1. Kavya Alankara Bhama Ed. Subhrahmanya Sastri P.S

Barcode : 99999990879995 Title - Sri Kavyalan Kara Author - null Language - sanskrit Pages - 154 Publication Year - 0 Barcode EAN.UCC-13

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Claxs No. 891.261

Book No .- B57 K

Accession) No. 7734

॥। काव्यालंकार: ॥

। श्री भामहविरचितः।।

पि. एस्. सुब्रह्मण्यशास्त्रिभि:

परिभोचित:

'बाळेस् प्रेम्' मुदाक्षराजलबां सुदित:।

मूल्यम् ३ रूप्प.

The " Wallace Printing House, " Tanjore,

१९२७. 192

SRI

KAVYALANKARA

BY

Sri Bhamaha

। श्री भामहविरचितः॥

WITH

English Translation and Notes

BT

T. 2). Naganatha Sastry, B. A., B. L., H. C. VAKIL. TANJORE.

Price Rs. 3, -

Printed and. Published by

• The." Wallace Printing House, " Tanjore.

591261

ace. w:7734.

To

REVERED MEMORY

OF

MY FATHER.

Introduction.

Perbaps no explanation is needed for bringing out an edition of Bhamzha's Karyalankara. tbough, one mnay be needed for briuging out any work at all on tha subject. For, the subjeet of poctic criticism depends on the interest which people take in poetry. This is & practical age anl everywhere people manitest very little interest in the study or practice of poetry. Good poetry is produced, however, here and there and contributes to the real enjoyment of Sabrudhayas who, fortunately, have not become extinct. By such at leagt, it is hoped that an edition of Bhamaha may be appreciated. Further, Bhamaha's claim on our rememberance is very great. He was one of the earliest critics to systematizs Potic Criticism and present it in a condensed from. (See Par II vsrses 95-96): That some treatiees on the sub- ject sbould have existed before Bhamara is clear from the fact that he refers to having discarded portions of his subject matter. (See verse 95 mentioned above ) That the definitions are his is also clear from Par II1 v. 57: and that these defibitions have been copied bodily by many eminent subsequent rhetoricians-L chankara and Mammata among others-constitutes an unmis- takeable tribute to their excellence. That such a work should be made avilable to the public is nos only to their advantage but also consti- tutes a legitimate act of bomage to the first Great Rhetorician. I bave been actuated more by the latter feeliag. Iustead, bowever, of merely printiag the tox t

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(which also has been done) it was suggested to me that a translation and notes which I had first made for my own use may be thrown inta shape an l tacked on to the text. I agreed to do so because I thought they might be of some help, however small, to othera. I am acutely conscious of my inadequate equipment for the task of an efficient translator or commentator and anticipste the discovery of very many errors both of matter and of language. But still, I have ventured iuto print, because, no one has, till now, attempted to bring an edition of this work; though the Ite K. P. Truvedi printed the text only as App. VIII to this edition of bis Prathapa- Rudra Yasr Bhishina. (B. S. & P. Series No. LX V.) Bhamaha's date :-

I do not propose in this iutrodaction to do anytbing more than indicste the autboritiog who have mvle considerible researoh as regards the date of Bhamaha, his pirantage, religion, works, position in litorature, etc For faller infor mation the reader must go to the authorities themgelves-

Is' Blan aha' a pen-name?

The root ' Bhama" means " to be angry " and the worl " Bhimint" (one who is angry) as applying to women in generil is refernble to this root thongu perhaps it is neither chivalrous nor just to do so. The derivative meaning of " Bhamaha" would be " one who has, killed or given up, anger". That meaning will fit in exceilently with oue of the very few personal traits cf the writer which we can gather from this work; for, Bhamara seems to bave been an extremely modest

iii person and had great respect for his predecessors. (vide Par. IV. v. 51). That it may be a pen-name is also gathcrable from the following considerations. His father's name is given as Rahrila Gomin. The second word ' Gomin' has been understood to be a contraction for ' Geswamin', a family name which exists in its original form among many Mahratta and Bengali families of to day. It is unlikely that this writer dropped bis family name and adopted that of "Bhamaha" as his name for bis every-day transactions. Further, his true name must bear some resemblance to that cf bis father and to a host of similar eames such as Rahula, Ramila, etc. (See a paper by Mr. T. Narasimha Iyengar mentioned later on). Hence it is very likely that " Bhamaha" was a non-de-plume.

His Other works :- A emmentary on Vararuchi's Prakritha. Suthras called Frakritha-Prakasa is attributed to Bhamaha and is said to have been printed in Benares in 1920. " Kamadhenu", the commentary on Vamana- Suthras, quotes largely from Bhamaha. Mr P. V. Kane refers to a work on metrics by Bhamaha; but he doubts if all these are attributable to one and the same person. (See Kane's intro to Sahithya-Dharpana, p. 20).

His age :- I cannot enter ioto anything like a discussion on this important question. Eminent scholars have already gone into all the available material and have not been able to arrive at any definite conclueion. Even as to the subordinate question of the relative priority of

Bhamaha ard Dandin, there is considerable divergence ofopinion: Mr. Patak, in his introdnetion to Kaviraja -! marga, came to the conclusion that Bhanidha was prior. Mr.T. Narasimh Iyengar B. A., of Mysore published a paper in July 1925, in the Journal of Royal Asintic Society in which he expresses exaotly the opposite view on what he calls conclusive evideuce that had become available lator. Mr. K. P. Trivedi in his introduction to Pratapa- Rudriya examines the evidence and the argument of the above two writers and agrees with the view of Mr. Patak. Mr. P. V. Kane cxamines the arguments of all the three above and concludes that there is no evidence of suffi- cient force to produce as regards either view "a convic- tion in very unbiassed mind". He adds that his own prediliction is for Dandin's priority. He fixes the period. of both between 500 to 630 A. D. (See Kane's intro. to S. D. P. p. 16 to 41). Mr. S. K. De in his history of Sanshrit Posties Vel. I. diseusses Bhamaba's age and places him at the end of the 5th and the beginning of the 8th century (see p. 45 ef. stg.). He concludes that Pandin was familiar with the text of Bhamaha,, whom, "as a notable prrdecessor exprea ! sing a contrary vicw he could bardly ignore" (p. 60 of the above). Country and religion :- All critics are however agreed that Bhamaha was a Kashmsrian. Mr. Narasimha Iyengar's conelu- sion that he was a Bhuddhist is annlysed and examined by Mr. Traredi who concludes that he was a Brahmin. Mr. Kane does not agree with Mr. Iyengar although he does not express himself definitely on the poiut.

Hts ancrstry :- Regaiding this, no detail in available excopt that he was the son of Rakrila Gonin. See Par. VI. v.64.). Hs o jret in composing this work :-

This seems to be not so much to bring int) cxietence a theoretical treatise on rhetoric as to fac .- litate a critical study ot the subject with a view to serve as a practical band-beok in the art of Poetical C'omposi- tion. This is clear from the following. In Par. I. v.3 be speaks of "Karya Nibandlanam 'comrosition) ag conferring very many advantages. In verse 3 he ridieules knowledge of the Sastras in one who is not a poet. In verre 4 he denics the value of elcquence if it should not be aesociated with the power of poetic expressicn. In verse 9 he alludes to the necessity of verious kinds of cquipment to those that are engaged in compceing Karya :. The coneluding verse of Par. I. contains instructions for the stringing together of words to produce a charming reeult, while the whele of par. Vi. is a practial treatise on the selection cf words with a view to poetical comporition. (a) FooT NOTE: - Iu the published text I male an alteration by subslitu- ting for 'काव्येरवरी' काव्यगश्वमि, Btr. Kane to, whom I sent the proof pointed out that the change was uonecessary ar ATT would mean " the Wares of a poal' I accep: the sugzeation. Bat it came too late to boutilirad; Dr. De Saysthat the word may be काव्ययोनय: FOOT-MOTE :- Dr. Ds in Vol. II P .. 49 of hin History of. Sanskrit Foetioa speaking of Bhamaha says that the pr. ctical objeot f the school of Bhamnaha in goner al was " more or less normitive in sharaster and did not allow auffisien t scope for purely theoretic traatment ". Again in P'. 02 of the same mork he vays that tho 'toriginal viaw of Sa skrit poaties was that it was more or less a mech anioal discipline."

vi

His potic insight anl pow'r: -

Now since Bhamsha attched so much import- ance to the composition of poetry as distinguished from its study it is rather remarkable that no poetical work written by him is available. The preseut work being one on Litarary Criticiam dil not furnish scope for the full exercise of his poetic power. This affordel him opportunity for merely composing condensed illustrations to the Figures of Speech he defined. But, even judged by this meagre material we mast conclude that Bhamaha was a poet of very considerable merit It bas been said 'the Kavya Dharsa" of Dandin is written in a "flowing mellifluous styie As compared with Bhamana "the palin cf superiority in the sphere of poctic excel- "lence, must be give to Dandin though as regards pre- "aision, logical acumen and clearness of expression " Bha maha stands higher than Dan lin." (Kane's intr.) to S. D. p. 22). Mr. Kane's opinion is no doubt entitled to considerable weight. One hesitates howover to yield to his views. The reader will surely be ablo to find many illustrations of striking poetical power in the work. The following passages may, however, be referred to in this connection. Far I. v. 13. v. 51. Par. II. v. 55. v. 83. v. 94. Par. 11l. v. zl. and Par. VI. v. 1 to 3. After all, this is a matter of individual taste and very consider- able difference of opinion is permissible.

That large divergences of o; inicn are pos- sible is curiously illustrated in conection with Bhamahz bimself. Wbile Mr. Kane recoznises, as stated above, Bhamaha's precision, ete., Mr., Banhatti in his Intro. to K. A. S. P. XXII says :-

vii "A reform was going on in the notiong "abont Alankart also. The somewant loose descriptious ' 'of Bhamaha were replaced by accurate and seientific "definitions, ete. Accuracy of defipitiou was not the object "aimed at by the earlier writers as a working ide of "the topics explained. .This they attempted to achieve 'by examples". It would be thus seen that Mr. Banbatti entertains an opision opposed to that of Mr. Kare as regards the precision ete. of Bham iha's definitious. If Mr. Banhatti means any disparagement to the metbod of clearing up a point more by illustration than by defi- nition I need only refer to Mr. Banhatti himself who later on in P. 6 of bis notes to the text where Udbha- ta's definition is preceded by an exvinple, says :- "It '(the example) is cited here because the meaning of the "definition is not properly grasped uuless an example is "given to illustrate its application". In fact as already 'stated Bhamaha's aim was to mike an aspiring poet 'quite conversant with his "wares" (to adopt Vr. Kane's word). Hence his apparent cmission to give defini- tions to certaiu F.gures of Speech. One wonders whether, after all, the scientific accuracy of a defini- tion is not inversely proportional to its intelligibility.

An Original think r :- In the discussioo of fundamental questions Bhamaha exhibits considerable acumen and analytical power. Thu4, his discussion, as to the degree of simila- rity and dissimilarity between two cbjects before thay could be employed in comparision, is full cf interest. 1 (Se Par. II. verses 43 to 60. He saye, if two objects should be compared, they should resembie each other; ro'

viii

but as no two objects completely resemble each other, the necessary degree of similarity for comparison has to . be ascertained with reference to some standard. "What 'gulf of defference is there" says he "between the Moon and the damsel's face ? but still a comparison is made because of the existence of some brightness iu te face. (v. 44.)" The resemblance, bowever, must be real, uot as in verse 47. in whieh it is described that a stream of effulgent water flowe froi the Sun. This limitation. dces not preclude even a very fugitive resemblance from being telling, as in verse 46. Further, the charm in similes does not consist in very close similarity but in- volves the appreciation of a differonce between the objects compared, wbich couduces to the superiority of the Upamana. Thus in verse 51. "Jarkness" is com- pared to the elephant. 'Darkness' can uever be lumped together. But as an object of comparison to the clephant "lumped dirkness" goes to intensify the size and colour of the elephants. This superiority of the Upamana can be pusbed to extrome lengtbs as when a crane standing with closed eyes iu the water is com- pared to Brabma in Samathi while engagod in the Great Act of creating the Universe. Here the defect lies in having an Upamana too elevated with reference to the Upameya. The reverse is also possible, as when, a victorious King who worries his enemy is compared, to a dog, worrying a herd of deer. Hore the Upamina is ignobie as compared with the Upameya (V. 51 of Par. II. In this discussion and in the m urshalling of exam- ples our author displays considerable critiod and poeti- cal power.

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His strength of conviction -- Not only does Bhmaha reach his owa con- clusion in many coutroversial matters but expresses his dissent in decisive langnage though the authorities he differs from, are venerable,from their accepted eminence Thus in Par. VI vv. 10 11 he discards the idea of a "collection" apart from the objects composing it. And in verse 12 he repudiates the Sphoia Th cry of Gram- marians "though backed with one hundred oaths". He uses language of such emphasis as the above though his reverence for grammar and for grammarians is im- mense. (See Par. VI. v. 1 to 6.). His own conclusion as to the Metaphysics of Speech is intelligible though not likely to be aceepted as sound. He refers to an original compact or con- vention that letters are "euch and such and so many" and their combinations have or should have such aud such meanings etc. (Par. VI. v. 13.) In the next verse he calls those people dull who mistake technieal terms for fundam ental verities. His argument against the Anyupoha (Haie) theory of the Buddhists is equally elever and clearly expressed. That school maintains that the function of the meaning of a word is to exclude that which is not covered by its connotation. Thus the word "cow" does not affirmatively connote anything regarding a cow but simply excludes all things which arc 'not-cows". Bhamaha shrewdly asks "if yon at first know notbing affirmatively about cows how cin you lifferenti ute those that are not cows for the purpose of ex:lusion".

Bhamaha and Subsoquont writers: -

A list of writers who refer to Bhamaha is given in Trivedi's intro. to Prat. Rud. P. 22. Footnote. Raghava Bhatta in bis commentary on Sakuntala calls this work an "Akara" (treasure house). Vidbyadhara says. पूर्वेम्यो भामहादिभ्यः सादरं विहिताञ्जलिः

Udbhata the author of Kavyaanlara Sangraha an author of accepted eminence in the old school himself wrote a commentary on Bhamaba's work called Bhamaba Vivarana, whicb, however, bas been lost. Thus, it is clear that our author became a elassic long long ago. His idea of Vakrokthi :- One of the first questions in poetics is "How does the language of poetry differ from the language of ordinary life". This latter is direct and in the proportion in which it is so, it is helpful, in the ordinary businees of life. Poetical language aims at being striking or arrest- ing. It has been appropriately though not elegantly called vakrothi (lit. a twist in expression). This twist consists in the strikingness of the language as well as of the thought. Whether Bhamaha was the earliest to recognise this or not, there is unmistakable evidence that he attached a great deal of importance to it. (See Par. I. v. 30 and v. 35 and Par. II. v. 35). In comparing the style " Va darbhi" with "Gaudi" he calls the former " Avakrokth:". According to him strikingness of meaning is at the root of all Poetio Figures. (Par II. v. 85). Strikingness in meaning is the same as Athissyokthi which according to Ananda- Vardhana is discoverable in every Poetic Figure.

xi (See Dhwanialoka Lochana. P. 207-208. N. S. Edn). Bhamaha's prediliction for a "twist in mean- ing was so great that he discards Ewathavolthi as a Figure, for, in it, as its name implies, there is no scope for any twist. This theory of Vakrokthi has been deve" loped into an elaborate system by Kuntalz in his Vak- rokthi Jeevitha. Rasa :- In this work the theory of Rasa is given no prominence. Bhamaha of course did not ignore Rasa. He included it among Alanharas. (Par. III. v; 6). Its recognition as the Soul of Poetry is of much later date and constitutes the chief achievement of the Modern School led by Anandavardhana. Rithis :- This author does not use the term Rithi although he was familiar with two kinds of recognised styles, Vaidarbhi and Goudi. He was fully aware of the controversy as to which of these two was the supe- rior. The controversy should have been of some stand- ing if we pay attention to his language in this connec- tion (See Par. I. v. 31 to 36). He favours the Gaudi 'and relegates Vaidarbhi to a lower position as some- thing which is soft and and insipid, having no merit and agreeable, if at all, only as a song is agreeable to the ear. When we come to Dandin's elaborate defence of Vaidarbhi we are led to conclude that he must have had in view as an antagonist, some writer of very con- siderable authority, possibly Bhamaha. The schem: of the work :- The work is divided into six Parichedas. The number of slokas given at the end of Par. VI, totals

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to 400 verses. There are, however, only 396; but as some verses contain more than two padas (qT) tbe figure 400 may be correct. Par. I. treats of the body of Poetry; i. e. of Words ant Meanings taken together. Its form may be two-fold, Prose and verse. Tbe material may be either Sanshrit, Prakrit or a Dialret. It may treat of fact or fiction or of the arts or sciences. It may be divided into Poems (proper). Dramas, Auto-Biographies, Narratives and miscellan cous compositions. These are defined and, among them, the nature of Akhyaika (Bi graphy) and Katha (Story) has been the subject of considerable difference of opinion among ancient writ- ers. In this chapter some D-fects of Composition are treated at the outset becanse, apparently, they are general in their character; while in Par-IV the defects that relate to words mrtre, etc, are treated. Par. II & III treat of Alankaras proper. (Firgures of Speech) Par. II. opens with the statement that poems bave two important characteristics Softness and Power. The former is attained by the employment of simple lan- guage or simple compounds, if at all. Then follow Sabdalankaras, including Lata-Anuprasa and Yamaka with illustrations. Then a group of Arthalankaras among which Upama is treated in considerable detail. (vv. 1 to 65). Then follow six other Alankaras (v. 66 to 85). Then there is the mention of three Figures "Hetu" "Sukshma" and "Lesa" (v. 86 to 88). Bhamaha does not' accept these, however, as Figures of Speech. Then follow "Yatha-Sankam" (Numerical order) and "Utpreksha". "Swabhavokthi" is mentioned and illutr- ated but not accepted as a Figure of Speech. Chapter IlI. defines and illustrates 23 more Alankars Thus Bhamaba accepted three Sabdhalankaras thirty-two

xiii Arthalankaras and four more Alankaras have been mentioned but discarded. The discussion of Alankaras as above in certain groups or sets bas led to the surmise that Bhamaha was dealing with them with reference to their historical development. Par. IV illusrates eleven Dosbas of which Virodhi has six sub-divisions and Heena three, Par V treats in detail of the last of the Doshas men- tioned in Par IV, wbich may be described compendiously as "illogicality". Its treatment as part of a system of Poetic Criticism has been repudiated by Dandin. Par VI is devoted to directions as to the selection of proper words among many grammatical forms based apparently on considerations of euphony. Sruthi-Kashtam (Caco- pbony) has been already deecribed (P. 1.v. 53). The endeavour in this chapter is to secure melody, a possitive good quality not merely avoiding a bad one. His predecessor : - Bhamaha mentions Methavin and Rama Sarman whose work was known as Achyutottara, Sakha- Vardhana and bis two works Raja-Mitra and Rathna. Harana. Methavin is a writer of whom some facta are known. Mr. P. V. Kane in his intro. to S. D. P. X III. has discussed this writer. His conclusion is that the full name of tbis writer was Methavi-Rulra. His work on Alankara must have been a treatise of considerable merit, for, to him, is traceable the discussion of the nature of Simile, its defects and its merits. Of the others no informstion is available.

Bhatti and Bhamaha :-

In this connection a point of some interest may be noted. Chapter X of Bhatti-Kavya illustrates both Sabdalankaras and Arthalankaras. The treatment of the former is very much more full than that by Bharaba. As regards the latter, Bhatti, without defining any of the Alankaras gives illustrations of them in an order which corresponds very largely with the order in this work. There are some slight additions by Bhatti at the eud. It would therefore appear as if Bhatti followed Bhamaba. In Bhatti Chapter XXII verse 34 is this eloka.

प्याख्यागम्यमिदं काव्यं उत्सवः सुधियामलम् हतादुर्मेघसश्चाश्मिन् विद्वत्पिरियतयामया। Bhamaba in Par. II v. 20 writes :-. काव्यान्यपि यदीमानि व्यख्यागंम्यानि शास्त्रवत् उत्सवस्सुधियामेव हन्तादुर्मेघसो हताः ।

The similarity of the above two passages is too great to be accidental and the meaning of the one seems pointedly to allude to the other. Of the two, which is prior? Dr. S. K: De discusses this matter in his Sanskrit Poetics Vol. I. P. 50 to 57 and concludes that both must bave referred to a common text

Translation and Notes :-

The object of good annotation is, as I take it, to state only so much as is necessary to explain the text. Anything more is likely to distract the attention from the text. However, to a student who desires to bave &

little more knowledge of the topics treated, short notes, mainly in the nature of references to other writers, will be of great help. I have tried to keep in mind the above considerations in my notes.

As regards the translation I have allowed myself a little latitude. Many a reader bas felt that a litera l translation closely following the idiom of the language of the original is very often un-intelligible. The English of such translations jars very badly on the ear, and in some instances, becomes intelligible only after the meaning of the text has been otherwise ascer- tained. The language of the translation has certain peculiarities and idioms which neceesitate the addition of words for which an exact counterpart will not be found in the original. These words do not affect the meaning; but make the translation more readable. I have now and then introduced such words but enclosed them within brackets. I trust they will be helpful to the reader without distorting the mesning of the text

In making this translation I have received great help from Brahma Sris Viswanatha Sastrigal of Tiruvadi, Swaminatha Sastrigal of St. Peter's High School and Subramania Sastrigal of Kalyanasundaram High 'I'chool, Tanjore. The last of them has also taken all the trouble in the matter of copying the manuseribt for the press, correcting the proofs, etc. I have received suggestions from Mahamahopahiyaya Kuppuswamny Sastrigal M. A., of the Presidency College and from Mr. P. V. Kane M. A., L L. M., of Bombay. I am deeply indebted to all of them.

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This text is based on a collation of the manus- cript in the Oriental Library, Madras, in the Mabaraja's Library at Trivandrum and those in the possession of Brabma Sree R. V. Krishnamachariar Sanscrit Pundit, Gcvernment College, Kumbakcnam and of Brahma Sree Chakravarthi Acharya of the Tiruvadi Sanscrit College. The printed text of the work, constituting appendix VIII of Trivedi's Pratpa Rudriya, was com- pared with the manuscripts. Except the Mauuscript in the Oriental Library, Madras, wbich I myself com- pared with the printed text, the other manuscripts were compared by Brahma Sree Subramani Sastrigal of the Kalianasundaram High School, Ta njore.

I am aware that in the translation and notes many shortcomings may be discovered. I have already stated that this venture of mine is more an act of homage to Bhamaha. I hope that the reader will recogoise that some houest labour has been put into the work.

In the matter of the printing of this work a large num- ber of avoidable mistakes in spelling and typo-graphy wil! strike one even at a very superficial glanca, The limitations of an up-country press have rendered them inevitable, for which, I hope the reider will be generously ind ulgent. Tanjore,

December 1927. T. 2. naganatha Sastry.

।। श्रीः ।।

BHAMAHA'S KAVYALANKARA.

काव्यालंकारः ।

प्रथम: परिच्छेरः ।

CHAPTER I.

प्रणम्य सार्व सर्वज्ञं मनोवाख्खयकर्मभिः । काव्यालंकार इत्येष यथाबुद्धि विधास्यते ॥ १ ॥ Tr. After prostrating before the Lover of All and the All-knowing, by mental, vocal and bodily acts, this work, called Kavyalaxkara, is composed to the best of (my) capacity. Note :- The word सार्न: in the sense of सर्वेम्यो हित: is evolvesl in the manner stated in Verse 53 of Chapter VI post.

धर्मार्थकाममोक्षेष वैचक्षण्यं कलामु च । प्रीतिं करोति कीर्ति च साधुकाव्यनिबन्धनम् ॥ २॥। Tr. Composition of good poetry produces ability in (or makes one able, or capable in the pursuit of) Dharma, Artha, Kama and Moksha; also in Arts. It also confers Pleasure and Fame. Note :- Lochana p. 12 substitutes for the last word q-74 the word निषेवणम्. The meaning will be that the advantages ennmerated above will result to one who studies Karyas. The word faiauy ineludes composition also. See commentary to Sahityadar- pana N. S. Ed., p. 4, where this verse is quoted in the text.

2 काव्याळंकारे

अधनस्येव दातृत्वं क्रीवस्येवास्त्रकौशलम् । अज्ञस्येव प्रगल्मत्वमकवेः शास्त्रवेदनम् ॥३ ॥ Tr. The knowledge of Sastras possessed by one who is not a poet is like the pauper's charitableness, the eunuch's dexte- rity in arme, and the fool's self-confidence.

विनयेन विना का श्रीः का निशा शशिन विना । रहिता सत्कवित्वेन कीदसी वाग्विदग्धता ।। ४ ।।

Tr. What is wealth without modesty. What is Night with- out the Moon. What is cleverness in speech (eloquence) without the capacity to compose good (literary) works.

गुरूपदेशादध्येतुं शास्त्रं जड्डवियोऽप्वलम् । काव्यं तु जायते जातु कस्यचित्प्रतिभावतः ॥ ५॥ Tr. Even the dull-witted can learn Sastra (Science) with the help of a teacher. Poetry however is to him who has a natural capacity and that too, not invariably.

उपेयुपामपि दिवं सन्निबन्धविधायिनाम् । आस्त एव निरातक्क कान्तं काव्यमयं वपुः ॥६॥ Tr. Even to those who have passed away to Svarga (the other world) but who have composed good literary works there surely exists (here) a body consisting of their works which is both beautiful and free from disease (or deosy).

रुणद्धि रोदसी चास्य यावत्कीर्त्तिरनश्वरी। तावत्किलायमध्यास्ते सुकती वैबुधं पदमू ।७।। Tr. Further, as long as his imperishable Fame continues to rast in (besiege) this and the Upper World, so long does he, the blessed one, continue to occupy a place among the Devas.

प्रथम: परिच्छेद: । 3

अतोडभिवाञ्छता कीर्ति स्थेयसीमा भुबः स्थितेः । यत्नो विदितवेद्येन विधेयः काव्यलक्ष्मणि ॥८।। Tr. Therefore should the wise one, who aims at Fame which shall last as long as the World, direet his endeavours to- wards (the acquisition of) the essentials of Poetry. Note :- The last word 449f1 is found in O. L., and fits in better than काव्यलक्षण:, another reading. शब्दरछन्दोभिधानार्या इतिहासाश्रयाः कथाः । लोको युक्ति: कलाश्षेति मन्तव्याः काव्यगैह्यमी । ९ ॥। Tr. Those that resort to Karya should regard (the essen- tials to be) the following :- Grammar, Metre (i. e., Science of metre), the nature of words (as conveying primary and secon- dary sense), meanings of words, the stories in Itihasas, the ways of the world, Logic and the Arts. Note :- The readings in O. L. are काव्यतैर्वशी and काव्यवैखरी. Both are equally unintelligible. We may have काव्यगैर्ह्यमी. Lochana p. 10 in explaining its text 'भाक्तमाहुस्तमन्ये' and its वृ्ति points out that as per Udbhata (Bhamaha's commentator) Bhamaha intends to include in अभिधान both the primary and secondary meanings of words :- 'भटोद्र के वभाषे-शब्दानामभिधानमभिधाव्यापारो मुख्यो गुणवृत्तिश्'. If अभिवानम् is merely व्यापार then the word अर्थ in thetextwill refer to'mean- ings' and would mean " proficiency in the Lexicon ". सव्दाभिधेये विज्ञाय कृत्वा तद्विदुपासनम् । विलोक्यान्यभिवन्धांश्र कार्यः काव्यक्रियादरः ॥१०॥ Tr. The desire to compose Kavya should be entertained (only) after learning Grammar and the meanings of words and after having served the masters therein and after having studied other (Kavyas) works.

4 काव्यालंकारे

सर्वथा पदमप्येकं न निगाद्यमवद्यवत्। विलक्ष्मणा हि काव्येन दुःसुतेनेव निन्धते ॥११॥

Tr. Never shall be spoken even a word which is faulty. By a work which is bad, one gete a bad name, as by a bad son.

नाकवित्वमधमाय व्यावये दण्डनाय वा । कुकवित्वं पुनः साक्षान्मृतिमाहुर्मनीषिण: ।। १२।। ". Tr." Not being an author does not lead to evil or disease or punishment. But being a bad author is, according to the wise, ncthing less than death.

Introduction to verses 13, 14 and 15 :- These three verses start and conclude a discussion as to the utility of accepting two groups of Alankaras, viz., Sabdalankaras and Arthalinkaras. These three verses are bodily qnoted by Mammata in the opening portion of chapter VI of Karyaprakasa. Mammata in that chapter explains that the division of Koryas into 147 and 4fa7 is not intended to be mutually exclusive. There are many cases in which both occur. In fact, in practically all cases, by some little ingenuity the presence of both may be proved. In such cases, says Mammata, the author's intention is our guide in determinig whether the passage should be considered as coming under Sabdalankara or Arthulankara. The author's intention could be easily ascertained, if we direct our atten- tion to discover what the anthor mainly relies npon for the beanty (anchia: ) of the passage. To'support his view that both may lead to Hagla, he quotes these verses from Bhamaha.

• न कान्तमपि निर्भूषं विभाति वनिताननम् ॥१३ ॥

Tr. Some Alankarikas vehemently maintain that only Rupaka etc., constitute its (Kavya's) ornaments, (Because) & damsel's face, though beautiful, does not shine, if it should be devoid of ornaments.

प्रथम: पारच्छेदः । 5

Note :- This is the view of one School. They argue as follows :- The beauty of a Karya consists ia its Rasa which depends upon fawra 's etc. These result from the meanings of words Words, as such, are functus offcio, as soon as the meanings have been produced. Therfore the Alankaras that relate to meanings may conduce to the beauty of the Rasa and not the Alankaras that relate merely to the word or the sound. In the example, the natural beauty of the face corresponds to the grammatical correctness of the nouns and verbs and the beauty in their disposition also. But the face is besutified by ornaments which are separute. The expression 'Alankaras like Rupaka etc.' denotes all Arthalankaras. रूपकादिमलंकारं वाह्यमाचक्षते परे। मुपां तिक्रां च व्युत्पत्ति वाचां वाञ्छन्त्वलंकृतिम् ॥ १४॥ तदेतदाहुः सौशब्द्यं नार्थव्युत्पत्तिरीदशी । Tr. Some people are of opinion that Figures of Speech like Rupaka are external. They maintain that the proper dis- position of nouns and verbs constitutes the (real) ornamente of speech. That (kind of) excellence in the disposition of words is this beauty (Sausabdya). The meanings are not so. Note :- This is the antagonistic view. This School argues as follows :- The beanty of a poem lies primarily in the disposition of the words. Again it is the language (consisting of the words) that first attracts one and then the meaning arises. The word $e74 itself means an4 and consists in the selection of proper words and in properly stringing them together. In common parlance also we say " Poetry is read ", " Poetry is heard " etc., which cannot apply to meanings. In fact we also say " Poetry is understood ", " Poetry is not understood ", thereby sharply contrasting 'meaning ' with 'Poetry ' which necessarily means the collection of words. This being so, what enhances the beauty of the words must be the real ornament. So Sabdalankara is superior to Arthalankara. In fact, it is after the words have functioned and produced a meaning, Artha- lankaras can come in. So these ornaments are very much on the outside (वाझ्यम्). व्युत्पत्ति :- संनिवेश: Read तत्साश्द्यमतत् (That

6 काव्सालंकरे

verbal beauty is this i. e., what is properly called as Alankara). सौशव्य्यम means काव्यस्य सोभनत्वम् = शब्दनिर्माणतौधठवम्. अर्थव्युत्पत्तिः = अर्थालंकार: नेदशी =न शब्दवत्स्वतश्षमत्कारिका, अपि तु विभावादृत्कर्षमुखे- नैवेत्यर्थ :. The last line तदेतदाहु: etc., is the reason for upholding Sabdalankara .- Balnbodhini.

