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ALAMKARA DAPPAŅA
H. C. Bhayani
(Continued from Sambodhi Vol.17, 1990-91)
uvamāneṇuvameassa jam niruvijjae ni (?) rüvaṇam khu / davva-guna-sammaam tam bhanami iha ruvam kaino //41
upamanenupameyasya yat nirupyate nirupaṇam khalu / dravya-guna-sammatam tam bhananti iha rupakan kavayaḥ //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 jāai samattha-pāattha-viraana-janiam / padhamam bian ekkekka-desa-parisamthiam hoi //42
tadeva dvividham jayate samasta-padartha-viracana-janitam / prathamani dvitiyam ekaikadeśa-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 ruaam jahā :
gaana-sarai pecchaha pausammi tanu-kirana-kesara-saṇāham / tärä-kusuma-vvavanam mahabharana paulam samakkamai //43
ekkekka-desa-ruvaam jahā :
aviraa-pasaria-dhārā-nivaa-nitṭhavia-pamthia-samuho /
inārihai mam sa-daiam nikkivo pausa-cilão //44
'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.'
blea naehim cia haria-cchaehini rūvaāņa kaā /
atthe labbhijjai cia saaleara ruaa-himto //45
dīvijjamti paāini ekkãe cea jattha kiriäe /
mula-majjhanitagaãe tam bhannai dīvaam' 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.
1. Diviam.
