Barcode : 5990010117474 Title - Vamanas Kavyalamkara Sutra Vritti Author - GANGGNATHA JHA Language - english Pages - 140 Publication Year - 1925 Barcode EAN.UCC-13

5 990010 117474"

"INDIAN THOUGHT" SERIES No. 2

VĀMANA'S

KAVYALAMKĀRA-SUTRA-VRITTI

Translated into English DY

GANGANATH JHA

2676 NTATI .PADEMY 2674

Second Edition, Revised.

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PREFATORY NOTE.

The Kavyalamkara.Sutras, here translated, are by Vamana, who also wrote the Vritti or short commentary on the Sutras. He is believed to have flourished in Kashmir between the second half of the Seventh Century and the second half of the Ninth Century A. D. This work is one of the' oldest of the systematic treatises on Poetics; its Opinions receiving very respectful attention in all great works on rhetoric, including the Dhvanyaloka and the Kavyaprakasha. This Vamana is not the same as the author of the 'Kashika' on Pantni's Sutras; as this latter flourished before Hhouen-Thsang came to India, in the beginning of the Seventh Century; while our Vamana makes quotations from the work of Bhavabhuti who flourished in the latter half of that Century.

This translation appcared at first in 'Indian Thought Serics' and in reprints therefrom. It is now being published agam, in a some what revised form; for this Second Edition, my thanks are duc to Dr. N. G. Sardesai of the Oriental Book Agency, Poona, and to Mr. N. N. Kulkarnı, B. A. (Hons.) for carefully going through the proofs.

The University, Allahabad. March 25, 1928. GANGANATHA JHA.

CONTENTS.

PAGES PAGES CHAPTER I. Constituents of Poetry . 1-15

Section I. Uses of Poetry . 1- 3 1I. (a) Who ts entitled to study the scienee .. 3- 4 (6) Dietion 4 -- 8 III .- I Auxilliaries of Poetry 8 -- 12 2 Forms of Poetry .. 13.15

CHAPTER II. Defects . 16-35

Section I. Defects of words .. 16-24 Il. (a) Defects of sentence. 24-28 (b/ Meanings of sentence 29-35 *1

CHAPTER III. Qualities ... 36-55

Section I. (a) Difference belween 'quality " and "ornament" or figure. ... 36 -37 (b) Verbal qualities of Style .. 37-46 II. Ideal qualities .. 46-53 CHAPTER IV. Figures of Speech .. 54-89

Section 1. Verbal Figures. 54-62 II. Ideal figures of speech. 62-71 III. Modifications of simile. 72-89 CHAPTER V. Practical Suggestions .. 89-126

Section I. Poetical Conpentions .. 89-95 II. Correct forms of words 95-126

THE KIVYALAMKARA SUTRAS OF VÄMANA.

WITH HIS OWN GLOSS THE Kavipriya

English Translation

CHAPTER I

The Constituents of * Poetry'

Section (I) THE USES OF POETRY Having bowed down to the Supreme Light, Vamana proceeds to prepare a brief Commentary, the afafmr, upon his own Kavyālamkāra Sutras.

1. Poetry becomes acceptable by reason of embellish- ments.

' Poetry ' becomes acceptable by reason of embellishments .- The word 'poetry' in reality applies to such 'word' and 'subject- matter' as are adorned or beautified by Diction (or Qualities of Style) and Embellishments; but in the present context it is used in its secondary and much wider sense, denoting 'word' and 'subject- matter* without any qualification.

NOTE .- #IH here defmes Poetry primartly as 'such word and subject-matter as are beautified by diction and figures of speech' ,-and secondarily as mere word and subject-matter.' By older writers it has been doclared that Poetry has the 'word' for its body and the 'subject-matter' for its soul; but, the anthor of the f adds, the 'subject-matter shonld be such as is relished by people with poetic instincts' Later writers, among others the author of the HaTYhaf4 have 'described Poetry as a being having the 'word' and ' subject-matter' for his body, excellences of suggestion or imphcation' for bis soul and the 'Figures for his The author of the $TTTFReT defines Poetry as 'such word and subject-matter as are free from all defects, and adorned by diction,' and he does ornaments.

nol fnd the presence of 'Figures of Speech' a necessary element, in this he has the support of the 3iEyT'T, which declares-'Even when adorned by Figures Poetry would not be poetry if it had no distion or Quality of style.' The 'absence of defects' comes mn only as a negatrve property Poetry, thus, according to these writers must have some excellent subject-matter expressed in words fit for convey. ing the desired meaning , that the meaning should be only such as is suggested- and not directly expressed,-is not (at least according to many writers) a necessary condttion ' it has been made the condition of Poetry ot the first class anly It is in vtew of all this that the <WST4T has defined Poetry as 'that word which expresses an elegant subject-matter', and this coincides with what the af has said with regard to word being the body and a ETTe subject-matter the Soul of poetry.'

2 KAVYALAMKARA SUTRA [L 1.2-

What is an ' Embelltshment' ?

2. Beauty is ' Embellishment.'

"Embellishment' primarily is synonymous (in the present context) with the act of embellishing and it is only in the secondary (instrumental) sense of that which embellishes-that the term is applied to Simile and the other 'Figures of Speech'.

NOTE .- From this सत it is clear that with मम्मट, वामन does not make the presence of ' Figures' a necessary condition ; as reading the two Sutras together, it is clear that what* makes Poetry acceptable is only the presence of elegance, Diction coming in only as a sine qua non.

3. Embellishment (Elegance) proceeds from the avoiding of defeets and the adopting of qualitres of style and figures of speech.

4. And these are possible only through the Scicnce.

it is only when one has learnt from the Science of Poetics what the defects are, and what the qualities and figures are, that he can avoid the one and adopt the other.

What is the desirable result to be accomplished by means of Poetry with elegance, that one should put forth such efforts towards its accomplishment ?

5. Poetry, when excellent, accomplishes perceptible as well as imperceptible results,-bringing about, as it does, pleasure and fame.

When Poetry is good, it accomplishes a perceptible result mn the form of the 'pleasure' that it gives; it also brings about an imperceptible result in the shape of 'fame'.

To this end we have the following verses :-

' They have declared the composition of good Poetry to be the road to fame; and similarly the composition of bad poetry, th ridiculous attempt of unqualified poets. the road to disrepute.'

I 2 3] STODENTS OF THE SCIENCE OF POFTRY 3

• The learned have declared that Fame leads to Heaven lasting as long as the world lasts; and that Disrepute leads to such places (in hell) as are totally devoid of light'.

' It is thus for the purposes of oblaining fame and avoiding dis- repute that great poets should study the science of Poetics.'

NOTE-CA ERT :- ' Poetry tends to bring fame, wealth, knowledge of world-usage, removal of evils, immediate highest pleasure, and advice in the most agreeable manner.

Section (2)

[A] WHO IS ENTITLED TO STUDY THE SCIENCE.

I. Poets are -- (a) 'Discontented,' and (b) 'Feeding on grass

The words ' discontented' and 'feeding on grass' are used figuratively. The two kinds of Poets are-(I) The hypercritical sceptic who is possessed of discriminative intelligence (and re- quires only to be guided proper'y); and (2) the vulgar person who is absolutely devoid of the faculty of discrimination.

2. It is the former of these who by reason of their being possessed of discrimination, are to be instructed :-

3. and not the latter, who are of the contrary charac- ter (possessed of no intelligence).

Being by their nature absolutely devoid of discriminating intelli- gence, the vulgar cannot be taught; as what is inherent in one's very nature cannot be removed.

It may be objected that the Science of Poetics being thus in- tended for the few, and thus not benefitting all persons, wherefore should it be sougbt after at all ? In answer to this we have the next

4 KAVYALAMKARA SUTRA [I24

4. The Science could be of no use to the insignificant (non-intelligent vulgar persons.)

A corroborative instance is cited -- 5. The maw seed (though capable of cleaning the water) cannot clean the mud. NoTe-The $yaRT thus enumerates the characteristic qualties necessary in the ' poet"'(1) Power-Genius, (2) Cleverness acquired by a careful observa- tion of the world and the study of poetry and the sciences, (3) Prac ice under the guidance of a teacher well-versed in the Science of Poetics.' [B] रीति-DICTION. Having described the persons entitled to the study of the Science of Poetics, the ## proceeds next to explain what is meant by fia, Diction. 6. Diction is the very soul of Poetry ;- just as the Soul is to the Body so is Diction to Poetry.

What is this ' Diction'? 7. It is the particular arrangement of words that constitutes Diction

What is this ' particular arrangement ' ? 8. The particularity' of arrangement consists in the 'qualities of style' (to be described later on)

9. Diction has been classed under three beads: (a) 'वेदर्मी,' (b) 'मौडीया' and (e) 'पाछाली.'

A question is raised-Do the 'Qualities of Style' in Poetry proceed from diflerent countries, like so many material products- that they should derive their names from the names of countries (विदर्भ, गौड़ and पालाल)? It is not so; because -- 10. The names are due to the fact of particular 'quali- ties of style' being met with in particular countries. The 'agift' diction is so called, not becase the country of fart has any effect upon poetry, but simply by reason of the fact

12 1 D CTION 5

that th s parttcula det on n ts true form is fourd to be most in use among the poets of that country.

The author proceeds to define these ' Dictions' in terms of the ' Qualities of Style ' _

11. The 'aoff' is replete with all the 'Qualities of Style'-

That Diction which abounds in all the ' Qualities of Style ' -- Floridity, Lucidity and the like,-is called ' anff.' In connection with this we have the following verses : ' That Diction is called aef which is untouched by even the slightest Defect, which is replete with all Qualities and which is sweet like the notes of the lute.'

• Even when the speaker is present. the subject-matter near at hand. and the science of words and their usage also well-known, -- that, in the absence whereof, sentences do not flow in honeyed accents,-is that Diction (which is called the anff).'

As an example of this we have the following from the शाकुन्तल Act II. 6 :-

गाइन्नां महिधा निपानसलिलं श्रुंङ्गसहुस्ताडितम् छायाबद्धकदम्बकं मृगकुलं रोमन्थमभ्यस्यतु। विश्रब्धै: क्रियताँ वराद्पतिभिसुस्ताक्षतिः पल्वले विशान्ति उसनासिष च शिथिलज्याचन्धमस्मदन:॥

[' Let the buffaloes wallow in the watter, frequently striking it with their horns; let the flock of deer ruminate in groups settled under the shades of the tree ; may the huge boars fearlessly uproot the grass in the pools ; and may my bow also with its string loosened rest in peace!']

NOTE-The aaHf is that which contains words and letters suggestive of aIt the Quahties of Style-Sweetress, Floridity and Lucidity. (See TT Com. बालनोघिनी, 1 528 First Fd. )

6 KAVYALAMKARA SUTRA L1 2 12

12 The 'mfefqr' abounds in the Qualities of Floridity and Brilliancy.

The 'fren' diction is that which abounds in long compounds and harsh-sounding words, which are suggestive of the qualities of ' Floridity ' and ' Brilliancy' (to be described later on) ; it is totally devoid of the qualities of ' Sweetness' and ' Softness' (see below).

On this we have the following verse-

'People learned in the Science of Diction call that Diction mfarqr which consists of long compounds and high sounding words, and which abounds in the qualities of Floridity and Brilliancy.'

Example- दोईण्डाचि्त चन्द्रशेखर धनुईण्डावभङ्गोद्यत-

द्राकपर्यस्तकपालसम्पुटमिल टह्माण्डभाण्डोदर- भ्राम्यत्पिण्टितचण्डिमा कथमहो नाथापि विश्राम्यति॥ (महावीरचरित [. 54.) [ The twanging sound that emanates from the broken stick of Siva's bow, wielded in his long arms, is the trumpet-sound introdu- cing into the world the boyish feats of my brother: even now it does not cease, having its reverberation enhanced by its rumblings through the interstices of the pieces of the Universe rent asunder by the terrific explosion.']

13. The wanet is endowed with the qualities of Sweet- ness and Softness.

Being totally devoid of Floridity and Brilliancy, this has no harsh-sounding words, and is rather tame. Says the verse :-- 'The wise ones have named that Diction qTETet which sounds rather tame, resembling the style of the Puranas, and is soft and sweet'. Example- ग्रामेस्मिन्पधिकाय पान्य वसतिनैवाधुना दीयते रातावत्र विहारमण्डपतले पान्थ: प्रसुप्तो युवा।

I 2.201 DICTION

तेनोत्थाय खलेन गर्जति घने स्मत्वा प्रियां तत्कृत येनावयापि करडदण्डपतनाशङ्गी जनस्तिष्ति॥ शाङ्गवरपद्धतिः 3893. [O Traveller, now in this village no wayfarer is allowed to have lodgings : A youthful traveller, was once, sleeping at night under the roof of this pavilion; and when the clouds thundered, that wicked youth woke up, and happening to remember his beloved, did something, by reason whereof the people, even now, continue to remain under the dread of the falling of the skeleton. ] It is on these three Dictions that 'Poetry' takes its stand; just as the painting has its substratum in the lines drawn on the canvas. 14. Fron among these three it is the first (the anfi) that deserves to be adopted; as it has all the qualities; 15. and not the other two (meir and qarat): as they have only a few qualities. 16. Some writers have held that these latter two also have to be practised, as they serve the purpose of steps leading up to the daff. 17. But this is not right ; for the real thing (the proper Diction) cannot be attained by one who practises with the unreal (the improper Diction).

[When one does not practise what he wants, he cannot attain it.]

18. [As for example] if the weaver practises weaving with jute, he does not attain expertness in the weaving of silk. 19. The seff is called 'pure deff' when there are no compound words. 20. It is in this pure dqlf that the fullness of the excellence of subject-matter becomes clearly ap- preciable.

8 KAVYALAMKARA SŪTRA [122

21. In fact by becoming related to this diction, even the slightest excellence of subject-matter becomes appreciable [to say nothing of the fulness of excellence].

On this point we have the following veises :- ' There is an excellent arrangement of words (Diction) in which even when there is nothing, there appears to be something; reaching the ears of good men, it gives pleasure, entering their hearts like a flow of nectar. ' That attaining which in speech, the excellence of the words shines forth,-wherein even the unreal thing acquires a reality,-is that anff Diction which produces a peculfar exhilarating effect on the hearts of all men with poetic sensibilility.' 22. The said 'excellence of subject-matter' also has been called aedf; it rests upon the aaff Diction.

To the subject-matter the name, which primarily belongs to the Diction, is applied only secondarily (or figuratively.) For 'Gunas' or 'Qualities of Style' refer to Chapter III, Sections I and 2.

Section (3) THE AUXILLIARIES OF POETRY.

Having explained Diction, the proceeds to describe the *Auxilliaries ' of Poetry. 1. The Auxilliaries of Poetry are-(a) the World, (B) the Science, and (e) Miscellanies. 2, By 'world' is meant the operation or action of the world fof animate and inanimate beings]. . By 'Science' is meant that (Science of Poetry) which is preceded by the Science of words, the

I 3 5] THE AUXILL ARIES OF POETRY 9

Kosas, Prosody, the Arts. the Science of Erotica. and the Science of Politics.

The Science of Poetry is said to be 'preceded by' these sciences, as the knowledge of every one of these is needed in the writing of poetry.

In what manner each of these becomes an ' auxilliary' is now shown-

4. Purity or Correctness of Wards proceeds from (the knowledge of) the Science of Words.

By the aid of the Science of Words. i.e., grammar, we assure ourselves of the correct forms of words; as it is only the correct form of words that is used by poets fearlessly.

5. From Kosas proceeds the Knowledge of the Mea- nings of Words.

Coming across a word capable of being used in the piece he is composing, il the poet were not quite sure of what it meant, he could not make up his mind as to whether he should use that word or give it up; and this uncertainty would hamper the work of composition. Consequently it becomes necessary for the poet to make himself sure of the exact meanings of words, with the help of lexicons It is not right to utihse these Thesauruses for the purpose of making use of extraordinary words never before used: such words and expressions as are seldom used should never be used in poetry.

Question: " If one is to use only such words as are in use already, whence could there be any 'uncertainty' as to the meaning of words mentioned above ?"

Answer :- It is just possible that of a word that is in use already, the writer may have only a vague idea : e. g .. in the case of the word Ffat' it may be that he knows that it is the name of the cloth-knot ocer the thigh, and he may be in doubt as to whether this 2

10 KAVYALAMKARA SUTRA [136-

referred to the cloth-knot of the woman or the man; this doubt could be set aside only by the belp of such declarations as-' affafr is the name of the cloth-knot over the thigh of the woman'_ occurring in the aRHet for instance.

" Well, if the word #rat can apply to the moman's cloth only, how do you explain the following use of the word (where it applies to the man's clothing) :-

'The cloth-knot mentioned before by some one was loosened by the enlargement of the stomach by excellent and variegated feeding ' -? "

Such use must be regarded either as wrong, or as only fıgurative.

6. The Science of Prosody helps in removing all doubts with regard to metre.

Though as a matter of fact the knowledge of metres comes by practice at poetical composition, yet doubts very often ariso with regard to the correctness or otherwise of those metres that are arranged in accordance with the number and place of the vowel- sounds; and these doubts can be set aside only by the study of the Science of Prosody.

7. By the study of the Science of Arts follows the knowledge of the essence of the Arts.

The 'Arts' here meant are those of singing, dancing, painting and the like; scientific treatises on these have been written by famfac and others: from the proper study of these treatises comes the knowledge of the arts; unless one knows the arts, it is not possible for him to compose anything artistic.

8. From the Science of Erotics follows the know- ledge of the ways of love.

It is the 'Ways of Love ' that form the subject-matter of most poetical compositions.

I3 33 THE AUXILL AR &S OF POETRY 11

9. From the Science of Politics proceeds the know- ledge of proper (expedient) and improper (or inexpedient) conduct.

'Proper or Expedient Conduct ' consists in the due employment of the six ' methods' (of Peace and Quarrel, Marching and Halting, Bifurcation and Association); and conduct other than this is 'im- proper' or 'inexpedient'; unless one knows these, one cannot rightly describe the actions of the hero and the counter-hero.

10. From the Science of Polltics again follow the intricacies of the plot.

The 'plot' or 'story' forms the body of Poetry; and it is only when the poet is versed in the Science of Politics that he can weave out an intricate plot, consisting as this does of the more or less powerful and effective employment of the ' methods' of action.

In the manner shown above, the uses of other Sciences may also be pointed out.

11. The Miscellanies' consist of-(a) Knowledge of what is to be done; (b) Application ; (e) Attending upon superiors; (6) Deliberation or Circumspection ; (3) Imagination; and (f) Attention.

12. Knowledge of what is to be done' consists in being acquainted with poetical works [of others] ; as it is thus alone that one can acquire the power of comprehension.

13. ' Application ' consists in engaging one-self in the composing of poetical pieces.

By this means one acquires proficiency in the art of composi- tion,

12 KAVYALAMKARA SUTRA [1 3 4-

14. ' Attending on superiors' consists of attendance upon a teacher capable of imparting instruction in the art of poetic composition.

By this means the superior knowledge of the teacher comes over to the pupil. 15. 'Deliberation' consists in the insertion and dele- tion of words.

On this point we have the following verses :- 'As long as there is uncertainty in the mind, the process of insertion and deletion of words should continue; when, on this, a word becomes ultimately fixed upon, the composition is complete.'

When the proper words are so carefully chosen that not one of them can be altered,-then alone we have what the composition- experts have called the Perfect Composition'.

16. In Imagination lies the very seed of Poetry,

The 'Seed of Poetry' is an ante-natal capacity of the Mind, without which no poetry is possible; or even if possible, it is only ridiculous. 17. 'Attention' consists of the one-pointedness or fixity of the mind.

It is only when the mind is drawn in, away from all external things, that it can grasp the innermost essence of things.

18. This fixity of mind depends upon time and place. 19. The place must be solitary faway from crowds]. 20. The time is the last or fourth quarter of the night. It is in a solitary place and at the time of the early dawn that the mind is calm and peaceful, free from all other things. NOTE.Among the requisites of Poetry, the 5T HaT (Enfar [ 3) enumera'es the following, remarking that it is all these combined-and not each one indepen- dently of the rest-that makes tbe successful Poet -- (U) Poetic Power (Genius). (2) Wide Knowledge born of a careful study of Objects, of Sciences and of Poems (3) the pracrice of the teachings of men practised in writig Poetry.

1 3 251 THE FORMS OF POETRY 3

Having descnbed the auxihanes of Poetry, the UT procceds to describe the particular forms of Poetry :- 21. Poetry is in Prose and in Verse.

It is the Prose that is mentioned first: as it is extremely difficult to compose Poetry in prose, chiefly on account of its indcfmnite and strictly undefinable character; it has been declared that ' Prose constitutes the touchstone of poets.' 22. Prose is cf three kinds (a) वृत्तमन्धि (b) चूर्ण (e) उत्कलिकाप्राय

The definition of each of these follows :-- 23. The ang Prose is that which bears parts of verse or metrical composition.

Example -- पातालतालतलवासिध दानवेपु ["among the Danavas in- habiting the innermost recesses of the nether world "]; in this phrase we recognise a complete part of a verse in the aamaas metre. 24. The Prose is that in which the compounds are not very long, and which contains soft and sweet words.

Example -- अभ्यासो दि कर्मणां कौशलमावहति।

[Practice lends perfection to actions : even a drop of water falling but once cannot produce any impression on the stone']

25 The afei is the opposite of the i. It contains long compounds and abounds in harsh-sounding words. Example- कुलिश शिख रखरनखरप्रचयप्रचण्ड चपेटा पाटितमत्तमातङ्गकुम्भस्थलगटन्मदच्छटाच्छरित- न्ारुकेसर भारभासुरसुखे केसरिणि। [The lion having its face brightened by the beautiful mass of hair on its neck, which is besmeared with the ichor flowing from

14 KAVYALAMKĀRA SUTRA tI 3 26

the temple of infuriated elephants felled by a stroke of the claw, as powerful and terrible with nails as the points of the thunder bolt.'] NOTE .- The tneryquor (chap. VI 330) mentions a fourth Prose, called the ##4 or 'Prose in which each word occurs distinct from another, like so many pearls streng on to a necklace' Tiis wonld appear to be that Prose mn which there are absolutely no compounds, aTH is right in not mentioning this kind, as this form of composition has a more or less theorelical existence only.

26. The verse is of many kinds.

There are many kind's of verse, the diversity being based upon the diversity of metres; some of these, called the ' Regular,' have all the four feet similar; others called the 'Semi-regular', have the frst and third feet similar. and so also the second and the fourth, while the rest called the 'hregular', have all the feet dissimilar. 27. Poetry again is (a) Stray or Sporadic and () Connected or Cumulative. 28. Of these the latter is possible only after the former has been accomplshed; just as the 'crest of flower-garlands' can be made only alter the garlands have been prepared.

It is only after one has acquired efficiency in the composing of stray verses that he can write continuous poems of many verses.

The E7 proceeds to show that it is not right to restrict oneself to stray verses only, as scme people are prone to do.

29. The Stray Verse never shines,-resembling a single atom of fire.

In this connection we have the following declaration : -- 'There is no charm attaching to verses which are not con- nected; just as a fire-atom by itself is never brilliant.'

30. Among 'Connected Poems' again, the ten kinds of Dramatic Poem are superior ;

I 3 32] THE FORMS OF POETRY 15

31. As the Dramatic Poem is possessed of varied interests, presenting a combination of many peculiar charms; just like the cloth of variegated colour, which is specially beautiful by reason of the combination of many colours,

32. The other forms (of Poetry in Verse) proceed from this (Dramatic Poem)

All forms of Verse are the produet of the Dramatic Poem. As for those other kinds of Poetry that are known as the Gat and the snaf#r (in Prose) and the Tn (in Verse), the author has not given definitions of these, as the mere definition of these in detail is not very pleasant; these definitions must be learnt from other works.

NOTE .- The difecaey supphes the definitions herem omitted, See Chap, VI, कथा (VI. 332.333) आाख्यायिका (VI. 334), महाकाव्य (VI. 315)

16 KAVYALAMKARA SCTRA

CHAPTER II DEFECTS Section (I)

DEFECTS OF WORDS

The form and constituents of Poetry having been described, it becomes necessary to know what are the ' Defects' of poetry, which mar its beauty, in order to be able to avoid them; hence the « now proceeds to descibe the defects .- 1. Defects are the opposite of Qualities. [Described later on, in Chap, III].

. And they are known by implication.

That is, when we know the Qualties, we know, by implication, also the Defects which are only the opposites of Qualities.

"Then, why are they treated of separately ?"

3. The separate treatment is for the sake of clearness.

The Defects are treated of and described and defined sepa- rately, and not left to be inferred by implication: as it is only thus that they can be rightly understood, and avoided.

The RY proceeds to describe the Defacts of Words ---

4. The defective word is-(a) Grammatically Wrong ; (5) Unmelodious; (e) Vulgar; (d) Unknown; and (e) Meaningless, or Superfluous.

Each of these is severally explained- 5. The grammatically wrong' is that which is contrary to rules of grammar.

Example-Such words as, erywrtaaqyfn where the correct form should have been apwsnsayuin the a coming in by mfont's dmer &c., &c. VI. 3.99.

