________________ 121 Here the uninflicted forms (prati padikas) expressed by the series of nouns are called Padas, for termination etc. are not emphasised in the context. The words 'arimedah' and so on have double meanings, in the first line. (7) Citra (p. 191, 1. 19) 1 : This is treated as an alamkara, for the first time by Rudrata ?. The original borrows from Rudrata and Viveka from Namisadhu 3. The definition of Citra + is not traceable here. This figure has got several varieties. Rudrata gives several varieties only illustratively 5. These are not traceable in Viveka. 1. New paragraph from here. 2. This has been noted earlier (p. 108 above). तच्चक्रखङ्गमुसलैर्बाणासनशक्तिशूलहलैः / atifatigatuarrafaqaq@: 11 R. K. L. V. 2. अनुलोमप्रतिलोमैरर्धभ्रममुरजसर्वतोभद्रैः / / fenf&futurfo arafastagfasa: 11 R. K. L. V. 3. vide also afh. on this (P. 50.): agafeai Jenifanfalha ecografafa i this is borrowed by Viveka (P. 191, 1. 19). The reading "ye" is obviously wrong, it should be "Hg:'! 4. vide R. K. L. V. 1. Nami, on this explains Citra thus : f97a g rafael Fadi नामालकारः / The word "Citra is used in two senses in K. P.: In the 1st. Ullasa it is used to denote the third type of Poetry which is avyangya. The word 'avyangya' is variously interpreted. Some think that it means 'isadvyangya that is to say, wherein vyangya is not easily detectable. Others think that it means 'without vyangya' (vide Pradipa and Udyota on K, P. I, 5). Mammata seems to favour the first view as he explains avyangya as 'sphuta-pratiyamanartha-rahitam' (K. P.-P, 19). [also cf sphutasya rasasya anupalambhad avyangyam etat kavya-dvayam uktam (K. P. VI--p. 213) ] Kumara Svami quotes in his commentary on Prataparudra-yasobhusana: 'anulbanatvat vyangyasya avyangyam citram iritam/. In short, citra in a wider sense means the third class of Poetry, which includes all the figures of sound as well as sense. In the narrower sense it means 'a particular type of figure of sound.' Here it is used in this signification. Ratnesvara remarks (vide Treat S. K. II, 109) that Kasmirians call this citra because like a picture this also is life-less. But he does not accept this view. According to him this is called citra because it causes surprise (ascarya). He says, " #fafaqha sagataranfih gagal afhaakt he fa&Alzgita 592: | R. K, L V. 4. We do not find here the ills, discussed from the original. But they were positively given there. Viveka gives its own illustrations of this Alamkara afterwards. Even though citra is admitted to the fold of Alamkaras, writers like Mammata do not much approve of citra. Mammata points out that citra is kasta-kavya (disagrecable poetry-K, P.--. 431) hence he has merely showed the direction. Again he remarks that though several varieties of citra are possible yet they do not rise to the level of poetry hence they are not illustrated. They are merely calculated to parade the ability of the poet [K, P.--(p. 433)). Rudrata has not tried scientifically to classify this figure, as Bhoja and Hemacandra have done, In Dandi we find an indirect attempt at this type of classification. According to Bhoja Citra is sixfold according as it belongs to varna, sthana, svara, akara, gati or bandha. But eve., Bhoja confesses that Citra is difficult to practise (duskara), harsh (kathora) and difficult to understand (durbodha) and what is more, endless, innumerable (vinavadhi). He, therefore, claims to point out the direction, the rest he leaves to the fertile imagination of the great vide S. K. II, 130). At the end of Bandha type of Citra, Bhoja gives various types of Dhenu-slokas, which are called Dhenu because like a cow (dhenu) giving birth to several calves (tarnakas) these verses give rise to several new verses (tarnaka-slokas), if the words thereof are permuted according to certain conditions,
