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Introduction: A close reading of the Usaharana poem makes it clear that Trivikrama Pandita was one of the extra-ordinary poets. Undoubtedly, Trivikrama's poetic writings are highly polished and richly adorned with Sabdalankaras and Arthalamkaras. Poet's unique skill in giving pictorial descriptions is found really commendable. In the epic poem the language enriched with Alankaras is found throughout very prominently. Unlike others, Trivikrama Pandita makes his poem enjoyable to the readers by means of various poetic aspects. An intutive poetic vision of Trivikrama Pandita produces aesthetic delight in the hearts of Sahrdayas. The Alankaras used by the poet in the Mahakavya may be grouped into two sections, one is Sabdalankara and the other being Arthalankara. Sabdalankara or Sabdacitra constitutes verbal figures namely Anuprasa (Alliteration), Yamaka (chime), Chhekanuprasa (dexterous alliteration) Vrttyanuprasa (repetitive alliteration) etc. Thus, in in Sabdalankara, strikingness lies with word. In Arthalankara, the sense of the word visualises production of image from reflection of the matter in hand by means of the standard of similitude. In the background of this short introduction, a detail study of different types of Alankaras follows as below: Sabdalankaras As is said already before, Sabdalankara is of various types investing the strength in the words forming the poetic organism.

159 1. anuprasahh Anuprasa is the similarity of letters. Even when the vowels are dissimilar, the sameness of consonants constitutes the similarity of letters. Anuprasa is so called because of the excellent arrangements that is favourable to the sentiment.1 A verse from the first canto of the Usaharana exemplifies Anuprasa. purodhaya sumedha yah pitaram jagatah pita | pravivesa vasi tasya vedim vedavidavrtam || [I.50] In the above example, one can see the samenes of the consonants; i.e. the former part of the first line of the verse above, repeats twice. In the latter half of the same line, &' consonant is repeated thrice. Similarly in the second line the 'd' sound is repeated seven times. The Anuprasa holds good in the development of '3' sentiment and the present verse delineates '' sentiment in the context of Lord Narayana's incarnation of Vamana and His marvellous deeds. Another example may be adduced here : icchanuga tava rama ramanisu ramya sute sutasura pitamahamadideva | tatsunavo vayamanantagarutmadadyastadvo gurunurugunan pranumah saranyan|| [IX. 4 Here the first line of the verse repeats 7' sound four times, 'A' sound five times, '' sound three times. Similarly in the second line ? sound is repeated four times and '7' sound is repeated five times. Therefore it is an example of Anuprasa. 1) varnasamyamanuprasah || svaravaisadrsyo'pi vyanjanamatra sadrsatvam varnasamyam | rasadyanugatah prakrsto nyaso'nuprasah | Dr. R.C. Dwivedi, Kavya Prakasa, Motilal Banarasidass, Delhi, 1970, p. 346. 1

160 2. vrttyanuprasahh The Vrttyanuprasa is the repetition of even the one consonant more than once. It is the similarity of one or several consonants, twice or several times. 2 jagraha sphuradaracakramesa cakram cakrangapratimarucam ca pancajanyam | kodandam vijamarisandadattadandam dordandairakrpanavikramah krpanam || [VII.3] In this verse, the first line contains a repetition of a sound five times, similarly in the second line 3' sound four times, & sound five times, and in the whole verse 'ma' sound is repeated nine times. Therefore, it is an example of Vrttyanuprasa. Another example may be given as below: alam prapancena vilasinijanah sahamuna dvaravatipure papau | suram suvesah surarajamandire sudham jayantena yathapsarogatah | | [ V. 54] In this example, the first line repeats 'pa' sound five times, 'na' sound four times; similarly, in the second line 'sa' sound repeats five times, 'ra' sound five times. Hence, it is also an example of Vrttyanuprasa. There are many verses exemplifying a mixture of more than one Sabdalankaras. For example vavrdhe vardhayannabdhimekhalam mekhaladimana | varni varnitavrtto yah susrusabhirato guroh | | [I. 47] This verse contains a mixture of three Sabdalankaras, namely - (i) vrttyanuprasa (ii) latanuprasa (iii) cchekanuprasa 2) ekasyapyasakrt parah || ekasya apisabdadanekasya vyanjanasya dvirbahukrtvo va sadrsyam vrttyanuprasah | Ibid., p. 348

161 (i) : As found in the definition of Vrttyanuprasa before, there is a repetition of single vowel 'a' for three times and '' for three times in the first line of the first half. (ii) mg : The Latanuprasa is defined thus: The Latanuprasa is verbal, when the difference lies only in the import. Alliteration of the words as different from that of single consonants which are the same in form and meaning, but there is difference only in their syntactical relation (import) is called Latanuprasa.³ In the verse above, the second half of the first line contains a repetition of the same word twice. The repetition of this word is in the same sense, that is 'belt'. But, it is used with different application, i.e., the word u occured for the first time in the verse, is joined after 'abdhi ' (ocean), and the entire world abdhimekhala refers to goddess of Earth, who possesses the ocean as Her girdle; while another word being an objective to 'qu' refers to Vamana as he wears the binding of sacred cord made of a triple string of Munja grass. In this manner, it is Latanuprasa where lies the difference in the import of the words. : (iii) Here is the repetition of the several consonants only once. Similarity of the several consonants once, i.e., a single time, is the Chhekanuprasa.4 In the verse mentioned above, the consonants 'I' and 'U' are repeated only once. (auff, af). Thus it is an example of Chhekanuprasa. (varni, 3) sabdastu latanupraso bhede tatparyamatratah | 4) sabdamato'nuprasah sabdarthayorabhede'pyanvayamatrabhedat | esa padanuprasa ityanye | Ibid., p. 350 so'nekasya sakrt purvah | anekasyarthad vyanjanasya sakrdekavaram chekanuprasah || Ibid., p. 346

