Alamkaradappana

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

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ALAMKARADAPPANA L. D. Series : 120 General Editor Jitendra B. Shah Edited By H. C. Bhayani GO L. D. INSTITUTE OF INDOLOGY, AHMEDABAD For Personal & Private Use Only

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ALANKARADAPPANA L. D. Series : 120 General Editor Jitendra .B. Shah Edited By H. C. Bhayani L. D. INSTITUTE OF INDOLOGY AHMEDABAD For Personal & Private Use Only

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ALAMKARADAPPANA 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 For Personal & Private Use Only

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ajJAtakartRka alaMkAradappaNa saMpAdaka eca. sI. mAyANI prakAzaka lAlabhAI dalapatamAI bhAratIya saMskRti vidyAmaMdira, amadAvAda - 380 009 For Personal & Private Use Only

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PUBLISHER'S NOTE We are very happy to publish the Alamkaradappana, 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 For Personal & Private Use Only

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ajJAtakartRka alaMkAradappaNa [ One and only Alarkara work in Prakrit, Edited from a single Available Manuscript] * Edited by : H. C. Bhayani For Personal & Private Use Only

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Acknowledgement I am thankful to Dr. Parul Mankad for giving me information in the history of the Alamkaras Utpreksavayava and Udbheda, to Dr. N. M. Kansara for rendering the text in Nagari script. I thank L. D. Institute of Indology for publishing this work. H. C. Bhayani For Personal & Private Use Only

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INTRODUCTION Manuscript Material The only known manuscript of the Alamkaradappana (=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 Alamkara 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 Gathas. 'I have supplied the Sanskrit Chaya for the Karikas. Date and Authorship As mentioned previously the mascript of AD. is conjecturally dated in the thirteenth century. In several cases the definition of the Alamkaras and in a few cases the illustration clearly shows the influence of Rudrata's For Personal & Private Use Only

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Kavyalamkara, 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 Vyakarana, Chandas and Alamkara Svayambhu's work on metres viz. Svayambhucchandas is available, though, we have not got any other clue to his Vyakarana. Our conjecture is that AD. is possibly Svayambhu'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 Rudrata (besides the number and order of the Alamkaras) and what we find in AD. indicates that the latter had Rudrata's Kavyalamkara as one of its sources. The following instances are noteworthy : 1. *zliSTa syArthena saMyuktaH kiJcidutprekSyAnvitaH / rUpakArthena ca punarutprekSAvayavo yathA 11 (kAvya 3.47) hoi silesacchaleNaM majjaMti rUaeNa aphuDeNa / uppekkhA eso suo uppekkhAva asava - NAmohu || ( ada. 121 ) 2. nyUnasyApi viziSTena guNasAmya-vivakSayA / tulya-kArya-kriyA-yogAdityuktA tulyayogitA // (kAvya.3.27) guNa- sarisattaNa-taNhAi jattha hINassa guruaeNa samaM / hoi sama-kAla-kiriyA jA sA samajoiA sAhu // ( ada. 106) For Personal & Private Use Only

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3. yatraikamanekeSAM vAkyArthAnAM kriyApadaM bhavati / xx_xxx tadetaditi dIpakaM xx || Adau madhyAMte vA vAkyaM tat saMsthitaM dIpayati / vAkyAmiti bhuyastridhA xxxx || (kAvya. 7, 64-65) (Adi-madhyAMta-viSayaM tridhA dIpakamiSyate / bhAmaha , kAvya. 2, 25) divijjati paAI ekAe cea jattha kiriAe / muha-bhajjhaMtagaAe taM bhaNNai dIvaaMtivihaM // (ada. 46) tulya-zrutInAM bhinnAnAmabhidheyaiH parasparam / varNAnAM yaH punarvAdo yamakaM tannigadyate // Adi-yadhyAMta-yamakaM pAdAbhyAse tathAvalI / samasta-pAda-yamakamityetat paMcadhocyate // (kAvya. 2,17) Ai-majjhaMta-gaaM pAabbhAso tahA AvalI-NibaMdho / NIsesa-pAa-raiaM jAai jamaaM a paMcavihaM // (ada. 128) 5. upamAnena yattattvayupameyasya rUpyate / guNAnAM samatAM dRSTvA rUpakaM nAma tad viduH // samasta-vastu-viSayamekadezavivarti ca / dvidhA rUpakamuddiSTametat coccacyate yathA // (kAvya. 2.21-22) upamAnena tattvaM ca bhedaM ca vadataH punaH / sasaMdehaM vacaH stutyai sasaMdehaM vidurbudhAH // (kAvya 3, 43) uvamANeNa sarUaM bhaNiUNa bhassae jahiM bheo / thui-karaNeNaM saMdeha-saMsio. so hu saMdeho // (ada. 74) The illustration of premAtizayaH sahasA tuammi diDhe jo jAo tIe paharisAisao / so jai puNo-vi hoi suMdara tua daMsaNe ccea // (ada. 90) 6. For Personal & Private Use Only

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___ Compare the illustration of preyas : adyayA mama goviMda jAto tvayi gRhAgate / . kAlenaiSA bhavet prItistavaivAgamanAt punaH // (kAvya. 3,5) List of Alaskaras treated in AD. 1. upamA prativastu, guNakalitA, asamA, mAlA, viguNarUpA, saMpUrNA, gUDhA, zRMkhalA, zleSA, ISadvikalA, anyonya-prazaMsA, tallipsA, niMditA, atizayA, zrRMtimilatA, vikalpitA. 2. rUpaka 15. virodha sakalavastu, ekadeza 16. saMdeha dIpaka 17. vibhAvanA mukha, madhya, aMtya 18. bhAva 4. rodha gUDhabhAva, anyApadeza padAnuprAsa 19. arthAMtaranyAsa atizaya 20. anyaparikara vizeSa 21. sahokti 8. AkSepa 22. UrjA bhavat, apakrAMta 23. apahRti jAti 24. premAtizaya vyatireka 25. udAtta 11. paryAya riddhi, jAti 12. rasita 26. parivRtta 13. yathAsaMkhya 27. uttara dviguNa, triguNa, caturguNa dravya, kriyA, guNa 14. samAhita For Personal & Private Use Only

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. zleSa sahokti, upamA, hetu 29. vyapadezastuti 30. samayogitA 31. aprastutaprasaMga 32. anumAna 33. Adarza 34. utprekSA 35. saMsRSTi 36. AziSA 37. upamArUpaka 38. nidarzana 39. utprekSAvayava 40. udbheda kiMpadagarbha, nUnazabda 41. valita 42. yamaka pAdAdi, madhyAMta, pAdAbhyAsa, AvalI, sakalapAda. Naina mada. . There is scope for comparative and historical comments in the case of many Alamkaras 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 Alamkaras utprekSAvayava and udbheda. utprekSAvayava : It seems Bhamaha was first to treat this. He defines it as follows : - ___zliSTasyArthena saMyuktaH kiMJciduprekSyAncitaH / rUpakArthena ca punarutprekSAvayavo yathA // (kAvyAlaMkAra, 2.4) Like 344745 405 this Alamkara is of a compound character. Hence perhaps and because there is a mixture of utprekSA, rUpaka and zleSa Vamana has regarded it as a type of saMsRSTi (kAvyAlaMkArasUtravRtti, 4.3.32). For Personal & Private Use Only

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Dandin considers it as a type of Jr (Toutgif 2-351). Bhoja also subsumes it under 3rd (Hand OT9924, 4.5) 364 : Sobhakaramitra defines it as follows : fangen ufatta Jetta: 1 (Tiamin, 7. 808) In the commentary he clarifies that when somehting concealed becomes somehow revealed the Alamkara is udbheda, which is of two types vAcya and vyaMgya. What is called pihita by Rudrata that is udbheda of Sobhakaramitra. But Jayadeva has treated fyren in the same way as Sobhakaramitra's JGT. Vagbhata (later) and Appaya Diksita have also treated 3G . Bhoja in the Sarasvatikanthabharana has regarded udbheda as a type of bhAvika. In F1:514-za-aici etc. Bhoja says there is 370478 3oa. (Sarasvatikan-thabharana, p.550). His view is cited by Narendraprabhasuri in his Aalamkaramahodadhi (p. 327) (Reference : Ruyyaka's Alamkarasarvasva - 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). For Personal & Private Use Only

