Kavyadarsha 2: Pariccheda 2

2.1

kāvyaśobhākarān dharmān alaṃkārān pracakṣate
te cādyāpi vikalpyante kas tān kārtsnyena vakṣyati //

The properties that produce the beauty of poetry are called ornaments;
and they are being differentiated even today: who can expound them in their entirety?

2.2

kiṃtu bījaṃ vikalpānāṃ pūrvā-cāryaiḥ pradarsitam
tad eva pratisaṃskartum ayam asmatpariśramaḥ //

Yet the seed of these distinctions was shown by former masters;
this endeavor of ours is merely to refine that very [seed].

2.3

kāścin mārgavibhāgārtham uktāḥ prāg apy alaṃkriyāḥ
sā-dhāraṇam alaṃkārajātam anyat pradarśyate //

Some ornaments were indeed declared earlier to distinguish the poetic dictions;
now the remaining class of common ornaments is displayed.

2.4

svabhāvā-khyānam upamā rūpakaṃ dīpakāvṛttiḥ
ākṣepo 'rthāntaranyāso vyatireko vibhāvanā //

Natural description, simile, metaphor, illuminator, and repetition;
paralipsis, corroboration, contrast, and peculiar causation;

2.5

samāsātiśayotprekṣā hetuḥ sūkṣmo lavaḥ kramaḥ
preyo rasavad ūrjasvi paryāyoktaṃ samā-hitam //

condensed expression, hyperbole, poetic fancy, poetic causation, subtle indication, hint, orderly succession;
expression of affection, the impassioned, the spirited, periphrasis, and convenient resolution;

2.6

udā-ttāpahnutiśleṣaviśeṣās tulyayogitā
virodhā-prastutastotre vyājastutinidarśane //

exaltation, concealment, cohesion, special distinction, equal pairing;
incongruity, praising the irrelevant, veiled praise, and illustration;

2.7

sahoktiḥ parivṛttyā-śiḥsaṃkīrṇam atha bhāvikam
iti vācām alaṃkārā darśitāḥ pūrvasūribhiḥ //

simultaneous expression, barter, benediction, combination, and the imaginative;
thus are the ornaments of speech shown by ancient sages.

2.8

nānāvasthaṃ padārthānāṃ rūpaṃ sākṣād vivṛṇvatī
svabhāvoktiś ca jātiś cety ādyā sālaṃkṛtir yathā //

Clearly disclosing the diverse states of the nature of things,
[the figure is called] natural description and generic description: this is the first ornament, as in:

2.9

tuṇḍair ātāmrakuṭilaiḥ pakṣair haritakomalaiḥ
trivarṇarājibhiḥ kaṇṭhair ete mañjugiraḥ śukāḥ //

"With beaks reddish and curved, with wings soft and green,
with necks bearing three-colored rings, here are the sweet-voiced parrots!"

2.10

kalakvaṇitagarbheṇa kaṇṭhenā-ghūrṇitekṣaṇaḥ
pārāvataḥ paribhramya riraṃsuś cumbati priyām //

"With eyes rolling and throat carrying a soft cooing murmur,
a pigeon circles round and, eager to mate, kisses his beloved."

2.11

badhnann aṅgeṣu romāñcam kurvan manasi nirvṛtim
netre cā-mīlayann eṣa priyāsparśaḥ pravartate //

"Causing hair on the limbs to bristle, creating delight in the heart,
and making the eyes close, this touch of my beloved takes effect."

2.12

kaṇṭhekālaḥ karasthena kapālenenduśekharaḥ
jaṭābhiḥ snigdhatāmrābhir āvirāsīd vṛṣadhvajaḥ //

"Dark at the throat, with a skull-cup in hand, crested with the moon,
with glossy, reddish-brown matted locks, the Bull-bannered Lord appeared."

2.13

jātikriyāguṇadravyasvabhāvākhyānam īdṛśam
śāstreṣv asyaiva sāmrājyaṃ kāvyeṣv apy etad īpsitam //

Such is the natural description of genus, action, quality, and substance;
in the scientific treatises it holds absolute sovereignty, and in poetry too it is desired.

2.14

yathā kathaṃcid sādṛśyaṃ yatrodbhūtaṃ pratīyate
upamā nāma sā tasyāḥ prapañco 'yaṃ nidarśyate //

Where likeness in whatever manner is understood to be clearly manifested,
that is called simile; its elaborate varieties are now displayed.

2.15

ambhoruham ivā-tāmraṃ mugdhe karatalaṃ tava
iti dharmopamā sākṣāt tulyadharmapradarśanāt //

"O charming girl, the palm of your hand is reddish like a lotus":
this is the simile of shared attribute, because of the direct showing of a common attribute.

2.16

rājīvam iva te vaktraṃ netre nīlotpale iva
iyaṃ pratīyamānaikadharmā vastūpamaiva sā //

"Your face is like a lotus; your two eyes are like two blue water lilies":
this, where the common attribute is merely implied, is the substantive simile.

2.17

tavānanam ivonnidram aravindam abhūd iti
sā prasiddhiviparyāsād viparyāsopameṣyate //

"The lotus blossomed like your face":
because of the reversal of standard usage, this is held to be the inverted simile.

2.18

tavānanam ivāmbhojam ambojam iva te mukham
ity anyo'nyopamā sāyam anyo'nyotkarṣaśaṃsinī //

"The lotus is like your face; your face is like the lotus":
this is the reciprocal simile, proclaiming the mutual preeminence [of both].

2.19

tvanmukhaṃ kamalenaiva tulyaṃ nānyena kenacit
ity anyasāmyavyā-vṛtter iyaṃ sā niyamopamā //

"Your face is equal only to the lotus, and to nothing else":
because of the exclusion of equality with any other, this is the restrictive simile.

2.20

padmaṃ tāvat tavānveti mukham anyac ca tādṛśam
asti ced astu tatkārīty asāv aniyamopamā //

"The lotus indeed resembles your face, and if there is any other of that kind,
let it do so": this is the non-restrictive simile.

2.21

samuccayopamāpy asti na kāntyaiva mukhaṃ tava
hlādanā-khyena cānveti karmaṇendum itī-dṛśī //

There is also the cumulative simile: "Your face resembles the moon
not only by its radiance, but also through the act called gladdening"—such is it.

2.22

tvayy eva tvanmukhaṃ dṛṣṭaṃ dṛśyate divi candramāḥ
iyaty eva bhidā nānyety asāv atiśayopamā //

"Your face is seen only in you; the moon is seen in the sky;
only this much is the difference, none other": this is the hyperbolic simile.

2.23

mayy evāsyā mukhaśrīr ity alam indor vikatthanaiḥ
padme 'pi sā yad asty evety asāv utprekṣitopamā //

"Enough of the moon's boasting that 'the splendor of her face is in me alone',
since that [splendor] is also in the lotus": this is the imagined simile.

2.24

yadi kiṃcid bhavet padmaṃ subhru vibhrāntalocanam
tat te mukhaśriyaṃ dhattām ity asāv adbhutopamā //

"If a lotus were to have restlessly rolling eyes, O fair-browed girl,
then let it take on the splendor of your face": this is the wondrous simile.

2.25

śaśīty utprekṣya tanvaṅgi tvanmukhaṃ tvanmukhā-śayā
indum apy anudhāvāmīty eṣā mohopamā smṛtā //

"Imagining your face to be the moon, O slender-limbed girl, in expectation of your face
I run after even the moon": this is recorded as the delusive simile.