162 3. yamakah There are are number of examples illustrating Yamaka type of Sabdalankara. As Mammata defines, the repetition of a group of letters in the same order with different meaning, when there is a meaning, is Yamaka. (chime) 5 rasadantarasritamudastadahare rasadantarasisahanasya taddhanuh | rasadantarajadisusarpasarpanairasadantaraniti ripunarodayat | [VIII. 70] In the verse above, a group of letters His repeated in the beginning of each of the four padas, but is used in different meanings. In precise, THE in the first pada refers to the enemysoldiers, in the second pada refers to Lord Hari who resists the blowing of swords by enemies, in the third pada refers to Krsna's arrows identified as servants, and finally in the fourth pada, refers to the absence of armours worn by the enemies: This is how, a group of letters is repeated four times with difference in meaning. In addition, Yamaka has two varieties, one is and the second being slokavrtti . Pertaining to the first variety of 'ardhavrtti ' type of Yamaka there are some examples in the poem. The type of Yamaka, is that where half the verse consisting of two feet is identical.6 Following verse is an example. kumarayugyamapatattatovitodaroditaih | kumayugyamapatattatovito daroditaih | | [ VIII. 72] 5) 6) arthe satyarthabhinnanam varnanam sa punah srutih | dvidha vibhakte pade prathamadipadadibhagah purvavada dvitiyadipadadibhagesu | Ibid., p.352 dvidha visakte pade prathamadipadadibhagah purvavada dvitiyadipadadibhagesu || Ibid, p. 354

163 In this verse, 'kumarayugyamapatat ' the first pada is identical with the third pada and the second with the fourth Hence it is an example of 'ardhavrtti ' type of Yamaka. This is otherwise called Samudgaka-yamaka. Moreover, the poet has used the dvyaksariyamaka . When a poet chooses to compose a verse with the fewest of letters, the alliterative effect is heightened. There is a verse made up of only two letters running throughout in any combination. For example : mano mama namennama namunomanunamina | mamani manina meno maninimanano'manah || no mamanumame'nunam mainmoninamamanini | nemam nunamamam naumi mannamamananananam | [VIII.23-24] In these two verses, one can find the consonants 7' and 'F' running throughout Again in the following examples - samsararasasutsurerarerasusarassarut | rasasarassasarasirasusarasurasurut || sastrasarasirastramsairarasererururasi | surasarasasurostrasirisiro rarasa sah || [VIII. 58,60] an allitarative effect on 7' and '' is heightened. Besides, Trivikrama Pandita has shown his unique excellence in composing the verses in bandhas embodying the Citrakavya or Portrait poetry. That is, the Portrait poetry where the letters placed in a particular order give rise to the form of i) the sword, ii) the drum, iii) the lotus

164 and so forth. Corresponding to the particular form of the sword etc., the types of Citrakavya are named as khada啶糱amdhah, murajabandhah, badmabandhah, gomutrikabandhah, ardhabhramakabandhah, cakrabandhah etc. I. murajabandhah : Here we have first two strings tightened on the opposite sides. The first one is bound up to the lefthand side corner above, and touching the middle of the lower portion meets the righthand side corner above, and the second one, on the opposite side, bound up to the lefthand side corner below and bisecting the upper portion, comes down to the righthand side corner beneath. 7 Following is the verse from the poem illustrating this type of bandha in Citrakavya. Example : bhasurasamaranarthya sasurasca varanaya | yanaravaparasatya kanarasamarasabha || [VIII. 25] This verse can be split into four padas : 1) bhasurasamaranarthya 2) sasurasca varanaya | 3) yanaravaparasatya 4) kanarasamarasabha | | The method of arranging the letters of the first pada of the verse is above explained thus: prathamapanktau prathamam varnam | dvitiyayam dvitiyam | trtiyayam trtiyam | turiyayam caturthapancamau | trtiyayam sastham | dvitiyayam saptamam | prathamayamastamam ca varnam likhet | prathamah padah pathito bhavati | uktesveva varnesu pathakramena eka rekha lekhaniya sa prathama vadhi | | 7) 8) Kalnath Jha, Figurative poetry in Sanskrit literature, Motilal Banarasidass, Delhi - 1975, p. 66. Sumatindratirtha's Commentary on Usaharana, p. 305

165 1) Accordingly, this method of reading the first pada ( bhasurasamaranarthya ) can be shown in the following diagram : ya sasurasca va rana ya ya na ra va ca dra啷� sat tya ka na ra sa ra sa bha 2) Further, the method of arranging the letters of second pada ( sasurasca varanaya ) is as below : eva dvitiyayam prathamam prathamayam dvitiyam trtiyam dvitiyatrtiyayoscaturthadvayam caturthyam panktau trtiyadvitiyau trtiyayam prathamam ca varnam pathet | dvitiyah pado bhavati | This method can be shown in the following figure : bhalu samana yi sa ' su ra sca va ra na ya ya na ra va pa ra sa ta tya ka na ra sa ma ra sa bha 3) Similarly the method arranging the letters of third pada (yanaravaparasatya ) is as follows : 9) Ibid. p. 305

166 dvitiyayamastamam prathamayam saptamasasthau dvitiyayam pancamau trtiyayamapi pancamam caturthyam panktau sastyam tasyameva saptamam trtiyayamastamam ca varnam pathet trtiyah pado laksyate | tatrapyeka rekha lekhaniya tadanyanmukham bhavati | 10 This method can be shown in the following diagram. suna rthya ya ka na ra sa ma sa sa bha 4. Method of arranging letters of fourth pada ( kanarasamarasabha ) is as below : caturthyam prathamam trtiyasyam dvitiyam dvitiyasyam trtiyam prathamayam caturtham tasyameva pancamam dvitiyasyam sastham trtiyasyam saptamam caturthyam pankatavasthamam ca varnam pathet | turiyah pado bhavati | 11 This method can be shown in the following diagram : na yi sasu sa sca varau na 7 ka啶监ぞ na ra sa ma ra sa tya bha However, the whole verse mentioned above, may be read in the following consolidated diagram of this Murajabandha : 10) Ibid. p. 305 11) Ibid., p. 305

