________________
CCCXX
Kavyanususana
done by neglecting minor and unimportant distinctions. He‘includes Sams:shți under Samkara, so defines Dīpaka as to include Tulyayogitā in it, defines a figure Parāvștti which contains the Paryāya and Parivịtti of Mammata, omits all those figures that have a touch of Rasa, Bhāva etc. in them (viz:-Rasavat, Preyas, Urjasvi Samāhita), and passes over Ananvaya, Upameyopamā as varieties of Upamā, includes under Nidarshanā the figures Prativastūpamā, Drashțānta, and Nidarshanā of others. He uses the names Jāti and Anyokti for Svabhāvokti and Aprastutapraşamsā”. +
The twenty-nine arthālamkāras that Hemachandra discusses in 31 sūtras are enumerated by the Viveka as follows: (1) Upamā (2) Utprekshā (3) Rūpaka (4) Nidarsanã (5) Dipaka (6) Anyokti (7) Paryāyokti (8) Atişayokti (9) Ākshepa (10) Virodha (11) Sahokti (12) Samāsokti (13) Jāti (14) Vyājastuti (15) Şlesha (16) Vyatireka (17) Arthāntaranyāsa (18) Sasamdeha (19) Apahnuti (20) Parivịtti (21) Anumāna (22) Smộti (23) Bhrānti (24) Vishama (25) Sama (26) Samuchhaya (27) Parisamkhyā (28) Kāraṇamāla (29) Sankara
The definition of Upamā I ATTEIGTAI - that Hemachandra has adopted is different from that of Mammața. He has laid emphasis on the aesthetic element in the definition.
The Viveka, however, mentions and discusses all the alamkāras given by previous writers including Bhoja
+Kane's Introduction to the Sahitya Darpaņa pp. CXIV etc.
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