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TEXT sundara-paa-vinnasam vimalalamkara-rehia-sariram | sui-deviam ca kavvam ca panavia' pavara-vannaddham || 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. savvaim kavvaim savvaim jena homti bhavyaim tamalamkaram bhaaimo 'lamkaram ku-kavi-kavvanam ||'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-sumdaram pi hu niralamkaram janammi kiramtam | kamini-muham va kavvam hoi pasannam pi vicchaam || 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. ta janiuna niunam lakkhijjai' bahu-vihe alamkare) jehim alamkariaim bahu mannijjahti kavvaim || 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. uvama-ravaa-divaa- rohanuppasa-aisaa-visesa l' akkheva-jai-vairea-rasia-pajjaa-bhania u || 5 Upama, Rupaka, Dipaka, Rodha, Anuprasa, Atisaya, Visesa, Aksepa, Jati, Vyatireka, Rasita, Paryaya-bhanita, Begins : Om namah Sarasvatyai. Jail. 1. panaviational 4.1. lakkhijjaha. nal & Prics...visesam i

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jahasaskha-samahia- viroha-samsaa-vibhavana-bhava || atthamtaranaso anna-pariaro taha sahottia || 6 Yathasamkhya, Samahita, Virodha, Sarsaya, Vibhavana, Bhava, Arthantaranyasa, Anyaparikara, Sahokti, ujja avanhava io pemmaisao udatta-pariatta 1 davvuttara-kiriuttara-gunuttara bahu silesa a 11.7 urja, Apahnava, Prematisaya, Udatta, Parivitta, Dravyottara, Kriyottara, Gunottara, various types of Slesa, vavaesa-thui-samajoia ia apatthuappasamsa' al anumanam Wariso uppekkha? taha a samsitthi || 8 Vyapadesa-stuti, Samayojita, Aprastutaprasamsa, Anumana, Adarsa, Utpreksa, Samsssti, asisa-uvamaruvaa ca janaha! niarisanam taha al uppekkhavaavo bhea-valia-jamaehi samjutta || 9 Asih, Upamarupaka, Nidarsana, Utpreksavayava, Udbheda, Valita along with Yanaka. ettia-mitta ee kavvesu paditthia alaskara || ahia uvakkamenam visao donni samkhau || 10 These only are the established and accepted poetic figures. These, numbering forty, we shall describe in order. uvamanenam ja desa-kala-kiriavaroha-padienam uvameassa sarisam lahai gunenam khu sa uvama || 11 That is indeed Upama 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. kapatthuapasamsa. 2. upekkha. Personal & pr9.l janai niarisinam

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padivatthu guna-kalia asama mala a viguna-ruva al sampunna gudha samkhala a lesa a dara-viala || 12 Prativastu, Gunakalita, Asama, Mala, Vigunarupa, Sampurna, Gudha, Sirkhala, Slesa, Isatvikala, ekka-kkama pasamsa talliccha nimdia aisaa a sui-milia taha a viappia a sattaraha uvamao || 13 Anyonya, Prasamsa, Tallipsa, Nindita, Atisaya, Srutimilita, Vikalpita. pativatthue sa uvama ja samana-vatthurua a | 'iva'-'miva'--piva'i-rahia visarisa-guna-paaeahisto || 14 That Upama is Prativastu which lacks particles (of comparison) like iva, miva, piva, and which conveys similarity between two things, inspite of dissimilar qualities. padivatthuvama jaha : sampatta-tivagga-suha thova puhavia homti nara-naha || mahura-phala (?) [-kusuma] siniddha-patta taru virala || 15 The illustration of Prativastupama : 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. guna-kalia sa bhannai gunehi dohim pi sarisaa jattha uvameo kira jie uvamanam hoi sa sama || 16 That Upama is called Guna-kalita in which resemblance pertains to two qualities. That Upama is Asama in which the object of Comparison becomes the Standard of Comparison. For Personal & Private Use Only

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guna-kalia jaha : campaa-laa! va nava-kusuma-sumdara sahai vimjha-kadaeva vaccha-tthalammi lacchi tamala-nile mahumahassa || 17 The Illustration of Guna-kalitopama : On the broad chaste of Visnu that is, like the slope of Vindhya, as dark as (or due to) Tamala tree(s), Laksmi like the Campaka creeper, as beautiful as (alternately beautiful due to) fresh flowers, appears charming asama jaha : jonha-nimmala-laanna-pasara-cincaia-saala-bhuanai | tuha tujjha vva kisoari samana-rua jae natthi || 18 The illustration of Asamopama : 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. sa mala uvamanana jattha vivihana hoi rimcholi biuna-sarisovama ja vinimmia biuna-rua tti || 19 That Upama is Mala in which there is a series of different Standards of Comparison. That which is constructed with twofold similar Comparisons is called Dviguna-rupa. malovama jaha : hari-vaccham va sukamalam gaanam va bhamamta-sura sacchaam || saara-jalar va kari-maara-sobiam tuha ghara-ddaram || 20 The illustration of Malopama : The gate of your house is sukamala (marked with beautiful lotuses) like the chaste of Visnu (which is marked by the presence of beautiful Laksmi); it is splendorous due to bhamamta sura (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 sura (the revolving sun); it is like the water of the ocean marked by (the figures or alternatively the presence of) elephanta and crocodiles. viuna-ruvovama jaha : nivvavarikaa-bhuana-mamdalo sura-nasia-pahao | naha paosa-vva tumam pausa-sarisattanam vahasi || 21 The illustration of Dvigunarupopama : 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. na hu una nahu ahia ja jaai sa hu hoi sampunna | ja una samasa-lina sa gudha bhannae uvama || 22 The Upama which is neither deficient nor excessive (in the matter of requisite characteristics) is called Sampurnopama. That Upama which is submerged in a compound is call Gudhopama. sampunna jaha : sohasi vaanena tumam keai-kannullia-sanahena | kamalena va pasa-tthiena muddhada-hamsena pasaacchi || 23 The illustration of Sumpurnopama : 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. gudhovama jaha : kaha pavihisi kisoari daiam thanaala-sakhea-nisasiri' | rambha-gabbhoara-niamba-bhara-masinena gamanena || 24 The illustration of the Gudhopama : O slim-waisted damsel, being short of breath due to the strain of 24.1. padihisi; nisasirim. For Personal & Private Use Only

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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 ? uvama-vaehi uttivili-raiehi samkhala hoi | uvamijjai uvameo jesim lesana sa lesa || 25 That Upama which is made up of a concatenation of Upamas is called Stnkhalopama. That in which the Object of Comparison is Compared by means of Slesas is Slesopama. samkhalovama jaha : saggassa va kanaa-giri kamcana-girino (va) mahialam' hou mahivihassa-vi bhara-dharana paccalo taha tumam cea || 26 The illustration of Snikhalopama : 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. lesovama jaha : so samjha-raa-samo' cala-pemmo jo jano suhao so kim bhasai samjha-raena va jo na rischoli || 27 The illustration of the slesopama : That person who is attractive, but fickle in love is like the twilight colour ....(?) susarisamapakhevam (?) vialai sa cceva hoi daraviala | ekkakkamovamanehi hoi ekkakkama nama || 28 The Upama which... is caled Isadvikala. Tha Upama in which there are mutual Upamanas is called Anyonyopama. 26 du girinat mahiala. 27.br roasamo.rivate Use Only

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daraviala jaha : pina-tthani sa-rua paha-pesia-loana sa-ukkantha | lihiya vva dara-lagga na calai tuha damsanasae || 29 The illustration of Isadvikalopama : 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. ekkakkama jaha : paai-vimalau donni-vi vibuha-jane nivvui-karao a | ekkekkama-sarisao tuha kitti tiasa-saria a || 30 The illustration of Anyonyopama : 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. nimdae salahijjai uvameo jattha sa pasamsa tti anuharai aisaenam ja sa ccia hoi talliccha || 31 That Upama wherein the Upameya is praised under the guise of censure is called Prasamsopama. That is Tallipsopama which resembles Atisoyakti (?). nimda-pasamsa jaha : tuha. samdhassa va naravai bhujjai bhiccehi paala lacchi hiaai (hiaam pi ?) kaarassa va vaanijja-bhaena osarai || 32 Praising through censuring (i.e. Prasam opama) 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. For Personal & Private Use Only