167 bhakhu sa sa ma sa na . rthya sasu ra sca va ra na ya ya na ra pa ra sa ta tya bha II. ardhabhramakabandhah (Ardhabhramaka-bandha - half moving) : It is where each of the letters forming half portion of the first pada becomes the first letter of the remaining three padas in the respective order. Following is an example. gada''rasvatimahatmya daruneyam ksayavaha | rane'tra sa mahayama svayam saphalyamaksati || [ VIII. 57] This verse can be split into four padas as below: 1) gada''rasvatimahatmya 3) rane'tra sa mahayama 2) daruneyam ksayavaha 4) svayam saphalyamaksati The letters of each padas placed horizontally can be read vertically or vice-versa in the methods mentioned below. The method of reading of the first pada is thus : tatradyapanktilikhitan caturo varnan kramena pathitva turiyapankatayantyakostalikhitavarnam pancamam krtva trtiyapanktyantyakostagatavarnam sastham krtva dvitiyapaduta kosthagatavarnam saptamam krtva adyapankatantyakostagatavarnamastham vidhaya pathane adyah padah samagro nispadyate | 12 12) Ibid., p. 320

168 This method may be shown in the diagram below: gada svati ma ha mya da ru ne yam ksa dya va ha ra ne tra sa ma ha ya ma sva yam sa pha lyama ksati 2. The method of reading the second pada is thus : evam dvitiyapankata dvitiyapadagatanadyamscaturo varnan pathitva turiya panktyupantvakosthagatam varnam trtiyapatasaptavarna dvitiyapankitasaptavarnam prathamapankitasaptavarnam ca pathet dvitiyah pado bhavati | 13 This method can be shown in the following diagram : daru ne yam ksa ya ha ya svayam sa phalya ma kseti 3. The method of reading third pada is thus : tatha trtiyapankatau caturo varnan pathitva antyapankitasastham trtiyapanktigatasastham dvitiyapankitagata sastham prathamapankitagatasastham ca varnam ca pathet evam sati trtiyah pado laksyate | 14 13) Ibid., p. 320 14) Ibid., p. 320

169 This method can be shown in the following diagram : gada ra sva ti ma ha tya da ru ne yam ksa ya va ha ra na tra sa m ha yama 4. The method of reading the fourth pada is thus : evam turiyapankitagatanadyamscaturo varnan tatpankitagatapancamam trtiyapankitagatam pancamam dvitiya pankitagatapancamam prathamapanktigatapancamam ca pathet turiyah pado bhasate | 15 This method can be shown in the following diagram: gada ra sva ti ma ha tya darune yam ksa ya sva yam sa pha lyama ksati Second method : 1. The method of reading the first pada is thus : adyapankitagatamadyam dvitiyapanktigatamadyam trtiyapankitagatamadyam turiyapanktigatamadyam caturo varnan pathitva adyapankitagatapancamakosthasthavarnam 15) Ibid., p. 321 ,

170 pancamam tatpankitagatakosthasthavarnam saptamam tatpankitagatantyakostha likhitavarnamasthamam nidhaya pathet | adyah pado bhavati | 16 This method can be shown in the following diagram : ga. dara svati maha, tya da ., ru ne yam ksa ya va h ine tram sa ma ha sva va sah pha lya ma ksati 2. The method of reading the second pada is thus : evamadyapankitagata dvitiyakosthavarnamadim krtva dvitiyapankitagatam dvitiya trtiyapankitagatam dvitiyam caturthapankitagatam dvitiyam ca pathitva dvitiyapankitagata pancamakosthasthavarnam pancamam tatpanktigatasasthasthavarnam sastham tatpanktigatasaptamakosthasthavarnam saptamam tatpankitagatantyakosthagata varnamastamam ca krtva pathet | dvitiyah pado nispadyate | 17 This method can be shown in the following diagram : gada ra sva ti ma hasya daru ne yam ksaya ra ne tra sau ma ha ya ma svayam saphalyama ksati 16) Ibid., p. 321 17) Ibid., p. 321

171 3. The method of reading the third pada is thus : evam prathamapankitagatatrtiyakostasthavarnamadim krtva dvitiyapankitagatatrtiyam varnam dvitiyam krtva trtiyapanktigatatrtiyam vargam trtiyam krtva turiyapanktigatatrtiyakosthasthavarnam caturtham krtva trtiyapanktigata pancamakostagatavarnam pancamam tatpanktigatasasthakosthagatavarnam sastham tatpanktigata- saptamakosthagatavarnam saptamam tatpankitagatantyakosthagatavarnamasthamam vidhaya pathet | trtiyah pado laksyate | 18 This method can be shown in the following diagram : gada ra sva ti ma ha tmya 1 da ru ne yam ksa ya va ha ra ne tra . sa ma ha ya sapha L 4. The method of reading the fourth pada is thus : evam prathamapankitagatacaturthakosthagatavarnamadim krtva dvitiyatrtiya- caturtha - pankitagatan caturthakosthalikhitavarnan kramat pathitva turiyapanktau pancamasastasaptamastamanapi kramatpathet | caturthah pado nispadyate | 19 This method can be shown in the following diagram : dara svatamahatmya da ru ne yam ksa ya va ra ne tra sa ma ha yama svayam sa phalyama ksa, ti 18) Ibid., p. 321 19) Ibid., p. 321

172 There is another method of reading the verse in Ardhabhramaka. Here the letters are so arranged in all the padas that the first, second, third and fourth letters, in descending order as well as in ascending order, the last the penultimate letters, the third from the last and the fourth from the last, when read together - we get the first, second, third and the last pada of the verse. Thus, as letters move in half circle it is called or half-moving. From the figure below, it is clear: 嘟傕紜嘟� 嘟忇紜嘟∴紜嘟� 嘟∴紜嘟樴紜嘟� Fo da ru na DE F + F 15 鈫� ksa < & 鈫� 鈫� ya va ha Fc < 10 4 5 4 55 re cane trai sa me hi yo mau sva yam sa pha啷� lya ma ksa III. gomutrikabandhah (Gomutrikabandha) : It is so called because arrangements of letters follow a course of undulating flow of cow's urine. The first two pattern-gaps, one just above the other, on both left and right sides, are to be left out, and starting from the left-hand side, in the next pattern-gap, every letter is to be placed on the bisecting line, and in the previous adjacent ones, the letters are to be kept in the middle. It is peculiar that every following letter, even in the second foot, is identical with that in the first; and so, after filling the upper half of the rectangle, when we fill the lower half every successive letter of the foot coinsides on the bisecting line and only the previous ones have to be filled up in the aforesaid manner. 20 20) Kalnath Jha, Figurative poetry in Sanskrit Literature. p. 60

