Tilakamanjari of Dhanapala (study)
by Shri N. M. Kansara | 1970 | 228,453 words
This is an English study of the Tilakamanjari of Dhanapala, a Sanskrit poem written in the 11th century. Technically, the Tilaka-manjari is classified as a Gadyakavya (鈥減rose-romance鈥�). The author, Dhanapala was a court poet to the Paramara king Munja, who ruled the Kingdom of Malwa in ancient west-central India. Alternative titles: Dhanap膩la Tila...
6.2. Alankaras (18): Virodha-bhasa (apparent contradiction)
Dhanapala's skill in the use of the figure of speech called Virodhabhasa or apparent contradiction can be seen in the following noteworthy specimens. The temple of Lord Mahavira is described in a series of three phrases, viz., anekamanimalalamkrtamapi ratnacatuskarajitam, dhvajadhisthitamapi simha- krantama, amgikrtavimanakaramapi sarvvatobhadrama (215,23ff.), where, in the first compound the words 'Mala' and 'Catuska' 1 are double-meaning, while in the latter two the knowledge of architectural details serve to resolve the contradiction. In
869 depicting the condition of Queen Madiravati after she conceived, the poet resorts to Slesa in order to bring in the Virodha-bhasa, as in : ' nivrcarajahsamgapi panduta magacchata | calitumasahapi khelalasapadanyasamakaro - ta, | dadhatyapi tanutamupacita babhuva gatryastrayam | krsnatarocitamapi sriradhavalatamaghatta drstima, | tatha ca prakrtimandapi tasya gatiramandayata | pinapi jaghanamandali pinatamabhajata | (74,20ff.). At times the poet combines Yamaka with Virodhabhasa, as in : avatirnasca tasmimstapamatapamatapamanatapam tapanamatapanam divasamadivasa grismamagri syam kalamakalam tusarapatamatusarapatam tribhuvanamatribhuvanam sarga - kramamamamsta | (212,15ff.), where than he describes the extraordinary peaceful atmosphere in the garden surrounding the temple of Lord Rsabha at Mount Ekasraga. The amalgamation of the two figures of speech with Virodhabhasa is rather ingenious when the poet resorts to it in the description of the Vaitadhya mountain, as in : mairukalpapadapaliparigatamapi nameru kalpapadapaliparigatam, vanagajali - samkulamapi navanagajalisamkulam tamavalokitavana, | (240,14ff.). It should be noted here that the contradiction is felt in 1 the above case only when the phrases are heard with emphasis on 'Na' rather than they are read : This testifies to the essential nature of the work being one to be listened to (gravya) rather than read (vacya):: And the $lesa involved here is a Sabhanga one necessiating the compounds to be broken up as 'Meru-kalpa-pada-pali-parigatam nameru-
870 kalpapadapa-ali-parigatam, vana-gaja-ali-sankulam navanagaja-ali-sankulam.