Alamkaradappana

Author(s): H C Bhayani
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/006906/1

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ALAMKĀRADAPPAŅA
L. D. Series : 120
General Editor Jitendra B. Shah
Edited By H. C. Bhayani
GO
L. D. INSTITUTE OF INDOLOGY,
AHMEDABAD

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ALAÑKĀRADAPPAŅA
L. D. Series : 120 General Editor Jitendra .B. Shah
Edited By
H. C. Bhayani
L. D. INSTITUTE OF INDOLOGY AHMEDABAD

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ALAMKĀRADAPPAŅA
Edited By H. C. Bhayani
Published By L. D. INSTITUTE OF INDOLOGY
AHMEDABAD
First Edition : APRIL, 1999
ISBN : 81-85857-01-6
:
Price : NO 5 0
Type Setting Rakesh Computer Center
Tel No. : 6303200

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अज्ञातकर्तृक अलंकारदप्पण
संपादक एच. सी. मायाणी
प्रकाशक
लालभाई दलपतमाई भारतीय संस्कृति विद्यामंदिर,
अमदावाद - ३८० ००९

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PUBLISHER'S NOTE
We are very happy to publish the Alaṁkāradappaņa, a work in poetics in Prakrit, in the L. D. Indology Publication Series. This work is datable to the 13th Cent. A. D. Despite efforts made, the author's name could not be known. The manuscript of the work, which is in the L. D. collection, sheds no light on the problem of authorship. The editing of the work, along with its translation in English, has been meticulously done by Prof. Dr. Harivallabh C. Bhayani, an eminent scholar in Prakrit and poetics. The Institute is highly grateful to him for accomplishing this task. We hope that this Publication will be useful to all those interested in Indological studies, and particularly to those working in the field of ancient Indian poetics.
J. B. SHAH
DATE : 28-05-'99 Ahmedabad

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अज्ञातकर्तृक अलंकारदप्पण
[ One and only Alarkāra work in Prakrit, Edited from a single Available Manuscript]
· Edited by : H. C. Bhayani

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Acknowledgement
I am thankful to Dr. Parul Mankad for giving me information in the history of the Alamkāras Utprekşāvayava and Udbheda, to Dr. N. M. Kansara for rendering the text in Nāgari script. I thank L. D. Institute of Indology for publishing this work.
H. C. Bhayani

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INTRODUCTION
Manuscript Material
The only known manuscript of the Alamkāradappaņa (=AD.) is in the Jesalmer Manuscript Collection (MS. no. 326, 13 folios ; datable in the first half of the thirteenth century). Late Agarchand Nahta got a copy of the manuscript from late Muni Punyavijayji who had undertaken to visit the Bhandar, get some important manuscripts copied and prepare a catalogue. On the basis of the copy with Nahta Bhamvarlal Nahta published in the Marudharakesari Abhinandan Granth (pp. 430-458) the text of AD. with Hindi translation under the title 49191 27 HE 316ior-yil : 316icht-09. In many a place Nahta has misunderstood the text and his translation is also at many a place fanciful guesswork. Moreover, the text of the illustrations gives for the various Alamkāra is considerably corrupt. I acquired a photocopy of the manuscript of AD. and has edited the work. In several cases I have tried to emend and restore the illustrative Gāthās. 'I have supplied the Sanskrit Chāyā for the Kārikās.
Date and Authorship
As mentioned previously the mascript of AD. is conjecturally dated in the thirteenth century. In several cases the definition of the Alamkāras and in a few cases the illustration clearly shows the influence of Rudrata's

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Kāvyālamkara, dated in the nineth century. The Apabhramsa poet Svayambhu (probably in the later half of the nineth century) is said by his son Tribhuvana to have written works on Vyākarana, Chandas and Alamkāra Svayambhu's work on metres viz. Svayambhūcchandas is available, though, we have not got any other clue to his Vyakaraṇa. Our conjecture is that AD. is possibly Svayambhū's work. But his name usually given in his work is missing here and there are no references to the Tirthamkaras and on the contrary there are references to Vedic - Puranic gods like Visnu. So our conjecture remains doubtful.
Close resemblance between certain definition and a few illustrations given by Rudrața (besides the number and order of the Alamkaras) and what we find in AD. indicates that the latter had Rudrata's Kāvyālaṁkāra as one of its sources. The following instances are noteworthy :
1. •श्लिष्ट स्यार्थेन संयुक्तः किञ्चिदुत्प्रेक्ष्यान्वितः ।
रूपकार्थेन च पुनरुत्प्रेक्षावयवो यथा 11 (काव्य ३.४७) होइ सिलेसच्छलेणं मज्जंति रूअएण अफुडेण । उप्पेक्खा एसो सुओ उप्पेक्खाव असव - णामोहु || ( अद. १२१ )
2.
न्यूनस्यापि विशिष्टेन गुणसाम्य-विवक्षया ।
तुल्य-कार्य-क्रिया-योगादित्युक्ता तुल्ययोगिता ॥ (काव्य.३.२७) गुण- सरिसत्तण-तण्हाइ जत्थ हीणस्स गुरुअएण समं । होइ सम-काल-किरिया जा सा समजोइआ साहु ॥ ( अद. १०६)

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3. यत्रैकमनेकेषां वाक्यार्थानां क्रियापदं भवति ।
xx_xxx तदेतदिति दीपकं xx || आदौ मध्यांते वा वाक्यं तत् संस्थितं दीपयति । वाक्यामिति भुयस्त्रिधा xxxx || (काव्य. ७, ६४-६५) (आदि-मध्यांत-विषयं त्रिधा दीपकमिष्यते ।
भामह , काव्य. २, २५) दिविज्जति पआई एकाए चेअ जत्थ किरिआए । मुह-भज्झंतगआए तं भण्णइ दीवअंतिविहं ॥ (अद. ४६) तुल्य-श्रुतीनां भिन्नानामभिधेयैः परस्परम् । वर्णानां यः पुनर्वादो यमकं तन्निगद्यते ॥ आदि-यध्यांत-यमकं पादाभ्यासे तथावली । समस्त-पाद-यमकमित्येतत् पंचधोच्यते ॥ (काव्य. २,१७) आइ-मज्झंत-गअं पाअब्भासो तहा आवली-णिबंधो ।
णीसेस-पाअ-रइअं जाअइ जमअं अ पंचविहं ॥ (अद. १२८) 5. उपमानेन यत्तत्त्वयुपमेयस्य रूप्यते ।
गुणानां समतां दृष्ट्वा रूपकं नाम तद् विदुः ॥ समस्त-वस्तु-विषयमेकदेशविवर्ति च । द्विधा रूपकमुद्दिष्टमेतत् चोच्चच्यते यथा ॥ (काव्य. २.२१-२२) उपमानेन तत्त्वं च भेदं च वदतः पुनः । ससंदेहं वचः स्तुत्यै ससंदेहं विदुर्बुधाः ॥ (काव्य ३, ४३) उवमाणेण सरूअं भणिऊण भस्सए जहिं भेओ । थुइ-करणेणं संदेह-संसिओ. सो हु संदेहो ॥ (अद. ७४) The illustration of प्रेमातिशयः
सहसा तुअम्मि दिढे जो जाओ तीए पहरिसाइसओ । सो जइ पुणो-वि होइ सुंदर तुअ दंसणे च्चेअ ॥ (अद. ९०)
6.

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___
Compare the illustration of प्रेयस् :
अद्यया मम गोविंद जातो त्वयि गृहागते । .
कालेनैषा भवेत् प्रीतिस्तवैवागमनात् पुनः ॥ (काव्य. ३,५) List of Alaskāras treated in AD. १. उपमा
प्रतिवस्तु, गुणकलिता, असमा, माला, विगुणरूपा, संपूर्णा, गूढा, शृंखला, श्लेषा, ईषद्विकला, अन्योन्य-प्रशंसा, तल्लिप्सा,
निंदिता, अतिशया, श्रृंतिमिलता, विकल्पिता. २. रूपक
१५. विरोध सकलवस्तु, एकदेश
१६. संदेह दीपक
१७. विभावना मुख, मध्य, अंत्य
१८. भाव ४. रोध
गूढभाव, अन्यापदेश पदानुप्रास
१९. अर्थांतरन्यास अतिशय
२०. अन्यपरिकर विशेष
२१. सहोक्ति ८. आक्षेप
२२. ऊर्जा भवत्, अपक्रांत
२३. अपहृति जाति
२४. प्रेमातिशय व्यतिरेक
२५. उदात्त ११. पर्याय
रिद्धि, जाति १२. रसित
२६. परिवृत्त १३. यथासंख्य
२७. उत्तर द्विगुण, त्रिगुण, चतुर्गुण द्रव्य, क्रिया, गुण १४. समाहित

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. श्लेष
सहोक्ति, उपमा, हेतु २९. व्यपदेशस्तुति ३०. समयोगिता ३१. अप्रस्तुतप्रसंग ३२. अनुमान ३३. आदर्श ३४. उत्प्रेक्षा ३५. संसृष्टि ३६. आशिषा
३७. उपमारूपक ३८. निदर्शन ३९. उत्प्रेक्षावयव ४०. उद्भेद
किंपदगर्भ, नूनशब्द ४१. वलित ४२. यमक
पादादि, मध्यांत, पादाभ्यास, आवली, सकलपाद.
Naina
मद.
. There is scope for comparative and historical comments in the case of many Alamkāras treated in AD. But it deserves a separate effort. Dr. Parul Mandak has kindly contributed the following notes on the history and character of the Alamkāras उत्प्रेक्षावयव and उद्भेद.
उत्प्रेक्षावयव : It seems Bhamaha was first to treat this. He defines it as follows : - ___श्लिष्टस्यार्थेन संयुक्तः किंञ्चिदुप्रेक्ष्यान्चितः ।
रूपकार्थेन च पुनरुत्प्रेक्षावयवो यथा ॥ (काव्यालंकार, २.४) Like 344745 405 this Alamkāra is of a compound character. Hence perhaps and because there is a mixture of उत्प्रेक्षा, रूपक and श्लेष Vamana has regarded it as a type of संसृष्टि (काव्यालंकारसूत्रवृत्ति, 4.3.32).

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Daņdin considers it as a type of Jr (Toutgif 2-351). Bhoja also subsumes it under 3rd (Hand OT9924, 4.5)
364 : Śobhākaramitra defines it as follows : fangen ufatta Jetta: 1 (Tiamin, 7. 808)
In the commentary he clarifies that when somehting concealed becomes somehow revealed the Alamkāra is उद्भेद, which is of two types वाच्य and व्यंग्य.
What is called पिहित by Rudrata that is उद्भेद of Śobhākaramitra. But Jayadeva has treated fyren in the same way as Sobhākaramitra's JGT. Vāgbhața (later) and Appaya Dikșita have also treated 3G . Bhoja in the Sarasvatikanthabharana has regarded उद्भेद as a type of भाविक. In F1:514-za-aici etc. Bhoja says there is 370478 3oa. (Sarasvatikan-thābharaṇa, p.550). His view is cited by Narendraprabhasūri in his Aalaṁkāramahodadhi (p. 327)
(Reference : Ruyyaka's Alamkārasarvasva - A Study, Vol. 4 and 5) In a number of cases the meaning is not clear to me either due to corruptness of the text or due to textual difficulties (as for example in the case of the definitions and illustrations of the Yamka types).