173 Following verse from the Usaharana exemplifies the Gomutrikabandha. adinavadanambhojamadanopa sitambarah | anunagadasambhogamatanodasti啶緈barah|| [VIII.61] The method of reading the letters of the first line and the second line is explained here : dvitiyardhaprathamaksaram dvitiyardhatrtiyaksaram prathamardhacaturthaksaram dvitiyardhapancamaksaram prathamardhasasthaksaram dvitiyardhasaptamaksaram prathamardhastaksaram dvitiyardhanavamaksaram prathamardhadasamaksaram dvitiyardhapancadasaksaram prathamardhasodasaksaram ca | ekantaritam gomutravinyasanyayena pathet prathamardham nispadyate | 21 This method of reading of the first line of the verse above may be seen in the following diagram : di va na 15 da pa ta rah a 24. na M da mbho ma na si mba 2. The method of reading the letters of the second line is explained here : evameva prathamardhadyavarnadvitiyardhadvitiyavarnamityadirupenaikaika- vyavadhanena pathane dvitiyardham ca laksyate | 22 This method of reading the second line of the verse above may be shown in the following diagram : 21) Ibid., p. 324 22) Ibid., p. 324 a na ta mbho ma no si mba nu 24 ga sa ga ta da ta seong

174 Thus, the whole verse consisting of two lines of sixteen letters each, may be read in the following consolidated diagram : a di na va da na mbho ja mada no pa si ta mba rah a nu na ga ta sa mbho ga ma ta no da si ta mba rah IV. cakrabandhah ( Cakrabandha) : Composition of a verse in the form of a wheel having six spikes, is called 'Cakrabandha'. Many varieties might be possible, dependent on the number of spikes in a particular wheel, such as the six-spiked one, the eight-spiked one etc. To avoid detail, we illustrate only the six-spiked one. Here, every foot of the verse begins at the end of a separate spike, where except the first and last letters which are on the circumference of the wheel, the middle letter is always in the midpoint and which in the first three feet, invariably is so. Thus, the central letter is construed with all the three feet except the last one, which forms the circumference coincide with every fourth letter of the fourth and last foot, and do not have to be arranged. 23 Following is the example illustrating Cakrabandha type of Sabdalankara. are udausnyasalile tairagnije mandhare satravistarusa ganaisca sabhayairbanapadah karane | sancakram darahastametya sa dadhat sakhyam svaravyanjitam tam sulivapusa sadollasadasim reje rane siksitam|| [VIII. 75] The method of reading the four lines in a form of the wheel is explained here: 23) Kalnath Jha, Figurative Poetry in Sanskrit Literature, p. 64

175 asyodvarakramah - likhitva mandalakara dasarekhastadantare | rekhayugmena vilikhet tstri啷� vithiramusu ca | prathamayam padamadyam dvitiyasyam dvitiyakam | trtiyasyam trtiyam ca pradaksinyakramallikhet | ekameva likhennabhau tripadidasamaksaram | cakrasya mandale bahye trtiyasyantyaksaram | caturthasyadimam krtva vithinamantaralagaih | adyantagaisca padanam turyahpado'ksaraibhavet | kavikavyadinamanivalayesu yatharuci | viyasencakrabandho'yam citravedibhiriratah | iti | atra ca sasthe valaye usaharanakhyamiti kavyanama trtiye valaye trivikramakavyamiti kavinama ca nibaddhe | 24 Accordingly, the first line of the verse may be read in the following diagram : 24) Ibid., p. 333 1 va ktra dva ya u dya dau snya sa li le ra gni je ma ndha 釄�

176 Then, the second line of the verse may be read in the following diagram : 2 bha na pa 2 ka ra po Further, the third line of the verse may be read in the following. diagram : sva bi ra khya tsa sta sa nca U

177 Then, the fourth line of the verse may be read in the following diagram : li 10 va pu sa 21. ksi si ne A 45 sa sa X sa The whole verse composed in Cakrabandha may be read in the consolidated diagram below: 1 va li ka pu 鈽慞 tri |1 sa dva ya u 1 dya do 1. ela ksi si M 2 6 snya sa li A je 15. le 14 2 2 to 2 w w gni je ma 4 ndha sim W

178 Arthalankaras In addition to the employment of Sabdalankaras, Trivikrama Pandita has adorned his poetry of Usaharana an epic poem, by means of Arthalankaras, where meaning of the verse is predominent. A perusal of the Usaharana makes it clear that Trivikrama Pandita has brought in different figures of speech in proper contexts. A detailed illustration of different Alankaras may be seen as below: 1. 34 [Simile] : Among the figures of speech, those that are based on similarity, Upama forms the basis of many other figures, and hence it is regarded as chief. Therefore, here the treatment of Alamkara is begun with Upama. There are number of examples illustrating Upama in the epic poem. Here is an example : avatirya vimanebhyo bimbebhya iva bhasvatah | vidyotitadyudesebhyah prapatam te prapedire | | [ I. 30] "Gods were travelling through their aerial cars which were as brilliant as the orb of the Sun. Therefore those aerial cars made the Antariksa lustrous. The gods having descended from their aerial cars approached the shore of the milk ocean." As Mammata defines, Upama exists where there is striking similarity between two things. 25 In the treatment of Upama if all constituents. Namely, upameya Object of comparison 34417 upamavacakasabda sadharanadharma WWW Standard of comparison A word expressing the idea of comparison. Common property possessed by both upameya and upamana . 25) sadharmyamupama bhede | Prof. S.V. Dixit, Kavyaprakasa of Mammata, Belgaum, 1959. p. 34

