6.2. Alankaras (1): Anuprasa (alliteration)

Though, unlike Bana, Dhanapala was against an endless series of compounds, he was very fond of jingle of sounds as is evident in numerous instances on every page throughout the text of the Tilakamanjari of Dhanapala wherein alliteration (anuprasa) has been employed skillfully as it creates the melodious effect. In fact Dhanapala seems to have been captivated by the charm of this favourite figure of speech. 534 He has utilized all the five types of Anuprasa-jatis, viz,, Madhura, Praudha, Paruga, Lalita and Bhadra, enumerated by Rudrata. 532 PM (N), p. 3, Intro vs. 16 : varnayuktim dadhanapi snigdhamjanamanoha ramah | .. 833. Some Concepts of the Alankara Shastra,p.86.. / 534. Tilakamanjari,p.159(16ff.)...fa- 535. Kavyalankara of Rudrata,II,20,24,26 and 29. insaninth- " 535

831 (b) Praudha, as in Thus, we find : (a) Madhura, as In -- patitasitijna pananikararavakina kantara- (199,411.); vartmana --- | -*- gadgadikagrksamanagalanirgaladaparyaptarama --- (93,13); (c) Parusa, as in __ asa kasandrasamararenudhusara bhiramavapusma, (93,16); (d) Lalita, as in andolita linilali lalakamamgama bhamgurama (76,18ff.); and (e) Bhadra, as in gatrasamghattaranitatarakvanamanighantescandadindimara vadamaritavipata attoI:-- (367,3££.). Anuprasa flows with natural felicity from the pen of Dhanapala, can be seen in the following specimens of the remaining three types of alliteration, viz., Chekanuprasa, Latanuprasa and Srutyanuprasa, NEN : (f) Chekanuprasa, as in -- nivyajima varjitamanah padatibalaparivrtah (93,10ff.), T nadrasitada- sya camaragrahinimaprasita - (94,81£.),-- sarvaginamakalpamalpa- -- (177,10), sasmara sasmarena cetasa (179,6), nanasakunikulasahityesu lohityopakanthakanane- (182,22), kumara, varuni varanah ( 185,21), -- saso - kena rajalokana valokyamano (187,3), tanamandirastirnama, -- (196,3); ka nimti -

832 (g) Latanuprasa, as in makarandapanapara vasalinisalini (206,9ff.), niranu- krosamakrosantima, --- ( 306,3), --- slalevamganagapunnagasamkatama, --- (210,22);. (h) Srutyanuprasa, as in samudrana dyalaya dharana varina varamvara majyama N (146, 13ff.) velam gate viralatam vilinatape tapanatejasi taralita -- - (178,9ff.), marakataharitaha ripatranivahanivarita dinesadidhiti - pravesah --- ( 228,1211), amandamanandamanubhavanti nitasca vitagamanabhilaso'pi nivasama - in Mar -(319,6), (320,8ff.), tara litasta picchkapicchmasi cchdracchayatamasi (353,15ff.), ---- maiksamgama amga muktva vyasamgamekaka eva gaccha amgina - (401,19ff.). The poet is adept at utilizing alliteration in creating various types of sound-effects. Thus, the effect of : (1) war-music is sought to be created in kupitamya mahumkaranukariyamka ra bhairavamatigambhiramarasanti- nam samaradhakkanam dhvanitena (11) treading on dry leaves in. Singe (86,9ff.); patitasitiruparnanikararavakirnena kantaravartmana (199,4ff.); (iii) flowing water of streams in -- duravata tumgatata miru tko tipa panapatala skhalana bahumukha- pravrtprotojalabhih (199,18ff.). 1