ज्ञव्दाभिधेयालंकारभेदादिष्टं हयं तुनः ॥ १६॥ Tr. We however accept both, as we accept the distinction of Sabdalankara and Arthalankara. Intro. Classifcation based on 'Structure' and 'Langunge ' :-- सब्दार्थो स्रहितौ काव्यं गद्यं पद्यं न तािया। संस्कृतं पाकृतं चान्यदपभ्रंश इति त्रिधा । १६॥ Pr. Word and moaning taken together constitute Kavya. It is of two kinds, Prose and Verse. It is further distinguishable into Sanskrit, Prakrit and Dialect. Intro. Classification based on subject-matter :- वृत्तदेवादिचरितशंसि चोत्पाद्यवस्तु च । कलशास्त्राश्रयं चेति चतुर्धा भिद्यते पुनः ॥१७॥। Tr. (Again) Kavya is divided by the wise, four-fold, (thus) :- real narratives of gods etc., stories put together (fiction), facts relating to Arts and those relating to the Sciences.

Note :- This classification includes Dramas and Grammar under the category of Kavya. Later writers restrict the word to words and meinings accompanied with Rasa, Guna, or Alankara. Pratiharendu Raja in his commentary Laghu Vritti, p. 78, explains that Bhamaha uses this word in an extended sense ( <4I ) i. e., analogically.

Intro. Classification based on the nature of the com- position .-

मथमः परिच्छेद: 7

सर्गन्धोऽभिनेयार्थ तमैवाख्यायिकाकथे। अनिवदं च काव्यादि तत्षुनः पञ्चघोचयते ॥ १८ ॥ Tr. Kavyas again are divisible into five groups thus :- (1) Those that are built up by divisions called Sargas ; (2) Thoae that should be acted or exhibited on the stage; (8) Athyayikas (explained below); (+) Kathas (explained below); (5) Unconnected composition. Intro. Verses, 19 to 23 both inclusive describe Maha- latya (No. 1 of the previous Stanza). सर्गयन्धो महाकाव्यं महतां च महच्च यत् । अग्राम्यशब्द्मर्थ्ये च सालंकारं सदाश्रयम् ॥१९॥ Tr. Mahakavya is that which is made up of (parts called) Sargas ; which is big and treats of the big; is devoid of vul- garity of expression ; has (profound) significance ; contains Figures of Speech and treats of the good.

पश्चमिः संधिभिर्युक्त नातिव्यार्येयमृद्दिमत् ॥२० ॥ Tr. It also consists of (the description of) state-councils, messengers, travel, war and the good fortunes of the Hero. It contains also the five Sandhis. It does not require much com- mentary and has a prosperous ending. Note .- Vagbhata in Karyanusasana N. S. Ed., p. 15 explains the Sandhis as follows :- (1) gHdfs: =The seed of the plot, just indi- cated, proceeding from various Rasas. (2) प्रातिमुखसंधि := The sprouting of the seed made partially visible. (3) Thafe: = The full deve- lopment of the same culminating in the attainment of the desire or the reverse; also the search after it. Anudfd: = The investigation of the same. निर्वहण संधि: = The conclusion - the gathering up of all the threads and bringing the plot to an end.

काव्यालंकार

चतुर्वर्गाभिधानेऽवि भूयसार्थोपदशकृत । युक्तं लोकस्वभावेन रसैश्र सकलैः पृथक् ॥ २१ ॥ Tr. While describing the four-fold objects of human existence it relates chiefly to the acquisition of wealth, con- forms to the ways of the world and contains soparately the various Rasas.

नायकं प्रागुपन्यस्य वंशवीर्यश्रुतादिभिः । न तम्थैव वर्षं व्रूयादन्योत्कर्षाभिधित्सया ॥२२॥ Tr. After having first placed the Nayaka (Hero) by extolling his ancestry, prowess, knowledge etc., do not narrate his destruction with the object of enhancing the glory of another.

Note :- (1) Here Nayaka apparently refers to the rival (प्रतिनायक) Bhamaha's view obviously is that if you first describe a person and extol his virtues and thereby enlist the reader's sympathy on his side it would be mal adroit or inharmonious to describe later on his destrnction with the object of enhancing the glory of the Horo. (2) Dandin (Karyadarsa Parichchheda I, Verses 21 and 22) attncks this view. His language suggests his posteriority to Bhamaba. यदि काव्यशरीरस्य न स व्यापितयेष्यते। न चाम्युदयभाक्तस्य मुघादौ ग्रहणं स्तवे ।। २३ ।।

Tr. If he (the person first described) is not intended to dominate the whole poem and (further) is not to participate in the (final) success, it is useless to describe him at the beginning. Intro. Verse 24 describes the second group-Natakas of verse 18 ante.

नाटकं द्विपदीशम्यारासकस्कन्धकादि यत् । उक्तं तदभिनेयार्थमुक्तोऽन्यैस्तस्य विस्तरः ॥ २४॥

प्रथम: परिच्छेदः । Tr. Natala consists of Deipadi, Samya, Rasaka, Skan- dhaka etc. It has been described as intendel to be acted. Its amplifications have been described by others. Intro. Verse 25 and up to the last quarter of tho vorse 29 define Akhyayika, No. 3 and Katha No. + of verse 1S ante.

गद्येन युक्तोदात्तार्था सोच्छासाऽडख्यायिका मता ॥ २९॥ Tr. Akhyayikz is a prose composition treating of an eleva- ted subject-matter and characterised by words, meaning and style in harmony with the context. It is divided into parts called Uchchhvasas. वृत्तमाख्यायते तस्यां नायकेन स्वचेष्टितम् । Tr. In it the Hero himself narrates his own exploits. वक्तं चापरवक्त्रं च काले भाव्यर्थशंसि च ।। २६।। कवेरमिप्रायकतैः कथनैः कैश्चिदङ्गिता । कन्याहरणसंग्रामविप्रलम्भोदयान्त्रिता ॥ २७ ।। न वक्त्रापरवक्त्राभ्यां युक्ता नोच्छासवत्यपि। Tr. It (4klyay ka) should consist of verses in the Vallra and Aparavaktra metre. It must contain fore-east; of events on appropriate occasions. It must be marked (distinguished) by some narratives of the poet's own creation( original stories). It must treat of the abduction of damsels, of war, of separa- tion (of lovers) and of success. Even if the verses Vaktra and Aporavaktra are not employed and there are no divisions into Uchchhvasas (it does not matter). संस्कृते संस्कृता चेष्टा कथाऽपभ्रंशभाकतथा ॥ २८॥ अन्यैः स्वचरितं तस्यां नायकेन तु नोच्यते । स्वगुणाविष्कृतिं कुर्यादभिजातः क्थं जनः । २९॥ 2

10 का्यालंकारे

Tr. Katha is acceptable if composed in Sanskrit. It may also be in a dialect. In it, the history of the Hero is narrated by others not by himself. How could a well-born (person) narrate his own expleits ?

Note :- 'She reading संस्कते instend of संस्कृतम् which is found in the printed text is in deference to the opinion of some Pandits as giving a more intelligible meaning. The above viow is in consonance with that of Dandin who says ' कथा हि सर्वभाषाभिः संस्कृतेन च वध्यते'- (Karyadarsa I.38). Intro. This refers to the fifth sub-division lof verse 18.

अनिवद्धं पुनर्गाथा-्लोकमात्रादि तत्पुनः । Tr. Anibaddha (unconnected composition) consists only in Gathas and verses. Note :- Unconnected composition means that the various Slokas are not connected with each other but deal with separate subjects.

युक्तं वक्रस्वभावोक्त्या सर्वमेवैतदिष्यते ॥ ३०॥ Tr. All this (i. e., whatever has been described before) becomes important (commendable) if characterised by indirect or disguised statement (or oleverness of speech). Note :I have translated a1a14f as speech characterised by indirectness (lit. crookedness ). It would be incorrect, I thought, to translate the passage as 'speech characterised by affm and स्वभावोत्ति', for, Bhamaha later, disregards स्वभाषाक्ति as an Alankara at all. (See Verse 11.93). In I (36) and I1 (85) Bhamaha shows a partiality for वकरोक्ति. वैदर्ममन्यदस्तीति मन्यन्ते सुधियोऽपरे । तदेव च किल ज्याय: सदर्थमवि नापरम् ॥ ३१॥ Tr. There arc some wise Ones who regard that thore is another kind of composition known as Vaidarbhi which is differ- ent and superior. The other (Gaudi) though consisting of olegant meaning is not so, (i. e., superior).

प्रथम: परिच्छेद:। 11

Note :- The word अन्यत् = another. गौडीयमिदमेतत्तु वैदर्भमिति किं पृथक्। गतानुगतिकन्यायान्नानाख्येयममेधसाम् ॥ ३२ ।।

Tr. Is there (really) any difference (between the two) be- cause this is called Gaudiya and the other Vaidarbha? This nomenclature is due to unintelligent people following (blindly) the lead of others.

ननु चाइमकवंशादि वैदर्भमिति कथ्यते । कामं तथास्तु प्रायेण संज्ञेच्छातो विधीयते ॥३३ ।। Tr. Works like Asmakivimsa etc., are known as Vaidar- bhi (in style). Be it so; for a name is largely of one's own choice Note :- P. V. Kane in his introduction to Sahityadarpana p XX surmises that there was a work known as Asmaka vamsa. अपुष्टार्थमवक्रोक्ति प्रसन्नमृज कोमलम्। भिन्नं गेयमिवेदं तु केवलं श्रतिपेशलम् ॥ ३४ ॥

Tr. If a composition should be devoid of suggestion or cleverness of statement but is merely clear, smooth and elegant, then, (if it differs from ordinary speech at all) it differs merely as music does, by being pleasant to the ear. Note :-- What Bhamaha condemns as mere song, Vamana in his Kavyalankarasutra recognises as a distinct source of enjoyment under the name of Vaidarbhi (1, 2, 11 and 20). 44 has been described by some as a distinet kind of composition. Vagbhata, in Kavyanu- sasana p. 18, mentions eleven varieties of this. The general character- istic of the whole group is there given-'पदार्थामिनयस्व्रभावानि डोम्बिका- दीनि गेयानि रूपकाणि चिरंतनैरुक्तानि.' As this kind is included in dramas it has no connection with the ia in question,

12 काव्यालंकारे

अलंकारवदआम्यमर्थ्य न्याय्यमनाकुलम्। गौडीयमपि साधीयो वैदर्भमिति नान्यथा ।। ३५।।

Tr. Even Gaudiya is superior if it has Alankara, is devoid of vulgarity, has full and proper meaning and is simple. There is no separate thing as Vaidarbhi.

Note: - 1 have translated y as "having a proper meaning." Its literal meaning is 'just'.

न नितान्तादिमात्रेण जायते चारुता गिराम्। वकराभिघेयशब्दोक्तिरिष्टा वाचामलंकृतिः ॥२६॥

Tr. Beauty of words is not exclusively produced by the first method. We accept as orniments of speech cleverness in words and cleverness in meanings.

Note :- Lochana p. 208-In support of the position that Atisa- yokti may be found mixed up in many an Alenkera, Abhinavagupta qnotes the second balf of the above verse and explains as follows :- There is aAT (lit. crookedness) in words and also in meanings. This consists in stating (things) in a manner transcending the ordinary method (लोकोत्तीणेन रूपण); and this constitutes Alankara of an Alan- kara. The purport is, that all Alankaras have this peculiarity in common -that the statement is not the ordinary prosaic statement, but an arresting or eatching one. What constitutes the special peculiarity of each Alankara consists in something over and above the fundamental strikingness of expression." (Sce also note to Chap. II 85 post).

नेयार्थ क्विष्टमन्यार्थमवाचकमयुक्तिमत्। गूढशब्दाभिधानं च कवयो न प्रयुञ्जते ॥ ३७ ॥।

Tr. Poets do not employ (languago susceptible of the following defects, viz.,) Neyartha, Klishta, Anyartha, Avachaka, Ayuktimat and Gudhasabdabhidhana,

प्रथम: परिच्छेदः । 13

नेयार्थ नीयते युक्तो यस्यार्थ: कृतिभिर्बलान । शब्दन्यायानुपारूढ: कर्थंचित्स्वाभिसंघिना ॥। ३८॥। Prose order .- यरयार्थ: कृतिभि:(-कुशलैः) वलायुक्त्तो नीयते तन्नेयार्थम Tr. That is Neyartha whose proper meaning has to be forci- bly dragged out by clever people. It transcends the Jaws of lan- gu.ge and is somehow made to result from one's desire. Note .- Jfi: may also be taken as an adjective of 94: as meaning "proper". There is considerable difference of opinion among Alankarikas as to the natare of this defeet One view seems to be this. The cardinal rnle regmding speech (353-417) is that all the words necessary to give the full meaning intended by the speaker should be employed. If such words are not employed there is a violation of the laws of langnage (1713915:). Thus, insuffi. cient words constitute this defeet. This view reccives some support from Dandin who without deseribing the defect as such, describes its absence as a Guna viz., Artharyaldi. He says ' अर्थव्यक्तिश नेयत्वम- र्थस्य'. His use of the word अनेयत्वम and his example emphasise the above meaning of Noyartha. Other writers define Neyartha as the artifcial imputation of meaniugs to words by the speaker, i. e, an artifcial Sakti so to speak-a meaning other than the accepted one. मायेव भद्रेति यथा सा चासाध्वी प्रकल्पना । वेणुदाकेरिति च तां नयन्ति वचनाद्विना ॥३९॥

Tr. For example (take the statement) " Deceit is auspi- cious ". This is an improper supposition. But (people) lead these words to some sense by introducing the meaning Venuda- reh without using the word. Note :- If we take वेणुदाके: as वेणुदारे: then we can guess a mcan- ing. A Venudari is mentioned as the son of Banasura. Being an Asura he must excel in Maya (deceit). Deceit is never auspicious (=भद्रा). So the statement ' मायेव भद्रा'='auspicions as deceit' is an impeoper supposition. If howeyer you introduce the sense of auart:

14 काव्यालंकारे

(of Vonudari) and understand the Maya as belonging to Venudari, then there is some sense. Because probably his deceit was useful for some good purpose. No such story however is available. Intro. Examples of Klishta and Anyartha of verse 37 are given in this.

किए्टं व्यवाहितं विद्यादन्यार्थ विगमे यथा। विजदुस्तस्य ताः शोकं कीडायां विकृतं च तत् ॥ ४० ।।

Tr. That defect is called Klishta (Difficult) in which the meaning is obstructed. Anyartha is where the (accepled) mean- ing is absent, thus :- "They disported (with) his sorrow in play". This is nonsense and is caused by (the syllable) Vi. Note ;- (1) Vamana (see Vani Vilas Edition) says in 1I. 1. 13 'का्पितार्थ नेयार्थम्' and in Sutra 21 says 'व्यवहितार्थप्रत्यय क्रिष्म्' and gives as example of the latter 'दक्षात्मजादयित (=चन्द्र) वल्लभ (-कान्त) वेदिकानाम्' i. e., चन्द्रकान्तवदिकानाम् Mammata however would call this a case of Neyartha, for his illastration of it is 'वस्त्रैदूर्यचरणै :- ' (2) The Sloka gives no illustration of Klishta. It merely defines the same. It however definos and illustrates Anyartha. In the (x- amplc the intended meaning is " They removed his sorrow by play- ing with him." तास्तस्य शोकं क्रीडायां जदू: (=removed). But by using the word ' fasge' the meaning is changed. The prefix 'ia' changes the root-meaning into 'to play'. So instead of 'removed' we get the meaning 'disported' which is a different meaning (अन्याथम्) got by abandoning the legitimate meaning (fana) and the mis-chief is done by the particle वि ( विकृतम्). हिमापहामित्रधरैर्व्याप्तं व्योमेत्यवाचकम् । साक्षादरूढं वाच्येडर्ये नाभिधानं प्रतीयते ।। ४१॥

Tr. The sky is overcaste by (Himapahamitradharah meaning) clouds. That expression which is not (universally aocepted as) connected with the intended meaning is unintelligible.

प्रथम: परिच्छेदः । 15

Note :- The word हिमापहामित्रधग :- is made to evolve the mean. ing 'clouds' in this way - हम is Snow. Its अपह (destroyer) enemy is Fire. That which is unfriendly ( 327 ) to Fire is Water. That which carries or supports (91) water is a Clond. The prose order of the second half is 'साक्षाद्वाच्येरऽर्थSरुढमभिधान न प्रतीयते' This verse is attributed to Dandin on the authority of Sarngadhara Paddhati. The full verse is- 'विजितात्मभवद्वेषिगुरुपादहतो जनः। हिमापहामित्रधरैव्यासं व्योभाभिनन्दति ।I' Vide Trivedi's Introduction to Pratapa Rudriya p. X XIX. The same verse is given as an illustration of the Doshi, Klis ht a in Sarasvati kanthabharana p. S. Intro. This and the succeeding two verses refer to the Dosha, Ayuktimat (unintelligeut).

अयुक्तिमद्यथा दूता जलभृन्मारुतेन्दवः । तथा भ्रमरहारीतचक्रवाकशुकादयः ॥ ४२॥

Tr. The employment, as messengers, of Clouds, Winds, the Moon ; also the Bee, Harita (a bird of that name) Chakravaka (bird) or the parrot is the Dosha known as "Ayuktimat." Note :- Cloud -- messenger obviously refers to Kalidasa's Megha- duta. Borrodaile Keith in his elassical Sanskrit Literature (p. 36) . mentions the Pavana-duta of Dhoyika (12th century) as the earliest imitation of Meghadut1. If Bhamaha should be deemed to refer to that work, then, Bhamaha should be later than the 12th century or Dhoyika's date must be much earlier than the 12th century. There is an $3774 published in part XIV of the Kavyamala series. Its author is not explicitly stated in the Poem. Possibly his name was Vinaya ; for the last quarter of the Ist verse is "प्रभूतोदन्तं लखं लिखति विनयो लेखलेखानतानाम् ".

अवाचोऽव्यक्तवाचश्र दूरदेशविचारिणः । कथं दृत्यं प्र.द्येरन्निति युक्त्या न युज्यते ।। ४३॥

16 काव्यालंकारे

Tr. Those that cannot speak and those that are of indis- tinct utterance-how can these, going to distant places per- form their function as messengers ? Such descriptions do not fit in with reason.

यदि चोत्कण्ठया यत्तदुन्मत्त इव भाषते । तथा भवतु भूम्रेदं सुमेधोभि: प्रयुज्पते ॥ ४४ ॥

Tr. If these are addressed by one from an oxcess of long- ing, as if he were mad,-be it so. It is on some such supposi- tion it has to be understood that these can be employed (as messengers) by intelligent people.

गूढशब्दाभिधानं च न प्रयोज्यं कर्थंचन । सुधियामपि नैवेदमुपकाराय कल्पते ।। ४९ ।।

Tr. Poets never employ a word with a hid len meaning. It does not he!p even learned people.

Intro. The following is an example of words with hidden meanings.

अस्तितर्तितुगद्विच्छित्स्वःक्षितां पतिरद्विट्टक्।. अगिद्रिः शुभ्रदृग्दष्टैर्द्विषो जंब्नीयिषीष्ट वः ॥ ४६ ॥

Tr. Let (God Subrahmanya) the son of Fire destroy your enemies completely by his fierce and (dazzlingly) white and fearful glances .- He who is the borer of a mountain, the Lord of the inhabitants of Svarga, and has more than two eyes.

Note. -(1) The above meanings which are hidden are got at thus .- MfHa =Lit., not white. Therefore black. This is the con- ventional meaning of the word. wid = way or path ; from the root क (गतौ) = to go. So असितर्ति = He who has (i.e., leaves behind him) a black path-Fire. तुक् = अपत्यम् = son. (So the wholo means " Son of Fire". God Subrahmawya is according to the

17

PHranas the son of Fire aiso, aRy -Brakar o Borer ofa mountain, here the moantain edled Kre 7h. $GHt qot Te Lord ( Tfa: ) of those that livy in Spipr SCE not haring (only) two eyes ; hence "mamy cyed ". 9RiCe sR4: op F9: Fieree. HET/2: =Glances whieh aro whhe ; becane while bith on in anger the blaek cornen of the eye will eo ap ir ig the eye appear white. fat: = Cnemies. Gaifrne -31: 3CTT. FrTin tative of = to kill, meming 'rompletely de dtroy. (2: The above is taken from Ratnesvara'se aam atary en Sone f e oides runa. Note the differenee betweon this Dihe tal teahele No. 4me described in verse 41. There thie inten led meaning ( Pm4 ) WI not traccable to the words directl: (सi 4.) ..... हिमापहानिवधर: does not dirrotly lead to "eloa l" wheres, hers. caeh of the above; no doubt leads directly to the mente which however is not appar. ent ie., is not the ordiary maning bat i hiain

श्रुतिकष्टं तथैवाहुवीचां दोपं चनुर्विषम् ॥४७॥ Tr. Four other defects of Speech are also mentioned viz., Srutidushtr ( == offensive to the ear), Arthalushta ( == of impro- per or objectionable meaning), Kalpanadushta (= objectionable construction i. e., such a joining together of worls as gives rise to an objectionable sense) and Srutikashtu ( =: painfnl to the car - cacaphony). Intro. This and the following verse enu merato words that are objectionable to the ear.

प्रचारधर्षितोद्धारविसगहदयन्त्रिताः ॥ १८।। Tr. ब्िट्, वर्चस and विछ्ठित (moan"Excrement"), िन्न (means wot), छिन्न ( .- Brolen or cul), वाम्त ( .. vonibed), प्रतृत्ति, .3

18 काध्यालंकारे

प्रचार (= Roaming, wandering), धर्षित (= seduced, outraged), उद्गार (= belching; vomiting, ejection), विसर्ग (= emission), हद (= voiding exorement), यन्त्रित (= restrained, bound etc.). हिरण्यरेताः संबाधः पेलवोपस्थिताण्डजाः । चाक्काटवादयश्रेति श्रुतिदुष्टा मता गिरः ॥४९ ॥ Tr. Also हिरण्यरेता: (because of the word रेतस् which means semen), संबाध: (= the vulva), पेलव (= thin. The Ist two letters पेल mean in the Lnta dialect the scrotum and hence objectionable. (See notesto Sah, Darpana N. S. Edition p. 835. See however Kalidasa using 'परिबाधापेलवरङ्गेः'), उपस्थित (- placed over another -- the objection being apparently to the part 39M which means "genitals" ), 3035 (born from an egg- the objeotion is to the part 303 which means scrotum ) and also words like 123 etc. These are known as words which are offensive to the ear. Note :- The literal meaning of the word 1294 is "Harshness or incisiveness of speech ". The objection to the word lies in the fact that a portion of the word is $I2 which is said to mean the male organ. In explaining Sutra 20, Vamana in his Kavyalankara- sutra p. 49. 50 11. 1 gives this word as an example of the Dosha ब्रीडादायिन् (= producing a feeling of ahame because of possessing an indecent meaning). According to him this kind of indecency may be hidden (i. e.,) may not be apparent becnuse the word may .bavo a meaning other than this one and widely acknowledged and gives as an example the word #914 whose well-known meaning is An2 stress, crowd; but which has a very much less known application to 'genitals '. Intro. This illustrates No. 2 in Verse 47 ante. अर्थदुष्टं पुन्ज्ेयं यत्रोक्ते जायते मतिः - असम्यवस्तुविषया शब्दैस्तदाचिमिर्यथा ॥५0।

प्रथम: परिच्छेदः । 19

Tr. That (word) must be known as of 'improper significance' the sound of which when uttered produces ideas of indecent A things. हन्तुमेव प्रवृत्तस्य स्तब्यस्य विवरषिणः । पतनं जायतेऽवश्यं कृच्छेण पुनरुन्नतिः ।५१।। Note :- Simplo and indecent and therefore not translated." This is used by Mammata in his Kavyaprakasa. Sce p. 405, Jhalkikar's Edition. Here the word T4 means sexual intercourse and the words following emphasise that meaning. पदद्वयस्य संधाने यदनिष्टं प्रकल्पते । तदाहुः कल्पनादुष्टं स शौर्याभरणो यथा ॥ ६२॥ Tr. If two words are so placed in juxtaposition that ont of them a combination results capable of an indecent meaning it is a case of Kalpanadushta (Improper juxtaposition) as "स शौर्याभरणः". Note :- This word means " One whose ornament is ralour ". This meaning is no doubt fine, but in bringing together the two words we get the combination Y which means sexual intercourse- Intro .- This gives an example of Srutikashta. यथाऽजिङ्गददित्यादि श्रुतिकष्टं च सद्विद्ुः । न तदिच्छन्ति कृतिनो गण्डमप्यपरे किल। ५३॥ Tr. Words like अजिद्दव are harsh of sound; The.wise dislike them. Some object to the word 303 also. Intro .- This provides for exceptions in some cases. संनिवेशविशेषातु दुरुक्तमपि शोभते । नीलं पलाशमारब्वमन्तराले स्रजामिव ॥ ५४ ॥ Tr. Sometimes even objectionable words shine by the

20 काव्यालंकारे

position given te them ; just as (mere) green leaves look pretty when interposed amidst the flowers of garlands. Nole :- Vamana (Karyalankarasutra p. 41) adds the following Vrilti tn Sutra No. 6 .- 'रचनागुन्भितम सुद्वेजयति'. The commentary Kamudhenn explains that the view of Bhamaha in the above verso is repadiated- विशिश््संदर्भगरभगतमवि सहृद्वहद्योद्वेगमावहति.

किंचिदाश्रयतौन्दर्याते शोभामसाध्वपि। कान्ताविलोचनन्यस्तं मलीमसमिवाञ्ञजनम् ॥५५।।

Y'r. Some objectionable (words) attain a grace on account of the place they occupy ; just as collyrium, which is really dirt, when applied to the eyes of a beautiful damsel. आपाण्डुगण्डमेतते वदनं वनजेक्षणे । संगनात्माण्डशब्दस्य गण्डः साधु यथोदित: ।५६ ॥ Tr. Oh Lotus -eyed one ! This, your face has cheels slightly pale. Here the word T0E becomes un-objectionable by being yoked to the word qlug. अनयान्यदपि त्ञेर्य दिशा युक्तमसाध्वपि यथा विछिन्नगणडानां करिणां महवारिभिः ॥९७।।

Tr. Similarly (i. e., by indications such as these) even im- proper words may be connected. As for instance 'मदवारिभि- र्विक्ित्गण्डानां करिणाम ' : Of elephants whose cheeks are wet with Blow of ichor. Note :- Here the words fia and "7E both of which are objec- tionable cease to be so, on aecount of their connection with the flow of the ichor of an clephant. मदक्िन्नकपोलानां द्िरदानां चतुःशती । यथा तद्दसाधीयः साधीयश्च प्रयोजषेत् ॥१८॥।

01

Tr. Of elephants there are four-hundred whose cheeksare wet with ichor. Thus, one may omploy words both proper and improper. एतड्ाहं सुरभि कुसुमं ग्राम्थमेतन्निधेयं धत्ते शोभां विरचितमिदं स्थानमस्यैतदस्य । मालाकारो रचयति यथा साधु विज्ञाय मालां योज्यं काव्येप्ववहितिविया तद्वदेवाभिधानय् ॥. ९९॥ Tr. Just as a man who strings up a garland uses one kind of flower because it is sweet-smelling and rejects another because it is ordinary; again knows that one (particular) flower will look pretty when intervowen in a particular manner or that only a (particular) place is suited for a particular flower just as such a man strings up discriminating correctly-so should one (composing a Kavya) disposo of wards with close attention.

द्वितीय: परिष्छेद: ।

CHAPTER II.

माधूर्यमभिवाञ्छन्तः प्रसादं च सुमेघसः । समास्रवन्ति भूयांसि न पदानि प्रयुख्जते । १ ॥ Tr. Talented people desirous of attaining sweetness and eleverness (in composition) do not employ many compound words.

केचिदोओोSभिधित्सन्तः समस्यन्ति बहून्यपि।

22 काव्यालंकारे

Tr. Some wishing (to exhibit) "Power" compound many words into one, thus :- She whose hair has been rendered yellow by the pollen of the Mandara flowers. Intro. This defines Madhurya and Prasada.

श्रव्यं नातिसमस्तार्थ काव्यं मधुरमिष्यते । आविद्वृदङ्कनाबालप्रतीतार्थ प्रसादवत् ॥३ ॥ Tr. That (Kavya) is known as sweet which is agreeable to the oar and does not contain many compounds (or big oom- pounds). That oomposition is clear whose meaning is apparent to all from the learned down to women and children. Note :- (1) The first half of this verse is found in the commentary to verse 1. Chapter 10 of Bhatti Karya. (2) Bhamaha's defenition of this Guna consists in श्रव्यत्वम् and नातिसमस्त- तम. Now Dhvanikara says-That tho first quality belongs to ओजस Also. He quotes 'यो यः शस्त्रं विभतत-' from Venisumhara as an exam- ple of "IAH though devoid of long compounds. So the definition of Bhamaha of Hiya is not accepted by Dhvanikara -See N. S. Edi. tion Page 79, Bt. Seg. अनुप्रासः सथमको रूपकं दीपकोपमे। इति वाचामलंकारा: पञ्चैवान्यैरुदाहताः ।।४।।

Tr. Only five kinds of ornaments of speech have been described by others viz., Anuprasa, Yamaku, Rupakz, Dipaka, and Upama. सरूपवर्णविन्यासमनुप्रासं मचक्षते । किं तया चिन्तया कान्ते नितान्तेति यधोदितम् ॥१॥ Tr. Anuprasa is that in whioh similar letters are omploy- ed. Ex. किं तया चिन्तया etc. Is tho fair one very myoh cast down by that anxiety?

वितीय: परिच्छेदः । Note -The second half may be amended randar-afa because the last worde इति यरथोदितम् are outside the example. So the last letter of the examsple should be faarat. To correspond to it in sound the previous word should be correeted into $-A1. The word faatar is not nsed in the sense of faadf afat a meaning which may be flt in with this context. So it may be corrected as atiaar-at. ग्राम्यानुमासम्यत्तु मन्यन्ते सुधियोऽपरे। स लोलमालानीलालिकुलाकुलगलो बलः । ६॥ Tr. Other experts describe a different kind of Anuprasd viz., the ordinary (vulgar) one. Ex. H 3I3 etc. Balarama hae his neck burdened with a swinging garland swarming with black bees. नानार्थवन्तोऽनुप्रासा न चाप्यसटेशाक्षराः । युक्त्यानया मध्यमया जायन्ते चारषो गिरः ॥७॥। Tr. There is a middle course, where, the letters are not different, but the meanings are different. These also lead to the beauty of language. Note -Verse 5 described sithilarity of letters while Verse 6 pointed out a vulgar variety. The following verse defines Lata- Anuprasa in which both words and meanings are similar. The pre- sent verse describes a varity which is midway between the two, be- cause, although the letters are not dis.similar ( न नाप्यसटसाक्षप), the meanings are different. ( नानार्थवन्त: ). लाटीयमप्यनुप्रासमिहेच्छन्त्यपरे यथा। दृष्टिं दृष्टिमुखा धेहि चन्द्रश्रन्द्रमुंखीदितः ॥८। Tr :- In this connection others accept the kind of allitera- tion known as Latanuprasa Ex. दृष्टिं दृष्टिमुखाम् etc. Oh Moon -- faced one ! Put on a pleasant glanoe. The Moon has arisen.

24 काष्यालंकारे-

आदिमक््षान्तयमकं पादाभ्यासं तथावली ।

Tr. There are five kinds of Yamakas, Those in which the alliteration is (1) at the beginning, (2) at the middle and at the end, (8) repetition of a pada, (4) a string of repetitions, (5) repetition in all (Padas or) quarters. Note :-- The expression 'आदिमध्यान्तगमकम्' has to be understood as आदी यमकम and मध्याम्तगोथ यमकम् i.e .. alliteration constituted by repetition at the beginning and at the middle and end taken together. İt is only by so anderstanding the expression that we ean justify the five.fold division of Bhamaha of which he seems to be rather parti- cular ; for, in the next verse he writes ' इति पश्चत'. Now we find that verse 1J below is an example of Adiyamaka, verse 12 of Madhyan- tayamaka as explained above, verse 13 of Padibhyasa, verse 14 of Arali and verse 15 of Samastapadayamaka. It has however to be udmitted that a roduplication at the middle only or at the end only is not impossible. For. Dandin exemplifies the former in verse 40 of Parich. 3 of Karyadarsa. For the lattor we may give as examprlo the following :- 'श्रेयो मे विदधातु शारदशशित्रीभामुग भामुरा हारासारनिरास- कारिमधुरव्याद्दारिणी हारिणी। मुक्ताभपणपोषणस्मितलवश्रीसाधुना साधुना लावण्येन निजेन निर्नितवली रम्भारती भारती ।I' Dharmasuri's Sahilyaratnakara.