II | 8] DErECTS OF WORDS 17

6 The 'unmelodious word is that which is unplea" sant to the ear. Such a word is not only unpleasant to the ear; it also disturbs the proper flow of the sentence. Example- अधूचुरघण्डि कपोलयोस्ते फान्तिदवं दान्विशद: शसाङ्क:। ['O angry one I the clear moon has stolen the lustre of your cheeks.] [Here the words ergua and F ard ' unmelodious.'] 7. The 'vulgar' word is that which is used by the common people only [and not by the learned or in learned works]. Example -- कषं कथं रोिते फत्कृतेयम।Ohi how puffingly she cries'] [Here the word grant is ' vulgar.] To the same category belong such words as aa (tank), na (cheek), and the like.

8. The 'unknown' word is that which is used only in learned (technical) treatises [and not in common usage]. Example-

गुणानन्तरीयक च प्रेमेति न मेरत्युपालम्भः॥ ['What is the use of my saying much ? I know I am wanting in the excellence of the beauty-aspect of IDEA; and as love also is the invariable concomitant of that excellence. I do not complain (of that want of love).']

The word '#w#=4' (Beauty-aspect of Idea) is a technicality of the Buddhistic philosophy; and the word enaadiuss (invariably concomitant) is a technicality of the "aPT philosophy : and neither of these is used in ordinary parlance (in the sense in which they are used here). 3

18 KAVYALAMKARA SUTRA [II 1 9

9. The 'Meaningless or Superlluous' word is that which is added only for the sake of filling up gaps of sentences. There are many indeclinable particles that are inserted m sentences (specially in verse) simply for the sake of filling up the gaps in the metre; it is not only the indeclinable, but other words also that come under this category; by the maxim of the ' cake and the stick' (by which it is meant that when two things are in the same predicament they are to be treated alike).

Example- उदितस्तु हास्तिकविनीलमर्य तिमिरं निपीय किरणैः सविता। [ The Sun has risen, after having drunk up, with his rays, the darkness which was as densely black as the elephant.']

Here the particle a has been added only for the sake of filling up the requisite number of syllables in the metre; and it does not serve the purpose of lending a graceful form to the sentence; a word that does serve to give a graceful form to the sentence cannot be regarded as 'superfluous'; this is the exception that has to be borne in mind. We have an instance of this in the following :-

न खल्विह गतागता नयनगोचरं मे गता। [While she was passing this way and that, she did not come within the range of my vision '] [Here the phrase a @g lends grace to the sentence.]

NOTE .- Ourauthor bas very rightly distinguished the defects of the word, from the defects of the meanings of words, which follow in ET 10 et, seq. The NTT and the mierqeyor have dealt with both kn ds together. The R proceeds to describe the Defects of the meaning or denotation of words.

10. [The Defective words are also]-(a) having a different meaning, (b) having a fanciful meaning, (e) difficult of comprehension, (d) indecorous and (e) obscrre.

II 1 12] DEFECTS OF WORDS 19

The words -- 'the Defective Word'-have to be supplied from #T 4: the singular number of the word qra of the former e being made to undergo the change into the plural in view of the plural number in the present ##: the construction thus being-'the Defective words are &e., &e." The #7 proceeds to define each of these defects severally. 11. A word is said to 'have a different meaning' when it is used in a sense entirely different from its accepted denotation. [The sense intended to be conveyed being that which is deducible only from the etymology of the word]. The ordinary misuse of a word-of the word qe Gar) for the word qe (cloth) is not what is meant by the aa: as such usage is too manifestly wrong to be mentioned. Example -- ते दुःखमुचाव चमावहन्ति ये प्रस्परन्ति पियसङ्गमानाम। [ Those people experience great pain who recall to their minds the meeting of dear ones. 7

Here the word enagfa which is used generally in the sense of 'doing,' has been used in the sense of 'carrying' (experiencing). which has to be deduced from the etymology of the word; and secondly the word qryoea which means to 'forget, has been used in the sense of 'remember ' or to 'recall to the mind'; which latter meaning can be deduced from the e'ymology of the word which consists of the prefix # (excellent) and e (to remember) 12. That word is said to 'have a fancilul meaning' which is used in a sense that is only assumed (and thus can be guessed out with great difficulty). That is to say, the meaning desired to be conveyed is such as the word is never known to bear. Example-

विपुलपर्वत्तवषिशितैः शरःशवगसैन्यनुूकजिता जितम ॥

20 KĀVYALAMKĀRA SUTRA (II 1 2-

[The army of monkeys led by the sons of EOT was defeated by the Conqueror of Indra by means of sharp arrows showering thousands of mountains.'] Here the word vfasguamyany can, be made to signify the 'Sons of cuc in the following manner. (1) qf means 'ten', for which another Sanskrit word is (#. (2) fagt means 'bird', the HT or name of a particular bird is mi which contains the word ax which means 'wheel'; the w or 'bearer' of that is the chariot which is expressed by the word t. Thus then the word vit meaning ew and the rest of the compound ta, we get the name aara whose tanayas (sons) are tiw and etqo by whom the army of monkeys was guided.

Then again, the word eearfmm can be applied to the 'Conqueror of ts, damr in the following, mannet: The word anfas denotes the sas (owl) as well as e and thus the words Sa6 and gz being regarded as synonymous Faf is spoken of as

It may be objected that if such use of words is defective, we should have to reject the use of such words also as renrg-aa, (which is applied to the ase bird by reason of its name containing the word a which is a 'limb', arg of the Chariot (u).

The use of such words, however, is not objectionable, as there are some words which though originally perhaps employed in the required sense only indirectly, have yet come to be so far accepted in common usage that they are regarded as having their remote and indirect indications, aqul, well recognised (Psar).

13. That word is said to be 'difficult of comprehen- sion' which is used in such a meaninig as is not generally known. A word that has more than one signification, only one of which is generally known, -- if such a word be used with a signification other than this last one, then it is said to be 'difficult of comprehen- sion'.

II 1 17) DEPECTS OF WORDS 21

Example सहसगोरिवानी कं दुःसहं भवतः परः।

['Your army is as insufferable by your enemies as the army

Here the word agay is used to denote t and this meaning can be got at by taking the word 'af' occurring at the end of the compound in the sense of 'Eye'Indra having a 'thousand' gex ' Eyes' ma :: and though the word 'il' does signify the Eye also, yet this is not the signification that is generally attached to it in the ordinary usage of poets. 14. The 'indecoroas' word is that-(a) which has, among other significations, one that is coarse or vulgar ; and (b) which brings to the mind some- thing indecent.

(a) It often happens that though the word is used in a harmless sense, yet it has other significations which are vulgar; the use of such a word is regarded as 'indecorous'; e.g. the word ax which signifies glory or effulgence, and also the human excreta. (6) There are words which, though in their form quite harmless, are found, when taken by parts, to be indicative of something indecent; e. g. the word $TRat.

15. (a) The coneealed or (b) the indicated or (c) the entirely shrouded,-are not regarded as 'indeco- rous.'

16. That word is ' concealed * whose vulgar significa- tion is not generally known.

E.g. the word dara: the only signification of this word that is generally known is that referring to 'difficulty' or 'obstacle '; while that referring to the bodily organ is not generally known.' 17. The indicated word is that which has its indirect (vulgar) signification only remotely indicated.

22 KAVYALAMKĀRA SUTRA [II 1 18.

E. g., the word wanna which signifies the land of birth, and thereby only very remotely indicales the organ of generation; such words connot be regarded as 'indecorous.' 18. The 'shrouded' word is that whose vulgar significa- tion is entirely veiled by the ordinary usage of men.

E.g., Such words as awnr [which literally means 'One whose ... is excellent' has become accepted in usage as signifying 'beautiful'l: wfff [lit , 'one who has ...... " but accepted as meaning 'sister'] ;- #9e [means ...... , but is generally accepted as signifying ' worship '] :- afrda [signifies some connection with ghosts, but is used in the sense of 'desired ' or' intended' ] ;-- $ird [tit 'one whose sexual instincts are low', is used in the sense of 'Virgin'l: are [originally meaning 'desires of a preg- nant woman', but generally used in the sense of ' Desire']. In this connection we have the following verse --

'It is not proper to hunt out the improper signification of words that are accepted in ordinary usage with such significations entirely shrouded from view; for instance, what man can have any notion of vulgarity or impropriety with regard to the word fray. ?

19. The ' Indecorous' is of three kinds as giving rise to-(a) shame, (b) disgust, or (e) forebodings of evil.

Some words by their indecorous significations produce shame, e. g., aimean frwtar: [where the last word of the compound has a vulgar meaningl and so forth; some produce disgust, e. g. e [the last word having a vulgar signification] ; while others bring to the superstitious mind forebodings of evil: e. g., dRua: [which means csteblished, and also deod].

20. The ' Obscure' word is that whose signification is got at only remotely, or in an indirect round- about manner.

II 1 22] DEFECTS OF WORDS 23

That is lo say, that word which is used in a sense that does not proceed from it directly, but is only connected with it (and hence indicated by it) in a very remote or in-direct manner. Example -- दक्षात्म जादयितवलभवेदिकानां। ज्योत्नाजुषा जललवास्तरलं पतन्ति॥

[ Drops of water are falling upon platforms of silver shining in moon-light'. The fact that the first line signifies the 'silver platform' can be known only in a very round-about manner :* (1) दक्षात्मजा daughters of (क्ष='stars'; (2) the दवित or 'beloved' of the stars is the Moon: (3) agw (=beloved) is synonymous with aar and the compound thus corres to indicate the word arar which is one of the many names of silver. 21. Such words also are called ' obscure' as are used in a sense not their own by usage. As the meaning of such words cannot be easily comprehended. Example- काज्जीगुणस्थानमनिन्धितायाः। [' The waist of the irreproachable one. '] That the word ararrenan which is literally means the place of the girdle-zone, means ' waist' cannot be found out easily. 22. The last two defects (Indecorous and Obscure) pertain to sentences also. Example-(a) of the Indecorous Sentence .-- (1) न सा-वनोपतिरया स्यात्कलत्र सुखदायिनी। [साधन is the male organ of generation] (2) परा्थवद्कक्षाणां यत्सत्यं पेलवं धनम। [पेलवं has a very vulgar im- plication.] सोपानपथमुत्सज्य वायुवेगससुद्दतम। महापथेन गतवान्कीर्त्यमानगुणो जनैः ॥ ["YY is the anus and naity is the path of death.]

24 KAVYALAMKARA SUTRA [II 1 22

(b) The Obscure Sentence .- धम्भिट्वस्य न कस्य प्रेक्ष्य निकामं क्रुरङ्गशावाल््याः।

[On seeing the beautifully knotted hair of the fawn-eyed one, whose mind is not filled with love ?'] [Here the syntactical connection between vtnew and ahmm is too remote to be easily grasped.] The above defects have been enumerated and explained with the purpose that the poet should avoid them in his composition.

Section (2). THE DEFECTS OF SENTENCE. 1. (Faulty) Sentences are-(a) Deficient in metre ; (B) with Misplaced biatus; and (c) Cacophonous (of Unharmonious Euphony). 2. That which does not fulfil the conditions of the particular metre is ' Deficient in metre.' Example- अयि प्रेक्ष्यासे सौधमान्रितामविरतसुमनोमालमारिणीम।

[Do you see the, woman on the house-top, adorned with a garland of thickly-studded flowers',1 Here the intended metre is the gardmy in the second foot of which there should not be a collocation of six short letters, as we have here. Hence this is ' Deficient in metre."

3. That in which the hiatus is so misplaced as to make the sentence awkward, unmelodious and unplea- sant, is said to be ' with misplaced biatus.'

4. E. g., there is misplacement of the hiatus when a verb root or a noun is broken up or disjoined (by the hiatus occurring in the middle of the word);

I1 2 4] THE DEFECTS OF SENTENCE 25

but mostly mn such cases alone where this disjunc- tion or disruption is not due to the collusion of vowel-sounds.

Example -* (a) Caused by the disjunction of the Verb-root-as in the following line of the negranar metre-

एतासां राजति सुमनसां दाम कण्ठावकम्बि।

['The garland of flowers hanging by the neck of these women looks beantiful.'] [Here in the proper intonation of the line, in pronouncing the verb usfa we have to put the hiatus on I as by the laws of Prosody, the qferen-i metre must have its hiatus on the fourth syllable of the foot; and this leads to the breaking up of the verb root राज in राजति.]

(b) Breaking up of the noun-as in the following foot of the शिखरिणी

[Perspiration is breaking-up over the cheeks of the fawn-eyed women.'] By the lawa of prosody, the frafefl must have its hiatus on the sixth syllable; this syllable in the present case happens to be T and the placing of the hiatus on this leads to the breaking up of the noun nog.

A Similar disjanction of the noun is found in the following foot of the emrar ea nefn arfot argewhere the hiatused fourth syllable is the # of 6. Inasmuch as the E specially mentions the 'verb-root' and 'noun', it follows that the breaking up of other words is not regarded as objectionable. E. g., in the following ATatal- शोमां पुष्पत्ययमभिनव: सुन्दरीण प्रवोप:।

[This fresh awakening of beautiful damsels enhances the charm."] 4

26 KAVYALAMKARA SUTRA [II 2 4-

[Here the hiatus on the fourth syllable # disjoins only the conjugational affix fa and leaves the root intact.] Similarly in the frafrefr foot --

[At the close of night the spell of sleep is broken by the sound emitted from the lips.']

[Here the hiatus is on the sixth syllable #a and this leaves the noun ae intact, separating it only from the locative ending $ which follows.]

Inasmuch as the # adds the qualification-' where the dis- junction is not due to the collusion of vowel-sounds-it follows that disjunctions caused by the collusion of vowel-sounds are not objectionable. E. g., किचिद्धावालसमसरलं प्रेक्षितं सुन्दर्गणास। ['The glances of beautiful women is extremely sweet by reason of the lingering langour of emotion.'] [Here the hiatus placed on the fourth syllable ar separates the # of the rest of the following noun HaH; but as this is due to the collusion of the vowel e at the end of "IT and the vowel er at the beginning of orow-the disruption of the noun eraw is not regarded as objectionable.]

5. Some people hold that the 'misplacement of the hiatus' is nothing apart from the 'Deficiency in the metre'; as 'metre' consists of hiatuses.

Metre consists only in the arrangement of hiatuses and hence the ' misplaced hiatus' is included in the ' Deficient metre.' 6. This however is not right; as the distinctive fea- tures of the two are totally different. The characteristics of 'metre' are entirely different from those of 'hiatus', the 'metre' consisting in the arrangement of long and short syllables, while the 'hiatus' consists in the resting of the voice on a certain syllable,

II. 2 81 THE DEFECTS OF SENTENCE 27

7. The 'cacophonous' is that where the collusion of words is unmelodious or unharmonious.

The Collusion by words is of two kinds-(1) the collusion of vowel-sounds and (2) mere juxtaposition, the drawing together, of words, without actual Collusion, This is objectionable when it gives rise to an unharmonious euphony.

8. The 'Unharmonious Euphony' is of three kinds- (1) Disjoined, (2) Indecorous, and (3) Discordant

(1) The ' Disjoined' is that wherein each word stands apart by itself without colluding with its adjacent words-even when such Collusion is possible.

(2) The ' Indecorous' is that Collusion which becomes indi= cative of something vulgar or indecent,

(3) The ' Discordant' is that which is harsh or unpleasant to the year. (1) Examples of the Disjoined-+

(a) मेघानिलेन अमुना एतस्मिनादेकानने।

[Here it was possible for the अ of अनिलेन and the अ of अमुना to become combined; and also between the &T of argar and 4 of qmOT; these combinations have been omitted in consideration of the metre.]

(b) कमले इव लोचने इमे अठवभाति विलासपद्ति:।

['The eyes take up the graces of the lotus.']

[Here the collusion of agd and ta that of araa and ri and that of a and arao are omitted in view of the grammatical rules pre- cluding such collusion in the case of dual case-endings.]*

• The ar rgatT (p 374) remarks that even a single omission of the Collusion is faulty, where it is omitted without any other reason save the wish of the speaker or writer; but when the omission is due to grammatical rules precluding the colluston, then it is to be regarded as 'cacophonous' only when in a single verse there are more than one such omissions; as we bave mn (b) The (b) is distinet from (a) for reasons shown above,

28 KAVYĀLAMKARA SUTRA [I1 2 8-

(c) अषएपाउनाग आमामि चकासनि। [ The faces bespangled with waving locks shine beautiful.'] [Here the collusion of "gnfa with en is omitted.] * (2) Example of the ' Indecorous ' Collusion -- विरेचकमिद नृस्तमाचार्या भासयोजितम्। [This dancing is extremely disgusting, having been pro- pounded by an inferior dancing master.'] [Here the word fata# and qT meaning as they do 'purgative' and ' pairing ' respectivelf are indecorous.] चकासे पनसप्रायेः पुरी पण्डमहादुमैंः। [ The city shone with eunuchs who resembled so many jack fruit trees.'] [Here by a collusion of sounds we have the word gris 'excreta ', which is 'indecorous.'] विना शपथदानाम्पां पदवादससुत्सुकम्।

[The collusion of words gives the word faarr 'destruction', which is inauspicious and indecent,] (3) Example of the ' Discordant Collusion'- मअर्युद्गमगर्भास्ते गुर्वाभोगा हुमा बमुः। [ The trees looked beautiful with large trunks and budding blossoms."] [The syllables f-formed by the collusion of and s and ai- formed by the collusion of $ and en-are very discordant and unpleasant to the ear.l

Having described the Defects of Sentence, the e proceeds to describe those of the Meanings of Sentences-

9. (a) 'Incompatible' or 'Contradictory', (b) 'Redun- dant', (e) ' Dubious' ; (d) 'Regardless of Usage,'

It is not easy to see why this (e) should be cited as a third example. The (c) does not in any way differ from (a), so il appers that (d) is printed in a wrong place, it being only the second balf of (a).

IL 2. 21 THE MEANINGS OF SENTENCE 2

(e) 'Irregular' or ' Unsymmetric'; (f) ' Opposea to Ordinary Conceptions'; and (g) Opposed tc Scientific Conceptions', -[ such sentences are 'faulty ']. 10. That in which one word contradicts that which follows, or vice versa, is called the ' Incompatible' or ' Contradictory.' Example- अव्यादि स्मरति रसालसा मनो मे l6 मुग्घायाः स्मरचतुराणि चेषितानि। [My unctuous mind still recalls the amorous sportings of the little guileless and unreserved girl.'] It is impossible for the sportings of an innocent little girl to be amorous.' What is ' amorous' cannot belong to the 'little girl', and what pertains to the 'little girl' cannot be 'amorous.' Thus there is an 'incompatibility' between the two words trareara (amorous sportings) and arn (the ingenuous or candid girl). 11. When a word expresses what has already been expressed by another word, it is 'Redundant.' Example -- चिन्तामोहमनङ्गमङ्ग ततुसे विप्रेक्षितं सुखुवः।

['O Friend, the glances of the charming-eyed girl produce in my mind thoughts of love giving rise to anxiety and stupefaction.'] It being a well-known fact that 'anxiety' caused by love is always in the form of ' stupefaction', -- the mention of both ferar and mg becomes superfluous; and containing such superfluous words, the sentence itself is said to be 'redundant.'

12. This redundancy is not a defect, when the addi- tional word has an additional signification. In case the word, supposed to be ' redundant', helps to signify something over and above that signified by the former word, it cannot he regarded as 'redundant.'

30 KAVYALAMKARA SUTRA I1 2 13

3 [As for example] In the word varqitaf: (the twang- ing of the bowstring of the bow) the addition of the word 'us:', 'bow' [even though the word sar itsell means the bowstring] serves to afford the idea of the string being strung on tightly to the bow,

If the word ag: were omitted, there would be nothing to show that the sound proceeded from the string as strung on to the bow. We find the use of such words common, e. g.

घउर्ज्योंकिणचिंद्न दोष्णा विरककरितं तव।

14. Similarly in the case of the words -* onade, namrgo. frehert and the like, the mention of the words aor and the rest denotes proximity.

The word ajada by itself signifies 'ornament of the ear': similarly #'33 means the 'ear-ring', and rat the 'head-ornament": and thus the idea of 'ear' and ' head' is already present in the denotation of the word wjarid and fat; but in the absence of the words 'ad'and 'fare', there would be nothing to denote the fact that what is meant is the 'ornament' as worn in the ear or on the head.

Examples-

दोलाविलासेयु विलासिनीनां कर्णावतंसा: कलयन्ति कम्पसू।

[During the joyous swingings of sportive girls, the ear-orna- ments in the ear remain quivering.'/

[ They fall upon the gracefully-shaking earrings.'] आयपुर्भुङससतर सिव: शेखर शालिना।

[ There came people wearing crest-ornaments humming with bees.")

THE MEAN NOS OP SENTENCE 3

the case of the word gwrar the word Eil serves tb signily purity or unmixed character (of the peans in the necklace).

Caesford ar itsell denotes the necklace containing pearls ; but without the addition of the word gar there would be nothing to show that the necklace contained only pearls, and no other gems, 1

Example --

सुकाहारण लसता हसतीन स्तनद्यम ॥

fThe breasts adorned with the pearl-necklace appear as if they were smiling at the joyous experience of the charms of the lover's embrace.']

16. In the word gumer flower-garland', the word *flower' serves to denote the excellence of the flowers contained in the garland.

The word gqmer means 'the garland of excellent flowers .* Example -- पायश: पुष्पमालेव कन्या ना कब लोभयेद। [Whom would not the girl, resembling as she does the garland of excellent flowers, inspire with a longing to possess her ?'] It may be urged that the word ater does not necessarily signify the flower; inasmuch as the word is used in connection with gems also,-such expressions as TIet, WamaT and the like being very common. But the fact is that in all such expressions the word Hrer is used only figuratively: as in reality the word mer by itself, without any appendage, is found to denote only the 'garland of flowers.' 17. In #ienaw the addition of the word aft serves to denote Similarity to the Tfta (grown-up elephant) The word wew denoting the Elephant Cub, the addition of the word afr 'Elephant.' would appear to be superfluous. But this

32 KAVYALAMKARA SUTRA [11 2 18 -.

addition serves to express the idea that the 'Cub' resembles in strength, &c., the aft or grownup elephant.

Example- त्यज करिकलभ त्वं प्रीतिचन्धं करिण्याः । ['O powerful young elephant cub, renounce the love- entanglings of the mighty she-elephant.'] 18. Words are also added for the purpose of the add- ing of qualifications . जगाद् मधुरां वाँचं विशदाक्षरशालिनीम्।

[He spoke sweet words containing clear-sounding letters']- the ' word ' Guue itself contains the idea of the ' word' (as it is only words that are spoken); and yet the word araw 'word' is added for the purpose of the addition of the qualifying epithets traura and विशदाक्षरशालिनीम.

19. All these exceptions, however, apply only to such words and expressions as are already in accepted usage.

And their justification cannot be extended to newly coined words and expressions; e.g., the Analogy of Aqorgues cannot be extended to जघनकाञ्ची; nor that of करिकलम to उषकलभ

On this point we have the following verse --

"In such words as worfanw and the like the use of the words *d and the rest serve the purpose of denoting proximity and such other conceptions; but this justification can apply only to such words and expressions as are already in accepted usage.'# 20. The 'Dubious' is that which creates doubt in the mind.

This verse occurs as dit#T 58 of chapter VII of the $R4XGRT. This would show that the Karikas of the FT-5TeT aie not by the author of the $yaRT but by an older writer. As one of these Karikas is found here quoted by aTAT who is older than HFAE. Thus this quotation here lends support to the idea that the Karikas of the $ yGRT are by Bharata.

II 2.22] THE MEANINGS OF SENTENCE 33

That sentence, in which,-either through the mention of com- mon properties or through the non mention of distinctive charac- ters-doubts arise, is called the 'Dubious'. As for example in the line- a: t It is doubtful whether it means that the high-minded person 'fell into trouble' qrgqma; 'through ill-luck,' enmaama, or that he 'reached a high position.' महापद उपागतः, 'through good luck' भाग्यवशात; such doubts are especially liable to arise when, for the comprehension of the real meaning, we have no such aids as those ef context and the like.

21. The ' regardless of usage' is that sentence, the sig- nification attached to which is purely imaginary or illusory. Examples of this are rare.