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TEXT
suņdara-paa-viņņāsaṁ vimalālamkāra-rehia-sarīram | sui-deviaṁ ca kavvam ca paņavia' pavara-vaņņaddhaṁ || 1
Homage firstly to the Godess of Learning who takes steps beautifully, whose body is adorned with bright ornaments and who is refulgent with abundant lustre and (secondly) to Poetry that has beautifully structured diction, that has a form illuminated with pure figures of speech and that is rich in excellent sound patterns.
savvāiṁ kavvāim savvāim jeņa homti bhavyāim tamalaṁkāram bhaạimo 'lamkāram ku-kavi-kavväņam ||'2
We propose to describe (the chief figures of speech), due to which all the poems become worthy of hearing and gain loftiness and which cry halt to the compositions of worthless poets.
accarta-suṁdaraṁ pi hu ņiralamkāram janammi kiraṁtam | kāmiņi-muham va kavvaṁ hoi pasaņņam pi vicchāam || 3
A poem and a damsel's face inspite of being very beautiful and lucid, if they are bereft of ornaments, would appear lustreless to the people.
tā jāņiūņa ņiuņam lakkhijjai' bahu-vihe alamkāre) jehiṁ alamkariāim bahu maņņijjaħti kavvāim || 4
Hence becoming thoroughtly conversant with numerous types of the figures of speech, we define and describe them here so that the poems beautified with them get excellent reception.
uvamā-ravaa-divaa- rohāņuppāsa-aisaa-visesā l' akkheva-jāi-vairea-rasia-pajjāa-bhaņiā u || 5
Upamā, Rūpaka, Dipaka, Rodha, Anuprāsa, Atiśaya, Visesa, Aksepa, Jāti, Vyatireka, Rasita, Paryāya-bhanita,
Begins : Oṁ namaḥ Sarasvatyai. Jail. 1. panaviațional 4.1. lakkhijjaha. nal & Prics...visesam i

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jahāsaskha-samāhia- viroha-samsaa-vibhāvaņā-bhāvā || atthamtaraņāso aņņa-pariaro taha sahottia || 6
Yathāsamkhya, Samāhita, Virodha, Sarśaya, Vibhāvanā, Bhāva, Arthāntaranyāsa, Anyaparikara, Sahokti,
ujjā avanhava io pemmāisao udātta-pariattā 1 davvuttara-kiriuttara-guņuttarā bahu silesā a 11.7
ūrjā, Apahnava, Premātiśaya, Udātta, Parivịtta, Dravyottara, Kriyottara, Gunottara, various types of Śleşa,
vavaesa-thui-samajoiā ia apatthuappasaṁsā' al anumāņam Wariso uppekkhā? taha a samsitthi || 8
Vyapadeśa-stuti, Samayojitā, Aprastutaprašaṁsā, Anumāna, Ādarśa, Utprekṣā, Saṁssști,
āsisā-uvamārüvaā ca jāņaha! ņiarisanam taha al uppekkhāvaavo bhea-valia-jamaehi samjuttā || 9
Āśiḥ, Upamārupaka, Nidarśana, Utprekṣāvayava, Udbheda, Valita along with Yanaka.
ettia-mittā ee kavvesu paditthiā alaskārā || ahiā uvakkameņam visão doņņi samkhāu || 10
These only are the established and accepted poetic figures. These, numbering forty, we shall describe in order.
uvamāņeņam jā desa-kāla-kiriāvaroha-padieņaṁ uvameassa sarisam lahai guņeņaṁ khu sā uvamā || 11
That is indeed Upamā which achieves the similarity of the object of comparison, through a quality thereof, with the standard of comparison that is distinct on account of difference in place, time or action.
18. kapatthuapasaṁsā. 2. upekkhā. Personal & pr9.l jāņai niarisiņam

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padivatthū guņa-kaliā asamā mālā a viguņa-rūvā al sampuņņā gūdhā saṁkhalā a lesā a dara-vialā || 12
Prativastu, Gunakalitā, Asamā, Mālā, Viguņarūpā, Sampūrņā, Gūdhā, Śịrkhalā, Śleşā, Isatvikalā,
ekka-kkamā pasaṁsā tallicchā ņimdiā aisaā a sui-miliā taha a viappiā a sattaraha uvamão || 13
Anyonyā, Prasaṁsā, Tallipsā, Ninditā, Atiśayā, Śrutimilitā, Vikalpitā.
pațivatthue sā uvamā jā samāņa-vatthurūă a | ‘iva'-'miva'--pivā’i-rahiā visarisa-guna-paaeāhisto || 14
That Upamā is Prativastu which lacks particles (of comparison) like iva, miva, piva, and which conveys similarity between two things, inspite of dissimilar qualities.
padivatthuvamā jahā : sampatta-tivagga-suhā thovā puhavia homti ņāra-nahā || mahura-phala (?) [-kusumā] siņiddha-pattā tarū viralā || 15 The illustration of Prativastūpamā :
There are few kings on this earth who have achieved (all the) three classes of happiness : Rare are such trees that have sweet fruits, fragrant flowers and tenderly smooth leaves.
guņa-kaliā sā bhaņņai gunehi dohim pi sarisaā jattha uvamèo kira jie uvamāņam hoi să samā || 16
That Upamā is called Guņa-kalitā in which resemblance pertains to two qualities.
That Upamā is Asamā in which the object of Comparison becomes the Standard of Comparison.

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guņa-kaliā jahā : campaa-laa! va ņava-kusuma-sumdarā sahai vimjha-kadaeva vaccha-tthalammi lacchi tamāla-nile mahumahassa || 17 The Illustration of Guņa-kalitopamā :
On the broad chaste of Vişņu that is, like the slope of Vindhya, as dark as (or due to) Tamāla tree(s), Lakşmi like the Campaka creeper, as beautiful as (alternately beautiful due to) fresh flowers, appears charming
asamā jahā : jonhā-nimmala-lāaņņa-pasara-cińcaia-saala-bhuaņāi | tuha tujjha vva kisoari samāņa-rūā jae natthi || 18 The illustration of Asamopamā :
O damsel of slender belly, your graceful beauty, like the clear moonlight, adorns the whole world. So nobody is there like you in this world who can compare with you in beauty.
sā mālā uvamāņāņa jattha vivihāņa hoi riṁcholi biuņa-sarisovamā jā viņimmiā biuņa-rua tti || 19
That Upamā is Mālā in which there is a series of different Standards of Comparison.
That which is constructed with twofold similar Comparisons is called Dviguņa-rūpā.
mālovamā jahā : hari-vaccham va sukamalaṁ gaanaṁ va bhamamta-sūra
sacchāam || säara-jalar va kari-maara-sobiam tuha ghara-ddāram || 20 The illustration of Mālopamā :
The gate of your house is sukamala (marked with beautiful lotuses) like the chaste of Vişņu (which is marked by the presence of beautiful Lakşmi); it is splendorous due to bhamamta sūra (brave 17. L. lai tion Intern 2. kadai. 18.1o, pasaricimccaia.se Only

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11
men moving about), like the sky which is splendorous due to bhamamta sūra (the revolving sun); it is like the water of the ocean marked by (the figures or alternatively the presence of) elephanta and crocodiles.
viuṇa-rūvovamā jahā :
nivvāvārikaa-bhuaṇa-mamḍalo sūra-ņāsia-pahão | ṇāha paosa-vva tumaṁ pāusa-sarisattaṇam vahasi || 21
The illustration of Dviguṇarupopamā :
As the night-time, putting a stop to the activities of the world and eliminating the sunlight resembles the rainy reason, you also, my lord, resemble the same by putting a stop to the (hostile) activities of all the feudatories and by destroying the prowess of the enemy heroes.
ṇa hu uņā ṇahu ahiā jā jāai sā hu hoi sampunṇā | jā uņa samāsa-liņā sā gūḍhā bhaṇṇae uvamā || 22
The Upama which is neither deficient nor excessive (in the matter of requisite characteristics) is called Sampurnopamā. That Upamā which is submerged in a compound is call Guḍhopamā.
sampunņā jahā :
sohasi vaanena tumam keai-kaņṇulliā-saṇāheņa |
kamaleņa va pāsa-tṭhieņa muddhaḍa-hamsena pasaacchi || 23
The illustration of Sumpurnopamā :
With your face having the Ketaki flower as the ear ornament, and thus resembling a lotus with a young goose standing near-by, Oh damsel with beautifully long eyes, you appear charming.
gūḍhovamā jahā :
kaha pāvihisi kisoari daiam thaṇaala-sakhea-nisasiri' | rambhā-gabbhoara-ṇiamba-bhāra-masineņa gamaṇena || 24
The illustration of the Gudhopamā :
O slim-waisted damsel, being short of breath due to the strain of
24.1. pädihisi; nisasirim.

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(your heavy) breasts and moving softly because of the great weight of your lower body with thighs like the pith of the plaintain tree, how will you reach (?) your lover ?
uvamā-vaehi uttiviļi-raiehi samkhalā hoi | uvamijjai uvameo jesiṁ lesāņa sā lesā || 25
That Upamā which is made up of a concatenation of Upamās is called Sțnkhalopamā.
That in which the Object of Comparison is Compared by means of Sleșas is Sleșopamā.
samkhalovamā jahā : saggassa va kaņaa-giri kamcaņa-giriņo (va) mahialam' hou mahivihassa-vi bhara-dharaņa paccalo taha tumaṁ cea || 26 The illustration of Śņikhalopama :
As the Golden Mount (i.e. Meru) is capable to bear the great burden of the Heaven, and as the earth-surface is capable of bearing the great burden of Mount Meru, so it is only you who are capable of bearing the great burden of the vast earth.
lesovamā jahā : so samjhā-rāa-samo' cala-pemmo jo jaņo suhao so kim bhāsai samjhā-rāeņa va jo ņa rischoli || 27 The illustration of the ślesopamā :
That person who is attractive, but fickle in love is like the twilight colour ....(?)
susarisamāpakhevaṁ (?) vialai sa cceva hoi daravialā | ekkakkamovamāņehi hoi ekkakkamā ņāma || 28
The Upamā which... is caled Isadvikalā. Tha Upamā in which there are mutual Upamānas is called Anyonyopamā.
26 du girināt mahialā.
27.br roasamo.rivate Use Only

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daravialā jahā : piņa-tthaņi sa-rūā paha-pesia-loaņā sa-ukkanthā | lihiya vva dāra-laggā ņa calai tuha damsaņāsāe || 29 The illustration of Isadvikalopamā :
That damsel with plump breasts and a beautiful figure, directing her glance with intense yearning on the path of your arrival, remains attached to the doorway without moving — as if she were a picture, hoping to catch your glimpse.
ekkakkamā jahā : paai-vimalāu doņņi-vi vibuha-jane nivvui-karão a | ekkekkama-sarisão tuha kitti tiasa-sariā a || 30 The illustration of Anyonyopamā :
Your fame and the heavenly river, both of them being pure by nature and imparting bliss to Vibudhas ((1) the learned, (2) the gods) resemble each other.
nimdāe salahijjai uvameo jattha sā pasaṁsa tti aņuharai aisaeņam jā sa ccia hoi tallicchā || 31
That Upamā wherein the Upameya is praised under the guise of censure is called Praśamsopamā. That is Tallipsopamā which resembles Atiśoyakti (?).
nimdā-pasaṁsā jahā : tuha. samdhassa va naravai bhujjai bhiccehi pāaļā lacchi hiaāi (hiaaṁ pi ?) kāarassa va vaaņijja-bhaeņa osarai || 32 Praising through censuring (i.e. Prasam opamā) is as follows:
O King, your Laksmi (i.e. favours) is openly enjoyed by your dependents, as if you are eunuch, Your heart (?) too wilts from fear of scandalous rumours, as if it were that of a coward.

