1. Kavya Prakasa Ganganatha Jha Revised by Aditya Nath Jha

KĀVYAPRAKĀSHA

OF MAMMATA WITH ENGLISH TRANSLATION ( REVISED )

( Chapters I to X ) ( With Index Appendices )

By Mahamahopadhyaya Dr. Sir Ganganatha Jha, M. A, D. Litt, LL. D, Vıdya-Sāgara, Ex Vice-Chancellor Allahabad University

BHARATIYA VIDYA PRAKASHAN VARANASI-1 (India )

Published by : Kishore Chand Jain, Proprietor, BHARATIYA VIDYA PRAKASHAN, P B No 108, Kachau1i Galı, Varanas1-1

C Dr. Ādityanatha Jhā

Price Rs 40/तीग विद्या प्रकाशन August 1967/8o 767 60|> ..

Printers : Bhargava Bhushan Press, Gat Ghat, Varanası.

FOREWORD

The famous English "Translation" of Kavya-Prakasha by late Mahamahopadhyaya Dr. Sir Ganganatha Jha had been out of print for the last several years and the scholars from all over the world have been persistently craving for its re-issue. The same is being done with the concurrence "€ Dr. Adityanath Jha, Vacaspati, I. C. S. Lieutenant-Governor of Delh1, the only surviving son of the illus- trious translator. Although Sir Ganganatha Jha called his work merely a translation in all humility, it is really a highly learned commentary as well, since attempt has been made here not only for reproduction in English of the Sanskrit text and commentary, but also towards their further elucidation, and for this the illustrious savant has supported his stand by references to different authoritics and by providing supple- mentary notes. Although the work, as published hitherto, did not contain the text in the present edition the same has been added for the convenience of the readers. Dr Jha had said in the previous editions that he had followed the text of Vamani, but at so many places it is not so, and so effort has been made to present the reddings as followed by the learned translator, and not that by Vāmanāchārya. In the meantime a copy of the manuscript of the Kāvya Prakāsha- Karika was discovered in the Saraswat Bhavana Library, Varanasi. Its opening stanza is significant in as much as it mentions expressly that Mammata wis the Vrttikara, without mentioning about his being the author of the Karika In addition the stanza, in which Śanta is mentioned as a Rasa ( 31 ), is missing in this manuscript. The writer of this manuscript has in another stanza, where Santa ( 26 ) is mentioned in other manuscripts, a text that does not have the word santa. In the present edition not only the Kārikās have been reproduced, but the readings where this manuscript differs from those of Vamanacharya have also been mentioned. Whfle effort has been made to preserve the method of trans- cription of the translator, a deviation has been mader especially in respect of the anusvara. Dr. Jha had m for both H and ahusvāra, but

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in the present edition, anusvara is being indicated by m. Certain misprints of the text, particularly in the Prakrit passages, have been rectified. Readers will find that &T is tianscribed in some places by sh and at others by ś. The work is being issued in two parts, Part I consisting of the first seven chapters and Part II of the remaining chapters with indices including a biography of Dr. Sir Ganganatha Jha. Dr. Adityanatha Jha has left to the charge of this humble student the honourable task of arranging for re-publication of the works of his father. In consequence thereof through the interest taken in the project by the energetic proprietor of Messess Bharatıya Vıdya Prakashan Shri Kishore Chand Jain the first work of Dr. Jha that he had originally written as a university student is being published presently. It is now for scholars to see how far success has been attained in the matter of faithful reproduction of the work of the master. If this edition receives approbation of scholars, other works of Dr. Jha will follow in succession. and the second / work to be publıshed is the Prabhakara School of Pūrva-Mīmāmsā. In execution of this work Pt. Shri Ahi Bhushan Bhattacharya, Principal. C. M. Anglo Bengalı College, Varanası, the worthy son of one of the greatest Sanskritists of the time, namely late Mahamaho- padhyaya Pandıt Phanibhushan Bhattacharya, has ungrudingly co- operated in correcting the proofs, although for all shortcomings the responsibility rests with Subhadıa Jha. Vārāņasī, 13. 12. 1966.

श्रीः पातु

प्रास्ताविकम्

काव्यानुशासनाववेचनकोविदाना प्रज्ञासुवणनिकषोपलतां दधान।

स्वल्प पदैर्विवृतभूरिगभीरतत्त्व.

काव्यप्रकाश इह कस्य न सुप्रशस्य. ॥ १ ॥

यन्निर्मितिप्रजनिता भुवि मम्मटस्य

वाग्देवतापुरुषरूपतया प्रसिद्धि. ।

श्रीश्रीधरादिविबुरध रसवेदसख्या

व्याख्याश्च सविदधिरे यदुपाश्रयेण।। २ ।।

सड्ग ह्य पूर्वविवृतीरथ वामनाख्या SS चार्येण चारु रचितास्य विभाति टीका। लोकप्रिय सकलसूरिसमाजसेव्य

साहित्य रत्नकलश स विराच्चकास्ति॥ ३ ॥

दोषा गुणा ध्वनिरलङकृतय समस्ता

शास्त्रान्तरीयमनुबन्धि तथाऽर्थतत्वम् ।

काव्यप्रकाशमुकुरे प्रतिबिम्बकल्प

प्राकाशि मम्मटवुधन नवक्रमेण॥। ४ ॥

यत्सूरिभिनिगदित पद-वाक्य-मान-

शास्त्रेष काव्यसहकारि विचारहारि। स्फोटादि जैमिनिनयानुगतञ्च किन्चित् बौद्धोदितञ्च विनिवेशितमत्र युक्त्या।। ५ ।।

६

सूक्ष्मेक्षिकासमधिगम्यमुपेयवस्तु सूत्रात्मकंगुरुगभीरगिरा प्रवाहै। आस्वादयन् सहृदयान् विशद यश स्व श्रीमम्मट स्फटिकमन्दिरवच्चंकार॥ ६॥

एतद्ग्रन्थमनोज्ञताञ्चितमतिविद्वत्कुलाम्भोजिनी- तिग्माशु स महादिमाद्कितमहोपाध्य्यभषाचित । गङ्गानाथसुधीर्मेदीयजनको लोकोपकारक्षमा व्याख्यामाङग्लगिराऽस्य निर्मलपदन्यासोत्तमा निर्ममे॥। ७॥

शरीभारतीय विद्याप्रकाशन काशिकानिलयम् । काव्यप्रकाशमेन प्रकाशयत् काशता स्वगुण ।।८ ।।

पितृचरणवच श्रीदेवनद्या प्रवाहे विबुधनिवहहसोत्तमसान्निध्य हृद्ये। सविनयनतिशाली पुष्पमेतत्सुवर्ण विसृजति मिथिलाभू श्रीमदादित्यनाथः॥ ९॥

GOVINDA !

It was at yorn instance thot this treuslation was done in 1891 , and it is at your persistent insistence that it bas bcen re-written in 1924 May you find it more satisfactory thanits predecessor-is the fervent hope of

Your own, GANGA.

KĀVYAPRAKĀSHA

'Light of Poesy'

PREFACE TO THE SECOND EDITION

It was in a fit of juvenile enthusiasm that I permitted the first edition of my translation of the Kavyaprakasha to appear in the ' Pandit' of Benares ; otherwise, under ordinary circumstances, it would be sheer audacity on the part of a boy of eighteen to put himself forward as the interpreter of a book which, apari from its subject-matter, is regarded, in point of style and expression, as one of the tersest, and hence the most difficult, in the Sanskrit language. The boy of eighteen, however, had his justification; he had written out a rough translation of the work in course of his preparation for the M A. Examination ; and when, on passing that examination, he had his ambition for authorship aroused by the example and precept of his late lamented tutor, Dr. Arthur Venis of Benares, he sent his aforesaid translation to him and asked him if he thought it fit for publication. Apparently with a view to encouraging his pupil, the doctor wrote to him-" room could be found in the Pandit for your translation of the Kavyaprakasha", and the work was allowed to go forth to the public. The boy of eighteen has since grown to be an old man of fifty, and numerous have been the volumes with which he has thrust himself before an indulgent public ; and after all these years, when he came to look into his earler work, he felt that he owed it to the public to revise at least such of his works as had secured a number of readers. Foremost among these appeared to be the Kavyaprakasba, the translation of which, imperfect as it is, has had to be read, more or less, by numerous candidates for the M. A. degree, for whom the original is prescribed by almost every University in India Thus it is in the spirit of repaying a debt long over-due that I am setting my hand to doing what is practically the rewriting of the translation of the work which, during all the centuries that have elapsed since it was written in far-off Kashmir, has held the supreme position in the world of Sanskrit rhetorical liteiature.

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With a view to interesting the modern reader, I requested my son, Amaranatha Jha of the University of Allahabad to add some notes, which would help the comparative study of this interesting subject After he had done this work over Chapter I, it was found that matter available for these notes was so abundant that if it were to appear in the form of foot-notes, the original work would become hugely encumbered. He has therefore decided to incorporate all this material for comparative study in a separate book that he is writing on the subject, and to include in this volume only a few notes .- My own notes on the text I have embodied in the Text itself, distinguishing them from the text eithei by using square brackets (in the case of short notes) or by employing a smaller type (in the case of longer ones). I hope the reader will find this revised translation less defective than its forerunner.

THE UNIVERSITY : ALLAHABAD, GANGANATHA JHA. February 22, 1924.

.Preface to the First Edition

This is the second Sanskrit work on the Science of Poetry that . is being offered to the English-reading public in an English gart- if we do not count the Bhasha-Bhushana, a Hindi work on the same subject, which was rendered into English ard published in the pages of the Indian Antiquary in 1894, by Dr. Grierson, whose labours in the cause of Hindi literature rival those of the late Mr. Growse. The first was the Sahitya-Darpana of Vishwanatha Kaviraja, whch was placed over twenty years ago before the public by Rai Bahadur Pramada Dasa Mittra, in an English form, that still remains a mcdel of scholarly and excellent translation. It is time that arother woik on the subject, expounding more or less different views on impoi- tant points, should be published. Irdeed it is suipuisirg that so litle attention should have been directed to this department of Sanskuit learning by Oriental Scholais. For, as it seems to the piesent writer, the Sahitya literature of India is remarkably full and complete, ard contains perhaps as many useful ideas worth the acceptance of foreign scholars as the literature of philosophy. With the growth of interest and study in metaphysics ard rsy- chology there has undoubtedly grown on parallel lines, in Europe, interest in and study of the philosophy of other sciences. And we see excellent books issued from the press day after day, which seek to clear up the fundamental ideas of Law, of History, of Politics, of the Physical Sciences and of the varlous branches of Art. In short there has been a general growth of introspective " Intelligence " on all matters , and an effort is perceptible everywhere to locate every portion of knowledge in its proper place in a universal scheme. There has been no philosopher worthy of the name, who has left an impress other than merely ephemeral on subsequent literature, and has not endeavoured so to organse the whole of human knowledge into one complete whole, or not matured ideas on all matters interest- ing to humanity. But it must be confessed that the literature on the science and philosophy of poetry is not excessively rich in English. Works on poets, dramatists, novelists, and on the history of literature abound ; and naturally many of such wotks, principally biographical,

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critical, appreciative, or descriptive, yet incidentally, enunciate directly, or indicate indirectly, very useful and instructive ideas on the basic questions of the subjects concerned. But scient fic works, professedly confining themselves to the principles which underlie all . literature (in the special sense of the term, viz. belles lettres), are few. Prof. Bain's works on Rhetoric and Composition and On Teaching English are what might have been expected from him, a clear thinkei and philosopher and scholar of "encyclopedical learning" in the well-judged language of Mill But they stand almost by themselves , Prof. Bain himself says in his prefaces, with reference to the depant- ment of Figures of Speech, that "never before has that branch recerved so large a share of attention", and again, adverting to the emotional qualities of style, that his "1s the fiist attempt at a methodical and exhaustive account of these qualities ". And thev are not final nor complete, as the Professor himself admits beforehand. Thus, though it would probably be presumptuous at this date, to hint that India had anything new to teach Europe, still it may per- haps be excusable to say that Indian books on Sahitya might help to clear up ideas if only by affording the occasion for a further and - deeper study of the subject. The first and most important question of the science is as to what constitutes the essence of poetry. The long accepted answer in India is that Emotion constitutes that essence-a conclusion which British investigators are only now approaching, and with still hesitating steps ; as Dr. Bain tentatively says (On Teaching English, p. 214)- "to emotion we must come at last, in any precise definition " of pcetry. Of course there are more or less slight differences in the details as discussed by different writers. The author of the work now translated has formulated his answer to the question in language which may appear at first sight to be even radically different from the accepted view ; and students will find interesting points of re- semblance in his treatment of the subject and Prof. Bain's, who also, at least in the form of his book on Rhetoric, treats of all connected questions as subsidiary to Style. But this innovation of our author's too is only apparent; and is perhaps due to nothing else than an exagge- rated desire to be original. He tacitly reverts to the general position in his treatment of the auxiliary subjects,-herein again offering a point of resemblance to Dr. Bain, And this is the essence and the

net result of the teaching of the Sahitya Shastra : viz. that the ex- pression of the emotions, in their infinite forms and their combi- nations developed by the infinite forms and situations of human life, is the business of literature; and that those writers are the greatest, and those works the most permanent and the most prominent that have seized and embodied the most permanent and prominent emo- tions of humanity in the most iemarkable manner. It is interesting and instructive to compaie Dr. Bain's class'- fication of the emotions admissible into poetry with those of the Sanskrit authors, and their respective arguments in support of them. The secret of the true reason, why Pathos plays such an important part in all literature, why रसेपु करुणो रसः ( "amongst the poetical emotions the supreme is Pathos ") in the words of the ancient Indian poet, and why " our sweetest songs are those that tell of saddest thought " in the words of the modern English poet, 1s still to seek. Neither Mammata nor Bain, etc., are quite satisfactory on this point. The student might try and invent an explanation for himself.If he can, further, satisfy htmself as to why "the Furious " "the Terrible" and "the Disgusting " should find a place in poetry, he will have discovered a deeper reason than Dr. Max Nordau, for the amazing outbreak of these in the literature, whose aberrations he so trenchantly, if not sufficiently deeply, exposes in his book entitled "Degeneration ". Another notable point is that the form of the Kavya is assigned a very secondary place in Sahttya. While in the West, metre, and to a less extent, rhyme, have been held to be essentials, they are of very minor importance in India. Prof. Bain and J. S. Mill before him (vide his Dissertations), apparently approximate to the Indian view which allows of such famous gadya-kavyas (prose-poems) as Kādambarī. Vasavadatta, &c., and of course includes the drama under poetry at large, as one of its species, Walt Whitman and his imitators also recognise in practice the accuracy of it. It must be confessed, how- ever, that this view is only correct in principle and as a theory. In practice the powerful additions made to the pleasures of poetry by metre and rhyme have checked the growth of prose-poems consider ably, and thrown into the shade all but the very best. For sımilat reasons, just as the metrical poem is an advanc: upon the prose-

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poem, so " recited poetry " and the drama constitute an advance upon the metrical poem , to the musical effects of metre and rhyme which enlist the services of the ear in furthering the pleasures of poetry, the drama adds the scenic effects, which engage the eye also. And hence the dictum काव्येपु नाटकं श्रेष्ठम (of poems the drama is the highest). Thus it appears that Sabitya treats of the principles of poetry and it treats of Words and Style only in so far as they express more fitly or otherwise the appropriate emotion The treatment of the metre form it leaves to Prosody for metre and rhyme, and to Natya Shastra for dramaturgy. Sanskrit Prosody has little interest for the general English reader ; but the science of Mimetics obviously has, and there is no work on the subject yet, for a wonder, in the land of Shakespeare,-the one or two books like Hammerton's "The Actor's Art, " that are just beginning to come out, being scarcely entitled to rank as scientific books. If opportunities are favourable, the present writer hopes to bring out some day a translation of Bharata's Natya Shastra, the oldest work available on the subject. The history of the science of poetry in India, like that of all others, is lost in antiquity. Tradition speaks of original aphorisms by Çauddhodanı, by Bharata and by Vamana These aphorisms too are lost for the present, except the last which has been recently printed by the enterprising publıshers of the Kāvyamālā. Vāmana's Sūtras are not old, that is to say, not much older than 800 A. C. Fragments of the other two are met with in the form of quotations by later writers. It is possible and to be hoped that they may be recovered some day ; for not very old authors refer to them as having formed the subject of their studies, before they began their own works ; and it is very much to be desired that they may be so recoveied, for the Sūtra- literature shows a finality of statement, so far as general principles are concerned, which could result only from a perfect grasp of the completed "circle of knowledge ," and it is not likely that any future races will succeed in improving upon these statements of final prirciples, however much they may and will make fuller the contents of the general ideas in consequence of more varied experience in larger circles of life. Shauddhodani appears to have been one of the first to definitely formulate the view that emotion is the essence of poetry-

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वाक्यं रसादिमत् काव्यम्-(utterance embodying emotion is poetry), accord- ing to a quotation in Alamkāra Shekhara. It is only a matter of con- jecture whether he belonged to the genuine Sutra period of Sanskrit literature-the period immediately following Vyasa, the great or- ganiser of Sanskrit learning The outlines and the elementary principles of Sahitya are given in the Agni Purana also as now extant , but as to the authorship, authenticity and antiquity of the work grave doubts are entertained by those learned in these matters. As iegards Bharata, a tradition says that the Kārikās (memorial verses), of the Kavya-Prakaca, themselves are the work of Bharata, and that Mammata wrote only the prose portion of the text in the form of a commentary. But another tradition, as also the fact that Mammata refers to Bharata in one place, in the fourth Chapter of the work, in support of the doctrine stated in the Karıka, goes against this. The truth, as usual, probably lies between, and Mammata seems to have made large use of the Sutras of Bharata in fashtoning his verses, and has perhaps incorporated therein large pieces of them bodily, thus giving rise to the first mentioned tradition. Mammata himself was undoubtedly a Brahmana of Kashmir and lived and wrote his famous work certainly before the 12th century A. C, about the time when English literature was just beginning to be born. The earliest commentary on his work now available and apparently the earliest in fact also, 1s, that of Manikya-Chandra, and that 1s expressedly dated by Manikya-Chandra himself, in the colophon, with the Samvat year 1216, corresponding with 1159 A. C. At the same time there is no reason to believe that the author of the Kāvya- Prakāsha lived earlier than the eleventh century A.C .; for he quotes a verse in his 10th Chapter from Bhoja, who reigned in the earlier half of that century , for a tradition has it that his younger brother Uvvata attended the court of this very Bhoja at his capital Avanti for some time; and he was probably the medium of the quotation. It is easy to understand that the Court-Pandit should have gladly seized on the first opportunity that offered of paying an elegant com- pliment to the literary merits ofhis really deserving master, by securing for a production of his a gratifying reference and quotation in the masterpiece of his famous brother, and of, at the same time, and by the same stroke of policy, obtaining for that masterpiece an introdu-