179 And if the idea of the comparison is directly known by means of term like 'iva ', 'yatha ' etc. it is called 'srauti purnopama '. All these characteristics of staff are present in the above example i.e., upameya Aerial cars upamana sadharanadharma 10 Orb of the Sun Brightness upamavacakasabda wwww iva Here, striking similarity of brightness between Vimana and Orb of the Sun is directly conveyed by means of a. Therefore, this verse is appropriate example illustrating 'srauti purnopama '. Similarly, we find many more examples illustrating Upama figure of speech. Some three of them are as below : ujjahara pura yo'pi matsyabhavamadhisritah | amtarhitani chamdamsi ratnaniva mahodadheh || [ I.40] mohapadakasampataih sudurdarsajavaih saraih | yugapatsakalam lokam vasikurvatyanamgavat || [I.73] tamapatisyamtamanamtarayam yugamta udyamtamivamsumamtam | tapamtamugrena jagati dhamna ksanadabudhyamta yadupravirah || [II.4] 2. rupakam [Metaphor] : One of the introductory verses in the epic poem is an instance Rupaka figure of speech. tasyastu durbhasanadasyudosavidhvamsane bhaktirasah sakha me | sangantukamasya padaravinde papapahe purnasusvasya visnoh | | [ I. 7] I, who compose an epic poem in a different style with a view to obtain the knowledge of Lord Visnu, the very form of the bliss, would have no

180 impediment of compositional defects to face. Because my poem has bhakti rasa with all prominance. [Here the meaning intended is, in case there is any defect pertaining to the word, or to the sense of the word, composition of the poem does not see its end. Thieves like defects would rather lead a person to the wrong path. But in the presence of my friend like Bhakti I tread the right path.] As said in the Kavyaprakasa, Rupaka consists in the identification of the upamana and upameya . 26 Here in the verse above, two Rupakas are suggested by the poet : 1. durbhasana - dasyu - dosah | 2. bhakti - rasah - sakha | In these two Rupakas it is evident that there are two Upamanas such as (thief), (friend); and the Upameyas are also two respectively. Such as ' (defects lying in a word or sense of word) and Bhakti-rasa (sentiment of devotion). The identification here is known from extreme resemblance between and is known through common property of 'dosabhava ' (presence of defect) and between bhaktirasa and through the common property of "removing the defects and the leading to the right path. Thus each Upamana endows the Upameya with its own form by superimposing it thereon. Hence this verse is an apt example of Rupaka. In a similar manner, there are many good examples illustrating Rupaka in this poem. They are : 26) tad rupakabhedo ya upamanopameyayoh | Ibid., p. 51

181 preritau pranayagamdhavahina rukminisutamukhambuje muhuh lolatamatisayena jagmaturnilacarudrgapamgasatpadau | | [ IV.27] vikasatkusumanyavakiranyaduvamsaikasikhamanestanau | latika nagarapravesinastanumadhya iva lajasamtatih || [III.14] atha tatra vidarbhabhupatergrharatnakaragarbhasambhava | parinamamite svayamvare kamala madhavamanvacimtayat | | [ III.29] 3. utpreksa [Fancy] : An example of figure of speech is employed by the author in the second canto of the epic poem. sauvarnakudyapratighattitairya harinmaninam nikarairvibhati | sacipateh sadaradrstipatairaksanam sahastrena kalankite | | [ II. 7] As Mammata defines, Utpreksa is the representation of the Upameya as probably identical with similar object, that is with an Upamana. Here sadharmya or common property is suggested by means of 'iva ', 'nunam ' etc. ' 27 In the stanza above, it is described that the golden walls were beautifully set with the lustre of the green jewels. The poet imagines that the golden walls were rather appeared as greenish black in splendour, because Indra with much curiosity cast his glances through his thousand eyes. That is why the golden lustre of the walls was mixed with greenishblack spot. Here, cause for golden walls getting spotted with greenish-black, is poetically fancied. The (reason) of Indra's thousand glances is the reason and it causes on action of getting spotted. It is fancied here that the greenishblack spot is identified with lustre of green jewels set in the golden walls of the Sudharma hall. Therefore it is an example of 'hetutpreksa '. 27) sambhavanamathotpreksa prakrtasya samena yat | Ibid., p. 49

182 In a similar manner, there are many good examples illustrating in this poem. They are as below : spastemdranilairatidiptimadbhiruttumgavesmagrasamarpitairya| vimanagebhyo gaganecarebhyo drstim dadativa vihaya lajjam | | [ II. 53] nibidastabakastanopari pracuramodavisesasampadah | pratilobhanasiksika nrnam manasah svavayavaissavibhramaih || [III.16] dhanusastrsitasya samyuge sphutaviskararavopabrmhitah | dvisatamiva darayanmano dhvaniraksobhayadasu kumdinam | | [ III.54] 4. atisayoktih [ Exaggeration] : There is a beautiful verse illustrating 'atisayokti ' figure of speech. yogyanyadhistaya niketanani svadhyayamadhyapayitam pravrttah amangalanam vranavapranadairdvijottama nirharanam vitenuh | | [ II. 47] "Having settled in their residences at Dwaraka, the brahmins started giving lessons on the Vedas. Thereby they silenced inauspicious things by uttering 'Omkara' in the beginning of their mantras ( lessons). " Atisayokti means the statement of excellence of Upameya. This is caused by resemblance for, both the two objects identified are related to each other as 'Upameya' and 'Upamana'. As Mammata has explained, the Atisayokti figure of speech consists of three divisions and the present verse illustrates the third division of Atisayokti. The third type of Atisayokti occurs when there is 'karyakaranayoh paurvaparyaviparyayah ' ie an inversion of the order or sequence of the effect and the cause. That is when effect is mentioned first in order to bring out the capacity of the cause to produce its result very quickly.28 28 ) nigiryaghyavasanam tu prakrtasya parena yat | prastutasya yadanyatvam yadyarthoktau ca kalpanam || Ibid., p. 69.