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tallicchovamā jahā : pāusa-nisāsu sohai jala-ppavahehi pūriā puhai | cala-vijju-valaya-vādaņa-nivadia-nakkhatta-sarisehim || 33 The illustration of Tallipsopamā :
In rainy nights, the earth filled with water-streams resembling masses of stars fallen down due to strokes from circular flashes of lightning, appears beautiful.
uvameo nimdijjai thui-vavaeseņa jattha să niņdā | aisaa-bhaņiā sa ccia aisaiā bhaņņae uvamā || 34
That is Nindopamā wherein the Upameya is censured through praise. That Upamā which is expressed through Atiśayokti is called Atiśayopamā.
thui-nimdovamā jahā : tambola-rāa-miliamjaņeņa ahareņa sohasi paose 1 dara-pariņaa-jambuhala-kasti-sariseņa pihu-acchi || 35 The illustration of Stuti-nindopamā :
O girl with (beautiful) long eyes, you appear charming at the advent of the advent night with your lowerlip that is coloured by the betel-juice mixed with the kohl and hence it has the lustre like that of a slightly ripe roseapple (jambū) fruit.
aisa(i)ya-uvamā jahā: joņhā-bhaa-saraṇāgaa-timira-samahehi ņijjia-miamkaṁ || sevijjai vaaņam sāsa-gaṁdha-luddhehi bhasalehiṁ || 36 The illustration of the Atiśayitopamā :
(Your) face, which has conquered the moon, is served (i.e. attended to) by bees, (which resemble) masses of darkness coming to seek refuge due to fright of the moonlight, and which is covetous of the fragrance of (your) breath.
33.1. ppahāņehi. 2. tāờama ; khaṇatta-. 34.1. ņamdijjai. -35-1. sua. Intel 2a pariņia For Personal & Private Use Only

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jā sarisaehi bajjhai saddehim să hu hoi suimilia | ekkāņikka-viappaņa-bheeņa viappiā du-vihā || 37
Sruti-militā is that (Upainā) which is constructed by means of similar words; Vikalpită (Upamā) has two types according to fancying once or more than once.
sui-miliovamā jahā : datthūņa para-kalattam chaṁdāvaļiam maņoharaṁ kavvam | khijjai khalo viambhai dūsai dosaṁ a-pecchaṁto || 38 The illustration of Śruti-militopamā :
Seeing another's wife willful and beautiful (as also) a poem, composed in metres and beautiful, a wicked person feels dejected, yawns and censures her (or it) eventhough he fails (actually) to find any fault.
ekkattha-viappiovamā jahā : paribhamaņa-vai-niaờdhia-sampimdia-bahala-reņu-ņiacchaā / nahasu (?) anada-taṁsā iva, vāāvattā muņijjarte || 39
The illustration of Vikalpitopamā which has fancying related to a single idea :
The whirlwinds, controlling mass of dust drawn and collected near hedges though wanderings round and round, appear like tortuously moving paramours.
bahuhā-viappiovamā jahā : sūrammi dāva jalane vva volie nahaalaṁ vaarasaṁ(?)vayo | pacchā masi-ņiareņa va tameņa kasiņikayam saalaṁ || 40 The illustration of Bahudhā-vikalpitopamā:
Then as the sun like a fire departed, the surface of the sky which was as if...(?) and afterwards all of it was darkened as if with a mass of soot.
39.1. sampidia. Jäin Education international
40.1. volio : nahaaram. 2. pacchi, saasam

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uvamāņeņuvaricassa jaṁ nirūvijjae ni(?)rūvanam khu | davva-guņa-sammaaṁ tam bhaņamti iha rūvaṁ kaiņo || 41 upamānenupameyasya yat nirūpyate nirūpaņaṁ khalu | dravya-guna-sammataṁ tam bhaṇanti iha rūpakam
kavayaḥ ||41 When the nature of Upameya based on the latter's substance or qualities is represented by Upamāna, then that representation is called Rūpaka by the poets.
taṁ cia duvihaṁ jāai samattha-pāattha-viraaņā-jaņiam | padhamam biaṁ ekkekka-desa-parisamthiam hoi || 42 tadeva dvividham jāyate samasta-padārtha-viracanā-janitar | prathamam dvitiyaṁ ekaikadeśa-parisaṁsthitam bhavati ||
The same is of two types : the first is such as produced by relating to all the terms, the second is confined to a single part.
Saala-vatthu ravaam jahā : gaaņa-saram pecchaha pāusammi taņu-kirana-kesara-saņāham
tārā-kusuma-vvavaņas mahabharaṇa paulaṁ samakkamai ||43 The illustration of Sakalavastu-rupaka :
Look at the lake of the sky in the rainy season with stars as flowers that have roogs as follen x x x x X.
ekkekka-desa-rūvaaṁ jahā : aviraa-pasaria-dhārā-nivẫa-nitthavia-panthia-samnho | mārihai mam sa-daiaṁ nikkivo pāusa-cilão || 44 The illustration of Ekadeśa-rupaka :
The pitiless Rainy Season in the form of a Kirāta, who has killed the travellers by the incessantly pouring showers will kill me also along with my beloved.

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· bheā ņāehiṁ cia haria-cchāehim rūvaāņa kaā | atthe labbhijjai cia saaleara-rūaā-histo || 45
XX XX XX
divijjasti paāim ekkāe cea jattha kiriãe muha-majjhamtagaãe tam bhaņņai divaam' tịviham || 46
That Alamkāra wherein a single verb illuminates the words of the sentence, that verb being placed either in the beginning or middle or end (of the sentence), is called Dipaka of the three varieties.
muha-divaaṁ jahā : bhusijjaħti gaiṁdā maeņa suhaļā asi-ppahareņa | gaua? taraeņa turaṁgā sohagga-guņeņa mahilão || 47 The illustration of Mukha-Dipaka :
The excellent elephants shine forth in virtue of the ichor, the brave-warriors in virtue of the sword-strokes received, the horses in virtue of their speed and the women in the virtue of their beauty.
majjah-divaam jahā : sukaviņa jaso sūrāņa dhirimā ihiam narimdāņa | keņa khalijjai pisuņāņa dummai bhiruāņa (?) bhaam || 48 The illustration of Madhya-Dipaka :
Who can harm, violate or diminish the fame of great poets, the steadfastness of the brave men, the wishes of the kings, the evil designs of the back-biters and the fear of the cowards.
amtadivaam jahā : satthena buhā dāņeņa patthivā guru-taveņa jai-ņivahā || raņa-sāhaseña suhadā mahiale pāada homti || 49 The illustration of Antyå-Dipaka : The wise men by means of learned treatises, the kings by means
46.1. diviaí

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of charity, the ascetics by means of rigorous austerity, the soldiers by means of daring acts on the battle-field become famous in the world.
addha-bhaņiaṁ nirumbhai jassim juttia hoi so roho ! paa-vaņņa-bhea-bhiņno jāai du-viho anuppāso || 50
That is Rodha wherein what is partly spoken is restrained artfully. Anuprāsa has two types distinguished on the basis of words and sounds.
roho jahā : ko ņa valai teņa viņa mā bhaņasu a pulaiehim pāsehiṁ | ai-rahasa-jampiāim havamti pacchā avacchāiṁ || 51
Who would not burn without him ? Do not speak with your sides thrilling. Words spoken very rashly become harmful afterwards.
paāņuppāso jahā : sasi-muhi muhassa lacchim thaņasāliņi thaņaharam-pi
pecchamto taņuāai taņuoari hali [a] suo kahasu jam juttaṁ || 52 The illustration of Padānuprāsa :
The ploughman's son, seeing the beauty of your face, O moonfaced girl, and seeing your breasts, O bearer of plump breasts, becomes thinner, O slim-bellied girl. So tell me what is proper in this matter.
vaņņāņuppāso jahā : vāamti sajala-jalahara-jala-lava-saṁvalana-siala-pphaṁsā | phullamdhua-dhuva-kusumucchalamta-gamdhuddhurā
pavaņa || 53 The winds are blowing, having cooling touch due to the mixture of water particles from the water-bearing clouds, and strongly redolent with the fragrance springing from flowers that are shaken by bees.
jattha nimittāhimto loā ekkamta-goaram vaanam | viraijjai so tassa a aisaa-ņāmo alamkāro || 54

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Where the words of usual discourse are used purposefully to convey oneness then that figure is called Atiśaya.
aisaālamkāro jaha : jai gaṁdha-milia-bhamaram na hoi avaamsa-campaa-pasūam | tā keņa vibhāvijjai kaola-miliam paham tissā || 55 The illustration of the figure Atiśya :
If bees had not gathered (attracted by) the fragrance of the Campaka flower used as ear-ornament, who could have observed it, as its colour was commingled with the colour of her cheeks ?
vigae vi ekka-desa-guņamtareņam tu samthui jattha || kirai visesa-payadaņa-kajjeņaṁ so viseso tti || 56
Where a quality disappears from one part, if it is praised through attribution of another quality with a view to bring out speciality, that figure is Viseșa.
Viseşālamkāro jahā : na-vi taha nisāsų sohai piāņa tambola-rāa-pacchaio | jaha piaama-pio paņdaro-vi aharo pahāyammi || 57 The illustration of the figure Visesa :
The lower lip of the beloveds, which is at night covered with betel leaf-juice does not appear as beautiful as when it appears in the morning deeply kissed by their lover even though then it is deprived of colouring.
jattha niseho vya sasihia (?) kirai visesa-taṇhāe | so akkhevo duviho hoạta-vakkamta-bheeņa || 58
Where something is negated ..... with some specific purpose, the figure is Aksepa. It is of two types : Bhavat and Apakrānta.

