1. Kavya Prakasa Ganganatha Jha 1925

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words used, both, the Sun as well as the King, are equally capable of being accepted as the object described.

IX-Samasokti-Modal Metaphor. Text .- Where the other object is implied by means of paronomatic differentinting ad- juncts, it is Modal Metaphor.

Comm .- When a sentence descriptive ot the object meant to be described serves to imply some- thing else not meant to be described, through the force of adjectives used punningly-and not through any force of the object itself,-it is Modal Metaphor, 'Samasokt', so called because it consists in a 'statement' (ukta) of two meanings, 'in brief' (samasēna.) Example .- 'Lahūnā tujjha bahupphamsan Jie sa ko bi ullaso. Ja-a-lachchhi tuha birahē Ņa hujala dubbalā nam sā.' 'Jayalahsmi (the Glory of Victory) who ielt d peculiar exhilaration on attaining the touch of your arms, is no longer bright, on being separated from you; in fact she is emaciated. Here the term 'jayalaksm"' is so used (with such adjectives) that it expresses, not only the king's lady- love, [but also the glory of victory in battle].

328 KAVYAPRAKASIIA

X-Nidarshana-Illustration

Text .- Where an impossible relation of things constitutes the similitude, it is Illustration.

Comm .- It is called 'nidarshana', because it serves the purpose of nidarshana, illustrating Example- 'Where (on one side) is the dynasty originating from the Sun, and where (on the other) is my limited intelligence : through sheer foolishness am I desirous of crossing the ocean by means of a raft.' Here the (impossible) statement made leads on to the Simile that -a description of the Solar Dynasty by my intelligence would be just like the crossing of the ocean by a raft.' Another example- 'When (on one side) the Sun is rising with his rays shooting upwards, and (on the other) the Moon is setting, this mountain acquires the splendour ot an clephant with two bella hanging on its two sides.' The actual acquiring of the splendour of one thing (the elephant) by the other (the mountain) being an impossibility, the statement only leads on to the Simile that the one appears similar to the other. This Figure appears in the form of a 'String' also; -- c.g. 'O Lord ! the man that makes an attempt to describe your good qualities, (a) desires to cross the ocean with his armns, (b) wishes to catch the moon

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with his hands, and- (c) to jump over the Meru mountain.'

. Text .- There as another kind of Illustration, where the action itself indicates the (causal) relation between itself and its cause.

Comm .- Where the connection between the action itself and its cause is indicated by the action itself, -- it is another kind of Illustration Example- "When a low thing attains a high position, it will naturally fall,"-so, saying as it were, the stone-dust, on the hill-top falls down when shaken by the mild wind.' Here it is the action of falling (of the stone-dust) which points to the connection between the action of falling and its cause, in the shape of the low person attaning to high positions

XI-Aprastutaprashamsa-Indurect Description

Teat .- Where the description of an irrelevant thang pornts to the object meant to le described, it is Indirect Descripteon

Comm .- When the description ot something not connected with the context serves to point to, imply, that which is meant to be described,-it is Inde- rect Description.

Text -- It as of five kinds -Where what is meant to be described is-(c) the effect,

330 KAVYAPRAKASHA

or (b) a cause, or (c) Universal, or (d) Particular,-what is actually spoken of is their converse (correlative); and (e) when what is meant to be described is one thing, and what is spoken of is something else of the same class.

Comm .- 'Their converse'-te (a) cause and the rest. Examples in order- (a) "O beautiful one, don't those who go oui meet again? Don't be anxious for me; you are extremely weak ",-while, with tears, I was saying this, she, with her eyes fixed through modesty and absorbing the overflowing tears, smiled and by that smile she indicated her joy at her approaching death.' Asked for an explanation of the effect, in the shape of the postponement of his projected journey, the speaker has described here the cause fin the shape of the beloved's perceptible determination to die on separation.] (b) "O king, the Princess is not teaching me to talk; and the Queens also are sitting silent. O Kubja, feed me. Why are not the Princes and Ministers taking their food even at this time?"-Thus does the parrot in the empty turrets of your enemy's houses, speak, when it is let out of the cage by the passers-by, and sees the figure of its master on the pictures.' What is meant to be described here is the fact that 'as soon as your enemies come to know of your

CHAPTER X 331

projected march against them, they fled away from their houses'; and this fact is the cause of the effect that is described in the verse. (c) 'What wonder is it to hear from his mouth that a certain block-head thought the water-drops upon the lotus-leaf to be so many pearls ?- Hear something more than this-when that same person proceeded to pick up the drops, they disappeared under the light pressure of his finger-tips, and since then the fool, intensely aggrieved at the thought of his pearls having flown a way, goes without sleep day after day.' What was meant to be described was the Uni- versal or general fact that 'foolish people have even misplaced longings and affections,-while what is actually described is a particular instance of it. (d) 'When a man wipes away the tears from the eyes of his friend's wives, by avenging him- self on his enemy, then alone does he deserve to be honoured, then alone is he to be regarded as a man, as a statesman, an abode of majesty ; and then alone is his life worth something. What was meant to be expressed was a particular statement (addressed to Narakasura's (friend) that- ' Then alone will you be deserving of praise, when, by killing Krsna (who has killed Narakāsura), you will have alleged the anguish of Naraka's wives'; while what is actually expressed is a general statement (without reference to any particular case). 43

332 KAVYAPRAKASHA

(e) Of that case, where while what is meant to be described is one thing, what is actually described is something else of the same class,-there ane three varieties, according as the indication of one thing by another of the same class is done (1) by a Pun, or (2) by Modal Metaphor, or (3) by mere similarity. Examples in order- (1) 'One may deviate from the standard of manhood, he may lower himself by begging, he may even demean himself,-he may do all this if there- by he save the world; -this was the way shown by the Noble Person.'

[ What is meant to be described here is a certain noble benefactor of men, while what is described is an- nther noble benefactor in the person of Visnu ; and this latter is made to point to the former by means of such paronomatic expressions as are applicable to both cases. ]

(2) 'O Moon, when the sun rises you become deprived of your lustre; what is proper for you then is to avenge yourself, and not to fall upon his feet [ borrow his light-rays ]. If this has been done by you when you had become impoverished, then are you not ashamed ?- or, that you even now show yourself in the sky may be due to your nervelessness [ coolness of your light ].'

[ What is meant to be described here is the behavior of a certain unpoverished person, and this is indicated by the description of another impoverished person in the shape of

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the Moon, and this is done through Modal Metaphor based upon the Pun involved in the words 'padagrahab' and 'jadadhamatā ']

(3) 'What has the wretched Ocean done with the water that he has received from the mouths of rivers? He has rendered it brackish or poured it into the Submarine Fire, or thrown it into the innermost recesses of the Nether World.'

[What is meant to be described is a spendthrift, and this is indicated by the description of the spendthrift Ocean ; and this is done through mere similarity between the two persons.]

In some cases of this last kind of Indirect Description, what is implied is not necessarily imposed (or fastened) upon what is directly expressed. As in the following verse .- 'There are many people who, with the help of boats, are able to cross the ocean which has covered with water the face of the Earth and also the innermost recesses of the Nether World; if, however, somehow or other, the ocean were by chance to be- come emptied, who would be able to even look at the holes and cavities in it ?'

[Here the mplied meaning is that 'for the people it is best that the king, if wicked, shonld remam prosperous:' but the directly expressed description of the ocean itself being quite apt, it is not necessary tor the former to be imposed upon this latter ]

334 KAVYAPRAKASHA

In other cases the said imposition is essential; as for instance, in the following verse .-- 'Who are you Sir ?- 'Know me to be the fate- stricken Shākhotaka tree'-'You talk as if you were disgusted with life'-'You have guessed rightly.'- 'But why so?'-'I am going to explain: This banyan tree that lies to the left of the road, is attended by all pedestrians, while to me, though I am standing on the road, does not belong even shade enough for rendering help to others.' [What is imphed here is the condition of a lowborn person whose gifts have been refused by a qualified reci- pient; and the imposition of this upon the eapressed des- cription of the tree is essential, since the ideas described can never belong to any such entity as the tree ] In still other cases, there is only partial im- position; for instance, in the following verse- 'That curious process whereby the tongue was reversed; the fickleness of ears; vission incapacitated by intoxication to descriminate between himself and others ;- what is the need for saying more ?- All this you have forgotten, O brother black bee! and you still stick to this elephant, with an empty trunk [hand]; whence this peculiar attach- ment ? [Here what is implied is the relation between an unappreciating master and a devoted servant; and this is imposed upon the case described, of the elephant and the black bee]-The imposition here is only partial; as 'the reversal of the tongue' and 'emptiness of the trunk' are not such

CHAPTER X 335 . circumstances as would justify the abandoning of the elephant by the bee; it is only the 'fickleness of the ears' that wonld justify it; while the presence of the "intoxicating' rut would render the elephant all the more attractive to the bee .-

[And the imposition in this case is done throngh the Puns involved in 'reversal of the tongue', ' fickleness of the ear' and 'emptiness of the hand'].

XII-Atishayokti-Hyperbole

Text. (100-101)-It is to be known as the Hyperbole-(a) when the object to be described is indicated as swallowed by the other ;- (b) when the olject to be described is represented as another; -(c) when there is an assumption introduced by some term meaning 'if' ;- and (d) when there is reversal of the normal order of sequence between a cause and its effect.

Comm .-- (a) When the 'object compared' is re- cognised as swallowed within the 'object compared to',-it is one kind of Hyperbole. Example- 'A lotus is found in a place without water ;- two blue lotuses are found in a lotus ;- all these tluee are found on a golden creeper ;- and that creeper is tender and lovely; -what a series of portentous phenomena !'

336 KAVYAPRAKASHA

The face (and the eyes and the body) are represented as 'swallowed by' (identified with) the lotus (the blue lotuses and the golden creeper). (b) It is the second kind of Hyperbole, when that same object (to be described) is represented 'as another,' as something different. Example .- 'Her tenderness is something quite different; quite different too the brightness of her complexion; this young girl is not the creation of the ordinary Creator.'

[Here the idea expressed is that the 'tenderness' and other things are quite different from the ordinary tenderness and the rest.]

(c) It is the third kind of Hyperbole, when there is 'assumption', -i.e., of an impossible idea through the use of 'some term meaning if'-i.e., of the term 'yadi' or 'chat'. Example -- 'If the body of the Moon at night were to be spot- less, then alone could her face suffer the insult of being equalled.' (d) It is the fourth kind of Hyperbole, when, for the purpose of indicating the powerful efficacy of the cause, the effect is described as appearing before its time. Example- ' Malatis' heart was occupied by the arrow of the Love-god; and it was only after that that you, O loved of women, coming within the range of her vision (occupied it).'

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[The idea here expressed is that 'so powerful was the effect produced by her seeing you that she fell in love before she actually saw you.']

XIII .- Prativastūpama-Typical Comparison.

Text .- Typical Comparison is that where a single common property stands twrce, in two sentences.

Comm .- When the common property is men- tioned, both in the sentence speaking of the 'object compared' and that speaking of the 'object compared to',-but in separate words,-since the repetition of the same words has been described as a defect,-is called, Typical Comparison, ' Prati- vastpamā'; so called because the position of the 'object compared to' (upamana) is occupied by what is expressed by a sentence (vastu) Example .- 'Having once occupied the position of the Queen, how can she revert to the position of an attendant? Verily, a jewel marked with the figure of a god does not deserve to be worn.'

[The common property. ' impropriety,' is mentioned in both halves of the verse. but m different words ] In the following verse we have the 'Stringed Typical Comparison'-

338 KAVYAPRAKASHA

'What is the wonder, If fire burns etc.' (See above). Similarly may other forms be illustrated.

XIV .- Drstanta-Exemplification.

Text. Exemplification is the reflectional represent- ation of all these.

Commn .- The 'Drstanta' is so called because therein is perceived ('drsta') the 'definite recognition' ('anta' ) of 'all these'-i. e., of the Common Property (the object compared and the object compared to). Example .-- 'As soon as you are seen, her heart, inflamed with love, becomes calmed; it is only in the light of the moon that the flower of the Lily-plant blooms.' Here we have Exemplification per similarity. [ (a) The king, (b) the girl, (c) the heart (d) the infla- mation of love and (e) the becoming calmed, being reflected respectively m (a) the moon, (b) the hly plant (c) the fower, (d) the withering caused by the sun's rays, and (e) the blooming]. Exemplification per dissimilarity we find in the following .-- 'When you, who delight in valorous deeds in battle, extended your hand towards the sword, your enemies became shattered; it is only in the absence of the wind that dusts lie undisturbed.'

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XV-Dipaka-Illuminator. Text (109) .- (a) When the (common) property belonging to several objects-that to be des- cribed, as well as those not to be described, -occurs once,-and (b) when a single subs- tantive ocours in connection with several verbs,-it is the Illuminator.

Comm .- (a) When a ' common property ',-in the shape of an action and so forth,-belonging to ' several objects, that to be described, as well as those not to be described ', i.e., the object compared and the objects compared to, is mentioned only once, it is Illumi- nator, ' Dipaka' ; so-called because the term express- ing the property, though occurring only once, 'illumines' the entire sentence. Example :- ' The wealth of misers, the head-jewel of serpents, the mein of lions, and the breasts of girls belonging to noble families,-how can these be touched until they are dead ? ' (b) It is Iluminator also when a single substan- tive occurs in connection with several verbs .- Example :- 'The newly-wedded wife, when brought to the bed, perspires, shrinks, turns, moves away, closes her eyes, casts side-long glances. rejoices within herself, and longs to bestow a kiss ? Text .- It is the Stringed Illuminator where whot precedes imparts excellence to:whot follous. 44

340 KAVYAPRAKASHA

Comm .- If what follows is helped by what pre- cedes it,-then we have the Stringed Illuminator. Example .- ' Sangrāmān gaņamāgatēna' etc.' (See above.)

XVI-Tulyayogita .- Equal Pairing.

Text .- The single mention of a property as belonging to a number of things of the same kind constitutes Equal Pairing.

.Comm .- ' Things of the same kind '-(a) all being such as are meant to be described, (i.e. objects compared) or (b) all being such as are not meant to be described (i.e., objects compared to). Examples in order .- (a) ' Pāņdu kşāmam vadanam etc., etc.' (see above.)

[Here the property, being indicative of the disease, 1s common to several things, every one of which is meant to be described].

(b) 'In the presence of your eyes, lovely and elegant, what is the line of white, red and blue lotuses ? -And the Nectar, the Moon and the Lotus have been subdued, at a single stroke, by your face'.

[Here the properties are described as belonging to two sets of things. Both of those to which the eyes and the face are compared

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XVII-Vyatiraka-Dissimilitude.

Text .- The dissimilitude, of the other, to the 'object compared to', constitutes the figure of the same name.