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14 tallicchovama jaha : pausa-nisasu sohai jala-ppavahehi puria puhai | cala-vijju-valaya-vadana-nivadia-nakkhatta-sarisehim || 33 The illustration of Tallipsopama : 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-vavaesena jattha sa ninda | aisaa-bhania sa ccia aisaia bhannae uvama || 34 That is Nindopama wherein the Upameya is censured through praise. That Upama which is expressed through Atisayokti is called Atisayopama. thui-nimdovama jaha : tambola-raa-miliamjanena aharena sohasi paose 1 dara-parinaa-jambuhala-kasti-sarisena pihu-acchi || 35 The illustration of Stuti-nindopama : 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 (jambu) fruit. aisa(i)ya-uvama jaha: jonha-bhaa-saranagaa-timira-samahehi nijjia-miamkam || sevijjai vaanam sasa-gamdha-luddhehi bhasalehim || 36 The illustration of the Atisayitopama : (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. ppahanehi. 2. taoama ; khanatta-. 34.1. namdijjai. -35-1. sua. Intel 2a parinia For Personal & Private Use Only

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ja sarisaehi bajjhai saddehim sa hu hoi suimilia | ekkanikka-viappana-bheena viappia du-viha || 37 Sruti-milita is that (Upaina) which is constructed by means of similar words; Vikalpita (Upama) has two types according to fancying once or more than once. sui-miliovama jaha : datthuna para-kalattam chamdavaliam manoharam kavvam | khijjai khalo viambhai dusai dosam a-pecchamto || 38 The illustration of Sruti-militopama : 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-viappiovama jaha : paribhamana-vai-niaodhia-sampimdia-bahala-renu-niacchaa / nahasu (?) anada-tamsa iva, vaavatta munijjarte || 39 The illustration of Vikalpitopama 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. bahuha-viappiovama jaha : surammi dava jalane vva volie nahaalam vaarasam(?)vayo | paccha masi-niarena va tamena kasinikayam saalam || 40 The illustration of Bahudha-vikalpitopama: 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. Jain Education international 40.1. volio : nahaaram. 2. pacchi, saasam

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. !6 uvamanenuvaricassa jam niruvijjae ni(?)ruvanam khu | davva-guna-sammaam tam bhanamti iha ruvam kaino || 41 upamanenupameyasya yat nirupyate nirupanam khalu | dravya-guna-sammatam tam bhananti iha rupakam kavayah ||41 When the nature of Upameya based on the latter's substance or qualities is represented by Upamana, then that representation is called Rupaka by the poets. tam cia duviham jaai samattha-paattha-viraana-janiam | padhamam biam ekkekka-desa-parisamthiam hoi || 42 tadeva dvividham jayate samasta-padartha-viracana-janitar | prathamam dvitiyam ekaikadesa-parisamsthitam 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 jaha : gaana-saram pecchaha pausammi tanu-kirana-kesara-sanaham tara-kusuma-vvavanas mahabharana paulam 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-ruvaam jaha : aviraa-pasaria-dhara-nivaa-nitthavia-panthia-samnho | marihai mam sa-daiam nikkivo pausa-cilao || 44 The illustration of Ekadesa-rupaka : The pitiless Rainy Season in the form of a Kirata, who has killed the travellers by the incessantly pouring showers will kill me also along with my beloved. For Personal & Private Use Only

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17, * bhea naehim cia haria-cchaehim ruvaana kaa | atthe labbhijjai cia saaleara-ruaa-histo || 45 XX XX XX divijjasti paaim ekkae cea jattha kiriae muha-majjhamtagaae tam bhannai divaam' tiviham || 46 That Alamkara 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-divaam jaha : bhusijjahti gaimda maena suhala asi-ppaharena | gaua? taraena turamga sohagga-gunena mahilao || 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 jaha : sukavina jaso surana dhirima ihiam narimdana | kena khalijjai pisunana dummai bhiruana (?) 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 jaha : satthena buha danena patthiva guru-tavena jai-nivaha || rana-sahasena suhada mahiale paada homti || 49 The illustration of Antya-Dipaka : The wise men by means of learned treatises, the kings by means 46.1. diviai For Personal & Private Use Only

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18 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-bhaniam nirumbhai jassim juttia hoi so roho ! paa-vanna-bhea-bhinno jaai du-viho anuppaso || 50 That is Rodha wherein what is partly spoken is restrained artfully. Anuprasa has two types distinguished on the basis of words and sounds. roho jaha : ko na valai tena vina ma bhanasu a pulaiehim pasehim | ai-rahasa-jampiaim havamti paccha avacchaim || 51 Who would not burn without him ? Do not speak with your sides thrilling. Words spoken very rashly become harmful afterwards. paanuppaso jaha : sasi-muhi muhassa lacchim thanasalini thanaharam-pi pecchamto tanuaai tanuoari hali [a] suo kahasu jam juttam || 52 The illustration of Padanuprasa : 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. vannanuppaso jaha : vaamti sajala-jalahara-jala-lava-samvalana-siala-pphamsa | phullamdhua-dhuva-kusumucchalamta-gamdhuddhura pavana || 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 nimittahimto loa ekkamta-goaram vaanam | viraijjai so tassa a aisaa-namo alamkaro || 54 For Personal & Private Use Only

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Where the words of usual discourse are used purposefully to convey oneness then that figure is called Atisaya. aisaalamkaro jaha : jai gamdha-milia-bhamaram na hoi avaamsa-campaa-pasuam | ta kena vibhavijjai kaola-miliam paham tissa || 55 The illustration of the figure Atisya : 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-gunamtarenam tu samthui jattha || kirai visesa-payadana-kajjenam 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 Visesa. Visesalamkaro jaha : na-vi taha nisasu sohai piana tambola-raa-pacchaio | jaha piaama-pio pandaro-vi aharo pahayammi || 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-tanhae | so akkhevo duviho hoata-vakkamta-bheena || 58 Where something is negated ..... with some specific purpose, the figure is Aksepa. It is of two types : Bhavat and Apakranta. For Personal & Private Use Only

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Homtakkhevo jaha: jai vaccasi taha vaccasu maha garu(a-daha)-virahaggi-tavia tanue | vaccai tai samaam cia ahava kaha jampiam esa (?) || 59 20 The illustration of Bhavat-aksepa : '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 jaha : khagga-ppahara-dadha-dalia-riu-dalassa gaa-kumbha-vidhassa | tua natthi ettha ko mahiharana samcalano hojja || 60 The illustration of Apakrantaksepa : 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 sahao jai vairego una visesa-karanena | uanena-mohi(?) saa anenam cc (?) bajjhai kaihim || 61 The (description of) nature is Jati. When some special trait is pointed out it is Vyatireka xx xx XX. jai jaha : sira-dharia-kalasa gholira - baha-jualai gama-tarunie | mannai vilasa-dittho bhai(?)-tthiaam pamaro puhavim || 62 The illustration of Jati: 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 jaha: dusaha-paava-pasaro somo sai akhalia-paho tam si | te vva jada una donha vi ravi raa raa haa-cchaa || 63 For Personal & Private Use Only

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21 * 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-simgarai-raso so rasio aha bhannae alamkaro | anna-vavaesa-bhanie vinimmio hoi pajjao || 64 When there is explicit erotic sentiment the figure is said to be Rasita. When something is said under disguised reference Paryaya is produced rasio jaha: dai-viaddha-vaananubardha-iara viambhium thaddha | palai saunnassa uare rasamta-rasana 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. pajjao bhannai jaha : garuana coriae ramati(e) payada-rai-rasam katto | ma kunasu tassa dosam sumdari visama-tthie kajje || 66 Paryaya 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 nia (?) bhannai bahua parivadi-paadanam jaha-samkham kim puna biunam tiunam cauggunam hoi kavvammi || 67 When many things are described with a view to reveal a series it is Yathasamkhya. It can be two-membered, three membered or fourmembered in the poem. For Personal & Private Use Only

