Agni Purana

समौ तुर्य्यं पञ्चमन्तु क्रमेण विनियोजयेत् । तुर्य्यौ योज्यौ तु तद्वच्च दलान्ताः क्रमपादयोः ।। ३४३.

The fourth and fifth, being equal, should be assigned in order; the fourths should likewise be joined at the ends of the petals, in the order of the feet.

अर्द्धयोरन्तिमाद्यौ तु मुरजे सदृशावुभौ । पादार्द्धपतितो वर्णः प्रातिलोम्यानुलोमतः ।। ३४३.

At the ends of the halves, the first and last, both being similar in the drum-shaped (muraja) arrangement; the letter placed at the half-foot, in reverse and direct order.

अन्तिमं परिबध्नीयाद्यावत्तुर्य्यमिहादिमत् । पादात्तुर्य्याद्यदेवाद्यं नवमात् षोड़शादपि ।। ३४३.

One should bind the last up to the fourth here, beginning with the first; from the fourth foot, the first, and from the ninth up to the sixteenth as well.

अक्षरात् पुटके मध्ये मद्येऽक्षरचतुष्टयम् । कृत्वा कुर्य्याद्यथैतस्य मुरजाकारता भवेत् ।। ३४३.

From the letter, in the middle of the fold, placing a group of four letters in the center, one should arrange so that it takes the form of a drum (muraja).

द्वितीयं चक्रशार्दूलविक्रीडितकसम्पदम् । गोमूत्रिका सर्ववृत्तैरन्ये बन्धास्त्वनुष्टुभा ।। ३४३.

The second is the wheel, the tiger's play, and the gomūtrikā, accomplished by all meters; other arrangements are for anuṣṭubh.

नामधेयं यदि न चेदमीषु कविकाव्ययोः । मित्रधेयाभितुष्यन्ति नामित्रः खिद्यते तथा ।। ३४३.

If there is no name for these, whether in poetry or in the poet, friends are pleased by the giving of names, but not-friends are thus distressed.

वाणबाणासनव्योमखड्गमुद्गरशक्तयः । द्विचतुर्थत्रिश्रृङ्गाटा दम्भोलिमुष्लाङ्कुशाः ।। ३४३.

Arrows, bows, quivers, swords, maces, spears, double, triple, and quadruple-crested clubs, drums, pestles, goads—

पदं रथस्य नागस्य पुष्करिण्यसिपुत्रिका । एते बन्धास्तथा चान्ये एवं ज्ञेयाः स्वयं बुधैः ।। ३४३.

The foot of a chariot, an elephant, a lotus pond, a sword-case—these are bonds, and others as well; thus the wise should know them for themselves.

अग्निरुवाच अलङ्करणमर्थानामर्थालङ्कार इष्यते । तं विना शब्दसौन्दर्य्यमपि नास्ति मनोहरम् ।। ३४४.

Agni said: Ornamentation of meanings is called the ornament of meaning; without it, even the beauty of words is not truly captivating.

अर्थालङ्काररहिता विधवेव सरस्वती । स्वरूपमथ सादृश्यमुतप्रेक्षातिशयावपि ।। ३४४.

Without the ornament of meaning, Sarasvati is like a widow; her true nature, resemblance, poetic fancy, and excellence are also so.

विभावना विरोधश्च हेतुश्च सममष्टधा । स्वभाव एव भावानां स्वरूपमभिधीयते ।। ३४४.

Imagination, opposition, and cause—these eightfold together; the inherent nature of things is called their essential form.

निजमागन्तुकञ्चेति द्विविधं तदुदाहृतम् । सांसिद्धिकं निजं नैमित्तिकमागन्तुकं तथा ।। ३४४.

It is said to be of two kinds: innate and acquired; innate is natural, while acquired arises from a cause.

सादृश्यं धर्म्मसामान्यमुपमा रूपकं तथा । सहोक्त्यर्थान्तरन्यासाविति स्यात्तु चतुर्विधम् ।। ३४४.

Resemblance, common property, simile, and metaphor; co-expression and transference of meaning—thus, there are four kinds.

उपमा नाम सा यस्यामुपमानोपमेययोः । सत्ता चान्तरसामान्ययोगित्वेपि विवक्षितं ।। ३४४.

A simile is that in which, between the object of comparison and what is compared, there is an intended connection, even if only a general similarity.

