6.2. Alankaras (4): Upama (simile)

As in Dandin and Bana so in Dhanapala also, Upama or Simile enjoys a very prominent place along with Utpreksa or Poetic fancy, both being the tour de force of most of the poets Sanskrit Eges who have ever been tapping their resourcefulness in turning out fresh and subtle similes from their observation of the world of their varied experience. Dhanapala has based his similes on a variety of subjects such as poetic conventions, religion, mythology, astrology, sociology, archery and etc., and they are mostly interpenetrated -

838 by other figures of speech ■ such as Slesa, Utpreksa, Rupaka, and others. The following specimens would testify, to the poet's sense of propriety, freshness and effectiveness. The terrible laughter of the Vetala is compared, by implication, to the simultaneously rolling rocks of a peak of a great mountain hit by the thunderbolt, as in kulisata ditakula cala sikhara samakalanipatadgandasailanivahano duro hasa- dhvaniru dalasata --- (46,8ff.). The strange simile, as in rasamaprothadhusara nakhaprabha visarama, ----- (46, 19), appropriately brings out the effect of oddity in the description of the terrific Vetala. The series of similes (malopama), as in candramandalamiva sisiratyayena, manasasara stoyamivagastyodayaina, sukavi- vacamiva sajjanaparigrahena, gaganatalamiva saratkalagamaina, saprasadamapi maim prasaditam hrdayama - (56,18ff.), most effectively depicts the intensity of joy and satisfaction experienced by the Goddess sri on seeing the unparalleled valour of King Meghavahana; the series of similes is here enhanced by the touches of alliteration and apparent contradiction in the tail piece. A fine simile, as in ndhyah satha svadudbhinnasasara romamcakandalah prathamajalaghara staniteneva vi- -- (89,5ff.) picturesquely represents the favourable effect of Samaraketu(§ challenging roar on brave Vajrayudha at the start of a ' fierce dual in the course of a battle that ensued during the night-attack. The redness of the sky at the time of sunset

839 after the battle is aptly comared to an stream of blood flowing from the heart of the Sun pierced by the warriors pro- + ceeding to emancipation, as in apavargacalitavira vargabhinnasurya- mandala dhirapravaha iva purvadigbhagamarunicakara samdhyaragah (96,8ff.); and the underlying simile enhances the effect of another more prominent figures of speech here, viz., Tadguna (transfer of qualities) and Utpreksa (poetic Laney). The grief of sighing Samaraketu is graphically brought in a series of similes, such as, varibadhda va vanakari, lavyabhidhyasapa iva sadhurkasmatpranastasakalagrhasvapateya iva grhapatirayatosnanmuhurmuhuh srjasi (111,18ff.). The jocular trend of Kamalagupta's monologue is appropriately exhibited, as in, --- socyah punarasi papakarma karmacandala prakrtidustatma visistabhasah sakalavaregramaniragranama mamjiro yena marineva musikamisamupasrtya nibhrtamatra vinihitamupalaksyata nihsvasana, upahrtya lekhapatrakama, (112,9ff.), where he mockingly admonishes Manjiraka for having picked up an anonymous love-letter in the manner of a cat picking up the stealthily stored flesh of a rat; the simile is here beautifully strengthened by another figure of speech called Parikara which consists of a series of most appropriately purposeful adjectives. The helplessness of Samaraketu is evident when he compares himself to a helpless bird that has, having strayed on a vast ocean, traversed a long distance but is at a loss to find the shore, as in, katham casthirasvabhavataya sarasapradhaviteneva bhumimiyatimagatya bhagnamanasa tira-

840 darsisakunineva pascannivartitavyam, -- (149, 1711.). The inscribed line of letters in an inscription at the Jain temple on Mounta Ekasrnga are suggestively compared to the pearl necklace worn by the Goddess Sarasvati in her neck, as in, ---sara- svati manikanthanukarinibhirvvapiktibhidbhasitam prasastim (219,161r.). The pure water of the divine Adrstapara lake dripping from between the fingers is likened to the white moon-rays passing through them, as in, karamguli vivara vigaladindudidhitidhavala- gharam sudharasasvadu salilama - (252, 9ff). In the changed situation when his beloved has suddenly disappeared living him lovelorn and desperate for committing suicide, the garland lovingly thrown into Samaraketu's neck by enamoured Malayasundari is appropriately compared by the former to a wreath worn by a culprit condemned to capital punishment in a full-fleged simile, as in, tatkara yi nibidada nitaya karenuriva kantharajjva svayamvaranammalaya na saknomi vadhyanajamivodvahannima kandharabadhdam bandhulakam drastuma, (291,8ff.) wherein Samaraketu also likens himself to an elephant; the simile is here supported by purposeful adjective, viz., Tatkara.... etc., forming the figure of speech called Parikara. The graphic picture of hanging Malayasundari arises when the poet most aptly compares her to a cursed goddess about to descend to, but has not yet touched, the earth, as in, tatksanapraptamartyalokavatarasapeva tridasalalanasamasanna bhutalasparsa niralambamambaram krta sthitih (306,23ff.). The setting Sun }