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biuno jaha: hamsa-sasi-kamala-kuvalaya-bhasala-mulanana nijjia lacchi tissa gai-muha-karaala-loana-dhammella-bahahim || 68 The illustration of the two-membered Yathasamkhya : 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. tiuno jaha : jo vahai vimala-vellahala-kasana-sia-sari(a)-visa-miamkam | muddhaddha-raaniara-mauli-samsias tam sivam navaha || 69 The illustration of the three-membered Yathasamkhya : 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. Caugguno jaha : tie sama-maua-dihehim nimmala-tamba-dhavala-sohehim | dasanahara-naanehim jiaim mani-javaa-kamalaim || 70 The illustration of the four-membered Yathasamkhya : 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-sahaa-sampaae samahio hoi | guna-kiriana-virohena esa bhanio viroho-tti || 71 Samahita occurs when rich help is received unexpectedly. When there is opposition between qualities or actions, the figure is called Virodha : Samahio jaha: accamta-kuvia-piaama-pasaanattham paattamanie uio caido-vi tatto a pasario malaa-gamdhavaho || 72 Jain Education Inteinational For Personal & Private Use Only

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The illustration of Samahita : 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 jaha : tujjha jaso hara-sasahara-samujjalo saala-navania didham-pi mailai navara vara-veri-vira-vahu-vaana-kamalaim || 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. uvamanena saruam bhaniuna bhasssae jahim bheo || thui-karanenam samdeha-samsio so-hu samdeho || 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 Samdeha. samdeho jaha : kim kamalaminam no tam sa-kesarar kim sasi na tattha mao dittham sahi tujjha muham sa-samsaami ajja tarunehim || 75 The illustration of Samdeha : 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 kiria-rasiassa-vi hoi jattha phala-riddhi bhannai vibhavana so kavvalamkaraittehim || 76 Wherein eventhough there is nothing to be performed still, because of resort to actions there ensues abundance of result, that has been called Vibhavana by the experts in poetic figures. For Personal & Private Use Only

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vibhavana jaha : vaddhai a-sitta-mulo apao hoato-vi pasarai nahammi | gao-via kanho adhoa-vimalo jaso tujjha || 77 The illustration of Vibhavana : 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. anno cia uttarao, a jattha bhavai sa bhavao bhanio | duviho hu hoi jaha taha, sahijjamtam nisameha || 78 Wherein altogether quite a different meaning one perceives from the reply that figure is called Bhava. Listen to it being described how it is of two types. kassa-i vaana s tahim, hu(?) suehim uttarehs najjamti abbhimtarammi nia-hiaa-gudha-bhavo taha 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 Bhava (?).' jassa bhaniihi anno, anno paadijjae jahim atthol annavaesa-namo, sittho satthaarehim || 80 That in which words express one meaning but another meaning also becomes revealed -- that Bhava is called Anyapadesa by the authorities on the Alaskarasastra. au(?) alamkaro jaha : ha ha vihua-karaalaa lahia arsuam daddham | padia gola-ure, nam sarasena misenam halia-sunha || 81 The illustration of the Gadha Bhava (?): (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 Godavari. For Personal & Private Use Only

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annavacso jaha : annassa bamdha bhoini, nava-vacchaa-selliam baillassa | aloa-metta-suhavo, no kajja-karana-kkhamo eso || 82 The illustration of the Anyapadesa (type of Bhava) : 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-bhananam so anno || 83 The statement of the opposite of what has been said previously is another variety. XX XX XX XX atthamtaranaso jaha : vipphurai ravi uaaalammi nahu attha-mahihara-siratthol teamsino vi team, lahamti thanar laheuna |1.84 The illustration of Arthantaranyasa 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 anna-pariaro-jaha : turiyae turiya-gamano, niamba-bhara-mamtharae salila-paol maggena tia vaccai, pellavellie taruni-jano || 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 kiriya(?)sama-kala-paasanam u sahautti guru-viraae raio, jaai ujja-alamkaro || 86 For Personal & Private Use Only

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26 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 Urja. [ ujja jaha :] visattho ccia genhasu, vaisiaae vegga-nivaliam khaggam | paharamte pati-paharanamuna karesu na samattham(?) 1187 The illustration of Urja: Do take up confidently your sword which falls forcefully on the enemies. By striking him in return who strikes show your strength (?). sahotti jaha : siddae sama lajja, sarira-sohae saha gaa kitti samaam taha anuraani, tie vaddhamti nisasa || 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. uvama jattha ninhavai thada sa avannhui hoi| piie a aisaenam, pemaisao bhaneavvo || 89 Wherein the simile is concealed that figure is Apanhuti. Wherein extreme love (is expressed) that figure should be called Prematisaya. avanhui jaha : nahu ucca-vidava-samthia-pahittha-kalaamthi-kala-rava ppasaro suvvai vana-vilasira-pupphacava-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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27 pemaisao jaha : sahasa tuammi ditthe, jo jao tia paharisaisao || so jai puno-vi hosai, sumdara tua damsane ccea || 91 The illustration of Prematisaya : 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-mahanubhavattanehi duviho-vi jaai udatto | so pariutto gheppai, jattha visittnas niam daum || 92 Two types of Udatta result (through the expression of) prosperousness and high nobility. That is Parivitta in which something special is received by giving away something that is one's own. riddhi-udatto jaha : tuha nara-sehara vipphuria-raana-kirana-niara-nasia-tamaim | bhiccana-vi diva-siha-mailai na homti bhavanaim || 93 The illustration of Riddhi-udatta : 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. mahanubhavatta-jaiudatto jaha : vellahala-ramani-thanahara-padipellia-viada-vaccha-pidha-vil na calamti maha-satta, maanassa sire paam daum || 94 The illustration of Udatta 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. For Personal & Private Use Only

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28 pariatto jaha : sasimuhi muha-pamkaa-kamti-ppasarana-kisanakkam(?) vilasena ditthim dadna tao, gahiai juana-hiaaim || 95 The illustration of Parivstta : 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-kiria-gunanam pahanaa jesu kirai kaihim | davvuuttara-kiriuttara-gunuttara te alamkara || 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 Gunottara.. davvuttaro jaha : vara-kari-turamga-mamdira-anaara-sevaa-kanaa-raanai| cimtia-mettaim cia, havarti deve pasannammi || 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 jaha : ma ruau ma kisaau, ma jhijjau ma vihim ualahau ja nikkiva tuha bahu-vallahassa varai pide patia || 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. For Personal & Private Use Only

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gunuttaro jaha : sasi-somma sarala sajjana, sacca-vaa suhaa sucaria salajja | dittho si jahim tuam tettai kahanu na Narimda(?) || 99 The illustration of Gunottara : Oh king, as beautiful as the moon, simple, good man, observing the vow of truthfulness, charming, of good character, modest, wherever you are seen.........(?) uamanam uameam, raijjai tena so sileso-tti | so una sahotti-uama-heuhimto muneavvo || 100 It is Slesa when the Upamana (standard of comparison) and Upameya (object of comparison) are described in the same words. It should be understood to be (of three types): Sahokti, Upama and Hetu, Sahotti-sileso jaha : pina ghana a duras samunnaa naha-vivattia-chaa | meha thanaa-vi tuha, nitthavamti tanhauro loo || 101 The illustration of Sahoktislesa : People troubled by trsna (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). uvama-sileso jaha : darahim cia najjai dhakka-sadda-ssa suiam gamanam | lahuia-mahihara-sattanumatta-hatthina-va pahuna || 102 The illustration of Upamaslesa : 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 jaha : hela-visavia-maanagganena sama-pecchiai a janassa | alia-parammuhaae bhadda naana-pahe tam si || 103 For Personal & Private Use Only

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The illustration of Hetuslesa: 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. accubbhada-guna-samthui-vavaesa-vasena savisaa jattha | kirai nimdai thui, sa vavaesa-thui namam || 104 That is called Vyapadesastuti wherein something is praised through censure with the objective of praising its highly striking qualities. vavaesa-thui jaha : akuline paai-jade, akajja-vamke jie sasamkammi | tujjha jaso para-sehara, kijja suana via namai || 105 30 The illustration of Vyapadesastuti : Oh highest among men, by gaining victory over the moon which is akulina (1. not in contact with earth, 2. of low lineage), jada (1. stupid, 2. inanimate) by nature and vamka (1. crooked, 2. curved) without reason your fame xX XX XX XX guna-sarisattana-tanhai jattha hinassa guruaena samam | hoi samakala-kiria ja sa samajoia sahu || 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 Samayogita. samayogita jaha : maanassa param rajjam kirai rai-tarala-taruni-nivahassa | samaala-calia-mani-valaa-mehala-neura-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. For Personal & Private Use Only