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Homtakkhevo jahā:
jai vaccasi taha vaccasu maha garu(a-dāha)-virahaggi-tavia
taṇue | vaccai tai samaaṁ cia ahavā kaha jampiam esā (?) || 59
20
The illustration of Bhavat-ākṣepa :
'If you are going away, then go. As my body will be burnt by the intense fire of separation, with you will certainly depart my . But how..
avakkamtakkhevo jahā :
khagga-ppahāra-dadha-dalia-riu-dalassa gaa-kumbha-viḍhassa | tua natthi ettha ko mahiharaṇa samcālano hojja || 60
The illustration of Apakrāntākṣepa :
You, who has torn the broad temples of the elephants of the hostile army that was crushed with your forceful sword-strokes there is nobody here to..... who can possibly be a mover of mountains?
hoi sahão jāi vairego una visesa-karaṇeņa | uaṇena-mohi(?) saā aṇeņam cc (?) bajjhai kaihim || 61
The (description of) nature is Jāti. When some special trait is pointed out it is Vyatireka xx xx XX.
jāi jahā :
sira-dharia-kalasă gholira - bāhā-jualai gāma-taruņie | manņai vilāsa-diṭṭho bhai(?)-tthiaam pamaro puhavim || 62
The illustration of Jāti:
The busbandsmand, glanced at sportively by the young village girl, carrying a water pot on her head and swinging her both hands, thinks he has gained (the whole) earth.
vairego jahā:
dusaha-paāva-pasaro somo sai akhalia-paho tam si |
te vva jaḍā uṇa doņha vi ravi raa raa haa-cchāā || 63

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· The illustration of Vyatireka :
The spread of your prowess (2. heat) is unbearable. You are always gentle and you tread the path without stumbling (2. stopage)... Besides the sun ...... are inanimate (?) Hence their lustre is dimmed (before you).
phuda-simgārāi-raso so rasio aha bhaņņae alamkāro | anna-vavaesa-bhanie viņimmio hoi pajjāo || 64
When there is explicit erotic sentiment the figure is said to be Rasita. When something is said under disguised reference Paryāya is produced
rasio jahā: dai-viaddha-vaaņāņubardha-iarā viambhium thaddha | paļai sauņņassa uare rasamta-rasaņā kuramgacchi || 65 The illustration of Rasita :
The proud fawn-eyed girl, won over (?) by the soliciting clever words of the female messenger, yawning and with her girdle tinkling would fall on the chest of a man who has earned religious merits.
pajjão bhaņņai jahā : garuāņa coriāe ramati(e) payada-rai-rasaṁ katto | mā kuņasu tassa dosaṁ sumdari visama-tthie kajje || 66 Paryāya is illustrated as follow :
How can there be real sexual pleasure in making love clandestinely-concealing it from the elders ? O charming woman, in such a difficult matter do not blame him.
jaha ņia (?) bhaņņai bahuā parivādi-paadaņam jaha-samkham kiṁ puņa biuņam tiuņaṁ caugguņam hoi kavvammi || 67
When many things are described with a view to reveal a series it is Yathāsamkhya. It can be two-membered, three membered or fourmembered in the poem.

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biuņo jahā: hamsa-sasi-kamala-kuvalaya-bhasala-mulāņaņa ņijjiā lacchi tissa gai-muha-karaala-loaņa-dhammella-bāhāhim || 68 The illustration of the two-membered Yathāsamkhya :
Her gait, face, palms, eyes, tuft of hair and arms have conquered the beauty respectively of the swan, moon, lotus, blue lotus, black-bee and lotus-fibres.
tiuņo jaha : jo vahai vimala-vellahala-kasaņa-sia-sari(ā)-visa-miamkam | muddhaddha-raaņiara-mauli-samsias taṁ sivaṁ ņavaha || 69 The illustration of the three-membered Yathāsamkhya :
Bow down to the Siva, who carries respectively pure, delicate, black and white river, poison and moon and whose head is resort of a half-moon.
Caugguņo jahā : tie sama-maua-dihehim nimmala-tamba-dhavala-sohehim | dasaņāhara-naaņehim jiāim maņi-jāvaa-kamalāim || 70 The illustration of the four-membered Yathāsamkhya :
Her teeth, lower lip and eyes which are respectively even, soft and long and have also respectively shining, red and white lustre have conquered diamonds, lac-dye and lotus respectively.
anavekkhia-patta-sahāa-sampaãe samāhio hoi | guņa-kiriāņa-viroheņa esa bhaņio viroho-tti || 71
Samāhita occurs when rich help is received unexpectedly. When there is opposition between qualities or actions, the figure is called Virodha :
Samāhio jahā: accaṁta-kuvia-piaama-pasāaņattham paattamāņie uio caído-vi tatto a pasario malaa-gaṁdhavaho || 72
Jain Education Inteinational

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The illustration of Samāhita :
When she has begun efforts to appease her greatly indignant dear one, at that very moment arose the moon and then the southern breeze spread.
viroho jahā : tujjha jaso hara-sasahara-samujjalo saala-ņavaņia didham-pi
mailai ņavara vara-veri-vira-vahu-vaaņa-kamalāiṁ || 73
Your fame eventhough bright white like the moon on Siva's (head).............. makes black with dirt the lotus-faces of the wives of your brave enemies.
uvamāņeņa sarūam bhaņiūņa bhasssae jahim bheo || thui-karaņeņaṁ saṁdeha-saṁsio so-hu saṁdeho || 74
When the character of something is described first through a standard of comparison and then the distinction is made in order to praise, resorting to doubt, that figure is Saṁdeha.
saṁdeho jahā : kim kamalamiņam ņo tam sa-kesarar kim sasi ņa tattha mao dittham sahi tujjha muhaṁ sa-saṁsaami ajja taruņehim || 75 The illustration of Saṁdeha :
Is this a louts ? But no, that has filaments. Then is this the moon ? But no, there the deer is present). O friend, your face is looked at with such doubts by the young boys.
natthi viheo kiriā-rasiassa-vi hoi jattha phala-riddhi bhaņņai vibhāvanā so kavvālamkāraittehim || 76
Wherein eventhough there is nothing to be performed still, because of resort to actions there ensues abundance of result, that has been called Vibhāvanā by the experts in poetic figures.

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vibhāvanā jahā : vaddhai a-sitta-mūlo apao hoạto-vi pasarai ņahammi | gao-via kanho adhoa-vimalo jaso tujjha || 77 The illustration of Vibhāvanā :
Your fame, grows even though its roots are not watered, even though without legs it spreads to the sky, even though not like a black elephant, even though not washed it is spotlessly white / clean.
aņņo cia uttarao, a jattha bhāvai sa bhāvao bhaņio | duviho hu hoi jaha taha, sāhijjamtaṁ ņisāmeha || 78
Wherein altogether quite a different meaning one perceives from the reply that figure is called Bhāva. Listen to it being described how it is of two types.
kassa-i vaaņā s tahim, hu(?) suehim uttarehs najjaṁti abbhimtarammi ņia-hiaa-gudha-bhāvo tahā utto || 79
“When somebody's words become known through the replies (given to them) because of an implied inner meaning that is in his mind that type is called Gadha Bhāva (?).'
jassa bhaniihi anno, aņņo paadijjae jahim atthol aņņāvaesa-ņāmo, sittho satthaārehim || 80
That in which words express one meaning but another meaning also becomes revealed — that Bhāva is called Anyāpadeśa by the authorities on the Alaskāraśāstra.
āu(?) alamkāro jahā : hā hā vihua-karaalaā lahia arsuam daddham | padiā golā-ure, ņam saraseņa miseņam halia-suṇhā || 81 The illustration of the Gadha Bhāva (?):
(Crying) "oh, oh”, the daugher-in-law of the ploughman, shaking her hands, getting hold of (her) burnt garment and thus devising a sensible ruse jumped in the flood of the Godāvari.

Før Personal & Private Use Only

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aņņāvacso jahā : aņņassa baṁdha bhoiņi, ņava-vacchaa-selliam baillassa | āloa-metta-suhavo, ņo kajja-karaṇa-kkhamo eso || 82 The illustration of the Anyāpadeśa (type of Bhāva) :
Oh headman's wife, you tie the tether to some another young bull. This one is only attractive to look at ; he is incapable of functioning.
puvva-bhania-sarisammi vatthummi tassa vivaria-attha-bhaņaņaṁ so anno || 83
The statement of the opposite of what has been said previously is another variety.
XX XX XX XX
atthamtaraņāso jahā : vipphurai ravi uaāalammi ņahu attha-mahihara-siratthol teaṁsiņo vi team, lahaṁti thāņar laheūņa |1.84 The illustration of Arthāntaranyāsa is as follows: . .
The sun does not shine on the summit of the setting mountain as it shines on the rising mountain. The brilliant ones too achieve brightness when they get (appropriate) position.'
xx xx xx xx aņņa-pariaro-jahā : turiyāe turiya-gamaño, ņiamba-bhara-mamtharāe salila-paol maggeņa tia vaccai, pellāvellie taruņi-jaņo || 85 · The illustration of Anya-parikara :
Young girls, pushing one another, go following her path rapidly when she goes rapidly, slowly when she moves slowly with sportive steps.
bahu-vatthu ccia kiriyā(?)sama-kāla-paāsanaṁ u sahautti
guru-viraāe raio, jāai ujjā-alamkāro || 86 For Personal & Private Use Only

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Revealing of several things and activities simultaneously constitutes the figure Sahokti. When a figure is composed on the basis of (the theme of) great prowess — that figure is Ürjā.
[ ujjā jahā :] visattho ccia geņhasu, vaisiaạe vegga-nivaļiaṁ khaggam | paharaṁte pați-paharaṇamuna karesu ņa sāmattham(?) 1187 The illustration of Űrjā:
Do take up confidently your sword which falls forcefully on the enemies. By striking him in return who strikes show your strength (?).
sahotti jáhā : şiddāe samā lajjā, sarira-sohāe saha gaā kitti samaaṁ taha aņuraaņi, tie vaddhamti ņisāsā || 88 The illustration of Sahokti :
Her modesty is gone along with sleep; her physical charm is gone along with her fame; and along with the night-time her sighs increase.
uvamā jattha ņiņhavai thadā sā avaņnhui hoi| piie a aisaeņaṁ, pemāisao bhaņeavvo || 89
Wherein the simile is concealed that figure is Apanhuti. Wherein extreme love (is expressed) that figure should be called Premātiśaya.
avaņhui jahā : ņahu ucca-vidava-samthia-pahittha-kalaamthi-kala-rava
ppasaro suvvai vaņa-vilasira-pupphacāva-mahuro ravo eso || 90 The illustration of Apahnuti :
Really, what is heard is not the spreading sweet notes of the joyous cuckoo perched on a lofty branch. This is the sweet twang (of the bow) of the flowry-arrowed one who sports in the park.

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pemāisao jahā : sahasā tuammi ditthe, jo jāo tia paharisāisao || so jai puņo-vi hosai, suṁdara tua daṁsaņe ccea || 91 The illustration of Premātiśaya :
The extreme joy which she felt on seeing you all of a sudden, will be again felt, if at all, on seeing only you, O beautiful one !
riddhi-mahāņubhāvattaņehi duviho-vi jāai udatto | so pariutto gheppai, jattha visittņas ņiam dāum || 92
Two types of Udātta result (through the expression of) prosperousness and high nobility. That is Parivịtta in which something special is received by giving away something that is one's own.
riddhi-udātto jahā : tuha ņara-sehara vipphuria-raaņa-kiraņa-ņiara-ņāsia-tamāim | bhiccāņa-vi diva-sihā-mailāi ņa homti bhavaņāim || 93 The illustration of Riddhi-udātta :
O crown of men ! The palatial houses even of your servants do not get dirty due to (the soot from) the lamp-flame because there the darkness is expelled by a mass of glittering rays of the jewels.
mahāņubhāvatta-jāiudatto jahā : vellahala-ramaņi-thanahara-padipellia-viada-vaccha-pidhā-vil ņa calamti mahā-sattā, maaņassa sire paaṁ dāuṁ || 94 The illustration of Udātta based on high nobility :
Even when their broad, strong chaste is closely pressed by the beautiful breasts of charming girls, the mind of men of great fortitude does not move (become unsteady) — They plant their foot on the head of the God of Love.