22. The 'unsymmetric' is that in which the idea ex- pressed is not in the proper order.

There is always a definite order and relationship in the 'subjects' and 'predicates' of sentences; the sentence in which this order is not observed is called ' unsymmetric.' As for example, in the line- कीर्तिप्रतापी भवतः सूर्याचन्द्रमसो: समौ। .Thy fame and glory are like the sun and the moon'- the 'fame' is intended to resemble the 'moon' and the 'glory* the ' sun'; and with this view the 'moon'a should have preceded the 'sun' ad in the compound. The mh (order or symmetry) may also be regarded as consist- ing in the prior mention of the more important factors; and the absence of this would, in that case. constitute the 'unsymmetric.' As for example, in the line -- तुरङ्गमथ मातङं प्रयच्छास्मे मपालसस्। ['Give him a horse or a gigantic elephant rolling in intoxica" tion'] ;- [the natural 'order' should have been-give him a gigantic elephant, or (if not that, then,) a horsel. 5

34 KAVYALAMKARA SŪTRA (11 2 23 --

23 That is 'opposed to ordinary conceptions' which expresses ideas contrary to (incompatible with) place, time and nature. It is through the incompatibility of the idea expressed by the sentence that the latter is regarded as 'incompatible.' Example of ' incompatibility with place'- 'In the country of the tirdrr there is the well-known town of reut, the lands in the vicinity whereof are teeming with walnut and coco-nut trees. ( audr is not situated in the arire district; nor does the walnut or the coco-nut grow in lands adjacent to mya] Example of 'incompatibility with time'- 'During the Spring, the forest shone with war flowers.' (The y blooms during the rains, and not during Spring.] Example of 'incompatibility with nature' -- 'The beanty of the wra (Autumn) is floating, as it were, in the blossoms of the egeer plant among which the intoxicated bees are humming.' The flowers of the agsat appear in benches, and not in the form of 'blossoms.' Again in the verse- 'The flower-bud was pressed by the bee in such a manner, that it rained honey enough to fill a hole as large as the hoof or the cow .* There is no flower-bud in existence which can ever produce such a large quantity of honey. 24. That is ' Opposed to Scientific Conceptions ' which expresses such ideas as are incompatible with the established principles of Arts and Sciences. Example of ideas opposed to the principles of Art :- 'O friend, this is a wneg letter having its corner not turned down .*

I1 2 241 THE MEANINOS OF SENTENCE 35

According to the laws of letter-writing, in all mfdg tettere, the corners have to be turned down: while the above line represents it as not having the corner tumned down. Similarly with the contradiction of the laws of other Arts. Examples of the Contradiction of the principles of other Sciences- 'For Kings, the conquest of the world follows from the fulfil- ment of their sexual desires. The law of all scriptares is that the successful conquest of the world is possible only if the King is virtuous and performs sacrifices: it is this law of Righteousness that the line contradicts. Again -* 'Enemies are conquered by means of pride, -- what then is the need of policy ?' It is a law of the science of Politics that it is by policy that enemies are conquered : and the line is a direct contradiction of this, Again -- ' I remember the face languid through embraces, the upper lip sanctified with the mark of teeth." This contradicts the law of the science of Erotics, whereby kissing marks may appear anywhere in the body except in the upper lip, the inside of the mouth and the eyes. Lastly -- ' Deliverance proceeds, not from true knowledge, but from devotion to God.' This is contrary to the Science of Deliverance whereby it is to be gained by knowledge alone .* The defects described above have to be known for the purpose of avoiding them. As for the othe: subtle delects of words or word- meanings, we shall describe them in course of out explanation of the 'Qualities': and the Defects of Similarity also will be treated of oa the Section on 'Simile.' # The line, however, is quite in keeping with the principles of the wfmrrm prepounded by hibge4

36 KAVYALAMKARA SŪTRA

CHAPTER III QUALITIES. Section (1). (a) DIFFERENGE BETWEEN 'QUALITY' AND 'ORNAMENT' OR FIGURE. (b) VERBAL QUALITIES (OF STYLE).

'Defect' principally consists in the absence of 'Qualities': hence the #7 proceeds to describe the Qualities of Style. In this connection it has to be noted that 'Florridity,' 'Lucidity ' &c., have been called ' Qualities' ard 'Alliteration, 'Simile' and the rest are called ' Omaments or Figures of Speech'; and it is necessary at the outset to explain the basis of this differentiation of Qualities and Ornaments. 1. ' Qualities' are those characteristics that create or constitute the charm of poetry. Those characters of Words and ldeas that constitute the Charm of Poetry are called 'Qualities': such are the characters of 'Florridity,' 'Lucidity' and the like. This cannot be said of Alliteration,' 'Simile' and the rest ; as by themselves alone, these do not bring about charm in poetry: as is done by ' Florridity' and the rest.

2. The Ornaments on the other hand are such characters as serve to enhance the charm (already produced by the Qualities). Such are ' Alliteration' ' Simile' and other Figures of Speech.

On this point we have the following verses.

'Just as a young woman endowed with beauty looks charming and the wearing of ornaments enhances this natural charm,-so in the case of Poetry also, if it is endowed with pure qualities. it acquires a peculiar charm: and the presence of the Omaments or Figures of Speech serves to enhance that charm.' 'On the other hand, if the woman happens to be devoid of youth (and beauty) the addition of ornaments, even though

5] VERBAL QUALITIES 37

llent in themselves, only serves to accentuate the ugliness : so re case of Poetry also, if the words are devoid of the qualities tyle, the presence of Figures of Speech becomes a source of >gance only. 3. The former (t.e the Qualities) are permanent. The Qualities form permanent features in Poetry; as without x there is no charm (and without charm there is no Poetry). [The Figures of Speech on the other hand are evanescent 1g mere accidental embellishments ] Having explained the difference' between Qualities and aments, the #7 proceeds to describe the ' Verbal Qualities.' 4 The Qualities of Style are-(a) Florridity (naa), (B) Plainness or Simplicity (surt), (e) Coalescene (of Words) (s), (d) Uniformity (of Diction) (ryaf) (e) Symmetry (HaTf), (f) Sweetness (माघुर्य), (g) Softness (disari), (h) Raciness (verar). (i) Ex- plicitness or Lucidity (srayfa), () Brilliancy (nea). By 'Style' is meant the composition of words. 5. (a) 'Florridity' consists in ornateneas (high- sounding words and sentences). Example- विल्लितमकरन्दा मजरानर्तपन्सि। ['They are shaking the blossoms bespattered with pollen.'] This would lose its 'florridity' if we read it as विल्ललितमधुधारा मजरीर्लोलपन्ति NoTE-The $taTyarT enumerates the bigh ounding letters as followg -. 'क्र, कख, क्र, स्त्न,र्क, खँ, ग्गू, घू, ग्ू, प्र, गें, घू. च्,

त्र्, थ्,

Long Compounds Bombastic style in general'-anTET VIIL. 75. Thus we find that while the line cited in example contains the letters and e are absent in the amended form.

38 KAVYALAMKĀRA SUTRA [III 6-

6. (b) 'Simplicity' consists in plainness. It might be objected that 'Simplicity' is only absence of flortidity; and as such being the negation of a 'Quality', it should be regarded as a 'Defect': why then, should it be mentioned among 'Qualities "? In answer to this we have the next ax.

7. ' Simplicity' is a Quality, when appearing along with ' Florridity'; 8. and not by itself alone. When it appears alone by itself, it becomes a Defeet. Question-'How can there be a combination of two such contradictory characters as Florridity and Simplicity? Anstoer-

8. That there is such combination is a fact of common experience. Such a combination is often met with; and it resembles the combination of various tunes of diverse kinds. On this point we have the following verse -- 'Just as in the case of all pathetic exhibitions (dramatic performances) there appears mixture of pain and pleasure, as we find in ordinary experience,-so in the same manner, we find in experience the mixture of Florridity and Simplicity.' 10. [In some cases of such combination] there is equality between the two, and [in others] superiority (of one over the other).

We find the two equal in the lines -- अथ त विषयव्यावृनात्मा पथानिधि मनवे।-[Simplicily.] नृपतिककुदं पत्वा यूने सितानपवारणसू ॥-[Florriditg.] 'The old king having his mind turned away from the objects of enjoyment, he duly made over to his young son the white umbrella.'

111 VERBAL QUALITIES 39

In some cases we have Florridity supervening over Simplicity; e. g. न्रजति गगनं भल्लातक्या: फलेन सहोपमाम। 'The sky bears resemblance to the fruit of the veras.

{Here we have Florridity down to the word veiasqt:, Simplicity appearing only in the last two words.]

In some cases again Simplicity supervenes over Florridity; e.g. कुसुमशयनं न प्रत्यमं न चन्द्रमरीचयो न च मल्यजं सर्वाङ्गीणं न वा मणियध्य:।

'Neither the bedding of fresh .flowers, nor the rays of the moon, nor sandal-wood painting over the body, nor jewelled sticks &c .. &c.'

[Here we have only the letters !f and w (in ucqu), (in E) the whole word सर्वाङ्गीणम and the letter g (in मणियधय) savouring of the ' Florrid': the rest is all 'simple'.]

NOTE .-- The $I TeRT defines 'Simp'icity' thus-

' Lucidity or Simplicity is that Qualty by virtue of which the whole idea itended to be expressed is grasped at the frst hearing of the words. (VIII-76).'

11. (e) 'Coalescence' consists of smoothness.

By 'smoothness' is meant that quality whereby a number of words coalescing sound as one word. As for example, in the line -- अम्त्युत्तरस्यां दिि देवतात्मा हिमालयो नाम नगाधिराज:।

Towards the north, there lies the King of Mountains, Rursq the abode of the gods', feregatoui appears as one word, though consisting of the two words अस्ति and उत्तरस्यां.

Such ' coalescence' is not found in the line -- (1) सत्रं ब्राह्मसुरस्थले. or in-(2) अमरीवल्गुगीतयः or in-(3) fRTH7179,

40 KAVYALAMKARA SUTRA 2

Though we would have 'coalescence' if they were amended respectively as follows --

(1) ब्राह्मं मुत्रसुरःस्थले, सत्रमुरःस्थले, appearing as one word. (2) ्रमरीमज्जुगीतय: and (3) तडिज्जदिलमाकाशम.

NOTE-The $THERT (pp. 535-36) does not accept 'Coaleicence' as an mnde- pendent 'quality'; it holds it to he only a particular form of 'Florndity.'-(afer on कारिका 72).

12. (d) ' Uniformity' consists in the non-difference or homogenity of diction.

That is to say, when the style of diction employed in the beginning of a verse, or of a complete poetical work, is continued to the end, we have what is called ' Uniformity'.

As an example we have the line quoted above-Srnttqrq.

As an instance of absence of uniformity we have the following verse -- प्रसीद चण्डि स्पज मन्युमअसा जनस्तवायं पुरतः कृताजलि:। किमर्धंश्त्कम्पित पीवरस्तनदवयं त्वया उप्तविलासमास्यते॥।

'Be appeased, O angry one! give up your anger; here I am (beseeching your pardon) with joined hands; why are you sitting with heaving breasts and dejected spints ?'

[Here in the first half we have the simplest diction, entirely free from compounds; while the second half abounds in compounds.] 13. (e) 'Symmetry' consists in the orderly sequence of 'ascent ' and ' descent."

A line or verse is said to have the quality of 'Symmetry' when it is found to be so worded that the heightening effect of the forcible' style is toned down by a judicious sprinkling of words of the 'softer' kind; or when the softening effect of the less vigorous style is heightened by the introduction of words of the 'forcible' kind.

III 1 16] VERBAL QUALITIES 41

As an example of the former we have निरानन्द: कौन्दे मधुनि परियुक्तोज्झितरसे।

[Where the 'high' tone of Aunr and sfaara is 'softened' y कौन्दे and मधुनि]

As an example of the latter kind we have the line -.

नरा शीलभ्रषटा व्यसन इव मजन्ति तरवः।

[Where the 'softening' effect of ": and ata: is 'heightened' by the words affawan: and qofa.]

According to some writers 'symmetry' is that quality by virtue of which there is a gradual decline from the 'vigorous' to the 'feeble' style, or a gradual rise from the 'feeble' to the 'vigorous.' As an example of this we have the line, -- निवेश: स्वःसिन्धोस्तुहिनिरिवीथीषु जयति। [Where we have a gradual decline from the forcible and vigorous स्व:सिन्धो: ta the 'soft' in जयति.] 14 [Some writers have held that] this * Symmetry' is not a separate 'quality' by itself, as the 'ascent'and descent' (of the previous q") are the same as 'Florridity' and 'Simplicity' res- pectively.

15. This is not right; because of the two (Florridity and Simplicity) being interwoven,

It is not right to assert that 'ascent' consists in 'Florridity' and 'descent' in 'Simplicity': because 'Florridity' and 'Simplicity' are interwoven together, and exist like the (two) currents of a single tiver (while ' ascent' and 'descent' can never co-exist).

16. And also because it is not absolutely and univer- sally true [that in ' Florridity' there is ' ascent ,' or in 'Simplicity,' ' descent '] 6

42 KAVYALAMKARA SUTRA 17

17. If howevor, it be held that ' ascent ' and 'descent' occur in the heightened or acute stages of 'Florridity' and 'Simplicity ',-we accept this view. We do not object to the view that in the 'Florrid' or the 'Simple' style, when they appear in their acute forms, there are 'ascent ' and 'descent' respectively. 18. Because in this case 'ascent' and ' decent' become dependent upon other peculiarities (and not entirely upon Florridity and Simplicity). And it is this other 'peculiarity' that constitutes an entirely different 'quality' (which we have called 'Symmetry'). 19. It is on the basis of this ' ascent and descent ' that ir is regarded as a distinct quality named ' Symmetry'. Thus the definition propounded above in Sntra 13 has to be regarded as figurative; [the Quality is dependent upon 'ascent and descent ' and does not exacily consist in them.] 20. The @# (13) may be regarded as propound- ing a distinct definition of 'Symmetry', only for the purpose of indicating the fact that there should be orderly sequence (in the ascent and descent). That the 'ascent' and 'descent' do not refer to the way or tone in which a cenain lino is read, we shall show below under सूत्र 28. 21. 'Sweetnes's lies in the distinctness of words. When in a piece of composition the words are quite distinct from one another. it is said to ubound in the quality of 'Sweetness'. That is to say, 'Sweetness' consists in the absence of long com- pounds. Examples of this have already been cited above (for instance under 1-11-13R04 IFY &a'). As an example of the absence of this quality we have-

III 1 23] VERBAL QUAL TIES 43

ध्वनचकितव राहव्याकुला विन्ध्यपादाः। 'The outskirts of the Vindhya range teem with boars frighten- ed by the sound of the horn-trumpets blown by the marching hosts of 7C.' NOTES -The 49TT (VIIL 74) enumerates the following letters &c as favouring the quality of Sweetness-

F, F. FH,T, I, (both short),-no compounds, or, at best, short compounds of not more than four words .- and the softer conjunet letters proceeding from the combmnation of two words, for instance, when the werd emytgufat is followed by Wegd, the resultant conjunction gives rise to the soft conjunct letter "f. The commentators add that as regards the restriction of the short T, and UI, it does not follow from this that Sweetness would be spoilt by a single long I or TTI, it is only when such long TI and dfi, are repeated that they interfere with the qualty of Sweetness 22. 'Softness' consists in the non-harshness of composition. The example is as cited above mraft-ufrsri, &c., As an example of the absence of this ' Softness' we have -- निदान निद्वैंतं प्रियजनसह ऋत्वव्यवलति: । सुधासेक प्ोपोफलमप तिरुद्ध मम हदि॥ NOTE-According to the Ha Sofmess' is not an independent 'quality' being only the negation of fhe 'defect of 'Haishness.'

23. 'Raciness' lies in piquancy of style. It is that quality by virtue of which, in regard to a piece of composition, people speak of the words as if 'dancing'; that is to say, where the whole piece is enlivened by the peculiar swing of the words taken together. Example-

झदिति रणितमासीत्तत्र चित्रं कर्लं च। ' The tingling of the anklets attached to the ankles of the dancing girls gives rise to a variegated and sweet sound'.

44 KAVYALAMKARA SUTRA 24

NOTE .- The Fl THENT regards this as a form of .Florridity', But in Racmness it is not neceesary that there should be any paitcular set of letters, as those enumerated by the $Igar'T in connection with Flomdity. All that is necessary here is a pecuhar arrangement of the words (irrespective of the lettersounds). whereby the whole line acquires a 'swing' that gives the name to the quiltty.

24. 'Explicitness' is that quality by which the meaning is easily comprehended.

Examples cited above. Examples of Inexplicitness are numerous and can be easily collected.

NOTE -The $5qg47 regards this exphcitness as only a form of 'Simplicity'

25. 'Brilliancy' is that richness or ornateness of style [in the absence of which a piece of composition is called an 'imitation of the gom).

Example --

'The outskirts of the forest are made, by means of the eyes of the deer, to appear as adomed with so many bunches of flowers.'

Examples of the opposite kind are many and easily found.

NoTE The qga holds that this is nothing more or less than the absence of the defect of 'Vulgarny.'

With regard to the Qualities described above, we have the following verse :-

'The poets give the name of Florridity to the ornate style: words abounding in rhis quality aie very pleasant to the ear.'

'When Florridity is accompanied by plainness, it is called Simplicity; without this quality there is no delectation in a poetical work.'

Coaleseence is that excellent quality by which more words than one coalescing, appear as but one word, the letter-conjunctions being (so smooth and natural) as not to be noticed.'

III 1 28] VERBAL QUALIT ES 45

'Uniformity is the quality consisting in the using of the same style of diction in each foot or verse; this is difficult of composition and can be distinguished with difficulty.' 'That wherein the hiatuses ascend in a uniform manner is called the quality of Symmetry; by this quality Speeck is rendered pure. ' When in a piece of composition each word appears clear and distinct, we have the quality of Steetness; endowed with this, the composition becomes a veritable stream of honey.' 'Just as lines are variously cut and arranged by expert painters, in the same manner is speech (words) arranged by intelligent writers, in accordance with various qualities.' 'Softness consists in the absence of harsh letters; specch devord of this quality becomes harsh and unpleasant to the ear." 'Piquancy of words they call Raciness; in the absence of this, composition remains devoid of variegation (and beauty)." 'When the idea of the thing expressed comes before the apprchension of the words themselves,-the meaning being readily comprehended -- we have the quality of Explicitness.' 'People learned in the qualities have declared Brilliancy to consist in oinateness or richness; devoid of this, the work of the poet becomes an imitation of the gtr. 26. The existence of these qualities cannot be denied; because they are actually cognised as existing. It may be objected that though the qualities may be known as entities by people learned in them, it is quite possible that people may be mistaken about them. In answer to this we have the next Sūtra. 27. There is no mistake in the qualities because of unflinching character [of the use made of them]. 28. These qualities are not mere peculiarities of the way of reading (recitation); because they are not found present in all cases (of recitation).

46 KAVYĀLAMKĀRA SOTRA

If these qu al ties consisted only in the peculiarities of recita- tion, they would be found equally in all pieces of composition, itrespective of any other peculiarities (of lettersounds &e). As a matter of fact however, these are not found everywhere; the presence or absence of particular qualities being found to be dependent upon the presence or absence of certain well-defined characteristica (described above).

Section (2).

IDEAL QUALITIES.

The aa proceeds to deacribe the Ideal Qualities or Qualities of Meaning :- 1. Those described above [Florridity, &c.] are the Ideal Qualities also.

The following Sttras proceed to point ont the differences in the two sets of qualities (Verbal and Ideal), as due to the fact that the word is the denoter and the idea the denoted. 2. Florridity (Ideal) consists in the boldness or sententiousness of conception.

This Ideal Florridity is of five kinds: (1) Where a whole sentence is used to express what is expressible by a single word; (2) where a single word is used to express what is expressible by a sentence : (3) where there is brevity (one sentence serving the purpose of many sentences): (4) where there is diffuseness (many sentences being used to express what could be expressed by a single sentence): and (5) where qualifications are added with a purpose. Example of (1)-aaari inndfta (the light born of the eye of erfr) for the single word 3 (Moon): and so on. What is meant by a 'sentence' bere is only a collection of a number of words (and not necessarily one that expresses a complete idea, contain* ing a finite verb and such other syntactical accessories).

III 2 2 ] IDIAL QUALITIES 47

In the following verse also we find that what could have been expressed by the single expression 'the plums are dry' is expressed by a whole verse .-

'In the beginning it becomes slightly pale; after that it becomes whitish; then through excessive ripeness its body becomes tainted with the quality of redness ; and finally when the process of drying sets in, it becomes contracted in ils circumference and becoming devoid of its exuberance, it becomes insipid.'

Nor would it be right to carry this process to an undue excess: because we have the definition of 'quality' as that which adds charm to poetry and such dilatory style adds this charm, only within certain limits,

(2) As an example of expressing by means of a word what is expressible by a sentence, we have the word ' winks' mentioned with reference to a lady, with a view to declare that 'She ia human, and not dioine' [divine beings being known to have no winking of the eyes].

(3) Diffuseness of Sentences-many sentences being used where a single one would have served the purpose-we have in the following-

'The rotation of happiness and unhappiness proceeds variously. Either Happiness or Unhappiness comes about : and then both cease entirely : again after this there follows happiness and unhappiness and after this there is neither happiness nor unhappiness.

{The whole of this expresses the single idea that there is rota- tion in the appearance of Happiness and Unhappiness.] (4) Brevity (a single sentence serving for many) we have in the following-

'Having taken leave of fmay; seeing fa and declaring to him the success of their mission, and being dismissed by him, they flew away into the skies.'

48 KAVYALAMKARA SUTRA E III 2 2

[Here we have a single sentence in place of the following sentences -- ' they took leave of fenray- they saw fr-they declared to him the success of their mission,-they were dismissed by fra-they flew away to the skies."] (5) The insertion of qualifications with a purpose, we have in the line- 'This young son of Candragupta, effulgent as the moon, has, by good luck, become the supporter of the learned.' Here the quali- fication 'supporter of the learned' has been added for the definite purpose of indicating the fact that the prince had Subandhu for his counsellor. Similarly in the line -- 'On the loosening of the hair of the lady with beautiful hatr' .. the qualification ' with beatiful hair'-has been added with a purpose. 3. 'Simplicity' consists in the clearness of meaning. By 'Clearness' is meant the mention of that alone which is absolutely necessary. Example- सवर्णा कन्यका रुपयोवनारम्भशालिनी।

'A girl of the same caste, and endowed with beauty and budd- ing youth.' As an example of non-simplicity, we have -- उपास्तां दस्तो में विमलमणिकाञ्ीपदमिद्म। 'May my hand approach the girdle-xone of beautiful gems.' Here what is necessary is the mention of the 'girdle-zone' only: and the addition of the epithet faganfor is absolutely superfluous. 4. 'Coalescence' consists in the commingling (of many ideas). By 'commingling' is meant the mention of more than one action partaking of cunning not perceived (by the person concer ned), and indicative of reasons (for the commingling of the acts and the non-perception of the cunning).

-[II. 2.5] IDEAL QUALITIES 49

Example :- ' The lover saw two of his most beloved girls seated upon the same seat; coming up from behind, he, under the pretence of sportive dalliance, closed with his hands the eyes of one of them, and then twisting his neck a little, the cunning man kissed the other whose heart was overflowing with love and whose cheeks were blooming with suppressed smiles.'

[Here we have a number of actions, coming from behind, &e. partaking of cunning on the part of the lover; and the cunning is not perceived by one of the ladies, by reason of her eyes being closed &c.]

We find this quality abounding in the works of qss and other poets of that kind.

5. 'Uniformity' consists in the non-relinquishment of proper sequence or contiguity.

In some cases this contiguity is relinquished; e. g. in the follow- ing verse, -. *The kunda plants have shed their flowers ; trees have become slow in bringing out their blossoms; sweet breezes, shabing the patience of separated lovers, are proceeding from the yaq mountains, the rays of the sun are removing the effects of cold ; and yet they do not attain that sharpness which brings about perspiatien.'

This verse is intended to be a description of the junction-point of the two seasons of Spring and Summer; and yet in the second line we have the mention of the blowing of the Hay breeze, which is a distinctive feature of the Spring only; ani caanot pertain to the point were Spring is lapsing into Summer.

In view of this break in the contiguity of ideas, the second line should be read as -- मनसि व गिरं वन्नन्तीमे किरानेत न कोकिला:।

The koil bitds think in their minds of their sweet voice, and do not sing out.' 7

KAVYALAMKARA SŪTRA [II 2 6

6 We may also regard the 'non relinquishment sequence or connguity' to consist in the ease comprehension. That is to say, that which is eosy of comprehension may E called ' uniform.' e g. the line- aremrrai faft etc. ' The fomry is in the north.' Examples to the contrary are easily found. 7. #arf (Orderly Sequence) consists in the characte by which the meaning is easily grasped. This quality is called #wrf as it leads to auram or concentra tion of mind, which helps us to grasp the real meaning. 8. The Meaning is of two kinds-that which is abso- lutely original, and that which is borrowed irom otherg. That maaning, the grasping of which constitutes eonfr is of two kinds. The 'original' one is that which has its source in the collected mind (of the poet and his audience) solely ; the other kind is that which has its source in the work of other poets, As examples we have the following: (a) 'O moon, quickly move away from my wine-cup, before thou art bitten by my teeth ; or else bearing the marks of my teeth thou wilt not go to the sky, for fear of fireofr (your wife).' [This is absolutely original.] (b) 'Do not thou fear, O Moon: ug (the Eclipser) is not present in my wine : as for fraeft (thy wife) she is in the sky,-why then shouldst thou be afraid of her? As a rule, whenever young men meet clever women for the first time, their minds are fickle; what wonder then that thou art behaving thus ?' The main ideas of this have clearly been borrowed from the preceding verse. 9. The Meaning again is explieit and subtle. The explicit meaning has already been described and exempli- ied; the na proceeds to describe the Sublle meaning --

-İII. 2. 13] IDEAL QUALITIES

10. The Subtle meaning is of two kinds -- that which is comprehended by a little thought, and that which can be comprehended only by deep thought. As an example of the former kind we have --

*The pair of lovers lie in the pleasure-house,-having the brightness of their teeth enhanced by mutual contact, and the pupils of the eyes mingling together; and their eyes are indicative of a mixture of anger, tears and fear.'