आदौ मध्यान्तयोर्वा स्यादिति पञ्चैव तद्यथा ।। १० ॥ Tr .- In the above classification we include the two kinds of Yamaka known as Sandashtaka and Samudgaka. They may be treated as coming under either Adıyamika, or Madhyanla Yamaka i. e., beginning, middle and end. Thus there are oaly 5 kinds. Note .- Samudgakz means a closod box or casket. As the lid and the lower half are similar in a casket this name is given to n verse in which the first and second halves are identienl though with different meanings, Thus in Bhatti Karya X Borge Verse (7)

द्विवीयः परिकेर: ।

is given as example :- 'समिद्धशरणा दीता वेहे कह मोखरा। समिद्धशरणा दीपा ईेहे लङ्गामतेश्वरा 1' Sadnshtaler is a case where the second quarter is also the fourth. See Buinbodhini Page 502, 'faata: urza. तुथे चैद्यम्मते तवा रुंवृष्टकम् 1' Dandin however in the Brd Pericheaked of Karyadursa defines and ilnstrates Sandoshtaka thus :- 828445- स्थानमन्तादी पढियोदंयोः। His view is that though this is incladed in his own classitication elsewhere. he illustrates it sepirniely in defor- ence to the views of his predecessors who placed this in a sepurate category. His illustration is as follows :- उप द्रागाप्यवला मदेन सा मंदनसा मन्युरसेन योजिता। न यीजितात्मानमनङ्गतापिपाडनने तापाय समाप नेवते ॥ Here the ending of the lst quarter is the begiming of the next mid so on. साधुना साधुना तेन रानता राजता भुता । महितं सहितं कर्नु संगत सगते जनम् ॥ ११ ॥ Prose order :- अधना साधुना राजता तेन सहित जने सहित कतु सगन 5नं संगतं क्तु सा राजता भृता. Tr .- In order that he may unite his followers with advan- tage and that he may joiu those that resort to him with what is good, he, the resplendant one who is mild now bore (sustain- ed his) kingship. साधुः संसाराद्विम्यदत्मादसारा- स्कृत्वा केशान्तं याति वत्मे प्रशान्तम् । जाति व्याधीनां दुर्दयानामधीनां वाञछन्त्यायसत्वं छिन्द्वि मुक्तानयसत्वम् ॥ १२॥। Nufe .- The first half is clear. We can arrive at a mean- ing if the second half is altered as follows and read thus :- "उ्यायसतवं वाञहत्वं मुक्तानयः सन् दुर्वमानां व्याधीनामधीनां जाति छिन्दि"

26 काव्यालंकारे

Tr. A good soul afraid (disgustod) of this insipid wordly life renches the path of peace after having put an end to all his worries. You, aiming at greatness. abandoning (all) bad ways, cut off (chinddhi) birth (jatim, i. e., janim) which is the abode of uncontrollable deseases. न ते धीर्धीर भोगेषु रमणीयेषु संगता । मुनीनपि हरन्त्येते रमणी येषु संगता ।। १३ ।। Tr. Your intelligence Oh bold one! does not attach itself to attractive enjoyments. They (the enjoyments) are such that they would divert the minds of even sages (if) beautiful women should be concerned in them. सितासिताक्षीं सुपयोधराघरां सुसंमदां व्यक्तमदां ललामदाम्।

प्रियामिमामुत्सुकयन्ति यन्ति च॥ १४ ॥ Tr .- (People) go to this lovely woman and exhilarate her- she whose eyes are black and white, who has a fine bust and fine lips, whose spirits are both attractive and open, who is also capable of conferring grace and whose masses of hair are both as dark as the cloud and as dense. This is an example of Samasta Pada Yamaka. अमी नृपा दत्तसमग्रशासमाः कदाचिदप्यप्रतित्रद्धशासनाः । कृतागस्षां मार्गमिदां च शासनाः पितृकमाध्याससिततादृशासनाः ॥१५॥ Tr. These kings issue commands that are universally binding and that are not obstructed at any time. They (the kings) punish those that commit sins and those that transgress the right path. Thoy occupy positions, beyond doscription, got in succession from father to son.

द्वितीय: परिच्छेद: । 27

अनन्तरेकान्तरयोरेवं पादान्तयोरषि। कृत्स्नं च सर्वपादेषु दुष्कृतं साधु तादृशम् ॥ १६ ॥ Tr. Is is both beautiful and difficult to compose Yamakis in adjacent quarters, in alternate quarters, at the end of quar- ters and throughout, in all the quarters of a verse. तुल्यश्रतीनां मिन्नानामभिवेयैः परस्परम् । वणानां यः पुनवादो यमकं तन्निगद्यते । १७ ॥। Tr. The repetition of letters differing from each other in meaning but similar in sound is Y'amaka. प्रतीतशव्द्मोजस्व्रि मुष्िष्टपदसंधि च । प्रसादि स्त्रभिधानं च यमकं कृतिनां मतम् ॥१८॥ Tr. That Yamaka is accepted by the fearned in which the words have well-known significations, are full of power, are elose-knit and of close-knit conjunction and are clear and consist of fine (melodious) words. Note :-- (1) This and the preceding verse may mone appro- priately come before verse 9 ante for, that verse introduces . Yamakas rather abruptly and olassifies what has not been delined. (2) In the Kamadhenu page 98, this verse is quoted and it is stated that Bhamaha's view is not accepted by Vamana.

नानाघात्वर्थगम्भीरा यमकव्यपदेशिनी । प्रहेलिका सा हुदिता रामशर्माच्युतोत्तरे ॥ १९॥ Tr. The kind of composition called Prahelika is profound with various root-meanings and is ealled Yamala. That kind of composition has been exemplified in the work called Achyuto- ttara of Ramasarman. काव्यान्यपि यदीमानि व्याख्यागम्यानि शास्त्रवत्। उत्सवः सुधियामेव हन्त दुर्मेघसो हताः ॥२०॥

28 काव्यालकाे

Tr :- If even such works as these which like scientifio breatises are iatelligible only with the ail of commentaries are to be accepted as Kavya (then) the wise anes only aro fortu- nate, woe to the unenlightened ! Note .- Bhattikarga has :- 'व्यार्यागभ्यमिदं काव्यमुत्सवः सुधियामलम्। हता दुर्मेवसश्षास्मिन्विद्रा्प्रियनया मया ।' Trivedi (Prataparudriya Intro. p. XXX(V) vefers to this Sloka and on the anthority of Srivatsan- kamisra would plaee Bhamaha before Rhatti. P. V. Kane (Sal. Darp. Intro. p. XXXIX) thinks that tho verses standing alone would rathey suggest that Bhamaha criticises Bhatti. उपमानेन यत्तश्व्रमपमेयस्य रूप्यते। गुणानां समतां ढष्ट्रा रूपक नाम ताद्विदु: :: २१ ॥। Tr. Rupaka is that in which, on acoount of the existence of common qualities. the identity (Taltcam or Tadbhavah) of the Ipameya with the Upamana is desoribed. Note :- Jayamangala nnder ehapter 10 Verse 25, of hatti gives the same definition, suhstituting तुल्यत्वम् for यत्तत्वम्

समस्तवस्तुविषयमेकदेशविवर्ति च । द्विधा रूपकमृद्दिष्टमेतत्तख्जोच्यते यथा ॥ २२ ।। Tr. Rupaka is of two kinds. (1) Embracing or occur- ring in all parts. (2) Oceurring only in a portioo. This and that (both) are desoribed as follows :- Intro. Example of SamastaVastuVishaya: - शीकराम्भोमदमृजस्तुङ्गा जबददन्तिनः । निर्यान्तो मदयन्तीमे शककार्मुक्कारणम् ॥२२॥। Tr. The tall (or high) Cloud-Elephants discharging spray-ichor delight people when they come out because of the rain-bow (i. e, they cause the rain-bow). Note .- Here the chief metaphor consists in जलददन्तिन: in which the elophant and the clond are exhibited as identical. The word

द्वितींय: परिच्छेद:। 29

has an adjective शीकराम्भोम्सज: inwhhol identilied with the rain from the clond. So this is a metaphor in all parts.

Intro. Example of Ekalesacivartin :-

सटिद्वलयकक्ष्याणां ब्रय्ाकामालभारिणाम्। पयोमुचां ध्वनिर्धीरो दुनोति मम तां प्रियाम् ॥ २४ ॥

Tr. The deop rumbling sound emitted by those that dis- oharge water (Clonds or Eiephant) which wear cireular bight- ning-Ropes and which disport Balata -Garlands frightens my love. Note .- Hero tho Elephant is not set ont in so many words. The two epithets however contain tw Rupalos afEE& in one and बलाकमाला in another. Henco they are श्रीती. The suggestion of the Elephant is आर्था. Hence this is एकदेशविवर्निन् The word is thus ex- plained by Balabodhini p. 597. The form HIMIR is got by the rulo of Pauini :- 'इदकंपीकामालानां चिततुलभारिष' (6, 3, 6).

आदिमध््यान्तविषरय त्रिया दीपकमिप्यते । एकस्पैव वयवस्थत्वानिति तद्विद्यते त्रिधा ॥ २५ ।। Tr. Dipaka is said to be of three kinds as referring to the beginning, the middle, and the end. As only one thipg occurs in three plaoes it is divided into three.

त्रिभिर्निदर्शनैश्रेदं त्रिया निर्दिश्यते यथा ॥२६ ॥ Prose order :- अमनि अर्थदीपनात् अस्याख्यामन्वर्थी कुर्चते. Tr. As these illuminate the meaning they justify the name Dipaka. As the illumination is in three ways they are llustrated by three examples ; thus ;-

30 काव्यालंकारे

Intro. Example of Adidipaka.

मदो जनयति मीतिं सानङ्गं मानभह्गुरम् । स प्रियासंगमोत्कण्ठां सासह्यां मनसः शुचम् ॥२७॥ Tr. Intoxication produces desire. Desire (produces) love capable of vanquishing anger. Love (produces) longing to meet (one's) beloved and that longing (produces) unbearable mental pain. Note .- Lochana page 40, quotes this verse for the purposo of showing that in the case of Dipalu like this example where each successivo objeet is cennected with its predecessor it is casy to sug- gest the existence of a similarity. Intro. Example of Madhyadipaka. मालिनी रंशुकभृतः त्रि्रियोऽलंकुरुते मधुः । हारीतशुकवाचश्र भूधराणामुकत्यका: ॥ २८H Tr. Spring adorns women who wear garlands and gar- ments. The joyous chatterings of birds such as, the Pigeon and the Parrot adorn the declivities of mountains. Intro. Example of Antyadipaka. चोरीमनीररण्यानीः सरितः शध्यदम्भसः । प्रतासिनां च चेतांि शुचिरन्तं निनीषति ।। २९।। Tr :- Summer puts an end to forest expanses full of bark fit to be worn ; also of streams with waters which are drying up and also of the fortitude of travellers in distant places. Intro. Definition of simile :-- विरुद्धेनोपमानेन देशकालक्रियािभिः । अमेयस्य यत्साम्यं गुणलेशेन सोपमा ॥३०। Tr. Whon the compared object (Upameya) which differs from the comparing object upamaa with reference to place, time or action is exhibited as similar to the latter, on account of the possession of even a small point of resemblance, then, there is the figure called Simile.

31

यथेवशब्दौ सादृश्यमाहतुर्व्यतिरेकिणोः ! दूवीकाण्डमित्र श्यामं तन्वी श्यामा लता यथा ॥ ३१ ॥ Tr :- The words 741 and $7 express the resemblance between two differing objects. As $7 in al etc., = " Black like a blade of Durea grass and "91 in dFf ete., = The sliin one (lady) is like the Syama creeper ". Intro. Definition of Luptopama (elliptical similes). विना यधेवशव्दाभ्यां समासाभिहिता परा। यथा "कमलात्राक्षी, शशाङ्कवदने " तिष ॥३२ ॥ Tr :- Another (kind of simile) is where without the use of words like iva and yatht the resemblance is hidden in a com. pound word. Eg. Lotus-leaf-eyed one an l moon -- faced one. वतिनापि क्रियासाम्यं तद्वदेवाभिधीयते। द्विजातिवदधीतेऽसौ गुरुवच्चानुशास्ति नः ॥३३ ॥ Tr. In the same way similarity of action may also be ex- pressed by the particle 31. Eg. This (person) learns (acquires learning) like a twice-born one and commands us like a preceptor. Intro,-Definicion of Prativastupama.

समानवस्तुन्यासेन प्रतिवस्तूपमोच्यते । यथेवानभिधानेऽपि गुणसाम्यप्रतीतितः ॥ ३४॥। Tr. Even the words yathz or iva are not used in some cases where parallol sentences are used (i. c., sentences with similarity in their moanings. Such cases are known as cases of Prativastupama as there is the knowledge of resemblance produced by the similarity of attributes. (i. e., in spite of the absence of the words of comparison).

32 कावपालेकि

Nole :- The word Ta means here a sentence. The derivation is "प्राप्तवस्त (= प्रतिवाक्साथम्) उपमा (= समानधर्मः) बस्यां सा प्रतितस्तुपमा. Trivedi (Notes in Ekavali p. 597) = says " As the word 3Ed means sense of a sentence and as 3941 or common property is expressed in cach sentenee ( 9ia ) differently, the tigure is significantly so ealled. The word a7 emphasises the necessity of setting out tho resemblance in both the sentences. This point is prominently stated in Karyt Prakasa प्रातवस्तुपमा त सा। सामान्यस्य द्विग्कस्प यत्र वाक्वदये स्थिति :. साधुसावारणत्वादिगुगोऽत्र व्यतिरिच्यते । स साम्यमापादयति विरोधेषि तयोर्यथा ॥३५॥ Tr. This figure differs (व्यतिरिकपत) from the preceding one by HNRea4 which means resemblance beiween diverse objeots similar to that which exist between an object and its rellection. That similarity produces the perception of likeness even between the two differing objects. कियन्तः सन्ति गुणिनः साधुसाधारणश्रिषः । स्वादुपाकफलानन्राः कियन्तो वाध्वशाखिनः ॥२६॥। Tr. How many goo people are there who share their wealth equally with all deserving people. How many way-side trees are there which bend under the weight of sweet, ripe fruits. Nole :- The resemblance here is between the meaning of two sentences of the form 'such men are rare' and 'such trees are rare'. This is ealled वर्तुप्रतिश्स्तुभाव: This is different frm्चप्रतिबिम्वभाव For a full discussion (See Trivedi's Notes p. 533 ete., Seq). यदुक्तं त्रिमकारत्वरं तस्याः कैश्रिन्महात्मभिः

Tr. Some great ones maintain that this figure (Upama) is of three varieties, viz., on acconnt of the existence of "Blame"

द्वितीय: परिच्छेदः । 33

"Praise" " Desire to communicate ". We maintain as follows :- 1Note :- Dandin in Parichchheda II verses 30 to 32 defincs the above three varieties. सामान्यगुणनिदेशात्त्रयमप्युदिनं ननु । मालोपमादि: सर्वोऽपि न ज्यायान्विस्तरो कुषा ॥ ३८ ॥ Tr. We have surely ineluded al the three by laying empha- sis ou a common quality. All those varieties known as Malopama (String of similes) are not important. Their ex- pansion is useless. हीनताऽसंभवो लिङ्गवचोभेदो विपर्ययः । उपमानाधिकत्वं च तेनासदशतापि च ।। ३९ ॥ Tr. Dificiency Improbability, Difference in gender and number, Dissimilarity, Excess of words in the object of com- parison and Absence of resemblance. Note :- The above translation of 374111474 follows Verse 53, post, as consisting in excess of words. Deficiency or Excess in the importance of the Upamana is faTN4: which is mentioned in verse 39, subdivided in verse 52 and exemplified in verses 54 and 55, Excess of beauty in the Upamana is no defect, but ig an accepted fact in all similes, for, otherwise, there will be no charm and the statemont of the figure will be somothing like an algebraic equation. त एत उपमादोषाः सप्त मेधाविनोदिताः । सोदाहरणलक्ष्माणो वर्ण्यन्तेऽत्र च ते पृथक् ॥ ४० ॥ Tr. The above seven defecis of Simile are mentioned by Medhavin. They will be set out separately with their definitions and examples. स मारुताकम्पितपीतवासा बिभ्रत्सलीलं शशिभासमब्जम् । यदुपवीरः प्रगृहीतशार्ङ्ग: सेन्द्रायुधो मेघ इवावभासे ॥। ४१ ॥

34 काव्यालंकारे

Tr. The Hero of the Yadu race, with his yellow garmenta agitated by the wind disporting playfully hi+ Conch which shonp like the Moon and holding his (Bow) Sarnga appeared like s clond (adorned) with the rain-bow.

शकरचापग्रहादत्र दर्शितं किल कार्मुकम्। वास:शङ्खानुपादानाद्धी नमित्यभिघीयते ॥ ४२॥

Tr. By the use of a word denoting'Indra's Bow (rain-bow) the Bow of Krishna is suggested. By omitting to suggest some- thing in the cloud corresponding to the garment and conch this simile is called " Defective ".

Nofe :- The objects omitted are the Moon which resembles the conoh and the Lightning which resembles the Yellow garment of Krishna.

Intro. to 43. The Dosha next to be defined is Asdmbhava. It may be apprehegded that as no two created objeets can be identioal in all point there could he no complete similsrity botween any two objeots. Therefore there must be some standard with reference to which one may say that any two objeets may be taken as resembling each other and because the points of difference between them beivg small or unimportant may be ignored. That standard is that of the Great Ones ( Tlad: ) and so far as may be appropriate (ययोपपत्त).

सर्व सर्देण सारूप्यं नास्ति भावस्य कस्यचित् । यथोपर्पत्ति कृनिभिरुपमा सुप्रयुज्यते ॥ ४३ ॥

Tr. Among existing things oue object does not resomble another in every cespeet. Great ones employ the figure Simile as far as the re-emblanee may be appropriate.

अखण्डमण्डलः केन्दुः क्व कान्ताननमदयुति ।

Tr. What a gaif of difference does there exist between the Mosa o the fuli Orb and the camsel's face void of brightness. Stil. on aeronnt of the posassion of some little brightness, the face is compared with the Moon.

द्वितीय: परिच्छेद । 35

Intro, to verses 45 and 46. Bhamaha hasalready illustrated Defici- enoy in Upamana". But there are verses which are accepted as containing good similes although there is such deficieney. In such cases inis .ur duty to bring the apparent exceptions within the ralo.

किं च काव्यानि नेयानि लक्षणेन महात्मनाम् । दृष्टं वा सर्वसारूप्यं राजमित्रे यथोदितम् ॥ ४९॥

Tr. But the Karyas ef the great ones shoold be made to come under the established definitions as peintel ont in Roja- mitra. Has any one been ever able to recognise :drolute simi- larity (between two objeets)? Note :- Rajamitra is a, work-see page 20 of the intro, to S. D. by Kane.

सूर्याशुसंमीलितलोचनेषु दीनेषु पद्मानिलीिमदेष। साध्व्य: स्वगेहेष्विव भर्तृहीनाः केका विनेशुः शिख्नां मुखषु॥ ४६ ॥

Tr. In the throats of the Peacocks whose eves had been closed by the rays of the summer sun and who had become listless by the breeze laden with lotus scents their cries got hidden jnct as virtuous women who have lost their husbands hide themselves in their houses. Note :- Vamana in K. A. S. Vanivilas'Edition, page 113 refers to this Sloks. His sutra (4th Adhi-and Adhya-9th Sutra) lays down that the defi- clency of an Upamana sonsists in either dificienoy in class-quality Gfa or size प्रमाणम or attribates धर्मे. In the example in question the मुख् (of the Peacook) is the Upameya'and it bas a number of attributes. The Upamana (Te ) has no such attributes. Hence this sloka is bad (e ) It is not so says Vamana, for the point, of resemblance betwern the two i the दन्य of both. The देन्य of the house isinferrible ifrom the fact that the lord of the hoase is no more; bat the of the Upameys (the throat of the Peacock) is not so.clear. To ostsblish it two epithets are used vir., दर्याइर. मीटीत ad दक्कानिलनिर्मद, From these two the दन्य follows, Or

36 काव्यालंकारे

rather these are the अनुभाव: of the देन्य, So, this is not a onsei of a bad simile. It is in some such ways that the works of acknowledged poets should be justified. लक्षणेन काव्यानि नेयानि of Verse 45 ante. Intro. This is to illustrate the Dosha Asambhava (No, 2 in Verse 89 ante).

निष्पेतुरास्यादित तस्य दीप्ताः शरा धनुर्मण्डलमध्यभाजः । नाज्वल्यमाना इव वारिधारा दिनार्धभाज: परिवेषिणोऽर्कोत् ॥ ४७ ॥ शाखावर्धनस्य.

Tr. The burning arrows coming from the middle of his bended bow looked as if they issued from the mouth; just as effulgent streams of rain appear to fall from the noonday sun, when surrounded with a halo.

Note :- This is quoted by Mammata in chapter 10 who points out that ae the Upamana is non-existent ( 3TyTe@ ) the verse leads to the Dosha called 'impropriety of meaning'.

कथं पातोऽम्बुधाराणां ज्वलन्तीनां विवस्वतः । असंभवादयं युक्त्या तेनासंभव उच्यते ॥ ४८॥

Tr. How could an effulgent stream of water issue fromithe sun? Being improbable the defect in question is called "improba- bility". तत्रासंभविनार्थन क: कुर्यादुपमां कृती। को नाम वह्निनौपम्यं कुर्वीत शशलक्ष्मणः ॥। ४९।

Tr. Which man of sense will make n comparison with an talo

improbable thing? Who will compare the Moon with the Fire?

Introductory. Bhamaha haa discarded in the previous noka improbable siiniles. " But there aro cases where an intensity of meaning is obtained by an improbable statement. Further, snch cases are accepted as valid simdl es, To avoid their rejection on account of their improbable charaoter the author composes the next verse so that such cases may be trented as exceptions to the Dosha Asambhava. The same point is set out in Vamana's Ravga ai. S. Yanieilas edition page 122. .

द्विसाये: परिच्छेद: । 37

यस्यतिशयवानर्थः कथं सोऽसंभतो मतः ।

Tr. That, whose meaning is superior, how could it become improbable? We accapt superior meanings in similes and Utprekshas ; thus :- पुन्जीभूनमिव ध्वान्तमेप भानि मनङ्गजः । सरः शरत्प्रसन्नाम्भो नभःगवण्डममिवरोज्अिनम् ॥ ५१ ॥ Tr. This Elephant looks like darkness lumped together. This pool with its water- renderd limpid by au:umn loks like a chip of the skies fallen on the ground. Note :- The first half of the verse illustrates an improbible simite whioh is aoceptable and the secon i half an improbable Utpreksha. Intro. Doshas 3, 4 and 5 of Verse 30 ante. अथ लिङ्गवच्ोभेदावुच्येते सविपर्ययौ। हीनाधिकत्वात्म द्वेवा त्रयमप्युच्यने यथा ॥ ५२ ॥ Tr. Then we exemplify diversity of gender and number along with Viparyaya (Di-similanty). The last is two-fold because of inferiority or superiority. All the three are illuy. trated; thus :-- Y Note :- In Verse 39 while enumerating the 7 Doshas of Upama ferspa- ATT: had to: he anlit into two to make up seven. In this verse although ' dis- e similarity' is divive l into tno (A UT) it is regarded as only ono Dosha, for, this verse goes on to say. 'The three will ba exmmplifiet' (त्रयमप्गुच्यते). In verse 89 above 37919113734 is mentioned as a dosha. What is thereby meant is उपमाने अधिकूपदत्वम् for, that is what is illustrated in verse 58 post. Intro -Example of difference in Gender and Number. अविगाह्योडसि नारीणामनन्यमनमामपि।

कान्यालंकररे

Tr. You are onfathomable evon to your devoted ladies ju-t as a river whose waters are broken by rough stones is un- fordable to one de-irous of crussing it.

Not :- Here the Upameya denoted by FH (afarntu:) is masouline, while, its Upamans viz., MIWT is feminine. Further TTH which is the Upamand is in the plural, while, the Upameya viz., 3rerdftva: is in the singular. Intro, Inferiority of Upamana (the first subdivision of.Viparyaya of verse 52 ante.)

कंचदग्रे प्रसरता कचिदापत्य निन्नता। शुनेव सारङ्गकुलं त्वया भिन्नं द्विपां बलम् ॥ ५४ ॥

Tr. Just as a dog (worrying a herd of dear) sometimes rons in advance and sometimes turns fback and assails, so your enemies' ferees have been broken by you.

Note :- Here the compariron of a king to a dog constitutes " inferi- ority in the Upamana. "

Iniro. Example of अधिकचिपर्यय of verse 52 anfe,

अयं पद्मासनासीनश्चकवाको विराजते। युगादौ भगवान्व्रह्मा विनिर्मित्सुरिव प्रजाः ॥ ५५ ॥। Tr. This bird Chakracaka sente l on the lotus looks like god Brahm eigaged in creating the worl at the beginning of a Yuga.

Note :- This verse is quoted by Mammata in bis ohapter 10 as an ezample of Anuchitartha because the Upamans Brahm i setting out to croate is inoomparably superior to the bird sitting with olosed eyes on the lotas. Appaya- dikshita qnotes this in Chitramimamsa (N. S. Edition page 80), with NT: instead oi asn.

Intro. ILe objector introduces an objection by 75. The author har stated that the Upamans must not be superior to the Upameya and has quotod the sxsmple of Brahma as the.Upamana of the atork. Now says the .objeotor such iugerority ip tr. Uyemana is allowed in a large aumaber of eassss

द्वितीय: परिच्छेद: । 89

ननूपमीयते पाणि: कमलेन विकासिना । अधरो विद्रुमच्छेदभासा बिम्बफलेन च ॥। ५६॥

Tr. Bnt the hand is (usually) compared with an expanding lotus. The lips are compared to the colour of broken red coral and also to the fruit of the Bimba plant.

Note :- The implication is thit the lotus is vety mush superior to the hand and the broken coral and the fruit are much more beautiful than the lips. In this Sloka it may also be taken, that the objeotor points to the violation of the rule as regards gender and number. For the word qfer: which is masculine is compared with कमलम whish is nouter and अर: wb फलम.

उच्यते काममस्तीदं किं तु स्त्रीपुंसयोरयम् । विधिर्नाभिमतोऽन्यैस्तु त्रयाणामपि नेष्यते ॥ ५७॥

Tr. We shall reply. True, generally it is so. This tule is not considered binding in the case of disparity of Gender. Others disregard the disparity in all the thrae cases.

Intro. Example of उपमाने अधिकपदत्वम् (Last but one in verso 89 ante).

स पीतवासाः प्रगृहीतशाङ्गों मनोज्ञभीमं वपुराप कृष्णः ।

संसूज्यमान: शशिनेव मेघः ॥५८॥ रामशर्मणः.

Tr. Krishna wearing an Yellow Garment and holding in his band the bow Sarnga took a form which was both beautiful and terrible. He looked like the cloud at midnight (decked) with Lightning and Rain-Bow and associated with the Moon.

रशिनो ग्रहणादेतदाधिक्यं किल न ह्ययम। निर्दिष्ट उपमेषेऽयें वाच्यो वा जलजोऽत्र तु ॥ ५९॥

कांच्यालकारे

Tr. By intro 4: IFPla Moon Pthis Tisla chse of) increase. Anything corfespouding po this, incrense has not been ctated as regards the Upameya (न ह्यय निर्दिष्ट उपमेयेें). Here also should be stated the corch (घाच्यो वा जलमोऽतर तु).

Note :- Tho purport is this. In this verse Krislingtis the Upame1d. The Upamana is the cloud. Now Krishna has two attributes viz , Yellow Garment, and the Bows Saraga. Corresponding to them the cloud has the Lightning and the Rain-Bow. In addition the cloud is described as having the Moon. Hence thia is a case of excess in the Upamang.

न सर्वसारूप्यमिति विस्तरणोदिता विधि: । अभिप्रायात्कवेर्नात्र विधेया जलजे मतिः ॥६०॥

Tr. It has been laid down, in ertenso that complete resem- blance is not necessary. According to the intention of the poet the mind should not be extended to the edndh ri, e., the poet may not have intended to include the a <-- 1 -'^o as an item of similarity).

Note :- Apparently Bbamahs is not for considering the omission of any reference to the conch as a blemish. For it is not obligatory to desoribe similitude on all points botween the Upamang and the Upameya as explained before. The net result is that it is left to the discretion of the poet to deseribe similarity fully or partially. Vamana (see V. V. Edition Page 1i4p disousses this question in greater detail. He concludes by saying that some oales, on examination will turn out to be no cases of dT at all.

आधिक्यमुपमानानां न्याय्यं नााधकता भवेत् । गोक्षीरकुन्दहलिनां विशुद्धया सदशं यशः ॥६१ ॥

Tr. The superiority of the Upamar .. is proper. Fame is similar in purity (whiceness) to the cow's milk, the kunda fower and to Balarama. But there is no afanar (superiority). एतनैवोपमानेन ननु साश्यमुच्यते । उक्तार्थस्य प्रयोगो हि गुरुमर्थ न पुष्यति ॥ ६३॥।

Tr. It is by the use of these kinds of the oujects of the comparison that reeemblance is brought out. The use of an objeot

द्विताय: परिचछेद: । 41

as Upamana having the same qualities as those of the Upameya does not conduce to producing a larger (i. e., better) meaning.

Intro. Explain of Dosha No. 7 in verse 39 Auto, viz., असदृशता.

वनेडथ तस्मिन्वनितानुयायिन: प्रवृत्तदानार्द्रकटा मतङ्गजाः । विचित्रवर्हभिरणाश्च बर्हिणो बमुर्दिवीवामलविग्रहा ग्रहाः ॥ ६२ ॥

Tr. To him who roamed in the torest following his beloved, the elephants from whose skulls ichor was flowing and the Peo- cocks dressed in variegated plumes constituted the resplendant planets cf the Heavens

ग्रहैरपि गजादीनां यदि सादृश्यमुच्यते । तथापि तेषां तैरस्ति कान्तिर्वाप्युग्रतापि वा ॥ ६४ ॥

Although (in the above Sloku) the Elephants etc., were com pare i with the planets have they like the Jatter any efful- gence or fierceness?

इत्युक्त उपमाभेदो वक्ष्यंत चापरः पुनः ।

Tr. Thus the varieties of simile have been described. Ano- ther is to be deseribed diftering fro n the Alankara Upama ete,

आक्षपोडर्यान्तरन्यासो व्यतिरेको विभावना । समासातिशयोक्ती च पडलंकृतयोऽपर: ॥ ६६।।

There are six others viz., Akshepa Arthantharanyasa, Vyatbi- reka, Vibhava. a, Samasokti, Athisay okthi.

Note :- This is copied verbutim by Udbhata as the first verse of the Varga 2 exoept the last quarter. N. S. Ed-, p. 29.

Re 42 कास्यालका

वक्ष्ग माणोक्तविषयस्तत्राक्षेपो द्विया मतेः । एकरूपतया शेषा निर्देक्ष्यन्ते यथाक्रमम्॥६७।।

Tr. (In the sbove) Akshena is civided into 3eamoniada: (where something remains to be said) and 3tfagy: (when some- thing has been said). The others ace: desoribed bel w. without subdivi ion and in their order.

प्रतिषेध इन्ेष्टस्य गो विशेषाभिधित्सग्रा। आक्षेप इति तं सन्नः शंसन्ति द्विविधं यथा ।। ६८॥

Tr. Where with the objeet of emphasising its importance wlnt is drsired to be affirmed is to all appearance Suppressedi (negatived)-the Alankare is called Akshepa hy tho learned- It is of two kinds. Tius : -

अहं त्वा यदि नक्षय क्षणमप्युत्सुका ततः। इगदेवास्त्वलोडन्येन किमृक्त्तेनाप्रियेण ते ॥ ६९ ॥

Tr. If I do not see yon even for a single moment then I begin to have a (great) longing. Let me siop here. Whatus the use of telling unpleasant things to yon ?