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pariatto jahā : sasimuhi muha-paṁkaa-kaṁti-ppaşarana-kisanakkam(?)
vilāseņa ditthim dāðņa tao, gahiai juāņa-hiaāim || 95 The illustration of Parivștta :
O moon - faced girl, by the playful spread of the rays of your bright lotus-face, you give a glance and catch the hearts of young boys in return.
davva-kiriā-guņāņam pahāņaā jesu kirai kaihim | davvuuttara-kiriuttara-guņuttarā te alamkārā || 96 :
In those statements where the poets assign prominence to either the substance, action or quality, in accordance with that we have there respectively the figures Dravyottara, Kriyottara and Guņottara..
davvuttaro jahā : vara-kari-turamga-maṁdira-āņāara-sevaa-kaņaa-raaņāi| cimtia-mettāim cia, havarti deve pasaņņaṁmi || 97 The illustration of Dravyottara :
When the destiny is favourable one can have excellent elephants, horses, house, obedient servants, gold and gems the moment one thinks of them.
kiriyuttaro jahā : mā ruau mā kisāau, mā jhijjau mā vihim uālahau jā ņikkiva tuha bahu-vallahassa varai pide pațiā || 98 The illustration of Kriyottara :
She should not weep, nor become thinner, nor be reduced, nor blame her fate, she who, poor one, became fond of you, who has many sweethearts.

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guņuttaro jahā : sasi-somma sarala sajjaņa, sacca-vaa suhaa sucaria salajja | diţtho si jahim tuam tettāi kahaņu ņa Ņarimda(?) || 99 The illustration of Guņottara :
Oh king, as beautiful as the moon, simple, good man, observing the vow of truthfulness, charming, of good character, modest, wherever you are seen.........(?)
uamāņaṁ uameam, raijjai teņa so sileso-tti | so uņa sahotti-uamā-heühimto muñeavvo || 100
It is Ślesa when the Upamāna (standard of comparison) and Upameya (object of comparison) are described in the same words. It should be understood to be (of three types): Sahokti, Upamā and Hetu,
Sahotti-sileso jahā : piņā ghaņā a dūras samuņņaā ņaha-vivattia-chāā | mehā thaņaā-vi tuha, nitthavamti taṇhāuro loo || 101 The illustration of Sahoktiślesa :
People troubled by trsņā (1. thirst, 2. yearning) are xxx the clouds and your breasts that are plump, dense, rising high and altering the colour of the sky (or having nail marks).
uvamā-sileso jahā : darāhim cia najjai dhakkā-sadda-ssa sūiam gamaņam | lahuia-mahihara-sattāņumatta-hatthiņa-va pahūņa || 102 The illustration of Upamāśleșa :
The march of the elephants and kings, which dwarfs the strength(?) of mahiharas (1.mountains, 2.other kings), suggested by the sound of the kettle-drum, is known even from a long distance.
heu-sileso jahā : helā-visavia-maaņaggaņeņa sama-pecchiāi a jaņassa |
alia-parammuhaāe bhadda naaņa-pahe tam si || 103 For Personal & Private Use Only

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The illustration of Hetuślesa:
O suspicious one, you are within the range of eye-sight of her who, falsely turning away her face looks at you in the same manner as at other peoples in order to convince them..... effortlessly.
accubbhaḍa-guna-samthui-vavaesa-vaseņa savisaā jattha | kirai nimdai thui, să vavaesa-thui ṇāmam || 104
That is called Vyapadeśastuti wherein something is praised through censure with the objective of praising its highly striking qualities.
vavaesa-thui jahā :
akuline paai-jaḍe, akajja-vamke jie sasamkammi | tujjha jaso para-sehara, kijja suaṇā via ṇāmāi || 105
30
The illustration of Vyapadeśastuti :
Oh highest among men, by gaining victory over the moon which is akuliņa (1. not in contact with earth, 2. of low lineage), jaḍa (1. stupid, 2. inanimate) by nature and vamka (1. crooked, 2. curved) without reason your fame xX XX XX XX
guna-sarisattaṇa-taṇhāi jattha hiņassa guruaeņa samaṁ | hoi samakala-kiriā jā sā samajoiā sāhu || 106
Where activity of the low takes place at the same time with that of the high with a desire to achieve equality of quality, there occurs the right Samayogitā.
samayogitā jahā :
maaṇassa param rajjam kirai rai-tarala-taruni-nivahassa | samaala-calia-maņi-valaa-mehala-ņeura-ravena || 107
The illustration of Samayogita :
The sound of the jewelled wristlets, girdle and anklets of the bevy of young girls, restless due to love, installs the supreme government of Madana.

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appatthuappasamgo, ahiāra-vimukka-vatthuņo bhaņaņam aņumāņam limgeņam, liṁgi sāhijjae jattha || 108
Aprastutaprasanga consists in the statement of something outside its domains. Anumāna occurs where something is inferred by means of evidence.
appatthuappasaṁgo jahā : sāsukkoeņa gaā uaha vahuāi suņņa-devaulam | patto dullaha-lambho-vi anna-kajjāgao jāro || 109 The illustration of Aprastutaprasanga :
See, the daughter-in-law went to the deserted temple driven by the wrath of her mother-in-law. There she met her paramour, otherwise difficult to meet, who happened to go there on some other business.
aņumāņam jahā : ņuņam tia vi sữamti teņa saha vilasiam haāseņa naha-paa-pallava-laggãi saaņijja-dalāi amgāi || 110 The illustration of Anumāna :
Her dallying with that wicked one is doubtlessly suggested by her limbs which bearing nail-marks have left signs on the bed-leaves.
āarisammi-va jāsiṁ ucсhara-roņaṇabhara(?) phuda-cchāā| disamti paavvā(?) hiaa-hāriņi so hu āariso || 111
That is Ādarśa wherein is seen vividly the heart-winning reflection, as if in a mirror, of the various parts of --------(?)
āariso jahā : keli-parā mosara maņne tuha phaṁsüavam apāvamtā | hatthā se naha-kirana-cchaleņa dhārāhi-va ruvaṁti || 112 The illustration of Ādarśa :
Indulging in sport, do not move away : her hands deprived of the festive joy of touching you are weeping profusely, I believe, under the guise of the (bright) rays from her finger-nails.

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thevovamāi sahiā,(a)samta-kāraņā guņāņujoeņa | avivakkhia-sāmatthā, uppekkhā hoi sāisaā || 113
With a slight touch of Upamā, attributing non-existing qualities due to some connection, lacking in intention of stating all (parts) is Utprekṣā excelling in poetic beauty.
uppekkhā jahā : disai päria-saṁkho-vva malaa-mārua-naremda-samcalaņel dara-dalia-malliā-maula-lagga-muha-guṁjiro bhamaro || 114 The illustration of Utprekşā :
The bee, humming while its mouth is stuck to the Mallikā bud slightly open (blossomed) appears like the conch that has been blown at the march of the king, the Malaya breeze.
vivihehi alamkārehi ekka-miliehi hoi samsitthi : āsisālamkāram, āsivvāaṁ ca bhanamti || 115.
Saṁsrsti results when different figures are combined into one, and the figure Āśis is said be in the form of a statement of blessing.
samsitthi jahā : tujjha muhaṁ sasi sasimuhi taha tujjhamba-nava-pallavā
calaņā| thaņaā tuha jala-kalasa-vva suņdarā kaṁ na mohamti || 116 The illustration of Samsrsti :
Omoon-faced girl, your face is the moon and your feet are fresh leaves of mango; your breasts are beautiful like water-pitchers. Whom they would not fascinate ?
āsisā jahā : āsisā samtattassa-vi saala-kalusāi tumha ņāsaṁtu | dia-guru-tavasi-kuārim-siaaņa-suaņehim diņņā u || 117 The illustration of Āśis : May the blessing given by the Brāhmaṇas, the preceptor, ascetics,

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virgins, satis, and good people destroy all your sins, you who is suffering agony.
uvamārūvaameam, viraijjai jattha rüvae uvamā| ņiarisanam hu vi sittham camdāviajaovamārahia(?) || 118
That is Upamārūpaka wherein Upamā is incorporated in a Rapaka. Nidarśana is described as ..... without explicit Upamā.
uvamāruvaam jahā : sampesia-ṇaaņa-sarā, rasaņā-rava-tarala-milia-ghara-hassa khalia-juāņā ņisarai, mammaha-dhāļi-vva dhavalacchi || 119 The illustration of Upamārüpaka :
That girl with white eyes shoots arrows of her eye-sight, draws the flock of the restless pet swans because of her jingling girdle and makes the boys falter as she comes out like a sudden invasion of the God of Love.
ņiarisanam jahā : dāvamti jalaharā saala-daṁsaņa-vahaṁ samāradhā|| khaņa-vihadaṁta-khaņa-samuņņai-dharaā kāla-kilāu || 120 The illustration of Nidarśana :
The clouds, mounted over whole of the visible expanse, now disintegrating, now rising high, show the sportings of Time.
hoi silesa-chaleņań, majjaħti rùaeņa a-phuĻeņaṁ | uppekkhā eso suo uppekkhāvaava-ņāmo hu || 121
That figure is known as Utprekṣāvayava wherein Utprekṣā is merged in an implied Rūpaka under the guise of Ślesa.
Uppekkhāvaavo jabā : sama-viasaņa-sampunnam, vaņam nu kusumāņa raaņi
viramammi ujjovai haa(?)-caído, joikkheņa va(?) paittho || 122

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The illustration of Utprekṣāvayava : .
At the close of night the moon illuminates the luninaries ... as if a forest filled with flowers, all blooming at the same time (?).
so ubbheo vatthūņa jattha vatthūhi hoi ubbheo bhaņio kim-paa-gabbho, biio taha ņūņa-saddeņa || 123
Wherein there is revelation of some things by others — that figure is Udbheda. Its one type is said to have the word 'kim'implied. The other type is marked by the word 'nūņam”.
Ubbheo kim-paa-gabbho jahā : ālimiņiacchaņa-saloniam haliassa a-muņia-rasassa | nivvāsia-sira-ciramuchuņņam muhaṁ viațdheņam || 124
The illustration of that type of Udbheda in which the word kim is implied :
The face of the rustic, who had not experienced love, and who was looking at the beautiful girl whose head was bared due to slipping of upper garment, was bashed by her lover (?)
nūņam-sadde ubbheo jahā : dara-niggaaṁ ņa pecchai nūņam sahaāra-mamjarim ajja | teņa tuha vaccha loaņaṁ ahiu(?) vahu-muhaasdam || 125
The illustration of that type of Udbheda which contains the word Ņūmam :
She does not look, it seems, at the mango-blossom that slightly came out just to-day. Hence, O dear son, the moon-like face of your wife ....(?)
vara-vaana-pālaņam kim-paeņa sahi-desaņaṁ khu valio tti| jamaaṁ sui-sama-bhiņņattha-vaņņa-pusaruttaambhaņiam || 126
That figure is Valita wherein the friend of the Nāyikā advises her to keep her promise with the lover, by using the word kim. Yamaka is defined as the repetition of words which are same in sounds but different in meaning.

