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The poetic composition where the sense is almost the same as earlier work but the expressions are changed and different, thus it is called by pratibimbakalpa-办腻惫测补 (poetry) 丑补谤补峁嘺.

C.f.

鈥�补谤迟丑补岣� sa eva sarvo v膩ky膩ntaraviracan膩 辫补谤补峁� yatra |
迟补诲补辫补谤补尘腻谤迟丑补惫颈产丑别诲补峁� 办腻惫测补峁� pratibimbakalpa峁� sy膩t || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 63

This is illustrated as following 艣濒辞办补:

鈥�te p膩ntu va岣� pa艣upateralin墨labh膩sa岣� ka峁囜弓haprade艣agha峁璱t膩岣� pha峁噄na岣� sphu ranta岣� |
candr膩m峁泃膩mbuka峁嘺sekasukhaprar奴岣峢airyaira峁卥urairiva vir膩jati k膩l奴ka峁璦岣� || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 63

And also:

鈥�jayanti 苍墨濒补办补峁囜弓丑补蝉测补 苍墨濒腻岣� 办补峁囜弓丑别 尘补丑腻丑补测补岣� |
galadga峁単膩mbusa峁僺iktak膩l奴ka峁�膩峁卥u r膩 iva || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 63

Here the second 艣濒辞办补 is a pratibimbakalpa of the first 艣濒辞办补. Because, the sense of first 艣濒辞办补 is presented in second 艣濒辞办补 just a reflection on a mirror.

Regarding this type of 办腻惫测补-丑补谤补峁嘺, C. R. Devadhar says that:

鈥淚t is remarkable that we have no instance of 鈥�pratibimbakalpa鈥� a sort of imaging where the sense is the same entirely, though the setting in expression is slightly different so that the poem is not fundamentally different. This is rightly condemned as downright plagiarism鈥�.^[1]

In the Dhvany膩loka, 膧苍补苍诲补惫补谤诲丑补苍补 says that, it is not-adoptability types of appropriation and classified into two parts. i.e.

1. 鈥�Ananyatma鈥� and
2. 鈥�Tatvikasarirasunya鈥�^[2].

But 驰腻测腻惫补谤墨测补 搁腻箩补艣别办丑补谤补 divided into eight parts i.e.

1. Vyastaka,
2. 碍丑补峁囜笉补,
3. Tailabindu,
4. 狈补峁璦苍别辫补迟丑测补,
5. Chandovinimaya,
6. Hetuvyatyaya,
7. 厂补峁僰谤腻苍迟补办补 and
8. 厂补尘辫耻峁璦.

搁腻箩补艣别办丑补谤补 advice to the kavi (poet) that at any costs these types of appropriation of sense should be avoided^[3]. He also defines all the eight-types of pratibimbakalpa-丑补谤补峁嘺.

C.f.

(a) Vyastaka:

鈥�sa ev膩rtha岣� paurv膩paryavipary膩s膩dvcatyastaka岣� [paurv膩paryavipary膩s膩d vyastaka岣�?闭触鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 65

Means:

鈥淲hen one and the same subject matter is delineated with an inversion of the regular order thus it is called by Vyastaka.鈥�

For example as:

鈥�d峁涐梗峁� v膩'nyebha峁� chedamutp膩dya rajjv膩 yanturv膩ca峁� manyam膩nast峁涐箛膩ya |
gacchandadhre 苍腻驳补谤腻箩补岣� kari峁噛膩 prem峁嚹� 迟耻濒测补峁� 产补苍诲丑补苍补峁� 苍腻蝉迟颈 箩补苍迟辞岣� || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 66

Another with the same sense as:

鈥�nirvivekamanaso'pi hi 箩补苍迟辞岣� premabandhanama艣峁涐箙 khalad膩ma |
yatprati pratigaja峁� gajar膩ja岣� prasthita艣ciramadh膩ri kari峁厃膩 || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 66

Here the same sense concerns with the elephants are described in both 艣濒辞办补. Thus, the second 艣濒辞办补 is an example of Vyastaka, because here the sequence of sense has interchanged places with reference to the first 艣濒辞办补.

(b) 碍丑补峁囜笉补:

In a poetic composition if the vast sense is broken into parts and adopted the partial of great subject matter, thus it is known as 碍丑补峁囜笉补.

C.f.

