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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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