2.26

kiṃ padmam antarbhrāntāli kiṃ te lolekṣaṇaṃ mukham
mama dolāyate cittam itīyaṃ saṃśayopamā //

"Is this a lotus with bees wandering inside, or your face with restless eyes?
My mind sways to and fro": this is the doubtful simile.

2.27

na padmasyendunigrāhyasyendulajjākarī dyutiḥ
atas tvanmukham evedam ity asau nirṇayopamā //

"The luster of a lotus, eclipseable by the moon, does not cause shame to the moon;
therefore this is your face alone": this is the decisive simile.

2.28

śiśirāṃśupratispardhi śrīmat surabhigandhi ca
ambhojam iva te vaktram iti śleṣopamā smṛtā //

"Vying with the moon, radiant, and fragrant,
your face is like a lotus": this is recorded as the punned simile.

2.29

sarūpaśabdavācyatvāt sā samānopamā yathā
bālevodyānamāleyaṃ sā(1)la()kā(3)nanaśobhinī //

Because it is expressed by words of identical form, it is the homophonous simile, as in:
"This row of gardens, lovely with its curly foliage, is like a young girl adorned with lovely tresses of hair."

2.30

padmaṃ bahurajaś candraḥ kṣayī tābhyāṃ tavānanam
samānam api sotsekam iti nindopamā smṛtā //

"The lotus has much pollen; the moon is waning; though equal to them,
your face is superior": this is recorded as the censure-simile.

2.31

brahmaṇo 'py udbhavaḥ padmaṃ candraḥ śaṃbhuśirodhṛtaḥ
tau tulyau tvanmukheneti sā praśaṃsopamocyate //

"The lotus is the birthplace even of Brahmā; the moon is borne on Śiva's head;
these two are equal to your face": that is called the praise-simile.

2.32

candreṇa tvanmukhaṃ tulyam ity ācikhyāsu me manaḥ
sa guṇo vāstu doṣo vety ācikhyāsopamāṃ viduḥ //

"My mind desires to declare that your face is equal to the moon;
let that be a virtue or a fault": this they know as the desirous simile.

2.33

śatapattraṃ śaraccandras tvadānanam iti trayam
parasparavirodhīti sā virodhopamā matā //

"The lotus, the autumn moon, and your face—this triad
is mutually opposed": that is considered the contradictory simile.

2.34

na jātu śaktir indos te mukhena pratigarjitum
kalaṅkino jaḍasyeti pratiṣedhopamaiva sā //

"The moon, stained and dull, never has the power
to roar in challenge against your face": that is indeed the prohibitive simile.

2.35

mṛgekṣaṇāṅkaṃ te vaktram mṛgeṇaivāṅkitaḥ śaśī
tathāpi sama evāsau notkarṣīti caṭūpamā //

"Your face is marked with gazelle-like eyes; the moon is marked with a mere deer;
even so, he is only your equal, not superior": this is the flattering simile.

2.36

na padmaṃ mukham evedaṃ na bhṛṅgau cakṣuṣī ime
iti vispaṣṭasādṛśyāt tattvākhyānopamaiva sā //

"This is not a lotus, it is a face; these are not two bees, they are two eyes"— / because of distinct resemblance, this is a simile of stating the truth.

2.37

candrāravindayoḥ kāntim atikramya mukhaṃ tava
ātmanaivābhavat tulyam ity asā-dhāraṇopamā //

"Surpassing the beauty of both moon and lotus, your face / has become comparable only to itself"—this is an extraordinary simile.

2.38

sarvapadmaprabhāsāraḥ samā-hṛta iva kvacit
tvadānanaṃ vibhātīti tām abhūtopamāṃ viduḥ //

"As if the essence of all lotus-splendor were gathered together in one place, / your face shines forth"—this they know as an impossible simile.

2.39

candrabimbād iva viṣaṃ candanād iva pāvakaḥ
paruṣā vāg ito vaktrād ity asaṃbhāvitopamā //

"Like poison from the orb of the moon, or fire from sandalwood, / is harsh speech from this mouth"—this is an inconceivable simile.

2.40

candanodakacandrāṃśucandrakāntādiśītalaḥ
sparśas tavety atiśayaṃ bodhayantī bahūpamā //

"Cool like sandalwood water, moonbeams, moonstone, and the like / is your touch"—this multiple simile conveys an excess.

2.41

candrabimbād ivotkīrṇaṃ padmagarbhād ivoddhṛtam
tava tanvaṅgi vadanam ity asau vikriyopamā //

"As if carved from the orb of the moon, as if drawn up from the womb of a lotus, / slender-limbed lady, is your face"—this is a simile of transformation.

2.42

pūṣṇy ātapa ivāhnīva pūṣā vyomnīva vāsaraḥ
vikramas tvayy adhāl lakṣmīm iti mālopamā matā //

"As heat in the sun, as the sun in the day, as day in the sky, / valor has placed majesty in you"—this is considered a garlanding simile.

2.43

vākyārtheṇaiva vākyārthaḥ ko 'pi yady upamīyate
ekānekevaśabdatvāt sā vākyārthopamā dvidhā //

If some sentential meaning is compared strictly with another sentential meaning, / that simile of sentential meaning is of two kinds, through having one or multiple words for "like".

2.44

tvadānanam adhīrākṣam āvirdaśanadīdhiti
bhramadbhṛṅgam ivā-lakṣyakesaraṃ bhāti paṅkajam //

Your face with its trembling eyes, where the radiance of teeth appears, / shines like a lotus with wandering bees whose filaments are half-glimpsed.

2.45

nalinyā iva tanvaṅgyās tasyāḥ padmam ivānanam
mayā madhuvrateneva pāyaṃ pāyam aramyata //

Of that slender-limbed woman, as of a lotus-pond, the face, like a lotus, / was continually drunk and enjoyed by me as by a bee.

2.46

vastu kiṃcid upanyasya nyasanāt tatsadharmaṇaḥ
sāmyapratītir astīti prativastūpamā yathā //

Because of introducing some object and then setting down something sharing its nature, / a sense of likeness arises; thus is the typical comparison illustrated:

2.47

naiko 'pi tvādṛśo 'dyāpi jāyamāneṣu rājasu
nanu dvitīyo nāsty eva pārijātasya pādapaḥ //

"Not a single king is like you, even now, among those being born; / indeed, there is no second tree like the coral tree!"

2.48

adhikena samīkṛtya hīnam ekakriyāvidhau
yad bruvanti smṛtā seyaṃ tulyayogopamā yathā //

When they speak of an inferior entity, making it equal to an superior one / in the performance of a single action, that is remembered as the simile of equal union, as:

2.49

divo jāgarti rakṣāyai pulomārir bhuvo bhavān
asurās tena hanyante sāvalepās tvayā nṛpāḥ //

"The enemy of Puloman stays awake to protect heaven, you for the earth; / demons are slain by him, proud kings by you."

2.50

kāntyā candramasaṃ dhāmnā sūryaṃ dhairyeṇa cārṇavam
rājann anukaroṣīti saiṣā hetūpamā matā //

"In beauty you imitate the moon, in brilliance the sun, and in firmness the ocean, / O king"—this is considered a causal simile.

2.51

na liṅgavacane bhinne na hīnādhikatāpi vā
upamādūṣanāyālaṃ yatrodvego na dhīmatām //

Neither difference of grammatical gender and number, nor inferiority and superiority, / is sufficient to vitiate a simile, where it causes no distress to the discerning.