Comm .- 'Of the other'-i.e., of the object compared. ' Dissimilitude'-Superiority. [Example]- 'The Moon, though reduced again and again, really rises also again and again; but youth O beautiful one, once gone, never returns; so cease and be propitiated.' Here the 'superiority,' belonging to 'youth' (which is the object compared), lies in its ephemoral character (in which point it is superior to the Moon, the object compared to). So that the assertion of some people that "this verse depicts the 'superiority" of the object compared to (the Moon) over the object compared (youth)", is not right.

Text .- It is of twenty-four kinds :- (1) When the ground (of dissimilitude) is mentioned; (2-4) the three cases where the said ground is not mentioned ; each of these (four) has the similitude either expressed by word or expressed by meaning, or implied ;- and each of these (twelve) again occurs in a paronomatic word also.

342 KAVYAPRAKASHA

Comm .- The ground of dissimlitude-i.e., the ground of the superiority of the object compared, and the ground of the inferiority of the object compared to;when both these are mentioned [it is orfe kind of Dissimilitude] ;- where one or the other of these, or both, are not mentioned [we have the three other kinds of Dissimilitude] ;- we have those four kinds, when the comparison is expressed by words; another four kinds, when each of the said four has the comparison expressed by meaning ;- and yet another four kinds when each of them has the comparison only implied; thus there are twelve varieties (of this figure). -Each of these occurs also in paronomatic expressions (expressions with double meanings),-and thus we get the twenty-four varieties of Dissimilitude. Examples in order -- (1-4) 'To this person, possessed of great dignity, pride did not come,-as it does to other inferior persons,-when he suppressed his enemies with the help of his sword only.' The person described being 'possessed of great dignity', and the other persons being 'inferior', are the grounds of Dissimilitude ;- and when either one of these is not mentioned, and when both of them are not mentioned, we have the other three varieties .- In this case, as the sentence contains the word 'iva', the comparison is 'directly expressed by words '. (5) 'This person, possessed of great dignity, did not become proud, anyatuchchhajanavat, like

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other inferior persons,-when he suppressed his enemies with the help of his sword only.' Here the comparison is ' expressed by the meaning', as' it is expressed by the affix 'vati', which denotes similarity. (6) 'This beautiful-eyed woman subdues the spotted moon with her spotless face, which has subjugated the loveliness of the lotus'. In the absence of any such term as 'iva', 'tulya' and the like (which could express it), the comparison here is only 'implied'. (7) Jitendriyatayā samyagvidyavrddhanişevi- nah Atigādhaguņasyāsya nābjavad bhangurā guņāh. 'This man, possessed of unfathomable excellences and devoted to persons of sound learning, having. subjugated his senses,-his gunas (qualities) are not ephemeral like the gunas (threads) of the lotus.' Here the affix 'vati' is synonymous with 'iva' and' the term guna' contains a Pun. (8) ' Akhandamandalah shrīmān pashyaisa prthivipatih Na nishākaravajjātu kalāvarkalyamāgataḥ' 'Lo, this blessed Lord of the Earth, with an unbroken stretch of empire, has never been deprived of his splendour, as the full Moon is of its digits.' Here the affix 'vati' is used in the sense of 'iva', and there is a Pun upon the term 'kala.'

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Just as we have the 'Stringed Typical Comparison', so it ,is possible to have the 'Stringed Dissimilitude' also; of which also we may deduce the number ot varieties (as in the case of simple Dissimilitude). Of these we are exemplifying only a few. 'Haravanna vişamadrstih harivanna vibho vidhutavitatavrsah Ravivanna chātiduhsahakaratāpitabhuh kadāchidasi'. 'You, O Lord, are never visamadrsti, partial,-as Hara is visamadrsti, possessed of three eyes; you are never vidhutavitatavrsa, one who has shaken off the all-important Dharma,- as Hari is vidhūta- vitatavrsa, one who has destroyed the huge demon Vrsasura; you are never atiduhsahakaratāpitabhuh, one who has oppressed the world with very unbearable taxes,-as the Sun is atiduhsahakaratāpitabūh, one who has heated the Earth with his extremely un- bearable rays'. Here the affix 'vati' is throughout used in the sense of 'iva' and there are Puns upon the terms 'visama' and the rest. ' Nityoditapratāpena triyāmamīlitaprabhaḥ Bhāsvatānēna bhūpēna bhāsvanēsa vinirjitah' 'The Bhasvan, Sun, who has his glory suppressed at night, has been subdued by the bhasvan, resplendent, King whose glory is ever manifest'. Here the comparison is 'implied', and there is Pun upon the term 'bhasvan'.

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Another example of the same kind- 'Svachchhātmatāgunasamullasitēndubimbam Bimbaprabhadharamakrtrimahrdyagandham Yūnāmatīva prbatām rajanīsu yatra Trsnām jahāra madhu nānanamanganānām'. ' During the nocturnal drinking bouts, though the wine allayed the desire of the young men for drinking, yet women's faces did not allay their desire for kssing ; - the wine (a) reflecting the bright dise of the Moon, (b) bearing the likeness of the red Bimba frut, and (c) possessed of natural fragrance ; and the face, (a) resembling the shining Moon, (b) with lips resembling the Bimba fruit, and (c) with natural fragrance.' In the absence of any such terms as ' wa ' 'tulya' and the like, the comparison is found to be 'implied ' by the epithets with double meanings. In this manner, other varieties are also possible, even in the absence of any separate mention of words capable of being used with double meanings. These also may be illustrated in the same manner as above.

XVIII .- Āksēpa-Hint.

Text .- When something desired to be said is, as if, suppressed, for the purpose of conveying a special idea, it is Hint ; and it is of two kinds, as having its subject, either (a) about to be mentioned, or (b) already mentioned.

346 KAVYAPRAKASHA

Comm .- When something is desired to be said, and is such that cannot be entirely ignored,-and the speaker, anxious to convey (or emphasise) the idea, either (a) of its being something, that cannot be spoken of, or (b) of its being something too well known (to be spoken of),-suppresses it,- i.e., he makes what appears to be a suppression of it ; and this suppression may be such as has its subject either (a) about to be mentioned, or (b) already mentioned ;- and these are two kinds of the figure Hint. Example an order :- (a) ' O! come, I shall tell you O cruel one! something about a certain person ;- or no ; I shall not say it ;- when she has taken an inconsiderate step, let her die !'

[ What is 'desired to be said' here is the extreme pang of separation being borne by the girl ; and m order to convey the idea that it is something indescribable, the speaker suppresses it ; and the subject is not mentioned. it is only about to be mentroned. ]

(U) 'Moon-light, pearl-necklace, sandal-juice, the fluid flowing from the lunar gem, camphor, plantain-roots, bracelets of lotus-stalks, and lotus- leaves,-all these act like sparks of fire upon her, on account-Ah !- of yourself, who have taken possession of her heart ;- Woe to me !- what is the use of saying it ?- I shall not say it.'

[ Here what is desired to be described is the love -- pang of the girl under separation ; and m order to convey

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the idea of its beig too well-known. the speaker suppresses it,-but only after the subject has been already mentruned. }

. IX .- Vibhavana-Peculiar Causation.

Text .- Peculiar Causation consists in the mention of the effect, even though there is denial of the cause.

Comm .- When, even though the cause, in the shape of a particular action, is denied, the appearance of the effect of that cause is described, it is Peculiar causation. Example .- ' Even though unstruck by the blossoming creeper she felt pain ; even though not stung by the black bees, she turned aside; even though not shaken by the lotus-leaves, she swerved round [ all this by reason of her love-pangs.]'

XX .- Vishēşokti-Peculiar Allegation.

Text .- Peculrar Allegation consists in the omis- sion to affirm the effects, even when its causes are present in full force.

Comm .- When, even in the combined presence ot all its causes, the effect is not affirmed, it is Peculiar Allegation. It is of three kinds-(a) having the reason (of the non-appearance of the effect) not mentioned, (b) having the reason mentioned and (c) having the reason such as is inconceivable. Examples in order- 45

348 KAVYAPRAKASHA

(a) 'Though sleep had ceased, the Sun had risen, the friends had come to the door, and the lover had slackened the impetuosity of his embrace, yet the woman did not move away from the embrace.'

[Here the reason for the non-appearance ot the eftect which consists mn the depth of the woman's feelings, is not mentioned.]

(b) 'All obeisance to the Love-god of impressible prowess, who, though consumed like camphor, is yet puissant over every individual !'

[Here we have the reason mentioned, mn the shape of the 'irrepressible prowess' of the god.]

(c) 'Glorious is the Love-god, who single-handed conquers the three worlds, and whose power was not wrested by Shiva when he deprived him of his body.'

[The destruction ol the body would be sure to bring about the destruction of the power; and the reason, why Shiva did not do the latter when he did the former, is one that we cannot concerve of.]

XXI-Yathasankhya-Symmetrical.

Text .- The Symmetrical consists in the orderly conmection among things mentioned m a definite order.

Comm .- Example-

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'O Lord, how wonderful is it that, though single, you live in three ways-in the hearts (a) of enemies, (b) of learned men and (c) of fawn-eyed women,- producing in them, (a) pain, (b) joyous feelings and (c) love, through (a) the force of your valour, (b) your humflity and (c) your amorous sportings.'

XXII-Arthantaranyasa-Transition.

Text .- Where either a Universal or a Particular is supported by its converse, erther through samalitude or otherwise,-it is Transition.

Comm .- When, either through similitude, or dis- similitude, a Universal is supported by a Particular, or a Particular is supported by a Universal,-it is Transition. Examples in order -- (a) 'To persons whose minds are enveloped in their own defects, even the most beautiful thing appears to be the reverse : a person suffering from bile sees the snow-white conch also as yellow.'

[Here a unwver sal statement is supported by a particular case, through simrlarity.]

(b) 'Susitavasanālankārāyām' etc. etc.,' (see above). [Here a particular statement is supported, thiough similarity, by a Universal one.]

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(c) 'It is on account of the evil nature of good qualities that the capable person is employed in a difficult task ; the worthless bull, whose shoulder is not hardened by work, sleeps comfortably.'

[Here a unaversal case is supported by a partcular one, -- but through dissimlarity ]

(d) 'Oh, much harm has been done by my life that I have had to say such a disagreeable thing! Blessed are those that have died without witnessing the calamity of their friends.'

[Here the particular is supported by the universal. through dissimilarity.]

XXIII-Virodha-Contradiction

Text .- When something is spoken as contradictory, even when there is no contradiction, -it is the Figure Contradic- tion.

Comm .- When, as a matter of fact, there is no real contradiction between two things, -and they are spoken of as if they were contradictory,-it is the Figure Contradiction.

Text .- (1-4) The Universal contradicted by the four, (1) Universal [(2) Quality, (3) Action and (4) Substance], -(5-7) the Quality contradicted by three [i.e. Quality,

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Action and Substance1,-(8-9) Action con- tradicted by two [i.e. Action and Substance] -and (10) Substance contradicted by Sub- stance ;- thus this Figure is of ten kinds.

Examples in order-(1) [Community contradicted by Community.] 'O handsome one! at the sudden thunderfall of your separation, fresh lotus leaves, bracelets of lotus -stalk and such other things appear to the fawn-eyed one, like heaps of flaming fuel.' (2) [Community contradicted by Quality]- 'O king ! in your presence Mountains become devoid of height, Winds become motionless, the Ocean devoid of depth, and the Earth extremely light.' (3) [Community contradicted by Action]- 'How wonderful it is that you perform, with the dust (of the battlefield) the toilet of your enemies, whose heart is in the battle, and by obtaining the hold of whose necks your sharp sword became reddened (impassioned) and acquired smoothness (affection).' (4) [Community contradicted by Substance]- ' It is strange that Visnu, who creates, protects and destroys the universe with ease, becomes, when occasion presents itself, a small fish.' (5) [Quality contradicted by Quality] -- 'The hands of Brahmana-women, which had become hardened by the handling of the wooden pole, in the course of household duties, have, during vour reign, become soft like the lotus.'

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(6) [Quality contradicted by Action]- 'The words of the wicked, even though soft, burn the hearts of wise men; and the words of gentle- men, even though harsh, are a source of joy, like the sandal-juice.' (7) [Quality contradicted by Substance]- ' Verily, Parashurama was a wonderful object of creation, under the uninterrupted shower of whose arrows, the Krauncha mountain, though hard as stone, became soft like the fresh lotus.' (8) [Action contradicted by Action]- 'Parchchhedatitah etc., etc., (See above.) (9) [Action contradicted by Substance] -- 'With our hearts restless through desire (for water and riches), we approached the Ocean, thinking it to be the one reservoir of water and also the storehouse of gems ;- but who could know that the Sage (Agastya) would hold the ocean, with the fish and alligator flutter- ing in it, in his hands and quaff it off in a moment?' (10) [Substance contradicted by Substance]- 'O Ornament of the Earth! when you stand on the bank ot the river Ganga, she becomes the Yamuna, by contact with the rivulet of the ichor of your intoxicated elephants.'

XXIV-Svabhavokti-Natural Description.

Text .- When, of the child and other things, theer own action and form are described,- it is Natural Description.

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Comm .- ' Their own' -i. e., (the Action and the form) as subsisting in themselves. 'Form'-Colour and shape. Example .- 'The horse, rising from sleep, extends his hind legs, stretches his body enlarged by. the three dips on its back, brings his mouth to his chest, with his neck curved; and flutters his dusted mein; his lips quivering on account of his desire for grass; and softly neighing, he is scratching the ground with his hoofs .?

XXV .- Vyajastuti-Dissembling Eulogy.

Text .- When, what, on the face of it, is prarse or disparagement, turns out to be other- wise,-it is Dissembleng Eulogy.

Comm .- The name 'Dissembling Eulogy,' 'Vya- jastuti', is applied to this figure in the sense that it is an culogy ( 'stuti' ) in the form of, or through, dessimulation ('vyaja') Examples in order-(a) [Disparagement turned into Praise]- 'O King, excepting yourself, none else is the foremost among persons whose minds are devoid of all consideration for those dependent upon you; and apart from Laksmi, the Goddess of Wealth, no where is shamelessness to be found. you are giving away the Wealth-goddess who has come to you in hundreds

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of ways, and though thus she has received the ill-treatment of being given up, she continues to reside in yourself alone'.

[The meaning is that the King is .very generous and charitable, and continues to be prosperous. This idea is expressed by the idea that though Laksmi has come to seek shelter under hun, yet he is constantly giving her away; and even so she persists in living with him; the King is inconsiderate and the Goddess has no sense of self-respect.]

(U) [Praise turning with Disparagement]- 'O Ocean, who has easily subdued the Bodhisattva! What is the use of many words? There is no one who, like you, has taken the vow of benefitting others; inasmuch as you help the desert by sharing with him the burden of ill-fame arising from its disinclination to benefit thirsty travellers'.

[This is apparently a Praise . but it really means the disparagement of the Ocean on the ground of its water being unfit for drinking.]

XXVI-Sahokti-Connected Description.

Text -- Where one word is empressive of two things, through the force of some synonym of the word 'saha' (along with),it 2s Connected Description.

