[Pramāṇa](https://indike.org/pramana/) › [Indian literature](https://indike.org/pramana/in) › [Arts, Poetics, Architecture & Lexicography](https://indike.org/pramana/in.art) › [Poetics](https://indike.org/pramana/in.art.alamkara) › [General treatises on poetics](https://indike.org/pramana/in.art.alamkara.sahitya) › [Kāvyādarśa](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa) › [Text of S. K. Belvalkar (1924), partial](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar) › 2 # Kavyadarsha 2: Pariccheda 2 Text of S. K. Belvalkar (1924), partial 2 - **Language:** Sanskrit ## Contents - [2.368](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.2.368) — 1 part ### Pariccheda 2 ### [2.1](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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? > — English (machine translation) (machine translation) ### [2.2](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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 \[seed\]. > — English (machine translation) (machine translation) ### [2.3](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.4](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.2.4) svabhāvā-khyānam upamā rūpakaṃ dīpakāvṛttiḥ ākṣepo 'rthāntaranyāso vyatireko vibhāvanā // > Natural description, simile, metaphor, illuminator, and repetition; > paralipsis, corroboration, contrast, and peculiar causation; > — English (machine translation) (machine translation) ### [2.5](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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; > — English (machine translation) (machine translation) ### [2.6](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.2.6) udā-ttāpahnutiśleṣaviśeṣās tulyayogitā virodhā-prastutastotre vyājastutinidarśane // > exaltation, concealment, cohesion, special distinction, equal pairing; > incongruity, praising the irrelevant, veiled praise, and illustration; > — English (machine translation) (machine translation) ### [2.7](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.8](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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: > — English (machine translation) (machine translation) ### [2.9](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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!" > — English (machine translation) (machine translation) ### [2.10](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.11](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.12](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.13](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.14](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.15](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.16](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.17](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.18](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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 \[of both\]. > — English (machine translation) (machine translation) ### [2.19](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.20](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.21](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.22](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.23](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.24](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.25](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.26](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.27](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.28](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.29](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.30](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.31](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.32](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.33](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.34](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.35](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.36](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.37](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.38](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.39](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.40](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.41](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.42](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.43](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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". > — English (machine translation) (machine translation) ### [2.44](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.45](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.46](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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: > — English (machine translation) (machine translation) ### [2.47](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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!" > — English (machine translation) (machine translation) ### [2.48](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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: > — English (machine translation) (machine translation) ### [2.49](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.50](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.51](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.52](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.53](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.54](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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: > — English (machine translation) (machine translation) ### [2.55](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.56](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.57](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.2.57) ivavadvāyathāśabdāḥ samānanibhasaṃnibhāḥ tulyasaṃkāśanikāśaprakāśapratirūpakāḥ // > The words iva, vat, vā, yathā, samāna, nibha, saṃnibha, / tulya, saṃkāśa, nīkāśa, prakāśa, pratirūpaka, > — English (machine translation) (machine translation) ### [2.58](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.2.58) pratipakṣapratidvaṃdvipratyanīkavirodhinaḥ sadṛksadṛśasaṃvādisajātīyānuvādinaḥ // > pratipakṣa, pratidvandvin, pratyanīka, virodhin, / sadṛś, sadṛśa, saṃvādin, sajātīya, anuvādin, > — English (machine translation) (machine translation) ### [2.59](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.2.59) pratibimbapraticchandasarūpasamasaṃmitāḥ salakṣaṇasadṛkṣā-bhasapakṣopamitopamāḥ // > pratibimba, praticchanda, sarūpa, sama, saṃmita, / salakṣaṇa, sadṛkṣa, ābha, sapakṣa, upamita, upamā, > — English (machine translation) (machine translation) ### [2.60](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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; > — English (machine translation) (machine translation) ### [2.61](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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, > — English (machine translation) (machine translation) ### [2.62](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.2.62) ākrośaty avajānāti kadarthayati nindati viḍambayati saṃdhatte hasatīrṣyaty asūyati // > scolds, despises, torments, censures, / mocks, matches, laughs at, envies, begrudges, > — English (machine translation) (machine translation) ### [2.63](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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, > — English (machine translation) (machine translation) ### [2.64](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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, > — English (machine translation) (machine translation) ### [2.65](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.66](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.67](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.68](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.69](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.70](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.71](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.72](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.73](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.74](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.75](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.76](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.77](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.78](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.79](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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: > — English (machine translation) (machine translation) ### [2.80](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.81](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.82](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.83](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.84](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.85](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.86](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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). > — English (machine translation) (machine translation) ### [2.87](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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). > — English (machine translation) (machine translation) ### [2.88](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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: > — English (machine translation) (machine translation) ### [2.89](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.90](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.91](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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). > — English (machine translation) (machine translation) ### [2.92](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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). > — English (machine translation) (machine translation) ### [2.93](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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). > — English (machine translation) (machine translation) ### [2.94](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.95](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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). > — English (machine translation) (machine translation) ### [2.96](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.97](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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: > — English (machine translation) (machine translation) ### [2.98](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.99](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.100](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.101](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.102](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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: > — English (machine translation) (machine translation) ### [2.103](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.104](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.105](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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 \[grow strong\].” > — English (machine translation) (machine translation) ### [2.106](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.107](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.108](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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). > — English (machine translation) (machine translation) ### [2.109](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.110](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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). > — English (machine translation) (machine translation) ### [2.111](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.112](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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). > — English (machine translation) (machine translation) ### [2.113](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.114](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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). > — English (machine translation) (machine translation) ### [2.115](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.116](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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: > — English (machine translation) (machine translation) ### [2.117](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.118](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.119](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.120](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.121](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.122](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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). > — English (machine translation) (machine translation) ### [2.123](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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?” > — English (machine translation) (machine translation) ### [2.124](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.125](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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!” > — English (machine translation) (machine translation) ### [2.126](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.’ > — English (machine translation) (machine translation) ### [2.127](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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?” > — English (machine translation) (machine translation) ### [2.128](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.129](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.130](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.131](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.132](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.133](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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?” > — English (machine translation) (machine translation) ### [2.134](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.135](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.136](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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). > — English (machine translation) (machine translation) ### [2.137](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.138](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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). > — English (machine translation) (machine translation) ### [2.139](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.140](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.141](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.142](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.143](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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.” > — English (machine translation) (machine translation) ### [2.144](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.310](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.311](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.312](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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?" > — English (machine translation) (machine translation) ### [2.313](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.314](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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; > — English (machine translation) (machine translation) ### [2.315](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.316](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.317](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.318](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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." > — English (machine translation) (machine translation) ### [2.319](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.320](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.321](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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 \[spear-bearer\]. > — English (machine translation) (machine translation) ### [2.322](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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 > — English (machine translation) (machine translation) ### [2.323](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.324](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.325](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.326](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.327](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.328](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.329](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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 > — English (machine translation) (machine translation) ### [2.330](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.331](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.332](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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 > — English (machine translation) (machine translation) ### [2.333](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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: > — English (machine translation) (machine translation) ### [2.334](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.335](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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 \[redness\]. > — English (machine translation) (machine translation) ### [2.336](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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? > — English (machine translation) (machine translation) ### [2.337](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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! > — English (machine translation) (machine translation) ### [2.338](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.339](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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? > — English (machine translation) (machine translation) ### [2.340](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.341](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.342](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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 > — English (machine translation) (machine translation) ### [2.343](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.344](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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! > — English (machine translation) (machine translation) ### [2.345](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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? > — English (machine translation) (machine translation) ### [2.346](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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? > — English (machine translation) (machine translation) ### [2.347](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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 > — English (machine translation) (machine translation) ### [2.348](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.349](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.350](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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 > — English (machine translation) (machine translation) ### [2.351](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.352](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.353](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.354](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.355](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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: > — English (machine translation) (machine translation) ### [2.356](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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 > — English (machine translation) (machine translation) ### [2.357](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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 > — English (machine translation) (machine translation) ### [2.358](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.359](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.360](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.361](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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 \[bud and stalk\]? > — English (machine translation) (machine translation) ### [2.63\_2](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.2.63_2) limpatīva tamo 'ṅgāni varṣatīvāñjanaṃ nabhaḥ asatpuruṣaseveva dṛṣṭir niṣphalatāṃ gatā // ### [2.363](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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 > — English (machine translation) (machine translation) ### [2.364](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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. > — English (machine translation) (machine translation) ### [2.365](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.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, > — English (machine translation) (machine translation) _First 200 of 205 passages. [Read on](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.2)_ ## Translations (1) - [English (machine translation)](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa~en-mt.2.1) — English, machine translation ## Other recensions (1) - [Kāvyādarśa](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa.2.1) — Daṇḍin, Sanskrit ## Linked texts (9) - [Sarasvatīkaṇṭhābharaṇa (alaṅkāra)](https://indike.org/pramana/in.art.alamkara.sahitya.sarasvatikanthabharana.4.89.1) — Bhoja, Sanskrit - [Mahāsubhāṣitasaṃgraha](https://indike.org/pramana/in.lit.subhasita.subhasita.mahasubhasitasangraha.5996) — Sanskrit - [Citramīmāṃsā](https://indike.org/pramana/in.art.alamkara.alamkara.citramimamsa.320) — Appayya Dīkṣita 1550, Sanskrit - [Alaṅkāramahodadhi](https://indike.org/pramana/in.art.alamkara.sahitya.alankaramahodadhi.14.642) — Narendraprabha, Sanskrit - [Alaṅkārasaṅgraha](https://indike.org/pramana/in.art.alamkara.sahitya.alankarasangraha.6.42) — Amṛtānandayogin, Sanskrit - [Śārṅgadharapaddhati](https://indike.org/pramana/in.lit.subhasita.subhasita.kosa.sarngadharapaddhati.34.2) — Śārṅgadhara, Sanskrit - [Alaṅkāraśekhara](https://indike.org/pramana/in.art.alamkara.sahitya.alankarasekhara.5.11) — Keśava, Sanskrit - [Rasakalpadruma (Jagannātha Miśra)](https://indike.org/pramana/in.art.alamkara.rasa.rasakalpadruma-jagannathamisra.7.347) — Jagannātha Miśra 1600, Sanskrit - [Rasārṇavālaṅkāra](https://indike.org/pramana/in.art.alamkara.rasa.rasarnavalankara.3.38) — Prakāśavarṣa, Sanskrit --- Source: [https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.2](https://indike.org/pramana/in.art.alamkara.sahitya.kavyadarsa*belvalkar.2) · Pramāṇa