are five kinds, the simile which extols, that which condemns, that with an imagined thing, as when the elephant is likened to a winged mountain, that based on similarity, and that on partial similarity, as in 'Her face is like the full moon, her eyes like the blue lotus'. The metaphor is an abridged comparison which unites the two objects so as to efface their distinction, as 'The fisher Love casts on the ocean of this world his lure, woman'. The illuminator (dīpaka) is the figure of speech, which uses but one verb to express the connexion between a subject series and a string of qualifications. Of forms of alliteration (yamaka), the repetition of vowels and consonants forming different words and meanings, there are enumerated ten kinds, a striking proof of the importance attached to these verbal jingles in early poetics.
The Çāstra[1] adds some vague and valueless suggestions as to the use of these ornaments and metrical effects in connexion with the expression of the sentiments. The erotic sentiment demands metaphors and Dīpakas, and prefers the Āryā metre. The heroic affects short syllables, similes, and metaphors; in passages of lively dialogue the metres[2] Jagatī, Atijagatī, and Saṁkṛti; in scenes of battle and violence, the Utkṛti. The sentiment of fury adopts the same metres, and also favours short syllables, similes, and metaphors. The Çakvarī and Atidhṛti metres are appropriate to the pathetic sentiment; it prefers long syllables, a liking shared by the sentiment of horror.
An effort is made by later writers on poetics to apply to the doctrine of the sentiments the theory of excellencies (guṇa), which is laid down generally in Daṇḍin, Vāmana, Bhoja, and other writers. In Daṇḍin[3] we find assigned to the Vaidarbha style a miscellaneous number of qualities, ten in all, which are defined in terms sometimes vague and unsatisfactory; these qualities include both those of sense and sound (artha and çabda). They include strength or majesty (ojas), elevation (udāratva), clearness (prasāda), precision of exposition (arthavyakti), beauty or attractiveness (kānti), sweetness or elegance (mādhurya), metaphorical language (samādhi), and in the use and combination of sounds homogeneity (samatā), softness (sukumāratā), and a natural flow (çleṣa). The chief opponent of the Vaidarbha style is given as the Gauḍa; it is vaguely credited with the possession
