2. Simile (upamá) is resemblance between the subject of comparison and the comparison adduced; this may be conveyed either (a) by a word, (b) by the sense, or (c) by the sense of a sentence, v. 177; or by the use of a compound word, as 'candimánano', v. 178; or a verbal affix, as 'áya' in 'vadanam pankajayate', v. 179; or by the use of words implying comparison as wa, tulyá, and the like, v. 180-185.

(a.) Similes formed by words implying comparison are the

Correct (dhammopamá), v. 187.

1.

(b.) In the following similes, the idea of similarity is conveyed by a word's meaning, without the employment of a compound, verbal affix, or word implying comparison, v. 199. They are the

3. Doubtful (samsayo), v. 200.

4. Typically comparative (paṭivatthú), v. 201.

(c.) The third form of simile is expressed by setting the sense of one sentence in comparison with that of another. v. 203; and this may be done, either with, or without, employing words implying comparison, vv. 204, 205.

Sometimes the following kinds of similes are deemed incongruous—

1. Comparison between objects of different genders (bhinnalingo) and of different numbers (vijátivacano), v. 207. 2. The defective simile (híno), v. 207.

3. The exaggerated (adhiko), }

4. The irrelevant (aputhattha),

v. 208.

5. The contingent (apekkhiní), v. 209.

6. The imperfect (khandito),

Sometimes the above are not deemed incongruous, vv. 211 and 212.

3. Metaphor (rúpakam). This figure indicates the resemblance between the subject of comparison and the comparison adduced, but, unlike the simile, without employing words implying comparison. It has two divisions, namely:

(a.) general (asesavatthuvisaya), v. 214-217.

(b.) partial (ekadesavivatti), v. 218-221.

each of which may be exhibited by means of compounded words, or words not compounded, or both combined, v. 214. The author says the varieties of metaphor, both proper and improper, are too numerous to be dwelt upon here, v. 222. Subjoined is a specimen of a proper metaphor :-'Oh Sage! whose heart indeed is not drawn to thy attractive countenance, bright as white flowers, with tremulous black bee eyes?' v. 223. The following are examples respectively of (a) imperfect (khanditarúpakam), and (b) perfect (sundararúpakam), metaphors, v. 224— (a) candim' ákasapadumam', the lotus rising in the heavens is the

moon.

6

(b) ambhoruhavanam nettani', eyes which are a cluster of water-lilies. 4. Redundancy (ávutti). The repetition may be threefold, v. 226, namely as regards

(a.) the sense (atthávutti), v. 227.

(b.) a word (padávutti), v. 228.

(c.) or both (ubhayávutti), v. 229.

5. The Illuminator (dipakam). The figure is manifested when things, such as actions, kinds, or qualities, although expressed in one part of a sentence, illuminate the whole of it, v. 230; and it has three varieties, arising from the action, kind, or quality, being expressed in the sentence at the

If a series (of actions, kinds, or qualities) is exhibited in succession, each one being dependent on the one preceding, the figure is termed a string of Illuminators' (máladípakam), vv. 234, 235.

6. Hint (ákkhepo), when it is intended to say something special, that which apparently suppresses or denies it, is termed Hint, v. 237. It is threefold, pertaining to what

(a.) has been said (atétákkhepo), v. 238.

(b.) as being said (vattamánákkhepo), v. 239.

(c.) is about to be said (anágatákkhepo), v. 240.

7. Transition, (atthantaranyása) is the introduction of another sense into the subject (such as a moral reflection), v. 241. It is twofold, namely:

each kind being distinguished by the absence and presence of the emphatic particle'ni'.

8. Contrast, (vyatireko) is the distinction in the idea of resemblance between objects either expressed or understood, v. 246. It is twofold, namely:

(a.) single (ekavyatireko), v. 246, 248.

(b.) double (ubhaya-), v. 249, 250.

Peculiar causation, (vibhávaná) is the production of an effect by some cause other than the usual one, which is suppressed; or, (the production of an effect) naturally, (though dependent upon some other cause); v. 251. Hence the figure is twofold, namely:

(a.) peculiar (káraṇantara), v. 252.

(b.) natural (sabhavikaphala), v. 253.

10. Causation (hetu).

(a.)

This figure has two divisions, namely producing causation (janakahetu).

(b.) indicating causation (ñápakahetu), v. 254.

A few only of the endless subdivisions of the above are indicated in this treatise. They are: v. 235.

(a.) active causation producing apparent act (bhávakicco kárakahetu), v. 256.

(b.) active causation producing non-apparent act (abhávakicco kárakahetu), v. 257.

258.

(c.) causation indicating apparent act, (bhávakicco ñápakahetu), v.

(d.) unfitly acting wonderful causation (ayuttakárí cittahetu), v. 259. (e.) fitly acting wonderful causation (yuttakárícittahetu), v. 260. 11. Order (kamo), is when a reference is made respectively to what has been mentioned, v. 261. This figure is the Relative Order (yathásankhyam) of Sanskrit Rhetoric.