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appatthuappasamgo, ahiara-vimukka-vatthuno bhananam anumanam limgenam, limgi sahijjae jattha || 108 Aprastutaprasanga consists in the statement of something outside its domains. Anumana occurs where something is inferred by means of evidence. appatthuappasamgo jaha : sasukkoena gaa uaha vahuai sunna-devaulam | patto dullaha-lambho-vi anna-kajjagao jaro || 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. anumanam jaha : nunam tia vi suamti tena saha vilasiam haasena naha-paa-pallava-laggai saanijja-dalai amgai || 110 The illustration of Anumana : Her dallying with that wicked one is doubtlessly suggested by her limbs which bearing nail-marks have left signs on the bed-leaves. aarisammi-va jasim ucshara-ronanabhara(?) phuda-cchaa| disamti paavva(?) hiaa-harini so hu aariso || 111 That is Adarsa wherein is seen vividly the heart-winning reflection, as if in a mirror, of the various parts of --------(?) aariso jaha : keli-para mosara manne tuha phamsuavam apavamta | hattha se naha-kirana-cchalena dharahi-va ruvamti || 112 The illustration of Adarsa : 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. For Personal & Private Use Only

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thevovamai sahia,(a)samta-karana gunanujoena | avivakkhia-samattha, uppekkha hoi saisaa || 113 With a slight touch of Upama, attributing non-existing qualities due to some connection, lacking in intention of stating all (parts) is Utpreksa excelling in poetic beauty. uppekkha jaha : disai paria-samkho-vva malaa-marua-naremda-samcalanel dara-dalia-mallia-maula-lagga-muha-gumjiro bhamaro || 114 The illustration of Utpreksa : The bee, humming while its mouth is stuck to the Mallika bud slightly open (blossomed) appears like the conch that has been blown at the march of the king, the Malaya breeze. vivihehi alamkarehi ekka-miliehi hoi samsitthi : asisalamkaram, asivvaam ca bhanamti || 115. Samsrsti results when different figures are combined into one, and the figure Asis is said be in the form of a statement of blessing. samsitthi jaha : tujjha muham sasi sasimuhi taha tujjhamba-nava-pallava calana| thanaa tuha jala-kalasa-vva sundara kam 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 ? asisa jaha : asisa samtattassa-vi saala-kalusai tumha nasamtu | dia-guru-tavasi-kuarim-siaana-suanehim dinna u || 117 The illustration of Asis : May the blessing given by the Brahmanas, the preceptor, ascetics, For Personal & Private Use Only

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virgins, satis, and good people destroy all your sins, you who is suffering agony. uvamaruvaameam, viraijjai jattha ruvae uvama| niarisanam hu vi sittham camdaviajaovamarahia(?) || 118 That is Upamarupaka wherein Upama is incorporated in a Rapaka. Nidarsana is described as ..... without explicit Upama. uvamaruvaam jaha : sampesia-naana-sara, rasana-rava-tarala-milia-ghara-hassa khalia-juana nisarai, mammaha-dhali-vva dhavalacchi || 119 The illustration of Upamarupaka : 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. niarisanam jaha : davamti jalahara saala-damsana-vaham samaradha|| khana-vihadamta-khana-samunnai-dharaa kala-kilau || 120 The illustration of Nidarsana : The clouds, mounted over whole of the visible expanse, now disintegrating, now rising high, show the sportings of Time. hoi silesa-chalenan, majjahti ruaena a-phuLenam | uppekkha eso suo uppekkhavaava-namo hu || 121 That figure is known as Utpreksavayava wherein Utpreksa is merged in an implied Rupaka under the guise of Slesa. Uppekkhavaavo jaba : sama-viasana-sampunnam, vanam nu kusumana raani viramammi ujjovai haa(?)-caido, joikkhena va(?) paittho || 122 For Personal & Private Use Only

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The illustration of Utpreksavayava : . 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 vatthuna jattha vatthuhi hoi ubbheo bhanio kim-paa-gabbho, biio taha nuna-saddena || 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 'nunam". Ubbheo kim-paa-gabbho jaha : aliminiacchana-saloniam haliassa a-munia-rasassa | nivvasia-sira-ciramuchunnam muham viatdhenam || 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 (?) nunam-sadde ubbheo jaha : dara-niggaam na pecchai nunam sahaara-mamjarim ajja | tena tuha vaccha loanam ahiu(?) vahu-muhaasdam || 125 The illustration of that type of Udbheda which contains the word Numam : 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-palanam kim-paena sahi-desanam khu valio tti| jamaam sui-sama-bhinnattha-vanna-pusaruttaambhaniam || 126 That figure is Valita wherein the friend of the Nayika 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. For Personal & Private Use Only

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valialaskaro jaha : kis tuha ruassa hala ruasu (tuam] samini nia-sattie | assauccheadhaiu (?) tassa a paesu padia 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. ai-majjhamta-gaam, paabbhaso taha avali-nibamdho | nisesa-paa-raiam, jaai 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 Pada, concatenated repetition and repetition of all the Padas. paai-jamaam jaha : ma nam manam harehi siddaa-daie aha saluri(?) || gaa-naha-gea(?) sanasa-sasauram ramiam || 129 The illustration of Yamaka occurring in the beginning of a Pada: Do not loose your pride before your pitiless darling, O..... and make love to him avidly with heavy breathing with the nose (?) majjharta-jamaam jaha : jassa pavamgamehi khaa-samam dittham tanhaienam nacciram ciram vimala-pphuramtara-raana-vijjujjalam jalam mahiharaghaa visaramta-amtaam || 130 The illustration of Yamaka occuring in the middle and end of a Pada: xx xx xx xx For Personal & Private Use Only

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paabbhase jamaam jaha : sed-baddha-samuddam tarala-lavammanam | kamdaraghana caram ovvaa paana-nalam kamdara-ghana-cariam ovvam paana i nalaam || 131 The illustration of Yamaka occurring as repetition of a Pada : XX XX XX XX avali-jamaam jaha : hambho ramvijjala-pajala-pajala-nibbhare nibbhareunam sarasame sasame saamottum kalio || 132 The illustration of Yamaka in the form of concatenated repetition : XX XX XX XX saala-paa-jamaam jaha : tuha kajje sahasia kena kaa vamdanena sahasia| tanniunam sa hasia sahiahi phudar sa hasia || 133 The illustration of Yamaka in the form of repetition in all the Padas : XX XX XX XX anne vi unaa sesa na hosti samaggadhino kavve i tena vi aano bhavopaeso ea datthavvo || 134 XX XX XX XX iti alaskaradarpanam samaptam ||| subham bhavatu || Thus ends the Alaskaradarpana. Let there be welfare and prosperity For Personal & Private Use Only

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THE ALAMKARA-DAPPANA The text in Nagari Script suMdara-paaa-viNNAsaM vimalAlaMkAra-rehia-sarIraM / sui-deviaMca kavvaM ca paNavia pavara-vaNNaDhaNaM // 1 // savvAiM kavvAiM savvAiM jeNa hoMti bhviaaii| tamalaMkAraM bhaNimo'laMkAraM kukavi-kavvANaM // 2 // accaMta-suMdaraM pi hu NiralaMkAraM jaNaMmi kIraMtaM / kAmiNi muhaM va kavvaM hoi pasaNNaM pi vicchAaM // 3 // tA jANiUNa NiuNaM lakkhijjai bahu-vihe alNkaare| jehiM alaMkAriAI bahu maNNijaMti kavvAiM // 4 // uvmaa-ruuva-diiva-rohaannuppaas-atisa-visesaa| akkheva-jAi-vairea-rasia-pajjAa-bhaNiA ||5|| jahAsaMkha-samAhia-viroha-saMsaa-vibhAvaNA-bhAvA / atyaMtaraNAso aNNa-pariaro taha sahottia // 6 // ujjA avanhava io pemmAisao udAtta pariattA / davyuttara-kiriuttara-guNuttarA bahu silesA a // 7 // vavaesa-thUI-samajoiA ia apatthuapasaMsA a| anumANamAariso uppekkhA taha asaMsiTThI // 8 // AsIsA-uvamArUca jANaha NiariNaM taha a| uppekkhAvaavo bhea-valia-jamaei saMjuttA // 9 // ettiya-mittA ee kavvesu paDiTThiA alaMkArA / ahiA uvakkameNaM vIsAo doNNi saMkhAu // 10 // For Personal & Private Use Only