An example of the second kind --

'She cast her glances on me; while her thighs were trembling under strong emotion, her breasts pointed towards me; and she fondled her necklace with her right hand.'

The lady invites embrace

11. 'Sweetness' consists in the impressiveness of the conception. Where what is said is exceptionally impressive we have the quality of 'sweetness,' Example :- 'Nectar is swect, without doubt; honey also is not otherwise; sweet also is the juicy fruit of the mango; yet, for once, it has to be declared without partiality, by the man efficient in discriminating flavour, if there is anythig more delectable than the lips of the beloved !'

12. 'Softness' is freedom from harshness or disagree. ableness.

E,g .. When we speak of the dead person as 'one whose sole remnant is his good name'; or of the solitary person as ' having god alone for his campanion'; or when instead of saying 'go' $-5 we say 'accomplish your business' Hrqy. 13. 'Delicacy' (swrr) is absence of vulgarity.

52 KAVYALAMKARA SŪTRA EIII 2 3-

Lxample You are full of beauty,-he also is not devoid of charm; both of you are well-versed in the arts : the pair of you is quite in keeping with each of you: if what remains to be done under the circumstan- ces, does come about, all victory and success then to the presence of good qualities !'

[The meeting of the lovers is hinted at very delicately].

As an example of the Vulgar we have-

" While this person ia sleeping here, I am also lying down, -- saying this when I touched her girdle-zone, she removed my hands." [This is extremely vulgar.]

14. When the characteristic features of things are made manifest, it is 'Explicitness .*

Example- 'In the water of the lake, the lily is blooming; on the back of its leaves resembling a piece of conchshell, it bears the mark of red lines ; and its outer leaves are reddish-tawny like the mdam.'

And again --

'The fading (long-blooming) lotus passes through painful experiences during the daily process of drooping (in the evening): At the beginning of the process, the heavy tilaments have their ends thrown abour on all sides; then the inner petals lying all apart come together; after this, all that the outer petals can do is to become only slightly curved.' 15. ' Brilliancy' is that by which the Emotions [of the Erotic &c.] are made conspicuously prominent." Example -- ' In the evening, when the lover had fallen down upon her feet (in repentance) she had, with an oath, rejected him; upon this when he, in a dejected mood, proceededto move away, as soon as he

III 2 151 IDEAL QUALITIES 53

had moved two or three steps she ran forward, holding with her hands her loosened clothes, and caught bim up in her arms and fell upon his feet,-really wonderful is the way of love!'

[Here we have the Erotic.] Similarly with the other emotions.

In connection with this subject we have the following versest --

'It is only when all the qualities are fully manifest that poetry is said to be fully ripe or devaloped; and then alone is this ripening of poetry likened to the ripening of the mango.'

*That poetry, on the other hand, Where we have only the grammatically correct forms of nouns and verbs, and where the subject-matter is obscure and the qualities not happily mixed, .-- such poetry is disliked by the people, resembling as it does, the ripened brinjal fruit (which on ripening is not fit for use).'

'That piece of composition, the meaning whereof is entirely devoid of all qualties, is absolutely worthless: such sentences for inslance, as ten pomegranates and the like; such pieces do not deserve the slightest consideration.'

NOTE -- The oyyad does not admit of the division of qualiuies into Verbal and Ideal; the ideal 'qualities' berny entirely rojected 'Floridity' (deal) according to the $isqgard is not a quahty, beig nothing more than a fanciful blending of ideas; the Floridity that consists in the adding of quallhcations for a purpose is no- thing more or less than the negation of such defects as mcompleteness of meaning. Smilarly 'Simplicity' is onty the negation of the defect of 'Redundant word'; 'Sweetness' consists in the negation of the defect of 'monotony'; 'Sofmess' the negation of 'Indecency', and 'Delicacy' the negarion of 'Vulgarity'; the EX- plicitness of 'Meaning' is only another name for the figure taw7ann or 'Natural Description'; 'Brilhancy' is only one form of subordinate seggestion; 'Coalescence' consists in a mere fancifal giouping of ideas, indicative of the poet's powers of imagisation, and lending grace to the sentiments delineated; 'Uniformity' is negation of the faul ef relinqwshing the subjeet and HIfd is not a quality; it has been regarded as consisting in the comprehensibility of the origioal meaning: ts bap- pens, as a matter of fact, in all composiuons, there can be no composition of which the meaning is not comprebended.

(-Tmlt pages 537-41).

$4 KAVYALAMKARA SŪTRA IIV ] 1-

CHAPTER IV. PIGURES OF SPBECH. Section (/). VERBAL FIGURES. It has been explained above that the charm of poetry is due to the Qualities and that charm is enhanced by the Ornaments or Figures of Speech. Thus then, having descnbed the Qualities, the E procceds to describe the Figures of Speech. Of these again the two Verbal Figures, ans (Chime or Reverberation) and Mamw (Alliteration),- are dealt with first :-- 1. When the same word is repeated in its different significations,-or when the same letter is repeat- ed, in well-defined places,-we have Chime. When one oi more words are repeated-with different signifi- cations,-and similarly when one or more letters are repeated, in the same places, -- it is Chime :- that is to say, when either the same or similar words, -- either in part or in entirety -are repeated in more than one foot of the verse,-and in the same part ot the feet. We meet with instances of Chime wherein we have the repetitions in the same foot; ord in these cases the 'restriction of place' spoken of in the above definition is taken as in reference lo other verses: the sense being that the repetitions are (for instance) in that place which would be the firal place in another verse. The 'places' spoken of above are next described --

2. The 'places' are-the entire foot, the beginning. the middle, and the end of the foot; and the beginning, the middle, and the end of more than one foot.

Example of the 'chiming' of the entire foot --

तस्य न स्यादिपतरो: कलिकामधु गईितन।।

-IV. 1 21 VERBAL FIGURES 55

That person who listens (treats) with respect to the words of the wicked, productive as they are of ill-feeling (sRamgs) .-- for such a person even the honey from the blossoms of the poison- ous tree would not be something to be disregarded. '

[Here the entire foot wfrmragmigaw is iepeated, and the meaning is different in the two cases. ]

[ This repetition of the second in the fourth foot has been called संदषक ] Example of 'Chiming ' at the beginning of the feet- हन्त हन्तरय्तीना धीरवीररिता तव। काम कामन्दकी नीतिरस्या रम्या दिवानिसस्॥

'O brave destroyer of enemies) your intellgence is ever respected : and verily the science of polity propounded by atqnfs is being tasted (studied) day and night by this intellect of yours.' ' Chiming ' at the end of the feet! -

'What affection is there among women who are addicted to wealth alone ;-- being as they are as dry as sand? They abandon their lover, as if he were dead, even though he be as beautiful as the stainless moon, 'and ever ready to please her,-only if he happens to be without wealth. * 'Chiming ' at the end of the feet :- सुपुशोडवसरे चकितं चाकितं भवतीक्ितमसित मित स्तिमिरुम्।

*Of the beautiful one the glances are at times most tremulously mobile, and at times most steady and fixed ! What smiles too ! There is nothing -- not even the sweet blossom of flowers-that can equal the sweet girl overflowing with love !' 'Chiming' at the beginning of consecutive feet -- भमर हुमपुष्पाणि श्रम रत्ये पिबन्मधु। का कुन्दकुसुमे प्रीति: कार्ऊ इत्वा विशौषि यद।।

56 KAVYALAMKARA SŪTRA [IV 1 2

O black bee if you seek real happmness, wander among the flowers of trees, sucking their honey; what pleasure do you expect to derive from the ger flower -- that you are weeping in pitiable accents ?'

'Chiming ' in the middle of consecutive feet --

अप्यशक्यं त्वपा दत दुःखं अक्यन्तरात्मनि। वाप्पो वाहीकनारीणर वगवाही कपोलयो:।।

' Thou hast inflicted unbearable pain on the innermost soul of the woman of the W tountry; and along the cheeks of the ploughmen's wives, tears are flowing copiously.

'Chiming' at the end of consecutive feet- सपमि उतपदत्त्वदीवषितेन स्मितचिना स्मरतत्त्वदीक्षितेन। भवति बत जनःसचितदाहो न खनु मृपा कुत गव चित्तदाह॥

'When a man becomes the object of your glances, beaming with smiles. and well-equipped with the guiles of love, -- his heart becomes heated with passion. There is no untruth in this. Or else, how is it that you deprive people of their minds ?' * Chiming' at the end of two alternate fee'-

' The king whose l ad rule causes trouble to his poonk: fs very soon deprived of his throne and reduced to beggary .* Chimings "in the middle and at the end of alternate feet may be similarly shown. 'Chiming ' at the end of the four feette .. aagnigergr [ora crece, charm). विलोक्य तन्वी शज्षीपेशलास्याय। [whose face आस्थ is soft and beautiful, taal. : Rgmafa erorena [aa (heart) anet over herl. कुती स्मराजा यदि पुप्कला स्थाम॥[पुष्कला influential (commands), eqra, I should bel.

IV 1 2] VERBAL FIGURES 57

O my f ckle heart ! Why are you pained at seeing that beanti- ful young girl with gracefully curved eyebrows and face as sweet and beautiful as the moon ? I shall certainly gain my wishes, if the commands of Cupid have real influence over her.'

Simtlar examples may be cited of 'Chiming' in the middle and at the beginning of all the feet, Many other mixed forms of Chiming can be found out by the learned.

The 'Chiming ' of letters.

नानाकारेण कान्नाश्वराराचितमन्ेसव। विविक्तेन विलासेन ततक हृदयं नृणाम॥

'The eyebrow of the beloved which has learnt its graces from the god of love, impressed the hearts of men with its variegated excellent charms'.

Similarly may be found chiming at other points of the verse.

This 'Chiming' of letters has its effectiveness enhanced when there is close juxtaposition of the same or similar letters (of the same class). An example of this effectiveness we find in the following verse of the sftaar

T says to his brother wata." The land along the sea is covered with jungle consisting of various kinds of the ta tree: having the sky filled with handsome birds seeking after snakes; in which people entering cannot (by reason of the density of the forest) bend their body ; it is entirely devoid of human beings ; with the deer and hare flitting about; capable of destroying our ememy : and thereby accomplishing my purpose; it bas no outlet ; whose rustling constitutes its sole breathing," Similar to this excessive ' Chiming' of letters is the 'Chiming' of words. 8

58 KAVYALAMKARA SUTRA

3 Chime becomes more effective by breaks (or cæsura) 4. There are three kinds of this 'break' called- यरखला, गरिवतक समते चूर्ण, 5. When we have the transference of the cæsura caused by the separation of an entire letter we have the aram. As for instance, in the verse cited under qa 2, in the second line the words are 'afatng.' there being a cæsura between '47* and '#' ; whereas in the first line the word's being wfoanrge, the cæsura is translerred to ' between ' ge 'and 'are.' Similarly, in the first line the words are 'aiaar ...... ,' there being a cæswra between fi and ; whereas in the second line, in the words ' afewr. .aT' the aforesaid cæsura is absent.

6. Where on the cessation of the conjunction (of another letter), a letter resumes its own form, we have the * vftads'. For instance, in the same verse the letter 'at' of the word 'arffa" resumes its own form only after the cessation of its conjunction with the letter ' a-which conjunction gave it the form of the letter ''. In such cases a word (' affa' f. t.) which, through the con- junction of certain Jetters, has been transformed into another word arfea'resumes its own form, on the cessation of that conjunction, Similarly may other instances be found, 7-Where on the disruption of a conjunct letter, a word disappears completely, we have the ' qoms'. As for example-

साग्नि विमर्ति व सिल दूरसमुन्मुकुशुक्तिमीनाड्वान्त:।। 'The lord of the fafy fish (the Ocean) protects the family of mountains, having removed all their grief: he bears within himselt water along with fire,-throwing on all sides the signs of shells and fishes.'

-IV. 1,8] VERBAL FIGURES 59

In this verse we have the conjunct letter fh in ,ar'; the dismp- tion of this, gives rise to the two words 'agramaw' and 'faalar' and the word ' gra' becomes entirely obliterated.

In connection with this subject we have the following Verses- 'Where we have the transference of the unbroken (entire) letter or syllable, we have the neuror; by this break the Chime becomes very effective. ' (1) 'In a case where a syllable renounces its conjunction with one syllable and joins itself to another, and thereby gives shape to another word-like the actor renouncing one part and taking another-that is the ' qftada'. (2).

' When of a conjunct letter, each of the constituent letters bea comes joined to the words preceding and following it respectively, leading to the complete disappearance of the previous word ;- it is the चूर्णक (3) 'Even when the Chimes are in their proper places, if they are not beautified by this last ais break, they are not quite beautiful: in the same manner as the hair, even though in its place, does not appear charming until it is beautified by curls.' (4)

When the break is brought about by the tansformation of case-endings, it is not regarded as Chime by people learned in the excellences of Chimes.' (5) *When a word has been often made the object of Chime, it is not right to further make it an object of Alliteration.' (6) ' The wonders of Chime consist in the separation of case- endings, both as regards number and case, and also in the repetition of nouns and verba.' (7)

8. [Similar words and letters] other [than those speci- fied under Chimel constitute Alliteration. Other than those, Gc .- That is to say, words and Ietters with the same or different meanings, at the same or at any points in the verse.

60 KAVYALAMKARA SUTRA IIV 1 8

Stmilar to what bas been used once

Obrect o 1 Why was not the definition in the @ given m the form-' Others constitute Alliteration ' ? This definition could have been explained to mean that Alliteration consists in the other kinds of repeblion, " Reply :- True: the definition would have been quite com- prehensible as that 'consisting in other kinds of repetition'; but such a definition would be too wide. [ As the repetition of dissimi- lar words and letters also would become ' alliteration' as this also would be a kind of repeution other than those enumerated under Chime ']. It is with a view to specify the perticular kinds of repetition intended that the na has added the word ' Similar '; this ' Similarity ' consisting either in the entire word or both in entirety and in parts. NOTE,-The qRETN (1X. 83-48) defines Chime as that where che same Jetters are repeated,-but they should not be used in the same meaning in both places; if they have a meaning, they should have different meanings in the different places. The dard adds that in some cases Chiming is allowed in the cane of differeat letters also; when the sounds of the letters are simulai, e, g between 'and'and ** # $ ' and ' and . l and also between a letter with the faraf and the same without it; a letter with the STaEarT and the same withont it. As regards chiming in a verse, it is laid down that there should be chiming either in all four feet or in two feet only, it should never be in three feet; in fact the presence of Chime in three feet is regarded as a defecf. In the case of Chiming of more than one letter, they should occur in the same order in both cases. Herein lies the difference bel ween 'Chime' and 'Alliteration.' In the latter, it is pot necessary that the lelters should appear in the same ordur; nor is it necessary for the. words to have different meanings. 9. That Alliteration of letters is of the superior kind which is not too glaringly conspicuous. *Not too glaringly conspicuous'-i, e. as if hidden, net easily noticeable. Example- कचिन्मसुणमांसळ कुचिदतीय तारास्पर्य

मनो मदयतीव मे किनपि साधु संगीतकम् ॥

IV 101 VERBAL F OURES 61

An excellent music is exhilarating my mind; this music is at one time soft and sweet, and at another it is extremely loud: often delightfully beautiful, marked by the harmonious blending of note waves; mixed up with the jinglings of your lute.'

The Alliteration that is too glaringly conspicuous is not regard- ed as good. वल्लावद्दोर्घ्व जूटोदममटात रटत्कोटिकोएण्डदण्ट:॥

10. The 'feet Alliteration' is similar to the "eet Chime .* That is to say, the different kinds of the Alliteration of the verse-feet are to be classed and enumerated on the same lines as the Chime of the verse-feet. Exomples- कविराजमविज्ञाय कुनः काव्यकियादर:। कविराजं च विज्ञाय कुतः काव्यव्रियादरः।

'Unless one knows afatmm whence could he have any regard for the composition of poetry ? and when one knows afarra, how could he have any regard (or desire) for composing poetry? आखष्टयान्त मुहुरामलकीफलानि। बालानि वालकपिलो चनपिङ्गलानि॥ ' They eat the fresh amalaki fruits, yellow like the eyes of the young monkey.'

काशाया भान्ति तासां नवपुलिनगता: अनिदाहस हसाः।

चन्द्राडूक: शारदस्ते जयकृष्ठुपनतो विडिषां काल कालः॥ "O King, who art equal to wral the wrw grass with white flowers appears like clothing over the rivers; O King, who art like a swan in the river ef Prosperity I on the banks of the rivers. swans are seen which ressemble the sra grass; O King, who art like Moon on the Earth I the Moon emerging from the swandlike white clouds is shining with flawless sheen : O King, who art like Deathe god to your enemies! the season of autumn beautilied by the moon has arrived, which will bring victory to you.'

62 KAVYALAMKARA SŪTRA [İV 2 0

कुवलय हलश्यामा मेघा विदाय दिव गता कुव न्यम्लश्यामो निद्धा विशुन्ञति केशव:। कुवलमद्लश्यामा श्यामालताद विज़म्भते कुवलयदलरयामं चन्द्रो नभः प्रविगाहते।

'The clouds dark like the petal of the blue lotus have gone away from the skies: far, dark like the petals of the blue lotus, is abandoning his sleep; the wrT creeper dark like the petals of the lotus is now beginning to shoot forth; and the moon is appearing in the sky which bears the colour of the petals of the blue lotus,*

And so on may the other varieties be exemplified.

NOTE,-The hr gET divides Alliteration into two classes -- (1) Alliteration of letters, in which there is repetition of letters, which have no meaning by themselve*, and (2) Alliteration of words, where there is repetition of words with meanings la the former, the mere similarity of the consonant is snfficient to establish Allitera- tion, irrespective of the vowel-sounds This Alliteration of leiters is of two kinds .- aTanT -tbe repetition of a single consonant, and (2) atTaura -two or more repentions of one or more consonants In the Alhteration of Words, the same word or words with the same meaning. is repeated in more than one place, thoagh with different syutacucal connections ; to this Alieration bas been given the name of ararguitf in view of the fact that il ia mach in favour with writers of the Lata country.

Section II. THE IDEAL FIOURES OF SPEECH. The Ideal Figures of Speech are next dealt with; and as Simile lies at the root of all ideal figures, the Sutra takes up Simile -- 1. 'Simile' consists in the slightest resemblance of qualities between two things called the * aer* and the 'THy' The ' sym' is that object possessed of superior qualities with which the resemblance or similarity of another object is pointed out; and the 'evha' is thar other object with inferior qualities which is pointed out as resembling the former; and the resemblance or similarity between these two objects,-even on the basis of slight qualities, -- constitutes the figure of 'Simile,'

IV 2 21 THE IDEAL F OURES OF SPEECH 63

An objechon is raised :- "evm' and 'soaq' being relative terms, the mention of one would necessarily indicate the other : as for instance, in Panini's Q. tqfgd sarmer: we-myaf [ (1 -- 56 ], it is only the avia (i. e. eqis) that is mentioned and not the sqm also (which is implied by the other). In the same manner, in the present Sitra also, both should not have been mentioned. "

This is quite true ; but both have been mentioned with a view to indicate what is well known among people; the sense being that the similarity meant is between two objects known among people as SY and sqnq, -nothing except these; thaf is to say, we have only such Similes as ' the face is like the lotus', and not as ' the face is like the lily.'

2. That which is dependent upon a large number of qualities, is 'imaginary' Simile.

The similarity that is assumed by poets on the basis of a large number of common qualities, is called ' imaginary Simile', as in contrast with what has been defined in the preceding, whichis well-known among the people (and may be called ' real ').

Objection :- ' In the case of imaginary Simile, insmuch as the similarity is not known among ordinary people, how can there be any restriction as to the van and the hy, (which have been described as names based upon similarities recognised by the common pr ople)?"

Such restriction, we reply, is obtained through the excellence (preponderance) and inferiority (deficiency) of the multitude of qualities, As for example, in the following --

'The disc of the moon, which resembles the breast of the #w woman pressed by her lover, lightens up the sky with the rays of lght which are as white as the fullgrown smell of the lotus-plant' .- [ The similarity between the breasts and the lunar disc. and that between the moon's rays and the lotus-smell. are not such as are known to the ordinary man: they are imagined or fancied by the poet on the basis of a large number of common qualities. ]

64 KAVYALAMKARA SOTRA IIV 2 2

Sımilarly in the following also the similarity is 'imagined' and not real. (a) 'The orange resembles the newly-shaven chin of the intoxicated 9r'. (b) 'The fadrr flower in the ear resembles the fresh sprout of kusha '. (c) 'At the present moment the branches of the banyan tree with their root-olfshoots having shed the red leaves, resembles the beak of the parrot; and after a while there come out the red leaves which are capable of equalling the beauty of the lips of young women '.

3. Of Simile there are two kinds; one based upon the meaning of words, and another based upon the meaning of sentences.

Example of Simile based upon the meaning of words -- 'Over whose bodies freed from the tawny skin, there appears horripilation due to feelings of love-the hairs standing erect resembling so many dusts of go'd. *

Example of the Simile based upon the meaning of a sentence .'This wow King has the necklace hanging over his shoulders, and has his body besmeared with fresh sandal-paint; in this man- ner he resembles the Chief of Mountains with the waterfall rushing along its sides, and having its peaks reddened with the rays of the newly risen sun. " 4. Simile again is-Complete and Elliptical. 5. We have the Complete Simile when the sentence contains words denoting all the factors of comparison-viz., (a) the common property, (6) similitude, (e) the standard of comparison and (d) the object of comparison. As for examples -- 'Beantiful (a) like (b) the lotus (e) is the face (d),'

IV 2 9] THE IDEAL FIGURES OF SPEECH 65

6 It is elliptical when there is absence [of one or more of the aforesaid factors of comparison].

(a) Absence of the word denoting the common property -- ' The King is like the Moon,'

(b) Absence of the word denoting similitude- ' This is grass-green. '

(c) Absence of both of the above -- ' The moon-faced .*

Examples of the absence of the standard of the object com- pared shall be found below. under the next section.

7. Simile is employed in (a) praising, (b) dispraising and (6) describing the real state of things.

Examples --

(a) ' An affectionate wife is like nectar '-(Praise).

(b) 'A wife not possessed of good qualities is like poison '-" (Dispraise). (c) 'Among the groups of stars know that to be the asterism of Rohini which appears in the shape of a cart. '-(describing the real state of things). 8. The defects of Simile are-(o) Deficieney (In- completeness). (b) Excess, (e) Disparity of Gender, (b) Disparity of Number, (e) Non- similitude, and (f) Impossibility (Incongruity). Each of these is next described :- 9. (a) When the 'standard of comparison' is inferior (to the 'object compared') in caste, in magnitude, and in details of quality,-the Simile is said to be 'deficient,* 9

66 KAVYALAMKARA SŪTRA [III 2 9

Examples (a) Inferiority of the 'standard' of comparison' in caste-+ 'This act of daring has been done by you, like a Chandala. (b) Inferiority in magnitude- 'The Sun is shining like a spark of fire, ' (e) Inferiority in deiails of quality -- 'The sage, adorned by the girdle-string and wearing the black antelope-skin, shone like the Sun surrounded by dark clouds.'

In this case, in the 'standard of comparison.' the Sun, we find no mention of the ' lightning ' which would take the place of the ' girdle-string ' in the 'objeet of comparison,' the sage. It will not be right to argue that it is only the black antelope skin that is inten- ded to be the ' object compared'; for in that case, the mention of the 'girdle-string' would be superfluous. Nor will it be right to argue that the mention of the ' dark clouds' implies the lightning: for as a matter of fact, there is no such necessary connection between the two, as would make the one necessarily imply the other; if there were such connection, what would be there to prevent the ides of one being brought about by the idea of the other ? It is with a view to this that we have the next a --

10. Of two things, the mention of one brings about the idea of (implies) the others when there is concomitance between them. When two things are known to be concomitant with each other. the mention of one necessarily implies the other. As for example in the following verse -- ` Even though rain outside has ceased, there is no cessation of the drops of water falling from within the dilapidated house, passing as they do through spider's nets, and thereby becoming yellowish and resembling drops of honey; these drops falling upon the curly hair on the head of the sleeping child become broken into small sprays, and making the child to throw about its limbs, they cause

IV 2.11] THE IDEAL FIGURES OF SPERCH 67

great mental agony to the house-wife whose sleep is disturbed,'- the yellowness and roundness are found to be concomitant with each other in all drops of honey; hence when the yellowness is expressed by the word 'fg' it brings about the idea of the roundness also.

Similarly in the case of the sentence-' The hips are as smooth as a sheet of gold',-inasmuch smoothness and brightness are found to be concomitant in the ' sheet of gold', brightness is implied by the mention of ' smoothness,' An objection is raised-" If the fact of the ' standard of com- parison' being wanting in certain details of quality is a defect of the Simile, how have we the following-

' Like chaste women deprived of their husbands in their houses the il sound died in the mouths of those peacocks whose eyes were closed on account of the hot rays of the sun, who were in a sorry plight, having been deprived of joy by the wind flowing from among the lotuses' :- where the 'object compared' (the r sound) has many more qualities mentioned than the ' standard of comparison' (' chaste women ')"? This objection is not tenable,-bacause the large number of qualities are mentioned (not with a view to comparison) but only with a view to point out the special features of the mouths in which the sound ceased ; it is only when the peacock's mouth has certain special characters, that the cessation of sound is possible.