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valiālaskāro jahā : kis tuha ruassa halā ruasu (tuam] sāmiņi ņia-sattie | assāuccheadhaiu (?) tassa a pāesu padiā u || 127 The illustration of the figure Valita :
What is the use of your weeping, O friend ? You weep as much as you can. (You can please him only ?) by falling at his feet.
āi-majjhamta-gaam, pāabbhāso tahā āvali-nibamdho | nisesa-pāa-raiaṁ, jāai jamaam a parca-viham || 128
Yamaka is of five types : repetition of a word in the beginning or the middle and end, repetition of a Pāda, concatenated repetition and repetition of all the Pādas.
pāāi-jamaam jahā : mā ņam māņam hārehi şiddaa-daie aha sālūri(?) || gaa-ņāha-gea(?) sāņāsā-sāsāurām ramiam || 129 The illustration of Yamaka occurring in the beginning of a Pāda:
Do not loose your pride before your pitiless darling, O..... and make love to him avidly with heavy breathing with the nose (?)
majjharta-jamaam jahā : jassa pavaṁgamehi khaa-samam dittham tanhāieņaṁ nacciram
ciram vimala-pphuraṁtara-raaņa-vijjujjalam jalaṁ mahiharāghãa
visaraṁta-aṁtaaṁ || 130 The illustration of Yamaka occuring in the middle and end of a Pāda:
xx xx xx xx

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pāabbhāse jamaam jahā : sed-baddha-samuddam tarala-lavammaņam | kamdarāghaņa
cāram ovvaa paaņa-ņālaṁ kaṁdarā-ghana-căriaṁ ovvam paaņa
i ņālaam || 131 The illustration of Yamaka occurring as repetition of a Pāda :
XX XX XX XX
āvali-jamaam jahā : hambho raṁvijjala-pajala-pajala-nibbhare nibbhareunam sārāsāme sāsāme saamottuṁ kalio || 132
The illustration of Yamaka in the form of concatenated repetition :
XX XX XX XX
saala-pāa-jamaam jahā : tuha kajje sāhasiā keņa kaā vaṁdaņeņa sāhasiā| taņņiuņam sā hasiā sahiāhi phudar sā hasiā || 133
The illustration of Yamaka in the form of repetition in all the Pādas :
XX XX XX XX
aņņe vi ūņaā sesā ņa hosti samaggādhiņo kavve i teņa vi aạno bhāvopaeso ea datthavvo || 134
XX XX XX XX iti alaskāradarpanaṁ samāptaṁ |||
śubham bhavatu || Thus ends the Alaskāradarpaņa. Let there be welfare and prosperity

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THE ALAMKĀRA-DAPPAŅA
The text in Nagari Script
सुंदर-पअअ-विण्णासं विमलालंकार-रेहिअ-सरीरं । सुइ-देविअंच कव्वं च पणविअ पवर-वण्णढणं ॥१॥ सव्वाइं कव्वाइं सव्वाइं जेण होंति भविआई। तमलंकारं भणिमोऽलंकारं कुकवि-कव्वाणं ॥२॥ अच्चंत-सुंदरं पि हु णिरलंकारं जणंमि कीरंतं । कामिणि मुहं व कव्वं होइ पसण्णं पि विच्छाअं ॥३॥ ता जाणिऊण णिउणं लक्खिज्जइ बहु-विहे अलंकारे। जेहिं अलंकारिआई बहु मण्णिजंति कव्वाइं ॥४॥ उवमा-रूवअ-दीवअ-रोहाणुप्पास-अतिसअ-विसेसा। अक्खेव-जाइ-वैरेअ-रसिअ-पज्जाअ-भणिआ ||५|| जहासंख-समाहिअ-विरोह-संसअ-विभावणा-भावा । अत्यंतरणासो अण्ण-परिअरो तह सहोत्तिअ ॥६॥ उज्जा अवन्हव इओ पेम्माइसओ उदात्त परिअत्ता । दव्युत्तर-किरिउत्तर-गुणुत्तरा बहु सिलेसा अ ॥७॥ ववएस-थूई-समजोइआ इअ अपत्थुअपसंसा अ। अनुमाणमाअरिसो उप्पेक्खा तह असंसिट्ठी ॥८॥ आसीसा-उवमारूच जाणह णिअरिणं तह अ। उप्पेक्खावअवो भेअ-वलिअ-जमएइ संजुत्ता ॥९॥ एत्तिय-मित्ता एए कव्वेसु पडिट्ठिआ अलंकारा । अहिआ उवक्कमेणं वीसाओ दोण्णि संखाउ ॥१०॥

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उवमाणेणं जा देस-काल-किरिआवरोह-पडिएणं । उवमेअस्स सरिसं लहइ गुणेणं खु सा उवमा ॥ ११ ॥
पडिवत्थु गुण - कलिआ असमा माला अ विगुण-रूवा अ । संपूण्णा गूढा संखला अ लेसा अदर - विअला ॥१२॥
एक्क-कमा पसंसा तलिच्छा णिदिआ अइसआ अ । सुइ-मिलिआ तह अ विअप्पिआ अ सत्तरह उवमाओ ॥१३॥
जिवत्थुए सा उवमा जा समाण - वत्थुरूआ अ । 'इव'-'मिव’'पिव’इ-रहिआ विसरिसगुण-पअअए आर्हितो ॥१४॥
पडिवत्थूवमा जहा :
संपत्त-तिवग्ग - सुहा थोवा पुहवीअ होंति णार - पहा । महुर-फल(?) [-कुसुमा] सिणिद्ध-पत्ता तरु विरला ॥१५॥
गुण- कलिआ सा भण्णइ गुणेही दोहिं पि सरिसआ जत्थ । उवमेओ किर जीए उवमाणं होइ सा समा ॥१६॥
गुण- कलिआ जहा :
जंपअअ-लअअ ' व्व णव - कुसुम - सुंदरा सहइ विंझ । कडए' व वच्छ-त्थलम्मि लच्छि तमाल-नीले महुमहस्स ॥१७॥
असमा जहा :
जोहा निम्मल - लाअण्ण-चिंचइअ - सअल - भुअणाइ । तुह तुझ व्व किसोअरि समाण-रूआ जए णत्थि ॥१८॥
सा माला उवमाणाण जत्थ विविहाण होइ रिछोली । बिउण- सरिसोवमा जा विणिम्मिआ बिउण - रूअ ति ॥१९॥

38

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मालोवमा जहा : हरि-वच्छं व सुकमलं गअणं व भमंत-सुर-सच्छाअं। साआर-जलं व करि-मअर-सोहिअं तुह घर-द्दारं ॥२०॥ विउण-रूवोवमा जहा : निव्वावारिकअ-भूअण-मंडलो सूर-णासिअ-पहाओ। णाह पओस-व्व तुमं पाउस-सरित्तणं वहसि ॥२१॥ ण हु ऊणा णहु अहिआ जा जाअइ सा हु होइ संपुण्णा। ... जा उण समास-लीणा सा गूढा भण्णए उवमा ॥२२॥
संपुण्णा जहा: सोहसि वअणेण तुमं केअइ-कण्णुल्लिआ-सणाहेण । कमलेण व पास-ट्ठिएण मुद्धड-हंसेण पसअच्छि ॥२३॥ गूढोवमा जहा : कह पाविहिसि किसोअरि दइअंथणअल-सखेअ-नीससिरि। रम्भा-गब्भोअर-णिअम्ब-भार-मसिणेण गमणेण ॥२४॥ उवमा-वएही उत्तिविडि-रइएहि संखला होइ।। उवमिज्जइ उवमेओ जेसि लेसाण सा लेसा ॥२५॥ संखलोवमा जहा : सग्गस्स व कणअ-गिरिकं चण-गिरिणो[व] महिअलं' होउ। महिवीढस्स-वि भर-धरण पच्चलो तह तुमं चेअ ॥२६॥ लेसोवमा जहा : सो संझा-राअ-समो ' जल-पेम्मो जो जणो सुहओ। सो किं भासइ संझा-राण व जो ण रिंछोलि ॥२७॥

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40
सुरसरिसमापखेवं(?) विअलइ स च्चेव होइ दरविअला। एक्कक्कमोवमाणेही होइ एक्कक्कमा णाम ॥२८॥ दरविअला जहा : पीण-त्थणी स-रूआ पह-पेसिअ लोअला स-उक्कण्ठा। लिहिय व्व दार-लग्गा म चलई तुह दंसणासाए ॥२९॥ एकक्कमा जहा : पअइ-विमलाउ दोण्णि-वि विबुह-जणे निव्वुई-कराओ अ। एक्कक्कम-सरिसाओ तह कित्ती तिअस-सरिआ अ ॥३०॥
निंदाए सलहिज्जइ उवमेओ जत्थ सा पसंस त्ति । अणुहरइ अइसएणं जा स च्चिअ होइ तल्लिच्छा ॥३१॥ । निंदा-पसंसा जहा : तुह संढस्स व नरवअइ भुज्जइ भिच्चेही पाअडा लच्छी। हिअआई (हिअअंपि?) काअरस्स व वअणिज्ज-भएण ओसरइ ॥३२॥ तल्लिच्छोवमा जहा : पाउस-निसासु सोहइ जल-प्पवहेहि पूरिआ पुहई। चल-विज्जु-वलय-वाडण-निवडिअ-णक्खत्त-सरिसेही ॥३३॥ उवमेओ निदिज्जइ थुइ-ववएसेण जत्थ सा निंदा । अतिसअ-भणिआ स च्चिअ अतिसइआ भण्णए उवमा ॥३४॥ थुइ-निदोवमा जहा : तंबोल-राअअ मिलिअंजणेण अहरेण सोहसि पओसे। दर-परिणअ-जंबूहल-कंति-सरिसेण पिहु-अच्छि ॥३५॥

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4
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अइस(इ)य-उवमा जहा : जोण्हा-भअअ-सरणागअ-तिमिर-समूहेही णिज्जिअ मिअंकं । सेविज्जइ वअणं सास-गंध-लुद्धेही भसलेहिं ॥३६॥ जा सरिसएही बज्झइ सद्देहिं सा हु होइ सुहमिलिआ। एक्काणिक्का विअप्पण-भेएण विअप्पिआ दु-वविहिा ॥३७॥ सुइ-मिलिओवमा जहा : दट्ठण पर-कलत्तं चंदावडिअंमणोहरं कव्वं । खिज्जइ खलो विअंभइ दूसइ दोसं अ-पेच्छंतो ॥३८॥ एक्कत्थ-विअप्पिओवमा जहा : परिभमण-वइ-णिअड्डिअ-संपिंडिअ-बहल-रेणु-नि(णि?)अच्छआ। णहसु (?) अणड-तंसा इव वाआवत्ता मुणिज्जते ॥३९॥ बहुहा-विअप्पिओवमा जहा : सूरम्मि दाव जलणे व्व वोलिए णहअलं वअरसं(?)वयो। पच्छा मसि-णिअरेण व तमेण कसिणीकायं सअलं ॥४०॥ उवमाणेणुवंएस्स जं निरूविज्जए नि(?)रूवणं खु। . दव्व-गुण-सम्मअंतं भणंति इह रूवं कइणो ॥४१॥ [उपमानेनुपमेयस्य यत् निरूप्यते निरूपणं खलु। द्रव्य-गुण-सम्मतं तं भणन्ति इह रूपकं कवयः ॥४१॥] तं चिअ दविहं जाअइ समत्थ-पाअत्थ-विरअणा-जणि। पढमं बिअं एकेक-देस-परिसंठिअं होइ ॥४२॥ तदेव द्विविधं द्वितीयं एकैकदेश-परिसंस्थितं भवति ॥४२॥