鈥�b峁沨ato'rthasy膩rddhapra峁嘺yana峁� kha峁嘺岣峚m [办丑补峁囜笉补尘?] 触鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 66

For an example:

鈥�辫耻谤腻 辫腻峁囜笉耻 辫谤腻测补峁� tadatu 办补辫颈艣颈尘苍腻 办峁泃补辫补诲补峁� 迟补迟补岣� 辫腻办辞诲惫别办腻诲补谤耻峁嘺驳耻峁嘺蝉补峁僾补诲诲丑颈迟补惫补辫耻岣� |
艣补苍补颈岣� 艣o峁Ｄ乺ambhe sthapu峁璦nijavi峁�kambhavi峁�ama峁� vane v膩t膩moda峁� badaramarasatva峁� kalayati || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 66

And also:

鈥�p膩kakriy膩paricayapragu峁嚹玨峁泃ena sa峁僾addhit膩ru峁嘺gu峁嘺峁� vapu峁Ｄ� nirjana |
膩p膩ditasthapu峁璦sa峁僺thiti艣o峁Ｄ乸o峁Ｄ� - detadvane virasat膩峁� 产补诲补谤补峁� 产补产丑腻谤迟颈 || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 66

Here, in the first 艣濒辞办补 the entire process of ripening of a fruit of a berry has been described but in the second 艣濒辞办补 only a part of it has been described. There the second 艣濒辞办补 all the steps are adopted from first 艣濒辞办补 except the three stages i.e. 鈥�辫腻峁囜笉耻 辫谤腻测补峁�鈥�, 鈥�办补辫颈艣颈尘苍腻鈥�, 鈥�办峁泃补辫补诲补峁�鈥� and 鈥�惫墨迟腻尘辞诲补峁�鈥� . Thus it is an example of 碍丑补峁囜笉补 types of pratibimbakalpa.

(c) Tailabindu:

鈥�sa峁僰峁�ipt膩rthavistare峁嘺 tailabindu岣�触鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 66

In a poetic composition where the sense described in short in the 艣濒辞办补 in detail in detail in one鈥檚 own composition thus it is known as Tailabindu-pratibimbakalpa types of 丑补谤补峁嘺.

For example as:

鈥�yasya tantrabhar膩kr膩nty膩 p膩t膩latalag膩min墨 |
mah膩var膩hada峁冡梗峁璻膩y膩 bh奴ya岣� sasm膩ra 尘别诲颈苍墨 || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 66

And also in the same sense:

鈥�测补迟迟补苍迟谤腻办迟腻苍迟颈尘补箩箩补迟辫峁泃丑耻濒补尘补峁噄艣颈濒腻艣补濒测补惫别濒濒补迟辫丑补峁嚹乶迟别
  kl膩nte paty膩vah墨n膩峁� caladacalamah膩stambhasambh膩ras墨m膩 |
sasm膩ra sph膩racandradyuti punaravanistaddhira峁噛膩k峁�avak峁�a岣�-
sth奴l膩sthi艣re峁噄艣膩峁嚹乶ika峁�a峁嘺sitamapy膩艣u da峁冡梗峁璻膩gramugram || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 66

Here the sense briefly expressed in the first 艣濒辞办补 is enlarging in the second 艣濒辞办补. Thus it is an example for Tilabindu types of pratibimbakalpa 丑补谤补峁嘺.

(d) Natanepathya:

鈥�anyatamabh膩峁Ｄ乶ibaddha峁� bh膩峁Ｄ乶tare 峁嘺 parivarttyata iti na峁璦nepathyam 触鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 66

Means:

鈥淚n a poetry, expressing the sense of an earlier poet in translating the essence in a language to another language called Natanepathyam types of pratibimbakalpa 丑补谤补峁嘺.鈥�

C.f.

鈥�necchai p膩s膩sa峁僰墨 k膩o di峁囜箛a峁� pi pahiaghari峁嚹玡 |
ohattakarayaloggaliyavalayamajjha峁�峁璱a峁� pi峁嘺岣峚峁� || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 66-67

And another with same sense:

鈥�诲补迟迟补峁� 辫颈峁囜笉补峁� nayanasalilak峁Ｄ乴an膩dhautaga峁囜笉a dv膩rop膩nte kathamapi tay膩 sa峁単am膩艣膩nubamdh膩t |
vakragr墨va艣calata艣ir膩岣� p膩r艣vasa帽c膩ricak峁�u岣� p膩艣膩艣a峁卥墨 galitavalaya峁� nainama艣n膩ti 办腻办补岣� || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 67

Here, in a composing poetry the poet of second 艣濒辞办补 borrows the idea from the first 笔谤腻办峁泃补 艣濒辞办补 and deviates totally from the original language 辫谤腻办峁泃补 to Sanskrit. Thus it is an example of 狈补峁璦苍别辫补迟丑测补尘 types of pratibimbakalpa 丑补谤补峁嘺.

