the sun

well-known
the containant

'ffa

though set

even without

abiding in the lamp

the description of the

its (sun's)

object contained

the darkness

Extraordinary

expel.

rays

The

Def.

description of something dependent,

i.e., the object contained as existing without its wellknown supporter, i.e., the containant, or in other

words, the representation of the independent existence

of the object contained without its supporter on which
it depends, is termed the Extraordinary.

Ex.

Though the sun has

set in, yet

its

rays
darkness.
the
lamp expel
The statement that lamps expel the darkness only
by the rays of the sun which has gone to the other
side of the earth is Extraordinary.
abiding in the

N.JB.

The Vedas

sun enters the

vansa, IV.

fire in

declare that the lustre of the

the evening.

Compare Raghu-

1.

He

(Raghu) obtained the kingdom given by (his)

father and shone the more just as the fire that got the
lustre deposited with

the day.

(it)

by the sun at the

close

of

87
N. B.

For Vedic quotations on

mentary on the

this, see

the Mallinatha's com-

verse.

Second kind of the Extraordinary.

EX.
in

one

out

object

in the front

in
is

Def.

many

behind

places

in

described

all

that too

tions

the Extraordinary

only she.

If one and the same object

existing in

many

places, it is also

is

the

direc-

described as

termed the Extra-

ordinary.

Ex.

In

mind, in the outside, in the front,

behind my back, in all the directions too (wherever I
turn my face), only she (my beloved) appears (to me).

my

Here, one single object

in

many

is

said to exist uniformly

places.

N.B.

Although these as well as certain other representations are impossible and opposed to
ordinary
experience, yet they are said to have been represented
as possible only metaphorically.

Third kind of the Extraordinary.

a certain

(act)

commencing

thee

cert

to do

seeing

by me

even

the* performance of another

the sight of the

qr^

impossible act

kalpa tree

the Extraordinary

was

When some

Def.

got.

one who has commenced to do

an act chances to do another impossible act (unconnected with the former), it is the third kind of the
Extraordinary.

Ex, By seeing you, (

king ) I got the sight
of the wish-yielding tree of the paradise.
Here, the speaker who first commenced to do an
!

seeing the king, the liberal donor, says that

he has seen the kalpa tree (instead of seeing the
king himself who has now been identified by the speaker

act,

i.e.,

with the kalpa tree) of the paradise very

difficult

to obtain.

XLV.

Frustration.

ra

EX.

if
I

the thing which produces its natural effect

as the one

which pro-

by which
is

pleased

by the same

duces another effect

the

is

God

represented

it is

Frustration.

When

(flowers)

the world

(flowers)

flower-shafted
of love

torments.

a thing which produces the established result, i.e., the effect natural to its cause is
Def.

89

represented to have produced the

result, it is called Frustration.

Ex.

exact

opposite

the (same) flowers by which the people

of the world become pleased, Cupid (lit. flower-shafted

God

By

of love) torments the world.

Here, the

tormenting is produced by
the cause, which are well-known to pro-

the flowers

effect, i.e.,

duce a quite opposite one, i.e. pleasure. Hence this is

called Frustration on account of the frustration of an
9

established effect already fulfilled in an object.

Second kind of Frustration.

EX.

with

Tf<T

facility

begun
an act
the

on account of being
a boy
if

contrary

of

that act

(thou hast)

com-

passion

by thee
cannot

(here) also

Frustration

be

aban-

doned.

on me

Def.

If a certain act

ground of

commenced (by one) on the

being facile turns out contrary,

second kind of Frustration.
its

it is

the

If thou hast compassion on me,

then I, being a boy, should not be abandoned here
(now by thee going to battle-field).

Ex.

This
to war.

King

by a crown-prince to this king going

The king seems to have asked him to stay

is

12

said

90

home

he being a boy could not bear the terrible

The crown-prince mentions the
toils of a battle field.
same reason to accompany the king for he being a

<at

for

youth must go to the war and become skilled in the

arts of war, or, as one commentator says, he (the youth)
could not bear the separation from the king. Thus
we see the frustration of the object which the king

had at

first.

XLVI.

sffrTO^nrarr-

Garland of Causes.

DBF.

in

by the causes
which a preceding

object

is

spoken of

is

called

by morality,
wealth

as the cause of the

by wealth

succeeding one

donation

arrangement
Garland of Causes

by donation
fame.

When

a preceding object is spoken of as

the cause of one succeeding it, which in turn is
Def.

spoken of as the cause of what comes next and so on,

it is termed the Garland of Causes.
Ex.

From

morality wealth (is acquired); from

wealth, the donation ; from donation, the wide fame.
Here, the morality mentioned first is spoken of as

the cause of the succeeding object, the wealth, which

in turn is spoken of as the cause of donation, etc.

This figure occurs also when one object, mentioned

afterwards, is spoken of as the cause of what precedes

and so

on.

91

EX

(People) go to hell on account of (their) sin

from

poverty
poverty from
Therefore (friend) be always munificient.
results

sin

non-giving.

The Necklace.

XLVII.
DBF.
Ex.

extending as far as
the ears

of

series

statements in which

ears

each succeeding thing

is taken as an attri-

extending as far as
the post-like arms

bute of each preced-

post-like

such

account of their exten-

is

considered

charming on
sion as far as the knees

the

Necklace

knees

of that king

appearing like jewelled

mirrors.

eyes

Def.
in a

arms

ing thing and then

made to cease as

manner

successive
in

series

of

statements

which each succeeding thing

is

made
taken

an attribute of each preceding thing and

that thing which was first taken as an attribute is
(*3Tfta) as

92

made

to cease

as such

(jj^i)

by being afterwards rnadd

a subject and qualified by another succeeding thing

and so on, it is the Necklace.

The eyes

Ex.
ears.

His

His

of that king extend as far as the

ears extend as far as his post-like arms.

post-like

arms are charming by their extension

as far his knees.

And

his kness are, in appearance,

jewelled mirrors.

Here, the ears are taken as an attribute of the

preceding thing, the eyes ; arms, of the ears
of arms and the mirrors, of the knees.

knees,

In

this example, a preceding thing

is

qualified

by

the succeeding thing affirmatively.

In the following
the
thing mentioned first is qualified negaexample,
tively

by what

follows.

Bhatti Kavya,

There was no water on which there

lotusses

beautiful
interior

of

there was not a

which there was not

there was not a bee which

there was not a

hum

hummed

II. 19,

were no

lotus

in

the

a bee reposing;
not sweetly
and
;

which did not attract the mind.

Here, of water, lotuses must be considered as

of bees, humming
and of
denied of lotuses, bees
;

humming,

attraction.

XLVIII.

*n*TT^ta3TO

The

93

Serial Illuminator.

DEF.

EX.

a combi-

^TTW

nation of the figures

the Illuminator and

<ren:

the Necklace

called

Def.

called the

XV)

and by

sifa

in thee.

objects

the

figures,

is

is

is

other words,
that wherein a number of

Serial Illuminator.

and the same

Ex.

by him

and ^T3<ft (Necklace XLII),

the Serial Illuminator

different

was made

?fa

combination of

(Illuminator

in her heart

setting one's foot

f^[t%;
i<U

the Serial Illuminator

is

by Cupid

1^3

successively

Or, in

associated with

one

attribute.

Cupid

set his foot in the heart of that lady,

the heart of the lady, in thee.

addressed to a lover by a go-between sent

it, i.e.,

This

is

by her mistress pining under separation.

Here, the one and the same attribute f%rf?r. WrTT
being associated with two objects JTf?r and ^rmfrf, it
is

the Illuminator

heart,

it is

the

and by ^rffag^ffft^T of the lady's

Necklace (see the preceding figure).
;

Thus, we have a blending of the two.

XLIX.

*rc:

The Climax.

11

94
sweet

successively

Excellence

than that

the figure Climax

the nectar

honey

poet's speech.

Excellence (rising)
the Climax.
Def.

The honey

Ex.

than that

than that

called

is

successively

sweet

is

the nectar

is

termed

is

sweeter

and, than that, poet's speech.

Here, each succeding thing, nectar

etc., rises

gra-

dually in excellence.

L.

EX.

qtrrawi

TH^

sj;gr
^>

The Relative Order.

T^reTrr

T*Ri ^^[^

of serial objects
in

Def.

conquer
the friend

due order

mutual connection

gratify

The Relative Order

the calamity

the foe

destroy.

The Relative Order

of a series of objects

tion

is

a mutual connec-

mentioned in their due

order.

Ex.
foe,

is

Conquer, gratify, destroy (thy)

king
friend and the calamity respectively.
!

Here, a series of objects ST?J*[, ftr^^ and fatff%?j

and W%q in
;
respectively connected with sre,

their

due order.

LI.

95

The Sequence.

qgfift

*rm

EX.

if

fit?

woman's face

of one object

lovely

in succession

the lotus

in

residing

Def.

many

the lustre of this

many

The Sequence

resorted to.

When

one object

Having

left

lovely woman's face

the

now

many

described as residing in
is termed the
Sequence.

is

it

lotus,

the lustre of

this

resorted to the moon.

Here, the lustre which

reside in

left

moon

places

places in succession,

Ex.

having
the

is

stated as one

is

said to

places in succession.

Second kind of the Sequence.

:

tsftr

EX.
or

if

formerly

in one object

water

many

was

that too

now

the Sequence

there

is

sand bank.

regarded

where

Def.

Or,

if

many

objects are said to reside in

one and the same place

regarded as the Sequence.

in

succession,

that too

is

96

trftf%:,

Sand bank

Ex.

is

now

seen in the place where

there was water formerly.

Here, the water and the sand bank are said to be

successively residing in the

LII.

same

TTftifrr.

place.

The Return.

EX.

of lesser

TT3TT)

and greater

one arrow

things

having discharged

mutual

of the enemy's

exchange

dess of wealth

God

the Return

(many) side-glances

that king

received.

The Return

Def.

is

a mutual exchange of things

lesser or greater.

The king discharged (i.e. gave) one arrow

and received (in turn, many) side-glances of the
Ex.

Goddess of wealth of

his foes.

Here, we have an exchange for what

i.e.

giving the lesser

LIII.

trftwTT

greater,

The Special Mention or

The Exclusion of
DEF.

is

(sn;*?) for the greater

Specification.

in one object

on hand

in the

of

one object
having denied
the Special Mention

Def.

The

curved

of

eye-brows
in the hearts

restriction

diminution of

lamps

women

not.

oil

denial of the existence of something in

a certain object and the restriction of its existence in

another object constitutes the figure the Special
Mention.

Ex.

The diminution of

oil

(i.e.

the lamps and not in the hearts of

affection)

women

was

in

of curved

eye-brows.

LIV.

The Alternative.

ffcro:

DEF.

EX.

ifl<5j;

fsTTTTO

*TT

of equal probability

the kings

when

at once

there

is

opposi-

their heads

tion

the Alternative
is

?f?TT

Def.

let

considered

When

^TT

there

is

bend

or their bows.

an opposition of two things

of equal probability, or, in other words, when the

performance of two such things becomes impossible
at the same time and thus restricts the agent to have

recourse

to

Alternative.
13

only

one

of

them,

it is

called

the

98

Let the kings* bend at once

Ex.

their heads or

their bows.

we

Here,

action of the

the

see

bending

impossibility of simultaneous
of the heads and that of the

bows which are opposed to each other, the former

being the mark of surrender and the latter, of war.

