चन्द्रालोकः — पञ्चमो मयूखः

शब्दार्थयोः प्रसिद्ध्या वा कवेः प्रौढिवशेन वा ।
हारादिवदलङ्कारः सन्निवेशो मनोहरः ॥

Summary AI An ornament (alaṅkāra) is a charming arrangement of words and meanings, resembling a necklace, that arises either from common usage or from the poetic ingenuity of the author.

५.२

स्वरव्यञ्जनसंदोहव्यूहामन्दोहदोहदा ।
गौर्जगज्जाग्रदुत्सेका छेकानुप्रासभासुरा ॥

Summary AI Chēkānuprāsa is a figure of speech where speech shines through a clever and intense arrangement of vowel and consonant groups, characterized by an excellence that awakens the world.

५.३

आवृत्तवर्णसम्पूर्णं वृत्त्यनुप्रासवद्वचः ।
अमन्दानन्दसन्दोहस्वच्छन्दास्पदमन्दिरम् ॥

Summary AI A statement filled with repeated letters is known as Vṛttyanuprāsa; it serves as a spontaneous abode for a multitude of intense bliss.

५.४

लाटानुप्रासभूर्भिन्नाभिप्राया पुनरुक्तता ।
यत्र स्यान्न पुनः शत्रोर्गर्जितं तज्जितं जितम् ॥

Summary AI Lāṭānuprāsa occurs when words are repeated with the same meaning but a different intended purpose or connection. For example: "The enemy’s roar is no more; it is conquered, definitely conquered!"

५.५

श्लोकस्यार्धे तदर्धे वा वर्णावृत्तिर्यदि ध्रुवा ।
तदा मता मतिमतां स्फुटानुप्रासता सताम् ॥

Summary AI When the repetition of letters is fixed within half a verse or a quarter of a verse, it is considered Sphuṭānuprāsa by wise and noble men.

५.६

उपमेयोपमानादावर्थानुप्रास इष्यते ।
चन्दनं खलु गोविन्दचरणद्वन्द्ववन्दनम् ॥

Summary AI Arthānuprāsa is desired when there is a repetition of meaning between the object (upamēya) and the standard (upamāna). For example: "Saluting the two feet of Gōvinda is indeed sandalwood."

५.७

पुनरुक्तप्रतीकाशं पुनरुक्तार्थसन्निभम् ।
अंशुकान्तं शशी कुर्वन्नम्बरान्तमुपैत्यसौ ॥

Summary AI Punaruktaprātīkāśa occurs when words seem redundant in meaning due to sound similarity. For example, as the moon makes the edge of its rays (aṃśuka-anta) appear like a reflection, it reaches the edge of the sky (ambara-anta).

५.८

आवृत्तवर्णस्तबकं स्तवकन्दाङ्कुरं कवेः ।
यमकं प्रथमा धुर्यमाधुर्यवचसो विदुः ॥

Summary AI Scholars consider Yamaka to be a cluster of repeated letters that acts as the sprouting root of a poet's praise and is foremost among sweet-sounding words.

५.९

काव्यवित्प्रवरैश्चित्रं खड्गबन्धादि लक्ष्यते ।
तेष्वाद्यमुच्यते श्लोकद्वयीसज्जनरञ्जिका ॥

Summary AI Experts in poetry define Citrakāvya, such as the sword-shaped arrangement (khaḍga-bandha). Among these, a pair of verses that pleases noble people is mentioned first.

५.१०

कामिनीव भवेत्खड्गलेखा चारुकरालिका ।
काश्मीरसेका रक्ताङ्गी शत्रुकण्ठान्तिकाश्रिता ॥

Summary AI The line of a sword is like a beautiful woman (kāminī): it is charming yet formidable, drenched in blood (or saffron), has a red blade (or passionate limbs), and rests near the enemy's neck.

५.११

उपमा यत्र सादृश्यलक्ष्मीरुल्लसति द्वयोः ।
हृदये खेलतोरुच्चैस्तन्वङ्गीस्तनयोरिव ॥

Summary AI Upamā (simile) occurs when the beauty of similarity shines between two objects, just like the similarity between the two high breasts of a slender woman playing upon her heart.

५.१२

उपमानोपमेयत्वे यत्रैकस्यैव जागृतः ।
इन्दुरिन्दुरिवेत्यादौ भवेदेवमनन्वयः ॥

Summary AI Ananvaya occurs when both the standard and the object of comparison are the same entity, as in the expression: "The moon is like the moon."

५.१३

पर्यायेण द्वयोस्तच्चेदुपमेयोपमा मता ।
धर्मो ऽर्थ इव पूर्णश्रीरर्थो धर्म इव त्वयि ॥

Summary AI If the comparison between two objects is reciprocal, it is called Upamēyōpamā. For example: "In you, righteousness is like wealth, and wealth is like righteousness."