Comm .- Where, a word, which really denotative of one thing, comes, through the force of some word

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denoting 'along with', to bring about the idea of . both things,-it is. Connected Description. Example- 'O beautiful one, at her separation from you, her breaths become long drawn out, along unth the nights and days; her flow of tears continue to drop, along with the bracelets; and the very hope of life becomes feeble, along with her slender body'. Here the properties of (a) 'being long drawn out' [(b) 'dropping' and (e) 'becoming feeble'] as applying to (a) 'breaths' [(b) 'tears' and (c) 'hope of life'] are directly expressed by the words; but to the (a) 'night and days', [ (b) 'bracelets', and (c) ' slender body'], they are applicable only through the force of the term 'along with'.

XXVII-Vinokti-Privative Description.

Text-That is Prwvative Description in which one thing, urthout the other, is cither (a) not beautiful or (b) the contrary.

Comm .- In one kind, one thing, without the other, is not beautiful, and in the other, it is beautiful. Examples in order-(a) 'Without the Night, the Moon is not beautiful; without the Moon the Night is only dense darkness; and without both these, the love-dealings of lovers do not shine'. (b) 'In the absence of the fawn-eyed one, this Prince is expert in astonishing feats of quick 46

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intelligence; and in the absence of that friend, his heart is as beautiful as the moon'.

XXVIII-Parivrtti-Exchange. Text -- When there is an interchange between egual or unegual things, it is Exchange. Comm .- 'Parivrttih'-r.e., the figure named 'Parivrtti', Exchange. Example- (a) 'The wind imparts gracetul movement to the blossoming creepers and. receives their unrivalled fragrance; (b) these creepers, on the other hand, draw to themselves the eyes of travellers, and gives to them pain, physical and mental, as also perplexity and nervelessness'. Here in the former halt, we have an interchange between two equal things; and in the latter an inferior thing is exchanged for a superior one. (c) 'O king! your haughty enemies, having accepted in battle the stroke of various kinds of weapons, have made over to you this earth in such a manner that her relationship with you shall never cease.' Here a superior thing is exchanged for an inferior one

XXIX-Bhavika- Visualisation. Text-When past and future things ure deline- - ated as if they were before the eyes, it "s Vasualisation.

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Comm .- ' Bhutabhavinah'-'past and future'-a copulative compound. This figure is called ' Bhavika' in the sense that iť' represents the poet's intention (bhava). Example- (a) 'I see that there was collyrium in your eyes ;- (b) and I perceive your body as going to be adorned with ornaments'. In (c) there is 'visualisation' of the past (collyrium), and in (b) that of the future (orna- mentation).

XXX-Kavyalınga-Poetical Reason

Text-When a reason is expressed either (a) by a sentence, or (b) by a word,-it is Poetical Reason.

Comm .- (a) The Reason expressed by a sentence- 'From my bodily incarnation I infer, O Shiva, that in my previous birth, I never bowed down to You; and bowing down to You now, and there- by becoming liberated, I shall not have a body and hence shall not bow down to You in the future; both these faults of mine, please pardon, O Lord'. (b) Reason expressed by several words .-- 'Her body is such as suffers pain even on being struck with soft Serisha flowers by her loving friends in sportive jokes; and it is against such a body that

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you have raised your weapon; so fall on your head this arm of mine, resembling the missile of the Death -God.'

[This is an mstance of the reason being expressed by several words,-not by a sentence,-because it is expressed by the words ' Vapusi shastramupakspatah', which, in the absence of a finite verb, cannot be regarded as a complete sentence.]

(c) Reason expressed by a single word,- 'Paintings of ash, fare thee well! String of beads may good befall you! Oh, for the line of steps ad- orning the house of Parvatr! Today I am being admitted by the great God who has been propitiated by me, into that dense darkness, which is called 'Liberation', which is going, to deprive me of the light of the pleasure of waiting upon you !' Here, in (a) the omission of obeisance during the preceding and coming births is the cause of the two faults :- in (0) the rasing of the weapon is the reason for the falling of the arm; and in (c) the depriving of the light of pleasure is the cause of the 'dense darkness'.

XXXL-Paryāyokta-Periphrasis.

Text .- Pemphrasis consists in such description as is independent of the ordinary deno- tratrve relation between the expressive word and the expressed meaning.

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Comm .- When a certain fact is described by words, through the implicative (suggestive) function,-and not through the ordinary relation between the expres- sive word and the expressed meaning, it is Pert- phasis, ' Paryayokta'; so called because what is sond ('ukta') is by other means (paryaya). Example- 'Even though long-standing, the love of residence was renounced by intoxication and self-respect, in regard respectively to the face of Airavata and the heart of Indra.' The particle 'apr'. 'even though' serves to imply that ' Airavata's face and Indra's heart became bereft of intoxication and self-respect'; and this idea so suggested is the same that is directly expressed by the words themselves [the expressed meaning also being that 'Intoxication and self-respect renounced their love of residing in Airavata's face and in Indias heart']. But the manner in which the implication is made is not the same in which the same idea is directly expressed. We have an analogous instance in the case where upon seeing a white ox walking, one has the 'complex notion 'the white ox is walking'; and here ' what this cognition expresses is exactly what the man had previously perceived (in the abstract); but the manner of the later cognition is different from that of the preceding perception : the preceding perception (being in the indeterminate form) apprehended the object (ox) not as distinct from, and related to (the other two factors, the quality of whateness, and the

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action of walking), while the subsequent cognition does actually apprehend it as so distinct and related.

XXXII .- Udatta-Exalted.

Text .- The Exalted consists (a) an the Exalta- tion of the thing;

Oomm .- ' Exaltation'-being endowed with pros- perity. Example -- 'The pearls dropping from necklaces snapped in dalliance, which have become reddened by the foot-prints of lascivious girls walking about in the court-yard, are dusted aside with broom-sticks; mistaking them for pomegranate-seeds, the sportive parrots pick up these pearls ;- that all this happens in the houses of learned men is the effect, O King Bhoja, of your munificence.'

Tect .- (b) It consists also in the representation of great beings as adjuncts (to the thing exalted).

Comm .- 'Adjunct-being subordinate,-i.e., to the thing described. Erample- 'This is that same forest residing wherein Rama, . bent upon obeying the words of Dasharatha, with the help of his arms, brought about the destruction of demons.'

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[Here the fact of Räma being an adjunct, a resident, of the torest serves to exalt the latter; it is the torest, which is the predominating factor] and not the Heroie Sentiment; as this latter is itself only a subordinate factor.

XXXIII-Samuchchaya-Concatenation.

Text-(a) It is Concatenatron, when, whale one cause conducive to the effect in question beingalready present, mmother also turns out to be conrlucive to it.

Comm.I.E., when one cause conducive to the effect to be described is already present, other causes are also mentioned,-it is Concatenation. Example- 'Irrepressible are the arrows of the Lore-god, my beloved is at a distance; my mind is extremely anxious; our love is deep; age young; life-breath very hard; family pure; the teminine character is incompatible with firmness; the season is helpful to the Love-god; the God of Death is incapable (ot putting an end to my life); my friends are not sufficiently clever ;- how then can this cruel pang ot separation be borne"' 'The arroks of the Love-god' are enough to make the pangs of separation unbearable; and in addition to this are mientioned the other circumstances conducive to the

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same effect,-such as the beloved being at a distance and so forth. It is this same figure of Concatenation which appears in the form of (a) 'the combination of good things', (b). 'the combination. of bad things' and (c) 'the combination of good and bad' [which three have been described by Rudrata and others as distinct figures of speech]. That is why these are not described by us separately. For instance, in the example quoted above, we have 'the combination of bad things'; while we have 'the combination of good things' in-the following verse :-- 'The family is untainted, appearance gentle, mind full of learning, the strength of arm sufficient, wealth extensive, sovereignty unimpeded; all these circumstan- ces are naturally agreeable; and it is only natural that, on account of these, this man becomes arrogant; but to you, O King, these same only serve as means of restraint.' In the tollowing verse, there is 'combination of good and bad', inasmuch as the fact of the 'Moon' (good) being 'dim' (bad) already being a 'dart,' several other darts are mentioned (which also are combinations of the good and the bad)- 'The Moon dim during the day,-the woman with faded youth,-the tank devoid of the lotns,-the . illiterate mouth of a handsome person;'-the master too much attached to wealth,-the good men always in trouble,-the wicked man at the King's Court,-thesc are the seven darts in my heart.'

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Text .- (b) It is another kind of the same figure (Concatenation) when qualities and actions are (described as) simultaneous.

Comm .- The compound 'gunakriyah' is ex- plained as meaning (1) 'two qualities', (2) 'two ac- tions' and (3) 'quality and action'. Examples in order :- (1) [Concatenation of two simultaneous quali- tres]-'O King, having shattered the forces- of your enemy, your army quickly became bright, and the faces of the wicked became faded.' (2) [Concatenation of two simultaneous actions]- 'This unbearable separation from my beloved has come about suddenly; and on account of the appearance of fresh clouds the days are going to be free from heat and lovely.' (3) [Concatenation of a quality and an action]- 'O Indra upon Earth ! your eyes, bearing the beauty of the white lotus, fallen upon your enemies, became reddened, and there clearly fell upon them the glances of misfortune.' It would not be right to assert, either that the factors 'concatenating' should subsist in different things, or that they should subsist in the same thing; because we meet with such instances of 'concatenation' as-(a) 'he blandishes his sword and spreads his fame' [where the substratum of both actions is the same, the King]; (b) 'you wield the sword in the battle- field, and the gods are uttering words of praise in 47 ,

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heaven' [where the substrates of the two actions are different].

XXXIV Paryaya-Sequence. Texl .- (a) When one thing occurs successively in more than one, it is Sequence.

Comm .- When one thing (1) subsists or (2) is made to appear, in several things, it is Sequence. Examples in order- (1) [One thing existing in several] -- 'O poison! by whom has been ordained this successively higher series of your residences ?- First of all in the heart of the ocean, then in the throat of Shiva, and now in the words of wicked men! . Another example of the same kind- 'Formerly this raga (redness) was seen in your bimba-like lips only; but now O fawn-eyed one, the same (raga= attachment, love) is perceived in your heart also.' Though here the 'räga' spoken ot is not exact- ly the same in the two cases, yet (through the sameness of sound) the two are felt to be one and the same; hence the citing of this as an example here is not wrong. (2) [One thing made to appear in several]- 'The hearts of the demons, which were concentrated entirely on the Wearer of the Kaustubha-jewel (when he appeared as the Enchantress), were turned by the Love-god towards the bimba-like lips of their wives.'

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Text .- (b) When the process is iverted, it is another kind (of Sequence).

, Comm .- When several things successively (1) subsist, or (2) are made to appear, in one thing, :- it is another kind of Sequence. Examples in order- (1) 'Strange it is that at first the words of the wicked, sweet and agreeable, clearly indicate the presence of nectar, and yet they indicate also the presence, in -their heart, of poison, the source of delusion.' (2) 'That low-walled hut,-and this palace which receives its light from heaven; that faded cow,-and these cloud-like herds of bellowing elephants; that mean sound of the pestle, and this sweet music of women; it is a wonder that this Brahmaņa has been transported into this condition in so very few days.' The renouncing (of one set of things) and accept- ance (of another) by the same agent is not what is meant to be emphasised here; hence this cannot be regarded as a case of 'Exchange.'

XXV-Anumana-Inference.

Tert .- It is the description of the Probans and the Probandum that constitutes Inference.

Comm .- 'Probans',-the Reason, the 'Middle Term', which fulfills the threefold condition of (1) subsisting in the 'Minor Term', (b) being concomitant

366 KAVYAPRAKASHA

(with the 'Major Term') and (3) being non-concomitant (with the contrary of the Major Term). 'Prabandum'-the constant concomitant of the 'Major Term' and the 'Minor Term.' Example .- 'Becouse the heart-piercing arrows constantly fall upon that object towards which these girls with wave- like eyes turn their eye-brows,-therefore (it follows that) the angry sovereign Love-god, with his hand adorned with the drawn bow and arrow, is always running before these girls.' The mere inversion of the premises and conclusion (which has been regarded by some people as a distinct figure) does not constitute any charm; hence it has not been described.

XXXVI-Pamkara-Insinuation.

Text .- Insinuation is description with significant epithets.

Oomm .- 'Description'-of an object qualified by the said epithets. Example .- 'Archers,-brilliant, selt-respecting, honoured with riches, who have made their reputation in wars, neither combining nor differing among themselves,-are anxious, even at the risk of their lives, to fulfil his wishes.' Though it is true that by the recognition of 'Irrelevancy' as a defect, 'relevancy' or 'significance'.

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has already been admitted (as an enellence),-yet there is a certain charm brought about by the bringing together of a number of significant epithets as applying to a single object; by reason which this has been included under 'Figures of Speech.'

XXXVII-Vyajokti -- Arttul Assertion

Text .-- Artful Assertion consists in concealing, by some artifice, the unhidden character of a thing.

Comm .- When the form of a thing, not explicit mn itself, somehow becomes explicit,-and yet such form is, by some artifice, concealed,-it is Artful Assertion. This is not the same as ' Concealment' (see above), because in the present case there is no possibility of any similitude between the object described and that to which it is compared. Example (of Artful Assertion)- 'May Shiva protect you .- he being smilingly looked upon by the ladies in the harem of the King of Mountains, when he,-having a thrill and such effects produced in himself by the touch of Parvati's hand offered to him by her father, and feeling confused at the consequent omission of the detatls of the marriage- rites,-blurted out-"Oh, how cold are the hands of the Snow-mountain !" Here the thrilling and the trembling (the latter being among the 'other effects '),-though really appearing as the calm effects (of the

368 KAVYAPRAKASHA

feeling of Love aroused by the touch), are described here as the effects of cold; and as in this manner their real character is ' concealed', we have here a case of Artful Assertion.

XXXVIII-Parisankhya-Exclusion.

Text .- Where somethang, either (a) asked or (b) unasked, on being mentioned, serves to exclude other things similar thereto,-it is said to be Encclusion.

Comm .- When a certain thing, known by other means of knowledge, is mentioned by words, and in the absence of any other purpose, serves the purpose of exclusion of other similar things, then it is Exclusion. The said ' mention' is found to be preceded by (in response to), as also not preceded by, a question ; and in both cases what is excluded may be implied or directly expressed ;- thus there are four varieties of this figure. Examples in order .- (a) [Preceded by question-the Excluded im- plied]- 'Q. What is it that deserves to be attended- upon by men ? A. The excellent proximity of the Havenly River .- Q. What is it that should be medi- tated upon in seclusion ? A. The two feet of Visnu- Q. What is it that should be honoured? A. Virtue- Q. What is it that should be desired? A. Mercy, by the presence whereof the mind leads on to Liberation.'

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(b) [Preceded by question-the Excluded express- ed 1- 'Q. What is the real ornament in the world ? A. Reputation, not jewels .- Q. What deserves to be done? A. The good of a gentleman, not misdeeds .- Q What is unimpeded vision ? A. Intelleet, not the eye .- Who else, but you, knows the real difference between good and evil ?' (c) [Not preceded by question-the Excluded implied]- 'There is obliqueness in your mass of hair; redness in your hands, feet and lips ;- hardness in your breasts and fickleness in your eyes. (d) [Not preceded by question,-the Excluded expressed ]- ' Devotion to Shiva, not to riches; addiction to learning, not to women, the weapon of love; anxiety for reputation, not for the body ; all this is found in nearly all good men.'