LV.

*r*?^ra:

The Conjunction.
:

EX.

^ w^ftre:

^sgrrer wisrejif^T ^asff^r

of actions of simul-

thy foes

taniety

take flight

of

on back

many

combination

and

the Conjunction

The Conjunction

Def.

actions that

is

described as

are

fall

down.

a combination of

many

being simultaneously

produced.

O King

thy enemies
backs, see thee and fall down.

Ex.

flee,

turning their

Here, though the actions of fleeing, seeing, falling

down took place in succession, yet we have the
simultaniety of those actions considering their speedy

performance.

Compare
Caesar

the

sent to

celebrated

Rome

Pharnaces at Tela

'

vedi, vici).
*

Xhe

foes of the speaker.

laconic

report

which

concerning his victory over

came, saw,

conquered*

(veni,

99
Second kind of

the Conjunction.

f^^rr >?f

it

noble birth

of things with

handsome appearance

emulation
that go to effect one

the pime of youth

thing

learning

and the wealth

also
that,

i.e.

him

the Conjunc-

tion

Def.

exhilerate.

combination of

many

things

that go to

thing with emulation or competition, is also

termed the Conjunction. Or, in other words, a combination of many things independent of each other
effect a

but represented as simultaneously producing the same

common
Ex.

effect is called the Conjunction.

Noble

prime of youth,

handsome

birth,

learning and

the
appearance,
the wealth exhilerate

him.

LVI.

The Case-Illuminator.

EX.

IJ*T: irrar:
of

nected

actions

con-

with

one

wfn*

^fa

traveller

goes

karaka in succession

again

combination

comes

the
tor

Case-Illumina-

sees

ll

100

*OTT*:

A combination

Def.
sively

called ^nTfi\iTfi^.

same Karaka

Or,

The

Karaka (case-noun) is
words, when the

in other
is

(case- noun)

verbs in succession,

Ex.

of actions that are succes*

one

connected with

it is

connected with

many

3?R3^to3i*T.

traveller goes,

again comes, sees and

asks (something).

tnW* a noun in the nominative case, is

connected with 4 verbs *T^fff, etc., in succession but
Here,

not simultaneously as in the preceding figure

where simultaniety

LVII.

desired.

is

*rcnfa:

The Convenience,

DEF.

EX.

^oEfisrfT

srarore

?r

THm

through the presence of some other

young lady

cause

the sun

fa;

^l^^^l facility of an

act

11

longed for (her lover)

set in.

The Convenience

When

Def.
facilitated
in

the

accomplishment

of an act

by the presence of some other

other words,

when the

facilitation of

is

cause,

or

an act

is

obtained through the accidental operation of another

agency, it is called the Convenience.

Ex.

No

sooner did this young lady long for her

lover than the sun set

in.

Here, we see the simultaneous occurrence of two

the lady's longing for her lover and the
actions

101
sun's

(expressed by the two ^s in the two

setting

sentences).

The lady longed for her lover and was about to

go to meet him and this was easily accomplished
;

by the accidental operation of another cause the

.setting of the sun, which enabled the lady to set out
freely under the protecting mantle of the dark,

LVIII.

TTSsnftcffiT

The Rivalry.

EX.

strong

by the

of the

the

enemy

lilies

servants

on any partisan

victorious eyes

attempt

the ears

The Rivalry

made

When

Def.

to

of

the

bow down*

any act of injury or mortification

is

attempted on a partisan of one's powerful enemy (by

somebody who is unable to avenge himself directly

on his enemy),

The

ears,

it is

called the Rivalry.

the

servants

(lit.

neighbours)

of the

have been made to bow down by the

Woman's eyes and lilies are often compared

victorious eyes,
lilies.

to each other, the

one excelling the other in beauty.

unable to conquer the eyes avenge

Here, the lilies

themselves on their neighbours, the
them bend down.
N.B.

The

lilies

are usually

ears,

worn

on the ears which bend by their weight.

as

by making
ornaments

^mrofsr

102

LIX,

'The Necessary Conclusion,

fff<sirrafaftr:

*fiT

^rm

by the expression 'how

is

much more'

by thy face
of

accomplishment
an act
I

that

moon

was conquered

Necessary Con-

the

called

of the lotuses

clusion in the province

what

of Poetry

mention.

The accomplishment of an act founded upon

the popular maxim ^Rt|f<T5TOT3r* 'argument with a
Def.

stronger reason',
is

5fi3j<5T

more'.

is

termed the Necessary Conclusion.

the abstract noun of

is

fsffJJrf

^wngtTOTO: the
When a stick and

^Njfh^'SFTSr;
of the stick and the cakes.

maxim

some cakes are

tied together

been eaten away by a

'how much

usually called

and,

we

when the

stick has

naturally led to
believe that the cakes also have been eaten by the rat,
rat,

are

the two things being so closely connected.

Thus,
when we say something of the one of two such things,
the same naturally applies to the other thing also.

Ex.

face.

by thy
(or

Lady

why we

That moon has been conquered

What

necessity

is

there to speak

of

speak of) lotuses.

an acknowledged fact that lotuses begin to

shrink and become faded on the rise of the moon.
It

is

When

that moon, the subduer of the lotuses, has been

conquered,

quered

the fact that lotuses too have been con-

much more becomes

a necessary conclusion.

103

The Poetical Reason.

LX.

been con-

thou hast

to be established
of a fact

quered
in

justifying

my mind

The Poetical Reason

three-eyed

foolish

resides

God Siva

cupid

Def.

The

Poetical Reason

a reason justifying

is

a statement which requires to be established.

Ex. O foolish God of love
Thou hast been
!

conquered (by me).

For, in

my

mind, there resides

the three-eyed God Siva.

Here, the fact of the presence of the God Siva
in the mind of the speaker is a reason for the speaker's

conquest of the
burnt by Siva,

God

of

LXI.

Love who has once been

The

Transition.

EX.

a universal proposition and a parti-

crossed

cular instance

of great

of

assertion

men

impossible

the Transition
the

the ocean

o n k e y-God

Hanumla

what

104

The

Def.

of a

assertion

and a particular

(instance)

when a

Or, in other words,

introduced to

is

universal (proposition)
termed the Transition.
universal

support a particular

proposition is
instance, or a

particular instance to support a universal

it is

proposition,

called the Transition.

Ex.
possible

Haimman crossed
for great men ?

Here,
universal

particular

the ocean

instance

what

is

im-

confirmed by a

is

proposition.

Example of a

universal proposition supported by

particular instance.

by the union with a

y association of

wreath of flowers

the meritorious

even

the

meanest

thread

creature

on the head

greatness

is

worn

attains

Even the meanest

of the

meritorious,

creature,

attains to

by the
the

association

greatness.
thread tmited with a wreath of flowers is worn on the

head.

Here, a universal proposition

particular instance.

is

confirmed by a

105

LXII.

The Expansion.

ft

Ex.

which

in

HTW f^

was not conquered

and particular

because

as-

men

sertions

great

that

like the oceans

the Expansion

unassailable.

When

Def.

which again

is

the Expansion.

II

that (king)

particular, general

a particular

is

supported by a general
a particular, it is called

supported by.
Or, in other words, when a Transition

which a particular instance is supported by a

general proposition with a Simile, it is termed the
in

Expansion (of the Transition).

That (king) was not conquered (by his

For the great men are as unassailable as
enemies).
Ex.

the oceans.

LXIII.

The Bold Speech.

ftetfar:

which cannot form as

i

attribution

of

as

black

cause of excellence

group

certain cause to it

bank

The Bold Speech

rver.

the tresses

H
4

11

.as

the tamala

grown on the
of the

Yamuna

io6

The

Def.

attribution of a certain

to a

cause,

statement asserted, which cannot form the cause of

excellence (of the object described) is called the Bold
Speech.

The

Ex.

tresses

(of the

Lord Krishna)

are

as

black as the group of tamala trees grown on the

banks of Kalinda's daughter Yamuna.

The water
also

of the

Yamuna

the tamala trees.

The

naturally black as
blackness of the tamala
is

cannot therefore be attributed to their having

grown on the banks of the Yamuna river. Still, it
trees

is

asserted to be so here.

Hence

it

is

called the

Bold

Speech.

LXIV.

The Supposition.

EX.

u
of another act

the

for

Lord

narrater

accomplish-

ment
if it

of serpents

happen
were so

thy
merits

so
eh

-conjecture

fact r.

the Supposition

would have been

des-

cribed.

if

conjecture assumed through the use of

the expression if it were so for the accomplish-

Def.

'

ment

'

of another (impossible) act,

position.

is

termed the Sup-

107

God

Ex.
to be the

If the

narrater,

then

Lord of the serpents were

all

thy merits would have

been described.
This form of supposition introduced by a subjunctive clause is reckoned by the author of Kavyaprakasa
as the third kind of

LXV.

The False Determination.

ftrerctzrefafa:

DBF.
EX.
for the purpose
of establishing a

false

the

False

Deter-

mination

assertion

garland of sky-flowers

a statement of

wearing

another absolute false

the prostitute

thing

can win over.

purposes of establishing a false

assertion, another absolute false one, is introduced, or,
in other words, if one false assertion is made to depend

Def.

When,

for

upon another absolute

False Determination.

then

false one,

(Reductio

it is

called the

ad absurdum = redu-

cing a position to an absurdity).

Ex. Wearing a garland of sky-flowers,
win over a prostitute.

Sky-flower

is

one can

an absolute nonentity and does not

So the
present or future.
winning over a prostitute becomes also a non-entity.
This ornament is also reckoned as one of the kinds of
exist in

any period,

past,

by the author of K. P.

108

Sffatfm,

LXVL

The Artful Indication,

rf%?r*

5ftf;
in the object on

t^Tsr? f^fHrra

hand

this (maiden)

when water

of the reflective

representation

incident on

had gone out

bund

an

of

hand

wishes.

delineation

the Artful

is

it

Indica-

tion

Def.

^[f%?f^

is

a delineation

an incident

of

not on hand which ends in a reflective comparison ta

an incident on hand.
This (maiden) wishes to raise a bund when
the water had gone out.

Ex.

all

This

is

said

by a maid

to her mistress

who wanted
The maid

her once neglected lover.

instead of telling her mistress that she missed the
to

send

foiv

opportunity .and now foolishly wants to bring her

lover who has now fallen in love with another lady
indirectly

intimates the

same meaning which

is reflec-

tively represented in the expression

The sending

for the lover

given in the text.

to the lady
the same as the raising of

who once came

and was neglected by her is

a bund after all the water had gone

LXVIL

EX.

TT^W^T

mt^ ^fi^

cfif

out.

The Enrapturing.

109
fol T

trithont

only her

effort

him thinking
that same messenger

the Enrapturing

was

to

accomplishment

sent.

When

the accomplishment of a thing eagerfor takes place without any effort for it,

Def.
ly

an

of a thing longed for

longed
other words, when the desired object

or, in

by

chance,

it is

is

obtained

called the Enrapturing.

That same messenger a confidante was sent

(by a l&dy) to him (her lover) who was thinking of
Ex.

her only.

Tins incident took place without any effort on the

He was thinking that her lady
part of the lover.
would send him a disagreeable messenger and, when

he saw his own confidante coming as a messenger to

him, he could not contain for joy and hence this is
called the

Enrapturing

the delight beyond measure,

The Second kind of

the Enrapturing.