841 is suggestively compared to a round cross-section of a pillar of red sandal, as in kakacakrta tivrcaraktacandanastambhaccheda- cchavina dinakara bimbena (350,9). While consoling Tilakananjari who is dejected at the impending departure of Harivahana for Ayodhya, Malayasundari compares him to the Moon had her to the waves of the ocean, as in punaranagamisyatyaiva cadha- prabhrti dure'pyavasthitah sudhamsuriva sindhuvailayah samasanna n kalyanabhaginyah (385,17ff.). And the sensual infatuation of god Sumalf is well brought out when he is compared to a mighty elephant of a principal direction, as in snigdhavitatasidhdayatana vanakhande prthunitambakuca - kumbhamandalabhih surakarenubhirivasagajasya pradhanapsarobhih parivrtasya vicarato vijrmbhitamandaratirasanandasya svacchandavaribhirindriyairdura mapa- sumalinamno vaimanikasya hrtasya (411,15ff.). Some of the striking similes are based principally on paronomasia, while ropping in a few other figures of speech also. Thus, Samaraketu hopes to find out Harivahana with the help of the latter's fame of good qualities in the same ■ manner as the clouded Moon can be located with the help of the accompanting halo, as in labdhanirgama nisargavimalabhyah kalabhyah prameva mrgalanchanam innamapi tamavih karisyati vijrmbhamana digmukhe - su sadgunasthatih (197,6ff.), +N where the word 'Kala' signifies both the 'fine arts' and the 'digits of the Moon'. The drops of tears rolling in succession from the eyes of Malayasundari at the question from Harivahana, are graphically compared to a number of shooting

stars, as in 842 tatpananibadhdaragoyasca locanapamgasaritah purvvaharita starah (258,20 iva tarunajyanatirahatayastarakasamuhah papatajanaka - (258, 2011.) ; here the full-fleged simile is beautifully blended with alliteration and metaphor. The flags fluttering on the temple of Cupid are compared to the waves of the ocean in the form of attachment, as in, raga jalanidhaivi cibhiriva samnihitamakara bhiralohita- sakapatakabhih pallavita sikharana ketastamyena prakasyamanama (303,18ff.), where the word 'Sannihita has to be understood in the sense of 'having in the vicinity' with 'Vici' and that of 'put', i.e. painted, with 'Pataka'. The buds of the Asoka tree are beautifully compared to the bleeding hearts of travellers who have been separated from their young wives, as in tarunagrhiniviyogavighatita dhvanyahrdayerivodamaragam TR 194194491: --(304,16ff.), where the word 'Raga' has to rasaukapadapapravalah be construed in the sense of 'passion' with 'Adhvanya' and in that of 'redness' with 'Pravala'. The following notable similes are based on some of the positive sciences and such other subjects. Thus, the Vidyadhara Muni declines to accept the kingdom humbly offered in service by King Meghavahana and compares himself to a doctor who is unable to cure the dying patient, as in ka samarthah ksinayuso'sya bhisagiva kathamukthama harami | (44,8ff.) . Another classical instance of a simile from Ayurveda is found when the restive feudatories sought to be brought to --- vipatprati-