Net :- This is an etample of armfagn. The intended meaning is "I am going to dio". Thisha kuppresson .Lochana Tage 36 explains that the snppressed meaning constitutes 'dhwani'. The. last word in the slokt follows the roading of the Lochana.

स्व्रविक्रमाक्रान्तभवुश्चित्रं यन्न तवोद्धतिः । को वा सेतुरलं सिन्धोरविकारकरणं प्रति ॥ ७०॥

Tr, It is wonderfol that yoo, wh. have conquered the wald by the might of yonr arm should have no conceir. What kind of bridge is that which could produee any disquiet in tho Ocean ? Note. -Here the fortitade Iabrenee of conscit) bas beou expressly stuted

द्वितीय: परिच्छेदः । 43 **

to be wonderful. So it is 351374. This stitemant is retracted next by saying that after all it is not (so) won lerful. Here, the retraction is not in so many words but is the purport of the second half of the the vetso. Intro .- Difinition of Arthinth wanyasa.

उपन्यस्तनमन्यस्य यदर्थस्योदितार्हत। ज्ञयः सोडर्यान्तरन्यास पूर्वार्थानुगतो यथा ॥:७१11

Tr. The statement of a meaning other ton the one arising 7rom the context is known as Artantarangasa provided that meaning helps the meaning of the cootext.

Note :- In the O. I as we-las in the Tr. Mandschipt we bave aT AT Therefo:e TAl TIl in the printed bonk must Le a mis print ..

परानीकानि भोमानि विविक्षोने तत व्यथा। साधु वामाधु वाऽडगामि पुंमामात्मव शसनि ॥ ७२॥।

Tr. To yon, de-iring to enter the fearfol aimy of she Gncmy there is no apprebonsior .. , For the sonls of Hetaes indicate if the foture (ymTIfa) is good of bad.

हिशव्देनापि हेत्वर्थप्रथनादुक्तासडये। अयमर्थान्तरन्यासः सुनरा व्यज्यन यथा ॥ ७३ ॥

Tr. This Artantra-Ngasa is clearty minifoste? by thes use of the word (fe) employed in the sense of canse or reason for th+ accomplishment af the matter actually s aied or set ut.".

वहन्त गिरया मेघानभ्युवेतानगुरूनातरे गरोयनिंत हि गुरुन्त्रिमर्ति प्रणयागतान् ।.9४19 :- Tr. Moantains support clonds thoagh targs tiat :resrtito . thein. It is only the Greater Ones that snpport ue. Great Onis that go to them in friendshi »

उपमानवताऽर्यस्य यद्विशेषनिद्दरशनम् । व्यीतरेंकड रमषकन्त विसषाफरदनाषमा ॥। न

44 ? काव्ालंकारे

Tr. Where some superiority is stated with referenew to the Upameya the Alankara is known as Vyatireka becanse of fhe" statement of a difference. Thus :-

सितासिते पक्ष्मवती नेत्रे से ताम्रराजिनी। एकान्तशुभ्रश्यामे तु पुण्डरीकासितोत्पले ।। ७६।।

Tr. Your eyes with the evelashes are both black and white and bright as copper ; where-as the white lotus and the blue lily are either entirely white or entirely bluc.

क्रियायाः प्रतिषेधे या तत्फलस्य विभावना । ज्ञिया विभावनैवासौ समाधौ सुलमे सति॥ ७७॥

Tr. The discription of the genesis (faaat) of the effect (फल) where the eause (क्रिया) is described as not existing.is called Vibarana, provided the explanation (aHifa) is easy.

Note :- In this Stoka the word faFT r means कारण and समाधि means oxplanation, See the interesting English note of Belvakar, to the Vibharana Alankara of Dandin. This verse is borcowed by Udbhata as verse 10 of Targa 2 (See N. S, red., p. 38). Pratiharendntaja points ont that in this figure the essence consists in suggesting a contradidtory theaning (faEgI9Tg) For. to say that an effect is produced without its appropriate canse is a case of coutradic- tion and hence will come under the deseription of the Dosha called ag. To obviate this, it is pointed out that Bhamaha alds tha registriction समाधी सुलमे सति.

अपीतमत्ता: शिखिनो दिशोऽनुत्कण्ठिताकुलाः । नीपोऽविलिप्रसुरभिरभ्रष्टकलुपं जलम् ॥ ७८ ॥ Note :- (This is description of the rainy season).

Tr. The peacocks are intoxieated without drink. The cardinal points are afficted (clouded) without longing. The tree Nipa is odorons without being smeared (with sandal). The waters are muddy, (defiled), thongh they are not gets.fallen

द्वितीय: परिचछेद । 45

Note :- The'suggestion arising from the recital of the absence of the various canses shonld be noted. It is drink that intoxicates: longing that produces affliction, sandal, that gives rist, to smell, aud bad people. g that cause impurity. HTgH is used in a double sense. When applied to the waters the word must be split into 39978 meaning that the rain water falls down from,the sky. जलम् अश भ्रष्टन (= भ्रशेन) कपलुम, When spplied to the world at large it is hy E's (fallen people) that impurity FItg) is produced. Int/o :- Definition of Samasokti. यत्रोक्ते गभ्यतेऽ्न्योरऽर्थस्तत्समानविशेषणः । सा समासोक्तिरुदिष्टा मेंक्षिप्तार्थतया यथा॥ ७९ ॥ Tr. Where on one meaning being expressed another is suggested by the force of common epithets. it is a case Sama- sokti, so called becanse of its being a condensed statement. The word सभासोक्ति literally means सभसिन (in a condensed form) उक्ति: (statement. स्कन्धवानृजुर्याल: स्थिरोSनेकमहाफलः । जानस्तरुरयं चोच्चै: पातितश् नभस्वता ॥ ८०।। Tr. This tres was powgessed of a trunk. was straight, was withont snakes, was stable, abounded in fruits and also grew up tall, bnt was blown down by the wind. The epithets sugyest a great and good man strnek down by misfortune. निमित्ततो वचो यत्तु लोकातिकान्तगोचरम् । मन्यन्नेऽतिशयोक्ि तामलंकारतया यथा ॥ ८१॥ Tr. Where something transernding ordinary experience ig degeribed bot not without a reason, it s regarded as the figure Atisayokti. स्व्रपुषच्छावेहारिण्या चन्द्रभासा तिरोहिताः । अन्त्रमोयन्त भृङ्गालिवाचा सपच्छददुमा:॥। ८२ ॥

46 काठयालकारे

Tr. The tree Saptachchhada being rendered invisible, by moon-light which is of the eclour of its bloom, is inferred by the hum of bees.

Note :- Amara says :- सप्तपर्णो विशालत्व्रक शारद्रो विषमच्छदः

अपां यादे त्वक्शिथिला च्युता स्यात्फणिनामिव। तदा शुल्ांशुकानि स्युरंङ्गष्वम्भलि योषिताम् ॥ ८२॥। No e :- This is anoth r kind ef Atisayokti. This iso description of women disporting in water. Their garments are so thin and white that they took as if water hud fnoulted (u skin).

Tr. It like snakes wa er should shed a skit, then,,, on the limbs of women (disporting in water) we should expeet to find white garments.

इत्येवमादिरुदिता गुणातिशययोगतः । सर्वेनातिशयोक्तिस्तु नकयेत्तां यथागमम् ॥ ८४।।

T. By connection with some superior qua ts descriptions like the above tesult. In fact, in the case of all deseriptions Atisayokti shoald be onderstod as existing as for as possildle (यथागमम्). Note ;- Compare the foliowing from the Vritti of Dhranyalieka (N. S Edn .. p. 207) which Vriti explains Karika N. 37 by which it is taid down that all Arthalankras, gaiu in benuty by there heing some d'isayol:fi menning in it. The passage is "यतः प्रथमं तापद्रतिशयोक्तिगर्मता सपालकस्तु-रक्यक्रिया। कृतैत्र च सा महाकविभिः कामषिकाठ्यच्छाव पुष्पतीतिकर्थं स्वतिशययोगिता स्वतरियय।- चित्येन क्रियवाणा सती कावये नोत्कर्षमात्रहेत् ।।"

सैषा सर्वेत वक्रोक्तिरनयाथों विभाव्यते। यत्नोडस्यां कविना कार्य: कोडलंकारोडनडा बिना।८।

'I'r. This peculiur method of s tatement facniss) is foun i everywhere (i, e., in other alcrkaias)- f y tse, Welnn gs ure

द्विताय: पग्चिेमः । 47

rendered beautiful. Poets shonld be assiduons in cultivaring it. Where is the Alankara without this : Not: -Anmndadavar lhyus quotes this vor e and explaios that this figur: pervades almost every other figure, aud beautities them. Thus this ti gure msy be said to bo the basis of all Almukaras and that in a manner the other Alankara ars merely modifcations of this ( Vide Dhvanyaloko p. 20 ). Dandin in his Kapy/ irsa Parichchils 2. V. 9:0 and Hemachandra p. 26 ;. (Comn-on Kavya tusa en) are of the sai view Bhamaha seems to regard vakrok- thi identical with .Athisayakthi. हतुश्र सूक्ष्मो लेशोऽय नालंकारतया मनः । समुदायाभिघयस्य वकोक्यनभिव्ानतः । ८६।।

Tr. Thes three viz., Hatu. Sukshms, and Lesa are not accepted as Alinkaras becaus, the soi total of the meaning involves no pictnresqueness in statement. Note: -These three figures are not acceptol as Alankaras by Bhamaha. Dandin however iu Kavoyadarsa Farichotheta II verse 235. emphatisally accepts thom as such.Tn fact he oalls them as. "Superior ornaments of Speach"वाचामुत्तमभूषणम् His commentator Premachandra points out that Diodin uses the above expression to suggest that those who deny the charaoter of Alankaras to these three are men without taste. In the text I have adopted the reading , "अभिधेय" instead of अभिधानस्य as being more correot, because it is the meaning (TT) that is referred to in the contert and not the words (3T4). The Samudayabhidheya will b.come more intelligible if we rafer to the succesding example in whioi a lirge numbor of separate stato. ments are intended to make up this figuro.

गनोSस्तमकों भानीन्दुर्यान्ति वासाय पक्षिणः । इंत्येतमादि किं काव्यं वात्तामेनां प्रचक्षते।।७।।

Tr. The Sun has set; the Moon shines, the birds ure winging back to their nests". What kind of poetry is this ? Tnis is called Varta. Hemachandra in K A S. p. 28 rofers to this verse and suggests various meanings to this based on the context and the differences in the person speaking and the person addressed. According to him this Slok mav man . This is 'time to go to the lover."" < Stop wo-k." " Pertorm

48 कान्यालंकारे

Sandhya." " Don't go far." " Get the cows homewards." "No heat here-after." "Gather the things exposed for sale." etc., etc, In short, he says that, this verse is capable of various Suggested meanings.

यथासंख्यमथोत्प्रेक्षामलंकारद्वयं विदुः । संख्यानमिति मेघाविनोत्प्रेक्षाभिहिता क्कचित् ॥ ८८ !!

Tr. There are two Alankaras known as .Yathasankhya and Utpreksha. In some places Medhaviu calls Utpreksha by the vame of Sankhyana.

Note: - .r. P. V. Kane in his intr, t S. D, p 13 reads the second half differently. Thus संखयानमिति मेवावी नोत्प्रेक्षामिहिता क्वचत This would mean "Medhavin calls Yathasankhya as Sankhyans. Utprekshz is montioned no where"'.

भूयसामुपदिष्टानामर्थानामसधर्मणाम्। क्रमशो योऽनुनिदेशो यथासंख्यं तदृच्यते ।। ८९।।

Tr. When many different things having nothing in common are set out and when they are subseqnently referred to in the same order the figure of speech is known as Yathasanklya.

Note :- In Udbhata's works this verse figures as verse 2 of varga 8. His commentator points ont that although the text uses the word Aong there may be cases where though there is resemblance among the varions objeets, still there may also be a numerioal order that could not be ignored and so this Alankara may exist though subordinately to another oyatireka.

पद्मेन्दुभृङ्गमातङ्गपुंस्कोकिलकलापिनः । वक्त्रकान्तीक्षणगतिवाणीवालैस्त्वया जिताः ॥ ९०॥

Tr. The lotus. the moou. the bee, the elephant, the he-cuckoo and the peacock are defeated by your face, brightness, glance, gait, speech and braid of hair.

अविवक्षितसामान्या किचिच्चोपमया सह। अतद्गुणक्रियायोगादुत्प्रेक्षातिशयान्विता ॥ ९१।।

दितीय: पररिषठेद:। 49

Tr. The figure Utpreksha is charaoterised by excellence, because, without any common quality being the object in view, there is, ur under current of resemblance even though the objects are not (described as) connected by any common quality or action.

Note :- Vamana's vicw (vide V. V. edn., p. 132) as explained in Kama- dhenu is practically identioal. It is there stated as follows :- Where, one object resembles another and therefore is superimposed on that other, it is a case of Rupaka. Where on account of the resemblance one object is called by the uame of tho other it is a case of Adhyavasaya and the tigure is Vakrokti Where however to attribute importance to one object, is is called by the name of another objeot dissimilar to it then this also is a case of Sambhavano and is called Utpreksho, At page 183 of the same work it is stated that Utpreksha aud Atisayokti are different and that to show that those who maintain that they are identioal are wrong, Vamana formulates Rule 10. It is also added that where the thing that is assumed (Awlead) and its importance are both the creations of ths poet it is Atisayokti.

किंशुकव्यपदेशेन तरुमारूह्य सर्वतः । दग्धादग्धमरण्यान्याः पश्यतीव विभावसुः ॥९२॥

Tr. Fire, having mounted to the tops of the trees in the guise of the bloom of the tree Kimsuka, seems engaged in survey- ing the burnt and unburnt portions of the vast range of fcrest.

Note :- The tree f3T.has red flowers. Its bloom is; described as fire in this verse,

स्वभावोक्तिरलंकार इति केचित्प्रचक्षते । अर्थस्य तदवस्थत्वं स्वभावोऽभिहितो यथा ॥९३ ॥

Tr. Some are of opinion that Svabhavokti is an Alankara. It comsists of objects being described as they are in nature. Thos :-

गा वारयति दण्डेन डिम्भः सस्यावतारणीः ।। ९४ ॥

50 काव्यालंकारे

eTr. By shouting out, by calling others, by running round and round and by crving, the little boy wards off with u stick the cattle that stray into the erop. ds Note :- Mammata dotinos this dlapkara thus " स्व्रभावाक्िस्तु डिम्मादे: स्थक्रियारूपवर्णनम् । Possibly the idea that the description should be of tha aotions of children was in Bhamaha's miud when he composed this illustra- tion.

समासेनोदितमिर्द धीखेदायेव विस्तरः । असंगृहीतमप्यन्यदभ्यूह्यमनया दिशा ॥ ९९॥

Tr. This has beeu breifly stated., A more claborute state- meot will leud only to (needless) strain of the mind. Others (Alunkaras) not specifically set out shonld be guessed at, in a similar fashiom.

स्वयं कृतरेव निदरशनैरियं मया प्रक्ृप्ता खलु वागलंकृति:। अतः परं चारुरनेकधापरो गिरामलंकारविधिविधास्यते ॥ ९६ ॥

Tr. This [the above] copstitutes an exposition of Alenkaras with illustrations of wy own cumposition. Herea'ter many auother beautiful figure of speech will be deseribed.

CHAPTER III.

तृतीय: परिच्छेः॥

Intre. This and tho following three versos should be taken togother :- प्रेयो रसवदूर्जस्वि पर्यायोक्तं समाहितम् । द्विप्रकारमुदात्तं च भेठैः ल्िष्टमपि त्रिमिः॥१॥

ततीय: परिच्नेद: । 51

अपहृतिं विशेषेकितिं विरोधं तुल्ययोगिताम्। अप्रस्तुतप्रशंसां च व्याजस्तुतिनिर्दंर्शने ॥ २ ॥ उपमारूपकं नान्यदुपमेयोपमामपि । सहोक्तिपरिवृत्ती च ससंदेहमनन्व्रयम् ॥ ३॥ उत्प्रेक्षावयवं चान्ये संसृष्टिमपि चापरे। भाविकत्वं च निजगुरलंकारं सुमेधमः ॥ ४ ॥ Tr. Those of keen wit say that the following are also Alankaras (1) Preyas (2) Rasaru (33) Frjasrin (4) Paryayolita (5) Samahita (6) Tio varieties of Edatta and (7) Teree varieties of Slishta. Also (8) Apalnuti (9) Visesholti (10) Viroaha (11) Tulya-yogita (12) Aprastutaprsa msa (13), Fyajastuti (14) Nidarsana (16) Epamawrupaka (16) Upameyopaina (17) Suhokti (81) Parirritti (19) Ssandeha (20) Anancaya (22) Utpreksharayara according to some, (23) Samsrishti ace ird- ing to others (24) Bharikate also is' deseribed as Alankara. प्रेयो गृहागतं कृष्णमवादीद्विदुरो यथा। अद्य या मम गोविन्द जाता त्वयि गृहागते । कालेनेषा भवेत्प्रीनिस्तवैवागमनात्पुनः ।। 4।। Te. . Preyas is as follows, whero Vidura addregsed Krishna who had come to his (Vidard's) house "Oh! Gorinda the happiness that I now enjoy by yonr coming to my house I cannot have the same hereafter except by another advent of yours. Note :- The verss HI 'I HA is not exactly found ) the Mahabhar ,ta. Beltalkar (3anskris, Part 2 pags 20) in his no!es to Ka.adarsa says on the authority of Preipichan la the (commentator) that a verse similar to this is tound ia tha Udyojaparsu of tho Ma'abharata, He quotes as follows :- "या प्रीतिः पुण्डरीकक्ष तत्रागमनकार्णान। सा किसारपायते तुस्यमन्तरात्मासि देदिक aiit i and ie P. C. Roy's Edition ci Moholharata Udyoga Paruh Cipter 88 veree 24 the folhwing verse-' या मे प्रीतिः पुष्कराक्ष त्व- र्णनसमुद्धवत्र'। सा

52 काठ्यालकरर

frarould eto. The same verse is repeated as the last verse of Chapter 91 (P. 227) of the same Edn. This Alankara will correspond to she Guna "Kanti" of Dandia dessribed and Illustrated by him in para 1, verses 75 to 81.

रसवद्दर्शितस्पष्टभृक्कारादिरसं यथा।

Tr. Rasavat (Alankara) is that in which Sringara ete., are clearly manifested, thus " The Deri the receptacle of Dharma arrived unobstructed." (#F# is a hallow bamboo.)

Note :- The first half of this verse is takon by Udbhata in his Karya- lankarasara (N. S. Ed., p. 49.) He states that the manifestation should be by theemployment of the Anubhavas ete., Belvalkar in his English Nobes to Favya- darsa Para 9 vorse 275 has a very interesting diseussion about the three Alankaras Preyas etc., He remarks that where Priti is desoribed without amounting to a fall-fodged Rasa it is a case of Preyas . Where however the priti becomes manifested by!Vibhavas, Anubhavas and Vyabhicharibhacas it is raised to the level of Rasa. When Rasa is exhiblted as subordinate then arises the Alankara knowa as Rasavat.

ऊर्नस्वि कणेन यथा 'पार्थाय पुनरागतः । द्विः संदधाति कि कर्ण: शल्ये' त्यहिरपाकृतः ॥७ ॥

Tr. Urjasrin it like this. When Karna addressed Salya and said "Oh Salya! will Karna direct towards Partha, a second time the arrow ?". So saying he put back the snake-astra.

Note :- (1) The allusion is to the following story from the Mahabharata. During the Great Conflagration'of the forest of Khandava, Arjuna killed a snake who had covered her offspring by her body. The obild-snake made s vow to kill Arjund. When Karna and Arjuna were brought : ce to face in the battle Karna placed an arrow on his bow and took sim. Into that bow, unporoeived by Karna, the snake entered. Salya thereupon cautioned Karna to bako better aim as he feared the arrow may miss Arjuna's neok. Resenting this, Karna says that he is not in the habit of taking aim twice. The verses are ते बुबुघे सतपुत्रो पाणे प्रविष्ट योगकलेन नागम् ॥ २३ ॥ ततोऽब्वीन्मद्ररजो सह .- मा पेकर्तन प्रेक्ष्य हि संधितेपुम्। न कर्ण ग्रीवामिपुरेष लप्स्यते समीक्ष्य संघत्स्व झरं शिरे- घ्रम्॥। १४ ॥ अथाव्ववीत्करोषसंदीप्तनेत्रो मद्राधिपं मूतपुत्रस्तरस्वी। न संपत्ते द्रि: शर्य शल्य कर्णों न माटृशा जिहायुद्धा अवन्ति ।।५।। The story further on is tha. rishna meing the aow cumiag ap preed dowa tha ciartot, Sloya Oaleanio

ततीय: पग्चिकम: ।

Edn .. Karna Parva 90th Sarga. The arrow missed Arjuna's head but took raway his head ornament, Disappointed the arrow (salya) came back to Karna and implored him to take better aim and despatoh him aj secoud time, which Karna declined to do saying-"न संदध्यां द्विः शरं चैव नाग यदर्जुनानी शतमेव हन्गाम् " If the allusion in the Sloha is to the seornd ineident, the word salya in it means an ' arrow ' and is addressed to the sanke. (2) Udbhata in Karya- lankarosara (N. S. Edn., p. 5') defines this Alankara to be a desoription in which the passions have transgressed the proper bountds and have besome impro-

Urjnsvin. per. Such improper Bhavas and Rasas whon desoribed constitutes the Alankara

पर्यायोकं यदन्येन प्रकारेणाभिधीयते। उवाच रत्नाहरणे चैद्यं शार्ङ्गधनुर्यथा ।। ८।।

Tr. Paryayokta is the statement of an idea in a manner different from the normal or ordinary one. As where Krishna addressing Sisupala in Ratniharang (a work of that name). Spoke thus .-

Note :- Prof. P. V. Kane in his Intro, to S. D. p. XX doubts if TIIETO is really the title of a .work. Udbhata (in K. A. S. N. S. Edu., p. 51) borrows the first balf of the above for his definition of this Alankare. His second half explains it more fully. It is :- वाच्यवाचकवृत्तिभ्यां गून्येनाघगमात्मना. Laghuvrifti explains the above thus :- Vachaka is ' word." Its fonction is to suggest the sense Vachya, viz., "meaning." The fanetion of the ' meaning": is to unite with the other meanings in a sentence (i. e.,) alanksha etc., Outside these two functions a meaning may be understood 3TTIa which, though niot set out in so many words ₹वकण्ठानभिहितमपि is still the result of the funotion- ing of the words शब्दन्यापणात्रगम्यमानत्वात etermined, of course, by th intention of the spanker तात्पर्येण. This meaning is mediate सान्तर, Lochana p. 39. quotes this couplet of Udbhata and explains as follows :- If you understand tho word अभिधीयत in the defiaition as moaning "Suggostion" (व्यमय) and quote by way of illuetration NH HfA3' then the definition will noi describe the alankara at all, bnt will describs ' Dhuani " In the Alankara ' Pary1- yokta " the writer inten is the meaning to come withi the seope of the literal meaning. Whecess in Divani the intention is to abandon the literal mean" ing and auggent somsthing else; for Dhvani " comes under the greup of faaferchrgqT417T" .. Raghaya Bhatta in his commentary on Sakuntala! Or.B. Ed., p. 10) quotes the Udbhata's definition as Bhamabe's apd illustrate

51 काव्यालंकारे

the samo by the following verse from IIzyagrivavadha "यं प्रेक्ष्य निग्रूदापि निवासप्रीतिरुज्झिता। मदेनैगवणमुखे मानेन हदये हेः॥"Mammata qnotes the samo verse for illustrating this Mlgalora. His definition of it is qn frm वाच्यवाचकत्वरेन यट्च: ।।" If we tara t, the defnition in the toxt vee sco that though very condonsod it is very accurate, according to the viewa ot the ancients. It may ba explained as follows :- अन्येन प्रकारणे =वाच्यवाचका- न्यतरभिन्नप्रकारण। अभिवीयते=अभिषाविषयः, न पुनर्व्यंङ्रयवरिषयः । The subjert of Paryyakota isexplainediin the Laghuvritti of Pratihorendnraja as 50z1- नभिद्ितत्व्रेऽपि सान्तेरण शवदव्यापरिणावगम्गमानत्यम् (UabhataN.S. F.d., p. 52),

'गृहेप्वध्वसु वा नान्रं भुन्जमहे यद्भीतिनः । न भुञ्जते द्विजास्' तच्च रसदाननिवृत्तये ॥ ९ ॥

Tr. We dont cat either at home or abroad food which has hot been eaten by Brahmins learned in the Vidas. Tuis is to prevent poison being administered. Note :- Lochano (N. S. Ed., p. 40) quotes this verse and explains that these are the words of Sri Kridhsz. Waery anl when he used them is not stated. The word. तच्च रमदाननिततये in the text are the author's. He says that the not eating of food untasted by the Brahmins is to prevent being poisonad for no one would poison fool which is likely to be eaten by Btabinis No donbt thie meaning is derivable foun Sri Krishna's words. In that caso it will bo ' Dheani" but still explains Tchana this Dlroni has no particular charm and is not important; but, helpel hy this, the literal meaning hecomes more nttractive. समाहितं राजमित्रे यथा क्षत्रिययोषिताम्। रामत्रमकत्ये यान्तीनां पुरोऽटउयन नारदः । १० ॥।

Tr. The figure Samahita is thns (ilnstrated) in the vork) amitra. To the damsel- who went along to associate with Riow, Naradn appeared in front. Wote .- Dhamshs doa nos dofine this figure bot only illogteatos it. "The alastration maans thst Narada's arrival was a Cod-sen 1, for, the eage will direct the damsels to where Ruina was This figure is callad by later dlankerihas batbe name of " Sam .d .i". A figure known as " Samahita " is aescribed by. vi panstas, vhich r fers to a deseription of the stage of subsidence of a sentimont.

तृतीय: परिचछदः । 55

उदात्तं शक्तिमान्रमो गुरुवाक्यानुरोधकः । विहायोपवनं राज्यं यथा वनमुपागमत् ॥ ११॥

0. L.and T. M. both read उपनत राज्य iu tpi ्th printed text which is obviously not quite so a cd. Tr. Udatta (is as follows): -Rama though , ewerful went to the forest at his father's behe-t abandoning a kingdom which had come (to him).

एतदेवापरेऽन्येन व्यास्याननान्यथा विदुः। नानारत्नादियुक्तं यत्तत्किलोदात्तमुच्यते ॥ १२ ।।

Tr. Others define this sam Alankara differently, by ano- . ther descrintion. It is thus :- That Alankara is called Udatta in which a subject is described as rich in many kiuds of precious stones'etc.

चाणक्यो नक्तमुपयास्नन्दकीडागृहं यथा। शशिकान्तोपलच्छन्नं विवेद पयसां कणैः ॥ १३ ॥

Tr. When Chanakya went at night to the disporting chamber of Nanda he tound it paved with Chandrakanta stones and knew the same by the particles of water (issuing there-frou).

Nutc :- I havo adopted the reading Ol: in O. L. The primted text reads Tor :.

उपमानेन यत्ततत्व मृपमेयस्य साध्यंत। गुणक्रियाभ्यां नाम्ना च छिषं तदभिधीयंत ॥ १४ ॥ 10 Tr. When the identity of the Upameya with tho Upumana is deseribed by ( community of) qualities, action, or name then the figure is koown as slesha.

Iutro . The above detinition of Stesha is similar to that of Rupukd. Hence the author has to defferentiate between the two, which ho does, in this, aud the naxt two verses,

56 काव्यालंकारे

लक्षणं रूपकेऽपिदं लक्ष्यते काममत्र तु। इष्टः प्रयोगो युगपदुपमानोषमेययोः ॥१५॥

Tr. No doubt this definition applies to Rupaka also. But the simultaneons description of the Upamana and Upamaya is (desired) in both.

Note :- The same point i. e., the distinction between Rupaka and Selsha is brought out by Vamana in his sutra सधर्मेषु तन्त्रप्रयोग: शेष: ।I (Vani Vilas Edo., p. 129). The super-imposition of the Upamana on the Upameya (based of course on resemblance must be by (employment of a devioe a ) Whero तन्र is uxplained as अनेकोपकारि सकृदुश्चारणम् i o., onoe single slato meut being useful for many purposan.

Intro. Tae first half of the next verse is part of verse 23 of Paricheltheda II where this is given as an example of Rupaka. The objeotor is supposed to point out to this and say " Here also i, e., in Rupaka there is simultaneous mention of Upamand and Upameya as in the expression जलदइन्तिन:

शीकराम्भांमदसूजस्तुङ्ग जलददन्तिनः । इत्यत्र मेघकरिणां निर्देशः क्रियते समम् ॥ १३॥

Tr. In the example of शीकराम्मो etc., there is simultaneous mention of the Clond and Elephant.

ऋेषादेवार्थवचसोरस्य च क्रियते भिदा।

Tr. The difference between the two is produced by the double nature of the word and sense (i. e., Arthasbesla and Sabdaslesha) in Slesha (3FJ) Whereas the simultaneons statement in that (aq= Rupaka) is caused by the existance of resemblance. The three kinds are as follows.

Note :- In both the figures the Upamana and the Upameya are set oub simultaneously. In Rupaka the basts is resembalance whereas in Sisha the oonnection may be a word or a meaning common to both. Ig. a gu तज्जातं संप्रति सुधांशुविम्वमिव।

तृतीय: परिच्छेद: । 57

Pratiharendu Raja quotes the second half of the above in his commentary on Udbhata (See N.S.Edu., p. 47) and reads त्रवधं यथा, I have varied the above text accordingly by substituting his reading to that in the priuted text which is कमशा यथा Bhamaha has three varieties under this heading and gives three examples in order. Udbhata in the passage referred to above says द्विधादात्तं तथा श्ष्टम and his commentator explains with care that his author expressly says that Slesha like Udatta consists only of two varieties solely to dissent from the view of Bhamaha in this verso, Example of Slesha based on Guna. (No 1, in verse 14 ante.)

छायावन्तो गतव्याला: स्वारोहाः फलदायिनः । मार्गद्रुमा महान्तश्च परेषामेव भूतये ॥ १८ ॥

Tr. Way-side trees and great ones are always for the good of others. (Because) they offer shade (-helter). are devoid of snakes (bad qualities) and are easy to climb (accessible).

Intro :- Example of Slesha based ou Kriya, No 2 in verse 14.

उन्नता लोकदयिता महान्तः प्राज्यवर्षिणः । शमयन्ति क्षितेस्तापं सुराजानो बना इव ॥ १९ ॥

Tr. Good Kings and clouds are exalted, beloved by the worl-l, are great and shower in plenty. They remove the suffer- ings (lit. heat) of the world (Earth).

Note :- The क्रया action whioh is commou to both is क्षितेस्तापशमनम् Now in this verse 371: means "Exalted" when applied to kings and "Floating very high" when applied to the oloud. The word HETRT: woulc mean " Great in merit " and "Big in size'. The word 4af90]: refers tr "abundant gifts" as well as " plenty of'. ain' 'and may be said to refer to the 'action' showering. If however attention is directed to the other two epithet this will be a case of identity of Guna and will be example to the previous versc. Intro. Example of Slesha by similarity of name.

बहुसत्त्वाश्रयत्वाच्च सदशस्त्वमुदन्वता ॥ २० ॥

58 काव्यालंकारे

The reading HEqeaH in the printed toxt is appareutly a clerical error; for both O. L., and T. M. read सद्शस्त्व. Tr. You and the ocean are like cach other because both of you are rich in gems, are unfathomable, do not transgress your limits and support many lves.