EX.

than the desired

of

Def.

the lamp

something more

kindle

attainment

than

the Enrapturing
no sooner

the sun

The attainment

what was desired

Enrapturing.

is

of something

called

more than

the second kind of the

no
No

Ex.
sun

sooner did she kindle the

lamp, than the

rose.

Here the lady rose and wanted to kindle the

lamp
and, when she came out of her room, she saw the
sun risen. This is more than what was desired.

Third

'kind

of the Enrapturing.

attainment

of

the

means
from an

treasure

of the object itself

When, by an

of

magic plant
by a digger

effort

was obtained.

attainment also

Def.

root

effort

made

for the

attainment

of a means to get the object desired, the desired

object itself is obtained, it is the third kind of the

Enrapturing.

By him who dug

the root of the magic

plant for the purpose of discovering the treasure
hidden under the earth, the treasure itself was

Ex.

obtained.

LXVIII.

FreT?*W

The Despondency*
I

the lamp

the attain-

ment

of a thing oppo-

than

ed

that

the Despondency
no sooner

extinguished.

The attainment

Def.

what was desired

No

Ex.
it

kindles

sed to what was desir-

is

of a thing quite opposed to

termed the Despondency.

than

sooner did she kindle the lamp,

extinguished.

LXIX.

Abandonment.

Ex.

u
having bathed

of one object

me

merit and demerit

of another object
if

those tvro

Def.

purify

so

Abandonment
chaste

also

may

the river Ganga

woman

desires.

If the delineation of merit and demerit of

one object conveys a reference to the merit and demerit of another object, or, in other words, if (1) the
merit of one object refer to the merit of another
object, (2) the demerit, to the demerit, (3) the merit,
to the demerit,
it is

called the

Ex.
(in

my

desires,

*Will

and

(4)

the demerit, to the merit, then

Abandonment.
not a chaste

waters) and purify

woman (come

me also

and) bathe

so the river

Ganga

Here the merit

woman

-chaste

the purificating character of a

to the merit of the Ganga who

refers

prays for purification. Hence this

No. 1 merit referring to a merit.

Example of (2) demerit

is

referring

example of

the

to

demerit.

of the

...

bosoms

the

women

II

of (thy) foes

hardness

in thy cavalry

lotus like feet

the Creator

created

censure.

desiring

the widows of thy foemen desiring,

(when they are pursued by) thy cavalry, the hardness
created for their bosoms to be created for their lotus-

Ex.

king

like feet censure the

Creator (Brahma).
Here, the widows of the foemen censure the creator
for not having created the hardness of their bosoms
in their soft feet, the former being

useless because of

widow-hood and the latter being now useful to

enable them to flee away from the pursuing cavalry

their

.of

The demerit

the king.

widow-hood

refers to the

unfit for fleeing

of the

bosoms

in

their

demerit of their soft feet

away from the enemy,

Example of

(3)

Merit referring

to

demerit.

because

that

the good

of the riches only

man

does not resort to

misfortune.

113
Ex.

It

is

the

misfortune of riches themselves in

that they do not resort to the good people.

Here, the merit of the good people refers to the

demerit of the riches

in their

not resorting to

the

good people.

Example of

demerit referring

(4)

to

merit.

not

if

of the

servants of

this itself

a boon.

the king
killing

If the

servants

of this king are not killed, then

a boon (to them).

king referred to is such a cruel

It itself is

The

man

that non-

considered a great boon even

if they do not
Here, the cruelty, the
get their pay.
demerit of the king, refers to the merit on the part
killing

his servants

of his servants,

i.e.,

is

their continuance

without being

killed.

LXX.

Non- Abandonment.
T eft

ITRTTr

EX.

cfr

^[Tc\T*[
?3T

if

a measure

by those two

ocean

those two

though reached

do not occur

only a small quantity

that

water

JSTon-

15

II

Abandonment

gets.

Def.

by the delineation of them,

If,

and demerit of one

i.e.,

merit

they the merit and dedo not occur, then it is called

object,

merit of another object

the Non-Abandonment.

This measure (of 32 palas) gets only a small

quantity into it even though it reached the ocean.

Ex.

The

measure holds the same quantity of

the ocean which is the receptacle of

particular

water even in

immense

and which

water

is

not able to supply

more water.
Here, the merit of the measure
merit of the ocean.

refers

Example of demerit occasioning no

demerit.

to the

moon

lotuses

what

contract

detriment.

If the lotuses were to contract

what detriment accrues to the

moon

no

to

(at night),

then

(nectar-rayed).

Here, the demerit of the lotus refers to no demerit

of the moon.

LXXI.

^RI^fT

The Permission.

v.

DBF.

EX.

srn

?TI

it

an

of

undesired

*r,

to us

object

H^?T

always

praying for

foTO

calamities

result of

let

qjg

in

quali-

^ft:

God Vishnu

ssNft

is glorified,

of

good

occur

SJ
the

in itself

on account

ties

which

the Permission

for an undesired object

on the

ground of the acquirement of virtuous qualities

ing from it, is called the Permission.

result-

The praying

Def.

Lord Krishna

Ex.
to

us

the calamities

Let calamities always occur

in which the God Hari is

glorified.

a request made to Krishna by Kunti, the

mother of the Pandavas.

This

is

LXXII.

The Suggestion.

ttar:

demerit and merit

attribution

of

merit and demerit

is

the Suggestion

Alas

Def.

thy
confinement in a cage
melodious
of songs

when
freely

parrot

all

the birds

result.

wander

%sqr: is

a figure in which the merit and de-

merit of one thing are respectively construed to be

the demerit and merit of the other.

n6
Ex.

Alas

parrot
wander about at their
!

when
will,

all

thy

other birds freely

confinement in the

the result of thy melodious songs.

cage
Here, the utterance of melodious sounds
is

is

cons-

trued to be a demerit in a parrot and the non-utterance

is construed to be a merit in other birds.

LXXIII.

g?T

The Sealing.
:

TTrrejreT rH^fl" ?J2T^fag^IT

EX.

serving

the

by words
of

^TT

(I

the Sealing
that young maiden

sense

on hand

intimation

having large buttocks

^ having a couple of

the

object to be hinted at

spacious eyes.

If the words that

serve to signify the sense

on hand intimate also the object to be hinted at, then
Def.

it is

called the Sealing.

Ex.

This maiden has large buttocks and a couple

of spacious eyes.

Here, 2pRf%Tj^U serves to signify the sense required

for the description of the lady the subject on hand.

The same word

is

also the

name

class containing 8 syllables for

of a metre of

Sfg^ff
each quarter wherein
2nd and 4th quarters

the seventh syllable of the

must be short. Thus, we see that the same word

the description of
that served the purpose on hand
names
the metre of the verse to be
the lady also

hinted at by the poet, the stanza being the illustration

oi' that metre.

117
It

is

usual

among the Sanskrit prosodians

trate a metre, defined,

by a stanza containing the name

of that metre which

sense

contained

called

g^f

in

to illus-

will

also

the stanza.

serve to explain the

Hence the figure is

an expression of things by their right

names.

LXXIV.

The Jewelled Necklace.

Tanr^t

words serving
the sense on hand
of the

handsome

having

face or f four headed

serial

God Brahma

putting
The Jewelled Necklace

of riches

(poets)

king
thou

= of

Goddess

Lakshmi

know

lord

omniscient

or

God

Siva.

a figure containing a number

of words serving the sense on hand but put in an
established order of succession (with reference to
Def.

Katnavali

is

objects not on hand).

Ex.
Lord of earth

face (art

(the

god Brahma)
Lord Vishnu) thou
;

in

thou hast a handsome

art omniscient (Lord Siva).

Here, the words ^<J?W.

hand

thou art the lord of wealth

etc.,

serve

the sense on

describing the king and are also

W,

names of

lift

Hindu

the

Siva,

Brahma, Vishnu and

the objects not on hand to which the king is
Triad, in their order

identified in succession.

The

(LXXIII)

?J5T

between

difference

is

and the figure

this figure

that in this figure the

sense

of

the words referring to objects not on hand i. e. the

sense to be hinted at also serves to explain the
sentence in another
so in the

way under

a pun, but

it is

not

Mudra.

LXXV.

?mpir:

The Borrower.

DBF.

by quitting one's own

nose-pearl

quality

by the

assuming the quality of another

lower

becomes

the Borrower

(ruby of lotus colour).

lustre of the

lip.

Padmartiga

thy

Def.

When

a thing quits

its

own

quality

assumes that of another (excellent one),

Borrower.

Ex,

becomes a

it

is

and
the

The pearl of the nose-ornament

Lady
padmardga ruby by coming in contact with
!

the luster of thy (red) lower lip.

Here, the colour of the lady's lower lip, being
superior, makes the white pearl of her nose ornament
*
appear like a padmaraga ruby.
* The
pearl has been eclipsed by the lady's

lip.

"9

LXXVL

The

Original.

EX.

II

again

assumption of

own

one's

the

Siva's

neck

lustre

of

the serpent lord

quality

by thy fame

the original
is

with

called

fact:

white.

though covered

Def.

When

an object that has quitted

its

form

the preceding figure

again restored to its
state
the
original
by
presence of some other agency,
it is called the Original.

as

in

is

The lord of the serpents Sfrn,

king
though covered with the lustre of Siva's neck, is made
white by thy fame.
Ex.

Here, the serpent-lord worn round Siva's neck

of dark-blue colour on account of the existence of
the Kalakuta poison in it changed his colour and
thus became a borrower and by the operation of

another agency

the white fame of the king

restored to his former state.

Second kind of the Original.

EX

fft

he

is

120
an object

though extinguished

when disappeared

by the jems

continuity of

the

inlaid in

the girdle of a lady

original state

ample

also

light

lamp

was.

The

continuity of the original condition,

notwithstanding the disappearance of an object

Def.

of such continuance, by the

the cause

another agency,

is

called

the second

operation of
kind of the

Original.

Although the lamp was put out (by a lady

the bed chamber), still there was ample light issuing
Ex.

in

from the jems of the girdle (of that lady).

Here, a pretty young maiden but an artless one
out the lamp of the bed chamber through
( *J*^T ) put
the light continued as before by
the lustre of the jems inlaid in the girdle of that

bashfulness

still

maiden.

LXXVIL

The Non-Borrower.

EX.

tjfq
non-assuming
the quality of another
object

though

nected with

con-

it

Non-Borrower
call

Def.

The non-assuming,

for a long time

red (affectionate)
in

my mind

though seated
dost not become red
(affectionate).

by an

quality of another though connected

object,

with

it

of the
(or in

121

other words, when an object does not borrow tha

quality of another object, it) is called the Non-

Borrower.

Lover

though seated long in my red

(affectionate) mind, yet thou dost not become red
Ex.

(affectionate),

The

example rests upon the

use of the word ^tl which means both redness and
strikingness

of this

affection.

Here, the lover does not become red (affectionate)

though he is seated in the red (more affectionate) mind
of the lady.

Hence

LXXVIII.

it is

the Non-Borrower.

^^njnr:

The Conformity.

by the presence of
another object
the
pre-emift?[3re:
nence of

one's

the Conformity

blue lotuses

by the

own

settled

previously

side-glances.

extreme blueness
bear.

quality.

