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鈥�蝉补耻苍诲补谤测补峁� 腻濒补峁卥腻谤补岣�鈥浓赌�础濒补峁卥腻谤补 is the beautiful form of poetry. A beautiful idea must appropriately incarnate itself in a beautiful expression. The function of 补濒补峁卥腻谤补 is to heighten the effect of expression. Be it a 艢补产诲腻濒补峁卥腻谤补 (sound effect) or an 础谤迟丑腻濒补峁卥腻谤补 (a striking turn of idea), it is 产补丑颈谤补峁単补 or extrinsic to rasa so long as it is useful for rasa.

The author has composed many of the verses with different striking figures of speech and thus decorates the various rasas also fittingly.

This is the first and foremost figure of speech among the 础谤迟丑腻濒补峁卥腻谤补s. The dramatist handles it well and applies it in suitable places.

(i) As he approaches the king鈥檚 vicinity, having been permitted to have an audience with him, the minister (痴颈箩帽腻苍补 艢补谤尘腻) wonders that in spite of being quite familiar with king 闯墨惫补, he is afraid of getting closer to him because the king鈥檚 tejas (radiance) is like the blazing fire鈥檚 radiance that prevents any one getting closer (I.36):

膩tiparicaye'pi r膩j峁�o bibhemi sahasopagantumabhyar峁嘺m |
测别苍腻驳苍别谤颈惫补 迟别箩补岣� sphuradasy膩r膩nnivartayati ||

闯墨惫补 is always pure and possesses a natural lustre^[1] and this makes one to think twice before approaching him. Hence the poet compares his lusture to the fierce glow of the fire which prevents anyone to come closer to its proximity.

(ii) It is noteworthy that 膧nandar膩ya Makhin has used 鲍辫补尘腻 throughout the work and even while describing the diseases, especially in the second Act, when the various diseases boast of their powers.

While the 鲍苍尘腻诲补蝉 declare they would pounce upon their enemies like the tigers on the 艢补尘产补谤补-deers (II.15cd):

艣膩rd奴l膩 iva 艣ambar膩n sarabhasa峁� y膩nadya g峁沨峁嚹玬ahe ||

The 痴谤补峁嘺蝉 boast that they would burn the enemies like Arjuna who destroyed the 碍丑腻峁囜笉补惫补 forest (II.16cd):

腻谤补峁噛补尘颈惫补 办丑腻峁囜笉补惫补峁� ghanasara峁噛at墨tadrumavraja峁� dahanahetaya岣� puramarerdah膩mo vayam ||

(iii) A beautiful illustration of 鲍辫补尘腻la峁卥膩ra is found in verse II.17 which describes the effect of the diseases called 础谤艣补.

The force of the disease is such that all afflicted by it, feel great pain like the poor animals caught in the clutches of the tiger, and also like them, are not able to stand or walk or sleep or eat, or drink or even let their voice call out:

g峁沨峁嚹珁膩ma vyathayitumarestatpura峁� yena sarve vy膩ghr膩k峁涐梗峁��� iva hi pa艣ava岣� pr膩峁噄no'smadg峁沨墨t膩岣� |
sthatu峁� gantu峁� 艣ayituma艣itu峁� p膩tum膩bh膩峁�itu峁僾膩 n膩pek峁�ante manasi dadhato du岣�kham膩tr膩nubh奴tim ||

(iv) The demeanour of king 闯墨惫补 on his return after procuring Rasa and Gandhaka from the divine couple, is clearly brought out by the poet with two similies in a simple 艣濒辞办补. Now that his worry is removed, 闯墨惫补鈥檚 face shines like the fully blooming lotus as the misty snow covering it, has melted away.

This idea is portrayed in the first half of the verse III. 21:

vic膩ravigam膩dida峁� vilasati 辫谤补蝉补苍苍补峁� 尘耻办丑补峁� g峁沨墨tasu峁�ama峁� himavyapagam膩div膩mbhoruham |

The second sentence of the same verse declares that 闯墨惫补鈥檚 gait exhibiting his natural quality of a king鈥檚 valiance (诲丑墨谤辞诲诲丑补迟腻) is like that of a powerful elephant that had won over its powerful counter part:

vi峁Ｄ佱箛ina iva pratidviradadar艣an膩r峁�i峁噊 gati艣ca kila 尘别诲颈苍墨峁� namayat墨va 诲丑墨谤辞诲诲丑补迟腻 ||

By using two appropriate similies in this one verse, the dramatist in a nutshell brings out the condition of 闯墨惫补 on receiving the blessings of the Supreme.

Footnotes and references:

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[1]:

Com. p.43: j墨vo'pi svaya峁� nityanirmalo niravadhikaprabh膩bh膩sura艣ca sy膩t |