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सअलवत्थु रूवअं जहा : गअण-सरं पेच्छह पाउसम्मि तणु-किरण-केसर-सणाहं । तारा-कुसुम-व्ववणं महभरण पउलं समक्कमइ ॥४३॥ एक्केक-देस-रूवअं जहा : अविरअ-पसरिअ-धारा-णिवाअ-निट्ठविअ-पंथिअ-समूहो। मारिहइ मं स-दइअंनिक्किवो पाउस-चिलाओ ॥४४॥ भेआ णाएहिं चिअ हरिअ-च्छाएहिं रूवआण कआ । अत्थे लब्भिज्जइ चिअ सअलेअर-रूअआ-हिंतो ॥४५॥
-x-x--xदीविजंति पआई एक्काए चेअ जत्थ किरिआए। मुह-मज्झंतगआए तं भण्णइ दीवअंतिविहं ॥४६॥ मुह-दीव जहा : भूसिज्जंति गइंदा मएण सुहडा असि-प्पहरेण । ग ? तरएण तुरंगा सोहग्ग-गुणेण महिलाओ ॥४७॥ मज्ज-दीव जहा : सुकविण जसो सूराण धीरिमा इहि नरिंदाण । केण खलिज्जइ पिसुणाण दुम्मइ भीरुआण (?) भअअं ॥४८॥ अंत-दीवअं जहा : सत्थेण बुहा दाणेण पत्थिवा गुरु-तवेण जइ-णिवहा । रण-साहसेण सुहडा महिअले पाअड होंति ॥४९॥ अद्ध-भणिअं निरंभइ जस्सि जुत्तिअ होइ सो रोहो। पअ-वण्ण-भेअ-भिण्णो जाअइ दु-विहो अनुप्पासो ॥५०॥

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रोहो जहा : को ण वलइ तेण विणा मा भणसु अ पुलइएहिं पासेहिं । अइ-रहस-जंपिआई हवंति पच्छा अवच्छाई ॥५१॥ पआणुजासो जहा : ससि-मुहि मुहस्स लच्छि थणसालिणि थणहरं-पि पेच्छंतो। तणुआअइं तणुओअरि हलि[अ]सुओ कहसु जं जुत्तं ॥५२॥ वण्णाणुप्पासो जहा : वाअंति सजल-जलहर-लव-संवलन-सीअल-प्फंसा। फुल्लंधुअ-धुव-कुसुमुच्छलंत-गंधुद्धरा पवण ॥५३।। जत्थ निमित्ताहिंतो लोआ एकंत-गोअरं वअणं । विरइज्जइ सो तस्स अ अइसअ-णामो अलंकारो ॥५४॥ . अइसआलंकारों जहा : जइ गंध-मिलिअ-भमरं न होइ अवअंस-चंपअ-पसूअं। ता केण विभाविज्जइ कओल-मिलिअं पहं तिस्सा ॥५५॥ विगए वि एक्क-देस-गुणंतरेणं तु संथुई जत्थ । कोरइ विसेस-पयडण-कज्जेणं सा विसेसो त्ति ॥५६।। विसेसालंकारो जहा : न-वि तह णिसासु सोहइ पिआण तंबोल-राअ-पच्छइओ। जह पिअअम-पिओ पंडरो-वि अहरो पहायम्मि ॥५७॥ जत्थ निसेहो व्व ससीहिअ(?) कोरइ विसेस-तण्हाए। सो अक्खेवो दुविहो होंत-विकंत-भेएण ॥५८॥

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होतक्खेवो जहा : जइ वच्चसि तह वच्चसु गरु(अ-दाह)-विरहग्गि-तविअ-तणुए। वच्चसि तइ समअंचिअ अहवा कह जंपिअं एसा ॥५९॥ अवकंतक्खेवो जहा : खग्ग-प्पहार-दढ-दलिअ-रिउ-दलस्स गअ-कुंभ-वीढस्स। तुह नत्थि-एत्थ को महिहराण संचालणो होज्ज ॥६०॥ होइ-सहाओ जाइ वैरेगो उण विसेस-करणेण। उअणेन-मोही (?) सआ अणेणं च्च् (?) बज्झइ कईहिं ॥६१॥
जाइ जहा : सिर-धरिअ-कलसा घोलिर-बाहा-जुअलाइ गाम-तरुणिए। मण्णइ विलास-दिट्ठो भइ (?)-ट्ठिअअं पामरो पुहवि ॥६२॥ वैरेगो जहा : दूसह-पआव-पसरो सोमो सइ अखलिअ-पहो तं सि । ते व्व जडा उण दोण्हा वि रवि रअ रअ हअ-छाआ ॥६३॥ फुड-सिंगाराइ-रसो सो रसिओ अह भण्णए अलंकारो। अण्ण-ववएस-भणिए विणिम्मिओ होइ पज्जाओ ॥६४॥ रसिओ जहा : दूई-विअड्ड-वअणाणुबंध-इअरा विभिउं थद्धा । पडइ सउण्णस उअरे रसंत-रसना कुरंगच्छी ॥६५॥ पज्जाओ भण्णइ जहा : गरुआण चोरिआए रमंति(ए) पयड-रइ-रसं कत्तो। मा कुणसु तस्स दोसं सुंदरि विसम-ट्ठिए कज्जे ॥६६॥

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जह णिअ (?) भण्णइ बहुआ परिवाड़ी-पअडणं जह-संखं । किं पुण बिउणं तिउणं चउग्गुणं होइ कव्वंमि ॥६७॥ हंस-ससि-कमल-कुवलय-भसल-मुलाणण निज्जिआ लच्छी। तिस्स गइ-मुह-कर अल-लोअण-धम्मेल्ल-बाहाहिं ॥६८॥ तिउणो जहा : जो वहइ विमल-वेल्लहल-कसण-सिअ-सरि आ]-विस-मिअंकं । मुद्धद्ध-रअणिअर-मौलि-संसिअंतं सिवं णवह ॥६९॥
चउग्गुणो जहा : तिए सम-मउअ-दीहेहिं निम्मल-तंब-धवल-सोहेहिं । दसणाहर-नअणेहिं जिआई मणि-जावअ-कमलाइं ॥७०॥ अणवेक्खिअ-पत्त-सहाअ-संपआए-समाहिओ होइ । गुण-किरिआण-विरोहेण एस भणिओ विरोहो-त्ति ॥७१॥ समाहिओ जहा : अच्चंत-कुविअ-पिअअम-पसाअणत्थं पअतमाणिए। उइओ चंडो-वि तत्तो अ पसरिओ मलअ-गंधवहो ॥७२॥ विरोहो जहा : तुज्झ जसो हर-ससहर-समुज्जलो सअल-णवणिअ दिढं-पि। मइलइ णवर वर-वेरी-वीर-वहु-वअण-कमलाई ॥७३॥ उवमाणेण सरूअं भणिऊण भस्सए जहिं भेओ। थुइ करणेणं संदेह-संसिओ सो-हु संदेहो ॥७४॥ संदेहो जहा : किं कमलमिणं नो तं स-केसरं किं ससी ण तत्थ मओ। दिटुं सहि तुज्झ मुहं स-संसअंइ अज्झ तरुणेहिं ॥७५॥
Jain Education Internatio

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नत्थि विएहो किरिआ - रसिअस्स होइ जत्थ फल- रिद्धि । भण्णइ विभावणा सो कव्वालंकारइत्तेहिं ॥ ७६ ॥
वड्डइ अ-सित्त-मूलो अपओ होंतो-वि परसइ हम्मि । गओ - विअ कण्हो अधोअ - विमलो जसो तुज्झ ॥७७॥ अण्णो चिअ उत्तरओ अ जत्थ भावइ स भावओ भणिओ ! दुविहो हु होइ जह तह साहिज्जंतं णिसामेह ॥७८॥
कस्स - इ वणआई तर्हि, हु (?) सुएहिं उत्तरेही नज्जंति । अब्भितरम्मि णिअ-हिअअ - गूढ - भावो तहा उत्तो ॥७९॥ जस्स भणिईही अण्णो, अण्णो पअडिज्जए जहिं अत्थों । अण्णावएस - णामो, सिट्टो सत्थआरेहिं ॥८०॥
आउ (?) अलंकारो जहा :
हा हा विहूअ - करअलआ लहिअ अंसुअं डड्डुं ।
पडिअ गोला - ऊरे, णं सरसेण मिसेणं हलिअ - सुहा ॥८१॥
अण्णावएसो जहा :
अण्णअस्स बंध भोइणि णव- वच्चअअ - सेल्लिअं बइलस्स । आलोअ - मेत्ता - सुहवो ण कज्ज-करण - क्खमो एसो ॥८२॥
>
पुव्व- भणिअ- सरिसम्मि वत्थुम्मि ।
तस्स विवरिअ - अत्थ-भणणं सो अण्णो ॥ ८३ ॥
XX XX XX XX
अत्थंतरणासो जहा :
विप्फुरइ रवी उअआअलम्मि गहु अत्थ - महिहर - सिरत्थो । तेअंसिणो वि तेअं, लहंति ढाणं लहेऊण ॥८४॥

XX XX XX XX
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अण्ण-परिअरो जहा : तुरियाए तुरिय-गमणो , णिअम्ब-भर-मंथराए सलील-पओ। मग्गेण तीअ वच्चइ , पेलावेलाए तरुणि-जणो ॥८५॥ बहु-वत्थु च्चिअ किरिया(?) सम-काल-पआसनं उ सहउत्ति । गुरु-वीरआए रइओ , जाअइ उज्जा-अलंकारो ॥८६॥ [उज्जा जहा :] वीसत्थो च्चिअ गेण्हसु वइरिअणे वेग्ग-(?)विडिअं खग्गं । पहरते पडि-पहरणमुणा करेसु ण सामत्थं(?) ॥८७॥ सहोत्ति जहा : णिद्दाए समा लज्जा , सरीर-सोहाए सह गआ कित्ति । समअंतह अणुर तीए वटुंति णीसासा ॥८८॥ उवमा जत्थ णिण्हवइ थडा सा अवण्हुई होइ। पीईए अ अइसएणं , पेमाइसओ भणेअव्वो ॥८९॥ अवण्हुई जहा : णहु उच्च-विडव-संठिअ-पहिट्ठ-कलअंढि-कल-रव-प्पसरो। सुव्वइ वण-विलसिर-पुष्फचाव-महुरो रवो एसो ॥१०॥ पेमाइसओ जहा : सहसा तुअम्मि दिढे , जो जाओ तीअ पहरिसाइसओ। सो जइ पुणो-वि होसइ , सुंदर तुअ दंसणे च्चेअ ॥११॥ रिद्धि-महाणुभावत्तणेहि दुविहो-वि जाअइ उदत्तो । स परिउत्तो घेप्पइ , जत्थ विसिटुं णिअंदाउं ॥१२॥