XXXIX-Karanamala-The String of Causes. Tent .- Where (among a number of things men- tioned), cach preceding one appears as the cause of each succeedeng one,-it is the String of Causes. Comm .- ' Yathottaram.',-ot each of the suc- ceeding. Example -- ' Control over the senses is the cause of good chai- acter ; excellence of qualities is obtained trom good

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character; by the excellence of qualities people become attached; and the attachment of the people brings about prosperity.' The figure ' Hetu', 'Cause', defined (by Udbhata') as consisting in 'the dilineation of the affect as not different from the cause',-has not been mentioned here, because such an identification, being of the nature ol statements like 'Butter is longevity', can never be an ornament of speech, (a Figure of Speech), because there is no charm in it. In the example ' also that has been cited of the said figure,- ' Aviralakamalavilāsah Sakalālimadashcha kokilanandaḥ Ramyoyameti samprati Lokotkanthakarah kalah.' 'Now is come the lovely season, which hears the beauty of dense Jotuses, during which the black bees are humming in exuberant joy, which is a source of felicity to the Cuckoo, and brings longings in the minds of men'; the presence of poetical charm has been declared to lie in the presence of the soft Alliteration, and not in that of any such Figure of Speech as Cause. As a matter of fact, this Figure 'Cause' is the same as what has been described above as 'Poetical Reason '.

XL-Anyonya-Reciprocal. Text .- When two things are productive of each other, through an action,-it is the Reciprocal.

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seeking for ivory and tiger-skins, give them to me and receive their price'. This figure is not the same as 'Poetical Rea- son'; because the nature of the figure 'Answer' is not the same as that of Poetical Reason, as the answer here is not the productive cause of the question (as it is in Poetical Reason.) Nor is it the same as 'Inference', as it does not involve any mention of the Probans and Probandum as subsisting in a single substratum (as it is in Inference). For these reasons it is best to regard this Answer as a distinct Figure of Speech. (b) It is the second kind of Answer when, after the statement of the question, there follows an answer which, being beyond the reach of ordinary comprehension, is 'inconceivable' .- As the single mention of such question and anwser would have no charm, it is added 'this more than once'. Example -- 'What is perverse? The ways of destiny .-- What is difficult to obtain? Appreciative men .- What is happiness? A good wife .- What is unhappiness? The presence of wicked men'. In the 'Exclusion with question', what is aimed at is only the exclusion of other things while in the present figure the import rests entirely in the expressed meaning only ;- herein lies the difference between these two Figures.

CHAPTER X 373 .

LXII .- Suksma-Subtle.

Text .- Where a subtle fact somehow noticed, is empressed to another person, by means of some property, it is the Subtle.

Comm .- ' Somehow'-Through appearance or ges- tures and so forth. 'Sultle'-Cognisable only by presons with keen intelligence. Example- 'A certain friend, noticing the kunkuma paint on her neck blurred by perspiration from the girl's face, smiled and painted the sword in her hand, with a view to indicate her male character.' What is depicted here is that on seeing the appear- ance of the girl, her friend understood that she had be haved like a male; and this idea she very cleverly ex- pressed to her by the painting of the sword,-the proper place for the sword being in the hand of a male only. Another example- 'The clever girl, noticing from the meaning glan- ces of her lover that he was desirous of knowing the time of assignation, closed up the lotus with which she was playing' Having noticed, from a mere gesture, that the time for assignation was what was sought after, the girl very gracefully gave him the information by the closing of the lotus, which pointed to the naght as the time.

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XLIII .- Sara-Climax.

Text .- Climax is the successive rising in the excellence of things to the highest pitch.

Comm .- ' Parapadhe',-that of which the ' para' highest prtch, is the 'avadha', lmit; it is at that limit that the excellence, rising by degrees, rests. Example -- 'The Earth is the essence of the kingdom; the city, of the Earth; the palace, of the city; the bed, of the palace; and of the bed, the lovely woman, the all-in-all of the Love-god'.

XLIV .- Asangati-Disconnection. Text .- When there is representation of two Properties, which bear to each other the relation of cause and effect, as subsisting, at the same time, in totally different places, -it is Disconnection.

Comm-As a rule, the effect is found to appear in the same place as its cause; e.g., the smoke (is found in the same place as fire); under the cir- cumstances, if two properties, one of which is the cause and the other its effect, are described as appearing, at the same time, in different places,-on account of some peculiar circumstance,-it is the figure Disconnection, 'Asangati',-so called becanse it involves the abandoning of the natural connection, 'sangati', between the cause and its effect.

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Example- 'What people say as to the pain belonging to the person who has the sore is not true; the cut of the teeth is on the cheek of the newly wedded wife, while the pain appears in her co-wives.' Though it does imply an inconsistency (which is a form of Contradiction), yet the figure is not the same as 'Contradiction'; as in this the 'inconsistency' appears only in the form of two things appearing in two distinct substrata; while in 'Contradiction', the inconsistency really lies in two things subsisting in the same substratum; though this fact has not been stated (in the definition of 'Contradiction' given before), -that it is so is clear from the fact that what is of wider application (in the present case, 'contra- diction') is made applicable to only those cases that do not come under what is of narrower application ('Disconnection', in the present case.) [Hence it is that when 'disconnection' is found to be applicable to cases where the two things are represented as subsisting in different substtrata, it is only right that the scope of 'contradicton' should be restricted to cases where they are described as subsisting in the same substratum.]

Andit is under this understanding that examples have been cited above (of the figure of 'Contradiction.")

XLV-Samadhi-Convenience.

Text .- When, through the help of other causes, the fulfilment of an leffect is described as becoming easier,-it is Convenrence.

376 KAVYAPRAKASHA

Comm .- When a certain work, Commenced by an agent (with one set of accessories), becomes accom- plished without much trouble, with the help of other accessories,-it is the figure named 'Convenience'. Example- 'As I was going to fall on her feet, with a view to pacifying her indignant feelings, luckily the thundering of clouds appeared, for the purpose of helping me'

XLVI .- Sama-Compatible.

Text .- When the connection (between two things) is cunsidered to be right and proper,-it is the Compatible.

Comm .- When the connection between any two definite things is regarded as right and proper,-the idea being that 'this is commendible'-it is the Compatible. It is of two kinds,-(a) where the connection is between two good things and (b) where the connection is between two bad things. Examples -- (a) 'This fawn-eyed one is the touch-stone of the excellence of the creator's art; your Majesty, being un- rivalled in beanty, have relegated the Love-God to a lower position ; that a proper connection between these two has luckily come about constitutes the undisputed sovereignty of Love' (b) 'Strange, strange, extremely strange this that the Creator has, by chance, been the ordainer of one Compatible phenomenon that when the

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large quantities of Nimba-berries had to be eaten, the beings selected as expert in eating them were the crows'.

XLVIL .- Visama-Incongruous.

Teat .- (126-127) .- Where-(a) between two things no compatibility cun come obout. by reason of extreme dissimilitude,-(b) where the agent does not obtarn the fruit of his action, but comes by an adverse effect,-(c) (d) where the quality and action of the cause are incompatible res- pectwely. unth the quality and action of the effect,-it ie held to be the In- congruous.

Comm .- (a) In a case where the two things are so entirely incompatible, that any connection between them is conceived of as purely impos- . sible ;- (b) where, the Agent, commencing an act, does not only fail, by reason of the failuie ot his operations, to obtain the fruit' that he sought to obtain from that act, but, un the contrary, obtains an adverse effect, which he never desired ;- and (c) (d), where, even though the effect ressembles the cause, yet their qualities and action- are mutually contradictory :- this is the four-fold. In- congruous, 'Visama'. so called because it is the reverse of 'congruity' (Sama)

378 KAVYAPRAKASHA --

Examples in order- (a) 'Where on one side is the large-eyed one, with body more tender than the Shurisha flower, and where, on the other, is the fire of love, terrible as straw-fire'.' 'The hare, fearing the son of Simhika (lioness) took refuge under'the Moon; and yet there also it was swallowed by another son of Simlika (Rahu)'. (c) 'It -is strange that, touched in battle by his hand, his sword, black like the Tamala tree, brings forth fame, white like the autumnal moon, which adorns the three worlds.' (d) 'O lotus-eyed one, thou impartest extreme joy, and yet the separation, brought about by thee, consumes my body.' Here the action of imparting joy (belonging to the cause, the woman) is incompatible with the consuming of the body (which is the action of the separation, the effect produced by that woman.) Similarly, the same Incongruity may be traced also in such verses as the following- 'The Being who sleeps in the ocean, by whose exten- sive stomach the worlds had been swallowed, at the time ot dissolution, was swallowed (so to say) by a certain citizen, with her eye only partially opened through the intoxication of love.'

XLVIII-Adhaka-the Exceeding.

Tert-(128)-When, of the Contarner oul the Conturuer, both of tchich are lerye, the

CHAPTER X 379

respective Contained and Container, though really smaller, are described as larger,- at is the Exceeding. Comm .-- ' Ashrita'is the Contained, and ' Ashraya' is its Container; when, both of them being large, their respective Container and Contained, though really smaller than the former, are described as larger, for the purpose of delineating the superiority of the object described,-this constitutes the two kinds of the figure 'Exceeding.' Examples in order -- (a) 'O King, the inside of the three worlds is really extensive, inasmuch as the mass of your fame, though really too large to be contained, becomes contained in it.'

[Here the container, the three worlds, is represented as larger than the contaied, fame].

(b) 'Visnu,-in whom, when he had withdrawn himself at the time of the cosmic dissolution, the worlds became freely contained,-could not contain in his body the joy produced by the arrival of the saint'. [Here the contained, joy, is described as larger than the contarer, Vignu's body.]

XLIX-Pratyanika-Hostile.

Text-(129) It is the Hostile, when a person, unable to ingure his enemy, is descrived as offering an insult to a relatire of thel 49

380 KAVYAPRAKASHA

enemy,-such description tending to eulogise thas latter

Comm .- A man has an enemy who is ever in- sulting him, and whom he himself is unablee to injure; under the circumstances, if he offers an in- sult to some one else dependant upon that enemy, -which action of his tends to add to the prestige of this latter,-it is called the figure 'Hostile,' ' Pra- tyanika'; so called because it is anological to the case of the 'substitute of an army' (anika) .-- Just as, having to fight with an army, one, through ignorance, fights with something else that appears in itself,-so, in the case in question, the enemy being the person to fight, the person goes out to fight a relation of his. Example .- 'You are one who have subdued the beauty of the Love-god, and O beautiful one, she is attached to you; for this reason the Love-god, though hated as it were, strikes her simultaneously with all his five arrows' Another example- 'Being unable to injure Visnu himself,-with whom his enmity was brought about by the cutting off ot the head,-Rahu even now, continues to attack the Moon, who resembles the beautiful face of Visņu.' The moon in this case, though not related directly to Visnu, is represented as related to him indirectly .- 1. e., being related to the lace which is directly related to Visņu.

CHAPTER X 381

L. Milita-The Obscured

Text (130)-When one thing is Obscured by another, through a common characterietic, innate or adventitious,-it is the obsoured.

Comm-Between two things there is a certain common characteristic, which may be either (a) innate or (b) adventitious ;-- through this, when one of those things is obscured, (hidden from view) by the other, by reason of this latter being naturally more powerful,-this is the figure Obscured, wluch they declare to be of two kinds; of which the following are the respective examples- (a) [The obscuring being done through an innate characteristic]- 'The eyes are tremulous in the corners; words sweet and artful, the movement graceful and lan- guid, the face extremely light; all this has appeared naturally in the tender body of the fawn-eyed one through lasciviousness; so that no sign of. in- toxication is perceptible in her body.' The tremulousness of the eyes and the other signs are natural characteristics, common to lasci- viousness and intoxication,-all of them being found in the latter also.

[And through these, the more powertul. re. better known, lascriousness, serves to obscure, hide irom vien. the mtox ication ]

382 KAVYAPRAKASHA

(b) [Where the obscuring is done through ad- ventitious characteristics] .- 'When, with minds full of fear of being attack-‹ ed by you, your helpless enemies are living in the caves of the Himalaya, even though they have their bodies thrilled and shivering, their fright is not perceptible even to the most intelligent.' The feeling of cold, which is implied by the force of the character of the Himalaya, is something adventitious (not innate to the body); and hence thrill and the shivering also, which are affects of that feeling, are adventitious conditions; and these are 'common', being found to be present in the case of fear also. [And here the more apparent thing, the cold due to the Himalaya, seives to obscure the other thing, fear.]

LI-Ekavalī-Necklace.

Text-Where [among a number of things] the succeeding thing is either (a) affirmed or (b) denied, as qualifying the preceding things, it is the Necklace, which is of two kinds.

Comm,-When among a number of things, when one succeeding thing after another, is found to be either (a) affirmed or denied, as belonging to the preceeding,-it is the figure which the learned call 'Necklace'; and this is of two kinds, of which the following are the respective examples.

CHAPTER X 383

(a) [Where there is a affirmation.] -- 'The city there contained excellent women; the excellent women were adorned with beauty; their beauty was teeming with lasciviousness : and lascivi- ousness is the weapon of the Love-god' (b) [Where there is denial] .- 'It is not water which does not contain beautiful lotuses; it is not lotus which does not contain the hidden black bee; it is not a black bee which hums not sweetly; and it is no humming which does not captivate the heart.' In the former example (a) we have the affirmatron of a series of qualifications viz., the excellent women, of the city,-the beauty, of the women, through their body,-lascivious graces, of the beauty,-and the character of weapon, of the graces. And in the latter example, (b) we have a denial ot a series of qualifications, which can be similarly explained.

LII .- Smarana-Reminiscence.

Text .- When on the perception of a thing similar to it, there is rememberance of an object as previously perceived,-it is Reminiscence.

Comm .- When a certain object, with a certain well- defined character; has been perceived at some time- and, at some subsequent time, on the perception of a thing similar to it, which serves to arouse the impression conducive to remembrance, if it becomes remembered

384 KAVYAPRAKASHA

just as it had been perceived before, this would constitule Reminscence. Example- 'When the ripples of water flowed into the deep navels of the girls with tremulous eyes, the celestial damsels were reminded, by the cooing sound therein produced, of the cooing issuing from their own throats during dalliance.' Another example -- "Bow down to the thrill in Krsna's body, which appeared at the recollection of his Panchajanya Conch, at the time when, he held with his hands Yashoda's breasts with his lips at the nipples.'

LIIL .- Bhrantiman-Illusion.

Text .- When there is cognition of another thing, at the sight of a thing similar to it, it is Mlusion.