11. (b) By the above definition of ' Deficiency,' the defect of 'Excess' has been explained. That is to say, 'Excess' consists in the superiority of the 'standard of comparison ' in caste, magnitude and quality. Examples- (a) 'Let the Vrsnis enter like the mighty Rudras." [The Rudras are very much higher beings than the afa people.] (b) 'Thy navel is like the nether world ; like mountains thy breasts ; and thy braided tresses resemble the fall of the qaar '.

68 KAVYALAMKARA SUTRA IV 2 12

[ The nether world, mountain and the fall of the qgat are of very much larger magnitudes than the things to which they are compared. ]

(e) 'The King holding the moving discus with its olfshoots, resembled the ocean with the submarine fire and whirlpool.'

In the object compared, the King with the discus, there is nothing to resemble the presence of the submarine fire in the ocean the ' standard of comparison.'

Some writers hold 'favqg' or 'contrariety ' to be a defect of Simile; but in reality this is included in the two defects 'Deficiency' and ' Excess' described above ; it is for this reason that we hold the opinion that of Simile there are only stx defects (mentioned above in qa 8).

12. (c) There is 'Diversity of Gender' when the gender of the object compared is different from that of the standard of comparison.

Example-

सम्यानि नव इव जग्मुरनर्गलानि।

'The armies went along unimpeded like a niver' [am: is feminine, and araif, neuter, ]

13. In many cases however comparison between the masculine and the neuter is allowable.

In many cases it is permissible to have the 'object compared' in the masculine and the ' standard of comparison ' in the neuter gender, and vice verso. e. g., ' safta ia vra'_'He rees the face which is like the moon.' [ This is allowable only in cases where the forms of the two words in the two genders are similar, as in the instance cited 'gaw' and 'an.'] Such diversity of gender however (in which the forms are different) is not allowable ; e. g. '(afta ge wifd' (the face shines like the Moon).

IV 2 161 THE IDEAL FIGURES OF SPEECH 69

14 [Disparity of genders is allowable] also (a) in Similes employed in ordinary parlance, (b) in Similes expressed by means of compounds, and (c) in the various modifiations of the Simile. Examples- (a) In ordinary parlance people speak of one's constant companion as 'स तस्य छायेव' 'he is like his shadow' ('स' bemg masculine and ' SRT' feminine.) (b) Gender-disparity in compounds -. 'मुजलता नीलोत्पलसट्टशी,' 'the creeper-like arm is like the blue lotus.' [ Where a similarity is intended betwoen 'ga' masculine and 'onl' feminine; and also between this latter and ' widleve ' neuter. ] (c) In the modifications of Simile: e. g. in the following verse (where the Simile is not directly asserted but indirectly implied)- सुध्दान्तदुलभमिदं वडराश्रमवासिनो यदि जनस्य । दूरीकृता: खल्ड गुणेरुथानलता वनलताभि:॥ * If the body of this person living in the hermitage is such as cannot be found in the harem of Kings,-then verily has the well- tended creeper of the garden been surpassed in beauty by the wild creeper. [ Here the similitude implied is between the body, ag4 neuter and the creeper, 'ear' feminine. ] Similarly may other usages be exemplified. 15. (d) What has been said above with regard to disparity of Gender applies to disparity of Number also. Example of Disparity of Number- पश्यामि लोचने तस्या: पुपप पुप्पलिह्ो यथा। 'I look upon her Eyes as the black bee does upon the flower ? 16. (e) There is 'non-similitude' when the similarity of qualities intended to be expressed is not fully comprehended. As for example, in the line+

70 KAVYALAMKARA SŪTRA [ III 2. 7

' I am going to prepare the moon of poetry with its meanin expanding like the moon's rays'-it is not easily comprehensible what similarity is intended between Poetry and the Moon. "But it is easy to perceive that the meaning being similar tc the rays, this would constitute the necessary similarity between the Poetry and the Moon." Not so : for it is only after the similarity between Poetry and Moon has been established that any similarity is possible belween the meaning and the rays ; specially as there is no property in common between these lacter, which would establish their similarnty (Independently of that between the Poetry and the Moon): and thus there would be an undesirable mutual interdependence (if the Similarity between Poetry and Moon were based upon that between the meaning and the rays). 17. By 'non-similitude' the Simile is entirely des- troyed ; as all poets depend (for effect) on that [ similitude of the two factors ]. 18. Some people hold that in a case where there are a large number of 'standards of comparison ' available, the non-comprehension of the exact similitude is not faulty. As for instance, in such sentences as ' your fame is like a camphor-necklet, and like the similes of fa',-the similitude be- tween the Fame and the Camphor, &c., becomes indicated on the basis of excessive whileness. 19. This however is not right ; as such use (of many standards) does not add strength (effectiveness) to the meaning. When the required similitude has been indicated by means of the mention of one 'standard of comparison,' the mention of other such standards does not produce any additional effect. It 1s in view of this that we find fault with such lines as 'asra. ftryna gm,' the ocean of strength is ruffled like the ocean* [ where one and the same standard, ' ocean,' is retained], It may

IV 2 21] THE IDEAL FIGURES OF SPEECH 7

be objected that the word 'fer' occurring twice involves a tautology. But in reality there is no tautology, as the word is used in two different senses : in 'qarary:' which means ' strength hike the ocean,' the 'strength'is spoken of as 'ocean' in view of its greatness or exlensiveness : while in ' fergiea arga: ' 'is ruffled like the 'ocean.' the 'strength ' is described as similar to the 'ocean' in point of being ruffled; and thus there being distinct implications intended in the two cases, there is no tautology. But all the same, the second mention of the 'ocean' does not produce any additional cffect ; for if we had oaly ' faegfta gf:,' ' ruffled like the ocean' this would also imply the idea of greatiess which is inseparable from that of the 'ocean' as it has been declared (above in # 10) that of two things, the mention of one implies the other when there is concomitance between them.' 20. (f) There is 'Impossibility' or ' Incongruity ' when something absolutely impossible is mentioned. As for example. in the verse -- ' Within her shining mouth the faint smile appears as beautiful as the first moonlight within the blooming lotus ' We find mentioned the blooming of the lotus along with moon- light; and this is a physical impossibility. It may be objected that this may be regardad only as an instance of contrary meaning. whereby the necessity of postulating this as a defect of the Simile becomes obviated. But this is not right; as in the Simile what is a particularly effective idea is what is actually intended to be implied by the Simile ; [ there is some sort of incongruity always present in Similes. ] It may be asked-'Why then should the (Incongruity) be regarded as a defect at all (when it is desirable in Sımiles)?" To this we reply -- 21. [ Because ] an effective implication that is con- tradictory should never [ be used ]. The poet knowing the above-mentioned six Defects of Simile should always avoid them.

72 KAVYALAMKARA SUTRA [IV. 3, 1-

Section, (3) Modifications of the Simile. The various Modifications of the Simile are next considered.

I. Typical Comparison (sfaara) and the rest con- stitute the ' Modifications of Simile.'

The next Q7 points out the difference between Typical Com- parison and the ' Simile in Sentence .*

2. It is Typical Comparison (maaa) when the similar thing (the object of comparison) is men- tioned in one sentence, and the ' standard of comparison ' in another.

Thus the difference between Simile and Typical Comparison is that in the former the complete Similitude is expressed by a single sentence, while in the latter there are two distinct sentences, one mentioning the objcct compared and another the object to which it is compared.

As an example of the Typical Comparison, we have .- ' Having attained to the position of the queen how can she be lowered to the position of a common maid ? Verily a jewel marked with the figure of a deity is not capable of being womn.'

[Here the former sentence mentions the moman, who 1s intended to be similar to the gem spoken of in the latter sentence,]

The next 57 points out the difference between Typical Com- parison (प्रतिवस्तुपमा) and Modal Metaphor (ममानोकि).

3. When the 'object of comparison' is not men- tioned at all, we have the Modal Metaphor, समासोफि

That is to say, when the s'milar thing is mentioned, and the object which it is similar to is not mentioned, we have anrdra (Concise Assertion) so called on account of the brevity of form çaused by the dropping of one sentence.

-IV. 3.51 MODIFICATIONS OF THE SIMILE 73

Exar ple-

*The position of the leafless wfrr plant in the desert is praise- worthy on account of its affor ling relief to the fatigued traveller : fie upon the glory of the ae4 tree on the as which does not afford any relief to the needy."

Here the direct mention of the rich person who does not help the poor is suppressed.

The next सूत्र dis inguishes समासोककि from अप्रस्तुतप्रशंसा (Indirect Description).

4. When there is just a slight mention of the object of comparison, it is srsgamiat (Indirect Des- cription). Example-

'She i- a most peculiar Ocean of Beauty: herein are floating lotuses along with the Moon; out of this the temples of elephants are issuing forth; and hcrein are also found the stem of the plantain tree as well as lotus-stalks.

Here the object of comparison, the beautiful woman, is just sligttly mentioned by the pronoun, sra, She, in the first line.]

This is called ergegeer - literally ' Praise (Description) of what is not directly mentioned' -- because of the fact of the Object of description not being fully expressed.

This is distinct from ervaia or 'Concealment,' -as shown below --

5. The Concealment of one thing by another similar thing is called अपह्ुति.

W ere one thing mentioned in a sentenc is concealed or set aside or rejected by another thing also mentioned in (another) sentence -with a view to impose the character of the latter upon the former,-we have 'Concealment,' 10

74 KAVYALAMKARA SUTRA [IV.3.6 --

Example 'What are seen in the anw flower are not its shoo s; they are the (taunting) smiles of Fate against people straying from home. Whet flashes yonder is not the lightning ; it is the glit ering gleam of the Love -- God.'

[Here the $aw shoofs are 'concesled' or set aside by the 'Smiles of Fate,' and the lightning by tre ' Glitter of the Love- God.']

Inasm ich as in thig be similarity ia indicated by two distinct sentences, this differs fron $97, Metaphor.

The $4w or Metaphor is next d fined-

6. By reason of the similitude of qualities between the 'object compared' and the ' standard of comparison,' where the character of one is imposed up onthe other,-it is #ts or Metaphor.

That is to say, where the one is described as identical with the other. The #W mentions both-the object compared ag well as the standard of comparis n-with a view to slow that M taphor has for its hase not only the fancied or imaginary Simi'e, but also one that is real, recognised in or linary exp.rience.

Example- 'She is arat in my household, a streak of nectar to my eyes; this touch of hers is a copious flow of sandal-essence over my body; this arm round my neck is the cool and soft string of pearls; -what of hers is not lovealleI but separation from her would be unbearable!

In such expressions as the moon-face, we have Simile, and not Metaphor, even though the two words are compounded; because it expresses simialrity and not identtty.

The next er distinguishes Metaphor from 4 (Coalescence or Paronomasia) ;-*

-IV. 3.71 MODIFICATIONS OF THE SIMILB 75

7. Itis #s or Paronomasia, when through coalescence of letter-sounds, there is an imposition of identity upon the properties of the object of comparison [by the object to which it is compared ].

That is to say, when, in virtue of the coalescence of letter- sounds [even when there is similarity in the meanirgl, the object to which the object in question is compared imposes its identty upon the quality, action and name of the latter object,-we have what is called @x, (Coalescence) or Paronomasia.

Example :--

सोष्माणो व्राणेता वविपक्षहदयप्रोन्मााथिन: कर्रनाः । उद्धत्ता गुरवक्ष यम्प शमिनः श्यामायमानानना योषा मारनपुस्तनाश्च न दधु: क्षोभं स वो व्याजन:।। 'May that great jina protect you whom' caim and collected, neither warriers nor the bre. sts of woman succeeded in distorbing. -the warriors and the breasts beth being (a) sgamergomsay: [the worriors having iaken upon themselves the glory of defeated armies, aud the breadts having shinning orbs and fronts], (b) T: [the warriors with shinning breast-plates, and the Breasts tightening or adorning the chest], (c) aisor: [the warriors endowed with ardour for battle, and the breosts glowing with passionl, (d) afia [the warriors covered with scars, and the breasts bearing the nailmarks]. (e) faveaasiamat [the warriors destroying the hearts of enemies, and the breasts causing pamn to rivals], (f) whr [the warriors hardened by battle, and the breasts thickest and hard]. (g) n: [ he warriors proud and baughty, and the breasts over-tlowing their bounds] (h) gra: [warriors respect- able and the breasts heavy] and (f) aarnumamap [the warriors with darkened face, and the breosts with blackened tips.l'

IIn this rm the same set of epitheta is applied to both the object of comparison, the breasts, and the object to which it is compared, the waniors: though the similarity rests only in sound:

76 KAVYALAMKARA SÜTRA UIV38-

words with different mr anings coalescing together and pronounctc as cne word; and this Coalescence indicates mtended simdarity ] NOTE .- Uader #tfat 85, the aargars discusses the question as to wheiber RT is a Varbal or an Ideal fgure of speech. ata makes it a purely ideal figure. The WTSNGTET.n the other hand, divides it ioto two distinet classes of the Verbal and the Ideal ; the Verbal SOT is that " where words, thougb with different meanings, coalesce in their letter-sounds " (strar 84);and the Ideal "t is chat "woere several meanings are got out of a siogle sentence.11 (कारिका 96). The next ## proceeds to show that a figure of Speech consists not only in the secondary or implied meaning, but also in the Indicated meaning :--

8. When the Indication (of things) is based upon similarity, we have the ahls (Homonym )

There are many bases for Indicstion: from among these, when it is upon similanty that the Indication is based it affords an instance of the fgure Homonym. As for example, in the line -- (a) अन्मिमील कमळं सरसीनां कैरव च निमिमील सुदतीत्ं।

'In the I kes, the lotus bloomed (opened) and in a moment the lily drooped closed.'=

The opening and the elosing, really belonging to the eye Indi- cote the blooming and drooping: and this indicntion is through armila ity.

(b) ' Herein qidt with its fresh-blooming bud captivates the heart, and the beathing of the pollens fagiant with honey is quite exhdarating.'

In this 'brea hing' indicates the issuing of the swect smell. Similarly in the following lines, what is indicated is easily comprehended -*

() May the beaut ful one rise to kiss the heavens'

(Kissing' indicates touching ]

IV.3.91 MODIFICATIONS OF THE SIMILE 77

(d) * Lassitude embraces her body * {'Embracins' indicates affectingl. (e) 'The glat ce repeats the faded lotus' ['Repeating' indicates imitation? (f) *In the morning the pungency (of the wind) is a com- panion of the fragrance of the blooming lotus.' ['Companion ' indicates associalion of co-existence.] (a) * The two thighs are the feltow-students of the plantain- stem. ['Fellow-student ' indicates similarity of shape.] The secret of true Indication lies in the quickness with which its real sense is comprehended. That indication which is not based upon Similarity does not constitute the figure of Homonym : as for example, in the line- 'The beams whi e like slices of the well-developed lotus- stem' the sliee indicates the substance to which it belongs, through proximity (and not through similarity); as it is the substance-the lotus-stem-itself that is white. The next da points out the difference of srinnr (Poetic Fancy) from Metaphor and Hom nym. 9. When what is not similar or cognate with another is represented,-for the purpose of showing its excollence-as similar or cognate, it is ' Poetic Fancy ' Seien. In this there is actual representalion and not absolute imposition (as in Metaphor) or indicalton (as in Homonym). This represent- ation again is by way of showing some excellence: and not as a misconcepti. n (. r mistaken identi y) This Poetic Fancy also is based upon simlarity: and as such it is illummated by such words and panicles as 'Is' and the like. Example- 'May tte Moon protect you l The Moon who is curved, like the end of a fresh lotus-stem, is placed on fia's forehead which

78 KÄVYALAMKARA SUTRA [IV 3 10-

is yellow like fire; being daily besprinkled with aprays from the dripping a-arrw f; shooting out like a sprout from the crystal-wlute forehead." [ Here in the likening of the Moon to the 'sprout' lies the Poetic Fancy : there being no actual aimilarity between the two; the representation as such serving the purpose of showing the peculiar beauty ot the Moon.] Some people hold that anaanfs (Hyperbole) is the same as Poetic Fancy : this is deried in the following ar-

10 When there is an assumption of some fancied property or superior excellence of property, it is Hyperbole.

Example -- 'If in the sky there could appear two concurrent streams of the celestial #IT to that alone could be compared his blue chest adorned with the pearl-neckluce .*

[ Here the concurrent streams have been assumed for the purpose of indicating the excellence of the chest; to which nothing that exists can be regarded as similan.]

Another example -- 'The Moon shin'ng brightly, lovely women repair to their lovers with joy and free hom fear: having their bodies clothed in white raiments, undistinguishable from the moonlight by reason of their bodies being besmeared with sandal-plaint, their necks glittering with pearl-necklaces, their faces shining with the white paintings .**

[ Herein the superior excellence of the woman's complexion &c. is assumed ] Just as Metaphor consists in some form of misconception, so we have the figure Dubioms. which is based upon coubtful conceptions: this is explained in the next Ea

#The i qtT cites ths as an es mple of the tigure GI46a.

IV 3 12] MODIFICATIONS OF THE SIMILE 79

11. When there is some doubt as to the character of the object and the standard of comparison, it is the ' Dubious .* That is, when the doubt is put forward for the purpose of implying some excellence in the object compared. Erample -- O beautiful one! My heart cannot ascertain whether this is a lotus at your ear or your eye; it remains wavering in un- certainty.' The next er defines fita or ' Contradiction.' 12. Where there is semblance of contradiction we have the figure Contradiction. That is, where things, not really contradictory, appear as such. Example- ' Wonderful is the way of Love, O beloved one! The wine has been drunk by you, while it is my mind that is intoxicated (with the feeling of love); you have painted your body with saffron, while it is I who am red (in love): it is you whose movement is slackened by reason of the weight of your breasts, while the consequent trembling sppears in me: it is you who are slender in waist, and yet the consequent mstability is mine !' [ Here there is a semblance of contradiction-(I) in the fact of the intoxication appeanng in a person other than the one who drinks the wine ;- (2) in that the redness appears in place other than that where the saffron has been applied ;-- (3) in that the trembling appears in a place other than where it is due; -and (4) in that the instabilty appears not where it should but elsewhere, It is on'y a semblance of contradiction in all these cases, because,- in (1) what is meant by intoxicalion is not the condition caused by wine. but that which is brought about by feelings of excessive love; in (2) 'rakta' does not mean red but attached, in looe; in (3) the trembling is not what is caused by a heavy burden, but one of the phvsical manifestations of excessive love; and in (4) also the instability is not meant to be that due to tender limbs, but that causod by excessive emotion.)

KAVYALAMKARA SUTRA I V 3 13

An ther sımilar example- 'While she is young it is I who am shy in speech ; she is a woman while it is I who am timid; she has heavy and high breasts, and it is I who am feeling fatigued: she is endowed with heavy thighs, and it is I who am unable to move; how wonderful it is that I am sulfering from disabilities that are due to the defects of another person'! [Here all the defects indicated are the effects of excessive passion ; and not due to the purely physical causes mentioned.] The next e points out the distinction between C ntradiction and Peculiar Causation- 13. When the presence of a certain action is denied, and yet the presence or manifestation of the well-known result of that action is affirmed,- it is the ligure of famaet or Peculiar Causation. Example -- 'In the naturally pure heayts of the wise, no impression is made, even by the company of the wicked.' The figure amesq Unique (Comparison Absolate) is next described- 14. It is the figure ' Unique' or Comparison Absolute, when one and the same object is both the object and the standard of comparison. Example -- ' As the skv is like the sky; and the ocean bke the c cean .- the battle between tm and qaw is like that between tH and trag, What is implied by this f gure is that the object desenbed is unique, nothing else bearing similarity to it. 15. When the same object is made the 'standard of comparison' in one clause and the * object of comparison' in another, it is sondrter or 'Reciprocal Comparison'.

IV 3 17] MODIFICATIONS OF THE SIMILE

Example.+ The water is like the sky and the sky is like the water; th moon like the swan, and the swan is like the moon; the stars are like lilies and like stars the lilies.'

Some people regard the Reciprocal Comparison to be the same as qftai or Exchange; that this is not right is shown by the next E -*

16. Where there is an interchange of like or unlike things, it is ' Exchange '. Example of the exchange of likes -- 'The young woman takes the leaf of the lotus for ear-ornament, and imparts to it the redneas of her feet; in th's the exchange being of two similar things, is but fair, I ween.' Example of the exchange of unlikes -- 'Of indomitable will, she gave up her necklace and sandal- paints, and bound up her chest with red barkgarment, which had its seams bursting with the rising breasts.'

[Here was an exchange between the necklace and the bork garment, two very dissimilar things.]

The next R shows that figure m or 'Sequence' is different from ' Reciprocal Comparison.'

17. Where there is a sequential or consecutive con- nection between a number of * standards' and ' objects' of comparison,-it is ' Sequence.' That is to say, when the obiects are mentioned in the same order respectively as the standards to which thay are compared. Example .- 'By her (a) sweet voice, (b) smiles and (c) eyes, have been subduad (o) the lute, (6) the lily and (c) the lotus.'

Through association by similarity, the frow or 'Hluminator* is next described -- 11

82 KĀVYALAMKARA SOTRA IIV 3 18-

18. When there is a single verb common to a number of clauses mentioning the 'objects', and to those mentioning the 'standards' of comparison, -- it is the ' Illuminator.'

That is, when one and the same verb is related by trans ference to both clauses.

19. The Illuminator is of three kinds, according as the common verb occurs at the beginning, in the middle, or at the end of the sentence.

(a) Example of the Common Verb at the beginning- 'Adorned are the harem gardens with young flowers,-young women with graces beautified by the charms of spring,-the argrer with the performance of duties enjoined in the Veda,-and the Kings with their glory born of the suppression of enemies.'

(b) Of the Common Verb in the middle- * The tears of the wives of the people away from home .- and the rain from the clouds,-ore now falling off, as also tho conquer ing expedition of the King. (c) Of the Common Verb at the end- " Intelligence by serving the teacher,-love by drinking-and the Ocean by the rise of the moon,-is augmented.' The next qr shows that like the Illuminator the 'Arfma' or 'Illustration ' also involves an abbreviation :- 20. When a certain action indicates or points to a relationship or connection between itself and its cause,-it is ' Illustration." That is to say, when a certain action is mentioned with its own cause-something that brings it about,-the differentiation between Cause, Effect and Example being included therein,- it is Illustration.

-IV. 3.21 J MODIFICATIONS OF THE SIMILE 83

Example- ' The faded leaf is falling from the tree, pointing out to rich men the fact that the attainment of a very high position always leads to fall.' Here by means of the clause 'pointing out to rich men* is indicated the relation between the action of ' falling' and its cause 'the attainment of high position. NOTE-The Illustration herein defined is defined is the $1595HITIFT 8 as the second kind of Illustration ; the first kind being defined in K. 97 as that wherein * an impossible relation of thinga establishes similitude', the .example cited being-' Where on one side is the family of Raghu, where on the other, my Imited intellect | Through sheer feolbardiness am 1 going to cross over the ocean by means of a raft.' The next e points out the difference between Illustration and pr-atqH or 'Transition.' 21. - When in support of the statement of one fact. there is a statement of another,-it is 'Tran- sition.' Inasmuch as the statement in support should be one of fact, expressed by a wlole sentence, the mere mention of a reason by means of the Ablative does not constitute Transition: e, g .- in the sentence 'the lake cannot be very far,-because we perceive the amell of lotuses' [ the perception of amell is put forward as a reason by means of the Ablattve word wnedmesna. The definition mentions the 'statement of ancther fact,' in order to indicate that we have this figure only where the exact nature of the inferential reason and premiss is not quite explicitly stated; this precludes such statements of distinct inferential reasoning as -- 'that which has a beginning is transient,' and so forth. Example of * Transition'- 'On her plump breasts was placed by the lover a garland, in the presence of her rivals, -this garland, even when withered with damp, she did pot throw awayt the value of present lies in the love that prompte it, and not in the thing itself'.

84 KĀVYALAMKARA SŪTKA I IV 3 22

The last senter ce the value &c. supphes the reason, in an implicit form, why the woman did not throw away the garland.]

Some people bave held that, "Transition is not different from amats or Negation of Similitude (Dissimilitude), because the former consiets in the statement of a redson, and the reason consists of affirmation or negation of Similitude (the latter thus constituting only a form of Transition);" in refutation of this view, we have the next supplying the definition of sats or Negation of Similitude,

22. The Dissimilitude consists in the pointing out of the superiórity (to the standard of comparison, of the object compared).

That is to say, where the olyject described it pointed out as possessing qualities superior to those possessed by other similar objects.

Example= " Really would the beautiful face of the fawn-eyed woman be dimilar to the moon ; but the latter is spoilt by the dark marks."

[Here the quality of comparison, beouty. is explicitly stated.) In some cases the quality is not explicitly stated: it is only implicitly implied. As for example --

By thy sweet and graceful oblique glances,-the cluster of blue loluses has been set at nought, ... fresh honey has been put to shame,-nectar has been derided-the highest relish has been lowered in its sweetness,-and poison, in the shape of anxious longing has been inserted in the hearts of lovers .*

The next @ points out the difference between Dissimilitude and foniim or 'Peculiar Allegation '- 23. Where the similarity is strengthened by the assumption of the absence of some one quality,- it is 'Peculiar Allegation.'