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uvamANeNaM jA desa-kAla-kiriAvaroha-paDieNaM / uvameassa sarisaM lahai guNeNaM khu sA uvamA // 11 // paDivatthu guNa - kaliA asamA mAlA a viguNa-rUvA a / saMpUNNA gUDhA saMkhalA a lesA adara - vialA // 12 // ekka-kamA pasaMsA talicchA NidiA aisaA a / sui-miliA taha a viappiA a sattaraha uvamAo // 13 // jivatthue sA uvamA jA samANa - vatthurUA a / 'iva'-'miva''piva'i-rahiA visarisaguNa-paaae Arhito // 14 // paDivatthUvamA jahA : saMpatta-tivagga - suhA thovA puhavIa hoMti NAra - pahA / mahura-phala(?) [-kusumA] siNiddha-pattA taru viralA // 15 // guNa- kaliA sA bhaNNai guNehI dohiM pi sarisaA jattha / uvameo kira jIe uvamANaM hoi sA samA // 16 // guNa- kaliA jahA : jaMpaaa-laaa ' vva Nava - kusuma - suMdarA sahai viMjha / kaDae' va vaccha-tthalammi lacchi tamAla-nIle mahumahassa // 17 // asamA jahA : johA nimmala - lAaNNa-ciMcaia - saala - bhuaNAi / tuha tujha vva kisoari samANa-rUA jae Natthi // 18 // sA mAlA uvamANANa jattha vivihANa hoi richolI / biuNa- sarisovamA jA viNimmiA biuNa - rUa ti // 19 // 38 For Personal & Private Use Only

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mAlovamA jahA : hari-vacchaM va sukamalaM gaaNaM va bhmNt-sur-scchaaaN| sAAra-jalaM va kari-maara-sohiaM tuha ghara-ddAraM // 20 // viuNa-rUvovamA jahA : nivvAvArikaa-bhUaNa-maMDalo suur-nnaasia-phaao| NAha paosa-vva tumaM pAusa-sarittaNaM vahasi // 21 // Na hu UNA Nahu ahiA jA jAai sA hu hoi sNpunnnnaa| ... jA uNa samAsa-lINA sA gUDhA bhaNNae uvamA // 22 // saMpuNNA jahA: sohasi vaaNeNa tumaM keai-kaNNulliA-saNAheNa / kamaleNa va pAsa-TThieNa muddhaDa-haMseNa pasaacchi // 23 // gUDhovamA jahA : kaha pAvihisi kisoari diaNthnnal-skhea-niissiri| rambhA-gabbhoara-Niamba-bhAra-masiNeNa gamaNeNa // 24 // uvamA-vaehI uttiviDi-raiehi saMkhalA hoi|| uvamijjai uvameo jesi lesANa sA lesA // 25 // saMkhalovamA jahA : saggassa va kaNaa-girikaM caNa-giriNo[va] mahialaM' hou| mahivIDhassa-vi bhara-dharaNa paccalo taha tumaM cea // 26 // lesovamA jahA : so saMjhA-rAa-samo ' jala-pemmo jo jaNo suho| so kiM bhAsai saMjhA-rANa va jo Na riMcholi // 27 // For Personal & Private Use Only

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40 surasarisamApakhevaM(?) vialai sa cceva hoi drvialaa| ekkakkamovamANehI hoi ekkakkamA NAma // 28 // daravialA jahA : pINa-tthaNI sa-rUA paha-pesia loalA s-ukknntthaa| lihiya vva dAra-laggA ma calaI tuha daMsaNAsAe // 29 // ekakkamA jahA : paai-vimalAu doNNi-vi vibuha-jaNe nivvuI-karAo a| ekkakkama-sarisAo taha kittI tiasa-sariA a // 30 // niMdAe salahijjai uvameo jattha sA pasaMsa tti / aNuharai aisaeNaM jA sa ccia hoi tallicchA // 31 // / niMdA-pasaMsA jahA : tuha saMDhassa va naravaai bhujjai bhiccehI pAaDA lcchii| hiaAI (hiaaMpi?) kAarassa va vaaNijja-bhaeNa osarai // 32 // tallicchovamA jahA : pAusa-nisAsu sohai jala-ppavahehi pUriA puhii| cala-vijju-valaya-vADaNa-nivaDia-Nakkhatta-sarisehI // 33 // uvameo nidijjai thui-vavaeseNa jattha sA niMdA / atisaa-bhaNiA sa ccia atisaiA bhaNNae uvamA // 34 // thui-nidovamA jahA : taMbola-rAaa miliaMjaNeNa ahareNa sohasi pose| dara-pariNaa-jaMbUhala-kaMti-sariseNa pihu-acchi // 35 // For Personal & Private Use Only

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4 . aisa(i)ya-uvamA jahA : joNhA-bhaaa-saraNAgaa-timira-samUhehI Nijjia miaMkaM / sevijjai vaaNaM sAsa-gaMdha-luddhehI bhasalehiM // 36 // jA sarisaehI bajjhai saddehiM sA hu hoi suhmiliaa| ekkANikkA viappaNa-bheeNa viappiA du-vavihiA // 37 // sui-miliovamA jahA : daTThaNa para-kalattaM caMdAvaDiaMmaNoharaM kavvaM / khijjai khalo viaMbhai dUsai dosaM a-pecchaMto // 38 // ekkattha-viappiovamA jahA : pribhmnn-vi-nniaddddia-sNpiNddia-bhl-rennu-ni(nni?)acchaa| Nahasu (?) aNaDa-taMsA iva vAAvattA muNijjate // 39 // bahuhA-viappiovamA jahA : sUrammi dAva jalaNe vva volie NahaalaM varsN(?)vyo| pacchA masi-NiareNa va tameNa kasiNIkAyaM saalaM // 40 // uvamANeNuvaMessa jaM nirUvijjae ni(?)rUvaNaM khu| . davva-guNa-sammaaMtaM bhaNaMti iha rUvaM kaiNo // 41 // [upamAnenupameyasya yat nirUpyate nirUpaNaM khlu| dravya-guNa-sammataM taM bhaNanti iha rUpakaM kavayaH // 41 // ] taM cia davihaM jAai smtth-paaatth-virannaa-jnni| paDhamaM biaM ekeka-desa-parisaMThiaM hoi // 42 // tadeva dvividhaM dvitIyaM ekaikadeza-parisaMsthitaM bhavati // 42 // For Personal & Private Use Only

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42 saalavatthu rUvaaM jahA : gaaNa-saraM pecchaha pAusammi taNu-kiraNa-kesara-saNAhaM / tArA-kusuma-vvavaNaM mahabharaNa paulaM samakkamai // 43 // ekkeka-desa-rUvaaM jahA : avira-psria-dhaaraa-nnivaaa-nitttthvia-pNthia-smuuho| mArihai maM sa-daiaMnikkivo pAusa-cilAo // 44 // bheA NAehiM cia haria-cchAehiM rUvaANa kaA / atthe labbhijjai cia saaleara-rUaA-hiMto // 45 // -x-x--xdIvijaMti paAI ekkAe cea jattha kiriaae| muha-majjhaMtagaAe taM bhaNNai dIvaaMtivihaM // 46 // muha-dIva jahA : bhUsijjaMti gaiMdA maeNa suhaDA asi-ppahareNa / ga ? taraeNa turaMgA sohagga-guNeNa mahilAo // 47 // majja-dIva jahA : sukaviNa jaso sUrANa dhIrimA ihi nariMdANa / keNa khalijjai pisuNANa dummai bhIruANa (?) bhaaaM // 48 // aMta-dIvaaM jahA : sattheNa buhA dANeNa patthivA guru-taveNa jai-NivahA / raNa-sAhaseNa suhaDA mahiale pAaDa hoMti // 49 // addha-bhaNiaM niraMbhai jassi juttia hoi so roho| paa-vaNNa-bhea-bhiNNo jAai du-viho anuppAso // 50 // For Personal & Private Use Only