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ction under the most favourable circumstances to the court of his royal patron. Mammata was a member of a true Pandit family ; he was the son of Jayyata, the joint author with Vamana of the celebrated grammatical treatise, the Kashika; and the brother of Kayyata, the author of the standard gloss on Patañjal's Great Commentary and of the above- mentioned Uvvata, the author of a Bhashya on the Vedas and other Vedic works, which, however, have been superseded by the later works of Sayana and Madhava. Mammata is said, by Bhimasena in the opening verses of his commentary on the Kavya-Prakasha to have travelled to Benares for purposes of study. The times of Mammata seem to have been times of a general outburst of literature and learn ing in Kashmir, which had most likely something to do with the Buddhist literature and learning, then on its way out of India to its present Tibetan home across the Himalayas. A lot of literary names ending with the characteristic syllable ta are to be found in the books of this period, Vajjrata, Rudrata, Bhallata, Vabhața, Allața, &c. How these outbursts and revivals travel about from place to place is a phe- nomenon which is observable in the literary history of ancient and modern Europe also. Sahitya in India appears to have passed on from Kashmir to Mithila, and thence to Bengal; it is 'now almost confined to the Deccan. The mention of Allata leads us to the fact that the Kāvya-Prakāsha 'could not be completed by Mammata, notwithstanding the inevitable mengalacharana, the propitiation of the appropriate Goddess of Speech. Apparently in accordance with the very satisfactory ex- planation of the ingenious Naiyayika, the past evil kar ma of Mammata's previous births was too voluminous to be dispelled by the amount of mangalächarana he made, and so the thread of his life broke short ! But it broke short when he was in sight of his goal ; and he has prac- tically completed his work. About a third of the last chapter on Figures,-or rather as they are more becomingly named in Sanskrit, Ornaments of Speech-which third amounts roughly to a tenth of the whole work,-was written by Allata, from the second half of the 118th verse onwards, (page 244 of the translation*). Th:s is expressly stated by Anand in his commentary entitled the Nidarsbana on the Kauya-Prakashu, who again, in explaining the last verse of the work *Not in the present edition,

refers to the same fact in this wise, " although this 10th chapter has been written by two authors, still the appreciating I will miss no pleasure of true excellence . indeed the general experience is that the mango fruit bred out of crossed varieties is even moie luscious (than the fruit of either of its original parents)." Other commenta- tors also interpret the shloka above referred to, to the same effect Of commentaries and glosses on the Kāvya Prākasha the number 1s legion. Verses current amongst the Pandits refer to this fact thus- काव्यप्रकाशस्य कृता गृहे गृहे टीका तथाप्येष तथैव दुर्गमः ॥ (commentaries on the Kävya-Prakäsha have been done up in every house, and yet it remains as difficult to understand as ever !) Or again- काव्वप्रकाशे टिप्पण्य. सहस्रं सन्ति तद्यपि। (although there are thousands of glosses on the Kāvya-Prakāsha still, &c. &c.). There is no other Sanskrit work so much be-commen- ted, except perhaps the Paribhāshendu-Shekhara of Nāgesha Bhatta It might be worth mention in this connection that Vishwanath- Kaviraja, the author of the other most famous work on Sahitya, referred to at the outset of this preface, thought fit to write an elaborate com- mentary on the Kavya-Prakāsha aftes composing his own independent work, as is evident from the frequent references to the latter in the former. Indeed the work seems to have excited a most sıngular emulation amongst all classes of writers to show their appreciation of it by means of comments; famous Naiyayıkas like Jagadīsha and Gadādhara, leaders ın Vyākaraņa like Nāgesha Bhatta, renowned Tantrıkas lıke Gokula-Nātha and Kalyāna Upādhyāya, have all tried their hands at it. This gives us an idea of the high honour in which the Kavya-Prakasha has always been held throughout India, as an authority on its subject, and as a work, the careful study of which is indispensable to every Pandit who aspires to be regarded as a " Sahıtyachārya " A very full account of principal commentaries* on the work 1s

*Though no less than forty-six commentaries are enumerated, there, three more commentaries have been found of which no men- tion is made : (1) By one "Pandita-Raja " (identified by Pandits with Raghunandana Raya, the renowned disciple of Mahesha Thakk- ura. This commentary begins thus : रघुवंशजलविचन्द्रं रावणवनदन्तिपारीन्द्रम्।

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to be found in the elaborate Sanskrit Introduction (from which many of the facts stated above have been taken) to his edition of it, (with his own-the latest, perhaps the best, and certainly the fullest commentary), by the eminently learned Mahamahopadhyaya Pandit Vēmanacharya Zhalkikar of Poona. In bringing the above remarks to a conclusion, I have to thank the gentlemen who have, in one way or another, helped me in the

मीतामुदितमयूरीमुदिरमुदारमहं कलये ।। १।। मौली निधाय पाणी बाणीमनितं नमस्कृत्य। पण्डित- राजः कुरुते टीकां काव्यप्रकाशस्य ॥ २॥ इयताऽपि बुद्धिविभवेन मोहतो यदमुष्य भावशतवर्णनोदयमः । अपि सत्सु सत्सु गुणभावगीरवादवधेहि बाणि करवारणि साहसम् ॥३। वलिशादपि वक्रहृद: कुलिशादपि कठिनकर्माण.। गरलादपि मर्मभिदो ये केचन तान्नमस्कुर्म॥४॥ हरमौलिगलितगङ्गावीचिविचित्राशया सुधिय. । मत्कृतिमतिदी घंकृपाटृकपातसुधारसेन सि-चन्तु ॥ ५॥ प्रथमत. प्रेक्षावत्प्रवृत्तिभिमित्तत्वेन प्रयोजमाभिधेयसम्बन्धस्याभिधातुमुचितस्यानभिधाभाद् भारतीस्तुतिनत्यात्मकमङ्गलस्य समाप्ती व्यभि- चारात फलान्तरस्याभावात् ... प्रथमश्लोकमवतारयति ग्रन्थारम्भ इति ॥ and ends thus : उल्लासमुपसंहरति तदेत इति। इतीति ग्रन्थसमाप्ती । इति महामहोपाध्यायश्रीमत्पण्डितराजविरचिता- काव्यप्रकाशटीकाया दशमोल्लास: ।। The MS. found 1s dated शाके १५५९ (A. C. 1637) (2)-By Mahāmahopādhyāya Gokula-Nātha Upādhyāya. This begins thus . नत्वा परमात्मानं श्रीगोकुलनाथशमणा रचिता। काब्यप्रकाशिकायटीका प्रीत्यै सतामरतु ॥ १ ॥ कारिकानिवद्धमङ्गलश्लोकानुवचनादेवानुषद्विकविष्मध्वंससिद्धी वृत्तिकारो न मङ्गलम् प्रणीतवान् न चोपभिवबन्ध। किन्तु कारिकाप्रबन्धमारिप्समानस्य ग्रन्थकृत प्रथमम् मङ्गलमाचरतो निवध्नतश्च मिष्फलकर्मकतृ त्वादनवधेयवचमत्वशक्कामपाकतुमवतारयन्नानुषङ्गिकमङगलसम्पत्तय मौल- म्पद्यमनुवदति ग्रन्थेत्यादिना जयतीत्यन्तेत । अधिकरणसमूह शास्त्रम् ... ।। The MS. found does not extend to the end.1 (3) By Kallyāna Upadhyaya-only fragments of this work have been found. In a foot-note in connection with commentary No 25, the Sanskrit Introduction says that it is by Vachaspati Mishra, the "सवतन्त्रज्ञ:" I venture to point out that this is an oversight : because the Vachas- pati Mishra, who is generally styled 'Hadqa'-the author of " Bha- mati" &c .- is much older than Mammata, and further, this author has enumerated all his works at the end of "Bhamati" where no mention is made of any commentary on the Kavya-Prakasha. The Vächaspat1 Mishra who wrote a commentary on the Kāvya-Prakāsha, is the legist, the author of a series of Dharmasashstra works-Achara- chintāmani, &c,

[ 1. Fragment extending up to the chapter V edited by Kavi- shekhara Badarinatha Jha and published by the Sanskrit University, Varanasi 1961. ]

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translation. First among these comes Pandit Jayadeva Mishra, Professor of Vyakarana in the " Darbhanga Pathashala," Benares, from whom I got my first lessons in Kavya-Prakasha, and then Rai Bahadur Pramadā Dāsa Mittra of Benares, already mentioned, who not only encouraged me in the work, but also took upon himself the i uble of correcting an impoitant portion of it. My thanks are also due to my honoured tutor. late Mr. Arthur Venis. M. A. Principal of the Queen's College. Benares, without whose encouraging words and example, I should probably have never ventured upon literary work, and to whose kind help is duc the publication of the present trans- lation. The last person. but not the least, whom I cannot leave un- mentioned, is Babu Govinda-Dasa of Benares, who has ever been the guiding spirt of literary life

DARBHANGA GANGĀNĀTHA JHĀ. April. 1918

KĀVYAPRAKĀSHA

CONTENTS

Text with translation, etc. Page

काव्यप्रकाशकारिकापाठः १-१२ पाठान्त रचक्रम् १२-१६ CHAPTER I

Invocation इष्टदेवतापरामर्श : 1 Contrast between the Creation of Brahma and that of the Poet's Speech. ब्रह्मनिरमितिकविनिरमितिभेद Effects of Poetry : Fame Etc काव्यप्रयोजनम् Cause of Poetry : Genius, &c काव्यकारणम् Definition of Poetry काव्यलक्षणम् 4 DIvisions of Poetry . (a) "Dhvani " काव्यभेदा (क) ध्वनि. 6

(b) Poetry of Subordinate Suggestion (ख) गुणीभूतव्यड् ग्यकाव्यम् 7

(c) Third Class Poetry-"Fanciful" (ग) चित्रकाव्यम् 7

CHAPTER II

Three kinds of Words शब्दस्य त्रयो भेदा वाचकलाक्षणिकव्यञ्जका: . 9

A Fourth Kind (according to some) चतुर्थ तात्पर्याख्य 9

Suggestaon belonging to all meanings सर्वेषा व्यञ्जकत्वम् 10

Expressive Word defined वाचकलक्षणम् 12

Fourfold Convention चतुर्भेद. सकेत. .. 12 The " Individualıstic " and " Class " Theories Contrasted जातिव्यक्तिभेद .. 12

Divisions of Upadhi उपाधिभेदौ 13

'Denotation' Defined अभिधालक्षणम् 17

Indication Defined लक्षणालक्षणम् .. 17

Examples of Indication लक्षणाया: उदाहरणानि 17

Different Kinds of'Indication' लक्षणाभेदा: 19 .. What is Pure Indication शुद्धालक्षणा .. .. 19

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Inclusive Indication उपादानलक्षणा 19 Indicative Indication लक्षणलक्षणा 21 Superimponent Indication सारोपा लक्षणा 22 Intro-susceptive Indication साध्यवसाना लक्षणा 23 QuaiItative Indication गौणी लक्षणा 23

Difference between Pure and Qualitative Indications गौणशुद्धलक्षणयोर्भेद: 26 SiX Kinds of Indication षडविधा लक्षणा 27 Indication based on Motive is endowed with Suggestive Meaning. प्रयोजनमूला लक्षणाया. व्यङ्ग्यसहितत्वम् .. 27 'Suggestion' either Abstruse or Explicit गूढागूढव्यड्ग्यत्वम् 27 Examples of both द्वयो उदाहरणानि 28 'Indication' of three kinds लक्षणाया. त्रैविध्यम् 29 Indicative Word Defined लाक्षणिकशब्द. 29 Suggestion in the comprehension of the Motive लक्षणामलकव्यञ्जना- व्यवस्थापनम् 30 Reasons for admitting of such Suggestion व्यञ्जनाग्रहण को हेतु: 30 It cannot be Denotation अभिधा न 30 It eannot be Indication लक्षणा न 31 Why not Indication ? कथ न लक्षणा 31 Admission of Indication leads to a Regressus ad infinstum अनवस्थादोषः स्यात् 32 Motive does not accompany the Indicated Meaning प्रयोजनेन सहित लक्षणीयं न 33' Reasons for the Assertion तद्धेतु: .. 33 Definition of Suggestion based on Denotation अभिधामूला व्यञ्जना 34 The Different Causes of Suggestion व्यञ्जनाहेतवः 34 Examples उदाहरणानि 35 The Suggestive Word Defined व्यञ्जकशब्दलक्षणम् 39 Meaning Auxiliary to Suggestion शब्दस्य व्यञ्जकतायामर्थस्य सहकारिता 39

CHAPTER III

Suggestiveness Defined व्यञ्जकतालक्षणम् .. .. 40

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Suggestion Defined व्यञ्जनालक्षणम् .. 40 Suggestion due to the special character of the Speaker, &c. वक्त्रादीना वैशिष्ट्ये व्यञ्जनाया उदाहरणानि (1) Of the Speaker वक्तु 41 (2) Of the Person Spcken to बोद्धव्यस्य 41 (3) Of Intonation काको 42

(4) Of the Sentence वाक्यस्य 43 (5) Of the Expressed Meaning वाच्यार्थस्य 43 (6) Of Presence of another अन्यसन्निधे : 44

(7) Of Context प्रस्तावस्य 44

(8) Of Place देशस्य 45

(9) Of Time &c. कालादीनाम् 45 Suggestiveness of a Combination of the aforesaid specialities वकादीना मिथ.सयोगे .. 47

Words help the Suggestiveness of Meaning अर्थव्य ञ्जकताया शब्दस्य साहाय्यम् .. 47

CHAPTER IV

Justification of taking up Divisions of Poetry काव्यभेदाभिधानसमर्थनम् 48 Two kinds of Suggestive Poetry काव्यभेदौ 48 (1) Suggestive Poetry based on Indication, where the Direct Meaning is transferred to another .. अर्थान्तरसक्र्कमितवाच्यः 48 (2) Where the Direct Meaning is altogether neglected .. प्रत्यन्ततिरस्कृतवाच्य 49 Suggestion based on Denotation विवक्षितान्यपरवाच्य. 50 The two kinds of"Vivakshitanyaparavachya" तद्भेदौ 50

I That in which The Order of Sequence is not perceptible असलक्ष्यक्रमव्य ड्रयः 51

Rasa Defined. रसस्वरूपम् 52

Bharata's Sutra भरतसूत्रम् 52

Bhattalollata's Interpretation of Bharata भट्टलोल्लटमतम् 52

Shankuka's Interpretation of Bharata शडकुकमतम् .. 53

XIX

Bhattanayaka's Interpretation of Bharata भट्टनायकमतम् 56

Abhinavagupta's Interpretation of Bharata अभिनवगुप्तमतम् 57

The Eight Rasas Enumerated ग्रष्टौ रसा. 62

(a) The Erotic श्रृद्धार' 63

Erotic in Enjoyment सभोगशृङ्गार 63

Of Privation विप्रलम्भशृ द्वार. 64

Of Longing अभिलाष. 64 . Of Separation विरह 64

Of Jealousy ईर्ष्या 65

Of Residence Abroad प्रवास. 65

Of Curse शाप: 65

(b) The Comic हास्य 66

(c) The Pathetic करुण 66

(d) The Furious रौद्र 67 (e) The Heroic वीर: 67 (f) The Frightful भयानक 67

(g) The Disgustful बीभत्स 68

(b) The Marvellous अद्भुत. 68 The Permanent Emotions Underlying the Rasas स्थायिभावा: 68

The Thirty-Three Accessary Emotions Enumerated व्यभिचारिभावा 69

The Ninth Rasa-The Quietistic नवमो रस'-शान्त 70 Bhava (Emotion) Defined भाव: 70 The Aberrations of Rasa and Bhava रसाभासभावाभासौ 72

Allayment. Manifestation, Mixture and Variegation of Emotions. भावस्य शान्तिरुदय. सधि. शबलता च . 73 (1) Allayment of Emotion भावशान्ति. 73 (2) Manifestation of Emotion भावोदय. 74 (3), Conjunction of Emotion भावसधि. 75 (4) Admixture of Emotion भावशबलता 75 Allayment, etc. sometimes the Predominent Factor भावाशान्त्यादीना क्वचित् प्राधान्यम् 75

XX

II Suggestive Poetry of Perceptible order of Sequence .. is Thiee-fold सलक्ष्यक्रमव्य ङ्गचध्वनिः 76 Suggestion arising from the power of the Woid शब्दशक्त्युत्थध्वनि: 77 Of figure of speech by Word शब्दशक्तयुत्थालकारध्वनि. 77 Of fact by word शब्दशक्त्युद्भववस्तुध्वनिः 80 Suggested Meaning arising from power of Meaning अर्थशक्त्युद्भवध्वनि 81 I The Self-Existent स्वतः सम्भवी 81 II That created by the Poet's Imagination कविप्रौढोक्तिसिद्ध .. 81 III Created by a character portrayed by the Poet कविनिबद्धनायकोम्भित 81

Example of the first kind of the Self-Existent स्वत सम्भविनः .. उदाहरणानि 82

-Fact suggested by Fact वस्तुना वस्तुध्वनिः 82

2nd kind Figure suggested Matter वस्तुना अलंकारध्वनि. 83

"' 3rd king Fact by Figure अलकारेण वस्तुध्वनिः 83

4th kind Figure by Figure अलंकारेण .. अलंकारध्वनि: 83

Example of the 1st kind of that which is established by the Poet's Assertion. कविप्रौढोक्तिसिद्धानामुदाहरणानि- Fact by Fact वस्तुना वस्तुध्वनि: .. 84

2nd king ,, Figure by Fact वस्तुना अलकारध्वनि: 84

3rd kınd Fact by Figure अलकारेण वस्तु- ध्वनि: 85

„ 4th kind Figure by Figure अलकारेण .. अलकारध्वनि. 85

Example of the 1st kind of that created by a character portrayed by the poet-कविनिबद्धनायकोम्भितस्योदाहरणानि Fact by Fact वस्तुना वस्तुध्वनि: 86

XX1

" 2nd kind "> Figure by Fact वस्तुना अलकार- ध्वनि 87 3rd kind " Fact by Figure अलकारेण वस्तु- . ध्वनि 87

"> 4th kind " Figure by Figuie अलकारेण अपलकार - ध्वनि. 88 Only one kind of Suggestive Meaning due to both Word and Meaning शब्दार्थोभयशक्त्युत्थध्वनिः 89 Eighteen-foldness of Suggestive Poetry ध्वनेरष्टादश भेदा 90 Rasa and other forms, etc. counted as one रसादीना एक एव भेद 90 In a Sentence, we have Suggestion due to both Word and Meaning वाक्य द्युत्थ. 91 In Words, these and others पदेप्यन्ये 91 (1) Having the Expressed Meaning tiansferred to another अर्थान्तरसक्रमितवाच्यध्वनि. 92 (2) Having the Expressed Meaning Entirely Ignored अत्यन्ततिरस्कृतवाच्यध्वनि 92 (3) Having the Suggestion of imperceptible sequence असलक्ष्य- क्रमव्यडग्यध्वनिः 92 (4) Suggestion of perceptible process by Words संलक्ष्यक्रमव्यङग्य- ध्वनि ; founded on the power of a Word शब्दशक्तिमूल. : of Figure by Fact वस्तुना अलकारध्वनि. 94

(5) Suggestion of perceptible process : by Words : founded on the power of Word . of Fact by Fact वस्तुना वस्तुध्वनि 94 (6) Suggestion of perceptible sequence : by Word अर्थशक्तिमूल : founded on the power of Sense स्वत सम्भवीः, Self-Existent of Fact by Fact वस्तुना वस्तुध्वनि 95 (7) " of Figure by Fact वस्तुना अलकारध्वनि .. 95 (8) of Fact by Figure अलकारेण वस्तुध्वनि 96 (9) "> of Figure by Figure अलंकारेण अलकारध्वनि .. 97 (10) Suggestion of perceptible process : by Words : founded on the bold assertion of the Poet : कविप्रौढोक्तिनिष्पन्नः .. Fact by Fact वस्तुना वस्तुध्वनि: .. 97

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(11) Figure by Fact वस्तुना अलंकारध्वनिः .. 98

(12) Fact by Figure अलकारेण वस्तुध्वनिः 98 (13) Figure by Figure अलंकारेण अलंकारध्वनिः 99 (14) Suggestion of perceptible process : by Word : founded on the assertion of a character portrayed by the Poet : कवि- निबद्धवक्तृप्रौढोक्तिनिष्पन्नः Fact by Fact वस्तुना वस्तुध्वनि: 99 (15) Figure by Fact वस्तुना वस्तुध्वनि 100 (16) Fact by Figure अलकारेण वस्तुध्वनि 101 (17) Figure by Figure अलकारेण अलकारध्वनिः 102 Suggestion in a Prabandha-Context प्रबन्धे अर्थशक्त्युद्भवध्वनि 103

Suggestiveness of the Particles of Words पदैकदेशध्वनि 105

(1) Suggestion by the base of a Word प्रकृत्या 105

(2) of Inflexion and Declension तिङसुपो: 106

(3) by the Genitive Case-termination सबन्धस्य 108

(4) of Number वचनस्य 109

(5) of Person पुरुषव्यत्ययस्य 110

(6) of the Irregular Order of Words पूर्वनिपातस्य 110

(7) of the Peculiar Case Affix विभक्तिविशेषस्य 111

(8) of the Nominal Affix तद्धितस्य 111

(9) of the Preposition उपसर्गस्य 112

(10) of the Nipata निपातस्य 112

(11) of the Pronouns, Substantives and Numbers

सर्वनामप्रातिपादिकवचनानाम् 113°

(12) of Affixes, Compounds, eic. प्रत्ययसमासादीनाम् 114 Total-51 Forms of Suggestion एकपञन्चाशद् भेदा: 115

These by Various Combinations come to 10,404 संकरेण संसृष्टया सह १०४०४ भेदा: 116

Grand Total : 10,455 शुद्धभेदः सह १०४५५ भेदाः 116

Examples उदाहरणानि 117

Comixture of Dubiousness .. 117

Mutual Subserviency 118 . .