843 book by Samaraketu are aptly compared to festering wounds necesslating a variety of clinical treatments, as in sthana- sthanesu labdhodayana hitopacaraih paramamupacayam praptansarvatah samasaditaprasaranavih krtanaikavikarananavaratakrtarujo janasya dustavrananiva nrpankamsciyantrasaktya kam- scinmantrasaktya ujisatosmanasca prakatitaprasannamukhara ragavagalitonnatina- bhisekavidhinapattbandhenanyasva nirvrtikare rajyadanadibhimmadhuropacarah punastameva manayama | praktanim prakrti- 133,721), where the words 'Tantra', 'Mantra', 'Sastra-vyapara', 'Ksara', 'Rakta', 'Ksuraprabheda',¨'Ekadesa-dahana', Mandalopamarda', 'Mukha-raga', 'Unnati' 'Abhiseka', 'Patta-bandha' and etc., are to be construed as technical terms of the science of medicine and as those of the science of statecraft; the basic full-fleged simile is here 17 | intertwined with two other figures of speech, viz., Slesa, and Dipaka. Another full-fleged simile is drawn from navigation when the poet seeks to describe the darkness gradually creeping after the sunset, as in urdhvakirana rajjusta mbalambamana- sasibimbanagaradapara digbhagayanapatradavatatara sayatrika iva krtambarajaladhi- yatrah sanaih sanairandhakarah (150,13ff.), where the simile is fully dependent on the basic metaphorical identity of (Kirana' with 'Rajju', of 'sasi-bimba' with 'Nagara', of 'Apara-digbhaga' with 'Yana-patra' and of 'Andhakara' with 'Samyatrika'. While describing the neck of Malayasundari the poet draws his simile from mythology, picturing Visnu with his discus and conch, as in' sudarsanopetena vaikunthenaiva kantha-

844 nalena tulitasamkhama (160,20ff.), where the words 'Sudarsana', 'Vaikuntha' and 'Sankha' are all double-meaning. Similarly, the port draws upon the Ramayana story when he compares the ocean to the life-story of Laksmana, as in saumitricaritamivam vistaritommila syasobhama (204,18ff.),. where the latter compound has to be broken up as 'Vistrita- -urmmi-lasya-sobham' with 'Ambhonidhi', and as 'Vistarita- -urmmila-asya-sobham' with "Saumitri-caritam' Saumitri-caritam' . When the good omens are compared to the Saivas, the simile is based on religion, as in pratipannadaniva mamagamah param sivam samsadabhirabhi- pretasadhakah saivairiva pradhanasakunah pade pade dacanirvrtih -- - (198,23ff.). Similarly the instruction in Jainism is compared to the nym- svabhavamadhurabhiryatham vara prathitasusrusarasa vesabhih prakasita with phs, as in praguna samsara nirvanasaranibhirarthasarabhirapsarobhiriva jinamatanusarinibhi- vagbhiravedha jivaditattvaprabhedam, (411,20ff.). While praising the valour of King Meghavahana, the poet com- " pares the total destruction of the king's enemies to the negation of all external things of the world with reference to the philosophical tenets of Buddhist Logic, as in yasya dosni sphuradetam pratiye vibudhairdhruvah | baudhda havarthanam nasi rama niranvayah || ( 16,6ff.. The science of Erotics is tapped when the forest land is compared to a beloved who has been guilty of committing some sthya fault, as in -- saparadhavadhveva priyalapanasaphalibhutapadapatani- 1 (200,2011.),

845 where the latter compound has to be broken up as 'Priya- -alapana-saphalibhuta-pada-pata-nisthaya' with 'Vadhva', and as 'Priyala-panasa-phalibhuta-padapa-atanisthaya' with 'AtavI-bhuva'. And when the poet compares the same forest x with a quiver of arrows, as in virapuru sanyaiva gaurabaracchamala ATHTITERIT (200,21ff.), he again resorts to Sabhanga-slega necessiating the latter compound to be broken up as 'Gaura- -khara-accha-bhalla-sara-bhara-ucitaya' with 'Tunya' and as *Gaurakhara-acchabhalla-sarabha-rocitaya' with 'AtavI-bhuva', the science of Archery is referred to. It is more effectively drawn upon in the following case, viz., samdhanamanito fafara sa fauca fayat: 1 fadaithara qelqufa Bryunuzaff (327,17ff.), where the words 'Sandhana', 'Visikha', 'Vipaksa' and 'Vilaksibhuta' are to be construed both from the points of view of Archery and of Bandangoaphy statecraft. It is Sociology and Lexicography that are alluded to when the neck of a parrot is compared to the word 'Dvijati', as in faquftight fautfariaa¤iquifud: 40841ia (348,19ff.). In another simile the white garment of Harivahana is compared with the science of Arithmatic, as in samkhyanasastrenaiva navadasalamkrtena svetaci navastra yena samvitama, (229,9). When roaming Harivahana is compared to a group of constellations, as in asagrhito grahagrama iva lavamapyakrta visramah paribhramya bhuyamsi mandalani tadeva sunyam vanamavidata, (392,15ff.),

846-847 the Astrology, and particularly the horoscopic aspect thereof, is alluded to. And lastly, the poet refers to Gambling when Harivahana compares the heavenly life-span of Sumali with an eight-housed gambling board, as in ----- parammapramada- vasatairavaritapravara haritastvarthasampado'stapadadyutasyaiva smarasi tasya trivistapavasasya (420,20ff.).