The pre-eminence,

Def.
settled
(or, in

object

own previously

by the presence of another agency,

other words, when the original quality of an
quality,

is

made pre-eminent by the

another object,

Ex.

of one's

The

it)

is

blue

proximity

of

called the Conformity.

lotuses attain more blueness

by

the side-glances (of a lady falling on them),

16

122

fafafTO,

Here, the dark blue lustre of the lotuses

ed by the pre-eminent
falling on them.

LXXIX.

is

increas-

blue side-glances of the lady

iftfafW

The Lost.

DBF.

the Lost

If*

on account
blance

naturally red
in the foot

a distinction

of the red lac

alone

dye
was not perceived.

is

Def.

of resem-

not perceived

When

distinction

(between two objects on hand)

resemblance, then it is the Lost.

Ex.

The dye

not perceived
on account of their

alone

of the red

lac

is

was not perceived

in the naturally red feet (of this beautiful maiden).

Here, we see the disappearance of the dye of the

red lac on account of its having been eclipsed by the
natural redness of the maiden's feet.

LXXX.

*TWW

The Sameness.

123
that entered the

1ft

on account of resem-

lotus-pool

blance

of

women

ful

eye-brows

distinguishable

pecu-

face

liarity
is

of beauti-

not at

all

was not perceived.

perceived

The Sameness

When

any distinguishable peculiarity whatever is not perceived (between two objects coming
in contact) on account of their close resemblance, it
Def.

is

called the Sameness.

Ex.

The

faces

women

of the

of beautiful

eye-

brows that entered the lotus-pool are not perceived.

Here, the faces of the women were not distinguishable from the lotuses in the absence of any discriminative quality between the two which are spoken
of as having become identical.

In the

*?tf%rr

(LXX1X), one

of the objects

is infe-

quality and is not apprehended by its being

eclipsed by the superior quality of the other.
In this figure, the two objects could not be dis-

rior in

criminated through their close resemblance.

In the
inferior
the
jftfaff,
object gives up its own quality.
Here both the objects do not give up their qualities.

Hence,

this figure

LXXXI.
LXXXII.

is

different

^ftfaw
fairer:

from the

The Un-Lost.

The Un-Sameness.

wtftraw, fMNw:

124
of

any distinction and

of

any discriminating

peculiarity

the celestial being*

eclipsed by thy famei

f^yf?^

in the manifestation

The Un-Lost and

The Un-Sameness

Himalaya moun-

the
tain

by
*

'

iftflR
(

aiffifi

chillnese

recognize.

Def.

If any distinction prohibited in the

(LXXIX) become manifest afterwards, it is called

the
If any discriminating peculiarity prohibited
in the CTtfF^r become manifest afterwards, it is called

Def.

the

fgifacff:.

Ex.

king

The

Himalaya mountain,
fame, through

celestial

beings recognize the

eclipsed by thy

(all-pervading)

its chillness.

the example of the figure B*irtf^?r. Here,

the Himalaya which is white was lost in the whiter

This

is

fame of the king and was afterwards recognized by

the Gods on account of its chillness.

Example of

the

wrfa
when

the

moon had

and the

risen

became

lotuses

able.

After the

faces

distinguish

rise of the

moon, the lotuses and

the faces of the damsels became distinguishable.
Ex.

In the OTflnW,

the faces of the damsels

that

entered the lotus-pool were undistinguishable from the

125
lotuses on account of their likeness but after the rise

moon the lotuses faded and the faces began

became
appear more beautiful and hence they

of the
to

discriminated.

wj

LXXXIII.

The Reply.

where

containing some

import

that ratan

a secret reply

there

is

The Reply

this river

traveller

is

Def.

secret

containing some
called the Reply.

reply

import (of the speaker)

fordable.

is

indirect

Or,

in

when the speaker indirectly expresses

own intention in a reply made to a
query previously put by some person (which query

other words,
his or her

is

to

be inferred from the answer),

it is

called

the

Reply.

Ex.
is

seen

Traveller

(the

there this river

From

this,

is

place)

where that ratan

fordable.

we understand

that a

traveller

has

asked the speaker, a lady here, the place where a

The lady becoming
particular river can be crossed.
enamoured of him makes this reply by showing a
particular place which was also indirectly named by
her as a place of assignation for their meeting.

126
Second kind of the Reply.

Ex.

JP3T 4-

^TKT^T 4- ^fVre*T
of

and

query

their wives

consisting

same words

of the

its

those that are bent

two

upon

the

bringing

replies

lands to perfection

a skilful reply

husbandmen

The Reply

fi

who move

%2T*.

who

which

is

in the air

transitory

(1) birds (2) the age.

those that are en-

gaged in maintaining

When

Def.

skilful

reply

is

not different from

the query, or in other words, when a reply made

consists of the same words of the question asked, and

when one
then

it is

Ex.

made

reply

serves for

called also the Reply.

Q.

Who

maintaining their

those that are engaged in

wives ? R. Those that are bent
are

upon bringing the lands

Q.
R.

two queries asked,

Who move
^gr: (1)

to perfection or

in the air

and which

is

husbandmen.
transitory

birds (2) age.

^^T^;=ra field. The first question % ^T?rffan*n[?fT:

and its answer ^^T^^TTrfT: consist of the same words
(lit.

letters).

questions

33:

the one reply

is

asked,

cftl:

nominative plural of

means

'

the age

neuter noun
replies.

'

to the

two

when it means, 'birds' is the

and when it
the word f% m
;

the nominative singular of the

Hence these are styled the skilful

it is

crsrer.

made

127

LXXXIV.

The

Subtle.

The Subtle

skilled

that (maiden)
I was looking

in understanding the

import of another

when

a second person

by the

tresses

the crest-jewel

his

a significant

concealed.

act

Def.

significant act or gesture,

intimated to another

who

gestures of others

called the Subtle.

Ex.

is

Friend

is

able

When

of a person,

to understand such

was seeing (her

anxi-

ously for time of assignation), she concealed her crest-

jewel under her tresses.

Here, the time of assignation eagerly inquired for by
the lover is guessed from the lady's act of concealing

her bright crest-jewel under her dark tresses a mark

indicating the time of night when the bright sun is
concealed under the darkness of the night.

LXXXV.

ftrf%?r*T

The Covering.

DF. fqf^cT trorT

EX.

fi[& *T?T*RT UTrf:

of one that

the
other

secret

knows

of

the

u
significant

act

an insinuation

The Covering

or

128
in the

ft

the

morning

when the

lover

came

the bed

to the house

Def.

prepared.

significant act or

an insinuation of a

person that he or she knows the secret of another

called

is

The Covering.

morning, when the lover came

to the house, his lady prepared bed (for him).
Here, a lady when she saw her husband coming to

Ex.

Early

in the

her house in the morning with the marks of his -having

toyed with another lady, a rival one, at once prepared

bed

for

known

his rest thus intimating to

him that she has

his secrets.

LXXXVI.

The Disembler.

mar
by an attribution

friend

to

see

a different cause

by the pollens of the

which
of the appearance

house-garden

concealment

il far

am made

greyish.

The Disembler

Def.

The Disembler

is

the dissimulation of one's

cause.
appearance by attributing to a different
See I am made greyish by the
Friend
Ex.
!

pollens of (my) house-garden.

Here, a lady, the speaker, having her body made

her lover, artfully
dirty by the dust in her toying with

129

:i

Conceals the same by saying that she was made greyish

by the pollens, i.e., by attributing it to some different

Her

cause.

state

first

denied and so this

is

was not expressed and then

different from the ornament of

Concealment (XI) where an object

by a person who then conceals

LXXXVIL

The Secrecy.

*[*tfw:

^%^T?T

if

te

TffH 3R3ERt

^nCW^T^TOTTci; W^TCW^T.

frerilff?

intended for another

^$f%

^SK^^n

told

The Secrecy
fq

bull

j|

from another's

field

begone
the land-lord or hus-

band

or luster
j

When

Def.

or wife

to another
is

mentioned

first

it.

EX.

is

^ftsrafa

comes.

a speech intended to be communicated

to a particular person

is

addressed to another who

is

also before the speaker, and when that speech conveys

also the intended meaning of the speaker, it is termed

the Secret Speech.

Ex.

bull

begone, yonder comes

the land-

lord.

This speech

is

intended to be communicated to

person toying with the wife of another person and

this is addressed to the bull that was grazing in a

a,

third man's

veyed

is

The intended meaning

to be con-

Luster

the lady with

17

field.

begone, yonder comes the husband of

whom

thou art boldly toying.

130

LXXXVIII

D.

Open Speech.

feff cfrfw:
n

bidden under a pun

from

by the poet
**

ex-

purposely

so

with a gesticulation

Open Speech

Def.

or luster

field

begone
ffif

pressed

'bull

another's

or wife

(he) speaks

Open Speech

is

that which

is

hidden under

a pun as in the preceding figure but purposely expressed by the poet by some kind of indication.
"

begone from another's

BO the speaker speaks with a gesticulation.
Ex.

By

bull

TTf

use of the word

this is

also

field",

hidden

under a pun; and, by the employment of the word

in

the example by the

poet,

the

secrecy

becomes expressed.

LXXXIX.

Covert Speech.

ifa:

fanrei
EX.

it

for

concealment

one's

own

by an

of

thee

design

painting

act

deception played upon

another

Covert Speech

seeing another (lady)

>?Tj:

flowery bow
in the hand

drew.

131

Covert Speech is a deception of a person by

an act played upon another for concealment of his or
Def.

her

own

design.

Thy lady painted thee and, seeing

another person coming to her at that time, drew the
bow in the hand, thus intimating to
figure of a flowery
Ex.

Lover

that stranger that she painted the eupid

This is said by a go-between.

and

not thee.

This figure is properly reckoned as one of the

kinds of ^JHR (LXXXIV) in the Sahitya Darpana.

X'C.

^t^rrfw:

Popular Saying.

EX.
resembling a proverb

the eyes

having closed
a few months

Popular Saying
called

is

An

Def.
called the

Ex.

wait or be patient.

expression

resembling

proverb

is

Popular Saying.

Lady

wait for a few months with

thy

eyes closed.
This is one of the messages sent

by a separated
lover to his lovely wife.
The full meaning is
Let a few months be spent unmarked by
"Lady
thee and then we shall both meet, and have full
scope
:

to reward
" With

our desires entertained in our separation.

"
is even now more current in
thy eyes closed

the sphere of the lovers and distressed people.

sNmt!:, ^anl w. r

132

XCI.

The

tsrtfar:

Skilful

Speech
I

U
only the serpent or

of the Popular Saying

containing another

villain

the feet of the ser-

sense

pent or the behaviowr

of a villain

Skilful Speech

friend

Def.

If

knows.

the

Popular

Saying

were to contain

another sense, then it is called the Skilful Speech.

Ex.
serpent alone knows the feet of a serpent.

Another sense
behaviour of a

is

villain

alone knows

the

villain.

XCIL

The Crooked Speech.

EX.

b y means
or

by

change

an

P un

of a

affected

day appeared
here

of voice

construing

remove thy anger

one's

speech differently

no Nandin
near the

God

Siva.

Crooked Speech

when a person

construes a speech of another

in a different sense by means of a pun or by an
affected change of voice, it is called the Crooked

Def.

Speech,

133

Ex.

Lady

Remove

anger

thy

as day has

appeared.

Here

the lady construing it otherwise by a division

of words *n*f f^T*{ into *?T rf^f*l and reading it
thus "tngf *H ?rf^ UTH^leavest not the Nandin

that has arrived here"

Nandin here

bnt he

is

angrily replies thus,

near the God Siva."