2.52

strīva gacchati ṣaṇḍho 'yaṃ vakty eṣā strī pumān iva
prāṇā iva priyo 'yam me vidyā dhanam ivārjitam //

"This eunuch walks like a woman; this woman speaks like a man; / he is dear to me like life's breaths; learning has been acquired like wealth."

2.53

bhavān iva mahīpāla devarājo virājate
alam aṃśumataḥ kakṣām āroḍhuṃ tejasā nṛpaḥ //

"Like you, O protector of the earth, the king of the gods shines; / the king is capable of ascending to the sun's reach by his brilliance."

2.54

ity evam ādau saubhāgyaṃ na jahāty eva jātucit
asty eva kvacid udvegaḥ prayoge vāgvidāṃ yathā //

In such cases, charm is never lost; / yet there certainly is distress in some usage of the masters of speech, as:

2.55

haṃsīva dhavalaś candraḥ sarāṃsīvā-malaṃ nabhaḥ
bhartṛbhakto bhaṭaḥ śveva khadyoto bhāti bhānuvat //

"The moon is white like a female swan; the clear sky is like lakes; / the soldier devoted to his master is like a dog; the firefly shines like the sun."

2.56

īdṛśaṃ varjyate sadbhiḥ kāraṇaṃ tatra cintyatām
guṇadoṣavicārāya svayam eva manīṣibhiḥ //

Such [usage] is avoided by the good. The reason for this should be considered / by the wise themselves, for the examination of poetic excellences and poetic defects.

2.57

ivavadvāyathāśabdāḥ samānanibhasaṃnibhāḥ
tulyasaṃkāśanikāśaprakāśapratirūpakāḥ //

The words iva, vat, vā, yathā, samāna, nibha, saṃnibha, / tulya, saṃkāśa, nīkāśa, prakāśa, pratirūpaka,

2.58

pratipakṣapratidvaṃdvipratyanīkavirodhinaḥ
sadṛksadṛśasaṃvādisajātīyānuvādinaḥ //

pratipakṣa, pratidvandvin, pratyanīka, virodhin, / sadṛś, sadṛśa, saṃvādin, sajātīya, anuvādin,

2.59

pratibimbapraticchandasarūpasamasaṃmitāḥ
salakṣaṇasadṛkṣā-bhasapakṣopamitopamāḥ //

pratibimba, praticchanda, sarūpa, sama, saṃmita, / salakṣaṇa, sadṛkṣa, ābha, sapakṣa, upamita, upamā,

2.60

kalpadeśīyadeśyādiḥ prakhyapratinidhī api
savarṇatulatau śabdau ye cā-nyūnārthavādinaḥ //

the suffixes -kalpa, -deśīya, -deśya, etc., and also prakhya and pratinidhi, / the words savarṇa and tulita, and whatever other words express the same meaning;

2.61

samāsaś ca bahuvrīhiḥ śaśāṅkavadanādiṣu
spardhate jayati dveṣṭi druhyati pratigarjati //

and the bahuvrīhi compound in words like "moon-faced"; / [the verbs] rivals, conquers, hates, harms, roars back against,

2.62

ākrośaty avajānāti kadarthayati nindati
viḍambayati saṃdhatte hasatīrṣyaty asūyati //

scolds, despises, torments, censures, / mocks, matches, laughs at, envies, begrudges,

2.63

(tasya muṣṇāti saubhāgyaṃ tasya kāntiṃ vilumpati
tena sārdhaṃ vigṛhṇāti tulāṃ tenādhirohati //)

steals its charm, plunders its beauty, / contends with it, mounts the scale with it,

2.64

tatpadavyām padaṃ dhatte tasya kakṣāṃ vigāhate
tam anvety anubadhnāti tacchīlaṃ tanniṣedhati //

sets foot in its path, enters its realm, / follows it, pursues it, shares its habit, excludes it,

2.65

tasya cānukarotīti śabdāḥ sādṛśyam ūcakāḥ
upamāyām ime proktāḥ kavīnāṃ buddhisaukhyadāḥ //

and "imitates it"—these words indicating resemblance / have been proclaimed for simile, giving pleasure to the intellect of poets. // Thus ends the circle of similes.

2.66

upamaiva tirobhūtabhedā rūpakam ucyate
yathā bāhulatā pāṇipadmaṃ caraṇapallavaḥ //

Metaphor is said to be a simile itself with difference hidden, / as in: arm-vine, hand-lotus, foot-sprout.

2.67

aṅgulyaḥ pallavāny āsan kusumāni nakhārciṣaḥ
bāhū late vasantaśrīs tvaṃ naḥ pratyakṣacāriṇī //

"Fingers were sprouts, the rays of nails were flowers, / arms were vines; you are the beauty of spring walking visibly before us."

2.68

ity etad asamastā-khyaṃ samastaṃ pūrvarūpakam
smitaṃ mukhendor jyotsneti samastavyastarūpakam //

This is called uncompounded; the previous metaphor was compounded. / "A smile is the moonlight of the face-moon"—this is a compounded and uncompounded metaphor.

2.69

tāmrāṅgulidalaśreṇi nakhadīdhitikesaram
dhriyate mūrdhni bhūpālair bhavaccaraṇapaṅkajam //

"With rows of copper-colored finger-petals, with nail-luster filaments, / the lotus of your feet is borne on their heads by kings."

2.70

aṅgulyādau dalāditvaṃ pāde cā-ropya padmatām
tadyogyasthānavinyāsād etat sakalarūpakam //

By superimposing petallhood upon fingers and the like, and lotusness upon the foot, / through their arrangement in suitable places, this is a complete metaphor.

2.71

akasmād eva te caṇḍi sphuritādharapallavam
mukhaṃ muktāruco dhatte gharmāmbhaḥkaṇamañjarīḥ //

"All of a sudden, O fierce woman, your face with trembling lip-sprout / bears the pearl-bright flower-clusters of beads of sweat."

2.72

mañjarīkṛtya gharmāmbhaḥ pallavīkṛtya cādharam
nānyathā kṛtam atrāsyam ato 'vayavarūpakam //

Having turned sweat-drops into flower-clusters and the lip into a sprout, / the face here is not transformed otherwise; hence this is a metaphor of parts.

2.73

valgitabhru galadgharmajalam ālohitekṣaṇam
vivṛṇāti (!) madāvasthām idam vadanapaṅkajam //

"With dancing brow, with trickling sweat, with slightly reddened eyes, / this face-lotus reveals a state of intoxication."

2.74

avikṛtya mukhāṅgāni mukham evāravindatām
āsīd gamitam atredam ato 'vayavirūpakam //

Without modifying the parts of the face, the face alone is brought / to the status of a lotus here; hence this is a metaphor of the whole.

2.75

madapāṭalagaṇḍena raktanetrotpalena te
mukhena mugdhaḥ so 'py eṣa jano rāgamayaḥ kṛtaḥ //

"With cheeks pale with intoxication, with red lotus-eyes, / that simple person also has been filled with passion by your face."

2.76

ekāṅgarūpakaṃ caitad evaṃ dviprabhṛtīny api
aṅgāni rūpayanty atra yogā-yogau bhidākarau //

This is a metaphor of a single part; likewise they metaphorize two or more / parts here; appropriateness and inappropriateness produce its divisions.

2.77

smitapuṣpojjvalaṃ lolanetrabhṛṅgam idaṃ mukham
iti puṣpadvirephāṇāṃ saṃgatyā yuktarūpakam //

"This face is radiant with smile-flowers, with darting bee-eyes"— / this is an appropriate metaphor, due to the coexistence of flowers and bees.

