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Laţānuprāsa and Ananvaya lies in this that while in the former s'abdārthapaunaruktya only is aimed at, in the latter case the same words occur on the maxim : "Sabdabhedad arthabhedaḥ.",
The Laţānuprāsa is fivefold according as a whole Pada is repeated or a Pada, Prātipadic etc. are repeated. 169 For the rule is that no figure of speech should mar a
Rasa. Cf. Bhoja's def. of Citra in S. K. (II. 358-9). 170 Vide K. A.S.p. 329, "Tathahi - yathā etc." The point is
that we should not hold that when a figure is based on the resemblance of Guņa and Kriyā, it is Upamā; and when there is only verbal resemblance, it is slesa. The truth is that even a verbal resemblance may give rise to Upamā.
171 Vide Bhoja's śr. Pr., pp. 127-128.
172 Pradipakāra provides the rationale for treating Upamā first
(p. 308 N. S.). It lies at the root of many figures of sense.
Vide V.S. Sowani's article on "A History and Significance of Upamā" in Annals of the Bhandarkar Inst. Vol. I (2), pp. 87-98 (1919-20).
Cf. Dr. R. S. Betai's critical analysis and forthright observations in his paper "Treatment of Alamkāras in The Kāryānuśāsana of Hemachandra", published in JOGRS XII No. 4/88, 1960, pp. 355-56.
173 Vide KASS, p. 18 (N. S. Ed.)
174 Hemachandra wants to include Ananvaya in Upamā; hence
he drops the word 'Bhede' found in Mammața's def, of Upamā. But he is aware of the finer distinctions involved here.
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