For an example under

^HT^fw:

XCIII.

cRl^f,

see the

"No

Appendix.

Description of Nature.

11

Description of Nature

belonging to a genus
<fec.,

i.e.,

quality,

an

tremulous eyes

action and a substance

of one's

own

pricking up ears

state

by antelopes
is

description

looked

at.

Description of Nature is the delineation of

of a peculiar state of an object belonging to a genus
Def.

etc.,

i.e.,

Ex.

quality,

an action and a substance.

These antelopes having tremulous eyes and

pricking up their ears behold

As

the term

'antelopes' denotes many,

here the description of nature of a genus.

Another name
Dandl.

of this figure

best by the poets.

according to
considered the

is snfrT.

This kind of description

is

we have

134

The Vision.

XCIV.

EX

VTfa

^-^rsnwfiTW

11

the gods and

of percep-

tion of things past or

fight

future

description

even

Tne Vision

behold.

demons

now

in this place

Def.

When

something past or future is delineated

by a poet in such a manner as can bring the subject of
description vividly before the mind's eye,
the Vision.

Ex.

The gods and demons

even now I seem to behold

XCV.

it

it

The Exalted.

of prosperity

of which

description

mountain)

The Exalted

in the

also

that = celebrated

3 ?[

of another

indirect

representa-

tion of importance

summit

and Arjuna
fight

took place.

description of prosperity

termed the Exalted.

(Himalaya

between God Siva

comtnendable action

Def.

called

fight in this place

EX.

is

is

of

an object

135

And any commendable

action

of

some

great
to
the
or
collaterally
personage represented indirectly
object under delineation is termed also the Exalted.
.

Ex.

This

that

is

summit that celebrated

Himalaya Mountain
fight

in

whose

God Siva

between the

and Arjuna took place.

Here, the celebrated fight of the great God Siva
with Arjuna is represented collaterally to the

Himalaya Mountain

the object

under

delineation.

This kind of representation attaches much importance

to the subject on hand
now the Himalaya Mountain.

For an example of Prosperity, see the Appendix.

XCVI.

EX.

*rarfw:

?flTT3I ^TTrTT^C

The Exaggeration.

^TWjJ

marvellous

^IT^^fiTI

TT%^

^mf*

u <*M SJTT^If *Tl

king

when thou art a donor

false

igfa

valour

qr^rauftro:

Kalpa

^TOTT:

mendicants

wf^

become.

generosity

etc.

description

|j

trees

Exaggeration

description of marvellous
statement of one's valour, generosity,

Def.

and
etc.,

also false
is

called

the Exaggeration.

Ex.

king

When

thou art

the wish-yielding (kalpa) trees of

thy mendicants.

This

is

munificence.

false

a donor, even
paradise

become

exaggeration of a king's liberal

136

XCVIL

Exposition.

EX.
these

words

of

by acts of thine
thy honour

by derivation
construing in

* maker of night or

sense different from

what

is

faulty

intended

verily

Exposition

O moon
Def.

sense

artificial

Ex
as

truly,

I
!

know

Exposition
different

in
consists in construing words,

from

what

is

intended,

derivation of those words.

Moon ! By these acts of thine,

much

that thou

art faulty

(lit.

the

faults).

This

mine of
.

the
is addressed to

moon by

an

by

a damsel pining

under separation.

XCVIII.

Prohibition.

this

is

well-known
ing at dice

^f P reventlon

arrows
by sharpened
playing.

Prohibition
i

gambler

does^moonaud
a mine of faults.

of faults

<*w:

13?

Def.

Prohibition

is

the announcement of preven-

tion of a well-known act.

Ex.
&t dice

O Gambler Sakuni

This

is

not the playing

the playing by sharpened arrows

(the famous battle of Kurukshetra).

This

but this

is

addressed by a true warrior to Sakuni,

the uncle of Duryodhana, who at the celebrated
is

gambling match threw the dice, won the game and

obliged the good Pandavas to go into exile and thus

became the cause of that dreadful war.

ment that this is not the

war an expression of a

The

state-

place of gambling but of

true fact conveys the

intended meaning of the speaker that Sakuni could

do well at the gambling and not at this battlefield.

XCIX.
**

ftf%:

Fitness,

forareN

EX.

which
of that

the spring

thing previ-

season
bird

ously effected

kokila

declaration

Indian cuckoo

that

kokila, >.,

the figure Fitness

or

the

charming

shall become.

the learned call

Def.

A declaration

of a thing previously effected,

the learned call as the figure Fitness.
* In the season in which
panchama note becomes manifest.
18

138
Ex.
shall

Only
become a

in the spring season,

kokila,

i.e.,

charming.

Here, the re-declaration

already effected, is to
in the spring season

panchama

the kokila bird

of kokila bird,

a thing

show its extreme charmingness

a season for singing in the

tone.

C.

fg:

The Cause.

EX.

along with its effect

of

description

intended effect

Ex.

women

for quelling the pride

termed

The

Def.

beauti-

ful eye-brows

The Cause
is

moon
women of

that

of a cause

^m**T

rses.

description of a cause along with

is

its

termed the Cause.

That moon

rises

for

quelling the pride

of

of beautiful eye-brows.

Second sort of

EX.

g^rreT ^f
cause
identity

SRSTWT

sssur:

certain rhetoricians
as the figure

Reason

139
call

glances

of the

Lord

of

the

of learned poets

mount Venkata*

graces of the Goddess of Fortune.

The

Def.

reckoned by

identity of a cause with its

some as the figure the Cause.

The

Ex.

glances of the

God Vishnu#

effect is

(lit.

the

Lord of the Mount Venkata)

are the graces of the

Goddess of Furtune to the learned.

Here,

the glance,

the cause,

is

mentioned

identical with its effect, the graces of the

as

Goddess of

This representation rests on the complete

identification and indicates the speedy simultaneous

Fortune.

effect.

These one hundred figures of speech have been

thus defined and exemplified (by the author) after
having

studied

all

the dogmas of the rhetoricians,

ancient as well as modern.

* Or the
King Venkata, the patron of
Dikshita,

our author Appaya

APPENDIX.
S.

IX denotes Sahityadarpana of Visvanatha Kaviraja, and *te

English Translation.

K. P.

Kgvyaprakalsa of Mammata.

R. G.

Rasagahgadhara

D. K.

Dandl's Kavyadarsa.

P. A.

Panini's Ashtadhyayi by Mr. S. C. Vasu,-

of Paiidita

Jagannatha/

Poetical Conventions.

The student should know

first

some of the conven-

tions of poets to understand this as well as

works

other

better.

The

sky, sin, sorrow, sea, clouds, serpents, infamy,

etc., are described as black ; fame, laughter, renown,

water, flower, cloth,

love, sun, learning, etc., as red

virtue, umbrella,

anger,

and

hot.

Lotuses,

lilies,

etc.,

etc.,
;

as white

valour as red

can be described

as-

growing in all the rivers, seas and in small tanks.

Flamingoes and other birds are said to haunt in all
receptacles
celestial

of

Ganges

water.
too.

are found in oceans

only.

Water-elephants
Gems and the fish

pearls

in

Bhurja trees grow

in

live
'

in

makara

'

the river Tamraparnl

the Himalaya alone
;

Sandal trees grow only in the Malaya Mountain

Asoka does not
and bear no flowers and fruits.
Lotuses bloom only in the day lilies only
Malati does not bloom in the spring.
in the night.
The Indian cuckoos utter sweet notes only in the

fructify.

The cries and dances of peacocks

spring season.
and the emigration of the flamingoes to the Manasa

Lake occur only

in the rainy season.

The chakora

APPENDIX.
birds

are

to

said

drink

the

The

moonlight.

chakravaka birds always move in couple and the

couple occupying the opposite banks of a river never
;

see each other daring the whole night.

The God
of love bears a flowery bow with only five flowery

strung with bees. There

is moonlight throughout the bright fortnight ; and
darkness throughout the black fortnight. The deshafts and his bow-string

is

scription of the setting sun must be followed by that

of the rising moon.
Separated lovers are affected
at the sight of the clouds

the Malaya breeze as

fire

and

feel

the moonlight and

and also

suffer

much
God Siva

very

The moon on the crest of

The description of
is always described as
young.
men must be from head to foot and, in case of Gods 7

from love

fever,

from foot to head.

1.

Words

Sftrcn

Simile.

expressive of comparison.

11

;)

D. K.

APPENDIX.

142

Of
tions.

these, 3?[, ^T, ^^T, ^*ft*I are taddhita terminaThe last three express a slight incomplete

See V.

comparison.

3.

67 P. A.

Other terminations expressive of comparison.

a denominative termination
(III.

1.

Parasmaipada.

The

10).

affix

optionally employed, in the sense of treatment, after

a word ending in a case-affix denoting the object

of

Thus, Tj^f<R3T^ffF WTcTH

P. A.

comparison.

=he
fa)

treats the pupil as a son.

a denominative termination

Atmanepada.

1.
The affix cjs^ is
11)35T^ H^TTO, (III.
optionally employed in the sense of behaving, after a
word ending in a case-affix denoting the object of

comparison of the agent and there is elision of the

final ^r of the noun if it ends with a
Thus, sifaT \$
?J.
like a
behaves
crow
'STT^fa 3Rra:=*ifaT3RT gffra:-the

hawk.
r

P. A.

(nil)

The

krit termination

affix

f^ftf

which

usually omitted.

is

comes optionally

some one

in

the sense of

nouns (Vartika
of III. I. 11). Thus, Jr^Hfa or JT^TTsn* = he behaves
like an ass or he asses.
P. A.
behaving

like

after all crude

a taddhita termination.
(V.
affix

3. 98).

When

3?r expressing comparison

man
is

is

denoted, the

elided,

the word

APPENDIX.

retaining

143

number and gender.

its

a straw-man,

an

i.e.,

Thus
P. A.

effigy in straw.

(f *f) # &n' termination.

2.

(III.

when

after a verb

it

The

79).
is

affix

in composition

comes

ftrfr

with a word

denoting an

object of comparison, expressing the

agent, the sense of the affix being 'doing something
like that '.
Thus, ^3ftfsiT 'He who makes a noise

like a

P. A.

cameF.

the gerundial affix in

(III.
after

when an

a root,

similitude,

is

The

4. 45).

affix

^spfj^r

comes

object or an agent, denoting

in composition

with

it.

Thus, ^Tfrfawf
P. A.

= 'water was kept as ghee was kept'.

a taddhita termination.
(V.

3,

106)

is

fully explained in

pages 7 to 10 of the text.

After carefully studying the above, the student

should try to understand the following 32 varieties
of the Figure ^tWT according to S. D., K. P. and
R. S. Of the ornaments of sense, ^riTRT forms the
essence of
larity

all

the figures that are founded on simi-

and therefore

its

complete

study

becomes

essential.
Observe.

^q*n

is

first

two-fold

'

complete and ^ri 'ellipthe comparison is expressed

'

Tj^f

These again are ^fffi direct when

the
all in
by
employment of such words as *jsn, T*T, ^T or
the sense of English as '; and ^j^ff indirect when the comparison is

tical'.