2.78

idam ārdrasmitajyotsnaṃ snigdhanetrotpalaṃ mukham
iti jyotsnotpalā-yogād ayuktaṃ nāma rūpakam //

"This face has cool smile-moonlight, with moist lotus-eyes"— / this is called an inappropriate metaphor, because moonlight and lotuses do not coexist.

2.79

rūpaṇād aṅgino 'ṅgānāṃ rūpaṇā-rūpaṇā-śrayāt
rūpakaṃ viṣamaṃ nāma lalitaṃ jāyate yathā //

Because of identifying the whole, and through identifying or not identifying the parts, / a metaphor called uneven, charming in nature, arises, as:

2.80

madaraktakapolena manmathas tvanmukhendunā
nartitabhrūlatenālaṃ mardituṃ bhuvanatrayam //

"With cheeks flushed with intoxication, with the moon of your face / whose brow-vine is made to dance, the god of love is capable of crushing the three worlds."

2.81

haripādaḥ śirolagnajahnukanyājalāṃśukaḥ
jayaty asuraniḥśaṅkasurānandotsavadhvajaḥ //

"Hari's foot, which has the water-garment of the daughter of Jahnu clinging to its tip, / triumphs as the victory banner in the festival of rejoicing for the fearless gods."

2.82

viśeṣaṇasamagrasya rūpaṃ ketor yadī-dṛśam
pāde tadarpaṇād etat saviśeṣaṇarūpakam //

Since such a form of a banner complete with qualifying attributes / is attributed to the foot, this is a metaphor with qualifications.

2.83

na mīlayati padmāni na nabho 'py avagāhate
tvanmukhendur mamāsūnāṃ haraṇāyaiva kalpate //

"It does not close lotuses, nor does it traverse the sky; / the moon of your face serves only to take away my life's breaths."

2.84

akriyā candrakāryāṇām anyakāryasya ca kriyā
atra saṃdarśyate yasmād viruddhaṃ nāma rūpakam //

Because the non-performance of the moon's functions and the performance of another function / are shown here, this is called a contrary metaphor.

2.85

gāmbhīryeṇa samudro 'si gauraveṇāsi parvataḥ
kāmadatvāc ca lokānām asi tvaṃ kalpapādapaḥ //

In depth you are the ocean; in dignity you are the mountain; / and because you fulfill the desires of all beings, you are the wish-granting tree.

2.86

gāmbhīryapramukhair atra hetubhiḥ sāgaro giriḥ
kalpadrumaś ca kriyate tad idaṃ heturūpakam //

Here, by means of reasons such as depth, [the subject] is made into the ocean, the mountain, / and the wish-granting tree; hence this is metaphor based on reason (heturūpaka).

2.87

rājahaṃsopabhogārthaṃ bhramaraprārthyasaurabham
sakhi vaktrāmbujam idaṃ taveti śliṣṭarūpakam //

“Worthy of enjoyment by royal swans, its fragrance longed for by bees, / this lotus-face of yours, my friend—” this is double-entendre metaphor (śliṣṭarūpaka).

2.88

iṣṭaṃ sādharmyavaidharmyadarśanād gauṇamukhyayoḥ
upamāvyatirekā-khyaṃ rūpakadvitayaṃ yathā //

From the observation of similarity and difference between the secondary and primary [subjects], / a pair of metaphors known as simile-[metaphor] and contrast-[metaphor] is approved, as follows:

2.89

ayam ālohitacchāyo madane mukhacandramāḥ
saṃnaddhodayarāgasya candrasya pratigarjati //

“This face-moon, bearing a reddish glow from intoxication, / roars back at the moon whose rising red light has gathered.”

2.90

candramāḥ pīyate devair mayā tvanmukhacandramāḥ
asamagro 'py asau śaśvad ayam āpūrṇamaṇḍalaḥ //

“The moon is drunk by the gods; your face-moon is drunk by me. / Though incomplete, that one [in the sky] always has a full disc.”

2.91

mukhacandrasya candratvam ittham anyopatāpinaḥ
na te sundari saṃvādīty etad ākṣeparūpakam //

“The moon-nature of this face-moon that torments another in this way / does not correspond [to true moon-nature], O lovely woman”—this is refutation metaphor (ākṣeparūpaka).

2.92

mukhendur api te caṇḍi māṃ nirdahati nirdayam
bhāgyadoṣān mamaiveti tat samā-dhānarūpakam //

“Even your face-moon, O passionate woman, burns me without pity; / but that is due only to the fault of my own fortune”—this is reconciliation metaphor (samādhānarūpaka).

2.93

mukhapaṅkajaraṅge 'smin bhrūlatānartakī tava
līlānṛtyaṃ karotīti ramyaṃ rūpakarūpakam //

“On this stage of your lotus-face, the dancer of your creeper-eyebrow / performs a playful dance”—this is the charming metaphor-metaphor (rūpakarūpaka).

2.94

naitan mukham idaṃ padmaṃ na netre bhramarāv imau
etāni kesarāṇy eva naitā dantārciṣas tava //

“This is no face: this is a lotus. These are no eyes: these are two bees. / These are stamens alone: these are not the radiance of your teeth.”

2.95

mukhāditvaṃ nivartyaiva padmāditvena rūpaṇāt
udbhāvitaguṇotkarṣaṃ tat tv āpahnavarūpakam //

Because it sets aside being a face and so forth and superimposes being a lotus and so forth, / manifesting an excellence of qualities, this is metaphor through concealment of reality (tattvāpahnavarūpaka).

2.96

na paryanto vikalpānāṃ rūpakopamayor ataḥ
diṅmātraṃ darśitaṃ dhīrair anuktam anumīyatām //

There is no end to the varieties of metaphor and simile; therefore, / only a mere indication has been shown. Let the wise infer what is unsaid. // Thus ends the circle of metaphors.

2.97

jātikriyāguṇadravyavācinaikatra vartinā
sarvavākyopakāraś cet tad āhur dīpakaṃ yathā //

If a single word denoting genus, action, quality, or substance, occurring in one place, / provides assistance to an entire sentence [or group of sentences], they call it the illuminator (dīpaka), as follows:

2.98

pavano dakṣiṇaḥ parṇaṃ jīrṇaṃ harati vīrudhāṃ
sa evāvanatāṅgīnāṃ mānabhaṅgāya kalpate //

“The southern wind carries away the withered leaf of creepers; / that very wind suffices to break the wounded pride of slender-limbed women.”

2.99

caranti caturambhodhivelodyāneṣu dantinaḥ
cakravālādrikuñjeṣu kundabhāso guṇāś ca te //

“Elephants roam in the coastal groves of the four oceans, / and your virtues, shining like jasmine, [roam] in the bowers of the Cakravāla mountain.”

2.100

śyāmalāḥ prāvṛṣeṇyābhir diśo jīmūtapaṅktibhiḥ
bhuvaś ca sukumārābhir navaśādvalarājibhiḥ //

“The directions are darkened by rain-clouds of the monsoon, / and the earths by tender rows of fresh turf.”

2.101

viṣṇunā vikramasthena dānavānāṃ vibhūtayaḥ
kvāpi nītāḥ kuto 'py āsann ānītā daivatarddhayaḥ //

“By Viṣṇu undertaking his strides, the fortunes of the demons / were carried somewhere away; from somewhere the prosperity of the gods was brought near.”

