भद्रायां परिशिष्टाः स्युः परुषा साऽभिधीयते । भवन्ति यस्यामूष्माणः संयुक्तास्तत्तदक्षरैः ।। ३४३.
In the auspicious style, the remaining letters are used; that which is called harsh contains sibilants joined with those respective letters.
अकारवर्ज्जमावृत्तिः स्वराणामतिभूयसी । अनुस्वारविशर्गौ च पारुष्याय निरन्तरौ ।। ३४३.
Excessive repetition of vowels, except for 'a', and the close presence of anusvāra and visarga, produce harshness.
शषसा रेफसंयुक्ताश्चाकारश्चापि भूयसा । अन्तस्थाभिन्नमाभ्याञ्च हः पारुष्याय संयुतः ।। ३४३.
The letter 'ṣa' joined with 'ra', and the letter 'ka' occurring frequently, when they are not separated within a word, and 'ha' when pronounced harshly, are to be noted.
अन्यथापि गुरुर्वर्णः संयुक्ते परिपन्थिनि । पारुष्यायादिमांस्तत्र पूजिता न तु पञ्चमी ।। ३४३.
Otherwise, when a consonant is compounded with another in a difficult combination, it is considered harsh, except when the fifth letter is honored.
द्रावणि माधवी पञ्चवर्णान्तस्थोष्मभिः क्रमात् । अनेकवर्णावृत्तिर्या भिन्नार्थप्रतिपादिका ।। ३४३.
A liquid sound, the letter 'ma', and the five-lettered 'mādhavī', placed within and followed by sibilants in order, and that which has many letters and conveys a different meaning, is called 'yamaka'.
यमकं साव्यपेतञ्च व्यपेतञ्चेति तद्द्विधा । आनन्तर्यादव्यपेतं व्यपेतं व्यवधानतः ।। ३४३.
'Yamaka' is of two kinds: with separation and without separation. When there is no interval, it is called 'avyapeta'; when there is an interval, it is called 'vyapeta'.
द्वैविध्येनानयोः स्थानपादभेदाच्चतुर्विधम् । आदिपादादिमध्यान्तेष्वेकद्वित्रिनियोगतः ।। ३४३.
Because of this twofold division and the difference in position within the foot, there are four types: at the beginning, in the middle, at the end, or in combinations of one, two, or three positions.
सप्तधा सप्तपूर्वेण५ चेत् पादेनोत्तरोत्तरः । एकद्वित्रिपदारम्भस्तुल्यः षोढा तदापरं ।। ३४३.
If, with the sevenfold earlier division, each subsequent foot begins with one, two, or three feet, then the next division is sixfold and equal.
तृतीयं त्रिविधं पादस्यादिमध्यान्तगोचरम् । पादान्तयमकञ्चैव काञ्चीयमकमेव च ।। ३४३.
The third is threefold, occurring at the beginning, middle, or end of the foot; also, there is 'pādānta-yamaka' and 'kāñcī-yamaka'.
संसर्गयमकञ्चैव विक्रान्तयमकन्तथा । पादादियमकञ्चैव तथाम्रेडितमेव च ।। ३४३.
There is also 'saṃsarga-yamaka', 'vikrānta-yamaka', 'pādādi-yamaka', and likewise 'amreḍita-yamaka'.
चतुर्व्यवसितञ्चैव मालायमकमेव च । दशधा यमकं श्रेष्ठं तद्भेदा बहवोऽपरे ।। ३४३.
'Caturvyavasita' and 'mālā-yamaka' are also described; thus, yamaka is tenfold, with many other subdivisions.
स्वतन्त्रस्यान्यतन्त्रस्य पदस्यावर्त्तना द्विधा । भिन्नप्रयोजनपदस्यावृत्तिं त्वेकत्र विग्राहात् ।। ३४३.
The repetition of an independent or dependent word is twofold; but the repetition of a word with a different function, when separated, is considered singular.
द्वयोरावृत्तपदयोः समस्ता स्यात्समासतः । असमासात्तयोर्व्यस्ता पादे त्वेकत्र विग्रहात् ।। ३४३.
When two repeated words are joined, it is called 'samasta' (together); when not joined, it is 'vyasta' (separate), and when separated within a foot, it is considered singular.
वाक्यस्यावृत्तिरप्येवं यथासम्भवमिष्यते । अलङ्काराद्यनुप्रासो लघुमध्येवमर्हणात् ।। ३४३.
The repetition of a sentence is also accepted as possible; among figures of speech, 'anuprāsa' is considered light, medium, or excellent according to its merit.
यया कयाचिद्वृत्या यत् समानमनुभूयते । तद्रूपादिपदासत्तिः सानुप्रासा रसावहा ।। ३४३.
Whatever is experienced as similar through any kind of repetition, that connection of words is called 'anuprāsa', which brings forth aesthetic flavor.