12. Excessively agreeable (piyataram).

This figure is exhibited

when an excess of agreeability is imparted to the sense, v. 263, 264.

Concise style, (samásavutti) is exhibited, when an intended object is concisely described by means of an approved metaphor, v. 265. It is twofold, namely, when the attributes are either

(a.) separate (bhinnavisesana), v. 266.

(b.) non-separate (abhinnavisesana), v. 267, 268.

14. Idealization, (parikappana) is the imagining of an object under the character of another, v. 270. This figure is expresssd by an implied metaphor, and may depict actions, qualities, and the like, v. 271. Such expressions as 'methinks, I suspect, of a certainty, surely, as,' are occasionally made use of in this figure, v. 275.

15. Concentration, (samáhita) is manifested when a special consequence results from a concentrated effort, v. 277.

16. Periphrasis, (pariyaya) is when the fact to be intimated, is ex

pressed in a roundabout way, so as to avoid a common expression, v. 279. 17. Ironical praise, (vyájavannana) is commendation conveyed in language which is apparently ironical, v. 281.

18. Peculiar allegation, (visesa) is when a special cause is acknowledged, there is an absence of effect, whether in regard to a substance, an action, a genus, or a quality, v. 283.

19. Individuality, (rúlhâhankára) is when arrogance is prominent in a marked degree, vv. 288, 289.

20. Coalescence or Paronomasia, (sileso) is when words are so connected as to be susceptible of a double meaning, v. 290. The figure is held to minister to the heightening of suggestive style, v. 173. It is threefold, namely―

(a.) without division (abhinnapadavákya sileso), v. 291.
(b.) with division (bhinnapadavákya), v. 292.

(c.) both sorts combined (bhinnábhinnapadavákya), v. 293.

There are also the following eight varieties, v. 294, 295

1. Repugnant action (viruddhakammasileso), v. 296.
Non-repugnant action (aviruddha-kamma), v. 297.

2.

3. Non-separate action (abhinna-kamma), v. 298.

8. The polite (ocityasamposaka), v. 303.

21. Equal pairing, (tulyayogitá) is when objects possessing attri

butes are associated with one and the same attribute, v. 304.

Illustration, (nidassanam) is when from the introduction of a foreign relation, a mutual connection ensues; and it is twofold, v. 306, namely

(a.) non-possible (asantam), v. 307.

(b.) possible (santam), v. 308.

23. Magniloquence, (mahantattham) is when grandeur in position or in resolve is indicated in a marked degree, 309-311.

24. Concealment, (vañcaná) is when the real nature of a thing is kept back, and another fancied one attributed, which may be either, v. 312, (a.) dissimilar (asama―), v. 313.

25.

(b.) similar (sama—), v. 314.

Indirect praise, (appakatathuti) is when trifling praise is bestowed upon an insignificant object, v. 315.

26. The Necklace, (ekávali) is when what is mentioned first, is qualified by what follows, and this again by what comes next, and so on, v. 317. It is twofold

27. The Reciprocal, (aññamaññam) is when two things do the same act to each other, vv. 320, 321.

28. Connected description, (sahavutti) is when different ideas are connected with the word 'saha'. It is twofold

(a.) of actions (kriya), v. 323.

(b.) of qualities (guṇá), v. 324.

29. Contradiction, (virodhitá) is when there is an apparent incongruity among things, such as a genus, quality, action, and substance, v. 325.

30. The Return, (parivutti) is the exchange of a thing for what is peculiarly excellent, v. 329.

31. Error, (bhamo) is the thinking, from resemblance, of an object to be what it is not, v. 329.

32. Emotion, (bhávo) is when the style awakens sentiment in the minds of poets, v. 331. This figure is considered the life of poetry, v. 173. 33. Mixture, (missam) is when verbal ornaments and ornaments of the sense are blended together, v. 333. The figure is twofold :—

(a.) existence of intimate relation (angáníbháva—), v. 334. (b.) existence of same effect (sadisaphalabháva—), v. 335.

34. Prayer, (ási) is prayer for any desired object, v. 336. 35. The Impassioned, (ras?) is when the style is full of feeling and witty, vv. 337, 338.

CHAPTER V.

The fifth and last Chapter treats of Flavour (rasa). Such conditions (bhava), excitants (vibháva), and ensuants (anubháva), as are mainsentiments in composition, are held to be the several Flavours of poets, v. 341.

Since the various conditions, or states of the mind, give occasion for the existence of (bháváyanti) the flavours, they (such as love, mirth, and the like) are termed conditions or mental states (bháva), v. 342.

That condition, or mental state, such as love and the like, which is not overpowered by another condition opposed to it, such as disgust and the like, is held to be 'the permanent condition' (tháyi-bháva), v. 343. They are nine in number, namely:

: