Kavyalankara 3: tṛtīyaḥ paricchedaḥ

Preyas, rasavat, ūrjasvin, paryāyokta, samāhita, / and udātta of two kinds, as well as śliṣṭa with its three divisions;

apahnuti, viśeṣokti, virodha, tulyayogitā, / aprastutapraśaṃsā, vyājastuti, and nidarśanā;

and another, upamārūpaka, as well as upameyopamā, / sahokti and parivṛtti, sasaṃdeha, and ananvaya;

and utprekṣāvayava, say some; and others [reckon] saṃsṛṣṭi as well; / and wise men have proclaimed bhāvikatva to be a poetic figure.

Preyas is as when Vidura spoke to Kṛṣṇa who had arrived at his house: / "The joy that has arisen in me today, Govinda, upon your arrival at my house / could occur [again] in time only by your coming once more."

Rasavat is that where erotic love or other aesthetic sentiments are shown clearly, as: / "The queen, concealed in an ascetic woman's guise, / approached the king."

Ūrjasvin is as when Karṇa [addressed] the son of Pṛthā who returned again: / "Does Karṇa fix his arrow twice, Śalya?"—thus dismissing the serpent.

Paryāyokta is when [a matter] is expressed in an alternative manner, / as when the wielder of the Śārṅga bow spoke to the king of Cedi at the seizure of the jewel:

"In houses or on roads we do not eat food that learned / Brāhmaṇas do not eat, in order to avoid the giving of poison."

Samāhita is as in Rājamitra, when Nārada appeared before the Kṣatriya women / who were going to propitiate Rāma.

Udātta is as when the powerful Rāma, complying with his elder's command, / went to the forest, having abandoned the kingdom that had fallen to him.

Others understand this very figure differently by another explanation: / that which is connected with various jewels and the like is said to be udātta, forsooth;

as when Cāṇakya, entering Nanda's pleasure-house at night, / recognized that it was paved with moonstones from drops of water.

When the identity of the object of comparison with the standard of comparison is established / by attribute, action, and noun, that is called śliṣṭa.

This definition is certainly seen in metaphor as well; but here, / the simultaneous employment of both the standard and object of comparison is desired.

"The lofty cloud-elephants shedding drops of water-rutting-juice"— / here the clouds and elephants are designated together.

A distinction is made between this [double entendre] of meaning and of word through double entendre; / and it is threefold, as shown by its mention through sahokti, simile, and cause:

"Providing shade, devoid of snakes / wicked men, easy to ascend / approach, yielding fruit / wealth, / wayside trees and great men exist solely for the prosperity of others."

"Lofty, beloved of the people, great, pouring down abundant rain / gifts, / good kings, like clouds, appease the torment of the earth."

"Because you possess jewels / virtues, because you are unfathomable, because you do not transgress your proper bounds, / and because you are a refuge for many living creatures / beings, you are equal to the ocean."

And apahnuti is accepted as having a simile somewhat latent within it; / and its expression is made through the denial of a real fact, as:

"This is not a swarm of black bees buzzing, clamorous with rut again and again; / this is the twang of Cupid's bow being drawn."

When, upon the departure of one part, another attribute persists / in order to display a special excellence, that is considered viśeṣokti, as:

"He alone, the flower-weaponed god, conquers the three worlds, / whose strength was not taken away by Śambhu, even though taking away his body."

The expression of an incompatible other action of an attribute or of an action, / intended to convey a special excellence, the wise know as virodha:

"Though cool with the shade of the grove growing near it, / this yoke of yours torments your enemies even in distant lands."

Through the desire to express equality of attribute of even an inferior with an excellent [thing], / by virtue of connection with an identical effect and action, tulyayogitā is thus defined:

"Śeṣa, the snow-mountain, and you are great, heavy, and firm, / in that, not transgressing your bounds, you support the shaking earth."

Praise of another subject that is extraneous to the topic at hand / is called aprastutapraśaṃsā, and it is stated thus, as:

"Pleasing to suitors, sweet, ripe in due season, abundant, / behold the fruit of trees produced without human effort!"