Comn .- 'It and the term 'another thing', refer to something not forming the subject of the statement; -what is ' similar to it' is, in the present context, the thing that forms the subject-matter of the statement ;- when at 'sght', or perception of this latter, there appears a cognition (idea) of it as the 'other', t.e., the thing not forming the subject of the statement, -it is the figure ' Illusion'. This is not the same as either Metaphor or Hyperbole; as in these latter there is no real llusion, while in the present instance, the illusion

CHAPTER X 385

is manifest, as is clear from the fact that the name 'Illusion' is applied to it in the literal sense. .,'When the cat sees the moon's rays on the bowl, it mistakes them for milk and proceeds to lap it; when the elephant sees them entering through the interstices in the trees, it mistakes them for the lotus-stalk, and proceeds to collect them; when the woman sees them on her bed, at the end of dalliance, she mistakes them for her cloth and proceeds to pick them up .- Thus the moon, maddened with his resplendence, deludes the whole world'

LIV. Pratipa-The Converse.

Teat-(a) Where there is discarding of the object compared to, or (b) where that object tself is treated, uith a mrew to ts being condemned, as the object compared,- it as the Converse.

Comm .- (a) When the object compared to is ' dis- carded' as being superfluous, the idea being that its functions can be easily served by the object compared itself ; or (d) when what is known as the object compared to is treated as the olject rom- pared, with a view to its being condemned in favour of another object compared to ;-- these two condition- constitute the two kinds of Converse, ' Pratipo ;- so called because the object compared sand- here as inimical (pratikula) to the obect compred to

386 KAVYAPRAKASHA

Examples in order -- (a) 'O king, after the Creator -had created you, the receptacle of beauty, endowed with supreme glony, foremost among the generous, and capable of bearing the burden of supporting the Earth,-why did he create the Moon? For what purpose was the Sun created? Why too was the Desire-gem produced? and why were the leading Mountains created without any purpose ?'

[Here all the objects compared to have been discarded as useless.]

' (b) 'Come O beautiful one, and just lend your ears to hear the calumny that is spreading : O slender- waisted one, people are comparing the Moon to your face !' The idea here is that the Moon which is compared to the face being possessed of inferior qualities, the comparison is not correctly accomplished, and this contempt (for the Moon) is suggested by the word 'calumny.' In some cases, the contempt is indicated by a comparison that is correctly accomplished. For instance, in the following- 'O deluded one, wherefore do you 'entertain boundless pride on account of your eyes? There are in the lakes on all sides, blue lotuses which are like them.' Here the contempt for the lotuses consists in ther being made the objects compared.

CHAPTER X 387

In the same manner, when an object, possessed of a unique property, not belonging to any other thing, and hence never. recognised as similar (i.e. bearing comparison) to any thing,-is represented as an object to which something is compared,- this also is to be regarded as an instance of the figure, Converse. For instance, in the following .- 'O poison, don't you, my friend, be puffed up at the idea that you are the greatest of terrible things: Verily there abound in this world the words ot the wicked, which are just as terrible as yourself' Here the Poison is represented as the object compared to; and this character of it is something entirely inconceivable

LV. Samanya-Identification

Text-Where, with a view to delineate the presener of common properties, the object deseribed is represented as identical uith another, through its connection with this latter .- it is held to be Identification.

Comm .- When the speaker desires to describe an object as similar to another, to which it is not really similar,-and represents it, through its connection with that object, as identical with it,-though not renouncing its own qualities,-it is Wdentification, 'Samanya'; so called berause it is based upon the presence ot adentical (samana) propertie -. 50

388 KAVYAPRAKASHA

Example -- 'The women repining for their lovers,-having their body smeared with sandal-paint, adorned with new pearl-neklaces, their faces shining through white paint, and clothed in clean white clothes,- become undistinguishable when the moon with its rays has whitened the Earth, and thus proceed to the house of their lovers comfortably and fearlessly.' Here the ground of identification consists in the quality of whiteness, which is represented as being of the same degree as-neither more nor less than, -- that in the object described (the women) and the other thing (moonlight); and for this reason the two objects themselves are not recognised as distinct. Another example- 'Who could have recognised the champaka flowers hanging from their ears over the cheeks of young women, with complexion like the cane-bark,-if the black bees had not gracefully hovered over them ?' Here the cognition of difference, though produced by other causes (the hovering of the bees), is not able to shake off the identity perceived before (the mention ot the distinguishing bees); for the simple reason that this identity has been iecognised, and what has been recognised once cannot be completely set aside.

LVI-Vishaşa-Extraordinary. Text .- (a) When the contained is represented as existing without its recognised con- tainer,-(b) when one thing is represented

CHAPTER X 389

as subsisting, in the same form, and at the same time, in several things ;- and (c) where, while a person is engaged in the doing of one thing, he is describ- ed as accomplishing in "the same manner a different thing, which (in realily) is not capable of being accomplished (ly that same effort) ;it constitutes what has been described as the figure Entraordinary with its three varreties.

Comm .- (a) When the recognised, contarner or receptacle of a thing, is omitted, and the contained is described as subsisting in a peculiar manner (i. e, without a receptacle),-it is the first variety of the Eatraordinary. Example -- 'Wherefore should the poets not be regarded as objects of reverence,-whose words, grand with infinite beauty, continue to rejoice the worlds, to the very end of the cycle, even atter the poets themselves have departed to heaven? (b) When a single thing is described as subsisting in the same torm, in several thing. simultaneously,-it is the second kind of the Extraordinary. Example- 'She resides in your heart, in your eves and in lyour words; where can there be any room tor wretched beings like myself? (a) It is another kind ot the Ectraordinary where a person, proceeding in a hurry to do something.

390 KAVYAPRAKASIIA

is described as accomplishing another thing, which is not capable of being accomplished by the same effort. Example- ' When the Creator was creating you, with your resplendent form, dazzling glory and flawless learn- ing,-he actually created a new Love-god, a new Sun and a new Brhaspati on the Earth.' Another example of the same- 'When cruel Death deprived me of you-who were my wife, counsellor, confidante and beloved pupil in the gracefnl arts,-oh! what is there that he did not deprive me of?' . In all these cases (of the Extraordinary), artistie expression forms the very essence; as without it they would almost cease to be ornamental (figures of speech) at all. It is for this reason that the following statement has been made (by Bhamaha and others)-'Artistie expression is present every- where; it is by this that meanings become beautified; it is on this that the poet should concentrate his effort; what figure of speech can there be with- ont this?'

LVII-Tadguna, Quality borrowing.

Text-When a thing, through contact with another possessed of ertremely brilliant qualities, renounces its own quality and takes up the qualities of that other thing,-it is Quality-borrowing.

CHAPTER X 391

Comm-When a thing, on contact with an- other thing, has its own character obscured by the superiority of the brilliant qualities of the other. and acquires a semblance of that thing, it is the figure Quality-borrowing, 'Tadguna'-so called be- cause there is borrowing of the quahty ('guna') of that, ('tat'), the thing other than the one des- cribed. Example- 'The sun's horses, hiving their colour altered by the wide-spreading splendour of Aruna, (the Sun's charioteer, the brother of Garuda), were brought back to their own colour by the gems, green like the bamboo-sprout.' Here the green gems are described as possessed of more brilliant qualities than Aruna, whose qualities are more brilliant than those of the Sun's horses.

LVIII .- Atadguna-Non-borrowing of Qualities

Text .- If, however, there is no absorbing by the one from the other, it as the Non- borrowing of qualities.

Comm .- In a case, where the thing with inferior qualities does not absorb the form of the other thing,-even when such absorption i pos- sible,-then it is the figure named 'Non-borrowing of Qualities'.

392 KAVYAPRAKASHA

Example -- 'Though you are yourself wlute (tair), yet you have made my heart red (affected by love); but. thongh enshrined in my heart which is full of redness (love), vou have not been reddened (made to love).' Here the expression ot the idea that 'though the man, even in contact with very much reddened mind, has not become red' involves the figure of ' Non-borrowing of Qualities'. . In the text, the pronoun 'tat', ('the one') may stand for the object other than the one described, and 'usya', ('the other') tor the object described; so that the definition may also be taken to mean that when, for some reason the character of the other object is not absorbed by the object described, then it is the Non-borrowing of Qualities. For example -- 'O Chief of swans, when you dip into the white water of the Ganga, or in the black water of the Yamuna, your own whiteness becomes neither increased nor decreased.'

LIX .- Vyaghata-Frustration.

Text .- When one thing, whach has been ac- complished, in one way, by one person, is turned otherwise in that same way, by another,- that is called ' Frustration',

CHAPTER X 398

Comm .- One man having accomplished a certain object by a certain means,-if that same object is made, by that same means, to become otherwi-e. 'by another person,-it is the figure 'Frustration'. ' Vyāghata'; so called because it is based npon the frustration (vyahats) of something that has been accomplished. Example- 'We eulogise the women who revivify, by then glances, the Lore-god. who was burnt by Shiva by his glance, and who are thus superior to thi- latter goď

LX .- Samsrsti-Collocation of Figures

Tect .- When these (figures) are prevent. dis- tinctly from one another. it is Collocution

Comm .- When the figures ot speech described above are present,-as tar as pos-ible independently of one another,-in one ubstratum .- either (a) in the word or (6) in the meaning or (e) in both .- i is called 'Collocation,' because it con-ist- in the co-existenre ot several in one thing. (a) In the following we have the Collocation of two verlal figme, of -peerh- Vadanasaurabhalobhaparibhramodlhrmnara-

Ckalitoya vidadhe Falamelhala kalulalo lakn-

394 KAVYAPRAKASHA

'The sweet sound of the girdle-zone was produced by another woman, with her eyes tremulous by rea- son of her hanging locks tossing about, and her beauty enhanced by the flurry caused by the black bees hovering about her, having been attracted by the swcet fragrance of her mouth.' (b) The Collocation of an Ideal and a Verbal Figure of Speech, we have in the verse- ' Limpativa tamongāni etc.' (see above). In the former verse (a) we have the Collocation brought about by the verbal figures Alliteration and Chime, which stand independent of each other; and in the latter (b), by the two ideal figures, Simile and Poetic Fancy, standing independently of each other. (c) As an example of the Collocation of a Verbal and Ideal figure of speech, we have the following- ' So nattha etthi game jo zam mahamahatta- alāannam. Taruņāņam hiaaluım parīsakkantīm nitaret.' 'There is no one in this village who could restrain this young woman loitering about with her exuberant charm, captivating the hearts of young men.' Here we have Allteration and Metaphor, indepen- dently of each other, and there is connection between these,-as they both occur in the same sentence or the same verse.

LI .- Sankara .- Commixture. Text .- (a) When however there is u relation of subserviency among the said figures

OHAPTER X 395

of speech, which are incapable of inde- pendent enistence by themselves,-then it is Commrxture. Comm .- When these same figures, incapable of attaining independent existence by themselves, bear to one another the relation of helper and helped (i.c. when one helps to sustain the other), it is Commi- ture, 'Sankara' ; so called because it involves a mixing up of the figures. Example-'O king, when the wives of your enemies are wandering about in the torest, the toresters wrest trom them emerald crown-jewel, take away the golden ear-ornament, snap away the girdle-zone and quieklr remove the jewelled anklets; but on seeing the necklace of pearls, which has become reddened by the reflection of the red colour of their Bimba-like lips, they take it to be only a string of red berries and therefore do not take it' Here the figure 'Illusion' appears as based upon 'Quality-borrowing,' and vice versu; and this comming- ling of the two figures is felt by persons posse-sed of poetic sensibility to be extremely charming . and hence it is found that there in 'mutual sub-ervieney' between the two. Another example of the same- ' Jatabhabhirbhabhih Faradhrtalalan- Iilşabalayo Vıyogivyāpattēriva kalitavarā gyarishadab Pariprenkhattāraparikoralapalanhitntule Shashi bhasmaprnduh mitrrana iru ryomm

396 KAVYAPRAKASHA

'The Moon roams in the sky, which has its surface marked by skulls in the shape of the moon and stars, as if it were in a crematorium,-shining, as he does, with the colour of the knotted hair,- wearing in his hand (rays) the bracelet of rosary- beads, in the shape of the black mark,-having attained the purity (whiteness) of dispassion (free- dom from redness) consequent upon the trouble brought upon separated lovers (the destruction of the objects of sense),-and is white like (with) ashes.' . Here the tour Figures, Simile, Metaphor, Poetical Fancy, and Pun appear, as in the foregoing verse, to be 'mutually subservient.' When we expound the expression 'Kalankak- sabalaya' as ' Kalanka eva aksabalayam', (the black mark itself being 'the bracelet of rosary- beads'), and as such involying the figure of Met- aphor,-then the fact of 'being held in the hand (rays)' is to be regarded as the basis justifying that Metaphor; and in this Metaphor it is the . 'bracelet of rosary-beads' which appears as the predominant factor, entirely hiding from view the 'black mark'; as it is the bracelet (and not the black mark) that is universally known as 'Kar- adhrta', ' worn in the hand'; this latter factor, of being 'Karadhrta',-though really not present in the case of the black mark-is imposed upon it figuratively, through the force of the Pun (upon the word 'kara', which means both hand and rays)

CHAPTER X 397

aided : by the' proximity (of the lunar dise),-since it is.only on his dise that the Moon wears the black mark. . If, on the other hand, the expression 'Kalan- · kākşabalaya' is expounded as 'Kalankah aksab- alayam iva', (the black mark which is like the bracelet of rosary-beads'),-thus involving a Simile (not a Metaphor), then it is the 'black mark' "that comes to be recognised most obtrusively (as the principal factor) ;- but even so, as it is not possible for this mark to be 'karadhrta' (worn 'in the hand), if it is the predominant factor, for the application of this epithet, it would have to.be dependent entirely upon the said figurative indication (based upon Pun). . Comixture of this kind is met with between verbal figures also. As 'for example, in the fol- . lowing- 'Rājati taļīyamabhihatadānavarāsā" tipātisārāvanadā Gajatā cha yūthamaviratadānavarā sātipāti sārā vanadā." 'This place is glorious, where the roaring ot demons has been subdued and which is adorned with fast-flowing murmuring rivers; and this elephant-herd protects itself, glorious with the uninterrupted flow . of the ichor, powerful and destroying the forest .' Here Chime and the Fanciful with convertible parts, are contained in the two feet, and are dependent =`upon each other.

398 KAVYAPRAKASHA

Tert-(b) When there is no reason in support of, nor rny objecrion ugainst, the recog- nition of rny one (to the emclusion of ihe likely figures), there is Uncertainty (which forms the serond variety of Commixture).