IV 3 24] MODIFTOATIONS OF THE SIMILE 85

That is to say where one point of dissimilanty is mentioned with a view to accentuate the other pomts of mrmilarity, it ie Pecular Allegation. This figure in almost all cases, involves a Metaphor.

Examples- (a) 'Wherein the effulgent herbs become the lamps of dalliance withouf ofl.' (b) 'Gambling is man's kingdom, toithout a throne.'" (c) 'Sleep is went without the lotus.' (d) 'The elephant is a moving foit.

In the last example the epithet moving indicales absence of fixity or immobility; and as such herein also we have 'absence of a quality ' as mentioned in the definition: the same holds good with reference to the following also -- ' The prostitute is embodied [ not bodiless ] deceit.'. 'Horrible is death with brenthing [ not breathless].' 'The mreror is gergff on Earth [not away from the earth).'

NOTE -- The $I4HENT (K. 108) defines Peculiar Allegation as the non-men. tion of the effect in the preseace of the fully efficient cause; and makes it the coverse of Peculiar Causation, which,consists in the men lon of the effect in the absence of its Cause.

The next defines ammafa or. Dissembling Eulogy as distinet from Diesimilitude and Peculiar Allegation --

24. Where, for the purpose of praising a person, there is a deprecation based upon his not doing something that has been. done. by a very supecior person,and which. (it is implied) is capable of being done (by the person sought to be praised),-it is Dissembling Eulogy.' This kind of praise consists in implying the similarity of the person described with the very superior person mentioned.

86 KĀVYĀLAMKĀRA SŪTRA [IV.3.25-

Example -* 'th bridged up the Ocean with hills, and with a single arrow he pierced seven palm trces; not having done these yet, thou bearest an unaccountable pride .*

[ The sense of this is that ' on all other points, except the two mentioned, thou art quite equal to (r4.']

The sqrsinf or Artful Assertion is next distinguished from Dissembling Eulogy --

25. When the ptetence (the pretended thing) is spoken of as similar to the real, it is Artful Assertion. Also called ' qrarfer.'

Example- 'With the moon-white grass flower blown with the wind, thy face is made to appear as if with drops of tears.'

The next Q# points out germar or Equal Pairing as distinct from Artful Assortion.

26. When, for the purpose of indicating equality with a superior person or thing, the person or thing described is mentioned as endowed with the same action and at the same time (as the superior person or thing),-it is Equal Pairing. Example- .'The Lord of Serpents, as well as your arm, bears the burden of the whole of this sea-girt earth.' 27: When there is repudiation or rejection of the standard of comparison,-it is snav of Dis- paragement [ also called ' Hint'- see below].

The standard of comparison is rejected, for the purpose of indicating that it is uselees in the presence of the object described=

-IV. 3. 28] MODIFICATIONS OF THE SIMILE 67

Example- 'In the presence of her beautiful face, where is the use of the full moon ? When her charming eyes are there what is the use of blue lotuses? What too is the use of the fresh leaves, in the presence of her lips? How wonderful in the Creator's desire to bring into existence useless things over and over again!' The above Q7 defining the figure snav may alao be taken to mean that the figure is present when the 'standard of com parison' is only hinted at (and is not directly comprehensible) [and the figure then is called airdq in the sense of 'Hint' see aaTa K. 106-7.1

Example of ' Hint'- 'The Autumn, bearing upon her white clouds [ breasts ] the rainbow ressembling the nail-mark, proceeds to appease ] make beautiful ] the blameworthy [dark-marked] Moon, and thereby causes heat [pain ] to the Sun.' In this verse, what is hinted at is that the Autumn is like a prostitute, the Moon like the favoured lover, and the Sun like his rival,-the ' prostitute,' the 'lover' and the 'rival lover," being merely hinted al. The next &5 points out the difference of aairf or 'Connected Description ' from "Equal Pairing.' 28. When the two actions of two things are descri- bed, by means of a single word, as occuring at the same time,-it is mnf or 'Connected Description.' Such description of simultaneous actions is through the use of the word ar (together with) or some word having the same sente.

Example -- 'The sun has gone to set, along with the enemies; therefore withdraw the forces.' In this, between the two thinge (e. g. the Sun and the cnamg)' aeither inferiority nor superiority is intended to be expressed:

88 KAVYALAMKARA SOTRA [IV 3 29

and therefore this is not Equal Pairing [ where similarity with a superior thing is meant to be indicated]. The only figure of speech left undefined is the nerfta or 'Conformance ': this is defined in the next A#.

29. When a certain thing becomes actually trans. formed into that to which it is described as being similar,-it is tufa or, Conformance. As for example, in the following verse, the creeper likened to sådt actually becomes aaait on being touched by the King qar (as deacribed in the विमोशीयर्वभषि). 'The slender creeper having her leaves wetted with rain appears like aåal with her lips wet with tears; being dovoid of flowers, it resembles wfmft who has removed her ornaments; there being no bees humming along the creeper, it resembles gaat rapt m anxious contemplation ; thus taking all together the creeper appears like my beloved zaaft who is now repentent dver having rejected my apologies to her when I was lying at her feet." The figures described above may appear either individually or conjointly: when there is a conjunction of two or more of the more important figures, we have what has been called ' egfe or "Commixture.' This is what is defined in the next fr.

30. #ef or 'Commixture' consists in the conjunction `of one figure of speech with another. 31. Simile-Metaphor' and 'Fancy-Root' are the two forms of ' Commixture.' Example of 'Simile-Metaphor'-i. e. 'Metaphor based upon Simile' :- Your operations being endleas and independent. you are like the Primeval Tortoise, being the very root of the creeper of the Fourteen Worlds . [ Here the Metaphor contained in the phrase 'root of the ereeper of the worlds' is based upon the Simile contained in the rest of the verse, between the King and the Tortoise-shaped mavn.1

V POETICAL CONVENTIONS 82

Similarly when the Moon is spoken of as 'the fhos of the Night-woman ' (where, on the Simile between the Night and the Woman is based the Metaplior of the Moon and the faras,

32. The ' Fancy-Root ' is that figure of speech which forms the origin or source of the Fancy.

Example-

'The Moon kisses the face of the Night .- after having removed (caught hold of) the datkness, which rexembles the hair of the woman, with his beams, which resemble the fingers of the man,- the face of Night having the lotus, which resembles the woman's eyes,-closed (through modesty).' In the above section we have shown the various modifications of Simile which contains within itself the endless beauties of com- position : and this we have done by means of definitions, some of which are our own, while some are those propounded by others. 'There are many other points of beauty which form only parts of the Figures of Speech ; these also are similar to real Figures, and should therefore be made use of by poets. '

CHAPTER V.

PRACTICAL SUOUENTIONS.

Section (1).

PODTIOAL CONVANMIONE. We proceed now with the 5th Chapter wherein we shall de- scribe the 'Poetical Conventions,' and also, ' Word-Purism;' we begin with the Poetical Conventions- 1. As a rule, one and the same word should not be used twice. As for example-such use as qaig qr is reprebensible. Some words however may be used twices such, for example as 'for' 12

KAVYALAMKĀRA SŪTRA IV.1.2-

id the like. And algo such usage as 6: 6m :; mep-won and e like is allowable. Conjunction between words in the same foot, as also between the final letter of one foot and the first letter of the following foot is absolutely necessary,-except in the case of the first half and the second half [between the last letter of the first half and the first letter of the second halt 1.

2. Just as in the case of a word, so in the case of each foot of a verse,-as also between the final and first letters of different feet-Conjunction is abaolutely necessary :- except in the case of first and second halves of the verse. * As in the case of a word '-as laid down in the mle-' Conjunc. on is absolutely necessary within the word, as also between the refix and the verbal not. ' 3. The short syllable at the end of the foot is not to be alwayt regarded as long [except at the end of the half-versel. The final syllable of the foot is gonerally to be treated as long; sut this should not be done in the case of all metres: thia ia to be lone only in such metres as the followingi ... यासा चालेभवति मदगृहपहळीना हसैश सारसगणश्र विद्वसपूर्व।

जीजाअति: पतति कीटमखावलीढः।i [ Formerly at my door-way, the grain-offerings use to be eaten, up by swans and cranes; and now at the same places, where the grains of the former offerings have sprouted out, handfuls of sueh seed are falling as have been spoilt by insecte ') :--

V 1 61 POETICAL CONVENTIONS 91

And the short syllable as not atlowable at the foot-end of such metres as विरुधिनानां रजसि प्रसपति समस्तमासीव्ि निमालित जगन। [When the armies moved, the whole world became enveloped in the dust raised by them. '] The #in the serves to indicate that the exception of the preceding t ... ' except in the case of the first and second halves' ... is to be taken along with the present qa also. 4. In prose, no metre should ,be introduced even in its nearly complete form; except such [irregular or unsymmetrical ] metres as the gar and the like which resemble prose. The introduction, in the body of a prose composition, of such sentences as happen to be in the form of a metrical verse, spoils the beauty of the prose; and hence should be avoided. The feet of the irregular metres however are so much like ordinary prose that if a sentence happens to fulfil the conditions of such metres, the effect of the prose is not loat. 5. Such words as e and the like should not be used at the beginning of the feet. The words intended to be precluded here are such as are always incapable of fitting in with the opening of lines; such for instance, as the word 'ag' and the like; it does not apply to such other woids as '(a', 'ad' and the like, which generally fit in with the opening of verse lines. 6. Neither half of the verse should contain a syntactically incomplete sentence. As in the following verse-

['In dancing ever beautiful are the hands of fhr, with the finger-ends slightly curved; and so also are the arms of por as bright as the amaiss bird .* ]

92 KIVYĀLAMKARA SUTHA tV 17

[ Here the sentence contained in the first half has its nomi- native in the second half ; this is not right.] 7. Such wiwrs compounds should not be used as are capable of being taken as, and affording the sense of, the agfift compound. For example the compound areaifaans should never be used in the sense of 'the inhabited tree', which sense is obtained by interpreting the compound as wamna. This use would be undesirable, because the compound is more liable to be taken as agaift affording the sensC of 'one who inhabits the tree.' [ Such use has to be avoided on the ground of confusion.j 8. The converse of the above also holds good.

That is to say, we should not use such agift compounds as are more liable to be taken as wiarrq. For example, the com- pound word arrgsg should never be used in the sense of 'one who has brave servants ;' as the compound is more liable to be taken in the sense of 'the brave man' (a mhurrq): and so also the word gata should not be used as agarfs in the sense of 'one whose voice is sweet' as it is more liabe to be taken as aaurr in the sense of 'the sweet voice." 9. Two negatives should be used, only when it is intended to express the denial of a possible negation. That is to say, when it is intended to describe that a negation or absence, which was possible, did not come about. For instance, in the verse --- 'That person, by whom in battle, even the king of the gods was not unconquered, is lying on the ground wounded by the arrows of an ascetic' -- What is denied is the unconquering of tra which was possible in the ordinary course of events; but which did not come about. 10. The qualifieation alone is to be used, when the idea of what is qualified by if is well known.

V 1 131 POBTICAL CONVENTIONS 93

Example m the line- ' The ocean-girded treasure-bearer'- We have only two epithets of the Earth [which is too well known to be mentioned]. Similarly also in the line- ' From out of the forehead of the angry Destroyer of Cities, fire flashed forth - [We have only the epithet ' destroyer of cities' of fra ] and in the line- ' Quickly did gur rise from his seat, like the lightning bearer fiom the mountain-top,'-[for the cloud we have only the epithet 'lightning-bearer.'] 11. That which forms the subordinate member in a compound is to be referred to by means of the Pronoun, As for example,-in the line -- सवापि नीलोमपलपत्र चक्षपी सलस्य तदेशसमानगन्धिन:। [ You, who have your eyes like the blue lotus, and have your face smelling like the pollen of that (blue Iotus)'] -- The ' blue lotus,' which forms the subordinate member in the agane compound in which it occurs, is referred to by the pronoun 'tat.' 13. Of Vernacular forms of words only those should be used that are very frequently used by poets.

For example, in the line, -- योषिहित्यमिललाष न हाळाम् --

[He did not desire the wine, thinking it to be a woman]. We have the Vernacular word 'gret' which is current among poets. [Vide baga 49; fagqraay X 21 and varars I. 48.] Those however that are not very current should never be used : the word 'aget' in the following line .- कडे लीकानना लोरविर लविलमम्पल्वा नर्तनयन्त:।

94 KAVYALAMKARA SUIRA IV 14

{ Making to dance the syar forests, beaming with dense fobage ]- used as the name of the wrarr tree, is not very common among poets. 14. The gender of words and ellipses [made use of should be only such as are accepted in current usage]. For example, in the line,- वत्से मा बहु निश्शसी: कुरु सुरागफ्हपमे के शन: । Į O dear, do not heave such frequent sighs, just rinse your mouth with one mouthful of wine.] -- The word mogy has been used in the Masculine gender: because it is in this from that the word is found to be mostly used; and its feminine form is not used, even though the word is laid down as belonging to that gender also. And in the following versc,-

वारणं मपकल परखर्वा। वाहिनीजलभर: कुलिश वा स्वस्ति तस्तु लतया सह यक्ष। [O tree, may well betide thee I accompanied as thou art with the creeper I and may neither fire, nor wind, nor intoricated elephant, nor the axe,nor the water of rivers, not the thunde bolt (hurt thee),'- The verb ' erardrs' (hurt) is omitted, in vittue of the fact that such elliptical omissions are current in usago. 15. Words used in their secondary sense should also be only such as are current in usage (in that sense). For example only such words as -- (a) aio literally signifies that which contain two r-s'ie., the word, wat; hence the word fts indicatos the bee only indirectly or secondarily.

V 1 17} POETICAL COAVENTIONS 95

(b) taaror literally signifes the leg of the chariott e the a (wheel) and though this latter the word, orerd is used to indrectly mdicata the aeara bire .!

By the analogy of the word fattr however the use of the word Rs in the sense of the crew, whose name is $I6 (a word with two Ka-s), would not be justifable: as such a word is not eurrent in usage.

16. In any single sentence many such words (in the indirect sense) should not be used.

Because it is possible in the caae of one word to treat it as expressing what it does not ieally express; this is noi possible in the case of many words.

17. Such classes of things as the breost and the like are generally spoken of in the dual number.

E. g., 'taamreoffarez, the two breasts of young women,' and the like. 'Generally '-because in some cases other numbers are also used, e. g. efimi a: (' the eye of women ').

An ohjection is raised -- " How can dualtty be said to belong to the wfat or class (as mentioned in the qa)? As a rule, number belongs to the substance, and not to the class."

What the number really belongs to is known to the followers of Jaimini (the gmiaw, who have devoted much time and attention to a discussion of this question). As for ourselves, in all matters relating to things of the world, we accept the view of othet people. Nor can this lead to any confusion: as all reasoning ia in accordance with the character of the thing described: [ and when this has been accepted to be in one form, all subsequent reasoning will be in accordance with that form, and there will be no confusion.] This principle has to be bomne in mind throughout this work.

96 KAVYALAMKĀRA SŪTRA [V. 2-1

Section (2).

CORRECT FORMS OF WORDS. We proceed now to deal with the correct forms of words. 1. Authority for the vwag compound e has yet to be found.

People generally use the word eit in the sense of $: and कढाणी. All such एकशेष compounds are based upon the मत्र-पुमानस्त्रिया- 'A word in the masculine gender, spoken along with the same word, but ending with the feminine affix, becomes twar and the latter is dropped' (morfa 1.2.67.); but this rule is not applicable to the case of the compound formed of the words. : and sarft because the role laid down in this aforesaid sūtra is govemed by the proviso-'provided that the apecific difference between the two words be in their signa (affixes) only " (occuring in qforfa 1. 2.65): and in view of this proviso, an Ta compound of the kind in question is not allowable except when the only difference between the two words lies in their gender-ending; in the case of the two words #4 and sroff on the other hand, we find that the words differ also in a point other than the gender-endig : that is, in the word ' sef' the feminine denotes xnot only the femine gender, but also the fact that the person called by that name is the 'wife of vi in accordance with wooif IV. 1.48,, wherein it is laid dowa that in such words as 'mayoft' and the like, the feminine affix comes by virture of 'the word expressing the name of a wile in relation to her huaband .*

The same difficulty also holda with regard to such thar compounds as 'इन्दौ' (इन्व and इन्दाणी), 'भवौ' (भवः and मवानी). 'भार्वी (nå and waioht) and the like. 2. The character of the regular 'verbal root' belongs to such roots as faf (to touch), afa (to fear). #it (to destroy) and the like; because the lists of roots are not meant to be exhaustive.

V 2 41 CORRECT FORN OF WORDS

We often meet with such verbs as 'fwia' (touches) ;* gaa (fears #vvia (destroys) and the like: and the question naturally mises as to the character of these verbs; no anch roots are found enumerated in the lists provided by qnfona in his srorqrs. In answer to this it is declared that these may be regarded as regular roots; in as much as the enumeration in the several lists are not meant to be final and exhaustive for we find grammarians declaring that ' the number of roots goes on increasing.' Consequ- ently all such roots as are found to be used by standard writers must be accepted as regular roots;

NOTES .- The root gfd was not included in the original 'list of 'Phanantah parasmaipadtnak' (Siddhantakaamudi pp. 359-362) ; but has been included in the list by Bhoja Ibid. p. 361, 1.3).

The root foe is actually found (ft. at. p. 392) as the senenty-third root in the list of qrenqe roots beginning with ' obrashchu.' So it is not easy to see why aTHT includes this root among the irregular ones. The root sfa is not found in the fer. st. at all. 3. The root af (to cover) is not necessarily always emav; this is indicated by the sutras them- selves. The root afa ending in t and having the erger accent, would appear to be always smenave, in accordance with qt. I. 3. 12; but this restriction is not always strictly observed in usage; we find it used as परस्मपदी also: 2.g. लज्लोलं वन्ति [where वलन्ति has the शतु affix, peculiar to the wfaqrl. This looseness of usage is bome out by the indications of qrforer aw itself. How this is so is explained in the next tE. 4. (The indication mentioned in the preceding « is afforded by) the fact that wff has added two supernumary syllables to the root Grae (to speak or declare. The fact that the root ' war' is emamvd being shown by the syllable 't,* added to the root, where lay the necessity of adding the further syllable ! #,' which also is indicative of the same fact? The 13

96 KAVYILAMKIRA SUTRA [V 2 5

fact thet two such syllables were ueeded m the case of the root which is always emanutr is 'indicative' of the view that those roots that have only one of these amave indicatory syllables are not to be regarded as necessarily smeaft always. The same reasoning holds with regard to the roots aft, aftt, af and the like; all of which we find used as Parasmaipadi in such words as 'enaqqfir,' 'atarqia, 'adqfa,' and so forth; in all these cases we must accept the principle that the 'enamyr,' indicated by the ultimate syllable '{' and the srarr accent, is not always necessary.

5. The form wiaa fnust be taken as in the wing or Reflexive-passive [i. e. where one and the same thing is the subject as well as the object of the verb.]

The form eftva can be accepted as correct only in cases where ita subject and object are both one and the same; as otherwise the enerive from would be indefensible.

6. So also the form ftr. The root frg does not belong to the fourth conjugation; consequently, the form frad (with the intermediate 4) would be possible only in the ind voice, and not in the ordinary Active voice.

NOTE-The readings faerd and ferea are both obviously wrong, as the roots feag and fere do belong to the fourth conjugation.

7. The atmanepada use of the root miff (to search) must be regarded as wrong.

Among the roots of the tenth conjugation we find the root #tfi (to search): among those roots of this class which take the casual form only optionally, according to the qrfae argeen all these roots being परस्मपदी, the आत्मनेपद use-e.g. मार्गन्तां देहभारम-must be regarded as wrong. We find standard writers making use of the परस्मपद form of the root: e.8. कराकेसळयं बुख्या धुरवा विमार्गति पाससी,

V 2 91 CORREGT FORM OF WORDS 99

8. Such forms as sieum and the like must be ex- plained as formed with the ana affix.

The forms lemrt, e4m (rolling) and the like, formed as they are with the roots are and ag both of which are qratutt could not be taken as formed with the wraq affix; as this is possible only in the case of eraaval roots. The only way therefore of explaining their derivation is with the help of the affix aTa. 9. When the root aff in the sense of going takes the causal form and the comsequent q. the subject may be treated as accusative and also as none accusative (according to the sense of the root). The root afr has been declared to signify 'going' into which ' achutring" also enters as the subordinate factor, and it has also been declared to signify ' acqutring' into which ' going' enters as the subordinate factor. In the former case, the root signifying going is regarded as a aiarar and as such, when it takes the causal form, its former subject becomes the accusative, in accordance with qf. 1, 4, 52; as in the following line .- दीर्घिकासु कुखदानि विकास लम्भयन्ति शिशिया: शशिभास:। [ In the tanks. the cool rays of the moon make the lilies reach the blossoming stage ]. I Where we find the lilies, which are the 'subject' of the actiot of reaching bloom, made accusative, when the root is used in the causal form ļ. But when the idea of 'acquiring' forms the predominant fa&tor in the denotation of the root aff, the root cannot be regarded as a moend and hence in its causal form, its oniginal subject is not treated as accusative ; as for instance, in the following verse -- सित सितिम्मा सुतरां सुनेर्वपुविसारिभि: सौधामेवाथ लम्मयन्। द्विजावलिव्याजमिशाक रांग्र: अचित्मितां वाचमनोचदच्युस्तः ॥ 'aont addressed to the sage sweet words, enbancing the white. ness of his body by the light of his teeth, in the same mannet

100 KĀVYĀLAMKĀRA SŪTRA IV 2 10

the whteness of the whitewashed house is enbanced by the rays of the moon 'J

[Where Tgt is not treated as an Accusative. } 10. The words à and # must be regarded as irregular forms (recognised by usage).

The words a and à in the sense of (l and qp respectively must be regarded as irregular forms sanctioned by usage ; e.g, gr a aat mty I You have heard his words') and àuava tia afmd gu a [That he studies the Vedas was not known to me. ]* it. It is only through indirect or secondary indi- cation by the sense of disappcarance that the word, fansga can be nsed in the sense of insulted and disgraced.

The word faerga is frequently found to be used in the sense of diagraced: e. g. uat Rregat 'he has been disgraced by the king.' This sense however cannot rightly belong to the word, as it is only in the sense of ' disappearance' that the particle fare has been declared (qT. 1, 4'71) to be a mfr or Preposition, and it is only when farra is a preposition that the retention of the inlernediate '#'in farea can be justified, according to 4t. 8-3.42, which lays down that "the sisarga of the afet or preposition fru is optionally changed into # before a hard guttural or labial." Under the circumstances, how is the use of fatern in the sense of disgraced to be explained ? It eannot but be due to indirect indication by the sense of disappearance; that is to say, the word literally primarily signifies 'hidden' or ' disappeared ;' and this indicates ' disgraced .* in view of the fact that one who is disgraced is regarded to be as good as

In these cases the word aand a cannot be regarded as genitive under 47. IL 3-67 ; as this lays down the ute ol the genitive only in connection with such past participles as are used in the sense of the present. Becanse in the two examples cited the sense of the pretent is absent.

V 2. 13] CORRECT FORM OF WORDS

disoppeared. We also find the word used in its primary sense of disappearance e, g. छावण्यप्रसर तिरस्कृताङ्गलेखां. [She having the lines in her body hidden by the charming glitter of her complexion. ] 12. The word as (not-one) can be correct only when taken as a gvgut compound under 9T. II. 1-4. In such setences as- अरण्ानीससायं फ्नमितनैक दुममिदम। 'This spot in the forest has got not a single tree full of fruits'- We come across the compound word . If this were the ordinary aa ageq then the correct form would be sias according to q. VI. 3,73,74 [by which the negative a having become deleted, its place is taken by aral; as the negative # without some sort of an additional syllable, can never enter into any compound. The only way then to justify the use of the word a appears to be to take it as the most general TW compound, under T7. II. 1'4 [by which any subanta word may be compounded with another subanta-]* 13. Such compounds as agfime and the like can be explained only on the ground of the word fare being included in the nhara group of [irregular] compounds. We meet with the compound ugrorg in the following line :- मधुषिपासुमधुव्रतसेवितं मुकुलजालमजुम्भत वौरुधाम।

[ There came into view the blossoms of creepers, with the honey-thirsty bees hovering round them I; and this compound asfvrrg belonging to the Accusative -- argor expounded as ag faurg can be explained only in accordance with the arfas on qT II 1'24, which points out the possibility of such Accusative argar compounds being formed with the words contained in the tamny group." *It is not made clear how this meets the difficulty urged in the preceding clause ; the incapability of the simple negative particle f ta enter into a compound should bar on thet9I compound also.