183 In the verse quoted above, it can be noticed that before reciting the Vedic mantras an inauspicious atmosphere was dispelled. This fact is conveyed by saying that the inauspiciousness was dispelled by the very utterence of ' in the beginning of vedic recitation. Here Tu Zula is the cause and is the effect. As the effect is declared to have arisen before the cause, the stanza is an example of affuefuraun atisayokti where there is karyasya karanat purvamuktih | Sumatindratirtha the commentator on the Usaharana Kavya names this type of 'faqa' as 'capalatisayokti '.29 5. parikarah [Significant] : A verse from the first canto of the epic poem illustrates figure of speech. yadukulatilakah kule pravrddham gurutaravikramamugrasenamesah | cyutanijapadamatmajaparadhatpunarakarodadhipam muda yadunam | | [I.114] Lord Krsna coronated once again Ugrasena on the throne who was an elderly person among the Yadus, who was endowed with abundant valour and who was dethroned by his son Kamsa. As Mammata states, the figure of speech arises when a certain substantive is qualified by significant adjectives which possess two senses. i) Expressed and the other ii) Suggested.30 In the verse quoted above the poet tells about the coronation of the king Ugrasena by Lord Krsna. In this context the substantive 3447 is qualified by four significant adjectives : 1) kule pravrddham 2 ) gurutaravikrame 3) atmajaparadhat cyutanijapadam | 29) samagradhyapanena nibarhaniyanamasubhanam tadadau uccaryamanonkara- svanamatrena upasamabhidhanat capalatisayoktiralankarah | p. 86 30 ) visesanairyat sakutairuktih parikarastu sah | Kavyaprakasa, p. 100

184 also: The expression of these four adjectives suggests the other meaning i) kule pravrddham ii) gurutaravikramamh Expressed meaning - Eldest and famous of Yadu race. Suggested meaning - Not an ordinary person of Yadu race. : Expressed meaning - Endowed with abundant valour. Suggested meaning: Not a weak personality. iii) zafG444 : Expressed meaning - Dethroned from his seat. cyutanijapadam Suggested meaning: Inherited a claim for the throne. In this manner here all the three adjectives are significant to raise the importance of the thing as substantive. Hence it is an example of Parikara. In a similar manner there are other examples illustrating 'Parikara', they are as below : caritamjalimurdha'tha caracaragurum prati | vicaracaturo vacamuvaca caturananah | | [ I. 69 ] udbuddhasamtanakaparijataprasunamalanikarabhisamgat | puratanadeva sugamdhibhavam babhara yasyah paritah pradesah || [II.6] 6. 3: [Exalted] : One of the verses from the Usaharana exemplifies Udatta figure of speech. samagrasamsargabhuvam suranamupastibhajam tridivesvarasya | yam sampadam dhama gariyasinam prito'nujaya pradidesa sakrah | | [ II.9] (As per the order of Lord Krsna all subjects of Dwaraka got together in) "the Sudharma hall which had the store of all glories of the Indra's assembly hall in the heaven, the resort of all the gods."

185 As the Kavyaprakasa states the Udatta figure of speech occurs when there is a description of the prosperity of a certain thing. 31 The stanza above describes exalted prosperity of the Sudharma hall in the city of Dwaraka. Hence it is an example of the Udatta figure. However the greatness of Lord Krsna is suggested here. In a similar manner there are more examples illustrating Udatta. 7. kavyalingam [Poetical cause] : A verse from the first canto of the epic poem illustrates a figure of speech: sukumaram kumarasya rucimadrupamadbhutam | agrayaya sukrtamagre dadrse sudrsa taya | | [ I.99] Kavyalinga or poetical cause figure arises when the reason for certain thing is contained in the sense of a sentence) or inf (the sense of words or a word). In other words the reason that we have to deal with in this figure is a poetical one and not the logical one. 32 Devaki who was a foremost meritorious woman saw an young lad Krsna endowed with marvellous form and fall of splendour. In this stanza, the words imply, the reason for the Devaki perception of Lord Krsna's wonderful form. The reason is Devaki's being the foremost among the meritorious ones. The point to note in this connection is that in Kavyalinga the reason must not be directly expressed, but be implied. As the reason 3 of Lord Krsna's 31) udattam vastunah sampat, mahatam copalaksanam | Ibid., p. 93 32) kavyalingam hetorvakyapadarthata | Ibid., p. 90

186 vision () is here suggested by more than one word. Therefore, this stanza is an example of 'hetoh anekapadarthatarupam kavyalinga '. In a similar manner, there are many good examples illustrating Kavyalinga, they are : muniradhyapayamasa kasyapo'yam dhrtavratam | trayim trayimayagiramakaram karunakaram || [I.48] tvam gocarayitum svaminnagamo'pi na hi prabhuh | bobhavimi bhavatparsve vavadukastatha'pyaham || [I.70] trapayaturamanasa manannavasamsargabhuva'tra nabhavat | na hi cetasa adipurusassasimukhya niriyaya jatvapi || [III.52] 8. tulyayogita [ Equal pairing] : A stanza from the first canto of the epic poem illustrates 'tulyayogita ' figure of speech. caracaranam bhutanamabhutam paramantaram | vikasam janayamasa krsnajanmamahotsavah | | [ I. 98] "All sentient and insentient objects of the universe being overwhelmed with joy which was not experienced before, celebrated ecstetic festivity at the manifestation of Lord Krsna." As Mammata treats, figure of speech arises when the definite objects are committed with one common property mentioned once. 33 The stanza above describes the glory of the time at the incarnation of Lord Krsna. Here, "caracaranam bhutanam " all objects of the universe are connected with one property i.e. the action. Therefore, this stanza is an example of 'tulyayogita ' figure of speech. 33) niyatanam sakrd dharmah sa punastulyayogita | Ibid., p. 74

187 9. [Illuminator] : When describing the deeds of Vamana incarnation of Lord Narayana in the first canto a verse read thus: tatastrijagadaisvaryamadisadyo baladvise | adhipatyam ca daityaya nagalokasya bhuyasah || [I. 61] Lord Narayana in the form of Vamana [c:] gave Indra the lordship of three worlds and the lordship of Patalaloka to the demon king Bali. As Mammata states that when a (common) attribute, like some action and the like, of some things relevant and non-relevant, i.e. of Upameyas and Upamanas is mentioned once only, then we get an illuminator, because of the illumination of the entire sentence by that (attribute) residing at one place. 34 This is an example of 'karakadipakam ' where one kartrkaraka ie, a noun in the nominative namely ':' (a) is connected with two actions, i.e. giving lordship over three worlds to Indra, another action is represented by giving lordship over Patalaloka to the demon king. Hence this stanza illustrates 'prakrtakriyarupam karaka dipakam | ' 10. svabhavoktih [Natural Description] : A verse from the first canto is an example of figure of speech. sadarbhastaranatpithadutthayosanasa saha | diksitah pujayamasa bhaktya yam bhaktavatsalam|| [I. 51] (When Vamana entered sacrificial hall) 34 ) sakrd vrttistu dharmasya prakrtaprakrtatmanam | saiva kriyasu bahvisu karakasyeti dipakam || Ibid., p. 72