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43 roho jahA : ko Na valai teNa viNA mA bhaNasu a pulaiehiM pAsehiM / ai-rahasa-jaMpiAI havaMti pacchA avacchAI // 51 // paANujAso jahA : sasi-muhi muhassa lacchi thaNasAliNi thaNaharaM-pi pecchNto| taNuAaiM taNuoari hali[a]suo kahasu jaM juttaM // 52 // vaNNANuppAso jahA : vAaMti sjl-jlhr-lv-sNvln-siial-pphNsaa| phullaMdhua-dhuva-kusumucchalaMta-gaMdhuddharA pavaNa // 53 / / jattha nimittAhiMto loA ekaMta-goaraM vaaNaM / viraijjai so tassa a aisaa-NAmo alaMkAro // 54 // . aisaAlaMkAroM jahA : jai gaMdha-milia-bhamaraM na hoi avaNs-cNpa-psuuaN| tA keNa vibhAvijjai kaola-miliaM pahaM tissA // 55 // vigae vi ekka-desa-guNaMtareNaM tu saMthuI jattha / korai visesa-payaDaNa-kajjeNaM sA viseso tti // 56 / / visesAlaMkAro jahA : na-vi taha NisAsu sohai piANa tNbol-raaa-pcchio| jaha piaama-pio paMDaro-vi aharo pahAyammi // 57 // jattha niseho vva sasIhia(?) korai vises-tnnhaae| so akkhevo duviho hoMta-vikaMta-bheeNa // 58 // For Personal & Private Use Only

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44 hotakkhevo jahA : jai vaccasi taha vaccasu gru(a-daah)-virhggi-tvia-tnnue| vaccasi tai samaaMcia ahavA kaha jaMpiaM esA // 59 // avakaMtakkhevo jahA : khagga-ppahAra-daDha-dalia-riu-dalassa ga-kuNbh-viiddhss| tuha natthi-ettha ko mahiharANa saMcAlaNo hojja // 60 // hoi-sahAo jAi vairego uNa vises-krnnenn| uaNena-mohI (?) saA aNeNaM cc (?) bajjhai kaIhiM // 61 // jAi jahA : sira-dharia-kalasA gholira-bAhA-jualAi gaam-trunnie| maNNai vilAsa-diTTho bhai (?)-TThiaaM pAmaro puhavi // 62 // vairego jahA : dUsaha-paAva-pasaro somo sai akhalia-paho taM si / te vva jaDA uNa doNhA vi ravi raa raa haa-chAA // 63 // phuDa-siMgArAi-raso so rasio aha bhaNNae alNkaaro| aNNa-vavaesa-bhaNie viNimmio hoi pajjAo // 64 // rasio jahA : dUI-viaDDa-vaaNANubaMdha-iarA vibhiuM thaddhA / paDai sauNNasa uare rasaMta-rasanA kuraMgacchI // 65 // pajjAo bhaNNai jahA : garuANa coriAe ramaMti(e) payaDa-rai-rasaM ktto| mA kuNasu tassa dosaM suMdari visama-TThie kajje // 66 // For Personal & Private Use Only

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45 jaha Nia (?) bhaNNai bahuA parivAr3I-paaDaNaM jaha-saMkhaM / kiM puNa biuNaM tiuNaM caugguNaM hoi kavvaMmi // 67 // haMsa-sasi-kamala-kuvalaya-bhasala-mulANaNa nijjiA lcchii| tissa gai-muha-kara ala-loaNa-dhammella-bAhAhiM // 68 // tiuNo jahA : jo vahai vimala-vellahala-kasaNa-sia-sari A]-visa-miaMkaM / muddhaddha-raaNiara-mauli-saMsiaMtaM sivaM Navaha // 69 // caugguNo jahA : tie sama-maua-dIhehiM nimmala-taMba-dhavala-sohehiM / dasaNAhara-naaNehiM jiAI maNi-jAvaa-kamalAiM // 70 // aNavekkhia-patta-sahAa-saMpaAe-samAhio hoi / guNa-kiriANa-viroheNa esa bhaNio viroho-tti // 71 // samAhio jahA : accaMta-kuvia-piaama-pasAaNatthaM patmaannie| uio caMDo-vi tatto a pasario malaa-gaMdhavaho // 72 // viroho jahA : tujjha jaso hara-sasahara-samujjalo saala-NavaNia diddhN-pi| mailai Navara vara-verI-vIra-vahu-vaaNa-kamalAI // 73 // uvamANeNa sarUaM bhaNiUNa bhassae jahiM bheo| thui karaNeNaM saMdeha-saMsio so-hu saMdeho // 74 // saMdeho jahA : kiM kamalamiNaM no taM sa-kesaraM kiM sasI Na tattha mo| diTuM sahi tujjha muhaM sa-saMsaaMi ajjha taruNehiM // 75 // Jain Education Internatio For Personal & Private Use Only

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natthi vieho kiriA - rasiassa hoi jattha phala- riddhi / bhaNNai vibhAvaNA so kavvAlaMkAraittehiM // 76 // vaDDai a-sitta-mUlo apao hoMto-vi parasai hammi / gao - via kaNho adhoa - vimalo jaso tujjha // 77 // aNNo cia uttarao a jattha bhAvai sa bhAvao bhaNio ! duviho hu hoi jaha taha sAhijjaMtaM NisAmeha // 78 // kassa - i vaNaAI tarhi, hu (?) suehiM uttarehI najjaMti / abbhitarammi Nia-hiaa - gUDha - bhAvo tahA utto // 79 // jassa bhaNiIhI aNNo, aNNo paaDijjae jahiM atthoM / aNNAvaesa - NAmo, siTTo satthaArehiM // 80 // Au (?) alaMkAro jahA : hA hA vihUa - karaalaA lahia aMsuaM DaDDuM / paDia golA - Ure, NaM saraseNa miseNaM halia - suhA // 81 // aNNAvaeso jahA : aNNaassa baMdha bhoiNi Nava- vaccaaa - selliaM bailassa / Aloa - mettA - suhavo Na kajja-karaNa - kkhamo eso // 82 // > puvva- bhaNia- sarisammi vatthummi / tassa vivaria - attha-bhaNaNaM so aNNo // 83 // XX XX XX XX atthaMtaraNAso jahA : vipphurai ravI uaAalammi gahu attha - mahihara - sirattho / teaMsiNo vi teaM, lahaMti DhANaM laheUNa // 84 // XX XX XX XX for Personal & Private Use Only 46

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aNNa-pariaro jahA : turiyAe turiya-gamaNo , Niamba-bhara-maMtharAe sliil-po| maggeNa tIa vaccai , pelAvelAe taruNi-jaNo // 85 // bahu-vatthu ccia kiriyA(?) sama-kAla-paAsanaM u sahautti / guru-vIraAe raio , jAai ujjA-alaMkAro // 86 // [ujjA jahA :] vIsattho ccia geNhasu vairiaNe vegga-(?)viDiaM khaggaM / paharate paDi-paharaNamuNA karesu Na sAmatthaM(?) // 87 // sahotti jahA : NiddAe samA lajjA , sarIra-sohAe saha gaA kitti / samaaMtaha aNura tIe vaTuMti NIsAsA // 88 // uvamA jattha NiNhavai thaDA sA avaNhuI hoi| pIIe a aisaeNaM , pemAisao bhaNeavvo // 89 // avaNhuI jahA : Nahu ucc-viddv-sNtthia-phitttth-klaNddhi-kl-rv-ppsro| suvvai vaNa-vilasira-puSphacAva-mahuro ravo eso // 10 // pemAisao jahA : sahasA tuammi diDhe , jo jAo tIa phrisaaiso| so jai puNo-vi hosai , suMdara tua daMsaNe ccea // 11 // riddhi-mahANubhAvattaNehi duviho-vi jAai udatto / sa pariutto gheppai , jattha visiTuM NiaMdAuM // 12 // For Personal & Private Use Only

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48 riddhi-udAtto jahA : tuha Nara-sehara vipphuria-rann-kirnn-nniar-nnaasia-tmaaii| bhiccANa-vi dIva-sihA-mailAi Na hoMti bhavaNAI // 93 // . mahANubhAvatta-jAiudatto jahA : vellhl-rmnni-thnnhr-pddipellia-viadd-vcch-piiddhaa-vi| Na calaMti mahA-sattA , maUNassa sire paaMdAuM // 94 // . pariatto jahA : sasimuhi muha-pakaa-kaMti-ppasaraNa-kiraNakaM(?) vilAseNa / diTTi dAUNa tao , gahiaiM juANa-hiaAI // 15 // davva-kiriA-guNANaM pahANaA jesu kIrai kiihiN| davyuuttara-kiriuttara-guNuttarA te alaMkArA // 16 // davyuttaro jahA : vr-kri-turNg-mNdir-aannaaar-seva-knna-rannaai| ciMtia-mettAI cia , havaMti deve pasaNNaMmi // 97 // kiruyuttaro jahA : mA ruau mA kIsAu , mA jhijjau mA vihiM ulaahu| jA Nikkiva tuha bahu-vallahassa varaI piDa paDiA // 98 // guNattaro jahA : sasi-somma sarala sajjaNa , sacca-vaa suhaa sucaria salajja / diTTho si jahiM tuaM tettAi kahaNu Na NariMdA(?) // 19 // uamANaM uameaM , raijjai teNa so sileso-tti / so uNa sahotti-uamA-heUhiMto muNeavvo // 10 // For Personal & Private Use Only