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रिद्धि-उदात्तो जहा : तुह णर-सेहर विप्फुरिअ-रअण-किरण-णिअर-णासिअ-तमाई। भिच्चाण-वि दीव-सिहा-मइलाइ ण होंति भवणाई ॥९३॥ . महाणुभावत्त-जाइउदत्तो जहा : वेल्लहल-रमणि-थणहर-पडिपेल्लिअ-विअड-वच्छ-पीढा-वि। ण चलंति महा-सत्ता , मऊणस्स सिरे पअंदाउं ॥९४॥ . परिअत्तो जहा : ससिमुहि मुह-पकअ-कंति-प्पसरण-किरणकं(?) विलासेण । दिट्टि दाऊण तओ , गहिअइं जुआण-हिअआई ॥१५॥ दव्व-किरिआ-गुणाणं पहाणआ जेसु कीरइ कईहिं। दव्युउत्तर-किरिउत्तर-गुणुत्तरा ते अलंकारा ॥१६॥ दव्युत्तरो जहा : वर-करि-तुरंग-मंदिर-आणाअर-सेवअ-कणअ-रअणाइ। चिंतिअ-मेत्ताई चिअ , हवंति देवे पसण्णंमि ॥९७॥ किरुयुत्तरो जहा : मा रुअउ मा कीसाउ , मा झिज्जउ मा विहिं उलाहउ। जा णिक्किव तुह बहु-वल्लहस्स वरई पिड पडिआ ॥९८॥ गुणत्तरो जहा : ससि-सोम्म सरल सज्जण , सच्च-वअ सुहअ सुचरिअ सलज्ज । दिट्ठो सि जहिं तुअं तेत्ताइ कहणु ण णरिंदा(?) ॥१९॥ उअमाणं उअमेअं , रइज्जइ तेण सो सिलेसो-त्ति । सो उण सहोत्ति-उअमा-हेऊहिंतो मुणेअव्वो ॥१०॥

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सहोत्ति-सिलेसो जहा : पीणा घणा अ दूरं समुण्णआ णह-विवत्तिअ-छाआ। मेहा थणआ-वि तुह , निट्ठवंति तण्हाउरो लोओ ॥१०१॥ उवमा-सिलेसो जहा : दूराहिं चिअ णज्जइ ढक्का-सद्दस्स सूइअंगमणं । लहुइअ-महिहर-सत्ताणुमत्त-हत्थिण-व पहूण ॥१०२॥ हेउ-सिलेसो जहा : हेला-विसविअ-मअणग्गणेण सम-पेच्छिआइ अ जणस्स। अलिअ-परम्मुहआए भद्द णअण-पहे तं सि ॥१०३।। अच्चुब्भड-गुण-संथुइ-ववएस-वसेण सविसआ जत्थ। कीरइ निंदाइ थूई , सा ववएस-थुई णामं ॥१०॥ ववएस-थुई जहा : अकुलीणे पअइ-जडे , अकज्ज-वंके जीए ससंकम्मि। तुज्झ जसो णर-सेहर , किज्ज सुअणा विअ णामाइ ॥१०५॥ गुण-ससिसत्तण-तण्हाइ जत्थ हीणस्स गुरुअण समं । होइ समकाल-किरिआ जा सा समजोइआ साहु ॥१०६॥ समयोगिता जहा : मअणस्स परं रज्जं कीरइ रइ-तरल-तरुणि-णिवहस्स। समआल-चलिअ-मणि-वलअ-मेहला-णेउर-रवेण ॥१०७॥ अप्पत्थुअप्पसंगो अहिआर-विमुक्क-वत्थुणो भणणं । अणुमाणं लिंगेणं , लिंगी सहिज्जए जत्थ ॥१०८॥

Page #59

अप्पत्थुअप्पसंगो जहा : सासुक्कोएण गआ उअह वहुआइ सुण्ण-देवउलं । पत्तो दुलह-लंभो-वि अण्ण-कज्जागओ जारो ॥१०९॥
अणुमाणं जहा : णूणं तीअ वि सूअंति तेण सह विलासिअं हआसेण । नह-पअ-पल्लव-लग्गाइ सअणिज्ज-दलाई अंगाइ ॥११०॥ आअरिसंमि-व जासिं उच्छर-रोणणभर(?) फुड-च्छाआ। दीसंति पअव्वा(?) हिअअ-हारिणो सो हु आअरिसो ॥१११॥ आअरिसो जहा : केलि-परा मोसर मण्णे तुह फंसूअवं अपावंत । हत्था से णह-किरण-च्छलेण धाराहि-व रुवंति ॥११२॥ थेवोवमाइ सहिआ , (अ)संत-कारण गुणाणुजोएण। अविवक्खिअ-सामत्था , उप्पेक्खा होइ साइसआ ॥११३।। उम्पेक्खा जहा : दीसइ पूरिअ-संखो-व्व मलअ-मारुअ-णरेंद-संचलणे। दर-दलिअ-मल्लिअ-मउल-लग्ग-मुह-गुंजिरो भमरो ॥११४॥ विविहेहि अलंकारेहि एक्क-मिलिएहि होइ संसिट्ठि। आसीसालंकारं, आसिव्वाअं च भणंति ॥११५॥ संसिट्ठि जहा : तुज्झ मुहं ससि ससिमुहि तह तुझंब-नव-पल्लवा चलणा। थणआ तुह जल-कलस-व्व सुंदरा कं ण मोहंति ॥११६॥

Page #60

51
आसीसा जहा :
आसीसा संतत्तस्स - वि सअल - कलुसाइ तुम्ह णासंतु । दिअ - गुरु-तवसि - कुआरिं-सिअअण-सुअणेहिं दिण्णा उ ॥११७॥
उवमारूवअमेअं, विज्जइ जत्थ रुवए उवमा । णिअरिसणं हु-वि सिद्धं चंडाविअजओवमारहिआ (?) ॥११८॥
उवमारूवअं जहा :
संपेसिअ - णअण-सरा, रसणा-रव- तरल- मिलिअ - घर - हंस । खलिअ - जुआणा णिसर, मम्मइ - धाडि - व्व धवलच्छि ॥११९॥
अरिसणं जहा :
दावंति जलहरा सअल - दंसण-वहं समारूढा । खण-विहडंत-खण-समुण्णइ - धरआ काल-कीलाउ ॥१२०॥
होइ सिलेसा-छलेणं, मज्जंती- रूअण अ- फुडेणं । उप्पेक्खा एसो सुओ उप्पेक्खावअव - णामो हु ॥१२१॥
उप्पेक्खाव अवो जहा :
सम-विअसण-संपुण्णं वणं नु कुसुमाण रअणि-विरमंमि । उज्जोवइ हअ(?)चंडो जोइक्खेण व (?) पइट्ठो ॥१२२॥
सो उब्भेओ वत्थूण जत्थ वत्थूहि होइ उब्भेओ । भणिओ किं-पअ - गब्भो, बिइओ तह णूण- सद्देण ॥ १२३ ॥
उभेओ किं-पअ - गब्भों जहा :
आली णिअच्छण-सलोनीअं हलिअस्स अमुणिअ- रसस्स । निव्वासिअ - सिर- चीरमुछुण्णं मुहं विअड्डेणं ॥ १२४॥

Page #61

52
णूणं-सद्दे उब्भेओ जहा : दरे-णिग्गअंण पेच्छइ णूणं सहअरा-मंजरिं अज्ज। तेण तुह वच्छ लोअणं अहिउ (?) वहु-मुहअंदं ॥१२५॥ वर-वअण-पालणं किं-पएण सहि-देसणं खु वलिओ त्ति। जमअं सुइ-सम-भिण्णत्थ-वण्ण-पुणरुत्तअं भणिअं ॥१२६॥ वलिआलंकारो जहा : किं तुह रुअस्स हला रुअसु [तुअं] सामिणी णिअ-सट्ठिए । अस्साउच्छेअधइड़ (?) तस्स अ पाएसु पडिआ उ ॥१२७॥ आई-मज्झंत-गअंपाअब्भासो तहा आवलि-णिबंधो। नीलेस-पाअ-रइअं , जाअइ जमअं अ पंच-विहं ॥१२८॥ पाआइ-जमअं जहा: मा णं माणं हारेहि णिद्दअ-दइए अह सालूरी (?)। गअ-णाह-गेअ (?) साणासा-सासाउरां रमिअं ॥१२९॥ मज्झंत-जमअं जहा : जस्स पवंगमेहि खअ-समं दिटुं तण्हाइएणं निच्चरं चिरं । विमल-प्फुरंतर-रअण-विज्जुज्जलं जलं महीहराधाअ-विसरंत
. अंतअं ॥१३०॥
XX xx xx xx
पाअ-ब्भासे जमअं जहा :
सेउ-बंद्ध-समुदं तरल-लवमंअणं । . किंदराघण-चारं ओव्वअपअण-णालं दरा-घण-चारिअंओव्वं पअण-णालअं ॥१३१॥

.

Page #62

आवलि-जम जहा : हंभो रंविज्जल-पजल-पजल-णिब्भरे णिब्भरेऊणं । सारासामे सासामे समओतुं कलिओ ॥१३२।।
XX XX XX XX
सअल-पाअ-जमअं जहा : तुह कज्जे साहसिआ केण कआ वंदणेण साहसिआ। तण्णिउणं सा हसिआ सहिआहि फुडं सा हसिआ ॥१३३॥ .
xx xx xx xx
अण्णे वि ऊणआ सेसा ण होंति समग्गाधिणो कव्वे । तेण वि अण्णो भावोपएसो एअ दट्ठव्वो ॥१३४॥
xx xx xx xx
इति अलंकारदर्पणं समाप्तं ॥
शुभं भवतु ॥

Page #63

अतिशय
अनुमान
अनुप्रास (पदानुप्रास)
अन्यापदेश
अपहनुति
अप्रस्तुतप्रसंग
अर्थांतरगन्यास
आक्षेप
आदर्श
आशिषा
उत्तर
उत्प्रेक्षा
उत्प्रेक्षावयव
उदात्त
उद्भेद
उपमा
Alphabetical list of the Alamkaras
परिवृत्त
पर्याय
प्रेमातिशय
उपमारूपक
ऊर्जा
जाति
दीपक
निदर्शन परिकर (अन्यपरिकर)

54
110
52
83
89
108
83
56
111
115
96
113
121
92
123
11
118
85
61
45.
118
85
भाव
यथासंख्य
यमक
रसित
रूपक
रोध
वलित
विभावना
विरोध
विशेष
व्यतिरेक
व्यपदेशस्तुति
श्लेष
समयोजित
समाहित
सहोक्ति
संदेह
संसृष्टि
54
95
64
89
78
67
128
64
41
50
.126
76
71
56
61
105
100
106
71
85
74.
115

Page #64