2.102

ity ādidīpakāny uktāny evaṃ madhyāntayor api
vākyayor darśayiṣyāmaḥ kāni cittāni tadyathā //

Such are the illuminators mentioned [at the beginning]; in this same way, we shall show / certain ones positioned in the middle and at the end of sentences, as follows:

2.103

nṛtyanti niculotsaṅge gāyanti ca kalāpinaḥ
badhnanti ca payodeṣu dṛśo harṣāśrugarbhiṇīḥ //

“Peacocks dance in the lap of the nicula trees, and they sing, / and they fix upon the clouds glances filled with tears of joy.”

2.104

mando gandhavahaḥ kṣāro vahnir induś ca jāyate
carcācandanapātaś ca śastrapātaḥ pravāsinām //

“The wind becomes slow, the fire becomes salty, and the moon [becomes fire], / and the application of sandalwood paste becomes the fall of a weapon to travelers abroad.”

2.105

jalaṃ jaladharodgīrṇaṃ kulaṃ gṛhaśikhaṇḍinām
calaṃ ca taḍitāṃ dāma balaṃ kusumadhanvanaḥ //

“The water poured forth by clouds, the flock of domestic peacocks, / the flickering garland of lightning, and the army of the flower-bowed god [grow strong].”

2.106

tvayā nīlotpalaṃ karṇe smareṇāstraṃ śarāsane
mayāpi maraṇe cetas trayam etat samaṃ kṛtam //

“By you a blue lotus [is placed] on the ear, by Love an arrow on the bow, / and by me my mind on death: these three have been made equal.”

2.107

śuklaḥ śvetārciṣo vṛddhyai pakṣaḥ pañcaśarasya saḥ
sa ca rāgasya rāgo 'pi yūnāṃ ratyutsavaśriyaḥ //

“The bright fortnight brings increase to the white-rayed moon; that [moon] to the five-arrowed god; / he to passion; and passion to the splendor of the festival of love for young men.”

2.108

ity ādidīpakatve 'pi pūrvapūrvavyapekṣiṇī
vākyamālā prayukteti tan mālādīpakaṃ matam //

Though it is an illuminator like the preceding ones, because a garland of sentences / depending each on the one before it is employed, it is considered the garland illuminator (mālādīpaka).

2.109

avalepam anaṅgasya vardhayanti balāhakāḥ
karśayanti tu gharmasya mārutoddhūtaśīkarāḥ //

“Clouds increase the pride of the bodiless Love, / but they diminish that of summer heat with spray tossed up by the wind.”

2.110

avalepapadenātra balāhakapadena ca
kriye viruddhe saṃyukte tad viruddhārthaṃ dīpakam //

Here, two opposed actions are connected with the word ‘pride’ / and the word ‘clouds’; that is opposed-sense illuminator (viruddhārthadīpaka).

2.111

haraty ābhogam āśānāṃ gṛhṇāti jyotiṣāṃ gaṇam
ādatte cādya me prāṇān asau jaladharāvalī //

“It robs the expanse of the directions, it seizes the host of heavenly bodies, / and today this line of clouds takes away my life-breaths.”

2.112

anekaśabdopā-dānāt kriyaikaivātra dīpyate
yato jaladharāvalyā tasmād ekārthadīpakam //

Because a single action is illuminated by the line of clouds / through the use of several synonymous words, this is single-sense illuminator (ekārthadīpaka).

2.113

hṛdyagandhavahās tuṅgās tamālaśyāmalatviṣaḥ
divi bhramanti jīmūtā bhuvi caite mataṃgajāḥ //

“Carrying pleasing fragrances, towering, with a dark sheen like tamāla trees, / the clouds wander in the sky, and these elephants on the earth.”

2.114

atra dharmair abhinnānām abhrāṇāṃ dantināṃ tathā
bhramaṇenaiva saṃbandha iti śliṣṭārthadīpakam //

Here, the clouds and the elephants, which are identical in their properties, / are connected by the single act of wandering; hence this is double-entendre illuminator (śliṣṭārthadīpaka).

2.115

anenaiva prakāreṇa śeṣāṇām api dīpake
vikalpānām avagatir vidhātavyā vicakṣaṇaiḥ //

In this very manner, the understanding of the remaining varieties / in illuminator also should be worked out by the discerning. // Thus ends the circle of illuminators.

2.116

arthā-vṛttiḥ padā-vṛttir ubhayā-vṛttir eva ca
dīpakasthāna eveṣṭam alaṃkāratrayaṃ yathā //

Repetition of sense, repetition of word, and repetition of both— / this triad of ornaments is approved precisely in place of the illuminator, as follows:

2.117

vikasanti kadambāni sphuṭanti kuṭajadrumāḥ
unmīlanti ca kandalyo dalanti kakubhāni ca //

“The kadamba flowers blossom, the kuṭaja trees open, / the kandalī plants unclose, and the kakubha blooms split apart.”

2.118

utkaṇṭhayati meghānāṃ mālā vṛndaṃ kalāpinām
yūnāṃ cotkaṇṭhayaty eva mānasaṃ makaradhvajaḥ //

“The row of clouds fills the flock of peacocks with longing, / and this sea-monster-bannered Love fills the minds of youth with longing.”

2.119

jitvā viśvaṃ bhavān atra viharaty avarodhanaiḥ
viharaty apsarobhis te ripuvargo divaṃ gataḥ //

“Having conquered the world, you sport here with the women of your inner quarters; / let the host of your enemies, gone to heaven, sport with apsarases.” // Thus ends the circle of repetitions.

2.120

pratiṣedhoktir ākṣepas traikālyāpekṣayā tridhā
athāsya punar ākṣepyabhedānantyād anantatā //

Refutation (ākṣepa) is an expression of denial; it is threefold with respect to the three times; / furthermore, it is infinite owing to the infinity of divisions in the things to be refuted.

2.121

anaṅgaḥ pañcabhiḥ puṣpair viśvaṃ vyajayateṣubhiḥ
ity asaṃbhāvyam atha vā vicitrā vastuśaktayaḥ //

“The bodiless Love conquered the world with five flower-arrows— / this is impossible; or rather, manifold are the powers of things.”

2.122

ity anaṅgajayāyogabuddhir hetubalād iha
pravṛttaiva yad ākṣiptā vṛttākṣepaḥ sa īdṛśaḥ //

Since here the notion of the impossibility of Love’s victory, / once arisen, is refuted by the force of a reason, such is refutation of the past (vṛttākṣepa).

2.123

kutaḥ kuvalayaṃ karṇe karoṣi kalabhāṣiṇi
kim apāṅgam aparyāptam asmin karmaṇi manyase //

“Why do you place a blue water-lily on your ear, sweet-spoken one? / Do you think your side-glance insufficient for this task?”

2.124

sa vartamānā-kṣepo 'yaṃ kurvaty evāsitotpala
karṇe kācit priyeṇaivaṃ cāṭukāreṇa rudhyate //

This is refutation of the present (vartamānākṣepa): as a woman is in the very act / of placing a blue lotus on her ear, she is stopped by her lover with such flattering words.

2.125

satyaṃ bravīmi na tvaṃ māṃ draṣṭuṃ vallabha lapsyase
anyacumbanasaṃkrāntalākṣāraktena cakṣuṣā //

“I tell the truth: you will not be allowed to see me, beloved, / with an eye reddened by lac transferred from kissing another woman!”