अपह्नतिरभीष्टा च किंचिदन्तर्गतोपमा । भूतार्थापह्नवादस्याः क्रियते चाभिधा यथा ॥ २१ ॥

Tr. The figure Apanhnuti can also be accepted. It is a case of a little obseured rosemblance. It is called Ipanhuti (suppres- sion) because it is a case of the suppression of an existing meaving; thus :-

नेयं विराति भृङ्गाली मदेन मुखरा मुहुः । अयमाकृष्यमाणस्य कंदर्पधनुषो ध्वनिः ॥ २२ ॥

The printed Text reads आऋरन्दमानस्य while both O. L., and T. M. read as above. Tr. This is not (a case of) a swarm 'f bees frequently hamming. being intoxicated with lust. This is the sound of the how of the god of love which is being fully pulled.

Intro. Defn., Viseshokti.

एकदेशस्य विगम या गुणान्तरसं्थितिः । विशेषप्रथनायासौं विशेषोक्तिर्मता यथा ॥ २३॥

Tr. That Mankamt is known as Viseshokti in which, with the object of exhibiting a superiority there is the description of ne good quality ev.n t ongh there is the absence of another.

Nete :- Mammata's definition of Viseshokti is different and is as follows :- - 'विशपाक्तिरखण्डेयु कारणेघु फलाशच:'. He sub-devides this figare into three kinds viz.,) where the reason (a);is givon, (b) is not given and (o, is incapable of bein: iven becauso it is आचन्त्यानमित्त He gives the next verse of Bhamaha as an oxamplo of his sub-liviaiou (o), Bdatodhint p. G3O oxplaius tha t tho

तृतीय: पर्चछेदः । 59

loss of body shourd lead to the loss of strength. Bat its presenee is deseribed here. This is a case of an unassignabl : cause because we cannot think of one ontside the Sastras. "अत्र हेतुविशिष्य वक्तुम (महमा चिन्तवितम) न शक्यते शास्त्रेकगम्यत्वात्." स एकस्त्रीणि जयति जगन्ति कुसुमायुधः । हरतापि तनुं यस्य शुंभुना न हृतं वलम ॥ २४ ।। Tr. He the Flower-armed One (god of love) single handed, conquers the three worlds. His strengt! was not destroyed by Sira, though he succeeded in destroying his body. Note :- Here the absance of one factor is the boiy, the presence of another factor is strength. The effect of the deseription is to eiphasize the superiority of the god of love. Intro. Defn., of Virodha. गुणस्य वा क्रियाया वा विरुद्धान्यक्कियाभिधा। या विशेषाभिधानाय विरोधं तं विदुर्बुधाः ॥२५ ॥ Tr: -Where, with the object of showing the existence of g m- superiority, there is the description of a quality or action antagonistic to another quality or action, then, the figure is known as " Virodha '. Note: -Udbhata Edn.p. 50 copies this verse. He however nces the word वच: for the last word of the fitet half thus :- वविरुद्धान्यक्रियावन:, This makes the meaning olearer. His commentator adds that by the use of the word E twice we get at द्रव्यनगेय a15 उपान्तरूदोपवनच्छायाशीतापि धूरमौ। विदूरदेशानपि वः संतापयति विद्विषः ॥ २६ ।। T. The army-front althongh crol on account of the chare of the adjoining gar len is able to make (your) enemies hot (nneom- forfable) althongh they are sitnated at a distance, न्यूनस्यापि विशिष्टेन गुणसाम्यविवक्षया । तुल्यकार्यक्रियायोगादित्युक्ता तुल्ययोगिता ॥२७॥

60 काव्यालंकारे

Tr. Tulyayogita is that Alankara in which altho gh one factor viz., Upamena is inferior, it is stated as achieving uetion similar to the other: the objeet heing to suggest similarity in quality. शेषो हिमगिरिस्त्वं न महान्तो गुरबः स्थिराः । यदलङ्विनमर्यादाश्रलन्तीं त्रिभथ क्षिनिम ।। २८

Tr. The serpent Sesha. (the mouutain) fmalome and yon are poble big and steady. For, yon (meaning all three) bear the. weight of the shaking Earth withont going heyond yonr bonnds. Note :- Anandavaradhana in Dhvanyalohka (N. S. El., p. 236) quotes the verse to illustrate thas what has heen stated by one poet, may appear new and oharming when repeated by another. He quotes the following from Bana's Harshacharitra :- वर्णीवारणायाधुना त्वं जेषः We bave to accept the high anthority of Anandavardhana to believe that the repetition oither makes the idea new or charming. Kane S. D. luho. P. XXX X conelndes from this th Bhamaha preceded Bana and fives hia date hefore 600 AC.

अधिकाराद्पेतम्य वस्तुनोऽन्यम्य या स्तुनिः । अप्रस्तुनप्रशंमेनि सा चैवं कथ्यते यथा ॥ २९. ॥

अधिकारादपेतस्य =प्रस्तुतादपतस्य=अप्रस्तुतस्य.

Tr. The praise of a subjeet nnconnected with anything if the context is called by the name of Aprastutapatsamsa by the wise.

Note :- Lochana p. 42 quotes this verse, with somo modification in the laat quarter thus :-- अप्रस्तृतप्रशंमा मा त्रिविधा परिकीर्तिता.

श्रीणितप्रणयि स्वादु काले परिणनं बहु। विना पुरुषकारो फलं पठयन शाग्विनाम् ॥ ३० ॥

Tr. Look at the fraits of trees which are pleasant to those that take to them, sweet, ripe at the proper season, abundant and produced without human endeavour.

ततीय: पग्चिहेमः । 61

Note :- This is quoted by Protihorendu Rija see p. 34 of Karyalankara- sara. He points out that the meaning is " Things come into being withont human eff.rt beeause of Divine Will. This is the general rale. The partienlaa case is where the forest trees without, hnman endcayour produce fruit, hence this is a case of Arthantaranyasa and se the definition siven in the last Sloka overlaps into Arthantaranyasa.

दूराधिकगुणस्तोत्रव्यपदेशेन तुल्यनाम। किचिद्विधित्मोर्या निन्दा व्याजस्ततिग्मी गथा ॥ ३१ ।।

Tr. That figure of speech is Eoajastoti in which with the objeet of asserting some similarity there is an apparent censure made by the deviee of deseribing qualities cery great or un- aftaimable.

राम: मप्ताभिनत्सालान्गिरिं क्रौञ्चं भगृत्तमः । शतांशेनापि भवता कि तयो: सदशं कृतम् ।। ३२ ।।

Tr. Rama spiit the seven Sala trees, Parasurama broko down the mountain Krauneha. What have you done to resemble them even to a hundr dth degree?

क्रिययेव विशिष्टस्य नदथस्योपदर्शनान। निया निदर्शना नाम यथेववनिभिर्विना ॥ ३३ ॥

Tr. When. by eseribing certain part enlar aetiong ir is incalcated thit they should be emnlated and such words as 74l, 33 or 3 are not nsed, then the fignre is Nidarsana.

अयं मन्दद्युतिर्भास्वानस्तं प्रति यियामति। उदयः पतनायेति श्रीमनो बोधयन्नरान् ॥ ३४ ।

Tr. The effalgent one (the Son) now lustreless is going towards setting as if teaching the rich ones that rise always leads to a fall. Note :- Pratiharendn Rajs quotes-this verse.in his commentary p. 62,1 68 and point ont that Udnbata doas not iliustrate this variety of Nitarsana viz., that in which on the bisis of a resambluse viz , t in wil presep: is inoul- eated,

62 काव्यालकरे

उपमानेन तद्भावमुपमेयस्य साधयन्। यां वदत्युपमामेतदुपमारूपकं यथा ॥ ३५॥

Tr. Where the poet deseribes a resemblance by postulating the identity of the Upameya with the Upamana then it is Upama- Rupaka. Note :- Vamana's Sutra No. 32.V. V. Ed .. p. 245, defines this Alankarns has :- उपमाजन्य रूपकरमृपमारूकयम्, Moderns do not aceept this figure,

समग्रगगनायाममानदण्डो रथाङ्गिनः । पादो जयति मिद्धस्त्रीमुखेन्दुनवदर्पण:।। ३६।।

Tr. The foot of Vishinn is vietorious-foot which is the measuring rod of the entire expanse of the sky and which is also the brand-new mirror that refleets the Moon-faces of the Sidda- Damsels.

Note :- Here thero are two Upamonas viz., मानइण्ड: and नमदर्पण: These two are identified by the poet with the Upameys namely the Foot of Vishnw. Honce th pret imposes the quality of the U pamana on the Upameya. उपमानोपमेयत्वं यत्र पर्यायतो भवेत् । उपमेयोपमां नाम श्रुवते दां यथोदिताम् ॥ २॥

Tr. Where Upuminas and Epomegas are sach alternately it is a case of Upamegopaia as the name itself indicates.

मुगन्धि नयनानन्दि मदिगमद्पाटलम। अम्भोजमिव वक्त्रं ने त्वदास्यमिव पङ्कनम ॥ ३८ ॥

Tr. Yonr face which is fragrant, beantifol to iook at, and Alashed with wine resembles the lotns; and the lotus resembles yonr face. तुल्यकाले किये यत्र वस्तुद्वयस्माश्रये। पदेनैकेन कथ्येते सहोक्तिः सा मता यथा ॥ ३९ ॥

तृतीय: पग्चिकेद:। 63

Tr. Where simultaneously, two actions are attributed to two obje ts by u-ing a single expression then we have the Alankara Sahokti; thus :-

हिमपाताविलदिशो गाढालिङ्गनहेनवः । वृद्धिमायान्ति यामिन्यः कामिनां प्रीतिभि: मह ।। ४० ॥।

Tr. Nights lengtheu with love ... Nights in which the cardinal points are obscured by the fall of the dew and whioh stimolate ardent embraces.

Intro .-- Defu. of Paricritli.

विशिष्टस्य यदादानमन्यापोहेन वस्तुनः । अर्थान्तरन्यासवती परिवृत्तिरसौ यथा ॥। ४१ ॥

Tr. Paricritti arises when a superior thing is describe l as obtained by the sacrifice of another (i. e., an inferior) thing and an Artantaranyasa is super-added.

प्रदाय वित्तमर्थिभ्यः स यशोधनमादित । सतां विश्वजनीनानामिदमस्खलितं त्रतम् ॥ ४२ ॥

Tr. By distributing (his) wealth to the needy .he amassed the wealth of fame. This constitutes the nntransgressed vow of those whose love embraces the whole world.

उपमानेन तत्त्वं न भदं च वदतः पुनः । ससंदेहं वचः स्तुत्यै ससदेहं विदुर्यथा ॥ ४३॥

Tr. The Alankara Sasandeha is one in whioh with the object of praising, a state:nent is made which is in the nature of a doubt and involves the narration of some similarity and dissimilarity between the Upamana and the Upameya.

Note :- This is called संदहालंकार by later writers. They also subdivide it into शुद्धस-देह निश्चयगर्भसन्देह etc., vido Privedi's notes on Ekavati p. 660 e: scg.

61 काव्यालंकारे

किमयं शशी न स दिवा विराजते कुसुमायुधो न धनुरस्य कौसुमम् । इति विस्मयाद्विमृशतोऽपि मे मति- स्त्वाय वीक्षिते न लभतेऽर्यनिश्चयम् ।। ४४।।

Tr. (This is appearently adressed to a king). Is this the moon? No. For, he does not shine during the day. Is he the one with the flower arrows? (God of love) No. For his bow is not made of flowers. Thus althongh out of wonder I try to investi- gate. I am unable to come to a conclusion.

यत्र तेनव नस्य स्यादृपमानोपमेयता । असादश्यविवक्षानस्तमित्याहुरनन्वयम् ॥ ४९।।

Tr. That Alanoo is known as Ananraye iu which a thing is said to resemble itself-the objeet being to suggest that there is (in reality) nothing similar.

ताम्बूलरागवलयं स्फुरद्दशनदीघिति। इन्दीवराभनयनं तवेव वदनं तब ।। ४६ ।।

Tr. Your face which has a ring (of lips) red; with betel is dazzling with the brightness of the tecth and which also possesses (a pair of) eves tinted like the blue-lily can bo said to bave resemblance only to itself.

शिउष्टस्यार्थेन संयुक्त: किंचिदुत्प्रेक्षयान्वितः । रूपकार्थेन च पुनरुत्प्रेक्षावयवो यथा ॥ ४७ ॥

Tr. The Mankuro knowa as Ltprekshurayaca must consist of a double meaning (Slesha) and Utpereksha to a small extent and also the meaning of Rupaka Alankara.

तुल्योदयावसानत्वाद्गतेऽस्नं प्रति भास्वति । वासाय वासरः कान्तो विशतीव तमोगृहम् ॥ ४८॥

तृतयि: परिर्छेद: । 65

Tr. Day-time which has the same beginning and end with the Sun, finding the Sun go'ng towards setting seems to enter the room of darkness, for repose, being fatigued. Note :- Here the Utprelsha is sugge-tel br 54 the Rupaka by the expres- sion तमागहम् and the Sleshur by the word: उद्य and अवसान of which the former means " beginning" aod "sun-rise"' aud the latter moans ' end" aud "sun-set". Dochaild D. 41. quotes this verse and explains that in cases where two Alankaras result from the same statement there is no warrant for holding that a particul'r one of thom is the expressod meabing and the other the suggested meaning. Iu this the fo'l wing mcaning is suggested vis, A person, say, ths hereditary serrant of a king who is so attached to his master that he voluntarily accerts misfortune along with bis master. Thie is a case of varnfaaia&. The other Alankara is contained in the Utpreksha suggested by the article Ta in faaais.

वरा विभूषा संसृष्टिर्वद्धलकारयोगनः । रचिता रन्नमालेत्र सा चतमुदिता यथा ॥ ४९ ॥

Tr. The Alankara known as Samsrishti (mixture) is superio: among Alnkaras (=faggi.) is deseribed as being the result of stringing many Alankaras, like a necklace of gems; thas :-

सुखसेव्यो जनानां त्वं दुष्टग्राहोडम्भसां पतिः ॥५०॥

Tr.Between you two wh , are both distinguished by dignity (depth) and dexterity (lightness) and possessed of gems in abund- aoce vou are easy to serve (approich) while the ocean is fult of frightful alligators. Nute :- This is addressed to a king and compsres him to the Ocean while at the same time pointing ont the diffrence batween the two. The Alankaras which are mixed up together are Upama, Stesha and Vyatirekr. अनलंकृतकान्तं ते वदनं वनजदयुनि । निशा कृतं प्रकृयैत् चारोः का वास्त्यलंकृतिः ॥ ५१॥ Tr. Your face has the beauty of the lotus, is attractive though not ornamented. Turmeric is of n . nse. What .an te an ruameut to that which is beautiful by ite wn nature?

66 काव्यालंकारे

Note :- The expression निशा कृतम् would mean "enogh with tormerio" Apte gives 11 as the name of turmeric. The dlankaras mixed up are Vibha- vana in अनलंकृतकान्तं and Upama in बनजद्युति. The figure Arthantarnyasa also exists because the second half justifies the first. अन्येषामपि कर्तव्या संसृष्टिरनया दिसा। कियदुद्घद्टितज्ञेभ्यः शक्यं कथयितुं मया ॥ १२॥ Tr. In the same way the mixture of others (i.e. Alankaras) should be made. How much can I teach the wise ones?

भाविकत्वमिति प्राहुः प्रत्रन्धविषयं गुणम् । प्रत्यक्षा इत दृश्यन्ते यत्रार्थी भतभाविनः ॥। ५३॥। Tr. Bharika is a quality that belougs to a composition as a whole. In it, the transactions of the past and of the future aro desoribed vividly, r. c., as if taking place before one's eyes. Note :- Tue first half ef this corresponds to Dandin's defn, of this figure (II 364). The second half has been used by Mammata with a little alteration; चित्रादासाद्भुतार्थत्वं कथायाः स्वमिनीतता। शब्दानाकुलता चेति तस्य हेतुं प्रचक्षते ।। ५४ ।। Tr. The causes that produce this figure are (1) being composed of stories which are piteuresque (fa) exalted (3TH) and wonderfui ("aga) (2) Being tit to be acted by gestures or on the stage and (3) Being conched in appropriate language. Noty :- Udbhata (N. S. End , p. 73) dolines this figure omitting the opithet FHIAAT The two esential charactoristies insistedd upon by him are (1) the meaning should be wonderfnl (e) it mnst be expressed in easy intelligible languate. The secoud requisit is imporiant because the hearer or the render sho 11 eatch with considerablo vividness the moaning of the poet thongh e refers to ttransaetion eithee pist or future. Pratiharendu Rejs quoting Bhamaha oxplains स्वमिनीतंतत्यमिनयादिद्रेण गङ्गागदसंचलितत्व चतु- वर्गपायस्य. Tho name Bhavika is justified thns भावार्डास्मत्व्िद्यत इति भाविकम Here Bhava should bo trkon aa reforring both iu tho Blesa of the poet and to

ततीय: परिक्वेट. । 67

that of the reader because that of the former prodnees in the latter a similar mhava.

आशीरषि च केषांचिदलंकारतया मता । सोहृदय्याविरोधोक्तो प्रयोगोऽस्याश्र तद्यथा ॥ ५५ ॥

Tr. Some are of opinion tbat Asis (blessing) is also a Figure of Speech. It is emplosed on occasions in which nothing is said to detract from friendliness, Thus --

Note :- Another reading vi -.. HIEEE is given by Belvalkar in his Sans- krit commentary (part 2 p. 327). The readiug साहद्रय given above.may perhaps be justified thus मुहट्यक्य भाव This figure is not aocepted by some of the Alankarikas, though Dandin (II 957) recognises it. It is considered se coming more within the province of the Drama (vide Belvalkar'a note to the above).

This is addressed to a lady.

अस्मिञ्जहीहि सुहृदि प्रणयाभ्यसूया- माश्िष्य गादममुमानतमादरेण। विन्ध्यं महानिव घनः समयेऽभिवर्ष- न्नानन्दजैनयनवारिभिरुक्षतु त्वाम् ॥ ५६॥

Tr. Abandon your anger (result of love) towards this your friend. Embrace with sympathy him who is prostrate (at your feet). Just as a big cloud pours timely showers on the hill Vindhya let (vonr lover) inthe yon with (his) glad tears.

हनप्रवीरा द्ुतभीतर्पोगाः । त्वत्तेनसा दग्वसमस्तशोभा द्विषां पुरः पशयतु राजलोक: ॥। ६७॥

Tr. Let the world of kings witness the oities (Purab) of your enemies thus :- with their ramparts (sala) broken down by

70 68 काव्यालंकारे

elephants blinded with rut; with their warri.rs distroved; with their citizens fleeing in far and with ail iheir lustre burnt hy your provess.

गिरामलंकारविधि: सविस्तर: स्वयं विनिश्चित्य घिया मयोदितः । अनेन वागर्थविदामलंकृता विभाति नारीव विदुग्धमण्डना ॥ १८।।

Tr. I have by my own wit thus expounded at length the sysiem of Alankaras relating to sperch. The works of poets who Tealise the meaniugs of words and compose (works) according te there (rules) shine respicodent like a woman tastefully decorated.

CHAPTER IV.

चतुर्थः परिच्छेदः। अपार्थ व्यर्थमेकार्य ससंशयमपक्रमम् । शब्दहीनं यतिभ्रष्टं भिन्नवृतं विसंघि च ।। १ ।।

देशकालकला लोकन्यायागमविरोधि च । प्रतिज्ञाहेतुदृष्टान्तहीनं दुष्ट च नेष्यते ॥ २ ॥

Tr. The following which are fanlts are not desirable in poefry :-

1. Apartha That which has no collective meaning v. 8. below.

2. Vyartha That which has a e n- tradictory meaning. v. 9. bolow. 3. Ekartha Redandant v. 12. below. 4. Sasamsaya The doubtiul v. 17 to 19.

3. Apakrama Statement ont of or l .r v. 20 and 21. 6. Sabdabina Ungrammatical .v. 425 md 29.

बतर्भ: परिच्छेदः । by

7. Yati-bh ashta Misplaced caesura v. 24.

8. Bhin. avritta Unmetrieal v. 26. Pelow.

9. Visandhika Devoid of conjuneti n of letters v. 28. 1. De a Virodhin Tnappropriateness of pdlace v. 29. and 30.

10. Kala Do. Do. of Time v. 31. and 32-

11. Kala Do. Opposed to the canons of A:t v. 33. below. 18. Loka Do. Opposed to oridnary experi- ence v. 36. and 37.

12. Nyaya Do. Opposed to the Sastras v. 39. below.

13. Agama Do. Opposed to tradition v. 48. below.

The omission of the thing to be provel afam of the cause Td of the example gia -thes also are considered as defects and therefore are not accepted. Note.Premachondra Tarka Vagisa in his commentary on Kavya derss Pari 8 v, 137 ays भामहप्रभतयस्तु तस्य दोषतां नेचछन्ति यथाप्रततिज्ञाहेतु ote, This view does not appear to be correct, for Bhamaha devotes ehapter v. espeoislly to the description of de feet.,f this nature. अपार्थमित्यपेतार्थ स चार्थः पदवाक्ययोः । अर्थवान्वर्णसंघानः सुप्तिडन्तं पदं पुनः ॥ ३॥ Tr. That defect is Apartha where there is no meaning. Meaning is of words and sentences. A word is a collection of letters having a meaning or ending in a nominal or verbal termi- aation. पदानामेव संघातः सापेक्षाणां परस्परम्। निराकाड्क्षं च तद्वाक्यमेकवस्तुनिबन्धनम् ॥ ४ ॥ Tr. A colleetion of words constitutes a sentence if the words are depen lent on each other, if they do not require something else to complete their meaning and if they relate to a single idea.

70 काव्यालंकारे

कमवृत्तिषु वर्णेष मंघातादि न युज्यते। बुद्धौ तु संभवत्येतदन्यत्वेऽपि प्रनिक्षणम् ॥ ५॥ Tr. In letters ihat are nttered one after the rther there coald be no idea of collection (of letters). Bit though there is a different leiter at oach second. still, in the mind there is the idea of & collection prodneed

श्रीगन्त्यशब्दनिषया वृत्तवर्णाहितम्मृतिः । वाक्यमित्याहुरपर न शब्दा: क्षणनश्रनगः॥।६।। Tr. Some say that a sentence consists of the impression in the mind of the last sound taken along with the memory of previously heard sounds. Others however are of opinion that sonnds (letiers) do not exist for one moment only.

Note :- The first view is based on the hypothesis of a prononneed letter heing transient (i. e, aa having reased to exist when the snoceeding letter is ntsered.)

अत्रापि बहु वक्तव्यं जायते तत्तु नोदिनम् । गुरुभिः किं विवादेन यथाप्रकृतमृच्यते॥७॥ Tr. A great deal can be mid abont this matter; but is not said. Of what use is discussion with preceptore (i, e., those that deserve respeet )' We sh ill remrn to the context.

समृदायार्थशून्यं यत्तदपार्थकमिष्यते । दाहिमानि दशापृषाः षडित्यादि गथोदितम् ॥८॥ Tr. Thar (combination of wordi) which, a3 a whole, has no meauing i: called tpartha. As 'it one should soy ten pomegraneter " " rab.".

विरुद्धार्थ मनं व्यर्थ विरुद्ध तूपादिशपते। पूर्वांपरार्थव्याघाताद्विपयर्यंकरं यथा ॥ ९ ।। 00

चतुथ: परिच्छेद:। 71

Tr. The Doshe known as Vaarthe is oue with contlicting mewnings. What coufict is shall be explained. It is where the first meaning being opposed to the secon I a contradictory effect is produced.

साखि मानं प्रिय वेहि लबुनामस्य मा गमः । भर्तुश्छन्दानुवर्निन्यः प्रेम न्नन्ति न हि स्रियः ॥ १० ॥

Tr. Oh friend! Do exhibit anger towards your lover. Do not become soft to him. Women who follow the wishes ot their husbands do not forteit their love.

उपासितगुरुत्वात्त्वं विजितेन्द्रियशत्रुषु। श्रेयःसु विनयाधानमधुनानिष्ठ केवलम् ॥ ११ ॥

Notc :- Read शय:मु iuslead uf न्यस where. वयस्मु is the Loc. plural of श्रेयान् and ineaus, "Those that are saperior. Pruse order :- त्वं विजितेन्द्र- यशत्रुषु श्रेयस्सु उपासितगुरुत्वात् केवलं विनयाधानं आतिष्ठ.

Tr. It isenough if you now merely impose modesty on (those) superiors, who have conquered the enemies viz,, the sensestby their worship of (dovotion to) their preceptors.

Note :- Here because the superiors have subjugated thier senses the inonl- cation of mnodesty to them is useless (वयर्थम).

यद्भिन्नार्थमन्योन्यं तदेकार्थ प्रचक्षत । पुनरुक्तमिढं प्राहुरन्ये शब्दार्थभेदतः ॥। १२ ।।

Tr, Where two statements convey the same meming it is a case of Elcartha. >ome call this ' Repetition' and repetition wuy be of words and meanings. Note :- Cf. Dandin's definition :-- 'अविशेषेग पृतोक्तं यदि भूयोऽपि कीत्येते। अर्थतः शब्दतो वाषि तदेकार्थ मतं यथाः ॥' Parioh, : verse 135. न शब्दपुनरुक्तं तु स्थौल्यादत्रोपवण्येते। कथमक्षिप्तचित्तः सन्नक्तमेवाभिधास्यते ॥ १३॥

72 काव्यालंकारे

Tr. The repetition of words is not set out because of its being very obvious. How could one repeat what he has sald once if he should be of sound mind ?

भयशोकाम्यसूयासु हर्षविस्मययोरपि। यथाऽऽह गच्छ गच्छेनि पुनरुक्तं न तद्विदुः ॥१४॥

Tr. It is not the Doxha " 3edunda t" when the same word is repeated from the intluence of Fear, Sorrow, Jealousy, etc., as (it one should say) " Go away " "Go away ".

अत्रार्थपुनरुक्तं यत्तदेवैकार्थमिध्यते। उक्तस्य पुनराख्याने कार्यासंभवतो यथा ।। १९।।

Tr. The dosha Ekartha is the repetition of the same meaning. No purpose is served by stating the same thing over again. Thus

तामुत्कमनमं नूनं करोति धवनिरम्भसाम् । मोधेष घनमुक्तानां प्रणालीमुखपातिनाम् । १६॥ Tr. The noise mace by the rain falling from the clouds on the uppor storeys of houses and discharged through the mouths of the spouts, makes her full of longing. Notc :- Tbis oxample is not very clear. The meaning contsiued in उत्कमनसम् is not clearly ropoated. Danlin's oxampleउत्कामुन्मनयन्स्येत वालामू ' is clearer. If we bave उतकामुन्मनरस नून etc., it will be much more olear. Perhaps the repetition is in उत्क and मनर्स tor उत्कत्वम् ii a meatal quality and the word 3F514 wil, tiean " Oue of longing mind " and so the dss of the word qTH is unnocessary.

श्रुतेः सामान्यधर्माणां विशेषस्यानुदाहतेः । अप्रतिष्ठं यदत्रैतज्ज्ञानं तत्संशयं विदुः ॥२७।।

Tr. That staate of mind is called " Doubt" hur which a tor hearing certain common attributes (of two obj-ehe) but with no

नतेग: परच्छेद। 73

differenciating quality set out, the min l feels unable to fix itself on any one of the two as the objeet that is meant.

Note :- O. Ln. reads अप्रतिश्ठुं यत्रंति which means "that idea is doubt which is not of the from ' It is only this '. "

ससंशयमिति प्राहुस्ततस्तज्ननं वचः । इष्टं निश्चितये वाक्यं न वेलायति तद्यया ।। १८ ।।

Tr. That speech is liable to the defect called " Doubt " where the words employed produce the above described state of mind provided that the objeet of the speaker is to produce a meaining which is certain not to create a doult. It isas follows :-

Nofe :- I have trauslated t're second haif as above according to tho vicw of Dandin on this poiut. Soe Kavyadarsa par. 3 v. 130. 'निणवार्थ प्रयुक्तानां संशयं जनयन्ति चेन। वाचांसि दोप एघासी ससंशय इति स्मतः ॥"

व्यालवन्तो दुरारोहा रत्नवन्तः फलान्विताः । विषमा भूभृतस्तेम्यो भयमाशु प्रमादिनाम् ॥ १९ ॥

Tr. Kings (Mountains) possess bad companions (snakes), are difflcult of access (are diffienlt to ciimb), possess jems, have fruit are crosked (impenotrable). From them there arises fear to the careless.

Nole :- Hemachandra in Karysnusasana N. S. Ed., p. 279 quotes and explains this verse. He says दुराराहा: when applied to a king means चिरकाल- प्रत्यासत्तिलाभाश्र This he quotes as a case of Sasandeha brcause the hearer is in doubt as to whether the verse refers to a king or to a moutain.

यथोपदेशं क्रमशो निर्देशोऽत्र क्मो मतः ॥ तदपेतं विपर्यासादित्याख्यातमपक्मम् ॥ २० ॥

M Tr. Krama (Orderly Statement) is that where the things attributed (Airdesa) follow the order of the Arst statement (Upadesa). That (statement) which is devoid of the above because of transposition is Apakrama (State nent out of Order).

74 काव्यालकारे

विदधानौ किरीटेन्दू श्यामाभ्रहिमसच्छवी। रथाङ्गशूले विभ्राणौ पातां वः शंमुशार््गिणौ ॥२१॥

Tr. May Siva and Vishnu, protect you .- They who wear (respectively) a helmet and the moon who are (respectively) of the colour of tho dark cloud and snow and carry the disk and the trident.

सूत्रकृत्पदकारेष्टप्रयोगाद्योऽन्यथा भवेत्। तमाप्तश्रावकासिद्धेः शब्दहीनं विदुर्यथा ॥ २२॥

Tr, That Dosha is called " Ungrammatical" in which words are used against the injunction of Sutrakara (Panini) and Padakara (Author of Padapatha). This is so because such use is not found (असिद्ेः) amongst the desciples of enminent teachors.

सऊरत्तडिद्वलयिनो वितताम्भोगरीयसः । तेजस्तिरयतः सौरं घनान्पश्य दिवोऽभितः ॥ २३॥

Tr. Look at the clouds all round the sky which are encircled with flashing lightings-which are big with the water that distend them and which obstruct the effulgence of the sun.

Note :- Tho word तिरयत: is ungrammatioal becauso तिस is an indiclin- able ending in H . (?)

यतिश्छन्दोघिरूढानां शब्दानां या विचारण। तद्पेतं यतिभ्रष्टमिति निर्दिश्यते यथा ॥ २४ ॥

Tr. That (composition) which is not in consonance with the enquiry regulating the use of words in metrical composition and regarding pauses (Caesurae) is called Yatibhrashta.

विद्युत्वन्तरतमालासितवपुप इमे घारिवाहा ध्वनन्ति ॥ २५॥

चतुर्थ: परिच्छेद:। 75

Tr. These clouds which flash lightinings and which are dark as the Tamala trees are (making noise) thundering.

Note :- Here the Caesura falls between tho अ and सि of असित wiioh, being in the middle of a word, is faulty.

गुरोर्लघोश्च वर्णस्य योऽस्थाने रचनाविधिः । तन्न्यूनाधिकता वापि भिन्नवृत्तमदं यथा ॥ २६॥

Tr. The defect "Wrong metre" consists in either the distribation in improper places of long and short letters (of long and short prosodial lengths) or of their absence or of their abund- ance. Thus :-

भ्रमति भ्रमरमाला काननेषून्मदासौ विरहितरमणीकोऽर्हस्यद्य गन्तुम् । २७॥

Tr. This garland of bees being intoxicated is roaming round the forest. You who are separated from your love shoold start now to go (to ber).

Note :- This is addressed to a man who is separated from his love during winter. Here there is deficienoy of two syllables. In the O, L. manusoript the reading is अहति त्वाद्य गन्तुम which if a correct reading would render the faulb one consisting of the omission of one syllable. Further ithe verse then would be addressed to a lady.

कान्ते इन्दुशिरोरत्ने आदधाने उदंशुनी। पातां वः शंमुशर्वाण्याविति प्राहुर्विसंध्यक्षः ॥ २८।।

Tr. Let Siva and Parvati protect you-They two who wear (आदधाने) the two beautiful (कान्ते) and the two resplendant (उदंशुनी) Moon and Fore-head Gem (respectively). This is described as ' Visandhi'.