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CHAPTER V Poetry of Subordinate Suggestion described गुणीभूतव्यङग्यम् .. 119 (1) The Explicit (Obvious) Subordinate Suggestion अगूढम् .. 119

... (a) having the Expressed Meaning transferred to another object अर्थान्तरसक्रमितवाच्यस्य. 120 (b) in which the Expressed Meaning is altogether neglected पत्यन्ततिरस्कृतवाच्चस्य 120 (c) based on the power of Meaning अर्थशक्ति-

मूलानुरणनरूपस्य 121 (2) Subservient to some thing else (a) Rasa to Rasa रसो रसस्य .. 122

(b) Rasa to Emotion रसो भावस्य " .. 122 (८) Emotion to Emotion भावो भावस्य .. 123 (d) Semblance of Rasa and Emotion to Emotion रसाभासभावाभासौ भावस्य. 123

(e) Allayment of Emotion to Emotion "> भावशान्ति भावस्य 124 (f) Appearance of Emotion to Emotion भावोदयः भावस्य 124 (g) Mixture of Emotion to Emotion भावसधि: भावस्य 125 (hi) Variegation of Emotion to Emotion aTa- शबलता भावस्य 125 (? ) Suggested Figure, a part of Expressed Meaning अणुरणनरूपस्य अलकारस्य वाच्याङ्गता 127 () Suggested matter a pait of Expressed Meaning तद्रूपस्य वस्तुनो वाच्याङ्गता .. 128 (3) Suggestion, part of the development of the suggested meaning वाच्यसिद्ध्यङ्गम् 128 (4) Abstruse Subordinate Suggestion क्लिष्टम् 130 (5) Of Doubtful Predominance सदिग्धप्राधान्यम् 130 (6) Of Equal Prominence तुल्यप्राधान्यम् 131 (7) Rendered manrfest by Intonation काक्वाक्षिप्तम्. 131 (8) The Not-Beautaful असुन्दरम् .. 132

XX V

Divisions of the Poetry of Subordinate Suggestion follow those of Suggestive Peotry. गुणीभूतव्यङ्ग्याना ध्वनिवद् भेदा: .. 132 Combination of the Various kinds of Poetry Suggestive and those of the Poetry of Subordinate Suggestion ससृष्टिसकरै योग: .. 133 Suggestion as a process of Signification, necessary, apart from all other processes. रसादिलक्षणार्थस्य व्यङयत्वम् .. 135 Points of Difference between the Direct (Expressed) and Indirect (Suggested) Significations वाच्यव्यङ्ययोर्भेद. .. 149

CHAPTER VI

Fanciful Word and Meaning शब्दचित्रार्थचित्रयो. स्वरूपम् 161 Fanciful Word शब्दचित्रम् 162 Fanciful Meaning अर्थचित्रम् 163

CHAPTER VII

Definition of Defect दोषलक्षणम् 165 Defects of the Word पददोषा: 165 (1) The Unpleasant to the ear श्रुतिकटु 166 (2) Lacking Correctness च्युतसस्कृति 166 (3) 'Unconventinal' अप्रयुक्तम् 168 (4) Incapable of giving sense असमर्थम् 168 (5) Suppressed Meaning निहतार्थम् 169 (6) Improper Signification प्रनुचितार्थम् 169 (7) Useless निरर्थकम् 170

(8) Not-expressive अवाचकम् 170 (9) Thiee fold Indecorousness त्रिविधम् अश्लीलम् 173 (10) Ambiguousness सन्दिग्धम् 174 (11) Unintelligibility अप्रतीतम् 175 (12) Vulgar ग्राम्यम् 175 (13) That of which the meaning has to be guessed out नयार्थम् 176 (14) Obscure क्लिष्टम् 177 (15) Non-discrimination of the Predicate अविमृष्टविधेयाशम् .. 177

XXV

(16) Repugnant Implication विरुद्धमतिकृत 181

Unmelodiousness in Compounds समासगत श्रुतिकटु .. 183 Defects of sentence (all the above except "Lock of Correctness "." Incapability of giving sense " and " Use- lessness ".) वाक्यरोषा: 184

Defects occurring in parts of words पदाशगतदोषा :.. .. 201

The Defects occurring in a sentence only वाक्यदोषा: 207

(1) Discord of Letters प्रतिकूलवर्णम् 207

(2) and (3) The Blunted Visarga and the Rejected Visarga उपहतविसर्गलुप्तविसर्ग च 210

(4) Cacaphony विसन्धि 210

(5) Unrhythmical हतवृत्तम् 213

(6) Deficiency in Word न्यूनपदम् 215

(7) Redundant Word अधिकपदस् 216

(8) Repetition of Words कथितपदम् 217

(9) Falling off of Excellence पतत्प्रकर्षम् 217

(10) Resumption of the Concluded समाप्तपुनरात्तम् .. 218

(11) Isolation, in the second half of a Shloka of an expressive word required in the first half अर्धा्तिरकवाचकम् .. 219 (12) Want of Intended Connection अभवन्मतयोगम् .. 219 (13) Omission of a Necessary Statement अनभिहितवाच्यम् 225

(14) Msplacement of a Word अस्थानस्थपदम् 227

(15) Misplaced Compound अपदस्थपदसमासम् 228 (16) Confusion सकीर्णम् 229 (17) The Parenthetical गर्भितम् 230 (18) Opposed to Usage प्रसिद्धिहतम् 231 (19) Violation of the Unformity of Expression भग्नप्रक्रमम् .. 232 (20) Absence of order (Syntactical Irregularity अक्रमम् 239 (21) Undesirable Second Intention अमतपरार्थम् .. .. 241

Defects of sense Enumerated अर्थदोषा (1) Irrelevant अपुष्टार्थ: 241 (2) Obscure कष्टार्थ: 243 (3) Contradictory or Inconsistent व्याहतार्थ: .. .. 244

xxvi

(4) Tautophonous पुनरक्त 244

(5) Irregular दुष्क्रम: - 245 (6) Vulgar ग्राम्य 246 (7) Dubious सन्दिग्ध. 24 (8) Inconsequential निहेतु. 246 (9) Opposed to Popular Notations प्रसिद्धिविरोध 247

(10) Unscientific विद्याविरोध 248 (11) Monotonous and Wanting in Vanety अनवीकृत: 250

(12) Too Unspecific सनियमपरिवृत्तः 251

(13) Too Specific अ्रनियमपरिवृत्त 251

(14) Too unrestricted विशेषपरिवृत्त 252

(15) Too Unrestrected प्रविशेपपरिवृत्त 252

(16) Incomplete साकाडक्ष 253

(17) Misplaced अपदयवत. 254

(18) Mismatched सहचरभिन्न 254

(19) Of Repurnant Implication प्रकाशितविरुद्ध. 255

(20) Of Improper Predication विध्ययुक्त 255

(21) Having Improper Adjuncts अनुवादायुक्त 254 (22) Resuming the Concluded त्यक्तपुन स्वीकृत 257 (23) Indecorous अश्लील. 257 Exceptions to the aforesaid अपवादा 258 First Exception प्रथम अपवाद 261 Second Exception द्वितीय अपवाद 263 Third Exception तृतीय अपवाद: 263 Fourth Exception चतुर्थ अपवाद .. 264 Defects of the Rasa रसदोषा 279

(1) Mention by Name of either the Rasa or the

Accessory or Permanent Emotion व्यभिचारिण. रसस्य स्थायिभावस्य वा स्वशब्दोपादानम् .. .. 280 (2) For-fetched Indication of Excitants and Ensuants विभावानुभावयो: कष्टकल्पना .. 282 (3) Admission of Adverse Concommitants प्रतिकूलविभावा- दिग्रह: .. 283

xxvii

(4) Repeated Heightening पुन पुनर्दीप्तिः 284

(5) Untimely Introduction अकाण्डे प्रथनम् 284 (6) Untimely Interruption अकाण्डेच्छेद 284 (7) Excessive Dilation of Subordinate Factor अङ्गस्यातिविस्तृति 285

(8) Neglect of the Principal Factor अङ्गिनोननुसंधानम् 285

(9) Perversion of Characters प्रकृतीना विपर्यय: 285

(10) Celebration of Unimportant Object अनङ्गस्याभिधानम् .. 287 Exceptions to the above अपवादा: 288 Laws governing the Admisture of Rasas रसविरोधपरिहारविधि. 2/2

CHAPTER VIII

Excellences गुणा:

Page Difference between 'Excellences' & 'Ornaments गुणालका रविवेक 299 Varieties of Excellences गुणाना भेदा 305 Sweetness माधुर्यम् 305 Floridity शज 30 Lucidity प्रसाद. 307 Coalescence 1 श्लेष 308 Smoothness 2 समाधि. 22 Magnificence 3 उदारता Simplicity 4 प्रसाद Sweetness 5 माधुर्यम् Clearness of Meaning 6 पर्थव्यक्ति Uniformity 7 साम्यम् Softness 8 सौकुमार्यम् Polish 9 कान्ति.

CHAPTER IX

Verbal Figures of Speech शब्दालंकारा:

Equivoque (two kinds) वक्रोकिति द्वैविध्यम् 317 Equvoque Based on Punning वक्रोक्ति श्लेप 317 Equivoque Based On Intonation वक्रोवित: काक्वा 317 Alliteration अनुप्रास 319 Alliteration Chheka (Experts) छेकानुप्रास 320 Alliteration Vritt1 (Diction) वृत्त्यनुप्रासः 320 Polished and Harsh Diction उपनागरिका-परुषा वृत्ति 320

11

Page Three Styles of Diction : Vaidarbhi, Gaudi and Pafchali त्रिस्रो वृत्तया-वैदर्भी, गौडी, पाञ्चाली च. .. 322 Coalescence or Pun श्लेष 330 Eight Kinds of Pun अष्टधा श्लेष: 330

CHAPTER X The Ideal Figures of Speech अर्थालंकारा: Simile (I) उपमा 349 Complete Simile पूर्णोपमा 350 Comparison Absolute (II) अनन्वय. 365 Reciprocal Comparison (III) उपमेयोपमा 365 Poetic Fancy (IV) उत्प्रेक्षा 366 Doubtful (V) ससन्देह 367 Metaphor (VI) रूपकम् 369 Concealment (VII) प्रपह्नुति 377 Patonomasia (VIII) श्लेष. 379 . Modal Metaphor (IX) समासोक्ति. 380

Illustration (X) निदर्शना 381 Indirect Description (XI) अप्रस्तुतप्रशसा 383

Hyperbole (XII) अतिशयोक्तिः 390 Typical Comparison (XIII) प्रतिवस्तूपमा 392 Exemplification (XIV) दृष्टान्त. 393 illuminator (XV) दीपकालकार: 395 Equal Pairing (XVI) तुल्ययोगिता 396 : Dissimilitude (XVII) व्यतिरेक: 396 Hint (XVIII) शराक्षेप. 402 Peculiar Causation (XIX) विभावना 404 Peculiar Allegation (XX) विशेषोक्ति: 404 Symmetrical (XXI) यथासख्यम् 405 Transition (XXII) अर्थान्तरन्यास 406 Contradiction (XXIII) विरोध: 407

i11

Page Natural Description (XXIV) स्वभावोक्तिः 411

Dissembling Eulogy (XXV) व्याजस्तुतिः 411

Connected Description (XXVI) सहोक्ति 412

Private Description (XXVII) विनोक्ति: Exchange (XXVIII) परिवृत्ति: 414 معد

Visualisation (XXIX) भाविकम् 415

Poetic Reason (XXX) काव्यललगम् 416

Periphrasis (XXXI) पर्यायोक्तम् 418

Exalted (XXXII) उदात्तम् 419

Concatenation (XXXIII) समुच्चय. 421

Sequence (XXXIV) पर्याय 424

Inference (XXXV) अरनुमानम् 426

Insinuation (XXXVI) परिकर. 427 Artful Assertion (XXXVII) व्याजोक्ति. 428

Exclusion (XXXVIII) परिसख्या 430

The Spring of Causes (XXXIX) कारणमाला 432

Reciprocal (XL) अन्योन्यम् 433

Answer (XLI) उत्तरम् 434

Subtle (XLII) सूक्ष्मम् 436

Climax (XLIII) सार: 437

Disconnection (XLIV) अरसगति' 438

Convenience (XLV) समाधि: 439

Compatible (XLVI) समम् 440

Incongruous (XLVII) विषमः 441

The Exceeding (XLVIII) अधिकम् 443

Hostile (XLIX) प्रत्यनीकम् 444

Obscured (L) मीलितम् 446

Necklace (LI) एकावली 448

Reminiscence (LII) स्मरणम् .. 449

Illusion (LIII) भ्रान्तिमान् .. 450

1v

Page The Converse (LIV) प्रतीपम् 451 Identification (LV) सामान्यम् 454 Extraordinary (LVI) विशेष 456 Quxlty Borrowing (LVII) तद्गृण 458

Noa-borrowing of Quality (LVIII) अतद्गृण 459

Frustration (LIX) व्याघात' 461 Collocation of Figuies (LX) ससृष्टि. 461

Commixture (LXI) सकर 463 The Second Variety of Commixture अनिश्चय 467 Alphabetical Index of Sanskrit Terms 491-504

APPENDICES

APPENDIX A Sanskrit Versions of Piakrit Verses प्राकृतश्लोकाना सस्कृतच्छाया 111-V11 APPENDIX B Index of the illustrative verses occurring in Kāvya Prakāśa काव्यप्रकाशस्थोद्धरणश्लोकसूची V111-xlv APPENDIX C Index of the first and second lines of Karikas of Kavya Prakasa काव्यप्रकाश- कारिकाणा प्रथमद्वितीय पक्त्योरक्षरानुक्रम xlv1-lıv Abbieviations lv-lıx

ॐ नमः शिवाय।

काव्यप्रकाश-

कारिकावली नियतिकृतनियमरहितां ह्वादकमयीमनन्यपरतन्त्राम्। नवरसरुचिरां निर्मितिमादधती भारती कवेर्जयति॥१॥ काव्यं यशसर्थकृते व्यवहारविदे शिवेतरक्षतये। सद्ः परनिर्वृतये कान्तासंमिततयोपदेशयुजे॥ २ ॥ शक्तिर्निपुणता लोकशास्त्रकाव्याद्यवेक्षणात्। काव्यज्ञशिक्षयाभ्यास इति हतुस्तदुद्भवे॥ ३॥ तददोषौ शब्दार्थौं सगुणावनलंकृती पुनः क्वापि। इदमुत्तममतिशयिनि व्यङ्गचे वाच्यादृध्वनिर्बुधैः कथितः ।।४।। अतादृशि गुणीभूतव्यङ्गयं व्यङ्गधे तु मध्यमम् । शब्दचित्रं वाच्यचित्रमव्यङ्गचं त्ववर स्मृतम्॥। ५॥ स्याद्वाचको लाक्षणिकः शब्दोत्र व्यञ्जकस्त्रिधा। वाच्यादयस्तदर्थाः स्युस्तात्पर्यार्थोपि केषुचित्॥ ६॥ सर्वेषां प्रायशोर्थानां व्यञ्जकत्वमपीष्यते। साक्षात्संकेतितं योर्थमभिधत्ते स वाचकः॥ ७॥ सङ्केतितश्चतुर्भेदो जात्यादिर्जातिरेव वा। स मुख्योर्थस्तत्र मुख्यो व्यापारोस्याभिघोच्यते॥। ८ ।। मुख्यार्थबाधे तद्योगे रूढितोथ प्रयोजनात्। अन्योर्थो लक्ष्यते यत्सा लक्षणारोपिता क्रिया॥ ९॥ स्वसिद्धये पराक्षेपः परार्थं स्वसमर्पंणम्। -- उपादानं लक्षणं चेत्युक्ता शुद्धव सा द्विधा॥ १० ॥

