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[Full title: Use of 础濒补峁僰腻谤补 in 惭耻诲谤腻谤腻办峁�a蝉补: 础谤迟丑腻濒补峁僰腻谤补蝉, S膩d峁浥泍am奴laka (or S膩d峁涐梗yagarbha) (4). 厂补尘腻蝉辞办迟颈]

According to 厂腻丑颈迟测补诲补谤辫补峁嘺, when the behaviour of a thing which is not the subject in hand, is ascribed to the subject of description from a sameness of action, gender or attribute, the figure is 厂补尘腻蝉辞办迟颈.^[1] This 厂补尘腻蝉辞办迟颈-ala峁僰膩ra has been used by 痴颈艣腻办丑补诲补迟迟补 in many places of his drama.^[2]

Two of the finest examples on the behavior of R膩jalak峁�m墨 are as follows: Cf.鈥�

鈥淎fraid of whose efforts, the Goddess of wealth, having her creeper-like left arm winding loosely round the neck of Candragupta, with her turned face and right arm regularly falling down on her lap, though forcefully placed on the shoulder, does not even now bring her right nipple on the thorax of Candragupta, which is compressed by close embracement.^[3]

Again, Cf.鈥�

鈥淭he Goddess of royalty stands with her feet rigidly placed on the king and on the minister when grown too high. But through feminine nature unable to sustain her weight, she quits one of the two.^[4]

In both the above places the nature of a fickle minded maiden is ascribed to the R膩jalak峁�m墨 (personification of the wealth) of Candragupta.

Footnotes and references:

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[1]:

蝉补尘腻蝉辞办迟颈岣� samairyatra k膩ryali峁単avi艣e峁�anai岣�// vyavah膩rasam膩ropa岣� prastute鈥�nyasya 惫补蝉迟耻苍补岣�/ 厂腻丑颈迟测补诲补谤辫补峁嘺, X.56

[2]:

II.12; III.1,2,3,8,9,29; IV.13; VI.12

[3]:

惫腻尘腻峁� 产腻丑耻濒补迟腻峁� 苍颈惫别艣测补 艣颈迟丑颈濒补峁� ka峁囜弓he viv峁泃t膩nan膩 skandhe dak峁�i峁嘺y膩 bal膩nnihitay膩鈥檖ya峁卥e patanty膩 muhu岣�/ g膩岣峢膩li峁単anasa峁単ap墨ditamukha峁� yasyodyama艣a峁卥in墨 mauryasyorasi n膩dhun膩pi kurute v膩metara峁� 艣r墨岣� 蝉迟补苍补峁�// Ibid.,II.12

[4]:

补迟测耻肠肠丑峁泃别 尘补苍迟谤颈峁噄 p膩rthive ca vi峁ａ弓abhya p膩d膩vupati峁ａ弓hate 艣r墨岣�/ s膩 str墨svabh膩v膩dasah膩 bharasya tayordvayorekatara峁� jah膩ti// Ibid., IV.13