188 The demon king Bali along with his royal priest Sukracarya had adorned a seat of Kusa-grass. Having seen Vamana, Bali who was consecreated in the sacrifice got up and worshipped Him with great devotion. As Mammata defines natural description is the (graphic) description of the peculiar action or appearance of a child and the like.35 In this stanza, the natural description consists in the description of the demon king Bali engaged in the sacrifice. Therefore it is an example of Svabhavokti. In a similar manner there are many examples illustrating natural description, one of them is: pratimanilayam pravisya sa tarusadesvakarotpradaksinam | vinayavanata'vanitale pranatim bhismakarajakanyaka || [III. 48] 11. visamah [Unequal] : A verse describing pitiable condition of Kamsa's soldiers, is an example of Visama figure of speech. ye ye yata hareh parsvam kamsadasa mahaujasah | te te vinihatastena patanga iva vahnina | | [ I. 106] "With an intention of killing Krsna, brave attendants of Kamsa and approached Him. But they all were reduced to death like the fire flies by fire." Mammata says that Visama figure of speech arises in four conditions, namely (1) where union would not take place owing to their 35 ) svabhavoktistu dimbhadeh svakriyarupavarnanam | Ibid., p. 86.

189 extreme dissimilarity (2) where not only there is no accomplishment of the fruit of the action by an agent, but a calamity occurs in addition. (3) and (4) where the quality and action of a cause are mutually opposed to the quality and action respectively of the effect.36 In the verse above, it is described that the brave attendants of Kamsa not only could not accomplish the fruit of killing Krsna but a calamity of being killed by Krsna occurs in addition. Therefore, this stanza is an example of the second kind of fc' figure of speech. 12. 驴la: [Exemplification] : There is a beautiful verse illustrating Drstanta figure of speech. yadapyaham jaitragunasvabhavastatha'pi yusmatsakha eva jeta | dipah svakaryam svayameva kartum sakto'pi vartyadimapeksate hi || [II. 24] "Indeed I am independently the embodiment of auspicious qualities like valour, knowledge, bliss etc; yet I am victorious due to your close association. Although a burning lamp by its nature, removes the darkness and spreads its light, it expects an association of wick and oil." This verse suggests Krsna's modesty before His Yadava friends, in the context of Krsna's counselling with Yadava ministers. Mammata states that Drstanta figure of speech arises when full comprehension of the matter in hand is seen on account of illustration given. It is based on bimba-pratibimba-bhava. In Drstanta, two sentences are independent and complete, each in itself as far as its sense is 36) kvacid yadativaidharmyanna sleso ghatanamiyat | kartuh kriyaphalavaptirnaivanarthasca yad bhavet || Ibid, p. 111

190 concerned, and between these two sentences bimba-pratibimba-bhava existing between them is apprehended. 37 The first sentence in the above verse represents 'Upameya' and the second sentences represents 'Upamana'. In this verse 3 (Krsna) and yusmat (Yadavas) upameyavacaka words, and ' dipah ' ( lamp) and 'vartyadi ' (wick etc.) are the upameyavacaka words. These upameya s and upamana s are worded in different sentences. aham and yusmat (upameya ) find a reflective correspondance in 'dipah ' and vartyadi respectively. Therefore, this verse is an example of 13. [Round about speech or Circumlocation] : In the following figure of speech is develop. isudhidvitaye krsodare madhujinmarmanikartanaih saraih | visarusitasarpasannibhaih sa nisamgam vitatana rukminam|| [III.67] Lord Krsna slayer of the demon called Madhu, had having two quivers filled with poisonous arrows like serpents. Then, Krsna made Rukmi another quiver for his arrows. As Mammata explains cful figure of speech develops when there is a statement of a fact without the relation of the expressed and the expresser. Here the thing is conveyed through the process of suggestion." 38 In the above example, the sentence visapurita sarpasannibhaih saraih rukminam nisangam fa tells the fact that the Rukmi's body was deeply pierced by the arrows of Krsna. This is what exactly is meant by this verse. But this meaning is conveyed, through suggestion but not expression. One can also note that there is no relation of the expressed and expresser. 37 ) drstantah punaretesam sarvesam pratibimbanam | Ibid, p. 71 38) paryayoktam vina vacyavacakatvena yad vacah | Ibid., p. 92

191 Thus as the intended meaning is here conveyed by a different mode, the stanza above is an example of paryayokta . In a similar manner there are many examples illustrating cufatad in this poem. They are : kratumstapamsi danani kriyamanani nityasah | antyaireva mahopayaih sampratam varayati nah || [I.74] labdhavrddhasravastoka jananibhavamicchati | rseh sahacari yasya tapo duscaramacarat || [I.44] 14. karanamala [Garland of Causes] : A beautiful verse developing I figure of speech is found in the first canto : tatra bharasahe bhumirbharamavedya bhartari | kurvati svairamasvasam durbala nirvavara sa | | [ I. 82] Goddess Earth was very glad to know that her Lord would incarnate on the earth and lessen the weight of demon kings. As Mammata states, when each preceding object becomes successively the cause of each succeeding, the figure arises. 39 This stanza states that avedana (request to Lord Hari), satisfaction) and asvasana is the cause of 'nirvrti ' (happiness). Thus as each preceding thing is declared to be the cause of each succeeding, the figure Karanamala is developed here. of Goddess Earth is the cause of (her) avedana is the cause of 'asvasana ' (her 39 ) yathottaram cet purvasya purvasyarthasya hetuta tada karanamala syat | Ibid., p. 103.