२

सारोपान्या तु यत्रोक्तौ विषयी विषयस्तथा। विषयय्यन्तःकृतेन्यस्मिन् सा स्यात्साध्यवसानिका॥११ ॥ भेदाविमौ च सादृश्यात्सम्बन्धान्तरतस्तथा। गौणौ शुद्धौ च विज्ञेयौ लक्षणा तेन षड्विधा॥ १२॥ व्यङ्गचेन रहिता रूढौ सहिता तु प्रयोजने। तच्च गूढमगूढं वा तदेषा कथिता त्रिधा॥ १३॥। तद्भूर्लाक्षणिकस्तत्र व्यापारो व्यञ्जनात्मकः । यस्य प्रतीतिमाधातुं लक्षणा फले शब्दकगम्येत्र समुपास्यते ॥१४॥ व्यञ्जनान्नापरा क्रिया। नाभिधा समयाभावाद्धत्वभावान्न लक्षणा॥ १५॥ लक्ष्यं न मुख्यं नाप्यत्र बाधो योग: फलेन नो। न प्रयोजनमेतस्मिन् न च शब्दः स्खलद्गतिः ॥१६॥ एवमप्यनवस्था स्याद् या मूलक्षयकारिणी। प्रयोजनेन सहितं लक्षणीयं न युज्यते॥। १७॥ ज्ञानस्य विषयो ह्यन्यः फलमन्यदुदाहृतम्। विशिष्टे लक्षण् नैवं विशेषा: स्युस्तु लक्षिते॥ १८॥ अनेकार्थस्य शब्दस्य वाचकत्वे नियन्त्रिते। संयोगाद्यैरवाच्यार्थधीकृद्वयापृतिरञ्जनम् ।। १९। तद्युक्तो व्यञ्जकः शब्दो यत्सोर्थान्तरयुक तथा। अर्थोपि व्यञ्जकस्तत्र सहकारितया मतः ॥२०॥ अर्थाः प्रोक्ताः पुरा तेषामर्थव्यञ्जकतोच्यते। वक्तृबोद्धव्यकाकूनां वाक्यवाच्यान्यसन्निधः॥ २१॥ प्रस्तावदेशकालादेवैशिष्टयात् प्रतिभाजुषाम् । योर्थस्यान्यार्थधीहेतुर्व्यापारो व्यक्तिरेव सा।।२२॥। शब्दप्रमाणवैद्योर्थो व्यनक्त्यर्थान्तरं यतः । अर्थस्य व्यञ्जकत्वे तच्छब्दस्य सहकारिता॥२३॥

अविवक्षितवाच्यो यस्तत्र वाच्यं भवेद्ध्वनौ। अर्थान्तरे सङकमितमत्यन्तं वा तिरस्कृतम्॥ २४॥ विवक्षितं चान्यपरं वाच्यं यत्रापरस्तु सः । कोप्यलक्ष्यक्रमव्यङ्गय्ो लक्ष्यव्यङ्गयकमः पर:॥ २५॥ रसभावतदाभावभावशान्त्यादिरक्रमः भिन्नो रसाद्यल ड्वारादल ङ्कायतया स्थितः ॥ २६॥ कारणान्यथ कार्याणि सहकारीणि यानि च । रत्यादेः स्थायिनो लोके तानि चेन्नाट्यकाव्ययोः ॥ २७॥ विभावा अनुभावास्तत् कथ्यन्ते व्यभिचारिणः । व्यक्तः स तैविभावाद्ैः स्थायी भावो रसः स्मृतः ॥२८॥ शृङ्गारहास्यकरुणरौद्रवीरभयानकाः बीभत्साद्भुतसंज्ञौ चेत्यष्टौ नाटये रसाः स्मृताः॥२९॥ रतिर्हासश्च शोकश्च क्रोधोत्साहौ भयं तथा। जुगप्सा विस्मयश्चेति स्थायिभावाः प्रकीतिताः॥३०॥ निर्वेदग्लानिश ङ्गाख्यास्तथास्या मदश्रमा: आलस्यं चैव दैन्यं च चिन्ता मोहः स्मृतिर्धृंतिः ॥३१॥ व्रीडा चपलता हर्ष आवेगो जडता तथा। गर्वो विषाद औत्सुक्यं निद्रापस्मार एव च॥ ३२॥ सुप्तं प्रबोधोमर्षश्चाप्यवहित्थमथोग्रता मतिर्व्याधिस्तथोन्मादस्तथा मरणमेव च ॥ ३३॥। त्रासश्चैव वितर्कश्च विज्ञेया व्यभिचारिणः । त्रस्त्रिशदमी भावाः समाख्यातास्तु नामतः ॥ ३४॥ निर्वेदस्थायिभावोस्ति शान्तोपि नवमो रसः ॥ रतिर्देवादिविषया व्यभिचारी तथाञ्जितः ॥ ३५॥ भाव: प्रोक्तस्तदाभासा अनौचित्यप्रवत्तिताः । भावस्य शान्तिरुदय: सन्धिः शबलता तथा॥३६॥

सुख्ये रसेपि तेङ्गित्वं प्राप्नुवन्ति कदाचन । यः ॥ ३७॥ शब्दार्थोभयशक्त्युत्थस्त्रिधा स कथितो ध्वनिः । अलङ्कारोथ वस्त्वेव शब्दाद्यत्रावभासते॥ ३८॥ प्रधानत्वेन स ज्ञेय: शब्दशक्त्युद्भवो द्विधा। अर्थशक्त्युद्भवोप्यर्थो व्यञ्जकः संभवी स्वतः॥३९॥ प्रौढोक्तिमान्रात्सिद्धो वा कवेस्तेनोम्भितस्य वा । वस्तु वालंकृतिर्वेति षड्भेदोसौ व्यनक्ति यत् ॥ ४० ॥ वस्त्वलंकारमथवा तेनायं द्वादशात्मकः । शब्दार्थोभयभूरेको भेदा अष्टादशास्य तत्।४१॥ रसादीनामनन्तत्वाद्भेद एको हि गण्यते। वाक्ये द्वघुत्थः पदेप्यन्ये प्रबन्धेप्यर्थशक्तिभः ॥४२॥ पदैकदेशरचनावर्णेष्वपि रसादय: भेदास्तदेकपञ्चाशत्तेषां चान्योन्ययोजने ॥४३॥ संकरेण त्रिरुपेण संसृष्टया चैकरूपया । वेदखाब्धिवियच्चन्द्राः शरेषुयुगखेन्दवः॥ ४४ ।। अगूढ मपरस्याङ्गं वाच्यसिद्धयङ्गमस्फुटम् सन्दिग्धतुल्यप्राधान्ये काक्वाक्षिप्तमसुन्दरम्॥ ४५॥ व्यङ्गयमेवं गुणीभूतव्यङ्गय्यस्याष्टौ भिदाः स्मृताः । एषां भेदा यथायोगं वेदितव्याश्च पूर्ववत् ॥४६॥ योगः ससृष्टिसङ्र: । अन्योन्ययोगादेवं शब्दार्थचित्रं यत्पूर्व काव्यद्वयमुदाहृतम् । गुणप्राधान्यतस्तन्र स्थितिश्चित्रार्थशब्दयोः ॥४८॥ मुख्यार्थंहतिर्दोषो रसश्च मुख्यस्तदाश्रयाद्वाच्यः । उभयोपयोगिनः स्युः शब्दाद्यास्तेन तेष्वपि सः॥४९॥

५

दुष्टं पदं श्रुतिकटु च्युतसंस्कृत्यप्रयुक्तमसमर्थम् । निहतार्थमनुचितार्थ निरर्थकमवाचकं त्रिधाशलीलम॥।५०॥ सन्दिग्धमप्रतीतं ग्राम्यं नेयार्थमथ भवेत् क्लिष्टम्। अविमृष्टविधेयांशं विरुद्धमतिकृत्समासगतमेव॥ ५१॥ अपास्य च्युतसंस्कारमसमर्थं® निरर्थकम । वाक्येपि दोषाः सन्त्येते पदस्यांशेपि केचन ॥ ५२॥ प्रतिकूलवर्णमुपहतलुप्तविसर्ग® विसन्धि हतवृत्तम् । न्यूनाधिककथितपदं पतत्प्रकर्ष समाप्तपुनरात्तम् ॥ ५३ ॥ अर्धान्तरैकवाचकमभवन्मतयोगमनभिहितवाच्यम्। अपदस्थपदसमासं संकीण गर्भितं प्रसिद्धिहतम् ॥५४॥ भग्नप्रकममक्रमममतपरार्थं च वाक्यमेव तथा। अर्थोपुष्टः कष्टो व्याहतपुनरुक्तदुष्कमग्राम्थाः॥५५॥। संदिग्धो निर्हेतुः प्रसिद्धिविद्याविरुद्धश्च। अनवीकृत: सनियमानियमविशेषा विशेषपरिवृत्ताः ॥५६॥। साकाङक्षोपदयुक्तः सहचरभिन्नः प्रकाशितविरुद्धः। विध्यनुवादायुक्तत्यक्तपुनःस्वीकृतोश्लील: ।५७॥ कर्णावतंसादिपदे कर्णादिध्वनिनिर्मितिः । संनिधानादिबोधार्थ स्थितेष्वेतत्समर्थनम् ।५८11. ख्यातर्थे निरहेतोरदुष्टतानुकरणे तु सर्वषाम्। वक्त्राद्यौचित्यवशाद्दोषोपि गुणः क्वचित्क्वचिन्नोभौ ॥५९॥ व्यभिचारिरसस्थायिभावानां शब्दवाच्यता। कष्टकल्पनया व्यक्तिरनुभावविभावयो: ॥६॥ प्रतिकूलविभावादिग्रहो दीप्तिः पुनः पुनः । अकाण्डे प्रथनच्छेदावङ्गस्याप्यतिविस्तृतिः ॥ ६१॥ प्रकृतीनां विपर्ययः । अनङ्गस्याभिधानं च रसे दोषा: स्युरीदृशाः॥ ६२॥

६

न दोषः स्वपदेनोक्तावपि संचारिण: क्वचित् । संचार्यादेविरुद्धस्य बाध्यस्योकितिर्गुणावहा ॥ ६३॥। आश्रयैक्ये विरुद्धो यः स कार्यो भिन्नसंश्रयः । रसान्तरेणान्तरितो नैरन्तर्येण यो रसः॥६४॥ स्मर्यमाणो विरुद्धोपि साम्येनाथ विवक्षितः । अङ्गिन्यङ्गत्वमाप्तौ यौ तौ न दुष्टौ परस्परम् ॥ ६५॥ ये रसस्याद्गिनो धर्माः शौर्यादय इवात्मनः । उत्कर्षहेतवस्ते स्युरचलस्थितयो गुणाः ॥ ६६ ॥। उपकुर्वन्ति तं सन्तं येङ्गद्वारेण जातुचित्। हारादिवदलंकारास्तेनुप्रासोपमादयः ॥६७ । माधुयौ जःप्रसादाख्यास्त्रयस्ते न पुनर्दश। आह्लादकत्वं माधुर्यं शृङ्गारे द्रुतिकारणम् ॥ ६८। करुणे विप्रलम्भे तच्छान्ते चातिशयान्वितम्। दीप्त्यात्मविस्तृतर्हेतुरोजो वोररसस्थिति ॥६९। बीभत्सरौद्ररसयोस्तस्याधिक्यं क्मेण च। शुष्केन्धनाग्निवत् स्वच्छजलवत्सहसैव यः ॥ ७०॥ व्याप्नोत्यन्यत् प्रसादोसौ सर्वत्र विहितस्थितिः । गुणवृत्त्या पुनस्तेषां वृत्तिः शब्दार्थयोर्मता।।७१॥ केचिदन्तर्भवन्त्येषु दोषत्यागात्परे श्रिताः । अन्ये भजन्ति दोषत्वं कुत्रचिन्न ततो दश ॥ ७२॥ तेन नार्थगुणा वाच्याः प्रोक्ता: शब्दगुणाश्च ये। वर्णाः समासो रचना तेषां व्यञ्जकतामिताः ॥७३॥ मूध्नि वर्गान्त्यगा: स्पर्शा अटवर्गा रणौ लघू। आवृत्तिर्मध्यवृत्तिर्वा माधुर्ये घटना तथा॥७४॥ योग आद्यतृतीयाभ्यामन्त्ययो रेण तुल्ययोः । टादि: शषौ वृत्तिदैर्ध्यं गुम्फ उद्धृत ओजसि॥७५॥

७

श्रुतिमात्रेण शब्दात्तु येनार्थप्रत्ययो भवेत्। साधारण: समग्राणां स प्रसादो गुणो मतः ॥७६॥ वक्तृवाच्यप्रबन्धानामौचित्येन क्वचत्क्वचित्। रचनावृत्तिवर्णानामन्यथात्वमपीष्यते ।। ७७ ॥1 यदुक्तमन्यथा वाक्यमन्यथान्येन योज्यते। श्लेषेण काकवा वा ज्ञेया सा वक्रोक्तिस्तथा द्विधा॥ ७८॥ वर्णसाम्यमनुप्रासश छेकवृत्तिगतो द्विधा। सोनेकस्य सकृत्पूर्व एकस्याप्यसकृत्परः ॥७९॥ माधुर्यव्यञ्जकैवर्णैरुपनागरिकोच्यते ओज:प्रकाशकस्तैस्तु परुषा कोमला परः ॥८०॥ केषांचिदेता वैदर्भीप्रमुखा रीतयो मताः । शाब्दस्तु लाटानुप्रासो भेदे तात्पर्यमात्रतः ॥८१॥ पदानां सः पदस्यापि वृत्तावन्यत्र तत्र वा। नाम्न: स वृत्त्यवृत्त्योश्च तदेवं पञ्चधा मतः ॥ ८२॥ अर्थे सत्यर्थभिन्नानां वर्णानां सा पुनः श्रुतिः । यमकं पादतद्भागवृत्ति तद्यात्यनेकताम् ॥८३॥ वाच्यभेदेन भिन्ना यद् युगपद्भाषणस्पृशः । शलिष्यन्ति शब्दाः श्लेषोसावक्षरादिभिरष्टधा॥८४॥ भेदाभावात्प्रकृत्यादर्भेदोपि नवमो भवत् । तच्चित्रं यत्र वर्णानां खड्गाद्याकृतिहेतुता ॥८५।। पुनरुक्तवदाभासो विभिन्नाकारशब्दगा। एकार्थतेव शब्दस्य तथा शब्दार्थयोरयम् । ८६॥ साधर्म्यमुपमा भेदे पूर्णा लुप्ता च साग्रिमा। श्रौत्यार्थी च भवेद्वाक्ये समासे तद्धिते तथा॥८७॥ तद्वद् धर्मस्य लोपे स्यान्न श्रौती तद्धिते पुनः । उपमानानुपादाने वाक्यगाथ समासगा ।। ८८ ।।

वादेलोपे समासे सा कर्माधारक्यचि कर्याड। कर्मकत्रोर्णमुल्येतद्द्विलोपे क्विप्समासगा ॥ ८९ ॥ धर्मोपमानयोरलोंपे वृत्तौ वाक्ये च दृश्यते। क्यच वाद्युपमेयासे त्रिलोपे च समासगा ॥ ९० ॥ उपमानोपमेयत्वे एकस्यैवैकवाक्यगे 1 अनन्वयो विपर्यास उपमेयोपमा तयोः॥९१॥ संभावनमथोत्प्रक्षा प्रकृतस्य समेन यत् । ससंदेहस्तु भेदोक्तौ तदनुक्तौ च संशयः ॥९२॥ तद्रूपकमभेदो य उपमानोपमेययोः। समस्तवस्तुविषयं श्रौता आरोपिता यदा॥९३॥ श्रौता आर्थाश्च ते यस्मिन्नेकदेशविर्व्त तत्। साङ्गमेतन् निरङ्गं तु शुद्धं माला तु पूर्ववत् ॥ ९४॥ नियतारोपणोपायः स्यादारोपः परस्य यः । तत्परंपरितं श्लिष्टे वाचके भेदभाजि वा॥९५॥ प्रकृतं यन्निषिध्यान्यत् साध्यते सा त्वपह्नुतिः । इलेषः स वाक्य एकस्मिन् यत्रानेकार्थता भवेत् ॥ ९६॥। परोक्तिर्भेदकैः श्लिष्टः समासोक्तिर्निदर्शना। अभवन्वस्तुसंबन्ध उपमापरिकल्पकः ॥९७॥ स्वस्वहेत्वन्वयस्योक्तिः क्रिययैव च सापरा। अप्रस्तुतप्रशंसा या सा सैव प्रस्तुताश्रया॥९८॥ कार्ये निमित्ते सामान्ये विशेषे प्रस्तुते सति । तदन्यस्य वचस्तुल्ये तुल्यस्येति च पञ्चधा । ९९॥ निगीर्याध्यवसानं तु प्रकृतस्य परेण यत्। प्रस्तुतस्य यदन्यत्वं यद्यर्थोक्तौ च कल्पनम् ॥१००॥ कार्यकारणयोर्यश्च पौर्वापर्यविपर्ययः । विज्ञेयातिशयोक्तिः सा प्रतिवस्तृपमा तु सा।। १०१।।

९

सामान्यस्य द्विरेकस्य यत्र वाक्यद्वये स्थितिः । दृष्टान्तः पुनरतेषां सर्वेषां प्रतिबिम्बनम् ॥ १०२॥ सकृद्वृत्तिस्तु धर्मस्य प्रकृताप्रकृतात्मनाम् । सैव क्रियासु बहुवीषु कारकस्येति दीपकम्॥१०३ ॥ मालादीपकमाद्यं चद्यथोत्तरगुणावहम् ! नियतानां सकृद्धर्मः सा पुनस्तुल्ययोगिता॥ १०४॥ उपमानाद्यदन्यस्य व्यतिरेकः स एव सः ॥ हेत्वोरुक्तावनुक्तीनां त्रये साम्ये निवेदिते॥ १०५॥ शब्दार्थाभ्यामथाक्षिप्ते श्लिष्टे तद्वत्त्रिरष्ट तत्। निषेधो वक्तुमिष्टस्य यो विशेषाभिधित्सया॥१०६॥ वक्ष्यमाणोक्तविषयः स आक्षेपो द्विधा मतः । क्रियायाः प्रतिषेधेपि फलव्यक्तिर्विभावना॥१०७॥ विशेषोक्तिरखण्डेषु कारणेषु फलावचः । यथासंख्यं क्रमेणैव क्रमिकाणां समन्वयः ॥१०८॥। सामान्यं वा विशेषो वा तदन्येन समर्थ्यंते। यत्तु सोर्थान्तरन्यास: साधर्म्येणेतरेण वा॥ १०९॥ विरोधः सोविरोधेपि विरुद्धत्वेन यद्वचः । जातिश्चतुरभिर्जात्याद्यैविरुद्धा स्याद्गुणेस्त्रिभिः ॥ ११०॥ क्रिया द्वाभ्यामपि द्रव्यं द्रव्येणैवेति ते दश। स्वभावोक्तिस्तु डिम्भादेः स्वत्रियारूपवर्णनम्॥१११॥ व्याजस्तुतिर्सुखे निन्दा स्तुतिर्वा रूढिरन्यथा। सा सहोक्तिः सहार्थस्य बलादेकं द्विवाचकम्॥ ११२॥ विनोक्तिः सा विनान्येन यत्रान्यः सन्न नेतरः । परिवृत्तिविनिमयो योर्थानां स्यात्समासमैः॥११३॥ प्रत्यक्षा इव यद्भावाः क्रियन्ते भूतभाविनः । तद्भाविकं काव्यलिङ्गं हेतोर्वा्यपदार्थता॥ ११४॥

पर्यायोक्तं विना वाच्यवाचकत्वेन यद्वचः । उदात्तं वस्तुनः संपत् महतां चोपलक्षणम्॥ ११५॥ तत्सिद्धिहेतावेकस्मिन् यत्रान्यत्तत्करं भवेत्। · समुच्चयोसौ स त्वन्यो युगपद् या गुणक्रियाः ॥११६॥ एकं क्रमेणानेकस्मिन् पर्यायोन्यस्ततोन्यथा। अनुमानं तदुक्तं यत् साध्यसाधनयोर्वचः॥११७॥ विशेषणैर्यत्साकृतैरुक्तिः परिकरस्तु स:

