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.
चक्रञ्चक्राब्जकं दण्डो मुरजाश्चेति चाष्टधा । प्रत्यर्धं प्रतिपादं स्यादेकान्तरसमाक्षरा ।। ३४३.
The cakra, cakrābjaka, daṇḍa, and muraja—these are eightfold; half by half, line by line, or with alternating syllables.
द्विधा गोमूत्रिकां पूर्व्वामाहुरश्वपदां परे । अन्त्याङ्गोमूत्रिकां धेनुं जालबन्धं वदन्ति हि ।। ३४३.
The gomūtrikā is said to be twofold: the first is called aśvapadā, the second, with the gomūtrikā at the end, is called dhenu; the net arrangement is also mentioned.
अर्द्धाभ्यामर्धपादैश्च कुर्य्याद्विन्यासमेतयोः । न्यस्तानामिह वर्णानामधोधः क्रमभागिनां ।। ३४३.
By means of halves and half-lines, one should arrange the letters of these two, placing the letters below in sequential order.
अधोधः स्थितवर्णानां यावत्तूर्य्यपदन्नयेत् । तुर्य्यपादान्नयेदूद्र्ध्वं पादार्द्धं प्रातिलोम्यतः ।। ३४३.
As for the letters placed below, one should lead up to the fourth line; from the fourth line, one should lead upward, and half a line in reverse order.
तदेव सर्व्वतोभद्रं त्रिविधं सरसीरुहं । चतुष्पत्रं ततो विघ्नं चतुष्पत्रे उभे अपि ।। ३४३.
That very sarvatobhadra is threefold, and the lotus is also threefold; the four-petaled form is called vighna, and both are found in the four-petaled arrangement.
अथ प्रथमपादस्य मूर्द्धन्यस्त्रिपदाक्षरं । सर्व्वेषामेव पादानामन्ते तदुपजायते ।। ३४३.
Now, the triplet of syllables at the beginning of the first line appears at the end of all the lines.
प्राक्पदस्यान्तिमं प्रत्यक् पादादौ प्रातिलोम्यतः । अन्त्यपादान्तिमञ्चाद्यपादादावक्षरद्वयं ।। ३४३.
The last syllable of the previous line is placed at the beginning of the next line in reverse order; and the last syllable of the last line is placed at the beginning of the first line, with two syllables.
चतुश्छदे भवेदष्टच्छदे वर्णत्रयं पुनः । स्यात् षोड़शच्छदे त्वेकान्तरञ्चेदेकमक्षरं ।। ३४३.
In the four-sided form there are three syllables, in the eight-sided again; in the sixteen-sided, if there is an interval, there is one syllable.
कर्णिकां तोलयेदूद्र्ध्वं पत्राकाराक्षरावलिं । प्रवेशयेत् कर्णिकायाञ्चतुष्पत्रसरोरुहे ।। ३४३.
One should raise the pericarp upward, with a row of letters shaped like petals, and insert it into the four-petaled lotus.
कर्णिकायां लिखेदेकं द्वे द्वे दिक्षु विदिक्षु च । प्रवेशनिर्गमौ दिक्षु कुर्य्यादष्टच्छदेऽम्बुजे ।। ३४३.
In the pericarp, one should inscribe one letter, and two each in the directions and intermediate directions; the entry and exit should be made in the eight-petaled lotus.
विश्वग्विषमवर्णानां तावत् पत्राबलीजुषां । मध्ये समाक्षरन्यासः सरोजे षोड़शच्छदे ।। ३४३.
For the letters that are scattered in all directions, as many as there are petals, the arrangement of letters should be placed in the center of the sixteen-petaled lotus.
द्विधा चक्रं चतुररं षड़रन्तत्र चादिमं । पूर्व्वार्द्धे सदृशा वर्णाः पादप्रथमपञ्चमा ।। ३४३.
The wheel should be divided in two, with four spokes, and there the first; in the eastern half, the letters similar to the first and fifth of the foot.
अयुजोऽश्वयुजश्चैव तुर्य्यावप्यष्टमावपि । तस्योपपादप्राक्प्रत्यगरेषु च यथाक्रमं ।। ३४३.
Both the odd and even ones, as well as the fourth and eighth, should be placed accordingly in the respective preceding and following quarters.
स्यात्पादार्द्धचतुष्कन्तु नाभौ तस्याद्यमक्षरं । पश्चिमारावधि नयेन्नेमौ शेषे पदद्वयी ।। ३४३.
There should be a group of four half-feet, with the first letter at the navel; these two should be led up to the western boundary, and the remaining two feet in the rest.
तृतीयं तुर्य्यपादान्ते प्रथमौ सदृशावुभौ । वर्णौ पाढ़त्रयस्यापि दशमः सदृशो यदि ।। ३४३.
The third at the end of the fourth foot, and the first two, which are similar, and likewise the tenth letter of the three quarters, if it is similar.
प्रथमे चरमे तस्य षड्वर्णाः पश्चिमे यदि । भवन्ति द्व्यन्तरं तर्हि वृहच्चक्रमुदाहृतं ।। ३४३.
If, in the first and last, there are six letters in the west, and if there is an interval of two, then it is called the great wheel.
सम्मुखाद्वये पादमेकैकं क्रमशो लिखेत् । नाभौ तु वर्णं दशमं नेमौ तुर्य्यपदन्नयेत् ।। ३४३.
One should write each foot in order, two facing each other; at the navel, the tenth letter, and these should not be led to the fourth foot.
श्लोकस्याद्यन्तदशमाः समा आद्यन्तिमौ युजोः । आदौ वर्णः समौ तुर्य्यपञ्चमावाद्यतुर्य्ययोः ।। ३४३.
The first, last, and tenth of the verse are equal, as are the first and last of the even ones; at the beginning, the letters are equal in the fourth and fifth, at the beginning of the fourth.
द्वितायप्रातिलोम्येन तृतीयं जायते यदि । पदं विदध्यात् पत्रस्य दण्डश्चक्राब्जकं कृतेः ।। ३४३.
If the third is produced by the inversion of the second, one should assign the foot to the petal, and the staff to the wheel-lotus arrangement.
द्वितीयौ प्राग्दले तुल्यौ सप्तमौ च तथापरौ । सट्टशावुत्तरदलौ द्वितीयाभ्यामथार्द्धयोः ।। ३४३.
The second in the eastern petal, and likewise the seventh in the next; the sixth and seventh in the northern petal, and the halves of the second as well.