192 15. vibhavana [Peculiar Causation] : A stanza from the first canto represents Vibhavana figure of speech. srjamtastarasa''ravam devadumdubhayah svayam | nihamtrnam mudam cakrurnityaghatalasatmanam || [I.88] (At the time of Krsna's incarnation) the kettle drums in the heaven were beaten by themselves. Therefore heavenly drum-beaters who were lazy, became happy to hear the same. As Mammata explains, fc is the manifestation of the fruit even in the absence of action i.e. the cause." 40 This verse contains the description of ecstatic atmosphere in the heaven at the time of Krsna's manifestation. Here the effect of a ca: beating of kettle drums has taken place even s i.e. in the absence of action of lazy drum-beaters. Thus, the strikingness of the figure lies in the starting statement that result has been produced without its cause. 16. visesoktih [Speech of speciality or peculiar Allegation] : This figure is exactly opposite to fa. This figure of speech arises when non-production of the effect or fruit is stated even though causes are working properly. Mammata states, Peculiar allegation is non-mention of the effect, even when the causes are joined together to produce it. 41 40) kriyayah pratisedhe'pi phalavyaktirvibhavana | Ibid, p. 80 41) visesoktirakhandesu karanesu phalavacah | Ibid., p. 80

193 In this regard, a beautiful verse is read in the third canto of the epic poem. halakrstasariranirgaladbudhiradro gamito jarasutah | halina balina'valepavanna kathamciccaramam dasam nrpah | | [ III. 56] "Though Jarasandha who was haughty of his valour, was forcibly pulled down by Balarama with his plough, though he was drenched in blood, somehow he did not lose his life." This stanza describes a pitiable condition of Jarasandha within the clutches Balarama. Here halakarsana and sariranirargaladrudhirardrata are the causes which should produced the result i.e. (death). But this result has not followed. The cause which prevented this result from happening is the will of Lord Krsna (Balarama did not kill Jarasandha, as he realised the will of Lord Krsna). This cause has not been mentioned. Therefore this stanza is an example anuktanimitta visesoktih | 17. arthantaranyasah [Corroboration] : The figure of speech arises when a general preposition is corroborated or supported by a particular or a particular statement by a general. 42 The following example from the third canto illustrates this figure of speech. parihartumalam jugupsitam vanitataskaratam yaduttamah | nijasamkhamapurayaddrdham na hi mani khalavrttimrcchati || [III.53] "The best of Yadavas, Lord Krsna loudly blew this Pancajanya conch in order to remove the scandal of kidnapping a woman. Undoubtedly, the best of men does not tread the path of a wicked person. 42) samanyam va viseso va tadanyena samarthyate | yatra so'rthantaranyasah sadharmyenetarena va || Ibid. 82

194 This stanza speaks of Krsnna's brave deed to dispel a scandal. The first half of this stanza enunciates a particular proposition regarding Lord Krsna's deed. This is supported by general proposition. Therefore, the figure here is visesasya samanyena sadharmyena samarthanarupah arthantaranyasah | 18.3 [The Reciprocal]: That is the figure of when two things mutually influence each other, and the action which is the instrument of this mutual influence, is same.43 This illustrated in the following verse: pranayo mama tatra yadrsah kimihasmasu na tasya tadrsah | api yena vayam hiyamahe prasabhenamitatejasamjasa | | [ III. 44] "Is not that deep love (that) I possess for Lord Krsna, lively exist in Lord Krsna for me? That lustrous Krsna without any delay, will take me away by force atleast." This stanza reads Rukmini's mind engrossed in love for Krsna. Here both Rukmini and Krsna are mutually influenced each other; and the action of love which is an instrument of this mutual influence is same. Hence, it is an example of figure of speech. 19. [The Borrower]: As can be seen from the definition of Mammata, figure of speech arises when 1. There are two things possessing of different qualities of lesser and greater intensity. 43 ) kriyaya tu parasparam | vastunorjanane'nyonyam | Ibid., p. 104

195 2. The two things are associated with each other. 3. The one which possesses a quality of lesser intensity gives its own quality and assumes the quality of another which is of greater intensity.4 44 Following verse is an example of this figure of speech. asitopalanirmalatvisa vapusa syamalayannayam disah | vipulolapalambinimalam vanamalam samalabdha lilaya || [III.18] "By the lustre of this body which was endowed with Syamala colour like that of Indranila jewel, Lord Krsna made all directions bright with c colour. He adorned the Vanamala, a garland of flowers enlaced in Ulapa grass." This stanza contains a description of Lord Krsna of Syamala splendour which is . The directions are because they are referred to merely for the purpose of showing greater intensity of Krsna's lustre. One can see in the stanza above figure of speech arises because the directions though green in colour but assume the colour of His lustre. Thus it is an example of figure of speech. Similarly, we find many more examples illustrating figure of speech in the poem, one of them is : iyam ca ramya nagari yadunam vrmdarakanamamaravativa | tvatsamgamatkamadugha mahatmanyatrasmadiya nitaram pravrttih || [I.19] 20. Respectivity] : As Mammata defines, arises when things are mentioned in a certain order, are again connected or referred to in the same order. Following stanza is an examle of this figure of speech. 45 44) svamutsrjya gunam yogadatyujjvalagunasya yat | Ibid, p. 126 45) yathasamkhyam kramenaiva kramikanam samanvayah | Ibid, p. 75

196 yanmaya jagatah srstisthitisamharakarini | rajah sattvam tama iti tribhiretairalamkrta || [I.11] This stanza explains how Maya creates, sustains and destroys the universe at the command of Lord Visnu. Here, Maya means will power of Lord Hari. This will power of Lord Hari produces a threefold effect being dominant of three qualities. Thus Maya creates the universe by means of sustains by means of 'H', and destroys by means of 'tamo ' guna. Here srsti, sthiti and samhara are mentioned in a certain order and they connected in the same order with rajas, satva and tamah . Hence it is an example of yathasamkhyam . 21. [Equal] : According to Mammata that figure is called 'H' wherein a union of two things or two persons is regarded as appropriate. 46 asyaiva varidheh kamam menire yogyatamami | ananyadrsabhavasya vasartham pitavasasah | | [I.33] and This verse speaks that the Milk ocean is the residence of Lord Hari and it tells appropriate union of two good persons namely and Lord Hari. Hence it is an example of samalankara . Thus, it has been seen how Sabdalankaras and Arthalankaras being a variable set of poetic expression are governed by the principles of charm. And these have really enhanced the beauty of the poem and added grace as well as sweetness to the theme of the poem. 46) samam yogyataya yago yadi sambhavitah kvacit | Ibid, p. 102