2.126

so 'yaṃ bhaviṣyadā-kṣepaḥ prāg evātimanasvinī
kadācid aparādho 'sya bhāvīty evam arunddhayat //

This is refutation of the future (bhaviṣyad-ākṣepa), in that a very proud woman / checked him beforehand in this way, [thinking,] ‘Lest an offense by him should occur.’

2.127

tava tanvaṅgi mithyaiva rūḍham aṅgeṣu mārdavam
yadi satyaṃ mṛdūny eva kim akāṇḍe rujanti mām //

“In vain, slender-limbed girl, has softness become famed in your limbs; / if they are truly soft, why do they unexpectedly cause me pain?”

2.128

dharmā-kṣepo 'yam ākṣiptam aṅganāgātramārdavam
kāmukena yad atraivaṃ karmaṇā tadvirodhinā //

This is refutation of a property (dharmākṣepa), because here the softness of the woman's body / is thus refuted by a lover by means of an action contrary to it.

2.129

sundarī sā bhavaty evaṃ vivekaḥ kena jāyate
prabhāmātraṃ hi taralaṃ dṛśyate na tadā-śrayaḥ //

“Is she beautiful or not?—by whom can this discrimination be made? / For only a trembling radiance is seen, not its substratum.”

2.130

dharmyā-kṣepo 'yam ākṣipto dharmī dharmaṃ prabhā-hvayam
anujñāyaiva yad rūpam atyāścaryaṃ vivakṣatā //

This is refutation of the property-possessor (dharmyākṣepa), since the property-possessor is refuted / while admitting the property called radiance, by one wishing to express an exceedingly wondrous form.

2.131

cakṣuṣī tava rajyete sphuraty adharapallavaḥ
bhruvau ca bhugne na tathāpy aduṣṭasyāsti me bhayam //

“Your eyes grow red, your sprout-like lower lip quivers, / and your eyebrows are arched; nonetheless, I who am innocent feel no fear.”

2.132

sa eṣa kāraṇā-kṣepaḥ pradhānaṃ kāraṇaṃ bhiyaḥ
svāparādho niṣiddho 'tra yat priyeṇa paṭīyasā //

This is the objection to a cause (kāraṇākṣepa), since here the primary cause of fear, / his own guilt, is denied by the clever lover.

2.133

dūre priyatamaḥ so 'yam āgato jaladā-gamaḥ
dṛṣṭāś ca phullā niculā na mṛtā cāsmi kiṃ nv idam //

“My dearest is far away, the arrival of the clouds has come, / and the blooming nicula trees have been seen; yet I have not died—what can this be?”

2.134

kāryā-kṣepaḥ sa kāryasya maraṇasya nivartanāt
tatkāraṇam upanyasya dāruṇaṃ jaladā-gamam //

That is the objection to an effect (kāryākṣepa), because the effect, dying, is averted / by having adduced its dread cause, the arrival of the clouds.

2.135

na ciraṃ mama tāpāya tava yātrā bhaviṣyati
yadi yāsyasi yātavyam alam āśaṅkayātra te //

“Your departure will not cause me distress for long; / if you will go, you must go; enough of your hesitation here.”

2.136

ity anujñāmukhenaiva kāntasyā-kṣipyate gatiḥ
maraṇaṃ sūcayantyaiva so 'nujñā-kṣepa ucyate //

In this way, under the very guise of permission, the departure of the beloved is objected to / by intimating death itself; that is called the objection through permission (anujñākṣepa).

2.137

dhanaṃ ca bahu labhyaṃ te sukhaṃ kṣemaṃ ca vartmani
na ca me prāṇasaṃdehas tathāpi priya mā sma gāḥ //

“Much wealth can be gained by you, and there is ease and safety on the road, / nor is there any danger to my life; nevertheless, beloved, do not go.”

2.138

ity ācakṣāṇayā hetūn priyayātrānubandhinaḥ
prabhutvenaiva ruddhas tat prabhutvā-kṣepa ucyate //

When she thus states the grounds that warrant the lover's journey, / yet stops it through sheer authority, that is called the objection through authority (prabhutvākṣepa).

2.139

jīvitāśā balavatī dhanāśā durbalā mama
gaccha vā tiṣṭha vā kānta svavasthā tu niveditā //

“My hope for life is strong; my hope for wealth is weak; / go or stay, beloved, but my state has been told.”

2.140

asāv anādarā-kṣepo yad anādaravad vacaḥ
priyapraṇāyaṃ rundhatyā prayuktam iha raktayā //

This is the objection through indifference (anādarākṣepa), because speech resembling indifference / is employed here by an impassioned woman while obstructing her lover's departure.

2.141

gaccha gacchasi cet kānta panthānaḥ santu te śivāḥ
mamāpi janma tatraiva bhūyād yatra gato bhavān //

“Go, if you must go, beloved; may your roads be auspicious! / And may my next birth too be right there where you have gone.”

2.142

ity āśīrvacanā-kṣepo yad āśīrvādavartmanā
svāvasthāṃ sūcayantyaiva kāntayātrā niṣidhyate //

This is the objection through a benediction (āśīrvacanākṣepa), because by the path of a blessing, / intimating her own condition, the beloved's journey is forbidden.

2.143

yadi satyaiva yātrā te kāpy anyā mṛgyatāṃ tvayā
aham adyaiva ruddhāsmi randhrāpekṣeṇa mṛtyunā //

“If your departure is indeed certain, seek another woman; / today itself I am seized by death, which watches for an opening.”

2.144

ity eṣa paruṣā-kṣepaḥ paruṣākṣarapūrvakam
kāntasyā-kṣipyate yasmāt prasthānaṃ premanighnayā //

This is the harsh objection (paruṣākṣepa), because, preceded by harsh words, / the departure of the beloved is objected to by a woman subdued by love.

2.310

śliṣṭam iṣṭam anekārtham ekarūpānvitaṃ vacaḥ
tad abhinnapadaṃ bhinnapadaprāyam iti dvidhā //

A word-sequence possessing a single form but having multiple meanings is desired as 'pun' (śliṣṭa);
it is twofold: where the word-divisions are identical, and where word-divisions are mostly varied.

2.311

asāv udayam ārūḍhaḥ kāntimān raktamaṇḍalaḥ
rājā harati lokasya hṛdayaṃ mṛdubhiḥ karaiḥ //

"Having mounted the dawn / attained prosperity, radiant, possessing a red orb / an affectionate realm,
the king / moon wins the heart of the people with gentle rays / gentle taxes."

2.312

doṣā(3)kareṇa saṃbadhnan[n / n]a[]kṣatrapathavartinā
rajñā pradoṣo mām ittham apriyaṃ kiṃ na bādhate //

"Associating with the moon / associating with the mine of faults, moving on the path of constellations / keeping company with courtesans,
how does the evening / king, so unpleasant, not torment me?"

2.313

upamārūpakā-kṣepavyatirekādigocarāḥ
prāg eva darśitāḥ śleṣā darśyante kecanāpare //

Puns operating within the scope of simile, metaphor, paralipsis, contrast, and the like
have already been demonstrated; certain others are now shown.

2.314

asty abhinnakriyaḥ kaścid aviruddhakriyo 'paraḥ
viruddhakarmā cāsty anyaḥ śleṣo niyamavān api //

There is a pun where the action is undivided, another where the actions are unconflicted,
another where the action is conflicted, and also a pun with restriction;

2.315

niyamā-kṣeparūpoktir avirodhī virodhy api
teṣāṃ nidarśaneṣv eva rūpam āvir bhaviṣyati //

and also a statement having restriction and paralipsis, as well as unconflicted and conflicted;
their nature will become apparent in the illustrations themselves.

