________________
NOVEMBER, 1894.]
THE BHASHA-BHUSHANA OF JAS'WANT. SINGH.
309
Translation.
The Barter. It is the figure of Barter where something is given and taken,
In the figure of Parivšitti (Return) (145), the essential element is that there is disparity between what is given (which is little) and what is taken (which is great). This is not an essential in this figure. Example, Bihári-sat'sai, 240 :Sahita sanéha sa kôcha sukha
sréda kampa musikáni 1 Prána páni kari ápané
pána diyé mô páni || 145b 11 With love, with bashfulness, with thrilling sweats, with quivering, with a smile, my beloved put into my hand a betel roll, and took my soul into her hand instead.]
Text.
Parisankhyalankara. Parisankhya eka thala baraji.
diijé thala (haharái Néha-hani hiya me nahi
bhai dipa mé jái | 146 11
Translation.
Special Mention. [Sáhitya-darpaņa, 735.]
It is the ornament of Special Montion, when it is denied (that an object) is in one place, and affirmed that it is in another, as for example: -
The minishing of love for oil) is not in my heart, but is in the lamp.'
Mere the figure, being founded on a paranomasia is particularly striking, the word néha (snéha) meaning both love and o! The definition of the Sahitya-darpana is a more accorate one than that given above, and my be quoted. When, with or without a query, something is affirmed for the denial, expressed or understood, of something else similar to it, it is Special Mention.' All Hindi authorities, however, which I have seen, closely follow the Bhúshábhúshana.]
[Text and Translation.
Uttaralankara.
The Reply. Not in Bhasha-bhúshara,
Sahitya-darpara, 736. The Reply occurs when a question is inferred from an answer; or, the question being given, there are a number of answers unlooked for. Bihárá-sat'sai, 130, is an instance of the first kind. Ajyau. na dye sahaja rasga
viraha-dabaré gáta Aba-hi kaha chaldiyata,
laluna, chalana ki báta || 1488 !! (Here the Question is put by the Horo, who wishes to go to a far country. “May I go?" It is surmised from the answer of the Heroine, viz.)
The natural colour has not yet refarned to thy form wasted by the woes of our last) separation. Now, darling, why dost thou mention the subject of departure'P The second variety is thus defined in the An'war-chandrika, 164:prati-uttara jaha. hôi !
attara đâjô gối || 148b ||