५.१४

विख्यातस्योपमानस्य यत्र स्यादुपमेयता ।
इन्दुर्मुखमिवेत्यादौ स्यात्प्रतीपोपमा तदा ॥

Summary AI When a well-known standard of comparison is treated as the object of comparison, it is called Pratīpōpamā, as in: "The moon is like the face."

५.१५

उपमाने तु लीलादिपदाढ्ये ललितोपमा ।
त्वन्नेत्रयुगलं धत्ते लीलां नीलाम्बुजन्मनोः ॥

Summary AI Lalitōpamā occurs when the standard of comparison is accompanied by words like līlā (grace). For example: "Your pair of eyes bears the grace of two blue lotuses."

५.१६

अनेकस्यार्थयुग्मस्य सादृश्यं स्तबकोपमा ।
श्रितो ऽस्मि चरणौ विष्णोर्भृङ्गस्तामरसं यथा ॥

Summary AI Stabakōpamā is the similarity between multiple pairs of objects. For example: "I have taken refuge in the feet of Viṣṇu, just as a bee dwells upon a lotus."

५.१७

स्यात्संपूर्णोपमा यत्र द्वयोरपि विधेयता ।
पद्मानीव विनिद्राणि नेत्राण्यासन्नहर्मुखे ॥

Summary AI Sampūrṇōpamā occurs when both objects are explicitly stated as the predicate. For example: "At the break of day, the eyes were like blossomed lotuses."

५.१८

यत्रोपमानचित्रेण सर्वथाप्युपरज्यते ।
उपमेयमयी भित्तिस्तत्र रूपकमिष्यते ॥

Summary AI Rūpaka (metaphor) is recognized when the object of comparison (upamēya) is entirely colored by the standard of comparison (upamāna), like a wall covered by a painting.

५.१९

समानधर्मयुक्साध्यारोपात्सोपाधिरूपकम् ।
उत्सिक्तक्षितिभृल्लक्ष्यपक्षच्छेदपुरन्दरः ॥

Summary AI Sōpādhirūpaka arises from an attribution based on common attributes. For example: "The Purandara (Indra) who destroys the wings of the haughty mountains (referring to enemy kings)."

५.२०

पृथक्कथितसादृश्यं दृश्यं सादृश्यरूपकम् ।
उल्लसत्पञ्चशाखस्ते राजते भुजभूरुहः ॥

Summary AI Sādṛśyarūpaka is seen when the similarity is stated separately. For example: "Your arm-tree, having five shining branches (fingers), appears splendid."

५.२१

स्यादङ्गयष्टिरित्येवंविधमाभासरूपकम् ।
अङ्गयष्टिधनुर्वल्लीत्यादि रूपितरूपकम् ॥

Summary AI Ābhāsarūpakam is a semblance of metaphor, such as describing a limb as a staff (aṅgayaṣṭi). Rūpitarūpakam is an elaborated or nested metaphor, seen in the phrase aṅgayaṣṭi-dhanurvallī (the bow-creeper of the limb-staff).

५.२२

परिणामो ऽनयोर्यस्मिन्नभेदः पर्यवस्यति ।
कान्तेन पृष्टा रहसि मौनमेवोत्तरं ददौ ॥

Summary AI Pariṇāma occurs when the superimposition results in an action where the two objects are non-different. For example, when questioned by her lover in secret, the lady's silence itself performed the function of an answer.

५.२३

बहुभिर्बहुधोल्लेखादेकस्योल्लेखिता मता ।
स्त्रीभिः कामः प्रियैश्चन्द्रः कालः शत्रुभिरैक्षि सः ॥

Summary AI Ullekha is the perception of a single object in multiple ways by different observers. For instance, a king is seen as Kāma by women, as the moon by his friends, and as death (Kāla) by his enemies.

५.२४

अतथ्यमारोपयितुं तथ्यापास्तिरपह्नुतिः ।
नायं सुधांशुः किं तर्हि व्योमगङ्गासरोरुहम् ॥

Summary AI Apahnuti is the denial of a true fact to superimpose something false. For example: "This is not the moon (Sudhāṃśu); rather, it is a lotus blooming in the celestial Gāṅgā."

५.२५

पर्यस्तापह्नुतिर्यत्र धर्ममात्रं निषिध्यते ।
नायं सुधांशुः किं तर्हि सुधांशुः प्रेयसीमुखम् ॥

Summary AI Paryastāpahnuti occurs when only a property is negated. For example: "This is not the moon; rather, the true moon is the face of the beloved." Here, the lunar identity is transferred to the face.

५.२६

भ्रान्तापह्नुतिरन्यस्य शङ्कया तथ्यनिर्णये ।
तापं तनोति सोत्कम्पं ज्वरः किं न सखि स्मरः ॥

Summary AI Bhrāntāpahnuti occurs when truth is determined through the suspicion of an error. For example: "O friend, this trembling heat spreading through me is not a fever, but Smara (Cupid)."