'

APPENDIX,

144

expressed by the use of the words g^r, ^JST, etc., all in the sense of
English like', ^sftcft conveys the notion of similarity at the very
hearing and *TRpf is to be understood only through the meaning of
'

These two kinds are again three-fold as they occur

nominal
'^ra*TcTT), in a compound fa^reTcfT) and in a

the expression.
In a sentence

affix (crf^-cmm).

Thus, there are 6 varieties of ^ri

and but of

there are 26 varieties.

varieties.

Do.

Do.

Do.

Do.

26 varieties.
7

11

^T^rcngHT

Do.

Do.

Do.-

10

12

Do.

13

Do.

14

Do.

15

Do.

1J3ftf-do,

-*ift-

16
17

Do.

^TT^f

18

Do,

"^frft

19

Do.

^TTsFt

20

Do.

do.

do.

do.

Referring to 3TR = object in the accusative case,

f Referring to a locality.
J In the passive sense.
*

11

In the active

No

-V-

sense.

^HT,

APPENDIX.

22

145

Do.

23
24

25

^T3r^fa?TT'T<pn

26

^TreT^lHT

27

Do.

28

Do.

do.

29
Do.

30
31

32

^iT^I^R?
Examples

do.

in their order.

2
i to
u

S.

D.

young maiden the fragrance of thy mouth is as the lotus ;

bosoms
are large as jars ; thy face exhilerates (my) heart as the
thy
autumnal moon.
\

4 to 6

w^*: w^

*ri?::

S.

D.

lady is sweet like nectar ; her hand is

like
a
tender
exceedingly
young leaf ; and her eyes are tremulous
like those of a frightened fawn.

The

7 to 15

lower-lip of that

w^im M
B.
19

S.

APPENDIX.

146
Alas

I will not forget the eyes of

like slightly

expanded

my

fawn-eyed lady beautiful

lotuses.

R/G.
That lady devoid

of heart

through pining in separation

the Malaya breeze as fire itself

mansion, thinks in a moment as
troubled like a

fish

herself, residing

she

if

is

in

a desert

feels

a jewelled

in
;

and she

is

out of water.

Here, in SR^tafir = ^raf?T^T^Tf?f, we have ^pra*T

in the accusative case hecause the *T^3Tf^nT, the

upameya,
is 3i*Msre

3nTT

is
.

Hence it
In cffTfffafa = SRT^ S3 ^rrarfrf, we have
also in the accusative case.*

in the locative case

and

it is

therfore ?rre

'ST

we have

^rctt^ fa*-*^c

In

in
:

ti

R. G.

Jahnu's daughter (Gahga)

Those people who drink thy
harmless water resembling the nectar they all live in this world
i

immortal beings.

like

Here, in

^Tm*m =*reTfire
s

the accusative case

'

to drink

TJT

have
:

f^^?;T:

and hence

^jf-WIpf

*p?T

in

of root

In fsr^reWT^fa^T: ^* ^fao5TT, we
in the nominative case like its upameya

and hence

case.

it is

we have

'.

it is

cR^-nj^r of root 3

* The words connected

by

same

iftc^T,

Apte's Guide.

(or its equivalent)

257 Observe.

'to dwell'.

must be in the

APPENDIX.

147

This maiden speaks like an Indian cuckoo.

14

^TOfW:

tflF* *rU<3Fti

fTOTCTCRnffa:

II

R. G.

He

that

wholly addicted to sensual pleasures

is

is

straw-like

man.

He
an

pratling

||

S.

D.

loudly and harshly before the great behaves like

ass.

16 to 20

?*ifiTSFSfT, mftr:
'20

10

nswsRi

n
s.

D.

beloved thy face is as the moon ; thy hand is like a sprout ;

thy speeches are as nectar
thy lip (lower) is as the bimba fruit ;
\

and thy heart

21

&

22

is

like the stone.

22

21

S.

The

D.

lotus-like-face of this lady acts like the

moon.

In ft^f?f==f%^f?;qrr^;f?r, we have the omission of

\j
and the common attribute charmingness in the
'

'

In iT*fT<Pl=*raitl
same in a compound.
affix.

23

23

VTrfir?-

we have the

24

II

and
24

APPENDIX.

148

This mortal world has become a celestial one to mo- befflg in

company with this lady who has eyes tremulous like* those of $

young deer and who thinks

herself like Tilottama.

ft^^^g^T = frfm^TT25 ^WT?

In

^T^R^TT,
we have the omission of the upameya ^naTTf^ and
ID
of the word '^of' expressive of comparison.

we have the omission of the upamana

of the word f ^', expressing comparison and
the common attribute
:

rf3fT>

of

25

tnffcrarTtrer

25 26

f HT
26 to 28

R.

of that man with the robbers and the killing of

man by the robbers each has occurred accidentally like the
maxim of the crow and the palm fruit.

The meeting

that

Here

in 3TraHra*T,

we have

the omission of the

upamana '^sn;W:' and the word

'^3'

expressing

In 3iT3TrfrafaH, we have

in a

compound.
comparison
the omission of the upamana

'

'

ST?^

in a

with 3HT3ni which expresses comparison.

compound
See pages

7 to 12.
ft^TT

27

^5T

^FfSJ

-N

T^T

^TT^l

28

^TT

HSRg^TRV

S.

A charming

likeness to her face or to he* eyes does not

D.
exist

(any where).

29&30

**<-

'

~ 29
II

R.

S.

APPENDIX.

149

All the forest has been explored and all the tree were seen ;
O mango tree
thy likeness in the world was not obtained

still

by

this bee.

Here, there
of the

common

the omission of the

Is

attribute in a sentence.

upamana and

we remove

If

30

the words

'

rfsnfiT

have the same

in a

^rWT, and substitute

H^cST, we

compound.

si

S.

He

whose eyes expanded on seeing

(a king)

and whose strong arm

behaves as

if

he

is

(his)

D.

enemies' prowess

stick-like arm) is fearful with the sword

thousand
wielding
weapons.
(lit.,

Here, in

we have

the omission of the upameya

32

S.

When

the fame of thy honor has pervaded,

all

D.

the oceans act

the Milky-sea.

we

Here, in
have the omission of the upameya

of the
S.

common

attribute

'

^m

'^TT<iTT*nT'

= whiteness

and

7
.

D. mentions two other varieties of

and

Garland of Similes.
Def.

When

one object is compared to many, or in

other words, when one
upameya is compared to many

upamanas,

it is

called

APPENDIX.

ISO

Ex.

cTTf*5T%3 ^TT^ft *rf*T%

sffa^cf ^fsfrn ^ifa

^t4 'ft'f*T

ii

S.

D.

Fortune attended with morality charms the heart as a lake with

the lotus, as night with the moon, as a damsel with bloom of youth.

Girdle of Similes.

When

the upameya in the first comparison

made the upamana in the second, and so on, it is
Def.

is

called

D.

S.

The swan, even by

beautiful

by
by

its
its

white

its

lustre,

maiden by her lovely gait

behaves like the moon

acts like the

swan

gratifying touch resembles a beautiful maiden

this

the water

and the sky

pellucidness resembles the water.

17.

irfawm*!

Typical Comparison.

Ex.
11

R.

S.

The wicked

people are expert in working obstacles to the wellbeing of the good. The serpents are clever in taking away the lives
of the innocent.

Here,

<jjsrar

and

This ornament

frtpsn: are similar attributes.

is

also

found in a series

APPENDIX,

Ex.

151

crff?r

^ifa

ffa:

n
R.

The sandal
mass

tree bears serpents.

The moon

of soot.

The lamp has on

too possesses a black

spot.

its

s.

head a

The kings

foster the tale-beares.

Here, ^^f?f, ^ifa,

*T5ffi

and

faHrfft

are similar

attributes.

18.

53T*rr:

Exemplification.

Ex.

'T n

R.

s.

good man without being urged (by any body)

gladdens the whole world, not a little, by his agreeable behaviour.
a

Certainly,

Propitiated by

whom,

of blue lotuses to

27.

tell

does the

me,

blow by his

moon

cause the assemblages

illustrious rays

Indirect Description.

^TrgrnnNrT

The

principal feature
description of the

of this figure

what

is

that

the

not the subjectmatter, must convey a reference to the iT^rf i.e., the
'Sfingrf, i.e.,

S. D.,
subject-matter.
varieties of this fiure

is

K. P. and R.
:

S.,

mention

five

APPENDIX.

152
an

effect is the subject-matter,

the description of its contrary, i.e., cause (^fiTW) ; fafo

when a cause is the subject-matter, ci^ro c^; = the description of
= when a general
its contrary, i.e., the effect
(^fra)j ^TWF^ TO^ ^fa
the subject matter,

Is

= the

description of its contrary,

the particular (fafte); fas!^ TT^ ^rfcf = when a particular is the
subject matter, cf^^rei <r^: = the description of its contrary, i.c,, the
general (^mra) ; rp&i JT^ ^Effa = when a similar thing is the subject

cf^^r ^^:

i.e.,

matter, r^q-^r <^: = the description of another similar thing

in this manner,

When
(3)
i.e.,

?;fcT

the subject-matters in hand are (1) an effect

a cause,

(2)

a general, (4) a particular, the descriptions of their contraries,

cause,

similar

effect,

thing

is

general,

particular,

the

an

effect,

(3) particular,

convey reference to

respectively

and when

(4)

(1) effect,

when the

descriptions of (1) a cause,

a general, and
(2) cause,

(5)

another

subject-matter, the description of

similar thing, (or in other words,

(2)

q^T = five-fold.

(3)

(5) a similar

the general,

thing

(4)

the

and (5) another similar thing which are respectively in

such
question,
descriptions) are called the five varieties of this figure.

particular

Examples in
*

(1)

Effect

is

their order.

understood from the description of a

cause.

trrfor

R.

When

11

s.

through anger, for a distant country

on
though I was obstructed, by sweet words, (by my lady) bending
maiden immediately arrested my way by her
her knees, that
I

began to

start,

young

will pointed out

sportive kitten actjng obedient to her

by her

fingers.

APPENDIX.

Here, the cause, the lady's

the

153

acfc,

is

described,

when

the

prevention of her lover's departure

to be understood.
effect,

Cause

(2)

is

is

understood from the description of

ara effect.
5rf

rTT

f^TT

*Tf T:
S.

Alas

In the presence of

Sifca,

the moon' looked as

"with lamp-black, the

eyes of the does
tion,

if

D.

besmeared

appeared to practice stupefac-

the vidruma leaf seemed to have attained faded redness, the

lustre of the gold

became black, harshness seemed to have resided

in the throats of the female cuckoos

and the

tails of

when they

uttered sweet notes,

the peacocks deserved censure.

Here, from the supposed effects of the moon being

besmeared with the lamp-black etc., their causes, the
extraordinary beauty of the face etc. of
understood.
(3)

The particular

is

Sita,

are

understood from the descrip-

tion of a general.

E.

S.

In this world a wicked man, the type of a serpent, swallowing

up even the great favour done (to him) like milk fearlessly tries on
the contrary to

kill

(his benefactor).

Here, the description of a wicked

man

in general

conveys a reference to a particular person, before the

speaker, the subject matter,
20

APPENDIX.

154

(4)

general

is

understood from

the description

of

the particular.

fK

srtiffa %5fTftr

R.

s.

The monkey, on whose bosom a necklace was placed by some

ignorant fellow, licks and smells it (necklace) and compressing the
same makes

it to

serve as a high seat (for himself).