2.316

vakrāḥ svabhāvamadhurāḥ śaṃsantyo rāgam ulbaṇam
dṛśo dūtyaś ca karṣanti kāntābhiḥ preṣitāḥ priyān //

"Crooked / roving, naturally sweet, announcing intense passion,
the glances and female messengers sent by lovely women draw their lovers."

2.317

madhurā rāgavardhinyaḥ komalāḥ kokilāgiraḥ
ākarṇyante madakalāḥ śliṣyante cāsitekṣaṇāḥ //

"The sweet, passion-increasing, tender, soft-chirping voices of the cuckoos are heard,
and the dark-eyed women, sweet, passion-arousing, delicate, and softly murmuring in intoxication, are embraced."

2.318

rāgam ādarśayann eṣa vāruṇīyogavardhitam
tirobhavati gharmāṃśur aṅgajas tu vijṛmbhate //

"Displaying redness / passion increased by association with the western sky / wine,
the sun vanishes, but the god of love blossoms."

2.319

nistriṃśatvam asāv eva dhanuṣy evāsya vakratā
śareṣv eva narendrasya mārgaṇatvaṃ ca vartate //

Sword-status belongs only to his blade, crookedness only to his bow, / and mendicancy [being an arrow] belongs only to this king's arrows.

2.320

padmānām eva daṇḍeṣu kaṇṭakas tvayi rakṣati
athavā dṛśyate rāgimithunā-liṅganeṣv api //

While you protect, a thorn [scoundrel] is seen only on the stalks of lotuses, / or else [as goosebumps] in the embraces of passionate lovers.

2.321

mahībhṛd bhūrikaṭakas tejasvī niyatodayaḥ
dakṣaḥ prajāpatiś cāsīt svāmī śaktidharaś ca saḥ //

He had an army with many kings [a base with many ridges], possessed splendor [light], had constant advancement [regular rising], / was capable [Dakṣa] and a lord of subjects [Prajāpati], a ruler [Kārttikeya] and holder of power [spear-bearer].

2.322

acyuto 'py avṛṣacchedī rājāpy aviditakṣayaḥ
devo 'py avibudho jajñe śaṃkaro 'py abhujaṃgavān //

Though Acyuta [unfallen], he did not kill Vṛṣa [did not cut off virtue]; though a king [rājā / moon], his decline [waning] was unknown; / though a god [deva], he was not a wise man [vibudha / deity]; though Śaṅkara [auspicious], he had no snakes [courtesans]. // Thus the circle of cohesion

2.323

guṇajātikriyādīnāṃ yatra vaikalyadarśanam
viśeṣadarśanāyaiva sā viśeṣoktir iṣyate //

When a deficiency of qualities, genus, action, or the like is shown / solely in order to show a distinction, that is recognized as distinctive statement.

2.324

na kaṭhoraṃ na vā tīkṣṇam āyudhaṃ puṣpadhanvanaḥ
tathāpi jitam evāsīd amunā bhuvanatrayam //

The flower-bowed god's weapon is neither hard nor sharp, / and yet the three worlds were conquered by him alone.

2.325

na devakanyakā nāpi gandharvakulasaṃbhavā
tathāpy eṣā tapobhaṅgaṃ vidhātuṃ vedhaso 'py alam //

She is not a divine maiden, nor born of the Gandharva race; / yet she is capable of breaking even the Creator's penance.

2.326

na baddhā bhrukuṭir nāpi sphurito daśanacchadaḥ
na ca raktābhavad dṛṣṭir jitaṃ ca dviṣatāṃ balam //

His brow was not furrowed, nor did his lower lip tremble, / nor did his look turn red, and yet the multitude of enemies was conquered.

2.327

na rathā na ca mātaṃgā na hayā na ca pattayaḥ
strīṇām apāṅgadṛṣṭyaiva jīyate jagatāṃ trayam //

There are no chariots, no elephants, no horses, and no foot soldiers; / yet the triad of worlds is conquered by the sidelong glance of women alone.

2.328

ekacakro ratho yantā vikalo viṣamā hayāḥ
ākrāmaty eva tejasvī tathāpy arko nabhastalam //

His chariot has a single wheel, his charioteer is crippled, his horses are uneven, / and yet the luminous sun completely traverses the vault of heaven.

2.329

saiṣā hetuviśeṣoktis tejasvīti viśeṣaṇāt
ayaṃ eva kramo 'nyeṣāṃ bhedānām api kalpate //

This is distinctive statement based on cause, owing to the qualification 'luminous.' / This very procedure applies to the conception of other varieties as well. // Thus the circle of distinctive statement

2.330

vivakṣitaguṇotkṛṣṭair yat samīkṛtya kasyacit
kīrtanaṃ stutinindārthaṃ sā matā tulyayogitā //

When someone is mentioned as equal to those superior in the intended quality / for the sake of praise or blame, that is considered equal combination.

2.331

yamaḥ kubero varuṇaḥ sahasrākṣo bhavān api
bibhṛty ananyaviṣayāṃ lokapāla iti śrutim //

Yama, Kubera, Varuṇa, the thousand-eyed Indra, and you as well / bear the title 'world-protector,' which has no other scope.

2.332

saṃgatāni mṛgākṣīṇāṃ taḍidvilasitāni ca
kṣaṇadvayaṃ na tiṣṭhanti ghanārabdhāny api svayam //

The unions of deer-eyed women and the flashes of lightning / do not last even two moments, though begun intensely [by dense clouds] on their own. // Thus equal combination

2.333

viruddhānāṃ padārthānāṃ yatra saṃsargadarśanam
viśeṣadarśanāyaiva sa virodhaḥ smṛto yathā //

Where an association of contradictory things is shown / solely to display a special quality, that is remembered as incongruity, as in:

2.334

kūjitaṃ rājahaṃsānāṃ vardhate madamañjulam
kṣīyate ca mayūrāṇāṃ rutam utkrāntasauṣṭhavam //

The cooing of royal swans increases, sweet with exhilaration, / while the call of peacocks declines, its charm departed.

2.335

prāvṛṣeṇyair jaladharair ambaraṃ durdināyate
rāgeṇa punar ākrāntaṃ jāyate jagatām manaḥ //

The sky turns gloomy with monsoon clouds, / yet the minds of the worlds become overwhelmed with passion [redness].

2.336

tanumadhyaṃ pṛthuśroṇi raktauṣṭham asitekṣaṇam
natanābhi vapuḥ strīṇāṃ kaṃ na hanty unnatastanam //

Slender at the waist, broad at the hips, with red lips, dark eyes, / a deep navel, and high breasts—whose heart does women's form not ravish?

2.337

mṛṇālabāhu rambhoru padmotpalamukhekṣaṇam
api te rūpam asmākam tanvi tāpāya kalpate //

With lotus-fiber arms, plantain-thighs, and face and eyes like lotuses and water-lilies, / your form, slender maiden, nevertheless serves to scorch us!

2.338

udyānamārutoddhūtāś cūtacampakareṇavaḥ
udaśrayanti pānthānām aspṛśanto 'pi locane //

Stirred up by the garden breeze, the pollens of mango and campaka / bring tears to travelers' eyes, without even touching them.

2.339

kṛṣṇārjunānuraktāpi dṛṣṭiḥ karṇāvalambinī
yāti viśvasanīyatvaṃ kasya te kalabhāṣiṇī //

Though clinging to the dark and white [fond of Kṛṣṇa and Arjuna], your gaze reaches to the ear [relies on Karṇa]— / whose trust can it win, sweet-voiced girl?

