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paänuppäso jahā :
H. C. BHAYANI
sasi-muhi muhassa lacchimh thanasalini thanaharam-pi pecchamto tanusai tanuoari hali [a] suo kahasu jah juttam //52
The illustration of Padanuprāsa:
The ploughman's son, seeing the beauty of your face, O moon-faced 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 jahā :
väanti sajala-jalahara-jala-lava-samvalana-siala-pphamsä / plullamdhua-dhuva-kusumucchalamita-gamdhuddhurā pavaṇā //
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 nimittähinto loa ekkamta-goaram vaanam / viraijjai so tassa a aisaa-namo alam kāro //54
SAMBODHI
Where the words of usual discourse are used purposefully to convey oneness then that figure is called Atisaya.
aisaalamkāro jahā :
jai ganidha-milia-bhamarami na hoi avaamisa- Campaa-pasuar / te kena vibhāvijjai kaola-miliam paham tissä //
The illustration of the figure Adisaya:
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-dese guantarenam tu samthui jattha / kirai visesa-payadaṇa-kajjenant so viseso tti //
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 Višesa. Visesälkäro jaha:
na-vi taha nisisu sohai plāna tambola-ria-paccaio / jaha piaama-pio padaro-vi aharo pahāyammi //