Note :- Here there is no Sandhi between the finat lebter of the firstjword viz., E and the first letter of the second word ; because the former being the ending of a word in the dual number oannot nnite with the succeeding vowel gararen अचि नित्यम् ' 6-1-125 Panini, This kindjof juxtapositiontis repoated later on

76 काव्यालंकारे

n the same verse, Although not ungrammatical such a collocation of worde is rhetorically a defcct.

या देशे द्रव्यसंभूतिरपि वा नोपदिश्यत । तत्तद्विरोधि विज्ञेयं स्वभावात्तयथोच्यते ॥ २९॥

Tr. Whichever object is described as bei g produced in certain countries or as not being so :roduced, to describe the contrary as regards them is called as ahove ( Desarirodhi).

मलगे कंदरोपान्तरूढकालागरुद्रमे । सुगन्धिकुशुमानस्रा राजन्ते देवढारवः ॥ ३० ॥

Tr. In the Malayr mountains by the sile of whose caves the black agarw tree grows, the Deodars (trees) bend under the load of their fragrant blossoms.

Note :- Here the Molay; mountains nre in the sonth within the tropies. Both Agore and Deodar are Imalayan-extra tropical. All the trees will not grow in the same place as deseri ted. पण्णासृतूनां भेदेन काल: पोढेव भिद्यते। तद्विरोधकृदित्याहुर्विपर्यासादिद यथा ॥ ३१ ॥

Tr. Time is divided into six divisions by the six seasons. Transposition of the sea-ons is known as the defects ' Kalavirodhi'. Note :- Transposition means the description of the peculiarities of one season as oceuring in another.

फुल्ा: सुरभयन्तीमे चूताः काननशोभिनः ॥ ३२॥

Tr. The mango trees being in full bloom brighten the forest and render fragrant the winter winds which carry cold spray, Note :- The mangoes do not bloom in tho rainy eeason. कला संकलना प्रज्ञा शिल्पान्यस्याश्र गोचरः । विपर्यस्तं तर्थैवाहुस्तद्विरोघकरं यथा ॥ ३२॥

चतुर्थः परिच्छेदः। 77

Tr. The word Kala includes both teennical knowledge and technical skill (i.e,) proficiency in arts. A statement in violation of the rules governing them, is called " Kala-Virodhi " thus :-

Intro. to v. 34. The following is more or less in the nature of a guess. The ordinary scale is called Shadjagrama because the fundamental note in it is Shalja (#). The interval between the notes in this scale is fixed in a particular manner as shown in thef lowing K:4 व्यमपञ्चमाः। टेड्वे निषदगान्धारे त्रिस्त्री रिपिभधवती । Its meaning is this :- The notes Sheaja, Madhyama and Penchame are the tourth sruti from the next preceding one ; Nishada and Gandhara are the sccont and Rishaba and Dhaivata are the thirt from their predecessors. Some Rigas emnloy seales in which the interval between the notes is different. Such varied notes get special names. Thn: Nishida is kaisiks or kakali Nishada and Gandhara is Sadharana or antaragandhara. The change in the above consists in shifting the position of the respective srutis one sruti higher. Thas if we shift Suddha- gandhara one sruti higher it is knowo as Sadharana-gandhara and shifting one Frnti still further it is called Aptaragandhara. This proeess is ealled Sadharani" karanam. There is ansther seals ealled Malhyama grama. In this Pa is related to its predecessor by an interval of three srutis-i. e., pa is brought one sruti down-not taken one sruti up. In this group if Ma is regorded as the funda- mental rote the pa corresponds to the Rishabha. This is deseribed in the text es enin3T :. Thus it is clear that, as, in this seale, Pa ie shifted one sruti lower it is net a case of Sadharici karanam; but still there are people who mistake it to be such. Their view is therefors Taffain.

ऋपमात्पञ्चमात्तत्मात्सपड़नं घैवत स्मृतम् । अयं हि मध्यमग्रासो मध्यमोत्पीडिन्पमः ॥ ३४ ।। इति साधारितं मोहादन्यथैवावगछति।

Noto :- The 5th case for the 1st two words given in the printed text has to be amended into the Ist case. The prose or ler then will be as follows :- पश्चम: ऋपभः (भवति) तस्मात् (=पश्चमात) धवतं सपह्जं स्मतम् अयं हि etc.

Tr. The panchama becomes Rishabha (i. e, is separated by three notes from its predecessor) thereby making the Dhaivata similar to the Shadja (सपद्तम्=सडजसटृशम). This is madhyama grama in which "pa" corresponds to Rishabha in re'ation to ma. This is sometimes mistaken as a case of Sadharitam.

78 काव्यालंकारे

अन्यास्वपि कालास्वेवमभिधेया विरोधिता । ३१ ॥

Tr. In the case of other arts also, contradictions, should be similarly understood. स्थास्नुजङ्गमभेदेन लोकं तत्त्व्विदो विदुः । स च तद्वयवहारोऽत्र तद्विरोधकरं यथा ॥ ३६ ॥

Tr, Those that are conversant with truth, divide the world into " Immovables" and " Movables". Here also, (i. e, in poetry) the world is of that nature. Divergence from it is as follo vs :- तेषां कटतटभ्रष्टैर्गजानां मदविन्दुभिः । प्रावर्तत नदी घोरा हस्त्यश्वरथवाहिनी ॥ ३७ ॥

Tr. Out of the ichor flowing from the cheeks of thoso el-phants, there arose a frightful river whose torrent carried awsy elephants, horses, and chariots. धावतां सैन्यवाहानां फेनवारि मुखच्युतम् ।

Tr. The froth issuing from the mouths of the galloping chargers made the path-ways in ail direetions knee-deep with water. न्यायः शास्त्रं त्रिवर्गोक्तिईण्डनीनिं च तां बिदुः। अनो न्यायविरोधीष्टमपेतं यत्तया यथा ॥ ३९ ॥।

Tr. Nyaya consists of the sastras, of those that treat of the three paths. (Dharma, Artha, Kama) and also of king-craft. That which does not conform to the above is called 'Ny rya-virodhi'. Thus: - विनिगीषुमुपन्यस्य वत्सेशं वृद्धदर्शनम्। तस्पैत कनिनः पश्चादभ्यघाच्च्ारशून्यताम् ॥ ४० ॥। Tr. Having described King Vatsa as desirons of conquest, and, as long sighted as the aged, to describe such a wiso one as being devoid of spies is an example of this defect.

चतुर्थः परिच्छेदः। 79

अन्तर्योधशताकीर्ण सालङ्कायननेतृकम्। तथाविधं गजच्छद्म नाज्ञासीत्स स्वभुगतम्॥ ४१ ॥

Tr. He (king Vatsa) did not realire the nature true of the false elephant which contained within itself a number of warriors, and which had for its mahout, Salankayana, although it had come to his own grounds.

यदि वोपेक्षितं तस्य सचिवैः स्वाथेसिद्धये। अहो नु मन्दिमा तेपां भक्तिर्वा नास्ति भर्तरि ॥ ४२ ॥

Tr. If his ministers, to advance their own insterests had, neglected the king's (interests), then, their unwisdom (dullness) is wonderful; or perhaps they had no love for their king.

शरा दृदधनुर्मुक्ता मन्युमद्भ्िररातििः । मर्माणि परिहृत्यास्य पतिप्यन्तीति कानुमा ॥ ४३ ॥

Tr. That the arrows discharged from a strong bow by enemies actuated by hatred will fall wide of the mark ri :. , the vital parts, is very poor inference (this is ex, of Loka- Virodhi).

हतोडनेन मम भ्राता मम पुत्रः पिता मम। मातुलो भागिनेयश्च रुपा संर्धचेतसः ॥। ४४ ॥

Tr, By this man has been killed, the brother, son, father, maternal nnele and nephew of me whosc mind was overcome with rage. Note :- This suggests an improbability. If so many had been attacked, it is more likely that tho assailant was kiled-especially as the speaker (who must boe doemed to have boen present) was overcome with rage.

अस्यन्तो विविधान्याजावायुधान्यपराधिनम्। एकाकिनमरण्यान्यां न हन्युर्वहवः कथम् ॥ ४५ ॥ Tr. How should so many people discharging in combat many a weapon at a single individual in the forest fail to destory him.

80 काव्यालंकारे

Note :- Both verses should be taken together. The improtability lies in the fact that a number of people were killed by a single individual in open combat although the latter were numerically strong, were enraged and must have retaliated. नमोडस्तु तेभ्यो विद्वन्द्चो येडभिप्रायं कवेरिमम् । शास्त्रलोकावपास्यैवं नयन्ति नर्यव्रदिनः ।४६॥ Tr. All hail to those learned men well versed in the sastras (Nayaredinah) who explain the poet's meaning as above, utterly ignoring science and human experience. सचेतसो वनेभस्य चर्मणा निर्मितस्य च । विशेषं वेद बालोऽपि कष्ट किं नु कथं नु तत् ॥ ४७ ॥ Tr. Even a child is able to distinguish bet ween a living forest clephant and a stuffed one. Is it diffenlt? How then does not it happen (i. e., such mastakee as those described above). Note :- These vorses relate to the following ineidens in the story of Kiog Vatsa. The king of Ujjain had a daughter. He thought that no bride-groom would suit her except Vatsa. But Vatsa was his mortal anemy and could nos be approached. So, he set about to lind cut a way of getting Vatsa into his power. Now Vatsa was very fond of hunting. One peculiar hunt in which ho specially delightod was to. entrap elephants by melody. A Inte had been given to him by Vasuki. Its music had power to sublno elephants. The king of Ujjain knowing this, had a dummy elephant propared in which he concealod a namber of warriors under the command of his General Salankayana. By this deviee he decoyel Vatsa when unattended, deep into the forest, and when he was far away from his friends, the men inside camo out and tried to capture him. But Vatsa was able to kill many of them, and keep them at bay. So unabie to nttack him in front, they assailed him from behind, captured him, and beeit him. Vatsa then fell down in a swoon ani was taken prisoner: This stary is found iu Katha Sarit Sagara II Lambaka IV Taranga, N. S. Edn .. paue 40) and in Brihat Katha Manjari, of Kshemendra (pago 45 N. S: Edn.,) This is also the basis of Bhasa's Praijna Nataka edited by Ganapatl Sastri in the Trivandrum Sanskrit series. In this drama Hamsa an attendans og King Vatya narrates Vatsa's capture and in so doing adds this detail, When Vatsa woko up from his swoon his assadants ran away saying " This is the person who killed my brother, my son, ete. (See page 13 of the Drama. Tr. Sans series No. II. From this Mr. Sastri concludes that Bhamaha's reference is to this drama of Bhasa, PjV. KANE examines this question, notices many differences between these and Bhamaha's version and comes to the con- clusion that the reference hero must be to a some other version, for, thero must have been numerous adaptations by various writers of this story (see P.V. KANE Intro to S. D. page 38-39.)

चतर्थ: परिच्छेदः । 81

आगमो धर्मशास्त्राणि लोकसीमा च तत्कृता। तद्विरोधि तदाचारव्यतिकमणतो यथा ॥ ४८॥

Tr. Agama is constituted by the Dharma Sastras and the limitations (for conduet) prescribed therein. Agama Virodhi is being opposed to them, i. e., being transgressions of them.

भूभृतां पीतसोमानां न्यास्ये व्त्मनि तिष्ठताम् । अलंकरिष्णुना वंशं गुरौ सति जिगीषुणा । ४९ ।। अभायेिन संस्कारमन्तरेण द्विजन्मना । नरवाहनदत्तेन वेश्यावान्निशि पीडितः ॥ ५० ॥।

Ir. Fesyaean (or a man who had in his keeping a Vesya or common-woman) was killed dmring night by Nararahana Datta, a man who adorued a line of kings who had performed the Soma Sacrifice (drunk the Soma) and who followed the correct path. He was (himself) impelled with a desir. for conquest while his father was alive, was not married and was a twice-born without the (necessary) ceremonies. Note :- I am unable to trace the allusion in the abovo.

न दूषणायालमुदाहतो विधि- रन चाभिमानेन किमु प्रतीयते। कृतात्मनां तत्त्वदशां च मादशो जनोडभिसंधिं क इवावभोत्स्यते ॥ ५१ ॥

Tr :- This work has not been composed for censuring others and nothing is set out (किमु प्रतायंत) out of vanity (अभिमानेन). How could one like myself even entertain in my mind (अतभीत्स्यते) the opinions of men of eulture and knowlege,

82 काव्यालंकारे

CHAPTER V. पञ्चम: परिच्छेदः ।

-- अथ प्रतिज्ञाहेत्वादिहीनं दुष्ट च वण्यते। समासेन यथान्यायं तन्मात्रार्थप्रतीतये ॥ १ ॥

Tr. Hereafter are described the faults, consisting of the ahsence of Pratijna (conelusion) of Hetu (middle term) oto. The description will be short and will conform to Nyaya (Logie) the object being to give simply an idea of these.

प्रायेण दुर्बोधतया शास्त्राद्विभ्यत्यमेघसः । तदुपच्छन्दनायेप हेतुन्यायलवोच्चयः ॥ २ ॥।

Tr. Very largely the unintelligent are afraid of Sastres because of their ditficulty. In order to persuade them to learn, this small collection of the logie of the middle term (is composed).

स्व्रादुकाव्यरसोन्मिश्रं शास्त्रमप्युपयुञ्ज्ते । प्रथमालीढमघतः पिवन्ति कटु भपनम् ॥ ३ ॥

Tr. Even sastras when mixed with agreenble pootry, are employed. Those who have first tasted honey are able to swallow (even) distastetul medicine.

न स शब्दों न तद्वाच्यं न स न्यायों न सा कला। जायते यन्न काव्याङ्गमहो भारो महान्कवः ॥ ४ ॥

Tr. Grammar is no grammar, meaning no meaning, logio no Jogic, art no art, if these do not subserve poetry-Oh the res- ponsibility of the poet!

सत्त्वादयः प्रमाणाभ्यां प्रत्यक्षमनुमा न ते । असाधारणसामान्यविषयत्वं तयो: किल ॥ ५ ॥

प्नम: परिच्छेदः । 83

Tr. By Pramanas arise the ideas of Existence ete., and they (Pramanas) are of two kinds-Pratyalsha (direct pereeption and Anuma (inference). They embr.ce the (apprehension of) in ividuality and general characteristics. Note :- Thers are two methods of conceiving objects viz., the conditioned (Savikalpaka) and the ungonditioend (Nirrikolpala.) The urst i. e., the condi- tioned is a case where the objeet is viowed as possessing (say) a class attribute. Thus in the conception of a pot there is the particular objeet (i. e., the indi- vidual pot) and also the generic attribute of all pots. This is the Somanya- Vishayatva of the text. It is not however to be uoderstood that the conditon- ing factor should always be a class attribute although it is generally so, To take an cXample Sri Krishas may be viewel in anv of the following aspect s. 1. As the possessor of a flute (a ) 2. As a Gopa. 3. As the dark one (श्याम।Sयम) 4. As a singer (गायति) 5. and as Govinda. Now the conditioning er defining attribute in each of the above is as follows .- in No. 1 a substance (54) the flute. In No. 2 a class. attributa FI. In No. 3 a quality (blackness). In 4. an action (singing) and in 5 a name. The first four are designated as Samanya in the above vorse. No. 5 " name " constitutes a category of its own. Its exclusion from the group of Samanyas is indieated by the use of the expression 71431- त्यादियोजनाम् in the next verse. The other kind of eonception (Nishprakara) is where an objeot is conceived merely as such i, e., as net involving any limi- tation or attribute. The said two methods of conception are produced by inference, also, In other words Direct Percoption and Inference may give rise to either of the two kinds of jnana. When, on seeing the constellation Krsittika rise in the horizon one infers that Rohini is below the horizon it is a case of an individual object leading to an inference, In the stoock example " there is fire because of smoke " the class attributo H7T74 is involved. The former is known as दृष्टिषयम् and सामान्यतोट्रष्टम्, The abore is taken from Mana Meyodaya of Narayana Bhatta No. 19. : Tr. Sans, series, pages 8, 9 and 26. प्रत्यक्षं कल्पनापोढं सतोडर्थादिति केचन । कल्पनां नामजात्यादियोजनां प्रतिजानते ॥ ६॥। Tr. Some people say that Direct Pereeption (Pratyaksha) "is devoid of " Kalpand" because it involves an actual existence

84 काव्यालंकारे

an t " kalpana" means the imputing of a name or class attribute etc.

Note :- In the Shaddarsana Samuchchaya page 9. (Chowkhambs Saxs- krit Series), the following verse is given as constituting the opini in of Buddhists :- प्रत्यक्षं कल्पनापोद्मम्रान्तं तत्र बुध्यताम and Kalpana is explained शब्दसंसर्गवती uania: (a conception to which a name could be given). Sankara's Sarvadar- sana Sangraha Madras Govt. Press Edn., page 15 has the following verse in expouading the Vaibhashika doctrine. बौद्धशास्त्रप्रमय तु प्रमाणं द्विविधं मतम- कल्पनापोहमभ्रान्तं प्रत्यक्षं कल्पना पुनः । नामजातिगुणद्व्यक्रियारूपेण पञ्चधा. Tnus in the definition of Pratyaksha of the Bauddhas the repithet given is "' Abhrantam. ' This means " devoid of illusion ". What is divoid of illusion is what is real, i. e., Sadartha. So I have correeted the printed text from acn- डर्यात् into सतेोऽात्. This amendation appears justifiable also from the use of the word सदथालम्बनम् in the ver-e following. समारोप: किलैनावान्सदर्थालम्बनं च तत् । जात्याद्यपोहे वृत्तिः क्व क्व विशेषः कुतश्र सः ॥ ७॥ Tr. 'Impnting' (Samaropa called Yojana in the last sloka) is of this nature (or avails thus far). Direct pereeption has for its subject the Reality. So if direct perception exeluded Jali (class attibutes) ete., where is existenes? where is individuality? and where from is the object itself?

Note :- The particle 7 means T3. The meaning of the above is this. According to the Buudhist that which is imputed समारोपित is unrcal (भ्रान्तम्). Bhamaha first points out that what is called "imputing " is of the nature of attributing a name or quality. If snch "imputing " is unroal then there could be no real direct pereeption at all, for, in the absenco of attributes no object could be conceived even as existing. Therefore direct percepsion will be withont a subject. This is a capital objection to the view of the Buddhist. This is referred in pago 10 of Shuddarsana Samuchchaya mentioned in the previons note. The answer of the Buddhist to this as stated therein is as bllo :- निरालमन एवायं but अनारिितथवासनाप्रवर्तिती व्यवहाराभास: which means :- it is true that this direet percoption involves nothing as substratum; bnt it is the effcet of a uselss but immamorial habit. तदपाहितु न तथा सिद्धा सा बुद्धिगोचरा। अवस्तुकं चद्धितथं प्रत्थक्षं तत्त्ववृत्ति हि ॥ ८।।

पञ्चम: परिच्छेदः । 85

Tr. In their absence the objeet (ar i. e., the i5:) . inl not be the subject of a valid perception. If without an object, then, it (direct perception) wiil be futile. but, (as a matter of fact) direct perception involves a verity. Note :- The purport is this. The essential of a y lid Pratyaksha (i.e., not an ill ision) is this, - That it serves an en l, forevuinple i you see something before you and conceive it to be a " pot " the vali lity or the rovlity of the per- ception is tested by at once trying to make use of i in som way as, for examplo, trying to carry Water in it. If it sorres the purpore it is callea 3TFIIfr and is accepted by all schools (in:luding Bud lhist) as a valid object This is referred to in the text by the worls HTA 73H fE. If ho vever you tha Biuddhist should regarl the name anl tttribntes, as the result of Dhranti (illusion) then, in a valid perception the mind will not. geisp the object as possessing them. In other worls the " pot" ean not be apprehended as a "pot" but merely as an objeet. Then no person will start any action, and so it follows that all perception: will be barren of action i e., futile; but ac'ual experience shows that Pratyalsha is bised on rruth, for, it leads to aotion i. e., fruitful action. Intro. tr verse 9. The above argument viz., that there could be no v did direct perception if devoid of objsets leads to a school of Buddhists who maintain the view containod in the first half of the noxt verse. The second half is the author's objeotion to it. ग्राह्यग्राहकभेदेन विज्ञानांशो मतो यदि। विज्ञानमात्रसादश्याद्विशोषोडस्य विकल्पना । ९ ॥ Tr. If you say that pereeption (fastra) is composed of two parts namely the subjeet (grahya) and perception (grahaka) then, as these two, according to you, resemble only in being mere per- cepsions the difference that you impute to them is unreal. अर्थादेवेति रूपादेस्तत एवेति न्यायमः । अन्पथा घटविज्ञानमन्येन व्यपदिश्यत ॥ १०॥ Tr. By the principle that conceptions (for example concep. tions of attributes ete .) spring from what is the object aprirta it follows that Rupa (coloar ete.,) can be produced only from the object (of cognition). Otherwise the idea of a pot may be sup- planted with the attributes of something else.

86 काव्यालंकारे

Note :- The second half means that if in 2517 what determines its in- dividuality is rot what erists in the pot, then, the conception of a pot may have so be determined by the attribute of, say, a cloth. In other words on seeing an object, which really is a pot if its attributes do not enter into its conception (as the Buddhist says) then thore it nothing to present the objeot from appearing as something else.

त्रिरूपालिङ्गनो ज्ञानमनुमानं च केचन । तद्विदो नान्तरीयार्थदर्शनं चापरं विदुः ॥ ११ ॥।

Tr. There are three kinds of Lingas (middle terms). Knowledge resulting from them is Ammana (inference). Some are of opinion t at it is also Anumana where thoso people that are experienced in it (afza:) perceive a thing as invariably associated with another. Note :- The lingas are कवलान्त्रयि केवलव्यनिरकि and अन्वयव्यतिरेकि विविधास्पद्धर्मेंण धर्मी कृतविशेषणः । पक्षस्तस्य च निर्देशः प्रतिज्ञेत्यभिधीयते ॥ १२ ॥ Rend विवादास्पदधर्मण prue oeder :- विवादास्पदधर्मेण कृतवशेषण : धर्मी क्षः Tr. Paksha is that which is stated as the locus of the disputed Dharma. When that and the subject are exhibited as related it is Partijna. Note :- Ex. of Pueesha पवतां वहिमान् वा न वा Ex. of Pratijna पर्वतो वह्निमान्. तदर्थ हेतुसिद्धान्तसर्वगमविरोधिनी। प्रतिद्धवमा प्रत्यक्षवराधिनी चेति दुप्यति ॥ १३ ॥ Tr. The Doshas of Partijna are of the following kinds (1) Tadartha rirodhini. (2) Hetu rirodhini. (3) Siddanta vi. (4) Sarragama vi. (5) Prasiddha-dharma ri. (6) Pratyaksha badhini.

पश्चम: परिच्छेद। 87

तयेव हि तदर्थस्य विरोधकरणं यथा। यतिमम पिता वाल्यात्सूनुर्यस्याहमौरसः ॥ १४॥ Tr. That dosha is called Tadartha crodhini in which the meaning of the Pratijna stultifies itselt Ew .- Iam the son born out of the loins of a Sangasin who was such from his boyhood. अस्त्यात्मा प्रकृतिवति ज्ञेया हेत्वपवादिनी । धर्मिणोऽस्याप्रसिद्धत्वात्त्द्वमोऽपि न सेत्स्यति ॥ १५॥ Tr. The Dosha Hetraparadini is of some such form as this "Atmna exists or Prafriti exists". As the Dharmins i, e,, Atma and Prakriti of this (inference) are unknown any quality inberent in them cannot be known lit. are not available. Note :- The forin of the Syllogism will be like this " Atma (or Prakriti) ezists because it is (say) eternal; now, unless the attribute "Baing eternal" is round in Atm i or Prakriti no inference is possible, Now, ex-hypothesi Atmne is unknowa. Therefore no attribute of it can be known, This is illustrated in the next verse by taking " sound ' as an instance. शाश्वतोऽशाश्वतो वेति प्रिद्धे वर्मिणि ध्वनी । जायते भेदविषयो विवादो वादिनोमिथः ॥ १६ ॥। T. It is only where the subjeet of inference viz, Sound is well-known that disputes as to whether it is eternal or transient can arise. Note :- Logicians say that "sound " is transient being produced and destroyed, Mimamsakas say it is enternal. Phamaha's opinion seems to be, that no dispute of this nature is justifiable bocause neither party knows the real nature of "sound'.

स्वसिद्धान्तविरोधित्वाद्विज्ञेया तद्विरोघिनी। कणभक्षो यथा शब्दमाचक्षीताविनश्वरम् ॥ १७॥।

Tr. That is called Siddhanta-vrodhini which confliets with the tenet of one's own school; as if a follower of Kanada shonld, say " sound is indestructible.

83 काव्यालंकारे

सर्वशास्त्रविरुद्धत्वात्सर्वागमविरोधिनी। यथा शुचिस्तनुस्त्रीणि प्रमाणानि न सन्ति वा ॥१८॥

The printed text has च सन्ति न्ा.

Tr. That dosha is Sarragama- virodhini which conflicts with the conclusions of all seiences. Thus :- (1) Body is pure or (2) There are only three Pramanas or Pramanas do not at all exist.

Note-That the boy is impure is accepted by all sastras. The seocnd example is alro i conflict with all schools. For :- Nastikas accept only one I ramana, Vaiseshikas and Buadhas two, Naiyayikas four Mimamsakas and Vedantins six and . nuranikas eight. The statement that no pramanas exist conflicts in a greater degree with all schcols,

आकुमारममेदिग्ववर्माहित विशेषणा। प्रसिद्धधर्मेति मता श्रोत्रग्राह्यो ध्वनिर्यथा ॥ १९॥

Tr. Prasiddho-Dharma is that which has been recognised by ali from childhood, withoat any doubt, as possessing certain attributes e. g. "sound is capabte of being apprehended by the ear. "

Note :- It is a canon of Logicians that if the thing postulated is alroady known to exist in the Palsha, there is no room for inference.

प्रत्यक्षवाधिनी तेन प्रमाणेनैव वाध्यते । यथा शीनोऽनलो नास्ति रूपमुष्णः क्षपाकरः ॥ २० ॥

Tr. That is Pratyaksha-badhi in which the suggested inference is stultitied hy itself (i. e., by Pratyaksha) Eg. Fire is cold; (fire) has no colour; or the uoon is hot. तन प्रमाणेन=प्रत्यक्षप- मणेन.

Intro. to 31. Uptill now the defects of Pratijna wero illustrated. Hereafter those of the Hctu are takon np.

सन्द्वयोः सदृश सिद्धो वर्यावृत्तस्तद्विपक्षतः । हेतुस्त्रिलक्षणो ज्ञयो हेत्वाभासी विपर्ययात् ॥ २१॥

पक्चभ: परिच्छेद । 89

Tr. (1) The hetu (middle term) must he understood as pos- sessing the following three attributes. It mast exist (in the Paksha) as per both disputants. (2) It must exist in the illustrative example. (3) It must exist not in the contradietory example. Conflict with any of the above conditions gives rise to Hetrabhasa.

Note :- Condition No. 1 is explained in verse 22 below as Hetu which ac ording to both the disputants exists in the Palsta in question. No. wis explaiued in verse 4. In the stock example 'there is fire because there is smoke' the illustrative example is the 'hearth'; beeause it contains the Sadhya indis- putably. The contra tictory example is tho lake espliinel in verse 25 bolowl The difference betweeh Parapaksha and Vipalsha should benoted. The former means the view of.the opponent. The latter is however au object in which the Hetu does not exist at all.

सन्द्वयोरिति यः सिद्धः स्वपक्षपरपक्षयोः । अभिन्नलक्षणः पक्षः फलभेदादयं द्विधा ॥ २२ ।।

Tr. That is called " existing as per both" which fis found in the Paksha as per the views of both the disputants. Paksha though the same according to both differs however with reference to the result.

Note :- (फलमदादयं द्िधा=साध्यभेदात्) i. o., althoug both the disput- ants admit the middle term in the Palsha they arrive at different resnlts; one saying that the Sadhya exists in the Pakshz and the other that that it does not. The differonce results in this fashion. One says that as per Hetu the conclusion reached is (for example) that fire exists. The other says jthat the conclusion reached is that it does not.

Intro :- The foliowing verse says that there should be no divergence as to the Hetu existing in the Paksho.

परपक्षानुपादानं तद्वत्तश्रानुदाहृतौ। कथमन्यतरासिद्धहेत्व्राभासव्यवस्थितिः ॥ २२ ।।

Te. If you do not accept the Hetu as subsisting in the Pakska of the other fi. c., opponent) it will amount to your not accepting his Paksha (as a Paksha at all) otherwise how could any question at all arise, as to whether a partieular letu is a psuedo-hetu (Hetrabhasu).

90 काव्यालंकारे

Note :- The IH consists in not admitting that the. Helu exists in the Paksha in question as well as in the para-paksha. The implies that it exists in the sa-paksha. Second half mcans how could there be ( EC3PHT- HF4 ) in what is (3HG) as per either. That is-how could any discussion arise a: to whether the Hetu is an invalid one (or otherwise) unless both agree that it exists in the Paksha of both.

Intro Tho next Sloka expla ns (सट्शे सिद्ध) in verse 21 ante.

साध्यधर्मानुगमनः सदशस्तत्र यश्च सन् । अन्योऽप्यसावेक इव सामान्यादुपचर्यते ॥ २४ ।।

Tr. The illustrative example is so called because it has the same Sudhge Dharma as the Salhya in qnestion . The Sodhya dharma resides in that i. e., Sadrisupaksho) and in this also i. e., the Pakshe in question. These thongh individnally different are andogically treated. as indentical because of the possession of a common attribute.

Note :- The similar Paksha (HE%: 98:) is that in which the Sadhya Dharma in questiou exists. In the stoek examplo " the Smoks" is tho Dlmma. The hoarth is the illustrative oxmple HTT: := 872: for in that the Smoke exists. The worl indicates that it must exist in tho Paksha also. So tho Dharme esiting in tho ' hearth . should oxist .in the 'mountain' also. Now this doubt ache :- the moke in the hearth is individually a different entity, from the Smoke that exists in the latter. The reply (in the "econd half of the verse) is, thal both the individaalsare considered by analogy as ientical bieanse of the common attribute (ar)

विपक्षसाहमदशो व्यावतस्तत्र यो हामन्।

T .. Vipaksha is that which does not resemble it. (aa i. e., Paksha.) That (/leto) is elearly dissociated (t4:) which does not exist in it (i. e., in Vipaksha. Thas there are two factors, (1) existance of both in one and (2) dissoriation in the other .Both the factors coustitute the sorreetness of the defiaition-

षभ्नम: परिच्छेद: । 91

Noie :- विपक्ष: is साध्यधर्माननुगत. i. 6., Bay ह्दः. 'यः तत्र असन् सः व्यावृत्तो हि'. As the dharma viz. Smcke dees not exist in it, it is called व्यावृत्तः॥ इति = thus द्ृयस्य (बाहघूमयोः) एकानगति := Being found together in ono placr viz., महानस) एकव्यावात्त :- Not being found together in the same placo as in the lake (is) लक्ष्मसाधुता = correctness of the definition.

साध्यसाधनधर्माभ्यां सिद्धो दष्टान्त उच्यते। तद्विपर्ययतो वापि तदाभस्तदवृत्तितः । २६।।

Tr. A Drishtanta is that in which both the Sadhya an Sadhana (Hetu) are found. Or it may also conist in the absener (Viparyaya) of both. The pseudo-example (aanT:) consists it not having it (hetu) at all. Note :- In the stock example the hearth constitutes the Drishtanta an.) both ' fire . and 'smoke' exist in it. The Drishtonta may also be an objeet in which the absence of fire may be followed by the absence of smoke. Thejp-uodo. example may be of this form "where there is absenco of smoke there is absenee of fire."

