चन्द्रालोकः — नवमो मयूखः

मुख्यार्थस्याविवक्षायां पूर्वार्वाची च रूढितः ।
प्रयोजनाच्च संबद्धं वदन्ती लक्षणा मता ॥

Summary AI Lakṣaṇā (indication) is defined as that which expresses a related sense when the primary meaning is unintended, based either on usage (rūḍhi) or a specific motive (prayojana), whether traditional or contemporary.

९.२

लक्षणीयस्वशब्दस्य मीलनामीलनाद्द्विधा ।
लक्षणा सा त्रिधा सिद्धसाध्यसाध्याङ्गभेदतः ॥

Summary AI Lakṣaṇā is of two types based on the concealment or non-concealment of the term's primary form. It is further categorized into three types: siddha (established), sādhya (to be accomplished), and sādhyāṅga (an auxiliary to the accomplished).

९.३

स्फुटास्फुटप्रभेदेन प्रयोजनमपि द्विधा ।
विदुः स्फुटं तटस्थत्वादर्थगत्वाद्द्विधा बुधाः ॥

Summary AI The motive (prayojana) is also twofold: distinct (sphuṭa) and indistinct (asphuṭa). The wise recognize the distinct motive as further divided into two, based on being external (taṭastha) or inherent in the meaning (arthagata).

९.४

अस्फुटं चार्थनिष्ठत्वात्तटस्थत्वादपि द्विधा ।
लक्ष्यलक्षकनिष्ठत्वादर्थसंस्थमपि द्विधा ॥

Summary AI The indistinct motive is twofold, based on being residing in the meaning or being external. The motive residing in the meaning is again twofold, residing either in the indicated (lakṣya) or the indicator (lakṣaka).

९.५

लक्षकस्थं स्फुटं यत्र सा विचक्षणलक्षणा ।
अस्फुटत्वं तटस्थत्वं लक्ष्यस्थत्वममुष्य च ॥

Summary AI When the distinct motive resides in the indicator (lakṣaka), it is called Vicakṣaṇa-lakṣaṇā. Its other variations involve indistinctness, being external, or residing in the indicated sense (lakṣya).

९.६

अन्यास्तिस्र इति व्यक्ता शक्तितः सा चतुर्विधा ।
इन्दुरेवैष तद्वक्त्रमुत्कर्षो लक्ष्यते मुखे ॥

Summary AI With the other three varieties manifested, lakṣaṇā is fourfold in its power. In the example "This is the moon, that is the face," excellence is indicated as being present in the face.

९.७

प्रदीपं वर्धयेत्यत्र तटस्थं मङ्गलोदयः ।
पटो ऽयं दग्ध इत्यादौ स्फुटं नास्ति प्रयोजनम् ॥

Summary AI In the phrase "Increase the lamp" (meaning extinguish), the external motive is the rise of auspiciousness. In "This cloth is burnt" (referring to a partially burnt cloth), there is no distinct motive.

९.८

अमृतं सूक्तमित्यादौ लक्ष्यस्थमतिहृद्यता ।
आभिमुख्यात्संनिधानात्तथाकारप्रतीतितः ॥

Summary AI In "The well-spoken word is nectar," the motive residing in the indicated is extreme pleasantness. It arises from directness, proximity, or the perception of a similar form.

९.९

कार्यकारणभावात्सा वाच्यवाचकभावतः ।
इत्येवमादेः संबन्धात्किंचान्यस्माच्चतुष्टयात् ॥

Summary AI Lakṣaṇā arises from relationships such as cause and effect, the expressed and the expresser, and from four other specific types of connections.

९.१०

सादृश्यात्समवायात्सा वैपरीत्यात्क्रियान्वयात् ।
सारोपाध्यवसानाख्ये गौणशुद्धे पृथक्पृथक् ॥

Summary AI Lakṣaṇā proceeds from similarity, inherence, contrariety, or connection with action. It is divided into qualitative (gauṇī) and pure (śuddhā), each being further split into sāropā (superimposition) and sādhyavasānā (introspection).

९.११

गौणं सारोपमुद्दिष्टमिन्दुर्मुखमितीदृशम् ।
गौणं साध्यवसानं स्यादिन्दुरेवेदमीदृशम् ॥

Summary AI Qualitative superimposition (gauṇī sāropā) is illustrated by "The face is the moon." Qualitative introspection (gauṇī sādhyavasānā) occurs in "This (face) is verily the moon."

९.१२

शुद्धं सारोपमुद्दिष्टमायुर्घृतमितीदृशम् ।
शुद्धं साध्यवसानं स्यादायुरेवेदमीदृशम् ॥

Summary AI Pure superimposition (śuddhā sāropā) is exemplified by "Ghee is life." Pure introspection (śuddhā sādhyavasānā) is seen in the statement "This (ghee) is life itself."

९.१३

उपादानार्पणद्वारे द्वे चान्ये इति षड्विधा ।
कुन्ता विशन्ति गङ्गायां घोषो निवसतीति च ॥

Summary AI Including inclusive (upādāna) and exclusive (arpaṇa) types, lakṣaṇā is sixfold. Examples include "The spears enter" (meaning men with spears) and "The hamlet resides on the Gaṅgā" (meaning on its bank).

९.१४

लक्ष्यलक्षकवैशिष्ट्यवैशिष्ट्याद्द्विविधा पुनः ।
सरसं काव्यममृतं विद्या स्थिरतरं धनम् ॥

Summary AI It is again twofold based on the distinction of excellence between the indicated and the indicator, seen in "Sentimental poetry is nectar" and "Knowledge is the most stable wealth."

९.१५

तथा सहेतुरतथाभेदभिन्ना च कुत्रचित् ।
सौन्दर्येणैष कन्दर्पः सा च मूर्तिमती रतिः ॥

Summary AI Likewise, it is sometimes divided into categories with cause (sahetu) and without. For instance, "He is Kandarpa due to beauty" and "She is Rati incarnate."

९.१६

शब्दे पदार्थे वाक्यार्थे संख्यायां कारके तथा ।
लिङ्गे चेयमलङ्काराङ्कुरबीजतया स्थिता ॥

Summary AI This lakṣaṇā exists within words, word-meanings, sentence-meanings, number, grammatical case, and gender, serving as the seed for the sprout of poetic ornaments (alaṅkāra).

९.१७

महादेवः सत्रप्रमुखमखविद्यैकचतुरः
सुमित्रा तद्भक्तिप्रणिहितमतिर्यस्य पितरौ ।
मयूखस्तेनासौ सुकविजयदेवेन रचिते
चिरं चन्द्रालोके महति नवसंख्यः सुखयतु ॥

Summary AI May this ninth ray (mayūkha) of the great Candrāloka, composed by the poet Jayadeva—son of Mahādeva, an expert in Vedic sacrifices, and Sumitrā—bring long-lasting delight to the readers.

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