किंचित् पृष्टमपृष्टं वा कथितं यत् प्रकल्पते । तादृगन्यव्यपोहाय परिसंख्या तु सा स्मृता । ११९॥ यथोत्तरं चेत् पूर्वस्य पूर्वस्यार्थस्य हेतुता। तदा कारणमाला स्यात् क्रियया तु परस्परम् ॥ १२०॥ वस्तुनोर्जननेन्योन्यमुत्तरश्रुतिमात्रतः प्रश्नस्योन्नयनं यत्र क्रियते तत्र वा सति ॥ १२१॥ असकृद् यदसंभाव्यमुत्तरं स्यात् तदुत्तरम् । कुतोपि लक्षितः सूक्ष्मोप्यर्थोऽन्यस्मै प्रकाश्यते॥ १२२॥। धर्मेण केनचिद् यत्र तत् सूक्ष्मं परिचक्षते। उत्तरोत्तरमुत्कर्षो भवत्सारः परावधिः॥ १२३॥ भिन्नदेशतयात्यन्तं कार्यकारणभूतयोः । युगपद्धर्मयोयत्र ख्यातिः सा स्यादसंगतिः॥ १२४॥ समाधि: सुकरं कार्य कारणान्तरयोगतः । समं योग्यतया योगो यदि संभावितः क्वचित् ॥ १२५॥ क्वचिद्यदतिवैधर्म्यान्न श्लेषो घटनामियात्। कर्तुः क्रियाफलावाप्तिर्नैवानर्थश्च यद्भवेत्॥१२६॥ गुणक्रियाभ्यां कार्यस्य कारणस्य गुणक्रिये। क्रमेण च विरुद्धे यत् स एष विषमो मतः ॥१२७॥

११

महतोर्यन्महीयांसावाश्रिताश्रययोः क्मात्। आश्रयाश्रयिणौ स्यातां तनुत्वेप्यधिकं तु तत् ॥ १२८।। प्रतिपक्षमशक्तेन प्रतिकतु तिरस्त्रिया। या तदीयस्य तत्स्तुत्यै प्रत्यनीकं तदुच्यते॥ १२१॥ समेन लक्ष्मणा वस्तु वस्तुना यन्निगूह्यते। निजेनागन्तुना वापि तन्मीलितमिति स्मृतस् ॥ १३०॥ स्थाप्यतेपोह्यते वापि यथापूर्व परं परम्। विशेषणतया यत्र वस्तु सैकावली द्विधा॥ १३१॥ यथानुभवमर्थस्य दृष्टे तत्सदृश स्मृतिः । स्मरणं आक्षेप उपमानस्य प्रतीपमुपमेयता तस्यव यदि वा कल्प्या तिरस्कारनिबन्धनम्॥ १३३॥ प्रस्तुतस्य यदन्येन गुणसाम्यविवक्षया। ऐकात्म्यं बध्यते योगात्तत्सामान्यमिति स्मृतम् ॥ १३४॥ विना प्रसिद्धमाधारमाधेयस्य व्यवस्थितिः । एकात्मा यगपद्वृत्तिरेकस्यानेकगोचरा ॥१३५॥ अन्यत् प्रकुर्वतः कार्यमशक्यस्यान्यवस्तुनः । त्थैव करणं चेति विशेषस्त्रिविधः स्मृतः॥१३६॥ स्वमुत्सृज्य गुणं योगादत्युज्ज्वलगुणस्य यत्। वस्तु तद्गुणतामेति भण्यते स तु तद्गुणः ॥ १३७॥ तद्रपाननुहारश्चेदस्य तत् स्यादतद्गुणः यद्यथा साधितं केनाप्यपरेण तदन्यथा॥ १३८॥ तथैव यद्विधीयेत स व्याघात इति स्मृतः । सेष्टा संसृष्टिरेतेषां भेदेन यदिह स्थितिः ॥१३९।।

एकस्य च ग्रहे न्यायदोषाभावादनिश्चयः ॥ १४० ॥।

१२

स्फुटमेकत्र विषये शब्दार्थालंकृतिद्वयम् । व्यवस्थितं च तेनासौ त्रिरूप: परिकीतितः ॥ १४१।। एषां दोषा यथायोगं संभवन्तोपि केचन। • उक्तेष्वन्तर्भवन्तीति न पृथक् प्रतिपादिताः ॥१४२॥

।। इति काव्यप्रकाशीयकारिकावली समाप्ता ।॥

Variant Readings from the MS No. 42290 of the काव्यप्रकाशकारिकावली of the सरस्वतीभवन Library of the वाराणसेय-संस्कृत-विश्वविद्यालय कारिका Readings in the Readings in the manuscript No. 42290.

No. Printed texts. (According to the MS.) There is no १ मङलइ्लोक दुर्धीदूषणनागेन्द्रमृगेन्द्रस्य गुरो: पदम्। नत्वा व्यातन्यते वृत्तिर्मम्मटेन विपश्चिता। १३

२३ व्यञ्जकत्वे तच्छब्दस्य सहकारिता। व्यञ्जकत्वे हि तदन्यसहकारिता। २६ (क) रसभावतदाभावभावशान्त्यादिरक्रमः । रसभास-तदाभास-भावभासादिरक्रमः ।

(ख) रसभावतदाभासभाव- २७ रत्यादे: रसादेः।

३२ जडता तथा जडता मता

३३ प्रबोधोमर्षश्च सुसंविदोधोमर्षशच

३५ निर्वेदस्थायिभावोस्ति शान्तोपि नवमो रसः । It is wanting in this MS.

३६ तदाभासा अनौचित्यप्रवर्तकाः । -भासानौचित्यप्रवर्तिताः ।

३९ अर्थशक्त्युद्भवोप्यर्थः। ४२ अनन्तत्वात् । अनंत्यत्वात्।

४८ चित्रार्थशब्दयोः । शब्दार्थचित्रयोः

४९ शब्दाद्यास्तेन तेष्वपि सः। शब्दाद्या तेष्वपि सः ।

५१ समासगतमेव। समासगतमेव। वाक्यप्याह।

५४ समासं संकीर्णम्। समाससंकीर्णम्।

परार्थ च वावयमेव तथा। परार्थ वाक्यमेव च तथा। अर्थदोषान् विशदयति। १४

५६ निर्हेतु: निर्हेतु। ५९ दोषोपि गुणःक्वचित्ववचित्रोभौ। दोषोपि गुणः क्वचिन्नौभौ। रसदोषानाह।

६० ०भावानां शब्दवाच्यता। ०भावानां व्यभिशब्दवाच्यता।

६१ अङ्गस्थाप्यतिविस्तृतिः । अंगस्याप्यतिविस्मृतिः ।

६२ इलोकमध्ये रसदोषापवादमाह।

६७ यङ्द्वारण, योगद्वारेण। इलोकान्ते गुणानाह।

६७ इ्लोकान्ते-एषां लक्षणमाह।

७० शुष्केन्धनाग्निवत्। शुष्केन्ध्ननादिवत्।

७१ दोषत्यागात्परे श्रिताः । दोषत्यागात्परोस्थिता।

७४ आद्यतृतीयाभ्याम्। आद्ययोगतृतीयाभ्याम्

७६ गुणोमतः गुण: स्मृतः 1

७७ अष्टम :- अथ शब्दालङ्गार:।

७८ वर्णसाम्यमनुप्रासः सवर्णसाम्यमनुप्रारुः । १५

८० केषांचिदेता वैदर्भी। एषांचिदेता वैदर्भी।

८७ तद्धिते तथा। तद्धिते यथा।

९० विपर्यास उपमेयोपमा तयोः । विपर्यास उपमानोपमेययोः।

९४ परस्य य: । परस्पर:।

९५ इ्लेषः स वाक्य एकस्मिन्। इलेषः स वाच्य एकस्मिन्।

९६ अभवन् वस्तु० अभवंत्वस्तु०।

९७ क्रिययैव च सापरा। क्रिययैव हि सापरा।

१०६ ०विषय: । ०विषये।

१०८ वा तदन्येन समर्थ्यते। वा यदन्यो न समर्थ्यते। यत्र

११२ सन्न नेतरः। सन्न चेतरः।

११४ ०वाचकत्वन यद्वचः। वाचकत्वेन वस्तु यत्।।

११७ परिकरस्तु सः। परिकरस्तथा।

१२६ गुणक्रिये। गुणे क्रियाभ्याम् १२९ समेन लक्ष्मणा वस्तुवस्तुना यन्निगूह्यते। समनवलक्षणा वस्तु वस्तुना यद्विगूह्यते। १३० परंपरम्। विशेषणतया यत्र वस्तु। परस्परम्। विशेषणतया न तद्वस्तु।

१३१ यथानुभवमर्थस्य। यथानुभवदृष्टस्य। १६

१३६ स्वमुत्सृज्य गुणं योगादत्युज्ज्वल- स्वमुत्सृज्य गुणा योगादित्युज्ज्वलगुणस्य तत्।

गुणस्य यत्। १३८ यदिह स्थितिः। यदिहा स्थिति:।

१४० स्फुटमेकत्र विषये। स्फुटंमेकार्थविषये। १४२ तमसंख्यकः श्लोकोयं नास्ति मुद्रितेषु इत्येष मार्गोभिन्नोष्यभिन्नरूपो भासते यत्।

ग्रन्थेषु। न तद्विचित्रं यदमुत्र सम्यक्विनिर्मितिः संघटनेन हेतुः।

काव्यप्रकाश:

प्रथम उल्लास:

ग्रन्थारम्भे विघ्नविघाताय समुवितेष्टदेवता ग्रन्थ कृत् परामृशति- निरयतिकृतनियमरहितां ह्वादेकमयीमनन्यपरतन्त्राम्। नवरसरुचिरां निर्मितिमादधती भारती कवेर्जयति ॥१॥ नियतिशवत्या नियतरूपा सुखदुःखमोहस्वभावा परमाण्वाद्यु- पादानकर्मादिसहकारिकारणपरतन्त्रा षडसा न च हृद्यैव तै, तादृशी व्रह्मणो निर्मितिनिर्माणम्। एतद्विलक्षणा तु कविवाड- निर्मितिः। अत एव जयति। जयत्यर्थेन च नमस्कार आक्षिप्यते इति तां प्रत्यस्मि प्रणत इति लभ्यते ॥१॥

KĀVYAPRAKĀSA CHAPTER I [OF THE AIM, SOURCE AND KINDS OF POETRY.] In the beginning, the author invokes the appropriate divinity for the destruction of all obstacles. Splendid is the poet's speech, comprehending a creation whach is mithout the restraints of Nature's laws, full of pleasure alone, independent of other helps, rejoicing in a nine-fold Rasa .- (1) Brahma's creation is subject to the laws of Natute, 1s full of pleasure, pan and delusion, is dependent upon mateiial and co-operative causes, such as atoms and actions .(mattei and motion) respectively-has only six tastes, and these, too, not always of an agreeable nature. The creation of the poet's speech, on the contraty, 1s different, and hence is 'splendid'-an expiession which implies reverer e to it. 1.

2 KĀVYAPRAKĀŚA

इहाभिधेयं सप्रयोजनमित्याह- काव्यं यशसेर्थकृते व्यवहायविदे शिवेतरअतये। सद्यः परनिर्बृलये कान्तासंमिततयोपदेशयुजे॥ २ ॥ .कालिदासादीनामिव यश श्रीहर्षदेर्धावकादीनामिव धनम् राजा दिगतोचिताचारपरिज्ञानम् आदित्यादेमयूरादीनामिवानर्थ- निवारणम् । सकलप्रयोजनमौलिभूतं समनन्तरमेव रसास्वादन- समुद्भूतं विगलितवेद्यान्तरमानन्दम् प्रभुसंमितशब्दप्रधान- वेदादिशास्त्रेभ्य. सुहृत्संमितार्थतात्पर्यवत्पुराणादीतिहासेभ्यश्च शब्दार्थयोर्गुणभावेन रसाङ्गभूतव्यापारप्रवणतया विलक्षणं

The author now states the subject-matter, together with its ams : Poetry brings fame and riches, knowledge of the ways of the world and relief from evils, instant and perfect happiness, and counsel sweet as from the lips of a beloved consort .- (2) Fame-as to Kālidāsa and others , wealth-as to Dhävaka and other poets, from Sri Harsa and other kings ; knowledge of rights and usages proper to kings and others ; relief from evils-as to Mayura, whose hymn to the sun brought him a cure. The chief aim of poetry, however, is the attainment of the pure unmixed pleasure that follows instantane- ously on the sensing of Rasa. When poetry exercises its full functions, it helps the development of the various Rasas (Emotions), sublating the direct effects of the word and its meaning. As such poetry differs from the Veda, in which the word, in the form of a master's command, predominates ; it differs also from the Puranas, in which the predominant element is friendly counsel (not to be

CHAPTER I 3

यत् काव्य लोकोत्तरवर्णनानिपुणकविकर्म तत् कान्तेव सरसतापादनेनाभिमुखीकृत्य रामादिवद्वर्तितव्यं न रावणादि- वदित्युपदेशं च यथायोगं कवे: सहृदयस्य च करोतीति सर्वथा तत्र यतनीयम् ॥२।। एवमस्य प्रयोजनमुक्त्वा कारणमाह- शक्तिर्निपुणता लोकशास्त्रकाव्याद्यवेक्षणात्। काव्यज्ञशिक्षयाभ्यास इति हेतुस्तदुद्भवे॥ ३ ॥ शक्ति: कवित्वबीजरूपः संस्कारविशेषः यां विना काव्यं न प्रसरेत् प्रसृतं वा उपहसनीयं स्यात्। लोकस्य स्थावर- जङ्गमात्मकलोकवृत्तस्य। शास्त्राणा छन्दोव्याकरणाभिधान- कोशकलाचतुर्वर्गगजतुरगखङ्गादिलक्षणग्रन्थानाम्। काव्यानां followed literally). Such poetry is the wotk of poets, clever in depicting things in a manner passing the com- prehension of ordinary men , it offers to other poets and cultured men counsel most persuasively, like a beloved wife, by means of a moving tenderness in the manner of it (that is, in the words)-counsel such as that one should behave like Rama and not like Ravana. As such, poetiy is by all means to be studied and cultivated. 2 Having defined the aims, the author now states the source of poetry. Poetic genius, knowledge born of a study of the world, of scrences and of poems, and the practice of the teachings of those versed in writing poetry-these three together constitute the source of poetry. (3) (1) Poetic genius, which may be called the germ of poetry. This is a pecultar faculty, without which there could either be no poetical work or, if there weie, would be ridiculous.

4 KĀVYAPRAKĀŚA

च महाकविसंबन्धिनाम् । आदिग्रहणादितिहासाना च विमर्श- नादव्युत्पत्ति। काव्यं फर्तु विचारयितु च ये जानन्ति तदुपदेशेन करणे योजने च पौनःपुन्येन प्रवृत्तिरिति। त्रयः समुदिता. न तु व्यस्ता: तस्य काव्यस्योद्भवे निर्माणे समुल्लासे च हेतुर्न तु हेतव ।।३।। एवमस्य कारणमुक्त्वा स्वरूपमाह- तददोषौ शब्दार्थौं सगुणावनलंकृती पुनः ववापि। दोषगुणालंकारा. वक्ष्यन्ते। दवापीत्यननैतदाह यत् सर्वत्र सालंकारौ दवचित्तु स्फुटालंकार्राविरहेपि न काव्यत्वहानि. । यथा

(2) Facility in composition, arising from a caieful study of-' objects,' t. e., of all kinds of objects, animate as well as inanimate ; of the sciences, such as piosody, grammar, lexicons, fine arts, the sciences dealing with the four ends of life, and the sciences dealing with the distinguishing qualities of elephants, horses and the various weapons of warfare , and of poems, the works of great poets. The woid 'adi' implies 'history' and the rest. (3) Frequent attempt at writing poetry, undei the direction of men capable of writing and appreciating it. The above three conjomtly, and not singly, constitute the source, and not the soices, of poetry. 3. Having thus stated the cause, the author next describes the natuie or character of poetry : It consists in word and sense-without faults and mith merits and excellences of style-which may at times be without Figures of Speech. (4)

CHAPTER I 5

यः कौमारहरः सएव हि वरस्ता एव चैत्रक्षपास- ते चोन्मीलितनालतीसुरमय प्रौढा. कदन्चानिलाः । सा चैवास्मि तथापि तत्र सुरतव्यापारलीलाविधौ रेवारोधसि वेतसीतरुतले चेत. समुत्कण्ठते॥। १ ॥ अत्र स्फुटो न कश्चिदलंकार.। रसस्य च प्राधान्यान्नालंकारता। तद्भेदान् क्रमेणाह- इदमुत्तममतिशयिनि व्यङ्गचे वाच्याद्ध्वनिर्बुधे:कथितः।४।।

The faults (grammatical and othei mistakes), merits (mādhurya, etc.) and ornaments of speech (Upama, etc.) will be described later on (chapteis VII, VIII, IX and X) The words 'at times' mean that, while gencially, poetry has some Figure or othei, yet, if in some case there be no figure directly expressed, that omission alone need not make the composition unpoetical. Foi instance- " My husband is the same as when from me he stole my virginity ; these lovely Chaitia-nights ate the same ; this breeze, too, comes, as of old from the Kadamba grove, laden with the fiagrance of Malati blooms ; and I, too, am the same. Yet still my heart longs for Love's da'liances amidst the citron-bowers of Reva's banks." In this verse, theie is no explicit figure of speech The Rasa (erotic) being the primary element, theie cannot be said to be a Figure (because, as the Pidipa says, the Rasa is not 1n a subordinate position, and therefore, there is no Rasavadalankara , a Rasa is called a Figuie only when it occupies a subordinate position ) 3 The author next states the divisions of poetry.

6 KĀVYAPRAKĀŚA

इदमिति काव्यस्। वुरधवैयाकरणैः प्रधानभूतस्फोट- रूपव्यङग्यव्यञ्जकस्य शब्दस्य ध्वनिरिति व्यवहार: कृत. । ततस्तन्मतानुसारिभिरन्यैरपि न्यग्भावितवाच्यव्यङ्गयव्यञ्जन- क्षमस्य शव्दार्थयगलस्य। यथा- नि.शेषच्युतचन्दन स्तनतटं निर्मृ ष्टरागोधरो नेत्रे दूरमनञ्जने पुलकिता तन्वी तवेयं तनुः। मिथ्यावादिनि दूति बान्धवजनस्याज्ञातपीडागमे वापी स्नातुमितो गतासि न पुनस्तस्याधमस्यान्तिकम् ॥२॥ अत्र तर्दान्तकमेव रन्तु गतासीति प्राधान्येनाधमपदेन व्यज्यते॥४॥

The poetry un which the suggested meaning dominates the expi essed is poetry of the best kind, called ' Dhvam' by the lear ned-(4) By the learned-that is by the grammarians, that word is called Dhvan which suggests the sphota, which is all-important (inasmuch as it is through this sphota that a word conveys its meaning), others carry this theory of the grammarians faither still, and apply the word Dhvam not only to words, but also to sense, capable of suggesting meanings other than the directly expressed ones. As an instance of Dhvam, we have- "The sandal-paste has vanished from thy breast , its colour has fled from thy lip; thine eyes have lost their jetty fringing dye-and all thy slender fiame is quiveuing with hair on end. Thus I learn, O false fiiend, that knowest not the approach of thy fuend's sufferings, that thou hast been only to the tank to bathe and not to that mean wretch." Here the words 'mean wietch' suggest the real meaning 'thou hadst gone to dally in my lovei's com- pany.' 4.