साध्येन लिङ्गानुगिस्तदभावे च नास्तिता । र्याप्यते येन दृष्टान्तः स किलान्यैद्विधोच्यते ॥ २७॥ Tr. Some say that Drishtanta is two-fold. That by wh eh the co-existence of " Sadhya" with " Linga" is proved and als that by whieh the absence of the Linga in the absence of the Sadhya is proved. Nots :- साध्येन लिङ्गपुगतिः ग्रेन ख्याप्यते स दृष्टान्तः (यथा महानसः) तदभ। वे च (-साध्याभावेच) लिङ्गस्य नास्तिता येन ख्याप्यते सोऽपि दृष्तन्तः दूषणं न्यूनताद्युक्तिन्यूनं हेत्वादिनाथ च। तन्मूलत्वात्कथायाश्च न्यूनं नेष्टं प्रतिज्ञया ॥ २८॥ Tr. Deficiency (lit. objection) arises when the absence ete. (of some essential facter) is poin'ed out. Deficiency may arise I .. the abs-nce of ' hetn ' etc., als. As a logical disputari n katha. consists of these (viz., Pratijna,: Hetu and Drishtanta) the omis- sion of any oue of the n resalts in " Deficiency."

92 कान्यालकार

Note :- I have correoted the दूपणन्गृनता of the printed text into दूषणं नगृनता.

जातयो दृषणाभासास्ताः साधर्म्यसमादयः । तासां प्रपश्चो बहुधा भूयस्त्वादिह नोदितः ।। २९॥

Tr. There are a group of apparent defects described as Jatisama etc., Th. ir varieties are many aod th y are not des- cribed h. re be cause of their numl .r.

Note :- Sutra (1) of the V Adh. I Ahnikn of Gandama sutra sets out Jatisama i. e., Their sub-divisions are explainod at p. 229 of the Gautama Nyoya Sutras Cal. Edn.

अपरं वक्ष्यते न्यालक्षणं काव्यसंश्रयम् । इदं तु शास्त्रगर्भेषु काव्यप्वभिहितं यथा ॥ ३० ॥

Tr. The definition of logic (Nyaya) as understood in Karaya is different and will be d. ecribed later. It is set out in Karyas which are p rn:cated by Sastras. Thus :-

अथ नित्याविनाभावि दृष्टं जगति कारणम् । कारणं चन्न तन्नित्यं नित्यं चत्कारणं न तत् ॥ ३१ ॥

Nole :- Verre 31 is an illustration of an argument in Kavya whioh diflers from that of the Sastras. Tr. In the every day world the cause is knonn as both eter nal and invariably associated (with the effuet). However, if a thing is a C'a se, it cannot be eterna' a d if eternal, cannot be a Cause.

लक्ष्मप्रयोगदोषाणां भदेनानेन वर्त्मना । संघादिसाधनं सिद्धयै शास्त्रेषूदितमन्यथा ॥ ३२ ॥

Tr. The above exposition of Pratijna (H:T) ect., invo ving ma y Varieties having reference to Lnkshmun (defi ition) Prayoga (employment) and Dosha (defect) is based on the views of Sastras which constitute . ne set of views.

पक्चमः परचछेद:। 93

Nole :- The "4 of the printed text has beeu altered into H9a. The word "FTAI means that this is one set of viows. The other set of viows' en- tertained by those versel in Keryas is referred to in the next verse, by ropeating the word .Iny itha therein.

नज्ज्ञेः काव्यप्योगेयु तत्प्रादुष्कृतमन्यथा। नत्र लोकाश्रयं काव्यमागमास्तत्त्वदर्शिनः ।। ३३ ।।

Tr. Those that under-tand the nature of these things des- cribe them differently in the composition of Karyas. Of the two, Karya refers to wordty things and Sastras efer to truth.

अमिसंकाशमाकाशं शब्दो दशनुपात्ययम् । तदेव वार्ष भिन्वूनामहो स्थेमा महार्निषः ॥ ३४ ॥

Tr. The sky is of the colour of the sword (Steel-blue). This sound comes from a distance. The same may be said of wells, or of ocean . A gain " Oh ! the stability of the Great Lights (of the Universe).

Nofe :- Hete the colour of being stecl-bl ie is attributed to the sky which is its essential cause (samavayi-karana), SimDirly the action (kriya) of coming from a distance is attributed to sound, Again the colonr (blue) may be attributed to water whether in the well or in big masses as the Occan. This kind of usage is permissible in Karyas. But this is all incorrect according to the Sastras, For, the sky has no colour; the colour of water is white; sound being the quality of (Ak isa) cannot have action (kriya) and the Great Lights viz., the Sun, the Moon, the Planets and the stars are no ,ternal, as they are destroyed at each Pr days.

रूपादीनां यथा द्रव्यमाश्रयो नश्वरीति या। इष्टकार्याभ्युपगमं प्रतिज्ञां प्रतिजानते ॥ ३९ ॥

Tr. Statements like these "Sub-tance is the support of colour ". "Colour is transient." These i. c., statements involving what one desires to postulate are called Pratijna.

Note:The words "fiiaT "I ' require amendment.

94 काव्यालंकारे

ध्मार्थकामकोपानां संश्रयात्सा चतुर्विधा। जरामेष विभर्मीति प्रतिज्ञाय पितुर्यथा। तथैव पुरुणाभारि सा स्याद्मेनिबन्धनी ॥ ३६ H

Tr. Pratijna is of four kinds. Based upon connection with duty, wordly gain, love, or anger. Pratijna involving Dharma is like this-Pura having vowed that he will bear the old age of his father. did so.

उपलप्म्ये स्वगं सोतामिति भतृनिदेशनः । हनूमता :निज्ञाथ सा ज्ञाेत्यर्थमंश्रया ॥ ३७ ॥

Tr. The example of a Pratijno that has reference to wordly advantsge js forniched by the case of Homonan, who, discovered Sita, after baving vwed, onder the orders of his master, that he will f. d her.

आहरिष्याम्यमूमद्य महामेनात्मजामिति । कृत्या प्रनिज्ञां वत्सेन हनेति मदनाश्रया ॥ ३८॥

Tr. King Fatsa vowed thus :- ' I shall bring this (damsol) the danghter of Mahasena and did so, This isa case of a partijna that has its origin in love. Note :- The allnsion is to a well-known episode in the story of King Valsa. So Katha Sarit Sagara N. S. Ed. Page 37.

प्रनिजञाय यथा भोमस्तच्चकारावशो रुपा ॥ ३९ ॥।

Tr. Bhimo vowed " I shall erush into pulp the enomy of my brother in battle and drink his blool"; and he did so when trans- ported with rage. कार्योडन्यत्र प्रतिज्ञायाः प्रयोगो न करथंचन । परित्यागश्च कर्तव्यो नासां चतसृणामि ॥४०॥

पञ्चमः परिच्छेद। 95

Tr. Except in those four cases a vow should not be made. Vows of these four kinds should not be abandoned.

Intro. Dharmanibandhani ete., have been illustrated above. 1 ere- after four kinds of Dharma.Virodhinis aretillustrated:

प्रायोपवेशाय यथा प्रतिज्ञाय सुयोधनः । राज्याय पुनरुत्तस्थाविति धर्मविरोषिनी ॥ ४१ ॥

Tr. Duryodhana having resolved upon dying by slow starvation, abandoned the resolve and came back for the sake of his kingdom. This is riolation of Dharma.

Note :- The above relates to the episode found.in Mahabharata Vana- parvan Adhyoyas 249 to 251 see pages 031-013 of Roy's Edn. Shortly statol the s'ory is as follows :- Duryodhana was defeatod by the Gandharra Chitra- sena, was taken prisoner and was earriel before the Pand tras. Overcome with shame, he resolved to die of starvation aud took a solemn vow to that effoct. The powers of the undorworld interveued, raised a spirit by a sacrifice and got Duryodhana beought before them They then advised him to give up his vow which he did easily, prompted by avarice

आहूतो न निवतेडहं द्यूनायति सुधििरः । कृत्वा संघां शकुनिना दिदेवेत्यर्थवाघिनी॥ ४२।।

" Tr. Arthabadhini (Pratijna) is illustrated by whe case of Yudhisthira having resolved not to retuse if called upon to play at dice and his doing so with Salnni.

Note :- The allusion is to a sbory related iu Mahabharata, Sabha Ferran, Adhyaya 58. Vidura is sent to invits Yudhisthira to atteul the opaninz oi a Sabla construoted by Dur yodhand In ceply to Vilara the king says " thave no desire to play with the dice unless called upon by Suhast bldlygor the prasence of all. If he does so I shald respon l. Such is my fiem casolve. The socond half of verse 16 in the abva wontaxt is as blow- S कशाचित्तदाहित शाश्वतं वे व्रत मे।' Su Ry B p.131 of tMa

अद्यारम्ये निवत्स्यामि मुनिवदचना।दिति। पितुः प्रियाय यां भीष्मश्चके सा कानचाविनी ॥ ४३ ॥

96 काव्यालंकारे

Tr. Kamabadhini Pratijna is illustrated by the case of Bhishma who following lis Sire's behest, and, to please him, resolved that he wil', from the date of his resolve, continne to live like a Munt, i. e., one who abandons wordly pleasures.

अत्याजयद्यथा रामः सर्वक्षत्रवघाश्रयाम्। जामदग्न्यं युधा जित्वा सा ज्ञया कोपवाधिनी ॥ ४४ ।।

Tr. Rama made the son of Jamadagni abandon his resolve to kill all Kshatryas having conquered him in battle. This is Kopabadhini.

अथाभ्युपगमप्राप्तिः संधाभ्युपगमाद्विना । अनुक्तमपि यत्रार्थादभ्युपैनि यथोच्यते ॥ ४५॥ Tr. Herea ter a:e illust atrd cases of achievements without a corresponding resolve. Thongh not ex ressly set out it (resolve) is gatherable from the cortext. किमिन्द्रियद्विपा ज्ञंय को निराक्रियतेऽरिभिः । को वा गत्वरमर्थिम्यो न य्छति धनं लबु ॥ ४६ ॥ Tr. What is realised (known) by one who has cotquered the Indryas? (The question suggests Brahman as being realised by such a one). Who is orercome by fors? (Ans-the weak man). Who does not casily part with even a small portion of his wealth although its nature is to be always in transit (Ans-the miser). किमत्ययं तु यः क्षेपः सौकये दर्शयत्यमों। हेतुस्त्रिलक्ष्मैव मतः काव्येप्वपि सुमेघसाम् ॥४७॥

Tr. 1st half: - not Geal. 2nd half :- The learned state that in kavyas also the Hetu,is charactrised by three signs or peceliarimes. अन्वयव्यनिरेको हि केवलावर्यगिददये। यथाऽमितो वनाभोगमेनदस्नि महत्मरः ॥४८॥

पश्नभ: परिच्छेद: । 97

Tr. Even Kecalancayin and Kerala-rgatirekin are useful in arriving at a resnlt. Ex. All round this torest, there is a big lake.

Note :- The word TAI must be taken to refer to the lake the certainty of whose existence is so strong that it is referred to as directly visible.

कूजनात्कुररीणां च कमलानां च सौरभात् । अन्यधमांऽपि तत्सिद्धिं संबन्धन करोत्ययम् ।,४९॥

Tr. By the ont-eries of the birds known as Kurar and by the smell of the lotus, which, though the attirbutes of something else are capable of leading to this inference (viz.,) the existence of the lake because of their (birds ete.,) conneetion with it (lake).

Note :- You infer the lake, from the birds and the lotus whioh are con- nectod with it. धूमादभ्रंकपत्साये: प्रदेशस्यानमामिव। अपृयक्कृतसाध्योऽषि हेतुध्ात्र प्रनीयते ॥ ५०॥

Tr. From seeing a column of smoke reaching to the skies we infer that a particular place has fire. In such cases the Hetu suggests a Sadhya which is not dissociated from something else (i. c., is associated with another).

अन्वयव्यतिर्का्म्यां विनेवार्थगतिर्यथा । दीप्रदीपा निशा जज्ञे व्यपवृत्तदियाकर। ॥ ५१॥। Note :- Hore the objeet is " a place with fire." The Sadhya, fire. is !nob dissooiated from something viz,, the place. Tr. There are cases in which the meaning results even without affirmative or negarive concommitance. " Night became devoid of the Sun because of its brilliant lamps." Note :- Here the brilliant lamps are not the cause of the dis-appearance of the sun though so described. हेतुः प्रदीपदीपत्वमपवृत्तौ रवेरिह। Tr. In the above example mny bright lamps are set out as the cause of sun-set ..

98 काव्यलिकारि

Note :- Although it is not so in reality, in poetry, is may be so desoribed.

तस्यापि सुधियामिष्टा दोषा: प्रागुदितास्त्रयः ॥ ५२॥ अंज्ञानसंशयज्ञानविपर्ययककृतो यथा। काशा हरन्ति हृदयममी कुसुमसौरमात् ॥ ५३ ॥

Tr. The three kinds of Dhoshas described already are under- stood by the wise as applying to this also. The Hetu in poetry may be based upon ignorance, doubt, or contradiction. Thus .- Reeds overpower one's heart by the smell of its flowers.

Note :- The flowers of reeds have no smell. So this is an ex. of ignor- ence, The Doshas already mentioned (1RaT:) possibly refer to verse 91 ante which aro also applicable in addition to those mentioned in this verso.

अपामभ्यर्ण्णवर्तित्वादते ज्ञेयाः शरारवः । असौ शुक्क्ान्तनेत्रत्वाच्चकोर इति गृह्यताम् ॥ ५४ ॥

Tr. These objects are to be understood as harmful because they are found near the water. Let this bird be nnderstood as Chakora becanse of the white corners of its eyes.

Notr :- Objects are not harmfal meroly because they are found near the water for ex. take the wator anake. So if one should say "This creature is harmful becanse it is near the water: :' we have to investigate if really it is harmful. So this is a case of a Hetu which is involved in a doust. The bird Chakora has not the colour white at the corners of the eye. Therefore the Hetu leads to a contrary inference. This is ex. of the contradiotory Hetu.

तुल्यनातावद षत्वात्साधयत्यच कोरताम् । उक्तस्यार्थस्य दृष्टान्तं प्रतिबिम्बनिदर्शनम् ॥ ५५॥

Tr. As " white corners of eyes" are not found in other birds of the same genus this Hetu leads to a contrary inference viz., that the bird is not a Chakora. The exhibition of a similar object to the thing described is called Drishtanta.

Note-The socond hall of the above verse rais:s the following questions. Why not call cases of Upamana as cases of inference. For an upama may 'be expressed thas :- मुख चं्द्रसटशम् meaniny but without stating आहादकत्व्नात.

पश्षम: परिच्छेद। 99

ननूपमानुमैवास्तु न हेत्वनभिधानतः । साध्यसाधनयोरुक्तिरुक्तादन्यत्र नेव्यते ॥ ५६॥

Tr. If you say let these be cases of inference we say "No" because the Hetu is not exhibited. It is not desireable to under- stand (by implication) the existence of Sadhya and Sadhana except in cases where thry are so expressly stated.

मुखं पद्मभिवेत्यत्र किं साध्यं कि च साधनम् । इति प्रयोगस्य यथा "कलावपि भवानिह। श्रेयान्वृद्धानुशिष्टत्वात्पूवें कार्तयुगे यथा"॥५७।।

Tr. In the Ex. " The face is like the lotus " which is Sadhya which is Sadhana? Similarly in the statement "Just as the ancients were great in Kritayuga because they were taught by those that followed the Veda so, you, now in the Kaliyuga are eminent, because, you have been similarly taught. " Noto :- Here the form of the statement is closely parallel to a syllogism bat really it is nothing but a simile. यत्र दृष्टान्तमात्रेण त्यज्येते साध्यसाधने। तमाहुः शुद्धदष्टान्तं तन्मात्राविष्कृतेयथा ॥ ६८॥ Tr. Pure Ex. Suddhedrishtanta is that in which the example alone is exhibited; and the Sadhya and the Sadhana are abandoned. It is callec so, because only the similar objects are exhibited.

"भरतस्त्वं दिलीपरत्वं त्वमेवले: पुरूरवाः । . त्वमव वीर प्रदयुम्नस्त्वमेव नरवाहनः ॥ १९॥ कथमेकपदेनैव व्यज्येरन्नस्य ते गृणाः।" इति प्रयुञ्ते सन्तः केचिद्विस्तरभारवः ॥६॥

Tr. "You are Bharata. You are Dilipa, nla and Pururaras. You alone are Pradyumna (also) Naracahana. How could one

100 कान्यालंकारे:

describe (make manifest) your (great) qualities by the use of a single word." Some great ones omploy langaage like the above being afraid of prolisity.

· पदमेकं परं साधु नार्वाचीननिवन्धनम् । वैपरीत्याद्विपर्यासं कीर्त्तिरपि करोति तत् ॥ ६१ ॥

Tr. Even the employment of a single word provided it is not new-fangled and is graminatical is meritorious (arg) If it is other wise it changes (one's) reputation itself (into the contrary).

अह्द्यमसुनिर्भेदं रसवत्त्वेऽप्यपेशलम् । काव्यं कपित्थमामं यत्केपांनित्सहशं यथा ॥ ६२॥

Tr. That Karya which is unplea-ing and diffi ult to analyge is ugly thongh it may possegs Rasa. The composition of some people is like the unripe wood apple. Thus :-

प्रजाजनश्रेष्ठवरिछभूर- चछिरोर्पिता इध्रे: पृथुकीर्तिघिप्ण्य ! अहिन्पझ्मस्य जलारिघाम्- स्नवैव नान्यस्य सुतस्य वृत्तम् ॥ ६३ ॥

Tr. Oh King ! the achievements of youe son are similar to yours, and not to those of any one else .- You who are the Lord of your subjeet- whose feet are worshiped by the heads of powerful kings. You who are the abode of wide fame. You who are :-

अंशुमद्भिश्च मणिभि: फलनिम्नेश्च शाखिभिः । फुल्लेश्र कुसुमैरन्यैर्वाचोडलंकुरुते यथा ॥ ६४ ॥

Tr. A composition is adorned by intordneing suitable des- eriptions of brilliant jems, trees weighed down by froits and alse by blossoming flowers ete., thus :-

पञ्चम: परिचछेदः । 101

सफलसपल्व भुरिचारुवृक्षे। बहुकुसुमविभपिते स नस्भौ सुरमुनिसिद्धयुते सुमेरुषृष्टे ॥ ६५ ॥ Tr. He resided on the slope of the mountain Sumere which was variegated by fine emeralds, rabies ete., and w.th t.ees bearing plenty of fruits and tender leavey; and which was adornod by various flowers and was also the place of abode of D. carishis and Siddhas.

नदेभिरङ्वैर्भप्यन्ते भूपणोपचनत्तनः । वाचां वकार्थशव्दोक्तिरलंकाराय कल्पते । ६६ ।। Tr. Similarly ornaments, gardens and dowers may them selves be edorned by their appropriate parts. The employment of words or meanings mn a fashion out of the ordinary enures to the bravty of the statement.

विरुद्धपदमस्वर्थ वहपृरणमाकुलम् । कुर्वन्ति काव्यमपरे व्यायताभीप्सया यथा ॥ ६७ ।। Tr. Others compose Karyas consisting of cont adictory words, of inteligent meanings and of words employed merely to fill up (the metre) and also of d fheult words; their objeet being to lengthen the compesition.

एलातक्कोलनागस्फुटवकुल लताचन्दन स्पन्द ना ढय : सक्काकर्पुरचक्रागरुकमनशिला व्यामका व्या प्तीर ः । शा ड्खव्रानाकुलान्तस्तिमिम करकुला कीर्णवीची प्रतानो दधे य:्याम्तुराशि: शशिकुमृदसुघाक्षीरशुद्धां सुकीर्तिम्॥।६८।। Tr. The occan bore (on its bosom his fair fame which resembled in'whiteness the moon, the white lily, the nector, and the milk,-the occan whose shores were covered with the trees

102 का पालंकारे

of the following deseriptions cardamons &c. whose edges were burdened with heaps of conches-the expanses of whose waves thronged with tishes liko Timi, Makara ete.

इति निगादितास्तास्ता वाचामलंकनयो मया बहुविधकृतीर्दष्ट्रान्येपां स्वयं परितर्क्य च। प्रथितवचमः सन्तोडभिज्ञाः प्रमाणमिहापर गुरुतरधियामस्त्राराधं मनोऽकृतबुद्धिभि: ॥६९ ॥।

Tr. Thus have many figures of speech been set out by me after consulting various kinds of treatises by others and also after myself bestowing thought. The authority to decide abont this (1. e., its correetness ete.,) are the great ones o'. well-known merit in letters. True it is, that people of limited capacity cannot please those of accomplished intelleot.

CHAPTER VI.

पष्ठः परिच्छेद: ।

मूत्राम्भमं पदावर्त पारायणरसातलम् । • धातूणादिगणग्राहं ध्यानग्रहबृह-पत्रम् ॥। १ ॥

धीरैरालोकितप्रान्तममेघोभिरसूयितम्। सदोपमुक्ततं सर्वाभिरन्यविद्याकरेणुभिः ॥२॥

नापारयित्वा दुर्गाधममुं व्याकरण:र्णवम्। शब्दरत्नं स्वयंगम्यमलं कर्तुमयं जनः ।। ३ ॥

Note :- One mannscripi reads the last line, as containing the word गमम्यलं. This may be due to the trausposition of two letters and ' by a clerical error, The reading of the last line has bean altered accordingly. The prose order will be आपारायत्या स्वय गम्य कुर्तुमर्य जनो नालम.

पष्ठः परिच्छेद: । 103

Tr. This person (i. e., the student) will not be able to make his own the gem which is the word unless he s ceeeds in crossing the nnfathomable Ocean of gras.mar :- an ocean whose watere consist of rulos (sutras), whose whirlpools are words, whose bottom (bed rock) consisis in frequent recapitulations-an ocean which further is infested with alligators in the shape of roots and Ubadis ;- the float to cross which is constituted by constant thought i. e., study; whose shores are visible only to the brave; which is aleo hated by fools; and in whose water are always foond disporting the she-ele; hants known as the other sciences.

तस्य चाघिगमे यत्न: कार्यः काव्यं विधित्सता । परप्रत्ययतो यत्तु क्रियते तेन का रतिः ॥४ ॥

Tr. One desirous of producing a Karya shonld direet his eode- vours towards its acquisition (i.e., of grammar). What pleasure is there in that whieh is composed as the result'of another's knowledge.

नान्यप्रत्ययशब्दा वागाविभाति मुदे सताम्। परेण धृतमुक्तेव सरसा कुसुमावली ॥ ५ ॥

Tr. A composition de. ending for its accuracy on (the author's) fuith in another, does not please the good, Just as a garland (no doubt) fresh but wora and di-carded by another.

मुख्यस्तावदयं न्यायो यत्स्वशक्त्या प्रवर्तते । अन्यसारस्वता नाम सन्त्यन्योक्तानुवादिनः ॥ ६॥

Tr. That a composition should be once's own isa rule of fundamental importance. Those that merely repeat what another has stated are surely persons of (mere) vicarious learning-

प्रतीतिरर्येषु यतस्तं शब्दं ब्रुवते परे। धूमभासोरपि प्राप्ता शब्दताऽन्यानुमां प्रति ॥ ७ ॥

Tr. Some people define a word as that by which the idea or knowledge of a thing is produced. In that case " smoke " and

104 काव्यालकार

"light " should be called words (as the former suggests the fire and the larter makes a l things visible.)

नन्वकार। दिवर्णानां समृदायोऽभिधेयवान्। अर्थपतीतये गीतः शब्द इत्यभिधीयते ॥८॥

Tr. Surely thasis called a word which is a eo leetion of letters like " ete., having a meaning an I nttered (sfta:) with the object of producing (suth) meaning (in another)-(or which is ordained to have a meaning by convention).

प्रचेकमसमर्थानां समुदायोडर्यवान्कयम्। वर्णानां क्रमवृत्तित्वान्न्याय्या नापि च संहतिः ॥९॥

Tr. How couid a coliection of letters produce a meaning when each individual letter has no meaning? Nor can a collec- tion of letters be called a worl for in a real word the letters are in a fixed order, i. e .. if you transpose the letiers you may still call it a colleetion (sgfa:) but there will be no meaning.

न चापि समुदायिभ्य: सनुदायोऽतिरिच्यते। दारुभित्तिभुवोऽतीत्य किमन्यत्सभ्म कल्प्यते ॥ १० ॥

Tr. Further there is no such entity as a " collection " apart from its components. Is there a thing called a ' house' different from the timber, the wall and the ground?

तस्मात्करूटस्थ इत्येषा शाव्दी वः कल्पना वृथा । प्रत्यक्षमनुमानं वा यत्र तत्परमार्थतः ।। ११।।

Tr. Therefore this creation of yours viz., Kutastha is purely a word-juggle, and is useless. That enly is truth to the prorf of which there is either direct perception or inforence.

शपथेरषि चादेयं वचो न स्कोटवादिनाम् । नभःकुसुममस्तीति श्रद्दव्यात्कः सचेतनः ॥ १२ ।।

पष्ठः परिच्छेदः । 105

Tr. The words of those who maintain the existence of a Sphota can not be accepted even if backed by thoir oatbs. Which man of sense will beleive that flowers exist in the sky i, e. without support?

इयन्त ईदशा वर्णा ईदगर्थाभिधायिनः । व्यवहाराय लोकस्य प्रागित्थं समयः कृतः ॥ १२ ॥

Tr. For the transaction of human affairs originaly there was some such compact like this :- So many letters of such and such kinds shall denote such and such meani gs,

स क्रूटस्थोऽनपायी च नादादन्यश्च कथ्यते । मन्दाः सांकेतिकानर्थान्मन्यन्ते पारमार्थिकान् ॥१४ ॥

Tr. That which is called Kutastha is described as indes- tructible and as different from sound. The dull-witted think that meanings which are the resnlt of convention constitute fundamental truths.

विनश्वरोऽस्तु नित्यो वा संबरन्धोऽथन वा सता। नमोऽस्तु तम्यो विद्व्यः प्रमाणं येऽस्य निश्चितो ॥ १५ ॥

Tr. Let the connection between the 'meaning' which is eternal (Hat) and the 'word' be eternal or transient. Let our thanks be to those w se ones who are the authority in the truth of this matter. Note :- Tho word निश्चितो is the seventh singular of निश्चितिः (certainty). अन्यापोहेन शब्दोऽर्थमाहेत्यन्ये प्रचक्षते । अन्यापोहश्र नामान्यपदार्थापाकृतिः किल ॥ ॥१६.

Tr. Others maintain that a word denotes its meaning by excluding others (). This exclusi m of others clearly is the exc'usion of other meanings. Note :- The second half has been correcte'as per hints given in the printed text. The word अपाकृति: is ojual to अपाकरणम्=driving away; 'removal;'

106 काव्यालंकार

'rejestion.' The word Apoha is a teohinical word ourrent among a certain Iotion of the followers of-Saugatas. Their view is this: The word "Cow" cannos designate each individual, for, then, there is no limit to its significanof Nor can it denote a quality or Dharma; for that being a HIEUFRI is aooording to them transient-lasting only for a second. So the meaning of the word really consists in अतदूयापृत्त: i. e., the rejeotion of every objeot other than the object cow (See Kane's Notes to Sahitya-Darpana Ohap. 2 p. 49).

यदि गौरित्ययं शब्द: कृताथोंऽन्यनिराकृतौ। जनको यदि गोबुद्धमृग्यतामपरो ध्वनिः ॥१७॥

Tr. If the word 'cow' exhausts its function by merely exclud- ing from the meaning of the word objects which are not ccws, then, you will have to go about in search of a sound (word) wbich will create in you the idea (some thing affirmative) of a cow i. e., the object intended to be expressed by. the word.

अर्थज्ञानफला: शब्दा न चैकस्य फलद्वयम् । अपवाद्विधिज्ञाने फले चैकस्य वः कथम् ॥ १८॥

Tr. Words have for their function (fruit) the production of meaning. How can ono (word) have two fruits i. e., mewnings? To you (4:) how can there be two fruits viz., argara (differenti- ation) and विधि (aftirmation) for one word (एकस्य)?

Intro. That the above view vir., " differentiation first and affirmation next " is contrary to ordinary experisnce is set out below.

पुरा गौरिति विज्ञानं गोशव्दश्रवणाद्भवेत्। येनागोप्रतिषेघाय प्रवृत्तो गौरिति ध्वनिः ॥ १९ ॥

Tr. As.soon as the word ' cow ' is uttered there is first pro" duced the idea (something affirmative) of the cow. It is by this (or after, or, fro u this) that the wor i becomes capable of exelod- ing things other than cows.

Note: -The point is that you cannot exclude " non-cows" anless yod know at first what cows are,

षष्ः परिच्छेद: । 107

वर्णभेदादिदं भिन्नं वर्णाः स्वांशविकल्पतः । के शब्दा: कि च तद्वाच्यमित्यहो वर्त्म दुस्तरम् ॥ २० ॥

Tr. This (the word) is diversified because of the diversity of letters. They themselves differ on account of the differences in their consritution. Further the enquiry as to what are words and what are meanings constitutes an intorminable enquiry.

द्रव्यक्रियाजातिगुणभेदात्ते च चतुर्विधाः । यदच्छाशब्दमित्यन्ये डित्थादिं प्रतिजानते ॥ २१ ॥

Tr. Words are of four kinds based on the differences of their meanings which may be an 'object' 'action' 'class name' or 'quality'. Some put forward (proper) names as Dittha etc., as having meanings and call them यदच्छाशन्दा: i. e., artificial names,

Note :- Th: word य दृच्छ। splits into या इच्छा and becomes यदृ च्छा in compounding. It belongs to the group of irregular words-मगूग्व्यंसकादथ: It means ' by the force of one's own desire or will '

नानाभाषाविषयिणामपर्यन्तार्थवर्तिनाम्। इयत्ता कन वाडमीषां विशेषादवधार्यते ॥ २२ ॥

Tr. The limis te words, is is not possible to fix, for they are found in muny languages and refer to endless meanings. Who oan fix a limit to them and by means of what peculiariy.

वक्रवाचां कवानां ये प्रयोगं प्रति साधवः । प्रयोक्तुं ये न युक्ताश्र तद्विवेकोऽयमुच्यते ॥२३ ॥

'Tr. What follows consists in differentiation between words which can properly be used in poetical language and those which eannot be so used.

नाप्रयुक्तं प्रयुञ्जीत चेतःसंमोहकारिणम् । तुल्यार्थत्वेऽपि हि बृयात्को हन्तिं गतिवाचिनम् ॥। २४॥।

103 काव्यालंकारे

Tr. Although the same meaning can be expressed by (two) words do not use that (word) which is not in common use and which produres only confusion in the mind. Who will use the verh ' Hanti' in the sense ' goes' or ' wa ks'?

Note :- The root I is ordained both in the sense of ' to kill ' and ' to walk'; but the latter is not employed in usage. It is ourions that Vogbhata (Kavyanusasana, N. . Ed. p. 21) Rudrata (Kavyalankara, N. S. Ed. 69) and Mammata-all use this word in the senso of ' to go ' as an example of the Dosha Asamartha.

श्रोत्रादि न तु दुर्बोधं न दुष्टादिमपेशलम् । ग्राम्यं न पिण्डीशूरादिं न डित्थादिमपार्थकम् ॥ २६ ॥

Tr. (Do not employ) difficult words like Sroutra ete., nor harsh words known as Dushtas, nor vulgar words like Pindisura (a cake-hero), nor meaningless words hke Dittha.

Note :- I have ventured to translate the first half as above to tally with the second half which consists of a general statement and an example. All rhetoricians agree that technical words are out of place in a poetical compostion. If the Ist word can be takon to bo misprint for "TET wo get a better meaning. The word "T7 means one who has learned the vedas. In the sense of श्रोत्रियत्पम् wo may add the tern घन then शीत्रिय+घन Tho यें is elided by श्रोत्रियस्य यलोपश्र, अण added and the 1st vowel takes बद्ध goving शतम् This is a word whose meaning is diffieult to get at; hence fug.

नाप्रतीतान्यथार्थत्वं धात्वनेकार्थतावशात्। न लेशज्ञापकाकृष्टं "संहति" "ध्याति" वा यथा ॥ २६॥

Tr. Recause roots have varions meanings, do not emrloy words out of their ordfnary meaning. Nor words of contrary meanings, nor words like Samhati and Dhyati whose accuraoy is based on 'lesa' (hints) or (napaka).

