सुदंसणचरिउ में अलंकार-यौजना

Summary

The text analyzes the use of poetic embellishments (alankaras) in the Jain epic *Sudamsanacariu* by Mahakavi Nayanandi. It begins by citing the poet's own verse, which asserts that ornamented poetry composed by a skilled poet contains a rasa (aesthetic pleasure) not found in natural beauties like coral-red lips, lotus ponds, or sandalwood. This establishes Nayanandi's preference for alankara-rich poetry. The analysis identifies a profusion of various alankaras in the work. Among word-based alankaras (shabdalankara), examples of *slesha* (pun) are more frequent, while *yamaka* (rhyme) and *vakrokti* (oblique expression) are less common. A specific instance of *yamaka* is shown with the word 'timmanai' used in two different senses. *Slesha* is illustrated through a verse describing a woman and a poet's tale, where terms like 'lakkhana' and 'alankara' apply to both. Another *slesha* example involves the word 'sneha' meaning both 'ghee' and 'love'. *Vakrokti* is demonstrated in a dialogue where a woman deliberately misinterprets 'ashoka' and 'shriphala'. *Svabhavokti* (natural description) is found in a verse depicting women rushing to see the handsome monk Sudarshana. The most dominant alankara is *upama* (simile). The poet uses both conventional and novel similes for the hero and heroine. For the hero, his hair, eyes, nose, and lips are compared to bees, lotus petals, champaka flowers, and bimba fruit, respectively. Novel comparisons include his eyebrows to Cupid's bow and his voice to a new cloud's thunder. For the heroine, her face, eyes, and breasts are likened to the moon, a deer, and a pot. The text highlights the