५.२७

छेकापह्नुतिरन्यस्य शङ्कया तथ्यनिह्नवे ।
प्रजल्पन्मत्पदे लग्नः कान्तः किं न हि नूपुरः ॥

Summary AI Chekāpahnuti is the clever concealment of truth by suggesting another possibility. For example, when asked if her lover was talking at her feet, a woman replies: "No, it was just the jingling of my anklet."

५.२८

कैतवापह्नुतिर्व्यक्ते व्याजाद्यैर्निह्नवे पदैः ।
निर्यान्ति स्मरनाराचाः कान्तादृक्पातकैतवात् ॥

Summary AI Kaitavāpahnuti is concealment expressed through words like "guise" or "pretext." For example, the arrows of Smara are said to emerge in the guise (kaitava) of the beloved's side-long glances.

५.२९

उत्प्रेक्षोन्नीयते यत्र हेत्वादिर्निह्नुतिं विना ।
त्वन्मुखश्रीकृते नूनं पद्मैर्वैरायते शशी ॥

Summary AI Utprekṣā is a poetic fancy where a cause or nature is inferred without explicit concealment. For example, the moon is imagined to surely (nūnam) behave hostilly toward lotuses to rival the beauty of your face.

५.३०

इवादिकपदाभावे गूढोत्प्रेक्षां प्रचक्षते ।
यत्कीर्तिर्विभ्रमश्रान्ता विवेश स्वर्गनिम्नगाम् ॥

Summary AI Gūḍhotprekṣā is a subtle poetic fancy where markers like iva are absent. For example, a king's fame, weary from wandering through the worlds, is described as having entered the celestial river (Svarganimnagā).

५.३१

स्यात्स्मृतिभ्रान्तिसंदेहैस्तदेवालंकृतित्रयम् ।
पङ्कजं पश्यतस्तस्या मुखं मे गाहते मनः ॥

Summary AI Smṛti (Remembrance), Bhrāntimān (Error), and Sandeha (Doubt) form three distinct ornaments. As an example of Smṛti, upon seeing a lotus, the observer's mind immediately plunges into the memory of the lady's face.

५.३२

अयं प्रमत्तमधुपस्त्वन्मुखं वेद पङ्कजम् ।
पङ्कजं वा सुधांशुर्वेत्यस्माकं तु न निर्णयः ॥

Summary AI Continuing from the previous verse, Bhrāntimān is shown when a bee mistakes a face for a lotus. Sandeha is shown when one cannot decide if the object is a lotus or the moon (Sudhāṃśu).

५.३३

मीलितं बहुसादृश्याद्भेदवच्चेन्न लक्ष्यते ।
रसो नालक्षि लाक्षायाश्चरणे सहजारुणे ॥

Summary AI Mīlita occurs when the difference between two things is not perceived due to extreme similarity. For example, the red juice of lac remained unnoticed when applied to feet that were already naturally red.

५.३४

सामान्यं यदि सादृश्याद्भेद एव न लक्ष्यते ।
पद्माकरप्रविष्टानां मुखं नालक्षि सुभ्रुवाम् ॥

Summary AI Sāmānya is the ornament where identity is so complete due to similarity that the objects become indistinguishable. For instance, the faces of beautiful women were not noticed when they entered a lotus pond.

५.३५

हेतोः कुतो ऽपि वैशिष्ट्यात्स्फूर्तिरुन्मीलितं मतम् ।
लक्षितान्युदिते चन्द्रे पद्मानि च मुखानि च ॥

Summary AI Unmīlita occurs when a previously unperceived difference becomes manifest due to a specific cause. For example, the faces of women and the lotuses were finally distinguished from one another only when the moon rose.

५.३६

अनुमानं च कार्यादेः कारणाद्यवधारणम् ।
अस्ति किञ्चिद्यदनया मां विलोक्य स्मितं मनाक् ॥

Summary AI Anumāna (Inference) is the determination of a cause from an effect or an effect from a cause. For example, the fact that she smiled slightly upon seeing me proves that there is some hidden feeling.

५.३७

अर्थापत्तिः स्वयं सिध्येत्पदार्थान्तरवर्णनम् ।
स जितस्त्वन्मुखेनेन्दुः का वार्ता सरसीरुहाम् ॥

Summary AI Arthāpatti is an implication where the description of one fact automatically establishes another. If your face has already conquered the moon, there is no need to even discuss lotuses, as their defeat is implied.