गोष्ठ्यां कुतूहलाध्यायी वाग्बन्धश्चित्रमुच्यते । प्रश्नः प्रहेलिका गुप्तं च्युतदक्ते तथोभयम् ।। ३४३.
In an assembly, a composition recited out of curiosity is called 'citram' (a riddle); a question, a riddle, something hidden, something omitted, and both together are also described.
समस्या सप्त तद्भेदा नानार्थस्यानुयोगतः । यत्र प्रदीयते तुल्यवर्णविन्यासमुत्तरं ।। ३४३.
'Samasya' is sevenfold, with those divisions, according to the pursuit of various meanings; where a response is given with the same arrangement of letters.
स प्रश्नः स्यादेकपृष्टद्वपृष्टोत्तरभेदतः । द्विधैकपृष्टो द्विविधः समस्तो व्यस्त एव च ।। ३४३.
That is called a question, distinguished as having one or two parts in the answer; the single-part question is twofold, and the complete and separate forms are also twofold.
द्वयोरप्यर्थयोर्गुह्यमानशब्दा प्रहेलिका । सा द्विधार्थी च शाब्दी च तत्रार्थी चार्थबोधतः ।। ३४३.
A riddle is where the words of two meanings are hidden; it is of two kinds: based on meaning and based on words; the former is understood by meaning.
शब्दावबोधतः शाब्दी प्राहुः षोढा प्रहेलिकां । यस्मिन् गुप्तेऽपि वलाक्याङ्गे बाव्यर्थोऽपारमार्थिकः ।। ३४३.
When understood by the words themselves, it is called 'śābdī'; thus, a riddle is said to be sixfold. In which, even when hidden in the limbs of the phrase, the intended meaning is not the literal one.
तदङ्गविहिताकाङ्क्षस्तद्गुप्तं गूढ़मप्यदः । यत्रार्थान्तरनिर्बासो वाक्याङ्गच्यवनादिभिः ।। ३४३.
When one expects a component of a sentence, but it is hidden or secret, and the meaning is revealed by the omission or displacement of a part of the sentence, that is called by this name.
तदङ्गविहिताकाङ्क्षस्तच्चुतं स्याच्चतुर्विधम् । स्वरव्यञ्जनविन्दूनां विसर्गस्य च विच्युतेः ।। ३४३.
When one expects a component of a sentence, and it is missing, this absence is of four kinds: the omission of a vowel, a consonant, a dot, or the visarga.
दत्तेपि यत्र वाक्याङ्गे द्वितीयोर्थः प्रतीयते । तद्द्न्तदाहुस्तद्भेदाः स्वराद्यैः पूर्व्ववन्मताः ।। ३४३.
Even when a part of a sentence is present, if a second meaning is understood, that is called by that name; its varieties are considered to arise from differences in vowels and so on, as previously stated.
अपनीताक्षरस्थाने न्यस्ते वर्णान्तरेऽपि च । भासतेऽर्थान्तरं यत्र च्युतदत्तं तदुच्यते ।। ३४३.
When, in place of a removed letter, another letter is inserted, and a different meaning appears, that is called 'cyutadatta' (omitted-given).
सुश्लिष्टपद्यमेकं यन्नानाश्लोकांशनिर्म्मितम् । सा ममस्या परस्यात्मपरयोः कृतिसङ्करात् ।। ३४३.
A single, well-joined verse composed of parts from various other verses is called 'mamasyā', due to the mixing of the works of oneself and others.
दुःखेन कृतमत्यर्थं कविसामर्थ्यसूचकम् । दुष्करं नीरसत्वेपि विदग्धानां महोत्सवः ।। ३४३.
Though extremely difficult to compose and indicating the poet’s great skill, even if lacking in charm, it is a great delight for the learned.
नियमाच्च विदर्बाच्च बन्धाच्च भवति त्रिधा । कवेः प्रतिज्ञा निर्म्माणरम्यस्य नियमः समृतः ।। ३४३.
By rule, by arrangement, and by structure, there are three kinds; the rule for the creation of a beautiful composition by a poet is thus declared.
प्रातिलोम्यानुलोम्यञ्च शब्देनार्थेन जायते । अनेकधावृत्तवर्णविन्यासैः शिल्पकल्पना ।। ३४३.
By inversion and by direct order, both in words and in meaning, many kinds of metrical and phonetic arrangements are created as poetic art.
प्रातिलोम्यानुलोम्यञ्च शब्देनार्थेन जायते । अनेकधावृत्तवर्णविन्यासैः शिल्पकल्पना ।। ३४३.
By inversion and by direct order, both in words and in meaning, many kinds of metrical and phonetic arrangements are created as poetic art.
तत्तत्प्रसिद्धवस्तूनां बन्ध इत्यभिधीयते । गोमूत्रिकार्द्धभ्रमणे सर्व्वतोभद्रमम्बुजम् ।। ३४३.
The arrangement of well-known forms is called 'bandha'; these include the gomūtrikā, half-turn, sarvatobhadra, and the lotus.