Comm .- When two or more figures of speech are found together, and by reason of incompatibility, all of them cannot be admitted simultaneously,-nor is there any reason for accepting any one ot them. nor is there any objection against the exclusion of others, by virtue of which any one only could be admitted,-then there is Uncertainty; and this is to be regarded as the second variety of Commix- ture; this being the implication of the collective . particle 'cha' (in the text), which is meant to connect the 'commixture' with the present text. For example, in the following verse-'How is it that the ocean was not made sweet-watered, by the Creator, as it was made deep, rich in gems and bright ?' Here it is uncertain what figure is meant to be - expressed ; either (a) Modal Metaphor-involving the recognition of an object not meant to be des- cribed (the King), when what is actually described is the Ocean, -- or (b) Indirect Description, involving the recognition of the object to be described (the King), through the mention of an object not meant to be described (the Ocean), which the former * resembles,

CHAPTER X 399

Or, another example (of Uncertainty), in the tollow- ing verse .- 'This dise of the moon, which is a sonrer of joy to the eye, is shining; and yet even now this :larkness, pervading all quarters, .stands unpierced.' Here it is Uncertain, whether what is meant is- (a) the indirect assertion of the fact that 'the time avourable for the manifestation of love has arrived'. -thus involving the Figure of Periphrasis; or (b) the recognition of the Face of the girl as the Moon,- thus involving the figure Hyperbole ;- or (c) the im- position of the charcter of the Moon upon the Face, eferred to by the pronoun 'this,-thus involving the figure of Metaphor ;- or (d) the combination of ooth (Face and Moon), thus involving the figure of Illuminator)-or (e) the figure of Equal Pairing (both Face and Moon being meant to be described); . or (f) the cognition of the face, through common qualifications and the mention of the evening- 'ime,-thus involving the figure of Modal Metaphor :- (g) the introduction of the description of the face,-thus involving the figure of Indireet Descriptron. Thus, there being an uncertainty pertaining to several figuies, this is an instance of the Uncertara Jomniature. In cases where there are reason- io1 of against the admission of any one of the figure- 'nvolved, there is certainty with regard to that one: so that in that case there is no uncertondy.

400 KAVYAPRAKASITA

The term 'nyaya' (in the text) stands tor reasons for, that is, favourable to, something; and 'dosa' for reasons against, opposed- to, some- thing. (a) In the following passage-'the brightness of the smile like moonlight, lends gracefulness to the face-moon',-what is recognised as the pre- dominant factor is the 'brightness of smile', and this is favourable to the description being applicable to . the face; and hence it serves as the reason for the definite recognition of the figure of Simile (in the expression 'face-moon'); and as regards the applica- tion of the description to the moon, also, the said circumstance (of the brightness of Simale being the predominant factor) is not altogether unfavourable; and hence it cannot be regarded as a reason for the admission of the figure of Metaphor (in the same expression 'Face-moon.')- (b) But in the passage-'that this other moon should appear while your face-moon is already present,'-the epithet 'other' is favourable to the moon being taken as the object described, but not entirely unfavourable to the face being so taken; and hence it becomes a reason for the admission of Metaphor, hut not a reason against that of Simile, (c) In the passage-'The Goddess of Wealth firmly embraces you, the King-Visnu,'-the men- tion of 'embracing' excludes the Simile, as it is * not possible (right) for the wife of one person

CHAPTER X 401

to 'embrace' another who may be similar to him. (d) In the passage-'may the lotus-feet of Ambiki, lovely on account of the jingling of the anklets, ordain your victory'-the 'jingling' is aun- farourable to the description applying to the lotus whose jingleng is impossible and as such, it is a reason against the admission of Metaphor; we do not regard it as a reason for the admission of the Simile, on the ground of its heing tavourable to its applying to the feet,-because the tact of its being a negative reason against (Metaphor) is more obstrusively recognised than that of its being an affirmative reason for Simile. Similar deductions may be made by the learned in other cases also

Text .- (c) Also, when. in a single word, both the Verbal and the Ideal Figures of Speech are clearly manifest.

Comm .- When in one and the same word, both. the Verbal and the Ideal Figures of Speech obtain a clear footing,-it is another (third) kind of Com- mixture. Erample- ·Spastolla satkiranatērarosūryabımba- Vetīrņalarnikamatho dirasarabinde Shhstastadagdalololapmmulbacnlāra- Baddhandhalaromadhuparali eainhulocha' 'The Day-lotu-, with the Sun tor it- pericarp of which the shooting riys are the filaments enveloping the

.

402 KAVYAPRAKASHA

Night-bee embracing the eight quarters, has become contracted.' Here we have the Commixture ot Alliteratron and Metuphor in single words (in the shape of the two long compounds). Te.ct .- Thus ths (Commiature) has been des- oribed as having three forms.

Comm .- Thus has been described Commixture in its three forms -- (1) that in which one figure aids, and is subservient to, the other, (2) where the predominance of one or the other is doubttul, and (3) where both figures manitest themselves in single words. Any other method of sub-dividing it is not advisable, as the number of such divisions would be endless.

Thus have been described all the Figures of Speech, classified under three heads-as pertaining to the word; to the idea and to both Question-"All Figures of Speech equally being only the means of lending charm to poetry, wherefore should there be any such restriction as that some figures belong to Words, others to Ideas, and others again to both Words and Ideas ?" Our answer to this is as follows :- It has already been explained that in poetry, Defects, Excellences and Figures of Speech are attributed to Words, Ideas or both, entirely on the basis ot positive and negative concomi- fance; as there can be no other determining. basıs, consequently a Figure of Speech is attributed to one

CHAPTER X 403

or the other according as it is concomitant, positively as well as negatively, with that. So the Semblance of Repetition and the Consequential. Metaphor are attributed to both Word and Idea, because their presence or absence is dependent upon the presence' and absence of both. Similarly with the 'Transition based upon words and other Figures of speech; even so however the real state of things has been ignored, and these latter have been classed among Ideal figures, simply because what shines forth in them most prominently is the charm of the Idea expressed .- Even if we accept the principle that 'a figure Is to be attributed to that on which it rests, ' the ultimate criterion to be adopted will have to be the before-mentioned ' positive and negative concomitance '; specially because, in the absence of these latter, there can be no idea of the figures subsisting in anything. For these reasons it is best to accept the said distinction among Figures ot Speech entirely on the basis of the said 'concomitance.'

Text (142)-Defects are possible in connection with these (Figures) also; but they are such as are likely to be included among these already desoribed; hence they are not dealt with separately.

Comm-For instance, in connection with Allitera- tion, three defects have been cited (by the older writers) as specially noticeable; these are-(1) absence 52

404 KAVÝAPRAKASHA

of general recognition, (2) uselessness and (3) incom- patibility of diction; and these donot differ in character respectively from (1) being opposed to accepted notions, (2) Irrelerancy and (3) Discordance of letters; is they have the same character as these. Examples in order- (1) [Absence of General Recognition)- ' Chakrī chakrārapanktim, harirapi cha harin, dhūrjatırdhūrdhvajāgrān Aksam naksatranatho 'runamapi varuņāh,

Ramhah sanyhah kubarāgran kuverah surāņām jagadupakrtaye

Stauti nityayuktasya yasya pritiprasanno' rvahamahimaruchel sovatat syandano vah .' 'May that chariot of the Sun bent upon benefitting the world, protect you, whose line of spokes is daily recognised with pleasure by Vispu, the horses by Indra, the banners by Shiva, the wheel by the Moon, the driver Aruna by Varuna, the poles by Kuvera and the speed by the hosts of gods!' The series of Agents and the acts attribute them here are all such as have been assumed tor the purposes of Alliteration, and no such acts are found to have been described in the Itihasas or Puranas. So that this is only a case of 'contraxity to prevailing notions '. (2) | Uselessness ] -- ' Bhana taruni ramanamandıramanandasyandi sundarendumukh

CHAPTER X 405

Yadi sallīlollapmni gachchasi tat kin tarīyan

Ananu ranammanimelhalmmavirutashinjanam- anjumanjirom Pamsarancnnarunacharane ranavaņalamaka- ranam, lurute' 'O young girl, with tace as bright as the joyous moon, who converse sweetly and whose feet are red! at the time that you are going to your husband, vour movement, accompanied hy the tingling girdle- zone and jingling anklets, produce withont reason. a peculiar anxiety in my heart ;- tell me why this is so'. The idea expressed here is one in which. however much we ponder over it, we percieve no charm: hence the ' uselessness' of the Alliteration is only what has been described above as 'Irrelevancy'. (3) [Incompatibility of Diction]- ' Alunthotkanthaya dc., &c, (see above). Here, the bombast of harsh words is incompatible with the delineation of the Erotie Passiou, in accordance with what has been -aid hefore (in Chapter VII); so that the defect of 'incompatibility ot diction' in this Alliteration is nothing more than the presence ot 'discordant letter ' The presence ot chiming in three teet of a verse. which has been mentioned as a defeet in connection with Chime. is only 'opposition to u-age': e.4. in the tollowing verse- · Bhujangamasyēra manıļ adombhāh Grahavalirnera nads edambhah

406 KAVYAPRAKASHA

Duruntatānnirnayatopi jantoh Karsanti chetah prasabham sadambhāh.' 'Deceitfnl people, thongh bearing testimony to their wicked heart, yet succeed in attracting the hearts of simple people,-just as is done by the pure and brilliant hood-gem of the serpent, and by the clear- watered streams full of alligators'. The defect mentioned in connection with Simile is the inferiority or superiority of the objert compared to (to the object compared), in point of kind and degree ;- and this is only what has been described as 'Impropriety' of meaning; while the inferiority and superiority as regard the properties (of the two objects) do not differ from what has been described as 'deficiency of words' or 'redundancy of words'. For Example -- (1) [Inferiority in kind]- 'You took a very bold step, like Chandalas' (2) [Inferiority in degree]- 'The Sun is shining like a spark of fire'. (8) [Superiority in kind]- 'This Chakravaka bird, seated on the lotus-seat, looks beautiful,-just like the revered Creator going to create the people at the beginning of the cycle'. (4) [Superiority in degree]- 'Thy navel is like the nether regions, thy breasts like mountains, and thy looks like the stream of the Yamuna'. In all these instances, the objects described, by being compared to the things mentioned, have been very

CHAPTER X 407

much depreciated; and this involves the defect of 'im- propriety of menning' (already described in Chap. VII.) Tn the passage 'The sage, wearing the girdle and the skin of the antelope, appeared like the sun interspersed among masses of blue clouds,'- it is found that in connection with the object compared to (the Sun), nothing (like the light- ning, for instance) has been mentioned as corresponding to the 'girdle' of the object compared; and this is only a 'deficiency of words.' In the passage-'Krsna, dressed in yellow cloth and holding his bow, assumed a body at once beautiful and terrible,-like the nocturnal cloud accompanied by lightning and the rainbow and the Moon,'- in the absence of any mention of the conch and other things in connection with the object compared (Krsna), the mention of the moon is superfluous; and this involves the defect of 'Redundancy' (already described under chapter VII). Further, the diversity in gender and number, of the object compared and that compared to (which has been described as a defect of Simile),-if it bring about some diversity in the form of the word mentioning the common property, it is only the defect which has been described as 'Broken Uniformity;' because in such a case the said property belonging to only one of the two objects, the objects could be regarded either as 'the object compared' or 'the object compared a to' on the basis

408 KAVYAPRAKASHA

of that property only in a qualified (and not original) form; and this would mean that the idea started with could not be sustained. For example, in the following instances -- (re) 'Chintaratramira chyutosr Farato dhin mandabhagyasya me' 'You are fallen from my hands, like the Chintamani, unlucky that I am! [where the past-participle 'chyutah' being in the masculine gender, can be construed only with the man des- cribed, and not with 'ratnam,' which is in the Neuter gender,] ;- and also in the passage-(b) 'Saktavo bhaksita deva shuddhah kulavadhuriva,-' The clean barley-meal was. eaten, like pure women,'- [where the past-participle 'bhaksitah' in the plural number cannot be construed with ' Fulavadhuh' in the singular.] In those cases however where, even when there is diversity of gender and number, there is no consequent alteration in the word denoting the common property,-it does not involve the said defect; as the common property remains capable of being connected with both the objects concerned. For example, in the following passagess (c) 'Gunairanarghyaih prathito ratnairiva mahā- rnavah' [He is famous for his valuable qualities, as the ocean for his gems] [where though the genders of the nouns 'ratnaih' and 'gunaih' are different, yet that does not make any difference in the form of the connected word 'prathitah'] ;- or

-CHAPTER X 409

in the passage-(0) ' Tadveso' sadrshonyabhih stribhirmadhuratabhrtah dadhate shobhām tadīyā vibhramā sma param iva'-'Her apparel was lovely as her graces, sweet and unequalled by other women'; [where the compounds ending with 'sadrshah' and 'bhrtah' are such as can be made applicable to both nouns 'vesah,' singular and 'vibhramah', plural.] Diversity in Tense, Person, and the Imperative and other endings interferes with the clear com- prehension of the idea; so that this also would be included under 'Broken Uniformity.' For example, in the passage-'Atıthinnama kākutsthāt putramāpa kumudvatī pashchımād yāminīyāmāt prasādamiva chatana'-Kumudvatī obtained from Kakutstha, the son named 'Atthi'-just as Intellect obtains enlighten- ment from the last quarter of the night',-where the verb as applying to the Intellect should be in the present tense-'apnoti', and not in the past, 'apa'; hence here we have diversity of tense (which mars the clear comprehension of the Simile). And in the following passage-' Pratyagramajja- mıvishesavwiktamurtih kausumbharagaruchirasph- uradamshukanta vibhrajase makaraketanamarcha- yantī bālaprabālavitapaprabhava latēva,'-'Haring thy body brightened by a fresh bath and clothed in d dress coloured red with Kusumbha, while thou art worshipping the Love-god, thou shinest like a creeper growing out of the branch ol a tree with fresh leaves,'-the proper verb with 'lata' would have been

410 KAVYAPRAKASHA

'urbhrajate', in the Third Person; and as this would mean a change consequent upon the last portion of the verb referring to the person addressed being applied to an object not addressed; and thus there comes about a diversity in the Person. In the passage 'Ganyeva pravahatu te sadaiva Aurtih'-'May your reputation flow on for ever like the Ganga'-the form of the verb applicable to 'Ganga' would be 'pravahati' and not 'rrovahatu'; so that the text involves the diversity of the Imperative, whose function lies in urging that which is not already engaged in the work (which in this case is the 'Reputation,' and not the Ganga, which is always flowing). Many such diversities of the injunctive and other factors are possible, as most ot them are not applicab to the obgect compared to. An objection is raised-"As a matter of fact : conditions ot the Simile are fulfilled when a prc' common to the two objects has been comprehended, either as expressed by the words uttered or implied; and when the object compared is found to be possessed of this property, there is nothinp objectionable in any diversity that there may be a regards the tense and other details. Even in casec where the Simile is comprehended through a directly' expressed common property, e.g. in such expressions as 'he tells the truth like Yudhisthira',-the idea we derive from it is that-'this person, who is as truthful as Yudhisthira, tells the truth.' It need not be