2.340

ity anekaprakāro 'yam alaṃkāraḥ pratīyate
aprastutapraśaṃsā syād aprakānteṣu yā stutiḥ //

Thus this ornament is understood to have many forms. // Thus the circle of incongruity // / Praise of the irrelevant is praise directed toward things not at hand.

2.341

sukhaṃ jīvanti hariṇā vaneṣv aparasevinaḥ
arthair ayatnasulabhair jaladarbhāṅkurādibhiḥ //

Happily live the deer in the forests, serving no one else, / on food easily obtained without effort: grass, sprouts of darbha, and the like.

2.342

seyam aprastutaivātra mṛgavṛttiḥ praśasyate
rājānuvartanakleśanirviṇṇena manasvinā //

Here, this very way of life of deer, though not under discussion, is praised / by a wise man weary of the agony of serving kings. // Thus praise of the irrelevant

2.343

yadi nindann iva stauti vyājastutir asau stutā
doṣābhāsā guṇā eva labhante yatra saṃnidhim //

If one praises as if blaming, that is considered dissembling praise; / for here, qualities appearing as faults find a place.

2.344

tāpasenāpi rāmeṇa jiteyaṃ bhūtadhāriṇī
tvayā rājñāpi seveyaṃ jitā mā bhūn madas tava //

This earth was conquered even by Rāma though an ascetic; / it was conquered by you though a king: do not be proud!

2.345

puṃsaḥ purāṇād ācchidya śrīs tvayā paribhujyate
rājann ikṣvākuvaṃśasya kim idaṃ tava yujyate //

Wresting Śrī [royal fortune] from the ancient Puruṣa [Viṣṇu], you enjoy her; / O king, is this fitting for you of Ikṣvāku's lineage?

2.346

bhujaṅgabhogasaṃsaktā kalatraṃ tava medinī
ahaṃkāraḥ parāṃ koṭim ārohati kutas tava //

The earth is your wife, yet she is attached to the coils of the serpent [enjoyment of lovers]; / whence does your pride rise to the highest degree?

2.347

iti śleṣānuviddhānām anyeṣāṃ copalakṣyatāṃ
vyājastutiprakārāṇām aparyantaḥ pravistaraḥ //

Thus of those varieties of dissembling praise intertwined with cohesion / and others to be observed, the extent is boundless. // Thus dissembling praise

2.348

arthāntarapravṛttena kiṃcit tatsadṛśaṃ phalam
sad asad vā nidarśyeta yadi tat syān nidarśanam //

If, by an operation regarding another object, some similar result, / good or bad, is illustrated, that is illustration.

2.349

udayann eva savitā padmeṣv arpayati śriyam
vibhāvayitum ṛddhīnāṃ phalaṃ suhṛdanugraham //

Rising, this sun bestows beauty on lotuses, / as if to demonstrate that the fruit of prosperity is favor toward friends.

2.350

yāti candrāṃśubhiḥ spṛṣṭā dhvāntarājī parābhavam
sadyo rājaviruddhānāṃ sūcayanti durantatām //

Touched by the moon's rays, the mass of darkness meets defeat, / instantly signifying the disastrous end of those who oppose the king [the moon]. // Thus illustration

2.351

sahoktiḥ sahabhāvasya kathanaṃ guṇakarmaṇām
arthānāṃ yo vinimayaḥ parivṛttis tu sā yathā //

Connected speech is the statement of qualities or actions in coexistence; / but an exchange of things is remembered as barter.

2.352

saha dīrghā mama śvāsair imāḥ saṃprati rātrayaḥ
pāṇḍurāś ca mamaivāṅgaiḥ saha tāś candrabhūṣaṇāḥ //

These nights are now long along with my sighs, / and pale along with my limbs are those adorned by the moon.

2.353

vardhate saga pānthānāṃ mūrchayā cūtamañjarī
patanti ca samaṃ teṣām asubhir malayānilāḥ //

Along with the travelers' swoon, the mango blossom increases; / and together with their lives, the southern breezes fall.

2.354

kokilā-lāpasubhagāḥ sugandhivanavāyavaḥ
yānti sārdhaṃ janānandair vṛddhiṃ surabhivāsarāḥ //

Delightful with the calls of cuckoos, the fragrant forest winds / and the spring days grow together with people's delight.

2.355

ity udā-hṛtayo dattāḥ sahokter atra kāścana
kriyate parivṛtteś ca kiṃcid rūpanirūpaṇam //

Thus some examples of connected speech have been given here. // Thus connected speech // / And some illustration of the form of barter is now made:

2.356

śastraprahāraṃ dadatā bhujena tava bhūbhujām
cirārjitaṃ hṛtaṃ teṣāṃ yaśaḥ kumudapāṇḍuram //

Giving a weapon-strike to kings, your arm / took away their long-acquired fame, white as a night-lotus. // Thus barter

2.357

āśīr nāmābhilaṣite vastuny āśaṃsanaṃ yathā
pātu vaḥ paramaṃ jyotir avāṅmanasagocaram //

Benediction is wishing for a desired object, as in: / 'May the supreme light, beyond the reach of speech and mind, protect you!' // Thus benediction

2.358

ananvayasasaṃdehāv upamāsv eva darśitau
upamārūpakaṃ cāpi rūpakeṣv eva darśitam //

Self-comparison and dubious simile have already been shown under similes, / and simile-metaphor has also been shown under metaphors.

2.359

utprekṣābheda evāsāv utprekṣāvayavo 'pi ca
nānālaṃkārasaṃsṛṣṭiḥ saṃsṛṣṭis tu nigadyate //

Partial fancy too is just a variety of poetic fancy; / but a combination of various ornaments is called combination.

2.360

aṅgāṅgibhāvāvasthānaṃ sarveṣāṃ samakakṣatā
ity alaṃkārasaṃsṛṣṭer lakṣaṇīyā dvayī gatiḥ //

Mutual relation of principal and subordinate, and equal status of all: / thus two ways are to be observed in combination of ornaments.

2.361

ākṣipanty aravindāni tava mugdhe mukhaśriyam
kośadaṇḍasamagrāṇāṃ kim eṣām asti duṣkaram //

The lotuses eclipse the beauty of your face, charming maiden; / for what is difficult for those complete with treasure and army [bud and stalk]?

2.63_2

limpatīva tamo 'ṅgāni varṣatīvāñjanaṃ nabhaḥ
asatpuruṣaseveva dṛṣṭir niṣphalatāṃ gatā //

2.363

śleṣaḥ sarvāsu puṣṇāti priyo vakroktiṣu śriyam
bhinnaṃ dvidhā svabhāvoktir vakroktiś ceti vāṅmayam //

Cohesion generally nourishes beauty in all crooked speech; / speech is divided into two: natural speech and crooked speech. // Thus combination

2.364

bhāvikatvam iti prāhuḥ prabandhaviṣayaṃ guṇam
bhāvaḥ kaver abhiprāyaḥ kāvyeṣv āsiddhi yaḥ sthitaḥ //

That which is an excellence pertaining to an entire composition they call evocative quality; / poetic emotion is the intention of the poet established throughout the poem up to its completion.

2.365

parasparopakāritvaṃ sarveṣāṃ vastuparvaṇām
viśeṣaṇānāṃ vyarthānām akriyā sthānavarṇanā //

The mutual assistance of all the narrative joints of the plot, / the avoidance of useless details, and the description in appropriate places,