102 KĀVYALAMKĀRA SOTRA IV2 +

NoTE-+There is no such group in Paniot's aerors, On the ana the aeaetfifr Commentary remarks. "What words form this group can be ascertained only from usage. "

14. The word, fadt can be regarded as correct only when it is a Proper Name.

Because such a compound is admissible only in the case of proper names; as declared in 47. II. 1'50, by which, "the words expreasing the points of the compass or a number enter into com- position with words correlated to them by being in the same case, when the sense of the compound is that of an appellative,"

15. The word farargr can be right only if taken as an Elliptical Compound.

Such expressions as frara: fraa cannot be quite correct because the proper form of the compound should be aruriaa by WI. II. 1.56. The only way of justifying the compound faraprt under the circum- stances, is to take it as an Elliptical Compound, there being an elicion of a word in the middle, on the analogy of such compounds as mHfa and the like, declared as correct by the anffia under Il. 1.60, [when expounded as asfae: qrffat the word fay being elded in the compounded forml; the compound favarve should, in this case, be expounded as fnarare apqrt "the lip of the shape of the btmba fruit,' the word anert being elided. The same explanation would apply to such other compounds as farais and the like. It may be noted however that the above explanation should be had recourse to only in the case of compounds used by standard writers; and should not form a rule for the making of endless new compounds of the like kind.

16: The compounds agedien and the like are to be explained like the compound ftqeqg :.

That is to say, such compounds as enqasian, envearon, nd the like must be treated as belonging to the mursjas g roup, all of which are regarded as irregular but recognised combounds by

V 2 191 CORRRET PORM OF WORDS 103

. 1I, 1,72; the compound being expounded as arfaa disy- anye a nad a [ fickle from the very root.']* 17. In such words as waqrq and the like, there is no absolute interdict upon their being treated as Genitive tgsr; because the ordinal number takes an additional nominal affix. Such, compounds as 'urqven' 'gsgvan' and the like are not absolutely incapable of being taken as the Genitive arysq; because the ordinal number, ve (sixth) really stands for qa qir ' the sixth part', being formed by the addition of the further nominal affix arr dencting 'part' [which does not effect any change in the form of the word] according to qf. V. 3,48 and 50, by which -- "after an ordinal number ending in fary, and also the ordinal numbers qe and ₡ comes the affix aiq when a part is a meant." 18. In the case of the words qahfamt and the like; the Genitive mgww is interdicted by the fact of the second member being an abstract noun denot- ing quality.

47. Il, 2,11 lays an interdict upon the genitive aaes com- pounds of which the second member is an abstract noun denoting quality: hence no such compounds should be formed as Trofaer ('leaf-paleness'). qmanagfaat ('yellowness of the cluster of leaves") and the likd. Therefore wherever we meet with such compounds we must regard them as cases of wanton disregard of the aforesaid interdict. 19. A non-appositional Bahuvrihi Compound is allow- able when the second factor consists of the word and the like. * Thogh the compounds herein mentioned do not actually appear in the ojns Group as given in the murqrs yet they are held to be included therein in view of the fact that qrfoer has declared this group to be an sffrmor by virtue of which, the fact of any word belonging to this group is acertained by its formn a bosteriori, and is not discoverable a priort by any consideration of its constituent partp.

104 KAVYALAMKĀRA SŪTRA [V 2.20

As a role, in all Bahnvrihi compounds, the two factors should be in the same case, hut when the second factor happens to be some such word as qa and the like, the compounding of words in cufferent cases (i.e. non-appositiontdd) 'is not objectionable. E.g. शास्मर्थअन्मा दि विवेकलाभ: [where शास्त्रार्थजन्मा means शास्त्रार्थात् जन्म वस्य 'that discriminative wisdom which is born of the study of the Scriptures:' one word being in the ablative and the other in the nominative case; and similarly avagaq: in the sense ae efn aarg breaths located in the throat', where one word is in the locative while the other is in the nominative case.] 20. gara and amrm-both forms of the compound are rightin view of the fact that the quality andthe thing qualified may be regarded as different as well as non-different. We meet with the word rogea and also gemn: and again with the words goqtan and ajugrn; and the question is, how to account for such usage ? Both forms cannot be correct, the compounds not being included in the 9fmf group,' in whose case tho order of the component words is optional, by V7. Il, 2, 37; under the circuma- tances, if we were to include the compounds in question under that group, by regarding the group as sipter, then there would be no fixity with regard to the order of worde in any compound [ any and every compound being included under this groupl. The only way by which such usage may be explained lies in the fact that the quality and the qualified may be regarded as different as well as non-different : when they are different, we have the forms tanra and gqng [the compound being Genetive-aager]; and when the two are non-different, we have the forms stge: and wagorr [the compounds being कर्मधारय. 21. In the matter of the Sequence of Words in a compound, vulgarisms have to be accepted as correct. We find people making use of the form quaian as well as magua; no regard being had to the proper sequence of the worda compounded; in this matter, when we find that a certain irregu-

V 2 23] CORRECT FORW OF WORDS 105 larity is current in usage, we have to admit it; but this does not mean that the analogy of these vulgarisms is to be extended to all words. 22. Even when the sense of the objective is denoted by an indeclinable, the object does not take the accusative ending ; the enumeration of the agencies expressive of the accusative being purely suggestive.

In W° II, 3, 1 and 2, we read-"the aceusative ending is added to words only when the objective cheracter is not expressed,- either by a conjugational affix, or by a primary or cerbal effix, or by a secondary or nominal affix, or by a compound." But the enumeration of the agencies of denotation in this last clause is not meant to be exhaustive : consequently, even when the sense of the objective is denoted by indeclinables, we find the object not taking the accusa- tive ending; e g. in the line-

विषवृक्षोऽषि संवर्ध्य स्वयं छेतुमसांप्तम। I' It is not proper to cut even a poison-tree that one has himself grown'],-the sense of the objective being denoted by the indeclin- able areivan, we find that the real object of the verb-au-does not take the accusative ending. Simlarly also in the sentence yfea ad na w-ra we have gd with the first cane-ending, because the sense of the objective is denoted by the indeclinable sfa.

23. The word (capable of being done) retains the same form, even when what is the object (of that capability) is of a different gender and number ; because the expression of the objective is mentioned only in a general (unspecified) way.

The word wa4 is formed of the root wie and the passive affix t by m' IIl, i. 99; the word retains this nenter singular form 14

106 KAVYALAMKARA SUTRA [ V 2 23

uscspective of the Gender and Number of the obect that is apoken of as q4T and the reason for this lies in the fact that in connection with the in question, we do not find any specifications with regard to the form in which the objective (of $#4) has to be ex- pressed. As for exemple, in the verse,

राक्यमोषधिपतेनवोदया: कर्णपूररचनाकृते तव। अप्रगल्भयवभूचिकोम लारछेतुमग्रनखसंपुटै: कराः॥

[For the making of thy ear-ornament, the rays of the newly- tisen moon, which are soft as the fresh shoots of barley corn, are capable of being eut off with the nails ']-we find the word wenr, even though that which is described as a4q is $T: (moon's rays),- which word is in the Masculine gender and plural number. For what is stated in this a is based upon the authority of the following declaration of the author of the emn-vou a xaiant- भिरि वत्परतिहन्तुम i-

[' Hunger can be allayed even by such things as dog's flesh '],-

Į where the form qq is retained even though what is described as war is gq-which is a word in the Feminine gender I.

It is not, however, necessary that the word arry should never agree in gender and number, with what is ###; hence we have such sentences also as --

शक्या भङ्कुं झटिति बिसिनीकन्दवचन्द्रपादाः ।

['The moonbeams, soft as the lotus-stalk, can be quickly broken to pieces. '1-

[ where we have the form wan in agreement with the Masculine Plural of the Vieu, ]

24. Like 'deficiency,' the 'excess' also of limbs constitutes the 'bodily defect' [by virtue of

V 2 271 CORRECT FORH OF WORDS 07

which the third case ending is employed by 4" II. 3. 20].

For instance, just as we have annr miot: (where the deftcieney of one eye is meant), so also we have मुखेन त्रिलोचन: (where the excess of an eye is meant).

25. The compound #fesfema is not right; because the singular number would be the correct form.

In the line-

'For the span of life of insects. shortness is an ornament.' -- The form giehemny (plural) is not right; because the proper number for such a compound should be the singular, by 4" 11. 4. 8. according to which, -"A aa compound of words signifying small animals is Singular." Nor can the compound be taken as elliptical; as it is not open to all compounds to be regarded as such.

26. The form augx is not right, because of the mention of the form serr.

In the phrase adgy ani har [ those people who are carried by mules and camels'], wefind the form augy, which is not correct; because in Tfof's norqis under a lI, 4-11, under the fary group. we find the compound in the form JFGt#

27. The form enra; must be the second preterite form öf the root aa (to go, to shine, and to hold).

In the line-

लावण्णसत्पाव इवांस यत्न: ।

• Thère was a special effort in the producing of the rèquisite beauty.' --

108 KAVYAI AMKARA SUTRA IV 2 28 --

We find the word ara this cannot be the second preterite form of the root arf (to be); as this root in that preterite, takes the form of the root '$' (by qr" II-4-52); therefore it must be taken as the second preterite form of the root ar# (lo go, &e.).

28. The form gua is derived from the root 'aY' (to fight) with the affix u.

In the line-

यो भर्तृपिण्डस्य कृते न प्ुध्येत्।

[ One who would not fight in consideration of the livelihood he receives from his master'],-

the form gag in the TrGiqr appears to be wrong,-the root a being an eneaye root. It may, however, be justifed as being the potential form of the root Ta along with the affix Fos,-the meaning of the word yEa thus being 'would wish to have upon himself fighting.' [The addition of the aa affix makes the Aorve form possible.]

29. In such words as fcoman and the rest, we have to seek for an authority for the use of the 4E affix.

In the clause-विरलायमानमलयमारुते [the wind from the मळय mountains being scarce']-we find the word facamam; sucha form is possible only by the presence of the affix FqT or FNT ; neither of these however is possible ; because by q° III. 1-12, the avg affx can be added only to those words that appear in the gont group: and in the quqrs we do not find the word fato in that group; then as regards the #yq affix, this can be added only to those words that appear in the onaarf group, by T" III, 1-13; and the word fira is not found in the "Tms; in this latter group either, For these reasons, an authority for such usage has still to be hunted out.

V 2.331 CORRECT FORM OF WORDS 109

30. The root ex (to kill) takes the causal affix (Rq) even when the sense of the causal is absent; and this is due to the fact of the root belonging to the tenth conjugation also.

In the phrase घातयित्वा दशास्याम: wefind the word घातयित्वा used in the sense of 'having killed', in which the sense of the causal is entirely absent: and yet the word is formed of the root ar with the causal fort [ without which the form would have been simply eat ]. This must be due to the fact that all roots meaning to kill are mentioned among the roots of the tenth conjugation [ which take the causal affix nominally, without involving the sense of the causal. ]

31. The form waah is justified by the fact of the root * (which enters into the formation of the word) being mentioned with an indicatory ultimate.

In the sentence अनुचरी प्रियतमा मझालसा 'Dear मदालसा is a maid- servant' -- we have the word agaf where we find no reason for the final long t except the fact that among the Taif group of roots enunciated in the wwnr we find the root #T mentioned with an indicatory a [ which makes the root a fa which makes the feminine { possible, by "o IV. 1. 15).

. 32. The form $we is formed by the root aa with the affix a.

In the phrase wune farhegn we find the word $wura4 this word can be rightly explained only as meaning aarra aoia ( that which adorns the mien') ;- the word being formed with the root arg (to adorn, to 'sulfice and to check) and the affix ary by To III. 2. 1, according to which "the apr affix is added to a root preceded by a noun in the accusative case." 33. The word mex must be derived from the root (to take or hold) with the affx $.

110 KĀVYĀLAMKÄRA SÖTRA [ V. 2. 34-

In the line --

पत्नलं वनमिद विराजते.

'This forest full of foliage looks beautiful ' ;--

we find the word qran this word must be explained etymolo- gically as tai ona that which holds or contains folfage : and as such it must be derived from the root er (to hold), preceded by the word tEr in the Accusative case, and thereby taking the affix in accord- ance with tro III. 2-3.

34. Such words as wus and the like must be explain- ed on the analogy of the word ofga.

That is to say, the words Hema, trofta and the like must be etymologically explained as ait fa, wft-and root § to hold- affix; the presence of the $ affix being explained in the same way as in the words included under the tofagarft group mentioned in the mns in connection with STo III. 2. 5.

35. Such words as affer ('destroyer of enemies') and the like must be regarded as incorrect ; because the possibility of the root F (to destroy) taking the affix ft is restricted within strict limits.

q' III. 2, 87 lays down that the root et can take the ft afhx only when it is preceded by the words wara qo and t# consequently such words as after frtt and the like [which could be formed only with the root # and the affix ft] must be rejected as wrong. The restriction laid down in the es is fourfold: (1) The root & (takes the ft only tohen preceded by the words, nw &c .- (2) it is the root alone that takes the ffy when preceded by those words ;- (3) 'when preceded by those words, the root takes the fst affix only' :- and (4) 'it is only tn the sense of the past that the root takes the ft when preceded by those words ;- and the only way to justify the words appears to be to accept them as fulfilling any one

V 2. 381 CORRECT FORM OF WORDS

only of these four restrictions [thus the words in question aatisfy all the conditions except the first; in reality however all the four conditions have to be satisfied 1.

36. Such words as aafr and the like must be explain- ed as compounds formed with verbal-nouns (nouns formed by verbal roots with primary or verbal affixes).

Such words as sufeg, gafT and the like cannot be rightly explained as बह्न वेति and तृत्रं मिनाते respectively; because we have seen that m° III, 2.87, lays down that 'when preceded with the words 4, yo and it is only the root # that can take the fy affix' Such words, therefore, must be explained as compounds formed with a verbal noun as one of the members; that is to say, the etymological explanation must be as follows, nHft: af nia fax knower [root बिदू lo know, affix क्रिप by पr" ॥I,2.76]: ब्रह्मणः (of बह्मन्) विद्र (knower), Similarly वृन्नभिद्: भिनत्ति इति भिद् destroyer [root मिद ta destroy, affix fq by T° III. 2, 76 ]; a (of ar) fra (destroyer). In both cases we have the Genitive aasr Compound-(a) between R#T and the verbal noun ft and (b) between Ta and the verbal noun भिट्ट,

37. The above explanation applies also to such words as qfar and the like.

That is to say, the word werr should be explained in the same manner :- arfa nfa e: upholder [root y er affix) : #en (of the Earth) #r: (upholder),-a Genitive arger compound between #fT and the verbal noun 7. Similarly with uETaT and such other words.

38. Such words as fsr and the like have the force of the reflexive as well as of the active.

We come across such expressions as-(a) frat Un (the piece of wood capable of being pierced): (b) figt aw: (piercing darkneas);

112 KAVYALAMKARA SUTRA [V 2 39

(c) निमिरमिपुर व्योम्र शृङ्रम [the uppermoet portwms of the sky are capable of being pierced by darkness] : (d) foguad fat: [the day of piercing heat]; (e) mfeast in [love is capable of being destroyed by jealousyl : (f) ao frfa: [ love capable of being destroyed ]: (g) mie HgT [the elephant destructipe of pride]. Here we find that while in (a). (c), (e), and (f) the words with the ST affix have the force of the reflexive passive, in (b), (d) and (g) they have the force of the active: and this promiscuous use is based upon the rule कमकतरि चायमिप्यते-'this affix, कुरच्, is used also in the reflexive- passive sense',-where the implication of the particle = ('also") is that the affix is used in the actibe sense also.

39. Such words as gonaman and the like are of doubt- ful correctness.

Because, in all such cases the root should take the qer affix [ which would give the form fatarr], and not arq (which gives the form far),-by T° III. 3. 33, by which-"the root e with the preposition f must take T when extent is intended to be express- ed, except when the extent meant to be expressed is that of something relating to words."

40. The lengthening of the penultimate short vowels of the word aat and the shortening of the penultimate long vowel of the word aaary must be regarded as belonging to the usage of ignoramuses.

Some people use the abstract noun formed of the root q with the preposition aa in the form of aaar (with the penultimate vowel lengthened),-making use of such expressions as #iamaR the 'coming or advent aaait of the Hi6d': this is not correct; because the root T in forming its abstract noun takes the affix ang [ which gives the shortened form T and not the affix T which alone can give the lengthened form eraar ]. Similarly, some people use the abstract noun formed from the root fr with the preposition ar in

V 2 42] CORRECT FORM OF WORDS 113

the form wasy (with the penultimate vowel shortened, as if the affix used were wg),-making use of such expressions as genaaq 'the picking of flowers'; this also is not correct; because the abstract affix added to the root should be ast (which gives the lengthened form eraary by 4 III. 3. 40, by which-44 is added to the root fa when used in the sense of picking up with the hand, except when the idea of slealing is meant to be conveyed.") 41. The word tien is an irregular word accepted (in usage).

The word ainn is accepted as correct. It is derived from the root TI to which the affix ort is added in virtue of the fact that, the root ag belongs to the 'Bhidadi' group of roots,-this being a group inclusion wherein is ascertained a posteriort ; so far the formar tion of the word is quite regular; the only irregularity that comes in is in the change 'of the vowel in U into f-such change being interdicted in the case of the affix eje : and on this point the word is regarded as Aara ie., an irregularly-formed word accepted as correct : and the authority for this lies in the usage of qrforf himself In the wans where we meet with the words yagarimar 'the roots Y and ary denote beauty,'-where we find the word sim. As to whether the word in the engurs is winm or trr we cannot be swe, excopt through what is taught to us by our teachers. 42. In the matter of the addition of er to noun-bases ending in long consonants, there is much freedom of option as to the feminine form of such words.

TIR III 3. 103 lays down the addition of an er to bases ending in long consonants whereby the words assume the feminine form ; but in this matter there is much freedom of option; so that (a) in the case of some words, the feminine form is regarded as essential, -e.g,, in the words faT, aasr and the like: (b) in some it is not regarded as at all essential,-eq., in the word snds; (c) in some cases the feminine form is entirely optional,-e g., we have both वोडा and तीड:, बाढा and बाह :. 15

114 KAVYALAMKARA SUTRA [V 2. 43 ..

43. In such words as wada and the like, the past participal affix # has the force of the active; and this is due to the word = (in the a dealing with the use of the affix with such roots).

In the words aafan, nfarvr and the like,-even though the affix is directly mentioned, in q"-III, 4. 72, as to be added in the abstract and passive sense,-yet the affix is added in the active sense; and this is in virtue of the particle a in the ga [which implies that the affix in the case of the roots specified, has the sense of the abstrect and the passine alsol. If the # were meant only for the purpose of indicating that the word maaquin: of a previous #a has to be construed with the sutra in question,-then, in that case, we should bave to repeat the particle = (in order to show that the affix has the sense of the active also).

44. are (says), in reality the present tense form of root I, is used in the past tense because of its mistaken similarity to some other verbs in the past tense.

In the first Five forms (the singular, dual and plural of the third person, and the singular and dual of the second person) of the present tense, the root I to speok, takes the alternative forms of alf and the rest, in accordance with q° III. 4-84; but the word ene is often found to be used in the sense of the past-i, c., SFHTE TaT ag 'thus said the blessed Lord himsell'; this use must be due to people mistaking the form anrg to be of the past tense; this misconception arising from the resemblance of this word to verbs in1 that tense. Standard writers, however, always observe the difference,-using it always in the Present; i c., an ty Roany øi fita [where the has been added in order to indicate the past tensel. [Such usc of # is common among standard writers]: and we are inclined to think that in the sentence .-- अनुकरोति भगवतो नारायणस्य [Resembles नारयण] the poet did insert the to indicate the past ; and it must have been dropped by the mistake of copyists.

V 2 46] CORRECT FORM OF WORDS 115

45 In the case of such adjectives as aao (vanegated) and the like, the feminine affix tTx (an) is not applicable.

In the following lines-

स्रवन्तीनां ज्ञाना: प्रमुन्तिविइ्ङ्गास्तवसुनः ।

["The banks of rivulets with joyous birds flitting about become variegated with the horn-tips of buffaloes quietly seated along the flowing water."]. and-

भ्रमरोत्कर कल्मापा: कुसुमानां समृङ्य:।

['The beauty of flowers is variegated with hosts of black bees'], We find two feminine adjectives aaer and aentr both endiog in e (the feminine affix arg) ;- this however is not right; because in such adjectives &, stq, would have been the iight feminine affix, by H° IV. 1'40, according to which -- "the affix sit is employed in the feminine of every word expressive of colour and ending with an eraard accent, and having no a as penultimate." Consequently Trer and armrur would be the corresponding correct forms.

46. As qualifying a living being the form "iot ('blue") is doubtful.

In the line- कनउपदनीला कोकिला वालचूते।

['The lotus-blue cuckoo is seated on the young mango* tree'],- We find the adjective aier; this is not correct; fidi would be the correct form; because by 4° IV. 1-42, read along with the anas upon the w we get at the rule that-"frt is added in forming the feminine of afo when an animal is meant to be qualified by it,"

116 KAVYALAMKARA SUTRA V 2.47

47, There is much option on the point of a certain . noun-base being regarded or not as belonging to the human genus,

We have the following two Sutras bearing on the feminine affix to be added to words denoting the human genus,-(I) "The feminine affix eit comes after a nominal stem ending in short ₹ denoting the human genus" (IV. 1-56) : and (2) "after a nominal stem ending in short # not having the letter q as its penultimate, and being expressive of the human genus, the aflix in the feminmne is $" (IV. 1-66). The actual application of these Sutras however it depends on the option of the speaker,-which option is ascertai- nable by actual usage,-whether or not a certain nominal stem will be regarded as 'denoting the human genus'. For example, in the following verse --

मन्दरस्य मदिरात्षि पार्धत निज्ननाभि न भवन्ति निन्नगाः। वास वासुकिविकर्षणोद्धवा भामिनीद पदवी विभाव्यते॥

[O beautiful girl with soul-ravishing eyes and deep navel f what you see along the sides of the qeec mountain are not rivers : they are only the marks left by the rubbing of the argat.] --

We find the word famft and afeulg which are the vocative forms of the words frapf and afrr formed by the addition of the feminine alfix vis in accordance with the above-mentioned e# IV. 1-65 ; the shortening in the vocative of the final long $ (of the feminine) being due to T" VII. 3-107, by which-'a short vowel is substituted in the Vocative Singular for the long vowel of the words called sa (i. e. word-forms ending in long t and # and being names of females)." If a further { were added to the word ef according to the rales san mpagra - then the feminine form would be निन्ननाभिका. The above is a case where the nominal stems मदिराक्षी and farft are regarded as 'denoting human genus.' On the other hand, in the following verse,-

च्यूतं रुषा भिन्नगतेरसंशय शुकोददश्याममिदं स्वनांयुकन ।।

V 2. 48] CORRECT FORM OF WORDS 117

[ This is without doubt the green cloth covering the breasts of my deep navelled beloved, marked with the drops of tears falling 'rom her eyes and depriving her lips of their colour'],-

We lind the word faapn which is the singular-genitive form of the feminine word fuamfr with the short final vowel, the long feminine being precluded by the fact that the nominal stem is not 'regarded as denoting the human genus?'

Similarly in the line-

सुततु जहहिह्विकोपम.

['O beautilul one, give up thy anger'],-

We have the word gaa the vocative form of the feminine word gar which has its final # lengthened by the second 47 mentioned above, which is applicable in view of the fact that the word is regarded as ' denoting the human ganus'; and the shottening of the final vowel in the vocative is by qr° VII. 3. 107 mentioned above. On the other hand, in the line .-

वरतनुरथवासी नव द्ृष्ा त्वया मे।

[Or, that beautiful one has not been seen by you']-

We have the feminine word aThg: in which the final # is not lengthened, because the word is not regarded as 'denoting the human genus.'

48. The long # as a feminine affix is added to words ending in the long « also.

m° IV. 1. 66 lays down that the feminine affix # is to be added to words ending in the short #; but words with the long # also take the feminine affix #; and that this is allowable is shown by the usage of the Teachers themselves; for instance, in connection with the anda on the # such words as srort and mara (both ending in the long i) have been cited as examples. It is in accordance with this that we have the word ag (in the vocative) in the sentence ag ik dvijo (O beautiful-browed one l what is the necessity for

118 KA YĀLAMKARA SÜTRA IV 2 48

hurry 1) this form ay is possible only as the Vocatrve form of the nom.nal stem te (with an additional # appended as the feminine affix) [in which case alone the stem could be declined in the vocative like the word sa ]; if the additional long $ were not appended, then the vocative form t would not be possible [the word being declined in that case like the stem y itself, whose vocative forms are like that of the stem ait l; and th , vocative form would be ay .*

49. The form mdxr: [is not right]; as the addition of the affix aa is irresistible [and this affix does not give the said form.]

In the clause mfffrqr wwena ['the aulumnal wind'] the word emiffeiq: is not right; because in the sense of 'belunging or pertaining to,' " all wrrds denoting time take the affix sw (9e IV. 3. 11) [ and with this affix, the form should be wlafa:) 50. So also in the word wrara.

People speak of the mat an: ('nocturnal darkness'): and here also the word memh is inconect; as being a word denoting time. the word qsf should, by qr IV, 3. 11, take the affix aa which would give the form maftaa.

S1. The word wa may be regarded as correct, on the ground of usage.