Here, the description of the particular which is

not the subject-matter refers to a general statement
that ignorant persons should not be placed in possession of charming and valuable things which they do
"
not deserve.
To throw
Compare the proverb.
pearls before swine".

similar thing is understood from the description of another, similar to it

(5)

TT<Tf$1%

rt

Bha mini vila sa.

Sandal tree

Thy

father (native place)

is

a particular moun-

tain (Malaya); thy creed is wood ; and thy association is with the
serpents ; still thou hast attained to the greatness by thy own good
qualities.

Here, the description of the sandal tree conveys

a reference to a similar object, a good person born of
a low caste and living amidst villains.
45.
S.

D.

s&ireTTT:

Frustration.

defines this figure

thus

*
:

Frustration

when by the same means that one employed

in

ing a thing to a particular state, another brings

is

bringit

to

APPENDIX,

an opposite one'

155

and quotes the following as an

example
STT:

We
of

(lit.

to

life

restore

women, the conquerors of God Siva

deformed) eyes in that they (women) with their eyes
the Cod of Love who was burnt by the eye (of

eulogize the fair-eyed

uneven

God

giva).

trfww

53.

Special Mention.

S. D. defines this figure thus:

'

When

affirmed for the

else similar to

something
Ex.

or without a query, something is

denial, expresssed or understood, of

with,

f^i

>j^w

it, it is

^si^Rrer srsrt

Special Mention/

^Jsffff

What

is an imperishable (lit. very firm) ornament here (in this

not a gem. What ought to be performed ? a good
fame,
world)
deed practised by the venerable men, and not a crime. Which is
the intellect, not the eye (itself).
Who
called an unimpeded eye 1
else than thee (0 king !) knows the discrimination between good
1

and

evil.

Here, a gem

ornament

etc.,

etc.,

which are to be denied as an

are expressed, each preceded

What
to

is

ever to be practised

Who
the study of good science.
Which is to be desired

God Vishnu.
beatitude.

* 'and not

mtf

for sffref
virtue.*
is

What

understood.

^H

is

to be resorted

to be meditated upon
the
the abode of Vishnu or final
,

sin' is

by a query.

156
Here,

which are to be denied, are underpreceded by a query.

sin etc.,

stood, here also

Without queries :

Devotion to God &va and not to riches, intent attachment to

the science and not to young maiden, the weapon of God of Love^
anxiety for fame and not for body are generally found in the great,

Here, things to be denied are expressed.

The strength

of that lord

for quelling the fear of the dis-

is

His great learning is for honouring the scholars. Not only

his riches but his possession of good qualities too are for the purpose
tressed.

of others.

This figure founded upon a Paronomasia

For example see the text
striking.
58.

IT

cr*fN *

Is

more

Rivalry.

Ex.

'This slender-waisted maiden vanquished my waist with hers'

so thinking, the lion cleaves the frontal globes (on the forehead) of
the elephant which resemble the jar-like bosoms of that lady.

Here, the lion unable to avenge itself directly on

the lady, its conqueror in vanquishing its waist by
hers, cleaves the frontal globes, of the elephant, which
have a connection of resemblance with the circular
bosoms of the lady. This kind of description proves
the excellence of the waist of the lady.

Poetical Reason.

sffmfWJT

60.

Def. -.When a reason

in a

word

or

\\

ords,

it is

is

implied in a sentence or

called Poetical Reason.

157

O God

$iva

Destroyer of 3

(lit.

cities)

By

this

(my) body

coming into existence, it must be inferred that I never saluted thee

And now saluting thee, I am emanin any of my previous births.
cipated ; and I therefore, bodiless, cannot salute thee in my future
Thus these two faults of mine should be pardoned
birth.
O Great Lord
!

Here, non-salutation becomes the reason for the

faults committed and this fact is expressed by two
sentences.
'

non-assumption of the body is the reason

for
3Rf?WTcR non-salutation in the future birth
and we have ^fTTf^faT in a single word.
'

<qrfj;

'

'

'

>,

emancipation by saluting is the reason for

and this fact having
non-assumption of the body

final

'

been expressed by two words rf?f?rM', we have the

Poetical Reason in more than one word.

N.B.

This figure occuring in a sentence should

not be confounded with the figures ^rsrT*rf^*TT^r Transition
nor with
Inference' * on
'

'

^gTTTH

(59)

S.

D. says as follows

the reason
pletive

and

is

three-fold,

'

this,

In the province of poetry

as being Informative,

Com-

Of

these

Justificative (or Confirmative).

three sorts, the Infirmative Reason

the subject of
the figure Inference,^ the Completive of the Poetical
Reason and the Justificative of the Transition. Thus
is

the Transition founded upon a causation

distinct from the Poetical Reason/
* This
figure

is

not treated in this book.

is

evidently

APPENDIX.

Ig8
S. D. defines

it

thus

'
:

The

notion, expressed in

a peculiarly striking manner, of a thing established

by proof, is termed Inference/ and exemplifies thus
:

ifef^ftrm:

11

Wherever

falls

the sight of women, there

Hence, I infer, Cupid runs before

with

fall

them with

sharpened arrows ;
his bow furnished

shafts'.

^fm:

92.

'

'

Emphasis

is

Crooked Speech.
an emotional alteration of the

sound or an affected change of voice

as to imply the contrary
employed by the speaker.

Ex.

^HEPRMt^

in

such a manner

meaning of the expression

cjffrr^f
?f

Lady
Thy anger is an inconsiderate one and is not just ;'
thus told (by her lover), she saying (in a prolated and affected tone)
just' gave him a blow with her garland.
1

95.

^^TTfT

Example of the

The Exalted.

description of prosperity.

Havana surrounded by the innumerable images

reflected

in

the

jewelled pillars (of

difficulty recognized

by Hanuman

(lit.

his

of

his

own

palace) was with great

son of

WTT)

super-mundane prosperity of
Ravana, king of Lanka, the object under description,

From

is

this,

apprehended.

the

159
It

is

essentially

know what

'Conjunction' and what is ^Nft:

as they are not treated in this book.

is ^fajfe:

Commixture'
Def.

combination of two or more of the orna-

ments treated

in this

of each other

in

On

^falfe.

necessary that student should

book which exist independently

one place

the contrary,

is

called the

Conjunction

a combination

of two

or

one and the same place, which

are subordinate to one another and about which there

more ornaments,
is

dubiousness

is

in

called the

Commixture

Example of Conjunction,

11

May that God (Krishna) of the blooming lotus-like eyes the

Slayer of Kamsa the Sun in annihilating the darkness of this
worldly life protect us from calamity. (^'^ Sun).
In the compound ^t, we have an Elliptical
Simile No. 1 in the omission of the word implying
and in the compound ^fcfto, we have a
comparison
;

Metaphor by the superimposition of the God Sun

upon Krishna. These two ornaments exist in the
same place independently of each other.

Example of Commixture.

This lunar orb dispelling the thick darkness and causing excessive
delight to the eyes shines in the sky.

This can be taken as

(1)

^TH^JfllTlfflT

Indirect

description of the resplendent

sky

the object not on hand

Description,

moon

as

this

shining in the
conveys a reference

l6O

APPENDIX.

dame standing on the top

to a beautiful

of a sky-

mansion, her circular face alone being visible

above the parapet wall
kissing

(2)

Metaphor No.

moon's orb

is

^34TSTite^Jcff*[ as the
superimposed upon a fair face intimated

by the pronoun

'

s^( = this
No.

*rfirosftfiir

(3)

'

(^g^TfH^m% = Metaphori-

cal

Hyperbole), through the introsusception of the

circular face in the orb of the moon
;

advent of the
Periphrasis,
excites delight in the minds of the united
as the

TTOTsfWT

(4)

night that
lovers
the fact to be intimated by the speaker has
been expressed by a turn of speech the description

moon

of the

Modal Metaphor, as the

WTT^tfllT

(5)

face inti-

mated by 'T?^-~ this' the object not on hand, is

understood by the description of the moon- the object
on hand, from a sameness of action, i.e., the action of
expelling

dours

the darkness of the night by their

splen-

gwrffTrrn" Kqual Pairing, as the face and

the lunar orb which can be taken as objects on hand
(6)

are

associated with a sameness of attributes

and expelling the darkness

CO

^t<T3t*T

shining

Illuminator, as the face and the lunar

orb the former of which

is

now taken

as the object on

on hand are together

the verb
associated with one and the same attribute

hand and the

^mifff

latter

and so

As we have

as one not

on.

here a dubiousness about

ornaments, this figure

is

called

^r^

all

these

All

the Alankaras
classified

treated in

this

book

under the following heads

Figures founded on Similarity.

I.

1.

2.

18.

3.

19.

4.

20.

5.

21.

6.

23.

7.

26.

8.

9.

28.

10.

29.

11.

66.

12.

75.

1st

13.

and

2nd kinds.

76.
78.

14.

79.

15.

80.

16.

81.
82.

21

may be

APPENDIX.

362

on Contrast
Figures founded

II.

and

3rd

13.

42.

44.

4th kinds.
33.

54.

38.

77.

41.

94.

97.

III.

or violating,
Figures adhering to,
the law of causation.
5th,

13.

and 7th

6th

43.

kinds.

45.

55.

35.

63.

36.
37.

40.

100.
,

IV.

56.

50.

59.

53.
74.

V.

Logical connection

to the

Figures relating
of words in a sentence.

Figures relating

to the

senses of two sentences.

61

60.
62.

Logical connection

^^^^.

oj

APPENDIX.

VI.

163

Figures founded on Universality.

22.

69.

39.

70.

51.

71.

52.

72.

57.

90.

58.

91.

64.

93.

65.
67.

96,

68.

98.

99.

VII.

Figures founded on Dissimulation.-

30.

85.

31.

86.

32.

87.

83.

88.

84

89.

faf%n

92.

VIII.

Figures founded on striking chain-like

description.

*j*

<

46.

48.

47.

49.

APPENDIX.

l64

IX.

24.

Figures founded on striking

ITTOIR

X.

epithets.

25.

i
|

Figure relating

to

convention of Poets.

73.

Mutual distinctions of some of the more important

Figures treated in this book.
DISTINCTION OF

In

UP AM A,

we have a

striking expressed resemblance that has been sanc-

tioned by convention of poets and that

4

and
12

will

exite poetical delight

and give an

PR

In
ATI PA, we
agreeable surprise.
have not got that striking resemblance.

The

usual form of comparison

ed and

the excellence of

is

invert-

upameya over

In UTPKEKupamdna is implied.
SHA, we have a more stricking suggested resemblance not confined to the
convention of poets but solely due tothe imaginative

skill

of the poet.

APPENDIX.

UPAMA,

In
1

and

two

tween

to be
is

is

be-

distinct

the absence of a second thing

compared

to.

The resemblance

not a striking one.

In

and

the comparison

objects
upameya
and upamana. In ANANVAYA, one
and the same object is compared, i.e., to
itself in

l65

UPAMA,

son in

we have the comparione sentence. In the other, we

have the reciprocal comparison between

^ wo distinct
objects and the reciprocation

is

possible only in

The comparision

is

two sentences.

not a striking one.

UPAMA, the comparison is expressed. In RUPAKA, the comparison

In

and

not expressed but is suggested between two distinct objects represented

is

as identical.

In
1

and

UPAMA,

accompanied

VYATIREKA,

In
1

and

^^T
26

the difference

is

also

comparison is stated in one

respect and denied in another respect.

stated,

20

the comparison is not

In
with a difference.

i.e.,

UPAMA,

resemblance
words.