(e) Chandovinimaya:

In poetry if a poet described the same meaning or essence of a 艣濒辞办补 expressed in a different metre from earlier metre thus it is called Chandovinimay types of pratibimbakalpa 丑补谤补峁嘺.

C.f.

鈥�肠丑补苍诲补蝉腻 辫补谤颈惫峁泃迟颈艣肠丑补苍诲辞惫颈苍颈尘补测补岣� 触鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 67

For an example as:

鈥�k膩nte talpamup膩gate 惫颈驳补濒颈迟腻 苍墨惫墨 svaya峁� bandhan膩t
  tadv膩sa岣� 艣lathamekhal膩gu峁嘺dh峁泃a峁� ki帽cinnitambe sthitam |
et膩vatsakhi vedmi ke valamaha峁� tasy膩峁単asa峁単e puna岣�
  ko'sau k膩'smi rata峁� nu ki峁� kathamapi khalp膩'pi me na sm峁泃i岣� || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 67

And another with same meaning:

鈥�dhany膩stu y膩岣� kathayatha priyasa峁単ame'pi visrabdhac膩峁璾 ka艣at膩ni rat膩ntare 峁�u |
苍墨惫墨峁� prati 辫谤补峁噄丑颈迟补艣肠补 办补谤补岣� 辫谤颈测别峁嘺 蝉补办丑测补岣� 艣ap膩mi yadi ki帽cidapi smar膩mi 触鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 67

Here, the same concepts are expressed in the first 艣濒辞办补 and second 艣濒辞办补, but there are uses in a different metre from the former 艣濒辞办补. Thus it is called as Chandovinimaya types of pratibimbakalpa-丑补谤补峁嘺.

(f) Hetuvyatyaya:

鈥�k膩ra峁嘺par膩v峁泃ty膩 hetuvyatyaya岣�触鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 67

Means:

鈥淚n a poetic composition, when the same meaning is expressed in a 艣濒辞办补 but due to a different reason, it is known as Hetuvyatyaya types of pratibimbakalpa丑补谤补峁嘺.鈥�

For example as:

鈥�迟补迟辞'谤耻峁嘺辫补谤颈蝉辫补苍诲补尘补苍诲墨办峁泃补谤耻肠颈岣� 艣补艣墨 |
dadhre k膩maparik峁Ｄ乵ak膩min墨ga峁囜笉a辫腻峁囜笉耻 t膩m || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 67

Another example with the same meaning:

鈥�蝉补尘补峁� ku sumac膩pona garbhi峁嚹玤a峁囜笉ap膩峁囜笉ap膩峁嘺岣島 n膩 |
耻诲补测腻诲谤颈艣颈谤补岣�s墨尘苍颈 苍颈丑颈迟补峁� 辫补诲补尘颈苍诲耻苍腻 || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 67

Here, in the first 艣濒辞办补 the paleness of the moon is compared to the cheeks of the languished maiden and is the cause of the moon鈥檚 decline; but the second 艣濒辞办补 is the same paleness is compared to the cheeks of a pregnant maiden and it is the cause of the rise of the moon. Those types of reversing of cause are the example for Hetuvyatyaya-pratibimbakalpa 丑补谤补峁嘺.

(g) 厂补峁僰谤腻苍迟补办补:

鈥�d峁涐梗峁璦sya vastuno'nyatra sa峁卥asiti岣� sa峁卥膩ntakam [蝉补峁卥谤腻苍迟补办补尘?] 触鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 67

Means:

鈥淚n a poetic composition, if a mentioned thing is transference in one 艣濒辞办补 into another with reference to some other context thus it is called 厂补尘办谤腻苍迟补办补尘 types of pratibimbakalpa-丑补谤补峁嘺.鈥�

For an example:

鈥�蝉苍腻苍腻谤诲腻谤诲补颈惫颈诲丑耻迟补办补产补谤墨产补苍诲丑补濒辞濒补颈谤颈诲腻苍墨峁�
  艣ro峁嚹玝h膩ra岣� k峁泃aparicaya岣� pallavai岣� ku ntal膩n膩m |
apyetebhyo nabhasi pa迟补迟补岣� pa峁卥i艣e v膩ribind奴n
  sthitvodghr墨va峁� ku valayad峁浥浤佱箖 ke lipaha峁僺膩岣� pibanti || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 67