५.३८

स्यात्काव्यलिङ्गं वागर्थो नूतनार्थसमर्थकः ।
जितो ऽसि मन्द कन्दर्प मच्चित्ते ऽस्ति त्रिलोचनः ॥

Summary AI Kāvyaliṅga occurs when a statement or its meaning provides the reason for another idea. For example, the god of love (Kandarpa) is told he is defeated because the three-eyed Śiva (Trilocana) resides in the speaker's heart.

५.३९

अलङ्कारः परिकरः साभिप्राये विशेषणे ।
सुधांशुकलितोत्तंसस्तापं हरतु वः शिवः ॥

Summary AI Parikara is an ornament characterized by the use of significant adjectives. For example: "May Śiva, whose crest is adorned by the moon (Sudhāṃśu), remove your distress." Here, the adjective emphasizes his cooling and healing nature.

५.४०

साभिप्राये विशेष्ये तु भवेत्परिकराङ्कुरः ।
चतुर्णां पुरुषार्थानां दाता देवश्चतुर्भुजः ॥

Summary AI Parikarāṅkura occurs when the noun or substantive itself carries a significant intention. For instance, calling God "Caturbhuja" (four-armed) is significant because he is the giver of the four goals of life (Puruṣārtha).

५.४१

अक्रमातिशयोक्तिश्चेद्युगपत्कार्यकारणे ।
आलिङ्गन्ति समं देव ज्यां शराश्च पराश्च ते ॥

Summary AI Akramātiśayokti occurs when cause and effect happen simultaneously. For example, O King! Your bowstring, arrows, and enemies are all embraced at once.

५.४२

अत्यन्तातिशयोक्तिस्तत्पौर्वापर्यव्यतिक्रमे ।
अग्रे मानो गतः पश्चादनुनीता प्रियेण सा ॥

Summary AI Atyantātiśayokti occurs when the natural sequence of cause and effect is reversed. First the pride of the beloved departed, and only then was she consoled by her lover.

५.४३

चपलातिशयोक्तिस्तु कार्ये हेतुप्रसक्तिजे ।
यामीति प्रियपृष्टाया वलयो ऽभवदूर्मिका ॥

Summary AI Capalātiśayokti occurs when the effect arises at the mere intention of the cause. When the beloved was asked, "Am I going?", her bracelet instantly became a ring due to sudden emaciation.

५.४४

सम्बन्धातिशयोक्तिः स्यात्तदभावे ऽपि तद्वचः ।
पश्य सौधाग्रसंसक्तं विभाति विधुमण्डलम् ॥

Summary AI Sambandhātiśayokti exists when a connection is stated even where none exists. Look! The lunar orb appears as if it is attached to the very top of the palace.

५.४५

भेदकातिशयोक्तिश्चेदेकस्यैवान्यतोच्यते ।
अहो अन्यैव लावण्यलीला बालाकुचस्थले ॥

Summary AI Bhedakātiśayokti occurs when a single entity is described as being distinct or unique from itself. Oh! The play of loveliness on this maiden's breasts is indeed something entirely different.

५.४६

रूपकातिशयोक्तिश्चेद्रूप्यं रूपकमध्यगम् ।
पश्य नीलोत्पलद्वन्द्वान्निःसरन्ति शिताः शराः ॥

Summary AI Rūpakātiśayokti occurs when the object of comparison is completely absorbed into the standard of comparison. Look! Sharp arrows are emerging from a pair of blue lotuses.

५.४७

प्रौढोक्तिस्तदशक्तस्य तच्छक्तत्वावकल्पनम् ।
कलिन्दजातीररुहाः श्यामलाः सरलद्रुमाः ॥

Summary AI Prauḍhokti is attributing a specific capability to something incapable of it. The simple trees growing on the banks of the Kalinda-jā (Yamunā) are naturally dark.

५.४८

सम्भावनं यदीत्थं स्यादित्यूहोन्यप्रसिद्धये ।
सिक्तं स्फटिककुम्भान्तःस्थितिश्वेतीकृतैर्जलैः ।
मौक्तिकं चेल्लतां सूते तत्पुष्पैस्ते समं यशः ॥

Summary AI Sambhāvana is the imagining of a scenario to establish the fame of another. If a pearl watered with water whitened by being in a crystal jar produces a creeper, its flowers would equal your fame.

५.४९

वाञ्छितादधिकप्राप्तिरयत्नेन प्रहर्षणम् ।
दीपमुद्द्योतयेद्यावत्तावदभ्युदितो रविः ॥

Summary AI Praharṣaṇa is the effortless attainment of something far greater than what was originally desired. Just as one was about to light a lamp, the sun itself rose.

५.५०

इष्यमाणविरुद्धार्थसम्प्राप्तिस्तु विषादनम् ।
दीपमुद्द्योतयेद्यावत्तावन्निर्वाण एव सः ॥

Summary AI Viṣādana is obtaining a result completely contrary to what was desired. Just as one was about to light a lamp, it was completely extinguished.

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