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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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