CHAPTER X 411

argued against this that such an expression as 'the truthful man tells the truth' involves a tautology .- Because the idea derived is that 'by telling the truth this man is truthful like Yudhisthira'; and this stands on the same footing as such (seemingly tautological) expressions as 'raiposam pusnatr', 'he develops with the development of wealth." All this is quite true. But this can be justification only for such expressions as are actually found in standard works; but such usage cannot be regarded as entirely unobjectionable; for in reality it does mar the due comprehension of the thing meant to be described. On this point the only right judges are persons endowed with poetic sensibility. As regards the defects of 'absence of similitude' and ' impossibility', which have been attributed to Simile,-these are included under the ' Impropriety of Meaning'. For example, in the expression 'I am stringing the moon of poetry with the rays of ideas',-Poetry is described as similar to the Moon, and Ideas to the rays; while as a matter of fact, no such similarity is known to any one; hence here we have the defect of the 'Impropriety of meaning.'-Similarly in the following verse- 'Out of the mouth of the king who was occupying the centre of the bow-circle, there fell resplendent arrows, like the flaming showers of rain from the encircled Sun occupying the meridian sky ;- the 'falling of the flaming showers of rain out of the 53

412 KAVYAPRAKASHA

solar dise' is an impossible phenomenon; hence the expression of such an idea only serves to lend support to the idea that it is 'improper'. In Poetical Fancy also, the fancy or imagination' or assumption can be expressed by only such things as 'dhruva' 'iva' and so forth,-and not such terms as 'yatha' and the like; as all that the latter, by itself, signifies is the presence of a common property, which is not intended to be expressed in Poetical Fancy. Hence whenever the assumption involved in this latter figure is expressed by 'yathā' or some such word, it involves the defect of 'In- expressiveness.' For example, in the following verse,- 'The tender lotus-bud rose trom amidst the tank,-shut up as being afraid of the superior elegance of the girl's eyes ' ;- [where the term 'yatha', 'as', is not expressive ot the idea of 'as it were', which is what the Poetic Fancy requires]. Another defect attributed to the Figure of Poetrc Fancy is 'objectlessness' ( 'nirvisayatva'), which has been found in those cases of Poetic Fancy where what is imagined (fancied, or assumed) having no real existence, and hence being as good as non-existent,-a 'Transition' is put forward. for its justification, and this 'Transition' is as improper as painting in the sky .- But here also the defect is that of 'Improper Signification.' For example, in the following verse -- 'Who, during the day, protects, from the sun, Darkness, which is, as it were, afraid and hidden

CHAPTER X 413

among caves : Persons with magnamity (high heads) sympathise even with an insignificant thing that seeks shelter with them.' - , Here, in the first place, it is not possible for Darkness, which is an insentient thing, to have any' fear from the sun; wherefore then could there be any protection by the mountain, incited by that fear? And yet there is no incongruity in the umaginary semblance of fear (which is all that the Poetic Fancy has set forth); so that the attempt (made in the second line) to justify the preceding statement (by means of 'Transition') is entirely unnecessary. Another detect attributed to the figure of Modal Metaphor is 'anupadēyatva', 'unmentionability', which has been found in cases where, the particular object compared to, which is not expressly stated, is indicated by the figure (Modal Metaphor), through the force of common epithets,-yet the said object is mentioned again, for which really there is no use at all. This however is the same as the defect of either 'Irrelevancy' or 'Tautology' (already described under chapter VII). For example, in the following verse,- 'Sprshatr tigmaruchau kakubhah sharch Dayıtayēva ujrmbhıtatāpayā Atanumānaparıgrahayā thitam Ruchirayā chirayāpi dinashriyā.' 'On the sun touching the quarters with his hands (rays), day-light oppressed with grref (heat),

414 KAVYAPRAKASHA

continued to be idignant for a long time (of long duration), just like a girl beloved of him.' Here, through the force of the common epithets, and through the choice of the genders of the nouns used, it is clearly indicated that the Sun is the lover and the Quarters, the loved woman; equally clearly would it also be indicated that the Summer Day-light is the rival-beloved; so that where was the use of his being mentioned directly by the term 'dayitayā' 'girl beloved'? [It would not be right to contend that the use of the addition of the word in question serves to make the figure the Punning Simile; because] as a matter of fact, it is a case of Punning Simile where, even on the mention of the common proper- ties, the Simile is not comprehended, unless the ouject compared to is also mentioned. For example, in the verse,-' Svayancha pallavātāmra ete. ete.' (See above), [where, if the 'dawn' had not been mentioned, the Simile could not have been grasped]. Similarly in the figure Indirect Description also, the object compared should be comperhended in the same manner (t.e. by the force of common epithets), and should not be degraded by being directly mentioned. For example, in the following verse .- 'On flying objects being invited, even the mosquito, if it comes, is not prevented; even the coral lying in the bed of the ocean bears the splendour of a gem; the firefly also is not excluded from among shining objects; fie upon this

1

CHAPTER X 415

unintelligent and idiseriminate classification, which resembles a dull and unappreciative master;'-the unintelligent master being already indicated by the mention of such common properties as are not meant to be described,-it was not right to mention him by name Thus it is tound that the defects that have been attributed (by older writers) Figures of Speech, as also other similar defects, are all included among the general_defects already described (under chapter VII); and as such, they should not be described separately.

Thus is the Exposition of Poetry concluded

That this high-way (of Rhetoric), though divergent, through the agency of learned writers, yet appears to be one, is nothing strange, as the reason for this lies in a properly planned collation [Or, that this work, though composed by different authors, yet appears as one organic whole, is nothing strange; as the reason for this lies in a properly planned execution of the work.]

END

Alphabetical Index of Sanskrit Terms

Pages अकाण्डे छेद: (दोष) (Untimely Interruption) 240 अकाण्डे प्रथन (दो.) (Untimely Introduction) 240 शरक्रमता (दो.) (Absence of Uniformity) 203 श्रगूढव्यङ्गम (Explicit Suggestion) 27,101 शङ्गस्यातिविस्तृतिः (दो०) (Profuse Description of the Subordinate Element) 243 शङ्गाङ्गिभाव: संकर: (अलंकार) (Commixture) 402 अङ्रिनोइननुसंधानं (दो.) (Neglect of the Principal Element) 241 अतद्ुरः (अ०) (Non-borrowing of Qualities) . 391 अ्तिशयोकि: (भ्र०) (Hyperbole) 335 अत्यन्ततिरस्कृतवाच्यध्वनिः (Suggestion wherein the Expressed Meaning is altogether neglect- ed) 44 अ्धमकाव्यम् (Third Class Poetry) 7 अधिकम् (अ.) (The Exceeding) 378 अधिकपदता (दो०) (Redundant Word) 183 अधिकपदता कचिहुयाः .. 232 अनङ्गस्याभिधानं (दो०) (Celebration of an Unim- portant Object) 343 अनन्वय: (अ०) (Comparison Absolute) ... 313 अनभिहितवाच्यता (दो०) (Omission of a Neces- sary Statement) ... 191 अ्रनवीकृतत्वं (दो०) (Monotony) 211 अ्रनियमे सनियमः (दो०) (Specification of the Un- specifiable) 211

418 KAVY APRAKASHA

Pages अ्रनुकरणो सर्वेषामदोपता (No Defect in Imitation) 223 अनुचितार्थता (दो०) (Improper Signification) 143 अ्रनुप्नास: (अ०) (Alliteration) 270 अनुप्रासदोपा:, तेपामुक्त्ेष्वन्तर्भावश्र (Defects in Al- literation) .. 40B-404 अनुभावस्य कष्टकल्पना (दो०) (Far-tetched Significa- tion of the Ensuant) 238 अ्रनुमान (अ०) (Inference) 365 अनुवादायुक्तता (दो०) (Improper Adjuncl) 216 अन्योन्यम् (अ.) (Reciprocal) 370 अपद्युक्तता (दो०) (Misplaced) 214 अपराङ्व्यङ्गयम (Subservient to something else) 103 अपह ति (Concealment) 324 अपुष्टार्थता (Irrelevancy) 205 अप्रतीतत्वं (दो०) (Unintelligihility) 148 अम्रतीतत्वं क्चिद्ुः 229 अप्रयुक्तता (दो०) (Non-usage) .. 142 अ्प्रयुक्त्तता क्कचित् न दोप: 227 अप्रयुक्ततादीनां पृथगुक्तिबीजम् .. 175 अप्रस्तुतप्रशंसा (अ्र०) (Indirect Description) ... 329 अप्रस्तुतप्रशंसाभेदाः 330 अरप्रस्तुतप्रशंसाया: दोषः, तस्योक्तेऽन्तर्भावश्च अभवन्मतयोग: (दो०) (Want of Intended Con- 414

nection) अ्रभिधाविचार: (Denotation) 186 16 अमतपरार्थना (दो०) (Undesirable Second Inten- tion) 204 अर्थगुास्वीकार: (Non-acceptance of Excellences of Meaning) .. 260

INDEX 419

Pages अर्थचित्रस्वरूपम् (Fanciful Meaning) 137 अर्थचित्रस्य बहुभेदता (Many Forms of Fanciful Meaning) 139 अर्थचित्रोदाहरयाम् (Example of Fancitul Meaning) 138 अर्थदोषा: (Detects of Sense) 205 अर्थभेदा: (Kinds of Meaning) .. 9 अरथव्यक्ति: (अरर्थगुराः) (Expression of Meaning as belonging to Meaning) 260 अर्थव्यक्ति: (शन्दगुयः) (Expression of Meaning as belonging to Words) 260 अर्थव्यक्षकता (Suggestion belonging to Meanings) 37 अर्थव्यअ्षकतायां शब्दस्य साहाय्यम् (Help of Words in the Suggestiveness of Meanings) '43 अर्थशक्तय् त्थध्निविभाग: (Divisions of Sugges- tion based on power ot Meaning) 70 अर्थशक्तय त्थध्वनिप्रभेदानामुदाहरानि (Examples of Suggestion based on the power of Mean- ings) 70 .. अर्थशक्त्य स्थध्वनिप्रभेदानां प्रबन्धगतत्वम् (Do occul- ringin context) 86 अर्थान्तरन्यास: (अर०) (Transition) 349 अर्यान्तरसंक्रमितवाच्यध्वनि: (Suggestion where the Expressed Meaning is transferred to an- other) 44-45 अर्थान्तरैकवाचकता (दो.) (Isolation ot an Expies- sive Word) ... 185 अलच्यक्रमव्यङ्गचध्वनि: (Process of Suggestion where the order ot sequence is impei- ceptible) 46

420 KAVYAPRAKASHA

Pages 403 अलक्कारलत्षणम् (Definition of Figure of Speech) 253 अलक्टाराणां शब्दार्थगतत्वे नियामकमू (Grounds of dis- tinguishing Figures into Verbal and Ideal) . 286,402 अरवाचकता (दो०) (Inexpressiveness) 144 अविमृष्टविधेयांशत्वं (दो०) (Suppression of the Predicate) 150 अविवत्तितवाच्यध्वनि: (Suggestion where the Ex- pressed Meaning is incompatible) 44 अरचिशेषे विशेष: (दो०) (Restriction of the Un- restrictable) 212 अ्श्लीलता (दो.) (Indecorousness of Word) ... 146 अश्लीलता कचिङ्ुय: 228 अश्लीलार्थता (दो०) (Indecorousness of Mean- ing) 217 अ्रसङ्गत्ति: (भ०) (Disconnection) ... 374 अ्सङ्गतेविरोधाद्भेद: (Difference between Discon- nection and Contradiction) .. 375 अरसमर्थता (दो०) (Incapability of giving Sense) 142-143 पसुन्दरन्यङ्गथम् (Non-beautiful Suggestion) ... 110 अरस्थानस्थपदता (दो०) (Misplaced Word) 192 अ्रस्थानस्थसमासता (दो.) (Misplaced Compound) o194 अस्थानसमासता कचिड्डुयः 235 भ्रस्फुटव्यङ्गधम् (Abstruse Suggestion) 109 आचेप: (अ०) (Hint) 345 आार्थी उपमा (अ०) (Indirect Simile) ... 300 आर्थी व्यज्ना (Suggestiveness of Meanings) 37 उत्तमकाव्यमू (First Class Poetry) 5

INDEX 421

Pages उत्तरम् (अ०) (Reply) 371 ... उत्तरस्य नान्यस्मिन्नन्तर्भाव: 372 .. •उत्प्रेत्षा (अर.) (Poetic Fancy) 315 उत्प्रेवादोष:, तसोक्तेऽन्तर्भावश्र 315 उदात्तम् (अ.) (The Exalted) 360 बदारता (अर्थगुयः) (Fanciful Grouping-ot Meanings) 261 उदारता (शब्दगुखः) (Fanciful Grouping-of Words) 259 उद्देश्यप्तिनिद्वेश्यस्थले कथितपदस्यादुष्टता 197-198 उपनागरिका (रीतिः) 272 उपमा (अ०) (Simile) 299 उपमादोषा:, तेषामुक्क्ेष्वन्तर्भावश्र '406 उपमानस्य आधिक्ये न व्यतिरेक: 341 उपमायां कालादिभेददोष: 409 उपमायां कालादिभेदसय क्कचित् अदोषत्वम् 410 -उपमायां लिङ्गवचनभेद्दोष: 409 उपंमायां लिङ्गवचनभेदस्य अदोषता 410 उपमायाः पञ्चविंशतिविधत्वम् (Twenty-five Forms of Simile) 312 उपमेयोपमा (अ०) (Reciprocal Comparison) 314 उपहृतविसगता (दो०) (Bluntedness of Visarga) 178 उपादानलचणा (Inclusive Indication) 18 एकाचली (भ०) (Necklace) 382 शोजोगुालक्षणम (Florridity defined) 258 शजोगुएास्य व्यक्ञकाः (Letters Suggestive of Florridity) 264 कथितपदत्वम् (दो०) (Repetition of Words) 184 • कथितपदत्वस्य गुखता .. 198,233

. .

422 KAVYAPRAKASHA

Pages कर्यावतंसादिपदे न पौनरुक्तयदोप: 220 कष्टार्थता (दो.) (Obscurity of Sense) 206 काकाचिप्रव्यङ्गयम (Snggestion manitested by Emphasis) 110 कान्ति: (Brilliancy) 260 कारणमाला (अ०) (String of Causes) 369 काव्यलिङ्गम् (अ्र०) (Poetical Reason) 357 काव्यस्य कारएम् (Cause of Poetry) 3 काव्यस्य प्रयोजनम् (Effects ot Poetry) 1 काव्यस्य स्वरूपम् (Definition ot Poetry) 4 कोमला (रीति:) (Softness of Diction) 272 क्िष्टता (दो०) (Obscurity of Word) 149 खङ्गर्बन्धः (अ्र०) 294 गभितत्वम् (दो०) (Parenthetical) 195 गभितत्वं क्वचिद्ुर: 235 गुरालत्तसम् (Definition of Excellence or Dic- tion) 252 गुएविभाग: (Forms of Excellence) 257 गुणानां रसघर्मत्वम् (Excellences belong to the Rasa) 253 गुमालङ्कारयोर्भेद: (Difference between Excel- lence and Figure) 284 गुीभूतव्यङ्गयकाव्यम् (Poetry of Subordinate Suggestion) 101 101 गूढ़व्यङ्गयम् (Abstruse Suggestion) 25 गौडी (रीतिः) 258,272 गौपीलत्षणा (Qualitative Indication) 22 गौर्वाहीक इत्यन्र लच्यार्थनिर्णायः 22 ...

