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INTRODUCTION 1 of the Arthalankaras, Dipaka (Lamp on the threshold) is the first to be illustrated in three different varieties : (1) Adi dipaka (X. 23); (2) Madhyadipaka (X. 25); and (3) Antadipaka (X. 24), according as the common verb is mentioned in the beginning, middle or the end of the verse respectively. Jaya maigala calls these Dipaka because each action illuminates the consequent one. He has divided Adidipaka into eka-in and aneka-ti. Mallinatha disagrees with Jayamangala and takes x. 23 and X.24 as Kavyaliiga. Then follows Rupaka (metaphor) illustrated in five verses (X. 26-30) . Mallinatha describes X. 26 as Savayava-Rupaka (=Saiga-Rupaka) ; X. 27 is Viseso pama-yukta-kamalaka-Rupaka according to Jayamangala, while Mallinatha takes it to be an Utpreksa. X. 28 is named differently as Avataisaka, Kesarthanvasita, Khanda-Rupaka (Jayamangala) and Rupakatisayokti-Saikara Mallinatha),Ekadesa-Vivarti । (Bhamaha) and Avayava-Rupaka (Dandin) The above observations will suffice to show how opinions differ regarding the alankaras illustrated in different verses. In the absence of a definite indication by Bhatti himself, it is next to impossible to remove this confusion so as to present a clear picture of Bhatti's plan. Hence we give only a broad outline of the figures illustrated by him according to the two commentators Jayamangala and Mallinatha Rupaka followed by Upama (Simile) (x. 31-36; इव, यथा, सह, तद्धित, लुप्त, सम, आम, इव, उपम, कल्प, तुल्य, प्रतिम, यथा, वत्, सदृकसदृश, सन्निभ and सम are the words used for denoting semblance. Upama is the most common alankara in Sanskrit poetry and the Bhattikaya is no exception. Bhatti has drawn his objects of comparison (in all alankaras based on semblance) from a very wide canvas, -religion and mythology, grammar and education, geography and nature, fora and fauna, social and political science, in fact, anything and everything, under the sun. Arthantaranyasa illustrated in X. 37but its examples are found in many other cantos too (II. 6, VI20, 24, XI11 XI. 74). X. 38, 39 are Aksepa according to Jayamangala ; but x. 38 is Arthantaranyasa according to modern rhetoricians,