Under the pretext of praising far superior qualities, when censure / is made by one wishing to establish some equality, that is vyājastuti, as:

"Rāma split seven sāl trees; the best of the Bhṛgus [split] Mount Krauñca; / what have you done comparable to those two even by a hundredth part?"

Through the demonstration of that particular meaning by the action itself, / without words such as 'yathā' or 'iva' or the suffix '-vat', [the figure] should be known as nidarśanā:

"This sun of dim luster is about to set, / alerting glorious men that rise leads to a fall."

Establishing the nature of that [object of comparison] by means of the standard of comparison, / the simile that one speaks is this upamārūpaka, as:

"Victorious is the foot of the Discus-Wielder, a measuring rod for the entire span of the sky, / a new mirror for the moon-faces of Siddha women."

Where the status of standard of comparison and object of comparison occurs mutually by turns, / they call that upameyopamā, as stated:

"Fragrant, delighting the eyes, pale red with intoxication from wine, / your face is like a lotus, and the lotus is like your face."

Where simultaneous actions resting upon two entities / are expressed by a single word, that is considered sahokti, as:

With the directions turbid from falling snow, being causes of tight embraces,
the nights increase along with the joys of lovers.

When there is the taking of a distinct thing by the giving away of another,
accompanied by corroboration (arthāntaranyāsa), that is poetic barter (parivṛtti), as follows:

'Having given wealth to supplicants, he acquired the treasure of fame;
this is the unfailing vow of the good who work for all people.'

When one states both identity and difference with the standard of comparison (upamāna),
a speech of uncertainty made for praise is known as doubtful statement (sasandeha), as follows:

'Is this the moon? He does not shine by day. The flower-weaponed god? His bow is not made of flowers.'
Thus, even deliberating out of wonder, my mind looking upon you obtains no ascertainment of the matter.

Where the state of standard and subject of comparison belongs to the very same thing,
due to the desire to express lack of resemblance [to anything else], that they call peerless comparison (ananvaya):

'Having an outline red with betel, teeth flashing radiance,
eyes with the lustre of blue lotuses—your face is like your face alone.'

Connected with the sense of a double entendre (śliṣṭa), endowed somewhat with poetic fancy (utprekṣā),
and again having the sense of a metaphor (rūpaka)—such is component-based fancy (utprekṣāvayava), as follows:

'Because of having equal beginning and end, when the radiant sun has set,
the weary day enters the house of darkness, as it were, for shelter.'

Combination of figures (saṃsṛṣṭi) is an excellent ornament through the union of many figures;
it is fashioned like a necklace of gems, and it is spoken of as follows:

'Of you two, who possess profundity and grace (or saltness) and have abundant jewels,
you are easy for people to approach, [while] the lord of waters harbors vicious sea-monsters.'

'Your face, having the luster of a lotus, is lovely without ornament;
what ornament indeed is there for the maker of the night, beautiful by its very nature?'

A combination of other figures too should be made according to this method;
how much can be explained by me to those who know by mere hints?

They speak of vivid representation (bhāvikatva) as a poetic quality belonging to the entire composition,
wherein past and future things are seen as if right before one's eyes.

The possession of striking, noble, and wondrous subject-matter, the drama-like representation of the tale,
and absence of confusion in words—these they declare to be its causes.

Benediction (āśīs) also is regarded by some as a poetic figure;
its use in a statement not opposed to friendliness is, for example:

'Abandon your petulant anger in the presence of this friend; having tightly embraced him who is bowed with respect,
may he sprinkle you with tears born of joy, like a great cloud showering on the Vindhya at the proper season.'

'May the assembly of kings see the cities of their enemies with their ramparts shattered by rut-blinded elephants,
their champions slain, their citizens fleeing in terror, and all their beauty burnt by your brilliance.'

The rule concerning figures of speech has been stated in detail by me, having ascertained it myself by intellect;
adorned with this, the speech of those who know word and meaning shines like a woman skillfully adorned.

Thus ends the third chapter in the Ornament of Poetry of Bhāmaha.