CHAPTER I 7

अतादृशि गुणीभूतव्यङ्गचं व्यङ्गचे तु मध्यमम्। अतादृसि वाच्जादनतिशायिनि। यथा- ग्रामतरुणं तरुण्या नववञ्जुलमञ्जरीसनाथकरम् । पश्यन्त्या भवति मुहुनितरां मलिना मुखच्छाया ॥ 3 ॥ अत्र वञ्जुललतागृहे दत्तसंकेता न गतेति व्यङ्गयं गुणीभूतं तदपेक्षया वाच्यस्यैव चमत्कारित्वात।। शब्दचित्रं वाच्यचित्रमव्यडच्ं त्ववरं स्सतम् ॥ ५॥ चित्रमिति गुणालंकारयुक्तग। अव्यङ्गयमिति स्फुट- प्रतीयमानार्थरहितम । अवरम् अधमम। यथा- स्वच्छन्दोच्छलदच्छकच्छकुहरच्छातेतराम्वुच्छटा- मुर्छन्मोहमहर्षिहर्षविहितस्नानाह्िका ह्राय व । When the suggested meaning is not dominant, as descnbed abore, the poetry is but of middle excellence, and is called the Poetry of Subordinate Suggestion -(5) Example .- "There is a cloud on the face of the young damsel at the sight of the country youth, with a bunch of fresh Vañjula flowers." Here the suggested meaning-' thou hadst promised to bear me company in the Vanjula-bower, but thou never didst go there,' is subordinate to the moie beautiful ex- pressed meaning ' cloud on the face.' Non-suggestive poetry, consisting of fanciful words and meanings, is of the inferior kind called ' Fanciful' by the learned .- (5) Fanciful-that, is possessing "merits' and ' figures ,' non-suggestive, ie., devoid of any clearly suggested meaning, 'inferiot'-of the lowest kind. Example : svachhandochchhaladachchhakachchbaknharachchhatetarambuchchhata m īrchhanmobamabarsıharsavıbıtasnānāhnıkāhnāya vab

8 KĀVYAPRAKĀŚA

द्रोहोद्रेकमहोरमिमेदुरमदा मन्दाकिनी मन्दताम्॥ ४ ॥ विनिर्गतं मानदमात्ममन्दिराद भवत्युपश्रुत्य यदच्छयापि यम्। ससभ्नमेन्द्रद्रुतपातितार्गला निमीलिताक्षीव भियामरावती।५॥ इति काव्यप्रकाशे काव्यम्य प्रयोजनकारणस्वरूपविशेप- निर्णयो नाम प्रथम उल्लास. ॥ १ ॥

bhıdyādudyadudāradardı adarī dīghādarīdradı uma- dıobodrekamabor mımedm amadā mandākinī mandatām u

"May Ganga, the divine, all your doubts and errors remove !- Ganga, on whose sacred banks the happy Rsis perform their daily rites who have their delusions washed away by the lovely sparkling of water dashing against the rocky bank-holes full of big frogs, whose piide is enhanced by the high waves rising on account of the wide-spreading trees having fallen in."

And agaın :- ymnurgatam mānadamātmamandu ād bhavatyupaśıutya yadrıhıbbayapı yam ı sasambhramendı adrutapātıtār galā nımīlıtāksīva bh'yamaravati n (Full of fear as soon as Amatavati heais that he has moved beyond his palace-gates-the piide of all the Demon race-though it may be put for a pleasure stroll, her gates are baired up in all haste and huriy by agitated India and she wears the aspect of a maiden with closed eyes.) 5. Thus ends Chapter I, in which are determined the aim, source and natuie of Poetry.

CHAPTER II 9

द्वितीय उल्लास: क्रमेण शब्दार्थयो स्वर्पमाह- स्याइाचको लाक्षणिक: शब्दोत्र व्यञ्जकस्त्रिधा। अत्रेति काव्ये। एषां स्वरूप वक्ष्यते।। वाच्यादयस्तदर्थाः स्यः वाच्यलक्ष्यव्यङ्गया.॥ तात्पर्यार्थोषि केषुचित् ॥ ६॥ आकाडक्षायोग्यतासंनिधिवशाद्वक्ष्यमाणस्वरूपाणां पदा- र्थानां समन्वये तात्पर्यार्थो विशेषवपूरपदार्थोपि वाक्यार्थ समुल्लसतीत्यभिहितान्वयवादिना मतम् ॥ वाच्य एव वावयार्थ इत्यन्विताभिधानवादिन. ।६।। CHAPTER II [ OF THE NATURE OF WORDS AND THEIR MEANINGS. ] The author desciibes, in due oidet, the nature of words and their sensc :- Words bere are of three krds-the Expresswe, the Induatwe and the Suggestive. 'Here' in poetiy ,-the exact nature of these is going to be defined later on. The meauings thereof are the Expressed and so forth. That is, the Expressed, the Indicated and the Suggested. Aco1ding to some, the Import also -- (6) The opinion held by the Abbıbıtanvayavadın Mimam- sakas (the followeis of Kumärila) is that when the denotations of a number of woids-which ate going to be descrbed later on-become ielated together, through 'mutual requiicment,' ' compatibility ' and 'proximity,' there appeais a iesultant in the shape of the 'meaning of the sentence,'-which is not expiessed by any single word constituting that sentence, and which, being, on that account, of a peculiar character, comes to be called by the name ' Tatparyarrha' of 'Impott'. The Antabhidhonavadins (followers of Prabhakara) on the other hand, hold that the ' meaning of the sentence' is the enpressed meaning of the words themselves.

10 KĀVYAPRAKĀŚA

सर्वेवां प्रायशोर्थानां व्यञ्जकत्वमपीष्यते।

तत्र वाच्यस्य यथा- माए घरोवअरणं अज्ज हु णत्थि ति साहिअं तुमए। ता भण कि करणिज्जं एमेअ ण वासरो ठाइ॥ ६ ॥ अत्र स्वैरविहाराथिनीति व्यज्यते।

लक्ष्यस्य यथा- साहेन्ती सहि सुहअं खणे खणे दुम्मिआसि मज्झकए। सब्भावणेहकरणिज्जसरिसअं दाव विरइअं तुमए।। ७।।

[ By the foimer view, each word of the sentence expresses its meaning, and these woid-meanings, becoming ielated together, give rise to the 'meaning of the sentence' ,-while by the latter view the connected meaning of the sentence is also expressed by the woids themselves, as, according to this view, words have no meaning apart from the sentence in which they occur ] Almost all the various kinds of meanings are held to be suggestwve also. As an example of ' suggestion' by the Expressed meaning, we have the following :- "You said, O mother, that house-hold requisites are wanting. Say, then, what is to be done ? Day-light will not long continue " ;- where the meaning suggested is that the woman speaking is desirous of roaming about for enjoyment. 6. [This suggestion has been inferred through the character of the speaker, who is known to be a woman of loose character , if it came from a virtuous person, the speech would convey no such suggestion at all.] As an example of suggestion by the Indicated meaning, we have the following :-

CHAPTER II 11

अत्र मत्प्रियं रमयन्त्या त्वया शत्रुत्वमाचरितमिति लक्ष्यम्। तेन च काुकविषयं सापराधत्वप्रकाशनं व्यङ्गयम्। व्यङ्गयस्य यथा- उअ णिच्चलणिप्पंदा भिसिणीपत्तम्मि रेहइ वलाआ। णिम्मलमरगअभाअणपरिट्ठआ संखसुत्तिव्व ।। ८ ।। अत्र निष्पन्दत्वेन आश्वस्तत्वम्। तेन च जनरहितत्वम्। अतः संकेतस्थानमेतदिति कयाचित् कंचित्प्रत्युच्यते। अथवा मिथ्या वदसि न त्वमत्रागतोभूरिति व्यज्यते।।

"O friend ! you have for my sake been put to great trouble in having to pursue that handsome man ; but what you have done was prompted only by your good- ness, kindness and affection for me ;"-where the mean- ing Indicated (by the clear marks of infidelity perceived by the speaker) that ' by giving the pleasure of your company to my .beloved, you have acted like my enemy' ;- and what is suggested by this indicated meaning is that the lover has proved unfaithful to his own beloved (by misbehaving with her friend). [This suggestion is based upon the fact of the speaker being the beloved of the man to whom she had sent messages through her friend.] As an example of suggestion by the Suggested meaning we have the following :- " See, the white crane, still and unperturbed, is shin- ing on the lotus-leaf like a conch-shell resting on a dish of flawless emerald." The speaker says expressly that the bird is sitting quiet, unmoved, and suggests thereby the security of the spot, betokening the absence of in- truders ; the suggestion, therefore, is that the spot is just suited for their meeting. On the other hand, the suggestion

12 KĀVYAPRAKĀŚA

वाचकादीनां क्रमेण स्वरूपमाह साक्षात्संकेतितं योर्थमभिधत्ते स वाचकः॥। ७।। इहागृहीतसंकेतस्य शब्दस्यार्थप्रतीतेरभावात्संकेतसहाय एव शब्दोर्थविशेष प्रतिपादयतीति यस्य यत्राव्यवधानेन संकेतो गृह्यते स तस्य वाचक: ।७।। जात्यादिर्जातिरेव वा। यद्यप्यर्थक्रियाकारितया प्रवृत्तिनिवृत्तियोग्या व्यक्तिरेव तथाप्यानन्त्याद व्यभिचाराच्च तत्र संकेतः कर्तु न युज्यत इति गौ शुक्लश्चलो डित्थ इत्यादीना विषयविभागो न प्राप्नोतीति च। तदुपाधावेव संकेतः ।

may be, " since the bird is sitting so peacefully, you could not have come here ere this ; your protestation that you had come here is consequently false." [This suggestion is based upon the fact of the two interlocutois being lovers.J The author now proceeds to describe in due order the charactei of the Expresswe and other kinds of words :- That which denotes the direct conventional meaning is the 'Expresswve' word .- (7) As a matter of fact, in ordinary parlance, there 1s no comprehension of the meaning of a word, the con- vention regarding whose denotation is not known; thus it is only when the word is helped by its usage that it expresses a ceitain meaning ; and when the conventional denotation is apprehended drectly, without the inter- vention of any other agency, the word is said to be ' ex- piessive' of that denotation or meaning. 7. The conventional denotation is four-fold, consisting of Com- munity and the rest,-or (according to some) Community alone.

CHAPTER II 13

उपाधिश्च द्विविध-वस्तुधर्मो वक्तृयदृच्छासंनिवेशितश्च। वस्तुधर्मोपि द्विविध .- सिद्धः साध्यश्च। सिद्धोपि द्विविध :- पदार्थस्य प्राणप्रदो विशेषाधानहेतुश्च। तत्राद्यो जातिः। उकतं हि वाक्यपदीये-"न हि गौः स्वरूपेण गौर्नाप्यगौः। गोत्वा- भिसंबन्धात्तु गौः" इति।

Though in every case it is the individual that is endowed with intelligent activity, and as such capable of acting and desisting from action ;- yet it is not right to restrict the conventional denotation to that alone, as this would make the convention either indefinite (if it were applied to all individuals, whose number is infinite) or wrong (if it were restricted to any one or only a few individuals, and hence not applicable to other in- dividuals) ; and also because (if the convention were restricted to individuals alone), no such distinction or differentiation would be possible as we have in the ex- pression-'This (a) ox (community) which is (b) white (attribute) and (c) Duttha (by name) is (d) walking (action).' [As per hypotheses, every one of these four words would denote the individual only, which is one and the same.] For these reasons the only reasonable course is to take the conventional denotation as appertaining only to the characteristic appurtenant to the individual. This chatacteristic of things is of two kinds-(a) that which belongs to the thing by its very nature and (b) that which is fastened upon it by the speaker ; the foimei of these again is of two kinds-(c) that which is an accom- plished entity and (d) that which has got to be accom- plished ; the foimer of these again, is of two kinds-(e) that which constitutes the very essence of the thing de- noted by the word and (f) that which is the means of the

14 KĀVYAPRAKĀŚA

द्वितीयो गुणः। शुक्लादिना हि लब्धसत्ताक वस्तु विशिष्यते। साध्य: पूर्वापरीभूतावयव कियारूप। डित्थादिशब्दानामन्त्यबुद्धिनिर्ग्राह्यं संहृतक्रमं स्वरूपं वक्त्रा यदृच्छया डित्थादिष्वर्थेषूपाधित्वेन संनिवेश्यत इति सोयं संज्ञारूपो यदृच्छात्मक इति।

imposition upon it of some distinguishing feature; of these latter two, the former i. e. (e) is the Community,-as has been declared ın Vākyapadīya, 'By itself the ox is neither an ox nor a non-ox, it is only by reason of its being related to the community ox that it is called an "ox " [ which means that the community is the very essence of the thing denoted];'-the latter [t. e. (f)] is the quality, because when the thing has obtained its essence (become an entity), it is the quality of whiteness and so forth, that serves to distinguish it ;- (d) that which has got to be accom- plished is the action, consisting of a series of steps appearing one after the other ;- lastly, when the speaker, of his own accord, fastens upon a particular object the distinguishing characteristic in the shape of any such haphazard group of letters as ' Dittha', ' Davittha' and so forth, solely as a collocation of letter-sounds ending with the last syllable, and not as occurring in any distinct order of sequence, this group of letters is what forms the name of the object concerned, and is what is classed as a proper noun (b). This is what the author of the Mababhasya (on Pānini-sūtra, 'rlk') has declared in the following words-' The denotation of words is foutfold, as signi- fied in the expression, " the ox which is white and named Dittha is walking." As regards the Atomic Dimension and such other Eternal Qualities (as, e.g. the Infinite Dimension, Sound

CHAPTER II 15

"गौःशुक्लशचलो डित्थ इत्यादौ चतुष्टयी शब्दानां प्रवृत्तिः" इति महाभाष्यकारः। परमाण्वादीना तु गुणमध्यपाठात् पारि- भाषिकं गुणत्वम् । गुणक्रियायदृच्छाना वस्तुत एकरूपाणामप्या- श्रयभेदाद् भेद इव लक्ष्यते। यथैकस्य मुखस्य खड्गमुकुरतलाद्या- लम्बनभेदात्।

and so forth) which, being eternal qualities, are coeval with the substances to which they belong, of which latter, on that account, they are the very ' essence', and as such included under the category of 'community',-these have even so been classed under the category of ' quality ' (and not undei 'community '), only in view of the fact that they have been classed ( by the Vaisesikas ) under 'qualities'; but in reality they can be called ' quality ' only in a figurative or indirect sense. As for qualities, actions and proper names, even though each of them is, in reality one only (there being only one whiteness, only one act of walking and only one proper name ' Dittha', each of these being comprehen- sive respectively of all individual shades of whiteness, of all kinds of walking and of all instances of the utterance of the particular name by several pesons), yet it appears as if there were some diversity in them, the reason whereof lies in the fact of their subsisting in diverse individuals ; just as, for instance, though the face reflected is one only, yet when it is reflected in diverse reflecting substances, -such as the polished sword, the mirror, the oil and so forth,-it has the appearance of being diverse. [Hence as the diversity,in the case of quality, action and name is only apparent, not real, the denotation of these does not involve either 'vagueness ' or ' wrongness ' which has been found in the case of the denotation of indrviduals.]

16 KĀVYAPRAKĀŚA हिमपय:शङ्ट्ाद्याश्रयेषु परमार्थतो भिन्नेषु शुक्लादिपु यद्वशेन शुक्ल. शुक्ल इत्याद्यमिन्नाभिधानन्नत्ययोत्पत्तिस्तत् शुक्लत्वादि सामान्यम्। गुडतण्डुलादिपाकादिष्वेवमेव पाकत्वादि। बाल- वृद्धशुकाद्युदीरितेषु डित्थादिशब्देषु च प्रतिक्षणं भिद्यमानेषु डित्याद्यर्थेषु वा डित्थत्वाद्यस्तीति सर्वेषां शव्दानां जातिरेव प्रवृत्तिनिमित्तमित्यन्ये। तद्वान् अपोहो वा शब्दार्थ. कैश्चिदुक्त इति ग्रन्थगौरवभयात् प्रकृतानुपयोगाच्च न दशितम् ।७।।

Some people (1. e. the Mīmamsakas) have argued as follows :- "(a) Even though the quality of whiteness subsisting in such varied substances as the snow, the milk, the conch and other things is in reality diverse, yet there is something in them by virtue of which all of them are spoken of and comprehended under the single common name ' whiteness' ; and this something is what has been called the 'community of whiteness' ,-(b) similarly, in the cooking of such diverse things as molasses, rice and so forth, there is the ' community of cooking' ;- (c) as also in the name ' Dittha' as pronounced by such diverse individuals as the boy, the giown up man, the parrot and so foith ; or as applied to such and such objects named ' Dittha' as are undergoing transformation at every mo- ment, there is the ' community of the name Dittha' ;- and from all this it is clear that the denotation of the word consists (in all cases) in the community only (and not in quality, action and name also.)"-7 There is another view held by others (i.e. the Naryayikas) viz., that what is denoted by the word is the Indmidual as belonging to the Community. Yet others (Bauddhas) have held the view that what is

CHAPTER II 17

स मुख्योर्थस्तत्र सुख्यो व्यापारोस्याभिधोच्यते॥८॥ स इति साक्षात्संकेतितः । अस्येति शब्दस्य ।। ८।। मुख्यार्थबाधे तद्योगे रूढितोथ प्रयोजनात्। अन्योर्थो लक्ष्यते यत्सा लक्षणारोपिता क्रिया॥ ९॥ 'कर्मणि कुशल.' इत्यादौ दर्भग्रहणाद्ययोगात् 'गङ्गाया घोष:' इत्यादौ च गङ्गादीनां घोषाद्याधारत्वासंभवात् मुख्यार्थस्य बाधे विवेचकत्वादौ सामीप्ये च सवन्धे रूढितः प्रसिद्धेः तथा

denoted by the word is the ' Apoha', t.e., ' the negation of the contrary'. [e. g., what the word 'ox' denotes is 'the negation of the 'non-ox' , this view being in accordance with the Bauddha theory that there is absolutely no poutwve entity in the world.] All these various views are not set forth here, as it would unduly prolong our work, and it would not serve any useful purpose in regard to the real subject-matter of the treatise. That is the primary meaning; and this is the primary function of it (the word), called ' denotation' .- (8) 'That'-i.e., the directly conventional ;- 'of it', of the word. 8. When the primary meaning is precluded (by incompati- bility), another meaning, in affimty therennth, comes to be implied,-eitber on the basis of usage or for a special purpose,-thes process of imposed implication is called ' Indica- tion', Laksana .- (9) (a) In the expression ' karmam kusalab', (used in the sense of ' cxpert in his woik ') the puimaiy meaning of the word 'kusalab' 1s ' grass-chopper', and this idea of 'grass-chopping' is not compatible with the sense of the sentence ;- similarly in the expression 2

18 KĀVYAPRAKĀŚA

गङ्गातटे घोष इत्यादेः प्रयोगात् येषां न तथा प्रतिपत्तिः तेषां पावनत्वादीना धर्माणां तथाप्रतिपादनात्मनः प्रयोजनाच्च मुख्येन अमुख्योर्थो लक्ष्यते यत् स आरोपितः शब्दव्यापार. सान्तरार्थ- निष्ठो लक्षणा ॥ ९॥।

' gangāyām ghosah' (used in the sense of ' the ranch in the Gangã ') the primary meaning of the term ' Ganga' is the rwver itself, and this is incompatible as the location for the ranch ;- hence in both these cases ' the primary mean- ing is baired'; and ' another' secondary meaning comes to be implied by the primary meaning in each of these two cases,-(a) the term ' kuśala', implying the sense of the ' expert ', which is ' in affinity with ' the primary sense of 'grass-chopping,' in this that just as the' expert in business is possessed of discrimination so is the grass- chopper also (who cuis what he needs and rejects what he does not need),-and (b) the term ' Ganga' 1mplying the sense of ' the bank,' which is 'in affinity with' the primary sense of the ' river' in this that it is situated in close proximity ,-and while in (a), the case of the term ' kusala', the said implication is based upon 'usage' (by which the term is generally used in the sense of 'expert'), while in (b), in that of the teim ' Ganga,' the said impli- cation proceeds on the basis of the purpose' of pointing out those properties of ' sanctity ' and the rest which could not be expressed by the use of such expressions as ' gangā- tate ghosab' (' the ranch on the bank of the Ganga'); this function of indirect implication is 'imposed' upon the word, in the sense that it is not direct (from the word to the meaning), but indirect, through certain intervening factors (in the shape of the ' incompatibility of theprimary meaning' and the rest mentioned in the text). 9.