Another example with same sense:

鈥�sadya岣�sn膩tajapattapodhanaja峁�膩pr膩ntastrut膩岣� pronmukhaikha岣�
  p墨yante'mbuka峁嚹佱弗 ku ra峁単a艣i艣ubhist峁涐梗峁嚹乿yath膩viklabai岣�|
et膩峁� premabhar膩las膩峁� ca 蝉补丑补蝉腻 艣u峁�yanmukh墨m膩ku la岣�
  艣li峁�yanrak峁�ati pak峁�asampu峁璦k峁泃acch膩ya岣� 艣aku nta岣� priy膩m || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 67

Here, the context of the swans is transferred to the dears in the second 艣濒辞办补. Thus it is an example of 厂补尘办谤腻苍迟补办补尘 types of pratibimbakalpa 丑补谤补峁嘺.

(h) 厂补尘辫耻峁璦:

鈥�耻产丑补测补惫腻办测腻谤迟丑辞辫腻诲腻苍补峁� 蝉补尘辫耻峁璦岣� 触鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 68

Means: In a poetic composition when the essence of two different 艣濒辞办补 is combining the sense of two 艣濒辞办补s of earlier poets in a concise manner in one 艣濒辞办补 by a later poet, thus it is called 厂补尘辫耻峁璦 types of pratibimbakalpa 丑补谤补峁嘺.

An example i.e.

鈥�vinadhyasy膩dre岣� parisaranad墨 苍补谤尘补诲腻 subhru 蝉补颈峁Ｄ�
  y膩dobharttu岣� prathamag峁沨i峁嚹�峁� y膩峁� vidu岣� pa艣cimasya |
yasy膩manta岣�sphu rita艣apharatr膩sah膩s膩ku l膩k峁Ｄ�
  svaira峁� svaira峁� kathamapi 尘补测腻 迟墨谤补尘耻迟迟腻谤颈迟腻'蝉颈 || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 68

And also:

鈥�n膩bh墨guh膩bilavi艣accalav墨cij膩tama帽judhvani艣rutika峁嘺tkalaku kku bh膩ni |
re v膩jal膩nyavirala峁� grahil墨kriyante l膩峁�膩峁単an膩bhirapar膩hlanimajjane峁�u || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 68

Another example in same sense:

鈥�yadvargy膩bhirjag膩he guru艣aku laku l膩sph膩lanatr膩sah膩sa-
  vyasterustambhik膩bhirdi艣i di艣i sarit膩峁� digjayaprakrame峁�u |
ambho gambh墨ran膩bh墨ku
  harakavalanonmuktipary膩yalolatkallol膩baddhamugdhadhvanicakitara峁嘺tkukku bha峁� k膩峁噄na墨bhi岣� || 鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 68

Here, the senses of first two 艣濒辞办补s are appropriated by the later third 艣濒辞办补. This is done by the author in a concise manner. Thus it is an example of 厂补尘辫耻峁璦 types of pratibimbakalpa 丑补谤补峁嘺.

After discussing an anonymous 艣濒辞办补 (verse) 搁腻箩补艣别办丑补谤补 proves the nonadoptability of various pratibimbakalpa senses in poetic composition. Lastly his advices the entire poet that they are always 辫谤补迟颈产丑腻 or creative genius should try to get rid of this type of borrowing at all costs.

C.f.

鈥�so'ya峁� kaverakavitvad膩y墨 蝉补谤惫补迟丑腻 pratibimbakalpa岣� parihara峁嚹珁a岣� 触鈥�

- K膩vyam墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-XII, Pp- 68

Footnotes and references:

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[1]:

C.R. Devdhar, 鈥榩lagiarism its varieties and limits鈥� Annals of Bhandarkar Oriental Research Institute, Vol-XXXV, 1954, p.214

[2]:

Dhvany膩loka of 膧苍补苍诲补惫补谤诲补苍补: IV/13

[3]:

K膩vyam墨m膩峁僺膩 Ed. By. C. D. Dalal and Pt. R. A. Sastry, Pp- 68 鈥�so'ya峁� kaverakavitvad膩y墨 蝉补谤惫补迟丑腻 prativimvakalpa岣� parihara峁嚹珁a岣�触鈥