6.2. Alankaras (3): Shlesha (paronomasia)

The third figure of speech used by Dhanapala is Shlesha or Paronomasia in both its varieties, viz., the one based on verbal sound (Sabdalankara) and the other one based on meaning (Arthalamkara). Dhamapala knew that his audience readily responded to paronomasia if it was not ceaselessly overdone, as for instance, was done by Tivikramabhatta in his Nalacampu. Dhanapala's Slesa is happily rare and very subtle, but it never tends to be obscure. It is employed in both its sub-varieties called Abhanga (i.e. the one in which the constituent syllables do not have to be split up) and Sabhanga (i.e., the one in which the syllables have to be necessarily broken up and construed differently with relevant substantives. Thus, we have : (i) Abhanga-slesa, as in ---- vidyuta vikosapuskarena na tatha nijakare yatha subhatanikare drstimanayata (75,15ff.)

835 where the words 'Puskara' means (a) a lotus, when construed with 'Kara' and (b) a sword, when construed with (Subhata'; or in sarvada savarisu vihitapracarena nakacara cakravadana lamkesvarenapi satatamabhisamkitotsahasya simhaladvipapaturmahanarendrasya candraketo (95,2ff.) where the word 'Mahanarendra' means both (a) a magician, and (b) a great king; or in nisargenaiva papatina prasannamukhara ragadhutervinayavatasca bhavatah (349,10ff.) where the word 'Paksapatinah' means (a) of one who flies with wings, and (b) of one who is partial (to me). Similarly, we have : (ii) Sabhanga-slesa, as in krsnatari cimtamapi sariradhavalamadhava drstima, + (74,22ff.) where the compound 'Krsnatarocitam needs to be broken up as Krsna - tara ucitam and Krsnata - rocitam ; or in ma pradosacandrakalamiva vinidrakokanadavinivesitakarama, (55,6ff.) where the compound 'Vinidrakokanadavinivesitakaram has to be broken up as Vinidra-kokanada-vinivesitakaram and Vinidra-koka-nada-vinivesita-karam.

836 In sugrivasenamiva sphuracaranilamgadama, where the word 'Sugriva' means (a) one who has a beautiful neck, and (b) Sugriva, and the word 'Nilangada' means (a) blue bracelet, and (b) Nila and Angada, the poet has skillfully alluded to the characters of the Ramayana story. In the following instances the poet has presupposed the provisional verbal identity of 'H■' and 'Dad and of 'Ra' and and of 'Va' and 'Ba' *La' _ respectively: (1) tam ca purilikhita ciralekhasvastikama vasagrhamiva muhurniricya (ii) (192,19ff.). (Here the pronoun 'tam' refers to the message (lekha) mentioned in the preceding line No. 15.). The word 'lekha' has to be construed as 'rekha' with the message (lekha) and as 'lekha' with the house (avasa-grha); and valitaramgitamadhyasaranim kridaramam visamabanasya -- (264,1118.) where the compound 'Wali.... " has to be broken up as 'Bali.. ' with 'Kridaraman' and 'Vali.. with 'Navayauvanavataram The most brilliant and unique feat of Pronomasia based on ✓ meaning (Artha-slesa) is illustrated in the apparent invocation to the boat. 536 The whole monologue, of more than three pages in length, has been composed with such a superb ingenuity that it can be fully construed with reference to a boat 536. Tilakamanjari,pp.283-286.

837 u (nau) as well as to Malayasundari. In some parts, of course, it is based on verbal Slega on words like Dhivara, Bhujanga, Nagaraka, Sandhi-ghatana, Vansa, Tatparata, Gunavati, Ganbhira, Sakarna, Bahuksama, Sthira, Mahartha, Mahaprusodvahanayogya, Patra, and etc., but in the sentences like 4 7459 sagarambhasi ---, - AT Afari TATAA -ma pravisa rasatale ma samasraya digantana - the Slega solely depends on the double-meaning with reference to the boat as well as to Malayasundari. Perhaps Dhanapala is the first poet to have attempted at such a device in a Sanskrit prose-romance, though it was explored on in the field of Sanskrit Epic poems. t .Dhanapala is highly conscious about this brilliant piece which is full of fine suggestive sense (vyangyartha) and testifies to Dhanapala's high strature as a first-rate poet.