CHAPTER II 19

स्वसिद्धये पराक्षेपः परार्थ स्वसजर्पणम्। उपादानं लक्षणं वेत्युक्ता शुद्धैव सा द्विधा॥ १० ॥ 'कुन्ताः प्रविशन्ति' 'यष्टयः प्रविशन्ति' इत्यादौ कुन्तादि- भिरात्मनः प्रवेशसिद्धचर्थ स्वसंयोगिनः पुरुषा आक्षिप्यन्ते । तत उपादानेनेयं लक्षणा। "गौरनुबन्ध्यः" इत्यादौ श्रुतिचोदितमनुबन्धनं कथं मे स्यादिति जात्या व्यक्तिराक्षिप्यते न तु शब्देनोच्यते "विशेष्यं

'Pure' Indication is of two kinds-(a) the ' Incluswve', in which there is implication of the other (the secondary) meaning for the purpose of completing (the logical connection of) the primary meaning itself, and (b) the ' Indicatwe' in which the primary meaning surrenders itself for the sake of the other (the secondary meaning)-(10). (a) An example of the 'Inclusive' Indication we have in the expression ' kuntah pravisanti' (' the lances enter'), where the ' primary meaning,' the 'lances,' im- plies the men holding the lances, for the purpose of establishing the logical connection of the lances themselves with the act of ' entering ' (which could not be done by the lances, except through the men holding them). Some people have cited as an example of ' Inclusive' Indication, the expression ' gauranubandhyah ( 'the ox is to be sacrificed '), where, they explain, the primary meaning of the term ' ox'-which is the ' community ' ox-implies an individual ox, for the purpose of establishing its connec- tion with the act of ' being sacrificed' enjoined by the said Vedic expression ; and they go on, this individual ox could not be regarded as directly denoted by the word itself, because of the principle ' the denotation of a word, having its force spent up in the qualtfying adjunct (which, in this

20 KĀVYAPRAKĀŚA

नाभिधा गच्छेत् क्षीणशक्तिर्विशेषणे" इति न्यायादित्युपादान- लक्षणा तु नोदाहर्तव्या। न ह्यत्र प्रयोजनमस्ति न वा रूढि- रियम्। व्यक्त्यविनाभावित्वात्तु जात्या व्यक्तिराक्षिप्यते । यथा त्रियतामित्यत्र कर्ता। कुरवित्यत्र कर्म। प्रविश पिण्डी- मित्यादौ गृहं भक्षयेत्यादि च।

case, is the community), is unable to proceed to the gualified (which is the Individual).' This however is not a right example of 'inclusive' indication ; because in this case, there is neither any purpose' (served by the indirect implication, which could not be got by direct denotation), nor any 'usage' (and these alone have been declared to be the basis for indirect implication). What really happens in the case cited is that the individual is implied by the community by reason of their invariable concomitance ; just as there is in the case of the imperative passive form ' kriyatām', where the agent is implied by reason of his being invariably concomitant with an action,-or in that of the imperative word ' kuru', the object is implied by reason of its being inseparable from every transitive verb,-or in the case of the word ' pravisa,' 'enter, ' which implies the 'house' to be entered, as what is entered is inseparable from the act of entering,-or in the case of the word ' pindim' 'cake' (in the accusative), some such verb as 'eat' is implied, as without some such transitive verb , there could be no object. The expression 'fat Devadatta eats not during the day ' as implying his nocturnal feeding has been regarded by some people as an example of 'Indication'; but in this case the nocturnal feeding is not ' indicated ' by the words

CHAPTER II 21

'पीनो देवदत्तो दिवा न भुङक्ते' इत्यत्र च रात्रिभोजनं न लक्ष्यते श्रुतार्थापत्तेरर्थापत्तेर्वा तस्य विषयत्वात्। 'गङ्गायां घोषः' इत्यत्र तटस्य घोषाधिकरणत्वसिद्धये गङ्गाशब्दः स्वार्थमर्पयति इत्येवमादौ लक्षणेनैषा लक्षणा । उभयरूपा चेयं शुद्धा। उपचारेणामिश्रितत्वात्।

at all ; it is simply cognised either through ' Verbal Pre- sumption' (of the expression 'he eats at night' as held by the Bhatta), or through pure presumttion (of the fact of the nocturnal feeding, as held by the Prabhākaia). (b) An example of the ' Indicative ' Indication we have in the expiession 'gangāyām ghosab' (' the ranch in the Ganga '); here, for the purpose of obtaining for the Bank (which is the secondary meaning indicated by the teim 'Gangayam") the character of being the location of the ranch, the term ' Gangayām'' surrenders its piimaiy mean- ing' (1. e. the rwver) ; and in this case the process of Indi- cation is called ' Indicative.' Both of these kinds here exemplified (a and b) belong to the category of 'pure' Indication,-so called because they do not involve or require any auxiliary agency (in the shape of some sort of sunilitude between the Primary and Secondary meanings). It is not true (as some people have asserted) that in cases of 'pure' Indication-like those just cited-there is a clear ' difference' manifested between the indicated (secondary) and the indicalwe (primary) meanings,-this 'difference ' being technically called ' tatasthya' ' aloofness' -[while in cases of Indication other than the 'puie,' there is 'non-difference' manifested between the two mean- ings.]-This, we say, is not true ; because as a matter of

22 KĀVYAPRAKĀŚA

अनयोर्लक्ष्यस्य लक्षकस्य च न भेदरूपं ताटस्थ्यम् । तटादीनां गङ्गादिशव्दै. प्रतिपादने तत्वप्रतिपत्तौ हि प्रतिपिपाद- यिपितप्रयोजनसंप्रत्यय.। गङ्गासंबन्धमात्रप्रतीतौ तु गङ्गातटे घोष इति मुख्यशब्दाभिधानाल्लक्षणायाः को भेदः ॥१०॥ सारोपान्या तु यत्रोक्तौ विषयी विषयस्तथा। आरोप्यमाण: आरोपविषयश्च यत्रानपहनुतभेदौ सामाना- धिकरण्येन निर्दिश्येते सा लक्षणा सारोपा।।

fact, in a case where the Bank is spoken of by means of the word ' Ganga,' it is done clearly for the purpose of expressing some definite notion (such as that of 'sanctity ' in the present case); and this purpose can be accomplished only when the two (the indicated ' bank' and the indica- twve 'river') are comprehended as absolutely identical 1. e., the sanctity of the ' bank ' is recognised only when the 'bank' is identified with the ' river' whose sanctity is already well-known. If this were not so, and if all that was intended to be expressed was some sort of connection with the ' river,' then as this could be done equally well by the ordinary expression ' gangatate ghosab' (' the ranch on the banks of the river Ganga'), -what difference would there be between the expression of that idea by this direct assertion and the indirect 'indication' of the same (by the indirect expression ' gangāyām ghosab") ? 10. There is however another (kind of Indication) called the 'Super-imponent', wherein the ' imposed' as well as ' that umposed upon' are both distinctly expressed. That Indication is called ' Super-imponent' in which what is 'imposed ' and what is' imposed upon' are both mentioned as correlated and as clearly distinct from one another.

CHAPTER II 23

विषय्यन्तःकृतेन्यस्मिन् सा स्यात्साध्यवसानिका ॥ ११॥ विषयिणारोप्यमाणेनान्तःकृते निगीरणे अन्यस्मिन्नारोपविषये सति साध्यवसाना स्यात् ॥ ११॥ भेदाविमौ च गौणौ शुद्धौ च विज्ञेयौ सादृश्यात्सम्बन्धान्तरतस्तथा।

इमावारोपाध्यवसानरूपौ सादृश्यहेतू भेदौ 'गौर्वाहीक.' इत्यत्र 'गौरयम्' इत्यत्र च । अत्र हि स्वार्थसहचारिणो गुणा जाड्यमान्द्यादयो लक्ष्य- माणा अपि गोशब्दस्य परार्थाभिधाने प्रवृत्तिनिमित्तत्वमुपयान्ति That same (Indication) would be called ' Intr osusceptive' when what is ' imposed' swallows the other (that is ' imposed upon') .- (11) Whete the ' visayın', what is ' imposed' ' swallows '- 1. e., takes within itself-' the other '-i.e., that which is 'imposed upon',-it is a case of 'Introsusceptive' Indication. 11. These two kinds of Indication (a) when based upon similitude, are known as ' qualitative'; and (b) as ' pure ' when they are based upon other kinds of relationship. (A) As examples respectively of the ' Superimponent' and 'Introsusceptive' Indication, based upon similitude (and hence ' qualitative'), we have the two expressions (a) 'gaurvabīkab' ) ('the ploughman is an ox "), and (b) 'gaurayam' ('he is the ox itself'). [In (a) the character of the ' ox ' is what is ' imposed ', and the 'ploughman' is the one 'imposed upon', and both these being mentioned as distinct from one another, it is a case of ' superimponent ' Indication ; while in (b) the character imposed, 1. e. the ' ox', 'swallows ' up the man upon whom it is imposed, the man loses his distinct individuality and becomes merged, as it were, in the ' ox', hence this becomes a case of the ' introsusceptive ' Indication.]

24 KĀVYAPRAKĀŚA

इति केचित्। स्वार्थसहचारिगुणाभेदेन पदार्थगता गुणा एव लक्ष्यन्ते न परार्थोभिवीयते इत्यन्ये। साधारणगुणाश्रयत्वेन परार्थ एव लक्ष्यते इत्यपरे। उक्तं चान्यत्र "अभिधेयाविनाभूतप्रतीतिर्लक्षणोच्यते। लक्ष्यमाणगुणैर्योगाद्वृत्तेरिष्टा तु गौणता" इति। अविनाभावोत्र संबन्धमात्रं न तु नान्तरीयकत्वम्। तत्त्वे हि 'मञ्चाः कोशन्ति' इत्यादौ न लक्षणा स्यात्। अविनाभावे चाक्षेपेणैव सिद्धेर्लक्षणाया नोपयोग इत्युक्तम्।

The exact process of Indication in these cases is thus explained by some people :- When the 'ploughman' is spoken of as the ' ox ', this latter word indicates the qualities of stupidity, dullness and the like which belong to the animal denoted by that word, and through these qualities (thus indirectly indicated) the word ' ox' comes to denote the man (and it is thus that the co-ordination between the man and the ox is secured) .- According to others, how- ever, what happens is, not that the word ' ox ' directly ex- piesses the man (through its qualities of stupidity and dull- ness), but that it indniectly indicates similar qualities in the man .- But according to others again (men of our way of thinking), the word ' ox ' indicates the man himself, as being the substratum of those same qualities that belong to the ox also. This has been declaied elsewhere also (in the Ślokavarttika)-' Indication is the name given to the cognition of what is invaniably concomitant with what is directly expressed by the word ; and this piocess is called 'qualitative' on account of the indication being based upon the presence of certain qualities.'

CHAPTER II 25

'आयुर्घृतम्' 'आयुरेवेदम्' इत्यादौ च सादृश्यादन्यत् कार्यकारणभावादि संबन्धान्तरम् । एवमादौ च कार्यकारण- भावादिलक्षणपूर्व आरोपाध्यवसाने। अत्र गौणभेदयोर्भेदेपि ताद्रूप्यप्रतीति. सर्वथैवाभेदावगमश्च प्रयोजनम। शुद्धभेदयोस्त्वन्यवैलक्षण्येनाव्यभिचारेण च कार्य- कारित्वादि।

In this passage what is meant by 'invariable con- comitance ' is only relationship, and not actual (inseparable) concomitance , for if the latter were meant, there could be no indication in the case of such expressions as ' mañchab krośanti' (' the platforms are shouting"). [As there is no inseparable concomitance between the platfor m and the men on the platform.]

In fact it has been rightly observed that in cases where there is actual invarrable concomitance (between the indicated and the indicator), one naturally implies the other, and there is no need for the indicative process at all.

(b) Examples of the 'superimponent ' and 'intro- susuceptive' Indication, based upon factors other than ' similitude,' (and hence ' pute') we have in the two ex- pressions ' Ayurghrtam' (' clarified butter is longevity') and ' Ayurevedam' (' It is longevity itself') ; -where the factor upon which the indication is based is some such ielationship as that between cause and effect, and the like and in all such cases the two kinds of Indication-' superim- ponent' and 'introsusceptive'-are such as are actually preceded (and brought about) by the said relationships of 'cause and effect' and the like.

26 KĀVYAPRAKĀŚA

क्वचित तादर्थ्यादुपचारः । यथा इन्द्रार्था स्थूणा इन्द्रः । ववचित स्वस्वामिभावात्। यथा राजकीयः पुरुषो राजा। क्वचित् अवयवावयविभावात्। यथा अग्रहस्त इत्यत्राग्रमात्रेवयवे हस्तः। क्वचित् तात्कर्म्यात्। यथा अतक्षा तक्षा ।।

Now here, in the case of the two kinds of ' qualita- tive' Indication, the purpose served [(a) in the case of the ' superimponent ' variety, e. g., ' the ploughman is an ox '] is the bringing about of the cognition of similarity between the two things recognised as different from one another,-and [(b) in the case of the 'introsusceptive' variety, e. g., 'he is verily an ox '] it is the bringing about of the notion of absolute identity between the two things. In the case of the two kinds of ' pure ' Indication [e g., (J) 'Butter is longevity' and (b) 'It is longevity itself'], on the other hand, the purpose served is the bringing about of the notion that the thing spoken of is one that accom- plishes a certain object in a way better than anything else [in the case of (a)] or infallibly [in the case of (b)] . In some cases the Indication is based upon the rela- tion of ' subserviency ;' e.g., the pillar that subserves the purpose of (the worship of) Indra is called ' indra' ;- sometimes it is based upon the relationship of ' master and servant'; e. g. when the king's servant is spoken as the ' king' ;- in some cases it is based upon the relation- ship of ' whole and part'; e. g. in the expression ' agra- hastab' (' foremost hand') as applied to any and every foremost limb, this latter is indicated by the word 'hand' ;- in other cases again it is based upon the relationship of 'doing the same work'; e. g., when one who is not a carpenter is spoken of as 'carpenter' (on account of his doing the carpenter's work).

CHAPTER II 27

लक्षणा तेन षड्विधा॥ १२॥ आद्यभेदाभ्या सह ॥ १२ ॥ साच व्यङ्गचेन रहिता रूढौ सहिता तु प्रयोजने । प्रयोजनं हि व्यञ्जनव्यापारगम्यमेव।। तच्च गूढमगूढं वा तच्चेति व्यङ्गयम्। गूढं यथा मुखं विकसितस्मितं वशितवक्रिम प्रेक्षितं समुच्छ लितविभ्रमा गतिरपास्तसस्था मतिः । Thus Indication is of six kınds .- (12). That 1s, (the four kinds mentioned in 11 and 12) along with the first two kinds (described in 10) 12. This (Indication)- When based upon usage, is mithout any ' suggested' meaning ; but when it is based upon some purpose, it is accompanred by a ' suggested' meanıng. In fact the recognition of the purpose (in the case of Indication) is obtained only through the process of 'suggestion '. And it may be erther abstruse or explicit. ' It'-the suggested meaning. It is ' abstruse' in the following passage- 'Oh! The first tide of youth is exuberant in the body of the moon-faced one : her face is blooming with smiles, her glances have acquired the graceful arch, her gait evinces a rising gracefulness, her thoughts have re- linquished steadiness, the bosom shows the budding breasts, and her thighs are plump and efficient.' Here we have the primary meaning of the following words barred by incompatibility with the context-(a) the word ' is exuberant ' (as applied to tide of youth, which is inanimate),-(b) ' blooming ' (applied to smile, though it is really applicable to flowers),-(c) ' acqui-

28 KĀVYAPRAKĀŚA

उरो मुकुलितस्तनं जघनमंसबन्धोदधुरं बतेन्दुवदनातनौ तरुणिमोद्गमो मोदते।। ९ ॥ अगूढं यथा श्रीपरिचयाज्जडा अपि भवन्त्यभिज्ञा विदग्धचरितानाम् । उपददिशति कामिनीनां यौवनमद एव ललितानि॥ १० ॥ अत्रोपदिशतीति।। uing ' (as applied to the glances, which are inanimate),-(d) ' rising ' (as applied to gracefulness, which is not a material substance and hence cannot do any rising), -- e) ' relinquishing steadiness ' (as applied to thoughts which are not sentient),-(f) 'budding ' (as applied to breasts, though really applicable to flowers,)-and (g) ' efficient ' (as applie.1 to the thighs which are inanimate), and hence they are taken as indicating the (figurative) meaning in which the words are understood in the passage, e g (a) ' exuberance ' indicates exrellence and what is suggested is desirability ',-(b) ' blooming ' indicates unrestrained manifestation, and what is suggested is ' sweet odour' and so forth ,-(c) 'acquiring' indicates mastery and it suggests the 'appearance of the loved person',- (d) 'rising' indicates profuseness, which suggests 'heart-ravishing cha- racter ' ;-- e) ' relinquishing steadiness' indicates impatience, which suggests ' the increasing influence of love',-(f) ' budding' indicates unflabbiness, which suggests ' fitness for embrace ',-(g) ' efficiency ' indicates capacity for spirited intercourse, which suggests ' lovelness.'- And all this, not capable of being compiehended by ordinary men, is very ' abstruse ' ] As an example of the 'explicit' suggested meaning, we have the following- ' Coming into contact with prosperity' even dull persons become conversant with the functions of the clever : the intoxication of youth itself teaches the graces to lovely women.' Here the work ' teaches' (having its direct meaning barred, in relation to the ' intoxication of youth, ' which is inanimate), indicates 'manifestation', which suggests 'spontaneous attainment of the graces'; and this sug- gestion is quite explicit).