Note :- The word 'lesa ' means a . hint' and ' Janpaka' is something brought into recollection by something else. i. e., a meaning which you do not readily connect with a word but is the result of connection with another word or maaning. It sometimes happens that the nss of a word has got to

पछ्ठः परिच्छेदः । 109

be justified not directly from the rules of grammnar bat by hints furnished here and there or by actual use by authoritative grammarians which is suppossed to have been done to remind others that such usage is permissible. Words of those kinds should not be employed.

न शिष्टैरुक्तमित्येव न तन्त्रान्तरसाधितम् । छन्दोवदिति चोत्सगन्नि चापि च्छान्दसं वदेत् ।। २७ ।।

Tr. Nor may you employ words merely because persons of auth rity have used them; nor technical words explained in o her sciences (or possibly finnd in other than Panint's grammar.) Nor words uset in the Vedas becanse of the general rule 3:14 मूत्राणि भवन्ति, nor words peculiar to the Vedas. कमागतं श्रुतिसुखं शब्दमर्थ्यमुदीरयेत्। अतिशेते ह्यलंकारमन्यं व्यञ्जनचारुता ॥ २८॥।

Note :- The pros3 order of the second half is as follows :- व्यअनचारुता अन्यमलङ्कारमतिशते हि.

Tr. 'The words that we employ should have heen handed down by usage, should be plensa. t to the car, should have (a well- established) meaning. Verily, the beauty of agrerab e consonants is far superior to other Alankaras.

सिद्धो यश्चोपसंख्यानादिष्टया यश्चोपपाहितः । तमाद्वियेत प्रायेण न तु योगविभागजम् ॥ २९॥

Tr. As a rule you may have recourse to words got by Upa- sankhyana or Ishti but not to words got by Yogaribhaya.

Not ::- The word Upasankhyanam technically indicates the Varttikas. These are supplementary to Panini's Sutras. The Varttikas end with the word Upasankhyanam. The word Isnti is usod to denote the viows of the great com- mentator Patanjali. There are some grammatioal forms which cannot be directly ovolved from Panini's rules. To justify those forms grammarians split the rales into two parts sometimes. This is called " Yogavibhaga."

इयं चन्द्रमुखी कन्या प्रकृत्यैव मनोहरा। अस्यां सुवणालंकारः पुष्णाति नितरां श्रियम् ॥! ३० ॥

110 काव्यालकारे

Tr. This damsel, with a fac, like the Moon, is, by nature beautiful. In he, ornamonts of gold increase intensely the beanty:

वृद्धिपक्षं प्रयुन्जीत संकरमेऽपि मृजेर्यथा। मार्जन्त्यधररागं ते पतन्तो वाप्पविन्दवः ॥ ३१ ॥

Tr. In the case of root " Mrij" employ the form with ' vridhi ' although both forms are permissible. The tears falling down wash off the colour of yonr lips.

Note :- The root ' Mrij' in the present tense takes ' Vriddhi' compuleorily before strong terminations beginning with a consonant. Before terminations beginning with a vowel (even though weak) it takes Vriddhi optionally. See 'मृजेवद्धि:' (7 .- 2-14) and its Varltika 'ङ्वित्यजादी पा.'

सरूपशेषं तु पुमान्स्न्रिया यत्र च शिष्यन । यथाह वरुणाविन्द्रौ भवौ शर्वौ मृडाविति ॥ ३२ ॥।

Tr. In the case of componnds in which cne only of many similar words remains after componnding, employ only forms that result by the rule पुमान्स्त्रिया (1-2-67) c. g. forms like वरुणौ, etc.,

Note :- By the rulo 'सरूपाणाम् -' (1-2-64) compounds are formed in which only one of those that combine survives after compounding. One of suoh cases is the result of the rule gRIfFa"T (1-2-67) Bhamaha allows only forms prodnced by the second of the above rales.

यथा पटयतीत्यादि णिच्पातिपदिकात्ततः । णाविष्वदितीष्टया च तथा क्रशयतीत्यपि।। ३३॥

Tr. Just as the termination foT after a base give the form पटयति s0 evolved tho form क्रशयति by the Ishti-rule णाविष्ठवत्.

Note :- Tho rule 'तत्कराति तदाचष्टे' (Ganasulra '04) meame as follows :- After words in the soousative oase add the'termination fo7 when the Sense is 'to do'.on 'to spenk'. Thus we get घटं करोति=घटयात, प्टुमावष्ट=पट्यति,

षष्ठः परिच्छेदः । 111

These forms Bhamaha accepts. Again there is a rule which provides that when the termination fI is added the changes appropriate to the addition of $8 take place on some ocoasions 'प्रतिपाईकाद्वात्वर्य बहलमव Ganasura 903). Thus wo get forms lik, कृश करोति =क्रशयति.

तृतीयासप्तमीपक्षे नालुग्विषयमानयेत् ॥ ३४ ॥

Tr. Employ words that are adverbial in their meanings (Avyayibharas) if they end in short 3. Do not employ Arya- yibharas if they are not in tho fifth case (i. e., If there are two forms one of which is in the fifth case employ snch form only). In cares where forms in tho third or seventh case are possible, do not employ a form which has not been the subject of an elision. Note :- नालुग्विषयमानयेत् is a round about way of saying लुग्यिषय should be employed. Avyayibhavas (Indeclinables) are compounds whioh are adverbial in their meanings. E.G., अधिलङ्कम्-Towards Lanka and अिहृदि =Towards Hari. Bhamaha's preference is for such compounds whioh end in short T when two forms are possiblo. There are compounds that have more than one form, E.g., बार्वनम or बहहर्षनात्. Again by Pan. 2-4-84 some Avyayibhavas ond in the third or seventh case terminations. E. g., EAT or उपकुम्भ and also the form उपकुम्भम्.

तिष्ठद् गृप्रभृतौ वाच्यो नक्तंदिवसगोचरौ । यथा विद्वानधीतेऽसौ तिष्ठद्गु च वहद्गु च ॥। ३६ ॥।

Tr. Among the group तिष्ठदगु one may employ words imply- ing 'night' or 'day'. For example-This learned man studies, both when the cows rest and the bulls earry. Note :- There are a number of adverbs which Panini puts inte the group teforred to in the rule 'तिष्ठट्गुप्रभृतीनि च' (1-1-17). Some of them rofor to time i.e, day or night: Thus तिष्ठद् I means तिष्ठन्ति गावो यस्मिन्काले- time when the cows bake rest (lit. pit -- therefore the, time of milking). Again वह्दग means वहन्ति गावो यस्थिन्काले= time when the balls carry. Bhamaha allows from this group only suoh words as refer to time.

112 काव्यालकार

शिष्टप्रयोगमात्रेण न्यासकारमतेन वा। तृचा समस्तपष्ठीकं न कर्थचिदुदाहरेत् ॥ ३६॥ सूत्रज्ञापक मात्रेण वृत्रहन्ता यथोदितः ।

Tr. Do vot employ a word formed by compounding a word in the 6th case with another ending in the termination trich merely because such use follows those of Sishtas (anthors), or because it is according to the views of Nyasakara; as when the word Vritra- hanta' was employe i following the implication of the Sutrakara.

Note :- (1) The termination 77 is ordained by Panini 8-1-133 in the Rense of do:r. By Panini 2-2-15 this termination is prohibited from combining with a noun in the sixth case. So Bhamaha is simply setting out the net resuls of the two stiras. It does not appear that Panini has used the word a5-AT. The third line of the tert may be based upon the possibility of Panini having employed words similar to EE-a1. The correet form of this word is 7ET and none else. See Vamana's K. A. 8. (Vani Vilas Edt p. 170 sutra 35). (') On the question of who this Nyasakara is see P. V. Kane's intro, to S. D. P. XXXV and XXXVI; also Trivedi's intro. Pra, Rnd p. XXXV. Their oonolusion is that the work referred to hore is not the oommentary of that name on Kasikavritti, but some other grammatioal work referred to by Bana in his Harshacharita. अकेन च न कुर्वीत वृत्ति तद्गमको यथा ॥ ३७॥

Tr. Nor should one use a word which is compounded of the termination Aku and a word in the sixth case. E. g., Tadoamakah (=Tasya gamakah). Note-Both these verses appear marely to reproduce the meaning of the rule 'तृजकाभ्यां कर्तर' Panini 2-2-16. पञ्चराजीति च यथा प्रयुन्जीत द्विगुं स्त्रियाम् । नपुंसकं तत्पुरुषं पुरुहतसभं यथा ॥ ३८॥ Tr. Among Driqw Compounds, those that are of the feminine gender eg. the expression ' Pancharaji' may be nsed; so also may be employed Tatpurusha compounds which are of the neutor gender, as ' Puruhutasabham'.

पष्ठ: परिचछद: । 113

(2-4-19) et: sry: Note: -See as to Tutpuriisha comwrunds that becam: neuter sce Pan,

सर्वभ्यश्च मसादिम्यो बदेलुतहलं यथा। प्रियोन्मनायते सा ते किं शठाभिमनायसे ॥ ३९ ॥

Tr. Out of the group Bhrisadi all forms in whieh the consonants have been elided are acceptable, E. g., That lady-love of yours (Priya) is fill of longing You wicked man! why do yow become anxious?

Note :- By Pan. 3 -1-13 the final coasonants in this group of,words are

Pellded. elided. E. g., असुमनाः मुमना भवति-सुमनायते, Inthis the स्ं of सुमनस् is

तृतीयैकवनः पष्ठयामामन्तं च वदेत्किपि। यथोदिनं बलभिदा सुरुचां विद्युतामिव ॥ ४० ।

Tr. When you have to employ words formed by the ter- mination Krip use such forms as are in the third case singulir and sixth case plural. E. g , the word (Balabhida' (=by Indra) and " Surucham ridyutam' (=of bright lightnings).

Nole :- Tne tormination E5? is added to roots to form nouas. The ter. mination itself completely vanishes. Thus thr. sesond member of 43n1 is formed thus. In the sonse of भिनात्त (braaks or destroys) we employ भिट्दू+ क्किय् = भिदू whioh is a noun meaning 'destroyer'. Bhamha pref rs the third case singular and the sixth plural, That Bham.ht had a fine ear. is olear, For by violating this rule Mummata achieved an inimitable disoordf f sound in काव्यं यशसेऽर्षकते'.

असन्तमपि यद्वाक्यं तत्तथैव प्रयोजयेन्। यथोच्यतेऽम्भसा भासा यशसामम्भसामिति ॥ ४१ ॥।

Tr. Where a word ends in 4s' the above rule should be followed in its use. -Thus you may say ' Ambhasa' 'Bhasa' or 'yasasam, ' ' Ambhasam' etc.

114 काव्यालंकारे

पुंसि स्त्रियां च क्वस्वन्तमिच्छन्त्वच्छान्दसं किल। उपयुपामषि दिवं यथा न व्यति चारुता ॥ ४२ ॥। Tr. (Authoritative writers) allow in the masculine and feminine genders the use of words ending in the termination Krasu even in secolar language provided that the beauty is not impaired. e. g., ' Upeyusham api dicam ' (= even to those dosirous of reaching the srarga), Note :- Paniui has three rulos 'छन्दसि लिट्' 3-१-105, लिट: कानज्पा' 8-2-106, 5gI' 3-2-107. The rcsult of these rules is that words ending in the termination E5 can only be employed in the Vedas. But poets use them in socular writings also, c. f. Kalilasa तं तस्थिवांसं नगरोपकण्ठे' ao 'श्रेयांसि सर्वाण्यधिजग्मुषस्ते'. Bhamaha is of this view. His examplo is from Pari- ched : I verse 6 antea. इभकुम्भनिभे बाला दधुपी कश्चकं स्तने । रतिखेदपरिश्रान्ता जहार हृदय नृणाम् ॥ ४३॥ Tr .. A damsel tired of sexual dalliance wea ing her cloth over ker breast (which was) big like the head of an elephant, attracted the hearts of ali men.

शतलादिम्योऽतितरां भाति णिज्विहितो यथा। वलाका: पश्य सुश्रोणि बनाळ्छवलयन्त्यमूः॥४४ ॥ Tr. The termination nch shines very well when used after words like sabala etc., as in . Look oh ! fuir-hipped one, the cranes make the clouds parti-coloured.

Nule .- Here the word T7ed has a causal meaning=' makes the oloud Variegatod'. In the verse tha' follows the same termination is used in it ordinary son ie. शिशिरासारकणि कां सद्शस्ते तु गङ्गवत । संत्रीजयति सुश्रोणि रतिखेदालसक्ष गाम् ॥। ४५।।

पछठु: परिच्छेदः । :15

Note :- The sloka contains apparently some misprints. If ammended thus it may be translstod- 'शिशशिरासारकष्मिकाकिरस्ते तरङ्षतत् संवीजयति eto.,' The Piruvadi manasoript reads सद्शस्तेतु गाङ्गयत्. Tr. They (=a) the clouds) fan yon, the fair-hipped ono (whose eyes look tir-d) by the cold spray particle- as by the waves. No' :- In th: omendation (कणिकातिकिग:) means कणिका विकिरन्तीति. एवं णिचः प्रयोगस्तु सवत्रालंकृतिः परा। Tr. The employment of nich as po'nted out above conduces to great l eanty in all cases. लिङ्गत्रयोपपन्नं च ताच्छील्यविषयं णिनिम् ॥ ४६ ॥

Note :- The word प्रयुञ्जीत is understoo1, Tr. Words ending in the t-rmination forfa in the sense of ताच्छील्य (=of the same quality or characteri-tic) are also beauti- ful in all the three genders. तस्या हारी स्तनाभोगो वदने हारि सुन्दरम् । हारिणी तनुरत्यन्नं कियन्न हरते मनः ॥४७ ॥ Tr. Her attractive breasts, her lovely face, her fine figure -how mnch do they not attract one's mind ! Note :- The root E with the termination foIf in the sense mentioned abovs is exhihited in this verso in all the three genders हारा, हांरि and हारिणी. नाच्छील्यादिषु चेप्यन्ते सर्व एवात्र नादयः । विशेषण च तत्रेष्टा युच्कुरज्वरजिष्णुनः ॥ ४८ ॥ Tr. All terminations beginning with the letter and employed in the sense of Tuchchhilya are arceptable. Among them the apecially desireable ones are those ending in the termi- nations yuch, kurach, rarach and ishnuch.

116 काव्यालंकारे

क्तिन्नन्तं च प्रयुश्नीत संगतिः संहतिर्यथा। शाकारौ जागुरिष्टौ च जागर्या जागरा यथा ॥ ४९॥ ... 4

Tr. Fmploy a'so words ending in the termination fera. es g., Sangatih, Samhatik. The terminations sa and a may be employed after the root jagrt giving formns like juyurya and jagaru (wakefulness; keeping awake).

Note :- These two forms are evolved by the vortlika 'जागतेर कारो या sttached to sttra TEa1 (8-8-101) Pan. The meaning is that cr 3 may come aiter the root जगृ giving the above forms,

उपासनेति च युचं नित्यमासे: प्रयोजयेत् ।

Prose orier :- 'आसेः' नित्यं एचं प्रयोजयेत (0.g.,) 'उपासना' इति.

Tr. After the root a & employ always the termination yuch. e. g., Upasana.

ल्युटं च कर्तृविषयं देवनो रमणो यथा ॥ ५०॥

Tr. Employ alse words ending in the termination lyut in the sense of doer. c. g. Devanah, (gambler) Ramanak (lover).

Note :- The same termination लयुद् is employed in other renses than that of doer' o.g, 'भाष ल्युट्', abstract noun दानम; 'करणे' (instrament) यानम् ; 'अधिकरणे' आसनम् it is doubtful if Bhamaha rejects thes form because he hore refers to the senre of ' agent . only.

अणन्तादपि डीबिष्टो लक्ष्मीः पौरंदरी यथा।

Tr. The termination iq added to a word ending in 4 is accoptable. e. g., 'पीरंदरी' (लक्ष्मीः)=(the we .. lth of Indra !. Simarly the termination अञ्ू after the word महारजन; jt same mauner a% after the words लाक्षा aud रोचना ..

षष्ठः परिच्छेदः । 117

ot :- By 'त. (कं गगातू'-(Panini (4-2-1) the termination अण i8 ordmined in the sense o solouro ? thereby ' i. e., by the substauce denoted by the base. It's vartlika :रिद्रामहार जनाम्तानज् ordains अज, giving tho forms हषट्रि म् (coloured by turom ri:) and माहारजनम् (coloured by saflrom). Fanini, ordains ठक after लक्षा (lac .nd रोचना (a kind of yeliow pigment; ox-bilo) by (4 -- 2-2).

ड्मतृबिष्टं च कुमुदा पेयं भृ: कुमुद्वती। ठकू चापि तेन जयतीत्याक्षिक: शास्त्रिको यथा ॥. १२ ॥ Tr. The termina ion dmntup is aeceptable when nsed after the word humuda as in ' इयं भू: कु5व' =This place is fuli of the flower kumuda (a species of white li y ope: ing at night). Also the termination ठF when usod in the sn.e o: 'तन जयति '(=is victorious or glorions thereby ) c. g., आदि : (victorious by dice', शास्त्रिक: (glorious by arms). Intro. Patini ordaina cerbain Paddhita term nations in the context beginning withfthe governing rule ' तस्महितम, (5-1-5),,In the same context thore is the rule 'सर्वपुरुषाभ्यां णजा' (5-1-10) which means-after the words सर्व and पुरुष the tormination ण and टनू respoctively may le used in the sense of the gov.rning rale i. e., ' favourable to'. The varttika 'H100)t वेति तक्त:यम्' makes the terminati n optional after सब. So when णis s added we add छ by the govaruing rule 'प्रामु क्रता रः' (5 -- 1-1). Thus we get twe,forma सार्थ and सर्वीय.

हितप्रकरण णं च सर्वशब्दात्प्रयुञ्जते। ततशछमिष्टया च यथा सार्वः सर्वीय इत्यपि ॥ ५३ ॥

Tr. In the context devoted to " favourable thereto ' the termination ण is also used after the word सर्त. By the rarttika (इष्टया) the termination & also may. be udded after सर्व. Thus giving सार्व and सर्वाय.

Iniro .. In the'sense of, Bhava by rule ' तस्य भावस्त्यतली' (5-1-1) thi tormingtions F4 and तलू are ordaitod, Agaia ly 'ृ्वादिभ्य इमनिआा'

118 काव्यालंकारे

(5-1-I 2) an oplion is allowed affer TEalf. Thus we get t'e forms 78, qEAl and TEHI. Bhamaha's leaning eeems to be towards the last form.

वदेदिमनिजन्तं च पटिमा लघिमा यथा।

Tr. Use words ending in termiration इमानेच् c."g., पटिमा (cleverness) लघिमा (lightness).

विरेषणेयसुन्निष्टो ज्यायानाप फनीयसीम् ॥ ६४॥

Tr. Words e ding in termination 'ईयसुन्' are particularly agreeable as in the examp'e 'जवायान्' आप 'कनीयसीम'.

Nole :- Panini (5-3-57) ordains the terminations तरप and ईयमुन after a noun when the meaning is ' detatchel from ' or ' separated from' (i c., from tho cbjeet denoted by the werd). Thus whon expressing the menning " of the two, this is superior:" we have प्रशस्य+इगसुन्. Then by Pan. 5-8-61 and 6-4-160 we get the form ज्यायम् Similarly अल्प++इगसुन्. Then by 5-9-64 we get the form कनीयम.

द्वय सज्दघ्रचाविष्टौ प्रमाणविषयौ यथा। जानुदभ्ी सरिन्नारीनिनमभद्यसं सरः ॥ ५६॥ Tr. Where " measure " is the meaning, words ending in the terminations द्वयसच् and दघ्नच are acceptable. For example 'The river reaches up to the knees and the t ond goes op to a woman's waist (posteriors).

Note :- By Pan. (5-2-37) the above two forms ;are evolved. There ia another form possible by tho snme rulo by adding the term. मात्रचू which apparently has not Bhamaha's approval. मतुप्प्रकरणे ज्योत्स्नातमिस्राशृङ्गिणादयः । इनच फलबर्हाभ्यां फलिनो बर्हिणो यथा॥ ५६॥ Tr .. In the context rrlating to the nse of the term aaq. the forms ज्योत्स्ना, तमिस्रा, शृद्धिण etc., hre allowed. The term.

षष्ठः परिचछ्दः । 119

इनच when coming after the worl फल or वर्ह as in the form=फाउन: वर्हिण:

Note :- The first half referring to HoT refers to a context in which a lirge numer of forms is allowed. e. g., 33 A1(34, 5 ete, All these forms are apparently included in the word HTf: of the text. The sccond half refers to the Vartika 'फलवर्हाम्यामिनच्'. The in the Vartfikt lets in other tarminations also, giving forrus like फलवन्, फलिन. इनिः प्रयुक्त: प्रायेण तथा ठंश् मनीपिभिः । तत्रापि मेखलामालानायानां सुनरा मता ॥ ५७ ॥। Tr. Learnd men also nse words ending in terminations 1 and 33. While generally so employing fa they do so especi- ally after the words मेखला, माला and माया. Nole :- Under Pan. (5-2-113) the Siddhantahaumudi gives the varttika 'शिखामालासंज्ञादिभ्य इनिः'. Thus we get forms मेखलन, माललिन, मायिन referred to in the text.

रोदिति स्वपितीत्यादि संहटा सावेधातुकम् ॥ ५८ ॥। Tr. In the case of Abhyastas when 34 becomes the substi- tute for झि We get forms like द्वात etc. Also (there are) Sarra- dhatuka forms formed by addin , the augment as tuzia, स्वपिति etc. Note :- The word "*Atd is a techn sal term meaning the two syllables- of a relupliostel form. Pan (6-1-5). This takes plase msinly in the roots of the 3rd conjugation. But.there are certain roots, which though not redupli cated com> under this designation, Pan, 6-1-6. Now when the plurel ter- mination f=अन्ति is added to thase, it is chagad to आ giving forme lke Tafd (ard person plural). These oases are referred to in the first half of the verse. In the seoond half the reference is to the addition of the augment { () o all 4-dhadhatuks terms, by Pau. 7-2-35. By way of enlarging the

120 काठालंकारे

soope of this rule somo Sarvadhatuka terms. al.o take the augment f ayrdhe rule 'रुदादिव्य: सावधातुक Pan, 7 -?- 76. The roots included in th आदि are स्तप to sloep, अन् to breath and जक्ष् to eat.

Intro. Verse 59 provides for casas like दत ending in अति the su ti- tuto for झ. There are cases of Abhyastas which are pres. partioiples en 1ug in "I. They are also accepted by Bhamaha. Hencefthe next Isloks. अभ्यर्तेषु प्रयोक्तव्यमदन्तं च.विदे: शतुः.। असौ दधदलंकारं स्जं विभ्रच् शोभते ॥ २९॥

Tr. In the case of Abbyastas those that end in ara (i. e. present particilples) may also be used; also the form obtained by adding शतृ to the reot z. This mau (असो) who. is wearjog (दधत्) ornamentsand bears on his body garlands (बिभ्रत्प्नजम्) is resp'endant (शोभते). Nole :- The term. शत is added to बिट् iving tha form न .रं योगिनं वदेत् । यथैनच्छयाममाभाति वनं वनजलोचने ॥६०॥

नैकत्रकारभूयस्त्वं गतो यातो हनो यथा। सावर्ण्यवत्सयोमस्य वूयान्नान्यत्र पद्धतेः ॥६१॥

Not clear.

सालातुरीयमतमेतदनुक्रमेण को वक्ष्यतीति विरतोऽहमतो विचारात्। शब्दार्णवस्य यदि कश्चिदुंपैति पारं भीमाम्भसश्च जलघेरिति विस्मयोऽसौ ॥ ६२॥

Tr. I refrain from this inquiry because who can .oxpound in dotail the whole of the tenets of the school of Salaturiya?,If one reaches the other shore of this ocoan of speeoh and of the resl

पस्ु: परिच्छेद:। 121

ocean with the awe-inspiring expanse of water, then indecd ho would be a wonder.

Note :- Salatur is said to have beon the birth-place cf Panini. It has beon identified with the modern Lahor a village 4 miles to the N. E. of Ohind (Esufjai valley see Cun A Geo. p. 68-67. S. K. Bolvalkar aftor examining all provious views as to Panni's date concludes that he cannot be later thay 600 B. C. He also adds that Panini's mother was Dakshi (sce systems of Saus. Grammar p. 18-1 ?. विद्यानां सततमपशश्रयोSपरासां तामुक्तान्न च विरुणद्धि कांश्िदर्थान । ्रद्धयं जगति मनं हि पाणिनीयं माध्यस्थ्याद्भवति न कस्यचित्प्रमाणम् ॥ ६३ ॥।

Note :- अपरासां विद्यानां सततमपाश्रयः (सन्नपि). Tr. Although (one) has made one-sa'f the permanent recept acle of the labours (i. e., the sciences) of others (one) does not intend hereby to oppose the views of others. The viows of Panini howove . deserve in the world grea: respect. Occupying a middle position they canuet be caid to be binding on sme one only.

Note :- The meaning is not quite clear. I understand the firat half refers to Bhamaha himself who offers an apelogy for not setting out the viows ef other grammarians. "h> School of Panini may be taken to be the meeting place of the views of many ancient Grammarians, Therefore perhaps it is referred to ss ocouping a central position. अवलोक्य मतानि सत्कवीना- मवगम्य स्व्धिया च काव्यलक्ष्म । सुजनावगमाय भामहेन ग्रथितं रक्रिलगोमिसूनुनेदम् ॥ ६४ ॥ समाप्तोऽयं ग्रन्थः । Tr. After understanding the views of goo i poets and also having worked out the characteristics of Kawya by one's own intelfigonce this work is composed by Bhamaha the s-mn of Rakri- Jagemin for the instruction of the good.

122 काव्यालकार

पष्टया शरीरं निर्णीतं शतषष्टया त्वलंकृतिः । पश्चाशता दोषटष्टिः सप्तत्या न्यायनिर्णयः ॥ १॥

षष्टया शब्दस्य शुद्धि: स्यादित्येवं वस्तुपञ्चकम्। उक्त षड्मि: परिच्छेदैर्मामहेन क्रमेण वः ॥ २ ॥ Tr. By sixty (verses) the budy (of poetry) wes settled; by one hundred and sixty, the Alaukaras; by fifty, the concepsion of Doshas; by seventy the determination of Nyaya (Logie,; by sixty, the purity of words. Thus, five subjects have been dealt with in six parichchedus, in order, by Bhamaha for you (i.e., reader's bonefit ;.

FINIS.

काव्यालङ्का प्रोक्तनाम् अलङ्करगाम् सूचिका.

घरि छंक. अतिश अयोति. २-८१ यथासंख्यम् अर्था्तिरन्यासः :- s१ यमकम् ९- 93, १८ अनन्वयम रसवत् ३-६ अनुप्रात्तम रूपकम् 5 अपन्हति ३ -: १ लाटानुप्रासम :- 6

अश्रस्तु प्रशसाम लश आक्षग: :- ६८ ३० वक्राक्त: आशी : ३-५५ विभावना उत्प्रक्षा २ --- ९१ विशेषोक्ति: 10 अयगत्र. विगेंधम् ३-२५ उदात्तम् ३ -- ११ व्यतिरेकम उपमा :- ३० 35 व्याजातर्स्तु ३- ३१ उपमारूपकम ३ - ३५ ३-१४ उपमेयोपमा ३-३७ समासोक्ति: 15 उर्तास्व :- 3 समाहितम ३-१ तुल्ययांगिता ३-'७ ससन्वेहः ३-४३ दीपक म २-२५ सहोक्त ३-३९ निद्शना :- ३३ मक्षमम २-८६ पांखवृात्ति: संसष्टिः ३-४९ 20 पर्यायेक्तम ३-6 स्वभाशाक्ति. :- ५३ प्रांतवस्तूपमा २-३४ हतुः प्रय: : -' भाविकम् ३ ५३

Some appreciations of this Edition of Bhamaha's

Kavyalankara.

Dear Sir, I am thankful to you for a copy of your translation of Bhamaha's work with the text thereof. Your translation shows great industry and care. Your notes are learned and to the point. You have taken care to add notes only where they were absolutely necessary. Your Introduction brings out the princi- pal points about Bhamaha. I hope that your work will be appreciated by all students of Sanskrit Literature particularly of Sanskrit Poetics.

Bombay, P. V. KANE, M. A., L. L. M., 13-1-'08. High Court Vakil.

You have done a real service to the students of Alankara Sastra by publishing a handy edition of the text of Bhamaha. The English translation and notes considerably add to the use- fullness of the work.

Trippunilhura, K. RAMA PISHAROTI, 22-1-'28. Principal, Sanskrit College, Cochin State.

The work seems to have been carefully done.

Senate House, Allahabad, 23-1-'28. GANGANATH JHA.

I went through it with pleasure. I am sure it will be appreciated by all Sanskrit Scholars.

Madras,

14-2-'28. C. V. KUMARSAMI SASTRIGAL.

2

Your Edition is very good. As the work is of the greatest importance for the Library of Indian Poetics you will surely have much acknowledgment for your scholarly work.

Wartenburg,

13-4-'28. JOH. NOBEL.

I have read your Tranlation and Notes both with pleasure and profit. The work while unpretentious shows every sign of careful preparation and thought and is a most convenient and useful addition to our knowledge of Indian Poetics.

Edinburg University,

20-6-'28 A. B. KEITH.

I have great pleasure in congratulating you on the distinct service you have rendered to the cause of Sanskrit Literature and Literary Criticism. helpful to the student. The translation and notes are very

K. BALASUBRAMANIA IYER, B. A., B. L., Advocate, "The Ashram". Mylapore.

This is a welcome addition to the note-worthy publications relating to Sanskrit Poetics. Mr. P. V. Naganatha Sastri, gives in his Edition, the Text of Bhamaha's Kavyalankara and an English Translation. which is eminently readable and generally reliable together with brief explanatory notes in English. The learned translator is happy in his rendering in several places and his judicious notes are such as bear testimony to his keen literary sense,

S. KUPPUSWAMI SASTRI, Mahamahopadyaya, Vidyavachaspathi, M. A., I. E. S., in Volume III Part I of the Journal of Oriental Rescarth.

3

natha Sastrigal The publication of Bhamaha's Kavyalankara by P. V. Naga- * * is a notable and valuable art of service to the public. Bhamaha's great work was not available till now in a complete form and a scholarly and correet edition of it has been waited for by lovers of Indian Art and Estheties for a Jong time. The Introduetion to the work by Mr Sastrigal is a fine piece of work by itself. Madura, K. S. RAMASWAMI SASTRI. 24-6-'29. District and Sessions Judge.

Offiee of the Curator for the publication of Sanskrit Mss. I am in due receipt of your letter of the 17th instant. I have now gone through your edition of Bhamaha Alankara leisurely. A separate edition of Bhamaha, the earliest Alan- karika had long been a desideratum and I am glad to find that yon have done this work in a most creditable manner and I have no doubt that sanskrit scholars will highly appreciate the services you have rendered to the cause of Alankara Literature. Trivandrum, K. SAMBASIVA SASTRI, 22nd June '29. Curator.

S. K. DE, M. A., D. LET. (Lond.) UNIVERSITY OF DECCA, Reader and Head of the department of Sanskrit and January 10, 1929. Bengali. Dear Sir, Pardon my delay in acknowledging the receipt of your very kind present of your edition of Bhamaha's Kavyalankara for which please accept my best thanks. I had always felt that this work was in need of a fresh critical edition and I am glad to find that you have at least taken it up. I have not had time yet to go through your edition as minutely as it deserves but I have looked through your introduction and some passages with your Notes and Translation and I find that it is an useful publi- cation and in some respects an improvement in the matter of the text over Trivedi's Edition. Yours truly, S. K. DE.

BONN, 1st April 1929.

Dear Sir, 1 beg to offer you my sincere thanks for presenting me with a copy of your edition of Bhamaha's Kavyalankara with English Translation and Notes, which is very welcome to me as I take a deep interest in Alankara. The readers of your book will be grateful for the trouble you have taken in elucidaticg tl e text. etc., etc.

Yours very truly, HERMANNJACOBI

The Lawloy Electrio Printing Press, Tanjore.