Studies in the History of Sanskrit Poetics v2.c85.67

v2.c85.67

22 Hemacandra’s treatment of poetic figures, however, is somewhat peculiar. He speaks of six *śabdālaṃkāras*, viz., *anuprāsa, yamaka, citra, śleṣa, vakrokti* and *punaruktavadābhāsa*. The *arthālaṃkāras* are limited to twenty-nine (viz., *upamā, utprekṣā, rūpaka, nidarśana, dīpaka, anyokti, paryāyokta, atiśayokti, ākṣepa, virodha, sahokti, samāsokti, jāti, vyājastuti, śleṣa, vyatireka, arthāntaranyāsa, sasaṃdeha, apahnuti, parāvṛtti, anumāna, smṛti, bhrānti, viṣama, sama, samuccaya, parisaṃkhyā kāraṇamālā* and *saṃkara*.) He includes *saṃsṛṣṭi* under *saṃkara*, and treats *ananvaya* and *upameyopamā* as varieties of *upamā*. The *aprastutaof the main problems. This work is chiefly a compilation²³, and Hemacandra not only paraphrases literally most of the standardised definitions, and reproduces almost unhesitatingly the illustrative quotations of Mammaṭa, but his acknowledged and unacknowledged borrowings from the *Dhvanyāloka* and the *Locana*, from the *Abhinavabhāratī*, from the *Vakrokti-jīvita*, from Rājaśekhara’s *Kāvya-mīmāṃsā*, as well as from other well known works are