• We meet with such phrases as arud satfa: ('light eternal'); and the form arwan also is not grammatically corect; because, being a

• Without the feminine affix # the word I which is formed with the root $M and the affx would dot come under the Tfo I 2, 48; and thus there would be no authority for the shortening of the final vowel, which shortening, by the comes about only in the case of words with fercinine affixes, and the affx T is not a feminine affix, The appending of the additional # as a feminine affx Lrings the word IT under the t 1. 2. 48. whereby the shortening becomer possible, It is to be noted however that later grammarians are not satished with this explanation: though the word Iy ia met with in the nfegreg-a fm: mid t सुर्छ and कालिदास-विमानना सुभ्ु पितुर्गूहे कृत:, but the सिद्धान्तकोसदी and the ततवबोजिना both regard the use to be IHTE or mistaken'.

V 2 53] CORRECT FORM OF WORDS 115

word denot ng time the word arsa should take the afhx a which would give the form apna which in fact s the form adopted by qrfona himselt m his R9 II. 4. 9. Bat the use of the word air46 is very common ; eg. snea qfgq :* And on the strength of this usage the word may be accepted as correct.

52. The words whata and thelike can be correct only when taken as formed with the affix « in the sense of /tt te.

Sach words as uegasz, uhasy and the like can be correct only when formed with the allix 4 (qa) in the sense of fit or capable or excellent, in accordance with qf IV. 4.98. If the ag affix were the one that denotes 'origin' or 'habitation,' then, - even though such an affix would be admissible (hy ar" IV. 54) in view of the fact that the word aa appears in the famnft group mentioned in that ET as taking the 90 allix-yet the addition of such an alfix being indicated in the case of words (compounds) ending in the word aar the formation of the word by the addition of that affix would be objectionable.

53. The word wra is wrongly used.

The word tra in such expressions as tt vrag ('wooden vessel') is wrong. Because the adjective (in the sense of product of ei6) is to be always (ormed with the affix qaz in accordance with We IV, 3. 144, by which-"the affix qys comnes in the sense of product inpariably alter FE words :i. e. words with a long vowel)."

In support of the form qraa it might be argued that the affix naz has the sense of product and part; while what the word trran tteans is pertaining or belonging to wood [which sense is afforded by the affix qg ]; fand as such the sense being entirely different,

• If Vamane was prepared to accept the authority of uaage in this case we fail to sec why he should not have done so, in the preceding sutra. We have the usage of Kalidasa in support of the form . @',eg. the line सर्वरस्वतमसत्रा निवृत्तये,

120 KĀVYALAMKARA SUTRA {V 2 54-

the rule laying down the former cannot set aside the latter.1 But this reasoning also will not be right; because in the sense of pertaining or belonging to' the affix admissible in the case of gE words is = (and not erm), according to 9° IV. 2. 144 [and with the form of the word would be trfty and not trawj

54. In the case of such words as gfygr mifem and the like, authority for the addition of the may affix has to be found (is not available.)

55. The formation of such words as ehwr, niner and the like has to be explained like that of the word चातुवर्ण्य.

Just as the word angaot is formed of the word argavi with the affix a in the reflexive sense, in accordance with the atfds on 97° V. I. 124 ;- so the words औपम्य, सांनिष्य &c.also.

56. In view of the affix ta being a fa [i e. in which the q is a supernumerary meant to be dropped], words formed with this affix, in many cases, take an additional long t.

Tle ta affix that comes in by 91° V. 1. 124, is one of those affixes that contain a supornumerary I and by virtue of this character, it tales an additional long t in many cases ; but not in the case of such words as aaregn and the like

57. In the case of the words #mnzza, agmr and the like, the addition of the long t is optional.

So that we have both ergsyg argift and aere add gart. 58. The word ydfi [one who has the bow,] is correct, by reason of the word wa occurring in the frane group.

By virtue of which the possessive affix ffr being added to the word a (qre V. 2. 115 and 116), we get the form q5at.

V 2.59 CORRECT FORM OF WORDS 12

59 The word awm can be explamed only as formed with the fft affix. In the line --

वभूच तस्या श्रतुरखशोभि वशरवभक्त नवयोननेन। (कुमार !- 32) [Her completely beautiful body was beautified by fresh youth'],-

The word agreint appears objectionable; even though the word $irt occurs in the sieft group [which take the possessive nfa affix, by 4° V. 2, 115 and 116], and as such is capable of taking the sia affix,-yet as in the prerent instance the word is not sinff pure and simple, but a compound word ending with the word #', the Q does not apply in this case [ as declared in Tft5r 311 Even granting the application of the ## to the compounded word in question,-inasmuch as the word is a Rharry compound, it cannot take the possessive affix sfa; as for the purpose of express- ing the presence of tho quality whose 'possession' would be denoted by the possestive affix, it would be a very much simpler method to make the word a agaifs compound [having the form agrityH expounded as agwarmgel; thus then, there being no po sibility of the possessive affix ti, how could we have the word चतुरसशोभि ?

The er declares tbat the only way open to us for explaining the word is to take it as formed with the verbal or primary affix forfr which denotes habit or constancy; the word being explained as ech ara ia-'that which is constantly beautiful in allits parts'.

Granting the possibility of the sbove explanation in the case of the word agewmift, we again ask-How to explam the word अनुमेयशोभि (which is also used by कालिदास in his कुमारसंभव 1, 37)? The aforesaid explanation is not possible in this case.

The only explanation possible is to take the word aiff as formed by the root wy with the affix forg-tither in the sense of 'excellent action' by the artfe on qr' IlI. 2. 78. or in that of 'necessity' by "' IH. 2. 80,-and then with the abstract affix a tacked on to it; after which the word (having taken the form of 16

22 KAVYALAVKARA SUTRA tV 2 60

शोभित्वन, wuuld form a बहुव्ीहि compound with the word अनुमेय: the compound अनुमेयशोमि being thus expounded as अमेयं शोभिस्वं वस्य ['whose excellent beauty is to be inferred']. The absence of he abstract affix is due to the fact that the abstract quality mfre is already implied in the adjective ffrfr; just as we have in the case of such sentences es-(a) frugen faaia [where निराकुलम is equivalent to निर्गतं आकुछत्व यस्मिन् कर्मणि तद् यथा स्वान् तथा, the abstract affix i# being dropped in the compounded form ]; and (b) सधीरखुवाच [where सधीरन is equivalent to बीरत्वेन सहितम्, the abstract affix ra being dropped in this compounded form. ]

60. The form wagai: must be taken as formed with the a affix.

In the line-

जीवन्ति राजमहिषीमठ कन्चुकीयाः ।

[ Women clad in jackets attend upon the Qucen'],-

We find the word asgaaqHow to explain the formation of this word? In such cases, the affix commonly used is the 'u' denoting possession; but this is not passible in the case of the word Foas (which forms the stem of the word in question). The only explanation possible is to take it as formed with the affix ra, which denotes 'desiring for self, the meaning of the word being 'those who desire the jacket for themselves.' 61. The comparative affixes [a4 and the rest) are used also when one member of the comparison (i. e. that to which the thing in question is compared) is only in the mind of the speaker [and is not directly expressed].

As for instance, in such phrases as anae an: ('denser darkness") बहलतरं प्रेम (much more love), and the like. 62. Such words as difve [afae] and the like must be taken as formed with the affix ten and drop- ping one of their component letters.

V 2 651 CORRECT FORM OF WORDS $23

That is to say, the word arfars is formed by the word nifars with the affix teq in the sense either of stfa (wisdom) or of sraasqr (sympathy)-by qe V. 3-79; and has the letter dropped m accordance with mr V. 3. 83, by which-"when there follows an affix beginning with a vowel, from among those mentioned in the present section, there is elison of all that portion of the name of a human being which comes after the second vowel." [In the case in question, we have Fifars, the name of a human being; and when to this is added the affix qoq which begins with a vowel, there is elision of # which is the only letter that comes after the tin fa which forms the second vowel in the name]. In the same manner, the word afas is formed by the word afda with the above- mentioned affix roa having its last ' letter 's' dropped. 63. The word mfas is due to the fact of the work Eil occurring in the fif group.

The word aifra is formed by the word gur with the affix sx with the reflexive sense; the application of this affix being in view of the fact of the word gt occurring in the fayrfe group of words, which take the reflexive affix 3 by 4r° V. 4-34. The neuter gender of the word vifr in face of the feminine gender of its primary #T is due to the fact that the gender and number of words formed with reflexive affixes differ from those of their primaries. 64. The words siaw and the like must be due to the fact of [their primaries] being included in the tifs group of words. The words included in the aaift group take the reflexive affix arut by tr° V. 4-38; and it is because the words ufanr faga and Em are included in that group that they take the reflexive or which gives rise to such words as wiayq -aunm and aw respectively. 65. There can be no such word as. erer except as an अन्ययीभाव compound.

124 KAVYALAMKARA SŪTRA IV 2 66

In the line

सधु सरजसं मध्येपवं पिबन्ति शिलीखखा:।

["The black bees drink the honey mixed up with pollen, within the lotus'],

we lind the word axaan: this use of the word as an adjective is not correct; because the word can be correct only when taken as an apqina compound.

66. The form gasar cannot be right, except when [its base is] a proper name. In the phrase,-gwvgia sirrmaft ['the brave man wielding the bow'] -- we find the word yagf this cannot be correct except when the word is taken as the locative form of urragy regarded as a name; because by Tro V. 4-132, "all agaife compounds ending with the word wat take an additional arg at the end," [So the compound word should be gravrg of which the locative form would be gaarafr: but in the case of such compounds forming a proper name, the addition of the as is optional, by 9T° V. 4-133; [and hence the form gaagt and its locative form yavgis may be correct only when taken as a proper namel.

67. In the word gifa the final I cannot be got at (by any right method).

In such clauses as ghfr; mq: ('evil-smelling body') we find the word gifea containing an t at the end of the compound; but the presence of this t in the compound in question cannot be justified ; because, by U° V. 4-135 it is only "when the word my forms agfnt compounds with such words preceding it as #, yft, # and of that an additional t comes in at the end of the compound": and among these latter words, we do not find t, with which the compound in question is formed.

68. Some explanation has to be found for such words as urat and the like.

V 2 691 CORRECT FORM OF WORDS 125

In the Ine -- मा दयराषात् सुदता समर्ज। [She with beautiful teeth gave up her body through wrath against t'.] and शिवरिदात पतति रशना। ['O thou with pointed teeth thy girdle zone is sliding off']-

We find the words rat and fraftaa in which the word &n is transformed into #a; and as we can find no ea laying down this transformation, we have to find some explanation for them. The following bave been the two explanations suggested :- (a) Wo V. 4. 145 lays down that "the word eu is changed into ta when preceded in a compound by words aju, wa, g, gw, T4 and Tue: and in this es we find the particle a which having a cumulative force, may be taken to include and indicate some other words also, not mentioned in the ea; and among such other words will be the words #, fraft and such others, compounded with which the word tw may be found to be changed inlo Fa. This is the explanation given by some people. Others give the following explanation :- Such words as those in question shouid be taken as tinwe words [i. c. words which have their denotation fixed by etymology as well as by convention]; so that having their denotation fixed partly by convention, the words may be regarded as 'proper names' and so . coming under "° V. 4. 143, by which-"at the end of such agehft compounds as are names, ta is changed into ta." In case the word gert be taken as having its denotation-woman mith beouliful teeth -- fixed entirely by its etymology sra: sar; gerr: then it would not come under the u that restricts the change to proper names only; but when it is regarded as having its denotation fixed by etymology as well as by concention, then, though in the former case it would not be liable to the change in question, in the latter, case it would; so that the change becomes quite regular as an optional measure. 69. In the compound aagurm we do not find the additional #7, because this affix being laid down

26 KAVYALAMKÄRA SUTRA IV 2 70-

(in qr IV 4 142) as to be added to the word at# cannot be added to compounds ending in that word.

In the line-

प्रवंगनसको हिभि: कषतद्ूदीरसो राक्षसाः।

[The demons have their hardened chests torn by the nails of monkeys'l,-

We find the se fff compound wagarra even though TT° IV, 4, 151 lays down that " when such words asytH and the like come at the end of a aghfe compound, they take the aT affix;" and the reason why this affix does not come in the compound in question, is that being laid down as to be added to the word arg, it cannot be added to a compound ending in that word (according to TRHiqr 31); that it is to say, the co.pound wararnm: being expounded as wa gimn aar: if the W4 were to come in, it would come in after the compound word garn and not after the word at and this would not be right.

: 70. In the word waft the t is objectionable ; - vaf being the correct form. 71. For the deletion of the case-termination (of the first word) in the compound avrgin there is no authority.

The compound srurghat is expounded as erirk dà qem :-- 'she who has her eyes moving towards the corner'; and in a compound like this, even in the compounded form, there cen be no deletion of the locative case-termination of the first word; and the compound would have the form wrorghar according to 97° VI. 3.12, by which-" the locative case-ending is not elided after a word denoting part of the body (with the exception of the words te and neaw), when such a word is followed by any other word except the word *T7.

-V 2 741 CORRECr FORM OF WORDS 127

72 Such forms as pwisq tamra and the ike are not correct because in such compounds the assumption of the masculine form by words originally feminine is not allowed. The compound fagir: is expounded as feer foar aa [' the man by whom the loved woman has been embraced], and qgwPd: as arm af [the man whose beloved woman is aged']; and here we find that the words feet and gar, which in their original uncompound- ed form, were feminine, become transformed respectively into the words fet and ec, this assumption of the, masculine form by nouns originally feminine is not permissible in the case of such agaife compounds as end in प्रिया, कान्ता, मनोज्ञा, कल्याणी, सुभागा, दुर्मना and so on, -according to q° VI. 3, 34, by which -" in the room of a feminine word there is substituted an equivalent and uniform masculine form .... but not when this feminine word is followed by another feminine word, which is either an ordinal numeral or one of the words under the fruift group." 73. The form grrfr is universally used. In the tgaa (X1I-19) we meet with the word torf: [it is a aaift compound expounded as fat aftr aerl and strictly speaking the assumption of the masculine form by the feminine word gw is not right ; as in the compound this word is followed by the feminine word wRm which oceurs in the above-mentioned fmft group; in which case the assumption of the masculine form has been interdicted by tr° VI. 3-34, referred to in the precoding Qa: and the only way in which the form of the word can be justified is by regarding the word ar (in the original uncompounded form), not as a feminine [but as the impersonal or general Neuter; expounding the compound as at yfm: ae whereby the compound would fail to come under the above-mentioned q3 VI, 3.34, which speaks of a feminine word being changed into the corresponding masculine form, when followed by another feminine word ] 74. Such words as wanom (wirgrpa) and the like are justified on the authority of the rule laying down the shortening of vowels.

128 KAVYALA KARA SUTRA [V 2 75-

In the compound Gestaomr we have the word ury (with the long $) changed into w (with the short #): similarly in the compound -goar we have the long a of a changed into the short #: both of these shorlenings are in accordance with 910 VI. 3-51. by which-"according to the opinion of maq a short vowel is substituted in a compound before the second member, for the long t # and w-unless it is the long vowel of the feminine affix wiq ."

75 Such words as faws, W and the rest must be regarded as included under the srect group.

Otherwise, in such words as faogadt and aaaaaft formed by the werds faow and T respectively, with the alfix aaq-che last vowel of the words fess and as would be lengthened, according to ST° VI 3-119; by which-"the final vowel of a word consisting of more than two syllables is lengthened before the affix qa4 when it is a name,-exeept in the case of the words belonging to the ensrft group," and thus the word in question would take the forms ffrogaafr and arrmaar respectively. Some people hold that the aa just quoted refers to only that Ha4 alfix which comes according to 99 IV. 2.85 and not to all cases of that alfix; but if this were the case, then there would be nothing to explain the form epruadr [which is formed by the word ant with the nas affix, the last vowel of the former being lengthened by W° VI. 3. 119, mentioned above : so if this s were apphcable to only those cases of nay that come in by W9 IV. 2. 85, it could not apply to the case of the word smrryir. 76. The two forms fart and Aarg are both correct, being derived from two distinct roots.

We find the two words FRTET and Pnvy both in the sense of "having heard.' When the participial affix ert is added to the root W preceded by the preposition f, an additional 9N comes in by q1° VI. 4.56; giving rise to the form fang. How then, to account for the form fanrr? The answer is that this latter word is derived fr m an entirely different root -- siz., that at, which belongs to the fourth conjugation ; while the form frmqcy is from the mot

V 2 791 CORRECT FORM OF WORDS 21

x (to see) which belongs to the tenth conjugation, and as such takes the causal affix forq in the reflexive sense, and thereby comes under qFo VL 4. 56.

77. The forms dyr and fa are to be explained as derived from the root without the accompanying pra affix.

The question is-haw to aceount for the ferms vqm and Aasa? Because in this case aleo, tT° VI. 4. 56, being applicable, we should have the forms wanvy and Ragtq. Tha answer is that the formns have to be explained by taking them as derived from the root in its simple form, without the addition of the affix fret which would bring it under qr° VI. 4.55; this fora is not added, because in the case of the worde in question, the sense of the causal is already present in the root itself; as we have in the case of the words Ageofa (where also if the fri were added we would have the form Aqwafr): in cases where the sense of the causal is not already impbed in the root, the fra comes in necessarily; a. g., संघमयितमारच्च:,

78. The form wâu must be regarded as derived from the root six (to drink);

and, not from the root W (to drink) ; as the participial form of the latter root, with the affix aqy would be wur; the vowel r being precluded by v° VL 4.69.

79. The form qaf should be explained as due to the mention of the word agen 'diverse and irregular* [in the vfrapqr.]

In regard to the phrase-axarana fratafa [the lowered sun having moved to a great distance' ] there arises the question how to account for the form grqfa. Because when the noan takes the causal forq it becomes subject to all the rales relating to words ending in-e; and as qr° VL 4. 156 is one of those rules, according to this, the first vowel (in) would be broadened (into 17

122 KAVYĀLAMKARA SOTRA IV 2 80-

ra) and the syllable t would be deleted: and the resultant form would thereby become qaua. The answer is that the qftam"in the- case of nouns serving the purpose of verbal roots, the changes consequent upon the syllable t come about in diverse irregular ways"-asserts that the changes laid down under "° VI. 4. 156, do not apply strictly to those cases where the word is derived from a noun treated as a verbal root ; hence inasmuch as the word rqfd is derived from the noun ar which comes to be treated as a verbal root, by the addition of the fora aflix,-it is not necessarily subject to the changes laid down in VI. 4. 156.

80. In such words as maft and the like the presence of the a is absolutely unavoidable,

In the lino --

हरति दि वनराजिगच्छती व्यामभावम।

['The darkening forest ravishes the mind'],-

we meet with the present participle aezdt and this is an incorrect word; the correct form being wrait the presence of the # being absolutely necescary, by the rule wgwffra-ic., the * is necessary in Present participles of the roots of 1at, 4th and 10th Conjugations 'and the root nx belongs to the first Conjugation.]

81. The form met as an adjective qualifying the neuter noun fam must be explained as due to the fact of the word being treated as a masculine noun.

As qualifying a neuter noun, the instrumental form of the adjective affar ahould be frar by qr VII. 1.73, by which -"the augment 'a' is added to a neuter stem ending in a simple vowel (except a) before a case-affix beginning with a vowel." The masculine form frat therefpre can be explained only on the ground that the word is treated as a masculine noun, in accordance with q° VIL 1, 74, by which-" a neuter stem ending in a vowel, of which there exists an equivalent uniform masculine, is treated like

V 2 82] CORRECT FORM OF WORDS 123

the masculine m the opmion of mas, before the vowel beginning the affixes of the Instrumental and the cases that follow it."

82. The expression dnqft can be explained only by being broken up into two words.

In the sentence-vt aard find we find the word drerfer which appears like the Second Future form of the root Rą to know, in the second person singular; but the correct form should be afqafa, Therefore the only way to explain aaaft is to break it up into the two words afa (second person singular, in the Present Tense) and and this latter word being regarded as an irregular indeclinable having the sense of raa ('you'); or as a merely or- namental supernumerary word. e. g., in the sentence fda afa teaarat i ('O king, you said tru'y.")

83. The word wana is to be regarded as correct only if its use can be traced to long-established usage.

The strictly grammatical form of the word is ammi with an additional #; but inasmuch as the form ammra is found current in long-established asige, -- as, for instonce. in the works of the poat ea (and also in aredif), it can be jusif ed on the ground that all- rules laying down the insertion of additional letters,-such, for .instance, as the syllable '#' in $iqnm are not meant to be regarded as strictiy obligatory in all cases,

84. The forms dur and tet are due to the fact that with the addition of the aq affix the word = is changed into ₡L

The word geew and Gery occurring in the garfe group of words take the ' argr' affix hy qro V. 1, 130; and by virtue of this affix the word zey is ' changed into H and the first vowel is lengthened, - thereby giving the forms ulat and det. If [instead of the gr a added to the words gurT and giry we took the str as added to the words ges and gka [these latter also occuring in the gamft group), -

24 KAVYALAMKARA SUTRA IV 2 85

he i we would get the forms eerer and eraiea becauso botk the vowels would, in this case, have to be lengthened, in accordance with q Vi. 3. 19, by which-"the lngthened vowel has to be substituted for the first vowels of both members of a compcund ending in x w7 and farg hefore a nith aflix having the indicatory syllable q q or 6" [The affix a7 has the indicatory t.l

85. The noun far must be accepted as an anomalous form (recognised in standard usage).

The noun fata is supposed to be derived from the root C with the preposition (fa) and affix an but such a derivation should give the form fre (and not fita) because the ioot T is not one of those roots that take the sigert accent ; and as such it does not come under qe VII, 3.34, by virtue of which alone the vowel-lengthening due to aey could be precluded. Though such is the real fact, yet we lind the form used by qone himself in the wawe where v e read ve sar (the form ayw being analogous to farq.) In view of such usage however we have to regard the word frng as ono of those words which, though anomalous in their derivation, have yel to bo regarded and used as correct.

86. It is only when the words arit &c, are repealed in the sense at proximity, that they govern the accusative.

According to the arfaw on v 1. 4. 48, when the three words suft, aft and anr: are roprated twico, they goverr the Accusative : but this would be done only when the worde denote provimtty,. . which meaning of the reduplicated words is laid down in e Vill. 1.7; when, however, their repetition is only for the sake of aat f c., for implying continuity,-then the correlated noun should take the Genitive allix;eg., sugort gaii areafcaaq:i [the ideas of God aurpass all other ideas always.']

87. The form wt we can be correct only when it does not denote manner.

V 2 88I CORRECT FORM OP WORDS 125

In the line aer aes aafr van .:- we find the reduplicated. form A IETT this can be correct only when the expression does not denote the manner (of the blowing of the wind); because if it denoted manner, the repetition would be in accordance w'th (° VIN, 1, 12: and as all repetitions undor this ar have to be treated as aharta compounds (according'to q° VIII-1-12, as read along with VII-II, we should have the compounded form qri sea. If we have the form qe #-TA (not denoting manner), the repetition would be in accor- dance with VIII-1-4, by which-" the whole is repeated when it denotes always and each" (in which there is no restriction as to the repetition being regarded as a compound): the sense of the repetition in the sentence tt q sta qaa: I being that the 'stillness of the breeze pervades over each of the various parts of its blowing'. 88. The form Aagw is not correct; as the final 4 should be changed into 4.

In the line- निद्ाद्छादवेय ्छाे रुपरिलसदर्धरी बारिभादः । f The rumbling clouds, dark as demons, become distufbers of sleep l, --

we lind the word frarz which is not coirect: as the correct form of the word should end in & according to w9 VIII-2-27.

The wrong form ending in 'E has been used by people owing to their over-fondness for alliteration.

89. In the word fapt the & is questionable. Because the word presents none of the conditions of the change of the faeft into T and it is open to doubt if the word occurs in the #tFif group of words [which change their fraf either into H or into -according to # VIIL-3 48.1 90. The form erfear is not right; because there is a distinct rule laying down the cerebral 4 in the case.

26 KĀVYĀLAMKĀRA SUTRA [V. 2.91-

In the line,- म्लायन्त्पङ्गलिसङ्गैेपि कोमला: कसुमन्नजः ।

['The soft flower-garlands fade even by the touch of the fingets', -- ] The word argfey is not right, because the cerebral q would be the correet form : according to ar VHL 3-80, by which -- " when the word dg is compounded with the word srgfe its # is changed into ". 91. The same reason precludes such forms as aafatnt grar, and the like. Because 4° VlII-3-99, lays down the cerebral y for all proper names like #WAT, such names as aafrasr rgaat and the like must be rejected as ungrammatical. 92. In the word marnty we do not have the cerebral because it is not intended to express the idea of being actually carried by the elephant. In the line -* कृथेन नीगेन्द्रमिवेन्द्रवाहनम्। 'Like the elephant of (E adorned by its coverlet.'- we find the cmpound (gaigq where the syllable # is not changed into (f even though such a change is laid down by qre VIII, 48, by which -"the * of args is changed into TF when the word is compounded with a word which denotes the thing carried by that ama," and the only justification for the non-application of this rule lies in the fact that it is not intended to denote by the word te the thing carried: all that is meant being the relationship of the possessor and the possessed : [i.e. the word gzargr means only 'the arst or convey- ance belonging to $ and not 'the conveyance carrying aa']; in this manner the word saarag is fully justified. Right and wrong forms of words have been brietly indicated by me here; in this same manner may other words also be examiņed. THE END.