किञ्चिदादाय सारूप्यं लोकयात्रा प्रवर्त्तते । समासेनासमासेन सा द्विधा प्रतियोगिनः ।। ३४४.

By taking some resemblance, worldly discourse proceeds; in brief or in detail, the counterparts are twofold.

विग्रहादभिधानश्य ससभासाऽन्यथोत्तरा । उपमाद्योतकपदेनोपमेयपदेन च ।। ३४४.

From the analysis of expression, with or without a word indicating similarity, and with the word for the compared object—

ताभ्याञ्च विग्रहात् त्रेधा ससमासान्तिमात् त्रिधा । विशिष्यमाणा उपमा भवन्त्यष्टादश स्फुटाः ।। ३४४.

From these two and from analysis, there are three; with or without compounds, there are three types; thus, the distinguished similes are clearly eighteen.

यत्र साधारणो धर्म्मः कथ्यते गम्यतेऽपि वा । ते धर्म्मवस्तुप्राधान्याद्धर्म्मवस्तूपमे उभे ।। ३४४.

Where a common property is stated or implied, due to the prominence of property or object, both are called property-simile or object-simile.

तुल्यमेवोपमीयेते यत्रान्योन्येन धर्म्मणौ । परस्परोपमा सा स्यात् प्रसिद्धेरन्यथा तयो ।। ३४४.

Where both are equally compared with each other in respect to a property, that is called mutual simile; otherwise, it is not so established.

विपरीतोपमा सा स्याद्व्यावृत्तेर्न्नियमोपमा । अन्यत्राप्यनुवृत्तेस्तु भवेदनियमोपमा ।। ३४४.

That is called inverse simile, due to exclusion; when the similarity is found elsewhere as well, it is called non-exclusive simile.

समुच्यतेपमातोऽन्यधर्म्मवाहुल्यकीर्त्तनात् । वहोर्धर्म्मस्य साम्येपि वैलक्षण्यं विवक्षितं ।। ३४४.

When, apart from the simile, there is mention of many other properties, and even with similarity in the main property, distinction is intended.

यदुच्यतेऽतिरिक्तत्वं व्यतिरेकोपमा तु सा । यत्रोपमा स्याद्वहुभिः सदृशैः सा बहूपमा ।। ३४४.

When excess is stated, that is called excessive simile; where the simile is with many similar things, it is called multiple simile.

धर्म्माः प्रत्युपमानञ्चेदन्ये मालोपमैव सा। उपमानविकारेण लुलना विक्रियोपमा ।। ३४४.

If the properties are compared with different objects, that is called garland-simile; when the object of comparison is altered, it is called changing simile.

त्रैलोक्यासम्भवि किमप्यारोप्य प्रतियोगिनि । कविनोपमीयते या प्रथते साद्‌भुतोपमा ।। ३४४.

When something impossible in the three worlds is attributed to the counterpart, and a poet compares it, that is called a marvelous simile.

प्रतियोगिनमारोष्य तदभेदेन कीर्त्तनम् । उपमेयस्य सा मोहोपमाऽसौ भ्रान्तिमद्वचः ।। ३४४.

When the counterpart is imposed and, without distinction, the subject is described as identical, that is called a delusive simile, the speech of one who is confused.

उभयोर्धर्म्मिणोस्तथ्यानिश्चयात् संशयोपमा । उपमेयस्य संशय्य निश्चयान्निश्चयोपमा ।। ३४४.

When there is uncertainty about the properties of both, it is called a doubtful simile; when the subject is doubted, it is a simile of uncertainty; when certainty is established, it is a simile of certainty.

वाक्यार्थेनैव वाक्यार्थोपमा स्यादुपमानतः । आत्मनोपमानादुपमा साधारण्यतिशायिनी ।। ३४४.

When the meaning of a sentence itself is compared to the meaning of another sentence, that is a sentence-simile; when the comparison is to oneself, it is a simile surpassing commonality.

उपमेयं यदन्यस्य तदन्यस्योपमा मता । यद्युत्तरोत्तरं याति तदाऽसौ गगनोपमा ।। ३४४.

When the subject is compared to something else, that is considered a simile; when it proceeds step by step, it is called a sky-simile.

प्रशंसा चैव निन्दा च कल्पिता सदृशो तथा । किञ्चिच्च सदृशी ज्ञेया उपमा पञ्चधा पुनः ।। ३४४.

Praise, censure, and imagined similarity, as well as partial similarity—thus, the simile is known to be fivefold.