Text 10.248

यथा,
पाणौ पानीयम् आनीय पिपासुर् अपि जानकी ।
शोणिते शोणित-भ्रान्त्या भूयो भूयो विमुञ्चति ॥

yathā,
pāṇau pānīyam ānīya pipāsur api jānakī |
śoṇite śoṇita-bhrāntyā bhūyo bhūyo vimuñcati ||

pāṇau—in the hand; pānīyam—water; ānīya—after bringing; pipāsuḥ—desiring to drink; api—although; jānakī—Sītā (“the daughter of Janaka”); śoṇite—in the red [hand]; śoṇita—of blood; bhrāntyā—by the mistake; bhūyaḥ bhūyaḥ—many times; vimuñcati—lets go.

Time and time again, Sītā put water in her hand and discarded it, though she wanted to drink, because she thought there was blood in her reddish hand.

atra tad-guṇo’ṅgī bhrāntimān aṅgam ity anugrāhyānugrāhaka-bhāvaḥ.

Here the aṅgī is the tad-guṇa ornament, the aṅga is the bhrāntimān ornament, and there is a saṅkara by the relation of “facilitated and facilitator”.

Commentary:

Tad-guṇa occurs because the water in her hand assumed the redness of her hand. The tad-guṇa facilitates bhrāntimān, thus tad-guṇa is the aṅga at first, yet it ends up as the aṅgī simply because it is the most striking ornament of the two. Kavikarṇapūra says the aṅgī is the ornament which is most primordial.^[1]

Mammaṭa as well gives an example of a saṅkara of tad-guṇa and bhrāntimān,

ātte sīmanta-ratne marakatini hṛte hema-tāṭaṅka-patre
  luptāyāṃ mekhalāyāṃ jhaṭiti maṇi-tulā-koṭi-yugme gṛhīte |
śoṇaṃ bimboṣṭha-kāntyā tvad-ari-mṛgadṛśām itvarīṇām araṇye
  rājan guñjā-phalānāṃ sraja iti śabarā naiva hāraṃ haranti ||

“Your enemies’ wives wander in the forest, O king. The aborigines snatch the emerald-studded jewels on the parting of their hair, steal their golden earrings, snap off their girdles, and quickly wrest the anklets from those women, yet the aborigines never take their pearl necklaces, which are red due to the radiance of their bimba lips, since they think the necklaces are a string of red berries.”

Mammaṭa elaborates:

atra tad-guṇam apekṣya bhrāntimatā prādurbhūtam, tad-āśrayeṇa ca tad-guṇaḥ sacetasāṃ prabhūta-camatkṛti-nimittam ity anayor aṅgāṅgi-bhāvaḥ,

“The bhrāntimān ornament takes place by requiring the tad-guṇa ornament, and tad-guṇa is a cause of the connoisseurs’ profuse astonishment by resting upon the bhrāntimān. Thus there is a relation of aṅga and aṅgī between the two” (Kāvya-prakāśa verse 570 vṛtti).

Govinda Ṭhakkura explains that tad-guṇa and bhrāntimān are the aṅga and aṅgī of each other,^[2] as in the anugrāhya anugrāhaka variety of dhvani-saṅkara (4.97). However, a mutual facilitation does not always occur in alaṅkāra-saṅkara. At first, in point of construction tad-guṇa is the aṅga and bhrāntimān is the aṅgī since tad-guṇa gives rise to bhrāntimān, according to Narahari Sarasvatī Tīrtha.^[3] In point of amazement, however, tad-guṇa ends up as the aṅgī and bhrāntimān turns out as the aṅga because it assists tad-guṇa in this regard. Moreover, Nāgeśa Bhaṭṭa says that the women’s necklaces are red since the women bend their faces (in this way the necklaces are close to their lips).^[4] This means they are widows.

Footnotes and references:

[1]:

eṣu yo mukhyaḥ so’ṅgī, anye’ṅgāni (Alaṅkāra-kaustubha 8.302).

[2]:

atra bimboṣṭha-kāntyā śoṇam iti tad-guṇam apekṣya guñjā-phalānāṃ sraja iti bhrāntimān ātmānaṃ labhate. tad-guṇo’py atra na svātantryeṇa camatkāra-viśeṣaṃ karoti kintu bhrāntimadapekṣayaiveti parasparam anugrāhyānugrāhaka-bhāvaḥ. atra dvayor alaṅkārayoḥ saṅkaraḥ (Kāvya-pradīpa).

[3]:

atra tad-guṇāpekṣayā bhrāntimān aṅgī prādurabhūt (Bāla-cittānurañjinī).

[4]:

bimboṣṭha-kāntyeti, mukhasya namratvāt. hāraṃ muktā-nirmitam (Uddyota).