ÌNDEX 423

Pages ra (le) (Vulgarity of Word) 148 .

ग्राम्यत्वं क्वचिङ्गुयः 230

ग्राम्या (रीतिः) 272 ... ग्राम्यार्थता (दो०) (Vulgarity of Sense) 208 चित्रम् (अ.) (The Pictorial) 294

चित्रकाव्यम् (Fanciful Poetry) 7,294

चित्रकाव्यस्य बहुभेदता 139 चयुतसंस्कार: (दो०) (Lacking Correctness) 141-142 छेकानुप्रास: (अ०) (Isolated Alliteration) 271

तहुयः (भ्र.) (Borrower) 390 argafe: (Import. the fourth kind of mean- ing) 9 तुल्यप्राधान्यव्यङ्गयम (Snggestion ot equal Pro- minence) 110 तुल्ययोगिता (अ०) (Equal Pairing) 340 त्यकपुन:स्वीकृतता (दो०) (Resuming the Con- cluded) 216 दीपकमू (Illuminator) 339 दुष्क्रमत्वम् (दो०) (Irregularity) 208 दष्टान्त: (भ्र०) (Exemplification) . 338 दोषगुणालङ्गारायां शब्दार्थगतत्वे नियामकमू (Grounds of distinguishing Defects, Excellences and Figures into Verbal and Ideal) 286 दोषलक्षराम् (Definition of Defect) 140 दोषायां कचित् अदोषता गुएता वा 221 ध्वनिकान्यम (Suggestire Poetry) 5 ध्वनिगुशीभूतव्यङ्गयो: संकर: (Combination ot Suggestive Poetry and Poetry of Subor- dinate Suggestion) 112

424 KAVYAPRAKASHA

Pagee ध्वनेभेदसमछटिः (10455 Forms of Snggestive Poetry) ... 98 ध्वने: शुद्धभेदसङ्कलनम् (51 Pure Forms of Sug- gestive Poetry) 97 ध्वने: संसृष्टसङ्गरौ 97 वने: संसृष्टिसङ्करादीनां संख्या (Number of Comhi- nations, ete. of Snggestion: 10404) 98 ध्वनेसत्रैविध्यम् 112 निदर्शना (अर०) (Illustration) 328 निदर्शना अन्यविध (अ०) (Another Form of Illus- tration) 329 निरर्थकत्वमू (दो०) (Useless or Rednndant) 144 निरहेतुता (दो०) (Inconsequentionality) 208 निर्हेतुता क्वचित् न दोप: 221 निहतार्थता (दो०) (Suppression of Meaning) 143 निहतार्थतां क्वचित् न दोष: 227 नेयार्थता (दो०) (Presence of such meaning as has to be guessed out) 149 1 .. न्यूनपदत्वं (दो०) (Deficiency of Word) 182 न्यूनपदत्वं क्चिङुयः 231 न्यूनपदरवं क्चित् न गुयो नापि दोष: 232 पतत्प्रकरष: (दो०) (Receding of Excellence) 184 पतत्प्रकष: क्चिह्ुयाः ... .235 पददोषविभाग: (Defects of Word Enumerated) 140 पददोषायां केचित वाक्यपदांशगताः (Some of the above applying to the Sentence) 155 पदांशगतदोषायामुदाहरणानि (Defects in Particles of Words) 170 पद्मबन्ध: (भ्र०) 295

İNDEX 425

Pages परिकर: (अ०) (Insinuator) 366 परिवृत्ति: (अ्र०) (Exchange) 356 *परिसङख्या (अ०) (Special Mention) 368 परुषा (रीतिः) ... 272 पर्याय: (अर०) (Sequence) 364 पर्यांयोक्तम् (Periphrasis) 358 पा्ाली (रीतिः) 273 पुनःपुनर्दीप्षि: (दो०) (Repeated Heightening) ... 240 पुनरुक्तवदाभास: (अ०) (Semblance of Repetition) 296 पौनरुक्तथम् (दो०) (Tantophonous) 207 प्रकाशितविरुद्धता (दो०) ·(Disagreeable Second Entendre) .. 215 प्रकृतिविपर्ययः (दो०) (Perversion of Characters) 242-243 प्रतिकूलवर्णता (दो.) (Discord of Letters) 176 प्रतिकूलविभावादिपरिग्रहः (दो०) (Admission of Conflicting Excitants and Ensuants, etc.) 240 प्रतिपत: (अर.) (The Hostile) 379 अ्रतिवस्तूपमा (अ०) (Typical Comparison) 336 प्रतीपम् (अ०) (The Converse) 385 प्रत्यनीकम् (अर०) (Hostile) 379 प्रसादगुणालत्तराम् (Definition of Lucidity) ... 258-264 प्रसिद्धिविरोधः (दो०) (Opposed to Popular Notions) 209 प्रसिद्धिविरोधस्य कचित् अदोषता 209-210 प्रसिद्धिहतत्वम् (दो०) (Disregard of usage). 196 भझ्नप्रक्रमता (दो०) (Violation of the Uniformity of Expression) .-. 197 भाव: (Emotion Defined) .. 61 भावस्य उदय: (Manifestation of Emotion) ... 64 55

426 KAVYAPRAKASHA

Pages भावस्य शवलता (Variegaion of Emotions) ... 64-65 भावस्य शान्ति: (Allayment of Emotion) 64 भावस्य शान्त्यादीनां क्वचित् प्राधान्यम (Allayment, elc. of Emotion sometimes the Predominat- ing Element) 65 भावस्य सन्धि: (Mixture of Emotions) 64 भावाभास: (Semblance of Emotion) 63 भाविकम् (अर०) (Vision) 356 भ्रान्तिमान् (अ०) (Mistaker) 384 मङ्गलाचरएम (Invocation) 1 मध्यमकाव्यम् (Middling Poetry) 6 माधुयगुएास्य लक्तराम् (Sweetness of Diction "Defined) .. .. 257 माधुयगुरास्य व्यक्षकम् (Letters Suggestive ot Sweetness) ... ... 262 मालादीपकम् (अ०) (Stringed Illuminator) ... 339 मालानिदर्शना (अ.) (Stringed Illustration) 328 मालारूपकम् (अ०) (Stringed Metaphor) 324 मालोपमा (अ०) (Stringed Simile) 312 मीलितम् (अ.) (The Lost) ... 381 मुरजबन्घ: (अ०) ... 294 यत्तत्पदयो: साकाङननिराकाङच्तताविचार: 164 यथासङख्यम् (अ्र०) (The Symmetrical) . 342 यमकम (अ.) (Chime) 27t यमकदोष: तसयोक्तेऽन्तर्भावश्र 405 रचनाया: क्वचित् चैपरीत्यम् (Occasional Perversion of Diction, etc.) 265 रशनारूपकम् (भ्र०) (Girdle-Metaphor) रशनोपमा (अ्र०) (Girdle-Simile) 32 318

INDEX 427

Pages रसस्वरूपम् (Definition of Rasa) .. 47-48 ... रसदोषविभाग: (Defects of Rasa Enumerated) .. 236 रसविभाग: (Rasas Enumerated) 56 रसस्य स्वशब्दवाच्यता (दो०) (Mention of the Rasa by Name) ... 237 A रसादे: पदैकदेशरचनावर्णगतत्वम् 89 ... रसाभास: (Aberrations of Rasa) 62 रसोदाहरयानि (Examples of Rasas) 56 रूपकम् (अ.) (Metaphor) 317 लच्षितलक्षया (Indicative Indication) 18 लच्षसालचयम (Indication Defined) 17 , 28 A .. लच्षयायां प्रयोजनप्रतीति: (Comprehension of the Motive of Indication) 28 . लन्षणाया: षड्विधत्वम (Six forms of Indication) 25 लत्तणायास्त्रैविध्यम (Three-foldness of Indication) 27 लान्षणिकशब्द: (Indicative Word) 27 लच्यक्रमव्यङ्रयध्वनि: (Suggestion, whose Order of Sequence is Perceptible) 46 लाटानुप्रास: (अ०) 273 लुसोपमा (अ०) (Elliptical Simile) 299 लुप्षोपरसाभेदा: (Different Forms of Elliptical Simile) 305 ... वक्तादीनां वैशिष्टय व्य्ञनोदाहरयम् (Suggestion based on speciality of Speaker ete) .. 371 वक्रोकि: (श्र०) (Equivoque) 268 वस्तुष्यङ्थालक्गारख न गुणीभूतन्यङ्गयता 111 वाक्यदोषा: (Defects of Sentence Enumerated) ... 175

428 KAVYAPRAKASHA

Pages वाक्यनिष्टपद्दोषाणामुदाहरणानि (Defects of Words occurring in a Sentence) 155 वाचकशब्द: (The Expressive Word) ... 12

. वाच्यसिद्धयङ्गव्यङ्गयम् (The Suggested Meaning being a part of the . accomplishment of the Expressed Meaning) 108 वाच्यार्थनिर्याय: (What is the Denoted Meaning?) 12 256 ... 259-260 वामनाधु क्दशविध्ार्थगुणास्वीकार: 260 विद्याविरोध: (दो.) (Unscientific) ... ... 210 विधेयाविमर्ष:(दो०) (Non-discrimination ofthe Predicate)150 विध्ययुक्त्तता (दो०) (Improper Predication) 215 विनाकि: (अ०) (Privative Description) 355 विप्रलम्भविभाग: (Erotic in Privation) 57 विभाव: (Excitant) .. 47 विभावना (अ०) (Peculiar Causation) 347 विभावस्य कष्टकल्पना (दो) (Far-fetched Significa- tion of the Excitant) 239 विरुद्धमतिकारिता (दो०) (Repugnant Implication in Words) 153 विरुद्धयोरपि रसयो: क्वचित् त्रविरोधः विरुद्योरपि रसयोरेकत्र समावेशप्रकार: 248 .247

विरोध: [विरोधाभास:] (श्र०) (Contradiction) 244

विरोधविभाग: (Forms of contradiction) ... 350

विरोधादसङ्गत्योभे द: (Difference between Contradic- ... 350

tion and Disconnection) 375 A.K_AA

INDEX 429

Pages विशेष: (भ्र०) (Extraordinary) ... 388 विशेषे अविशेष: (दो.) (Non-specification of the Specifiable) 211 .. विशेषोकि: (श्र०) (Peculiar Allegation) 347

विषम: (The Incongruous) 377 A विसन्धि: (दो०) (Cacaphony) ... 178

वृत्त्यनुप्रास: (्र०) ... 272

वैदर्भीरीति: .. 273 व्यअ्क: शब्द: (The Suggestive Word) ... 36 व्यअ्ञनावृत्तिसंस्थापनम् (Arguments in favour of accepting Suggestion as a process apart from Indication and Denotation) 113 व्यतिरेक: (अ्र.) (Dissimilitude) . 341 व्यतिरेकविभाग: (Twenty four kinds of Dissimi- litude) 341 व्यभिचारिण: स्वशन्दवाच्यत्वम् (दो०) 237 व्यभिचारिण: स्वशन्दवाच्यत्वं कचिन्न दोष: 243 व्यभिचारिभावा: (Accessory Emotions) 60

व्याघात: (त०) (Frustration) 392 व्याजस्तुति: (अ्र०) (Dissembling Eulogy) 353 ड्याजोक्ति: (अ०) (Artful Assertion) 367 व्याहतार्थता (दो.) (Inconsistency) 207 शब्दचित्रस्य बहवो भेदा: (Forms of Fanciful Word) 139 शब्दचित्रस्वरूपम् (Definition of Fanciful Word) 138 शब्दचित्रोदाहरगम् (Example of Fanciful Word) 138 ... शब्दभेदा: (Three kinds of Word) 9 शब्दशस्युस्थध्वनि: (Suggestion arising from the power of Word) ... ... 66

430 KAVYAPRAKASHA

Pages शब्दार्थोभयशकयुस्थध्वनिः (Suggestion arising from the power of both Word and Meaning) 76 mara: (The Quietistic) .. 61 शुद्धा लक्षणा (Pure Indication) 18 श्रतिकटुत्वम् (दो०) (Unmelodiousness) 141 क्ेष: (अर्थगतः) (अ्र०) (Ideal Paronomasia) 326 ", (शब्दगतः) (अ०) (Verbal Paronomasia) ,280 श्रेषगुय: (अर्थगतः) 261 (शन्दगत्तः) 259 श्लेषविचार: (Consideration of the character of Clesha) 286 सङ्करः (अ्र०) (Commixture) 394 सङ्कीर्णता (दो.) (Confusion) ... 194 सन्दिग्घत्वम् (दो०) (Ambiguousness) 147 क्कचिङ्ुयः ... 229 सन्दिग्धपाधान्यव्यङ्गधम् (Suggestion of Doubtful Predominance) 4. 109 सन्दिग्घार्थता (दो०) (Dubiousness) 208 सन्देहसङ्कर: (भ्र०) (Second form of Commixture) 398 सन्धावश्लीलता (दो०) (Indecorousness in Euphony) 179-180 सम्भोग: (Erotic in Enjoyment) 56 संयोगादिनैकार्थनियमनम् (Causes of Suggestion) ... 32 संलच्ष्यक्रमव्यङ्गयंध्वनि: (Suggestion where the order of Sequence is Perceptible) 65 संसृष्टिः (अ्र.) (Collocation) 393 सनियमेऽनियम: (दो०) (Non-restriction of the Restrictable) 212 समता (अर्थगुय:) 261 (शब्दगुया: : ... 2

İNDEX 431 س

Pages समम् (अ०) (Equal) 376 समाधि: (भ्र.) (Convenience) 375 (अर्थगुरः) 261 (शदद्रगुणः) 259 99 समासपुनरात्तता (दो०) (Resumning the Con- cluded) 185 क्चिन्न दोषो न गुगः 235 समासोक्ति: (अ०) (Modal Metaphor) :327 413 समुच्चय: (अ०) (Conjunction) 361 सर्वताभद्रम् 295 सन्देहः (अ०) (Dubious) 316 सहचरभिन्नता (दो०) (Mismatched Associates) . 214 सहोक्ि: (अ०) (Connected Description) 354 साकाङ्क्षता (दो०) (Incompleteness) 213 साध्यवसानालकषया (Intro-susceptive Indication) 22 सामान्यम् (अ.) (Sameness) .. 387 सार: (अ०) (Climax) 374 सारोपालप्षणा (Superimponent Indication) 21 सूसमम् (अ.) (Subtle) 373 सौकुमायमू (अर्थगुयाः) 261 (शब्दगुयः) 260 स्थायि्न: स्वशन्दवाच्यत्वम् (दो०) (Mention by name of Permanent Emotions) 238 स्थायिभावा: (Permanent Emotions) 60 स्मरयाम् (भ्र०) (Reminiscence) 383 स्वभावोक्ति: (अ्र०) (Natural Description) 352 हतवृत्तता (दो०) (Marred 'metre) ... 180