In

we have

resting

in

real expressed

the senses

SLESHA,

of

the suggested
resemblance rests in mere words with-

out reference to their meanings.

l66

APPENDIX.

In

RUPAKA,

two

distinct objects

upamana and upameya

are represented
as identical on account of their close re-

and

In

ATISAYOKTI

ffarmra

semblance.

No.

upameya is comprehended as identical

with upamana through introsusception

(13)

and

No.

1,

expressed by the word representing the upamana.

is

RUPAKA,

In

upamana and upa-

meya

are identified without

and

tinct

characters

APAHNUTI
11

is

upameya

concealed,

superimposed upon

RUPAKA,

not a mistaken

MAN,

In
6

and

it is

i.e.,

upamana

is

the

identification

is

one.

In

BHRANTI-

mistaken one.

upameya

upamana. In
is

denied and

it.

PARINAMA,

sentient

dis-

In
being concealed.
the real character of the

that of another imaginary

In

their

is

the

of

the

transferred to the

RUPAKA,

not connected

act

the

upamana

with any act of the

upameya.
In
7

and

ULLEKHA,

the

upameya

is

looked upon as identical with several

upamanas by one or different perceivers

through difference of
cording to their taste.

peculiarities

In

ac-

RUPAKA,

APPENDIX.

l67

the upameya is simply identified with

one or many upamanas on account of
their

under any
In
8

and

brings to the

the sight of the

mind of the be-

holder the recollection of the

BHRANTIMAN,

In

differential peculiarity.

SMRITIMAN,

upamana

frr*UT

resemblance only and not

close

for

meya

upamana.

upameya.

we mistake upaIn

SANDEHA,

we doubt the certainty of an object

whether it is upamana or upameya.

10

APAHNUTI,

In
11

denied,

Tsfff^f

i.e., is

upamana

2.6.,

upameya is
concealed and some other,
imposed upon it. In
we have the artful con-

is

VYAJOKTI,

86

and

the

cealment of an object, though disco vered, which is not mentioned by the

32

person

who

conceals

AKSHEPA,

the same.

we have only

In

a semblance

a pretended denial of
what has been said by the speaker him-

of

denial,

i.e.,

self.

In
12

and

is

fcTO<ftfti

No.

(13)

UTPREKSHA,

the introsuscep-

not complete, i.e., the upameya

fancied under the character of upa-

tion

is

mana.

In

susception

which

is

ATISAYOKTI,
is

complete, as the

comprehended

as

the intro-

upameya
upamana is

l68

APPENDIX.

not mentioned and

expressed by the

is

word expressing the upamana.

^5^T
12

and

UTPREKSHA,

In

the

poet

who

entertains the fancy is fully aware of

the distinct nature of the upameya to

which

he

character

MAN,

attributes

In

upamana.

the

person

the

imaginary

BHR ANTI-

who mistakes

for

is

the

not conscious

upamana
upameya
upameya the subject mistaken,

of the

on account of

its close

resemblance with

the upamana.

In
12

and
<tf^r

10

rnana

UTPRERSHA,
is

the fancied upa-

apprehended more prominently

In SANDEHA,
upameya.
both upamana and upameya are appre-

than the

hended as equally prominent on account

of their close resemblance which creates a

mind of the perceiver who

is therefore unable to decide whether
the object before him is really upameya
doubt

or

upamana
In

14

and
tf^f

15

in the

itself.

TULYAYOGITA,

we have the

sameness of attribute of objects on hand,

or of objects not on hand. In DIPAKA,
the objects on hand and those not on
hand are together associated with one

and the same attribute mentioned only

once.
(See pages 46 and 47.)

APPENDIX.

In

169

PRATIVASTUPAMA,

we have

17

a parallel

ETfT

common

representation of the same

attribute expressed by different

18

words.

In

a
19

reflective^ representation

attributes.

and

we have

DRISHTANTA,

of similar

(See page 50.) In PRATIthe two sentences*

VASTUPAMA,

employed terminate in conveying the

same sense. In DRISHTANTA, the
sentences * have a similar sense reflec-

61

NIDARSANA,

In
expressed.
the senses of two sentences!
tively

in a comparison.

NYASA, we

In

terminate

ARTHANTARA-

have the

relation

of

the
particular between
general and
senses of two sentences employed one
of which serves to illustrate the other.

InVYATIREKA, we

have an ex-

pressed resemblance accompanied

20

difference.

In

MILITA, we

by a

have a

suggested resemblance but the difference between upameya and upamana is

not perceivable on account of the one

79

80

having been eclipsed by the other,

i.e.,

and

the upameya, inferior in quality, is not

at all apprehended by its being eclipsed

82

by the upamana, superior in quality.

In SAMANYA, the two objects, upa-

81

* Are
independent of each other,
each other.

22

f Are dependent upon

APPENDIX.

170

mana and upameya,

could not be dis-

tinguished on account of their having

like properties and in the absence of any

In
discriminating peculiarity.
TA, the inferior object gives up
quality.

SAMANYA,

In

objects do not give

In

UNMILITA,

up

MILIits

own

both

the

their qualities.

the difference which

was not perceivable as in MILITA,

becomes manifest by some act of the
perceiver.

In

VTSESHAKA,

the dis-

criminating peculiarity which was absent in SAMANYA becomes manifest

by the accidental operation of another

agency.
.

23

In

SAMASOKTI,

the object not on

intimated by the des-

27

hand, aprastuta, is
cription of an object on hand, prastuta.
In APRASTUTAPRASAMSA, the

29

object on hand is intimated by the desIn

cription of an object not on hand.

and
wf^f

30

PARYAYOKTAM,
mated

what

is

to be inti-

expressed by a turn of speech

by words which do not express it but
is

by words which suggest

it.

In

VYA-

understood by apparent censure and censure is understood

JASTUTI,

praise

by apparent

praise.

In
34

is

VIBHAVANA, we have an effect

in the absence

of a cause,

In VISE-

APPENDIX.

SHOKTI, we

have an absence of the

^Tfa
33

notwithstanding the existence of

a cause, or in other words, we have a
cause without an effect. In VIRODHA,

^nifH

we have both

37

as apparently contradicting each other.

^qif

In

38

the

35

effect

ASANGATI, we
effect

different

GTTOTH

In

localities.

VISHAMA,

cause opposed to

VYAGHATA,

In

t?tnff

have a cause and

represented as occupying two

we have a

45

the objects represented

effect.

its

we have one and the

same cause producing different effects

one natural and the other the exact

63

and

In

PRAUDHOKTI,

we

fg

opposite.

100

have simply an attribution of a cause to

an effect as boldly asserted by the poet

which cause cannot form the cause of

that effect.
In HETU 2ND SORT, we
have a cause identified with

In
51

and
5fa

44

PARYAYA,

residing in
in one

In

many

T?ppr

and
ful

object
objects

KIND, we
places,

have one
i.e.,

resid-

places simultaneously.

through one cause

accidental

many

place, in succession.

many

SAMADHI,

and
55

places, or

2ND

object existing in

In

we have one

and the same

VISESHA

ing in

57

many

its effect.

the effect of an act

facilitated

by the

operation of another

cause

is

more powerthan the other and hence we have in

this cause is therefore

APPENDIX.

172

samadhi unequal causes.

2ND KIND,

CHCHAYA

equally

same

powerful in
with

effect

In
all

SAMUcauses are

bringing out the

emulation as the

Maxim

of the Threshing floor and the

Pegions*, i.e., just as the pegions alight

together upon a threshing

with emulation.

*KSTTO
61

and

In

ARTHANTARANYASA,

have two statements one of which

trates

the

other,

justificative

60

floor,

we

we
illus-

one contains a

i.e.,

confirming the
have here a relation

reason

other and thus

each

for

In

KAVYA-

of general

and

LINGA,

one statement forms an im-

plied

and

particular.

completive reason for the other

we have no such relation of the

general and the particular.

T?5^
75

and
fftf^ff

79

^n

TADGUNA,

and

own

inferior quality and asgives up

sumes the superior quality of the other.
its

UTTARA, we

infer

from a state-

ment made that a question has been

previously

53

an object of inferior

quality is lost in the superior quality of

In
the object
the other.

In
83

MILITA,

KHYA

made.

In

PARISAN-

Appendix), we
have both question and answer.
In

2nd kind

(see

APPENDIX,

KAVYALINGA,
60

and
Tlf^i

94

the reason which

is

not preceded by a question is an implied

one and is to be 'inferred by the student
from the context.

In
93

173

SVABHAVOKTI,

we have an

exact delineation of an object with reference to its peculiar action or natural

appearance as is perceived by the poet

In BHAVIKA, we have a
alone.
description of an event past or future in
such a manner as can bring the subject

of description vividly before the mind's

eye.

IfffT

^^n^^inron
THE END.

II

INDEX,
Page,

Page.

(77)

...

40

.....

120

.-

(13)

3542, 166,

67

135

(96)

83

(78)

121

...

158

...

85

170

(61) 103-105, 169,

172

(59)

...

usjsflt;

...

(37)

...

(32)

(12)

142, 143

Ill

...

91

...

90

103,172,173:

(59)

,30
(87)

40

84

30
132-

(91)

(75)

118, 172

39

42-44,168

74

45,168
(18)

47

(19)

49, 151,

169

50, 51 f 169

13*
...

56
57

134

123,169

(97)

31-34, 164, 167, 168

M.

14 1

23, 16

(7)

125, 126,172

......

...

66-68, 167
...

165

102

75, 76, 171

(36)

...

...

(69)

...113

(70)

...

60, 151,

...

Do.

27-30, 166, 167

(11)

TOTT

...

13,165

(2)

1-13, 143-149, 164,

(6)

22, 166

n
'

Page.
:

...

(52)

96,
,..

Page.

96
172

t:

(72)

28

95, 171

127

48, 150, 169

q*T(17)

...

(98)

136

(28)

...

101

...

61

108-110
ifhstfm: (63)

fa:

(22)

(34)
;

(44)

(38)

...

93

(20)

r:

(45)

151, 152

149
:

...

(65)
...

107

...

(89)
(74)

(5)

...

97

...

:(30)

:(86)

ihr: (26)

130

68, 171
...

130, 170,171

...

86,87,171
123, 169

74
...

78, 79, 171

110
...

53, 165, 169

...

88, 89, 171

...

65

63,

170

128, 167

58,

165

...

159

159, 160

117

:(10)

150

(39)

35

55

27

94

18-22, 165, 166

137

69-74, 170

122,169,172
116

132

(68)

25, 26, 166, 167, 168

(9)

(88)

::

ftfcffim: (35)

29

...

54,

(33)

134, 173

,.,

131

.,

105, 171

38

...

82

ftfhnr. (82)

...

115

(40)

i:

r:

...

105

(99)

>:

108

(62)

::

15-18, 164

(58)
:

(54)

r:

119

1(76)

(92)

62, 63, 170

...

(90)

r:

...

:(57)
;(28)

25, 26, 167, 168

80, 81

100, 171
56,

170

Ill

Page.
(55)

...

98, 99, 171

;..

38

...

106

...

53

...

37

122, 169

Page.
:

(49)

...

93

...

127

25, 167
r:

tg: (100)

(93)

133, 173
138, 171

28

YB -0570

UNIVERSITY OF CALIFORNIA LIBRARY