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sahotti-sileso jahA : pINA ghaNA a dUraM samuNNaA nnh-vivttia-chaaaa| mehA thaNaA-vi tuha , niTThavaMti taNhAuro loo // 101 // uvamA-sileso jahA : dUrAhiM cia Najjai DhakkA-saddassa sUiaMgamaNaM / lahuia-mahihara-sattANumatta-hatthiNa-va pahUNa // 102 // heu-sileso jahA : helA-visavia-maaNaggaNeNa sama-pecchiAi a jnnss| alia-parammuhaAe bhadda NaaNa-pahe taM si // 103 / / accubbhaDa-guNa-saMthui-vavaesa-vaseNa savisaA jtth| kIrai niMdAi thUI , sA vavaesa-thuI NAmaM // 10 // vavaesa-thuI jahA : akulINe paai-jaDe , akajja-vaMke jIe ssNkmmi| tujjha jaso Nara-sehara , kijja suaNA via NAmAi // 105 // guNa-sasisattaNa-taNhAi jattha hINassa guruaNa samaM / hoi samakAla-kiriA jA sA samajoiA sAhu // 106 // samayogitA jahA : maaNassa paraM rajjaM kIrai ri-trl-trunni-nnivhss| samaAla-calia-maNi-valaa-mehalA-Neura-raveNa // 107 // appatthuappasaMgo ahiAra-vimukka-vatthuNo bhaNaNaM / aNumANaM liMgeNaM , liMgI sahijjae jattha // 108 // For Personal & Private Use Only

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appatthuappasaMgo jahA : sAsukkoeNa gaA uaha vahuAi suNNa-devaulaM / patto dulaha-laMbho-vi aNNa-kajjAgao jAro // 109 // aNumANaM jahA : NUNaM tIa vi sUaMti teNa saha vilAsiaM haAseNa / naha-paa-pallava-laggAi saaNijja-dalAI aMgAi // 110 // AarisaMmi-va jAsiM ucchara-roNaNabhara(?) phudd-cchaaaa| dIsaMti paavvA(?) hiaa-hAriNo so hu Aariso // 111 // Aariso jahA : keli-parA mosara maNNe tuha phaMsUavaM apAvaMta / hatthA se Naha-kiraNa-cchaleNa dhArAhi-va ruvaMti // 112 // thevovamAi sahiA , (a)saMta-kAraNa gunnaannujoenn| avivakkhia-sAmatthA , uppekkhA hoi sAisaA // 113 / / umpekkhA jahA : dIsai pUria-saMkho-vva mla-maarua-nnreNd-sNclnne| dara-dalia-mallia-maula-lagga-muha-guMjiro bhamaro // 114 // vivihehi alaMkArehi ekka-miliehi hoi sNsitttthi| AsIsAlaMkAraM, AsivvAaM ca bhaNaMti // 115 // saMsiTThi jahA : tujjha muhaM sasi sasimuhi taha tujhaMba-nava-pallavA clnnaa| thaNaA tuha jala-kalasa-vva suMdarA kaM Na mohaMti // 116 // For Personal & Private Use Only

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51 AsIsA jahA : AsIsA saMtattassa - vi saala - kalusAi tumha NAsaMtu / dia - guru-tavasi - kuAriM-siaaNa-suaNehiM diNNA u // 117 // uvamArUvaameaM, vijjai jattha ruvae uvamA / NiarisaNaM hu-vi siddhaM caMDAviajaovamArahiA (?) // 118 // uvamArUvaaM jahA : saMpesia - NaaNa-sarA, rasaNA-rava- tarala- milia - ghara - haMsa / khalia - juANA Nisara, mammai - dhADi - vva dhavalacchi // 119 // arisaNaM jahA : dAvaMti jalaharA saala - daMsaNa-vahaM samArUDhA / khaNa-vihaDaMta-khaNa-samuNNai - dharaA kAla-kIlAu // 120 // hoi silesA-chaleNaM, majjaMtI- rUaNa a- phuDeNaM / uppekkhA eso suo uppekkhAvaava - NAmo hu // 121 // uppekkhAva avo jahA : sama-viasaNa-saMpuNNaM vaNaM nu kusumANa raaNi-viramaMmi / ujjovai haa(?)caMDo joikkheNa va (?) paiTTho // 122 // so ubbheo vatthUNa jattha vatthUhi hoi ubbheo / bhaNio kiM-paa - gabbho, biio taha NUNa- saddeNa // 123 // ubheo kiM-paa - gabbhoM jahA : AlI NiacchaNa-salonIaM haliassa amuNia- rasassa / nivvAsia - sira- cIramuchuNNaM muhaM viaDDeNaM // 124 // For Personal & Private Use Only

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52 NUNaM-sadde ubbheo jahA : dare-NiggaaMNa pecchai NUNaM sahaarA-maMjariM ajj| teNa tuha vaccha loaNaM ahiu (?) vahu-muhaaMdaM // 125 // vara-vaaNa-pAlaNaM kiM-paeNa sahi-desaNaM khu valio tti| jamaaM sui-sama-bhiNNattha-vaNNa-puNaruttaaM bhaNiaM // 126 // valiAlaMkAro jahA : kiM tuha ruassa halA ruasu [tuaM] sAmiNI Nia-saTThie / assAuccheadhair3a (?) tassa a pAesu paDiA u // 127 // AI-majjhaMta-gaaMpAabbhAso tahA aavli-nnibNdho| nIlesa-pAa-raiaM , jAai jamaaM a paMca-vihaM // 128 // pAAi-jamaaM jahA: mA NaM mANaM hArehi Niddaa-daie aha sAlUrI (?) / gaa-NAha-gea (?) sANAsA-sAsAurAM ramiaM // 129 // majjhaMta-jamaaM jahA : jassa pavaMgamehi khaa-samaM diTuM taNhAieNaM niccaraM ciraM / vimala-pphuraMtara-raaNa-vijjujjalaM jalaM mahIharAdhAa-visaraMta . aMtaaM // 130 // XX xx xx xx pAa-bbhAse jamaaM jahA : seu-baMddha-samudaM tarala-lavamaMaNaM / . kiMdarAghaNa-cAraM ovvaapaaNa-NAlaM darA-ghaNa-cAriaMovvaM paaNa-NAlaaM // 131 // For Personal & Private Use Only .

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Avali-jama jahA : haMbho raMvijjala-pajala-pajala-Nibbhare NibbhareUNaM / sArAsAme sAsAme samaotuM kalio // 132 / / XX XX XX XX saala-pAa-jamaaM jahA : tuha kajje sAhasiA keNa kaA vaMdaNeNa saahsiaa| taNNiuNaM sA hasiA sahiAhi phuDaM sA hasiA // 133 // . xx xx xx xx aNNe vi UNaA sesA Na hoMti samaggAdhiNo kavve / teNa vi aNNo bhAvopaeso ea daTThavvo // 134 // xx xx xx xx iti alaMkAradarpaNaM samAptaM // zubhaM bhavatu // For Personal & Private Use Only

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atizaya anumAna anuprAsa (padAnuprAsa) anyApadeza apahanuti aprastutaprasaMga arthAMtaraganyAsa AkSepa Adarza AziSA uttara utprekSA utprekSAvayava udAtta udbheda upamA Alphabetical list of the Alamkaras parivRtta paryAya premAtizaya upamArUpaka UrjA jAti dIpaka nidarzana parikara (anyaparikara) 54 110 52 83 89 108 83 56 111 115 96 113 121 92 123 11 118 85 61 45. 118 85 bhAva yathAsaMkhya yamaka rasita rUpaka rodha valita vibhAvanA virodha vizeSa vyatireka vyapadezastuti zleSa samayojita samAhita sahokti saMdeha saMsRSTi For Personal & Private Use Only 54 95 64 89 78 67 128 64 41 50 .126 76 71 56 61 105 100 106 71 85 74. 115

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