CHAPTER II 29

तदेषा कथिता त्रिधा॥१३।। अव्यङ्गया गूढव्यङ्गया अगूढव्यङ्गया च॥ १३ ॥ तद्भूर्लाक्षणिक: शब्द इति संबध्यते। तद्भूस्तदाश्रय ॥ तत्र व्यापारो व्यञ्जनात्मक:।

In this way Indication has been declared to be ef three kınds .- (13). That is, (1) that in which there is no suggested meaning, (2) that in which the suggested meaning is abstruse, and (3) that in which the suggested meaning is explicit. That which contains the sard (indication) is the ' Indicative'- 'Word', ' sabdab', has to be construed here (fiom Text 6). 'Tadbhnb'-That which contains, is the substratum of, the Indication. [Having described the 'expressive word' (in the Text 7) and the ' indicative word ' (in the foregoing Text), the author now turns to the description of the ' suggestive word' As in the other two cases, however, so here also, before describing the ' suggestive word,' it is necessary to explain the process of ' suggestion.' This suggestion is of two kinds-' Verbal', based upon the word, and ' Ideal ', based upon the meaning, as the present context is dealing with words, the author takes up Verbal suggestion here, the other kind being dealt with in Chapter III. The Verbal suggestion also is of two kinds, that based upon the directly expressed meaning of the word, 'denotative', and that based upon the indicated meaning of the word, ' indicative'. And as he has been just dealing with Indication, he takes up the ' Indicative ' suggestion fitst ]-13 Of the Indicatwe Word, that function (which brings abont the cogmtion of the ' purpose' of the indication) is of the natine of ' Suggestion'. "Why so ?"

30 KĀVYAPRAKĀŚA

कुत इत्याह

यस्य 5तीतिमाधातुं लक्षणा समुपास्यते॥ १४॥ फले शब्दकगम्येत्र व्यञ्जनान्नापरा क्रिया। प्रयोजनप्रतिपिपादयिषया यत्र लक्षणया शब्दप्रयोगस्तत्र नान्यतस्तत्प्रतीतिरपि तु तस्मादेव शब्दात्। न चात्र व्यञ्जना- दृतेन्यो व्यापारः॥

तथाहि

नाभिधा समयाभावात

[-Answer.] In regard to that intended idea for bringing about the cognition whereof one has recourse to Indication, (14) and which is cogmsable through the word only,-the function (of the word) can be none other than ' Suggestion.' A word is used indicatively only when it is intend- ed to convey the notion of the 'purpose' (which could not be cognised through the direct denotation of the word) ;- and yet the said notion is obtained from that same word, and not from anything else ; and in this func- tion the word is none other than Suggestion ;- because (a) it cannot be direct denotation, as there is no usage to that effect ;-- In the case of the expression 'the ranch in the Ganga', the 'sanctity' and such other qualities are re- cognised as belonging to the bank ; and yet there is no usage of the word 'Ganga in that sense :- (b) nor can it be Indication because the necessary conditions are wanting .- (15).

CHAPTER, II 31

गङ्गायां घोष इत्यादौ ये पावनत्वादयो धर्मास्तटादौ प्रतीयन्ते न तत्र गङ्गादिशब्दाः संकेतिताः ॥ हेत्वभावान्न लक्षणा ॥ १५ ॥ मुख्यार्थबाधादित्रयं हेतुः॥ १५ ॥ तथा च लक्ष्यं न मुख्यं नाप्यत्र बाधो योग: फलेन नो। न प्रयोजनमेतस्मिन न च शब्द: स्खलद्गतिः ॥१६॥ That is the three conditions described above-the primary meaning being barred and so forth (see Text 9). Fot instance- What is 'indictated' is not the primary meaning ; nor is that meaning incompatible ; nor bas it any connection with the intended idea ; nor again is there any purpose served by it (i. e., by making the intended idea an object of further Indication) , nor lastly is the word itself wanting in the requisite force. (16). In the expression 'the ranch in the Ganga', the word ' Ganga' is taken as indicating the ' bank', because its primary meaning of 'river' is found incompa- tible ;- if, in the same manner, the sense of the 'bank' also were incompatible, then alone could it be taken as indicating the intended idea (of ' sanctity ' and so forth) ;- as a matter of fact however, in the first place, the bank does not form the primary meaning of the word ' Ganga ', nor is it incompatible, [so that the first condition of Indi- cation is not fulfilled ],-secondly there is no affinity between the 'bank' as indicated by the word ' Ganga' with 'sanctity' and the other qualities that would be indicated (by the bank) [so that the second condition of Indication is not fulfilled] ;- thirdly, there is no further purpose served by making the intended idea of ' sanctity' and the rest the object of a further indication ;- noi lastly, is the word ' Ganga' incapable (without the intervention

32 KĀVYAPRAKĀŚA

यथा गङ्गाशन्द स्रोतसि सबाध इति तटं लक्षयनि तद्वत् यदि तटेपि सबाध स्यात तत प्रयोजनं लक्षयेत। न च तटं मुख्योर्थ। नाप्यत्र बाधः । न च गङ्गाशव्दार्थस्य तटस्य पावन- त्वाद्यैर्लक्षणीयै संबन्ध। नापि प्रयोजने लक्ष्ये किचित् प्रयोजनम्। नापि गङ्गाशब्दस्तटमिव प्रयोजनं प्रतिपादयितुमसमर्थः ॥१६॥ एवमप्यनवस्था स्याद् या मूलक्षयकारिणो। of the indicative piocess) of bringing about the notion of 'sanctity' and the rest, as it is of denoting the bank. [The word ' Gangi' is incapable of denoting the bank , hence for the purpose of biinging about the notion of the bank, it has to seek the help of Indication , but as regards ' sanctity ' and the rest, the idea of these can be biought about by the word ' Gangi' itself, through 'suggestion ']-16 Further, in this manner, there would be an infinite regress, which mould strike at the very root ( of the intended com- prebension). If the purpose for which the original Indication has been adopted were itself the object of a further Indica- tion,-then for the second Indication there would be another purpose ; and in connection with the Indication of this lattet, there would be yet another purpose ; and so on and on, there would be an infinite regress, and the result of this would be that the desired comprehension would not be got at. An objection is raised :- "What the word ' Ganga' indicates may be the bank as possessed of the qualities of sanctity and the rest ; and the purpose served by this indi- cation is the bringing about of a notion that could not be got at by the expression ' the ranch on the bank of the Ganga'; and thus as Indication itself would provide the comprehension of the bank along with the qualities, where would be the need for having any ' suggestion ' at all ?"

CHAPTER II 33

एवमपि प्रयोजनं चेल्लक्ष्यते तत् प्रयोजनान्तरणेति तदपि प्रयोजनान्तरेणेति प्रकृताप्रतीतिकृत् अनवस्था भवेत्॥ ननु पावनत्वादिधर्मयुवतमेव तटं लक्ष्यते। 'गङ्गायास्तटे घोषः' इत्यतोधिकस्यार्थस्य प्रतीतिश्च प्रयोजनमिति विशिष्टे लक्षणा तत्कि व्यञ्जनयेत्याह- प्रयोजनेन सहितं लक्षणीयं न युज्यते॥ १७॥

कुत इत्याह- ज्ञानस्य विषयो ह्यन्यः फलमन्यदुदाहृतम्। प्रत्यक्षादेर्नीलादिर्विषयः फलं तु प्रकटता संवित्तिर्वा ।।

[The answer to this is given by the following Text.] It is not right to make the ' indicated' meaming include the intended idea (for the sake of which Indication is admitted .- (17) "Why not ?" Because the object of a cognition is one thing, and its resultant is said to be another. For instance, the ' object ' of the perceptional cognition is the blue thang, while the ' resultant' of that cognition is the 'apprehendedness' of that thing (as held by the Mīmāmsaka), or the 'representative cognition ' (' I perceive the blue thing,'-this is according to the Naiyayika). [Similarly the object of the cognition obtained by Indication is the ' bank', and the idea of ' sanctity ' and the rest is only its resultant, which, therefore, being different from the 'object', cannot be coupled with the former .- There is no doubt that such is the mean- ing of the text , and the commentators have had iecourse to a subtle and laboured explanation only on account of their being unable to re- concile the clear meaning of the text with their own conceptions ] 17 Thus Indication cannot apply to the thing along with its qualities. This has been already explained. 3

34 KĀVYAPRAKĀŚA

विशिष्ट लक्षणा नैवम् व्याख्यातम्।। विशेषा: स्युस्तु लक्षिते॥ १८॥ तटादौ ये विशेषा: पावनत्वादयस्ते चाभिधातात्पर्यलक्षणा- भ्यो व्यापारान्तरेण गम्याः । तच्च व्यञ्जनध्वननद्योतनादि- शब्दवाच्यमवश्यमेषितव्यम् ॥ १८॥

It is only after something has been indicated that special qualities come (to be recognised) as belonging to it .- (18). Thus after the bank has been indicated (by the word ' Ganga), the special qualities of 'sanctity' and the rest come to be recognised as belonging to it; and the recognition of these qualities can be brought about by the word through a function that is different from Denotation and Indication ; and this function must necessarily be held to be that which is spoken of by such names as 'vyañjana' (suggestion), ' dhvanana' (echo), ' dyotana' (illumination) and so forth. 18. Suggestion based upon Indication has been described ; the author now proceeds to describe that based upon Denotation- When a word having several primary meanings has the range of its denotation restricted by ' connection' and such other conditions,-if there appears the cogni- tion of a meaning other than the denoted (or directly expressed) one, that function which brings about this cognition is ' Suggestion.'-(19). [Says the Vākyapadīya] (a) ' Connection, (b) Dis- junction, (c) Association, (d) Enmity, (e) Purpose, (f) Context, (g) Peculiarity, (b) Proximity of another

CHAPTER, II 35

word, (1) Capacity, (1) Compatibility, (k) Place, (/) Time, (m) Gender, (n) Accent and so forth,-these are the con- ditions that serve to bring about the idea of a particular meaning of a word, when there is an uncertainty as to its actual meaning in a particular context' ;- and it is in accordance with this that one particular meaning, out of a number of meanings, of a word is understood to be intended, in each of the following expressions respec- tively :-

(a) In the expression ' Harz with conch and discus' the exact meaning of the word ' hars', which has many meanings, is restricted to Visnu, through ' connection', [as of all the things denoted by the word ' hari', it is Vișnu alone who has any connection with 'the conch and the discus '] ;- (b) similarly in the expression ' Harı without the conch and the discus', [as it is only one who has had ' connection ' with a thing that can be 'disjoined' from it, this ' disjunction ' restricts the meaning of ' harz' to Visnu] ;- (c) in the expression 'Rāmalaksmaņau,' the meaning of the word ' Rama', is restricted to that Rāma who was the son of Dasaratha [and this on account of the 'association' of Laksmana] ; (d) while in the expression ' the behaviour of these two combatants is like that of Rama and Arjuna', the meaning of ' Rama' is restricted to Paraśurāma, and that of 'Arjuna' to the son of Krtavīrya [and this through the well-known 'enmity' between these two persons]; -(e) in the expression 'worship Sthanu for the purpose of removing the shackles of the world', the meaning of the word ' Sthanu' is restricted to Śiva [as the 'purpose' mentioned can be fulfilled by the worship of that God onlyl ;- (f) in the expression ' Deva knows everything', the meaning of the word ' deva' is restricted to ' you' [and this is done through the ' context',

36 KĀVYAPRAKĀŚA

एवं लक्षणामूलं व्यञ्जकत्वमुक्तम् ॥ अभिधामूलं त्वाह-

the words being addressed to the kung; (g) in the expression 'Makaradhvaja is angry', the meaning of the word ' Makaradhvaja' is restricted to the Love-God [as the 'peculiarity' mentioned, being angry, can apply to that God alone, and not to the ocean, which is also called ' Makaradhvaja'] ;- (b) in ' devasya purarateb', the meaning of the word, ' deva' is restricted to Siva [through the 'proximity of the word' ' puraratt', which can apply to Śiva, and to no other God] ;- (1) in 'the kokila bird 1s intoxicated by Madhu'. the meaning of the word ' Madhu' is restricted to the Spring [as that alone, and not honey or wine, has the 'capacity' to intoxicate the bird] ; (j)-in ' pātu vo dayitamukham,' the meaning of the word ' patu' (which can mean drink and protect also) is restricted to confrontation [as this alone is ' compatible' with the 'beloved's face '] ;- (k) in 'Parameśvara shines here', the meaning of the word ' Paramesvarab' is restricted to the kang, through the ' place ' referred to being the King's capital ;- (/) in ' Chitrabhanu is shining,' the meaning of the word ' Chitrabhanu' is restricted to the Sun, if the words are uttered during the day, and to fre, if they are uttered at night, and this is done through ' time' ;- (m) in the expression ' Mitra shines', if the word 'Mitra' is used in the neuter 'gender', its meaning becomes res- tricted to the friend, but if in the masculine ' gender', then to the Sun ;- (n) in the expression ' Indrasatru,' the meaning becomes restricted by the ' accent ' [if the accent is put on the first word of the compound, it has to be taken as Bahwvrīhi, and then its meaning is he ' whose killer is Indra,' but if the accent is put on the second word it has to be taken as Tatpurusa, which means ' the killer

CHAPTER II 37

अनेकार्थस्य शब्दस्य वाचकत्वे नियन्त्रिते। संयोगाधैरवाच्यार्थवी कृष्ठचापृ तिरञ्जनम् ॥ १९ ॥ "संधोगो विप्रयोगशच साहचर्य विरोधिता। अर्थः प्रकरणं लिङ्गं शब्दस्यान्यस्य संनिधि:॥ सामर्थ्यमौचिती देशः कालो व्यक्तिः स्वरादयः। शब्दार्थस्यानवच्छेदे विशेषस्मृतिहेतवः ।" इत्युक्तदिशा सशङ्ङचक्रो हरि: अशङ्चक्रो हरिरित्युच्यते। रामलक्ष्मणाविति दाशरथौ। रामार्जुनगतिस्तयोरिति भार्गवकार्तवीर्ययोः । स्थाणु भज भर्वाच्छदे, इति हरे। सर्वं जानाति देव इति युष्मदर्थे। कुपितो मकरध्वज इति कामे। देवस्य पुरारातेरिति शंभौ। मधुना मत्तः कोकिल इति वसन्ते। पातु वो दयितामुख- मिति सांमुख्ये। भात्यत्र परमेश्वर इति राजधानीरूपात् देशाद्रा- जनि। चित्रभानुविभातीति दिने रवौ रात्रौ वह्नौ। मित्रं भातीति सहृदि मित्रो भातीति रवौ। इन्द्रशत्रुरित्यादौ वेदे एव न काव्ये स्वरो विशेषप्रतीतिकृत।

of Indra ']. But it is only in the case of Vedic expressions that accent serves the purpose of restricting the denotation of words .- The verse quoted from the Vākyapadīya con- tains at the end the term ' adi', ' and so forth'; this is meant to include (0) Gesture, which serves to restrict the meaning in such passages as-' During all these days her breasts have been reduced to this (marked by a gesture) size, her eyes have shrunk to thes, and her condition has become like this.' Now, in some cases, it is found that though the signi- fication of the word has been restricted in the manner described above, and the other significations are pre-

38 KĀVYAPRAKĀŚA

आदिग्रहणात् एद्दहमेत्तत्थणिआ एद्दहमेत्तेहि अच्छिवत्तेहिं। एद्दहमेत्तावत्था एद्दहमेत्तेहिँ दिअएहिं ॥ ११ ॥ इत्यादावभिनयादयः । इत्थं संयोगादिभिरर्थान्तराभिधायकत्वे निवारितेप्यने- कार्थस्य शब्दस्य यत् क्वचिदर्थान्तरप्रतिपादनं तत्र नाभिधा निय- मनात्तस्याः । न च लक्षणा मुख्यार्थबाधाद्यभावात्। अपि त्वञ्जनं व्यञ्जनमेव व्यापारः। यथा भद्रात्मनो दुरधिरोहतनोर्विशाल वंशोन्नतेःकृतशिलीमुखविग्रहस्य। यस्यानुपप्लुतगतेः परवारणस्य दानाम्बुसेकसुभगः सततं करोभूत् ॥ १२॥ १९॥ cluded,-yet the word, which has several meanings, may even so succeed in bringing about the cognition of a meaning other than that to which the signification has been restricted ;- and this could not be done by the denotative function of the word, as that has been restricted and hence precluded from the meaning cognised ; nor could it be done by its indicative function, as the 'incompatibility of the primary meaning ' and other conditions of Indica- tion would be wanting ; the only function by which it can be done is ' suggestion.' An example of this we have in the following verse :- ' Bhadrātmano duradhirohatanorviśāla- Vamśonnateḥ krtaśilīmukhavigrahasya Yasyānupaplutagateḥ paravāraņasya Danambusekasubhagaḥ satatankarobhūt.' ['The hand (trunk) of this destroyer of enemies (large elephant),-who is high-souled (belongs to the ' bhadra' species of elephants), whose body is irrepressible (who

CHAPTER II 39

तद्युक्तो व्यञ्जकः शब्दः तद्युक्तो व्यञ्जनयुक्त: यत्सोर्थान्तरयुक् तथा। अर्थोपि व्यञ्जकस्तत्र सहकारितया मतः॥२०॥ तथेति व्यञ्जकः ॥ २० ॥ इति काव्यप्रकाशे शब्दार्थस्वरूपनिर्णयो नाम द्वितीय उल्लासः॥२।।

can be mounted with difficulty), the nobility of whose race is high (who is as tall as a bamboo), who has become an expert in the use of arrows (who has a host of bees hovering round him), whose insight is undimmed (whose gait is steady),-was always beautified by the water poured in the formal making of gifts (by the ichor flowing from his temples)]. [Here we find that the words are so skilfully chosen that they are applicable to the king as also to the elephant; the fact however that it is addressed to the king restricts the meaning of the words to him. alone; and yet the idea of the ' elephant' also is cognisable throughout; and this idea is the result of Suggestion.] 19. The word endowed with that (i. e. the said function of suggestion) is the ' suggestive word.' ' Endowed with that,' i. e. endowed with the function of suggestion. Inasmuch as the word is ' suggestive' only when it has other meanings, the meaning also is held to be so (i. e. ' suggestive' by virtue of its helping the process. (20). ' So'-i. e. suggestive. 20.

तृतीय उल्लास:

अर्थाः प्रोवताः पुरा तेषाम् अर्था: वाच्यलक्ष्यव्यङ्गयाः। तेषां वाचकलाक्षणिकव्यञ्जकानाम्। अर्थव्यञ्जकतोच्यते। कीदृशीत्याह- वक्तृबोद्धव्यकाकूनां वाक्यवाच्यान्यसन्निधेः॥२१॥ प्रस्तावदेशकालादेवैशिष्टयात् प्रतिभाजुषाम् । योर्थस्यान्यार्थधीहेतुर्व्यापारो व्यक्तिरेव सा॥ २२॥ बोद्धव्यः प्रतिपाद्यः। काकुध्वनेर्विकारः। प्रस्तावः प्रकरणम्।

CHAPTER III THE SUGGESTIVENESS OF MEANING

The meanings of these have been described before. ' Meanings'-i. e. the Expressed, the Indicated and the Suggested. ' Of these',-i. e. of the Expressive, the Indicative and the Suggestive words .- (T'ide Text 6, above). The suggestiveness of Meanings in now described. The author next states the nature of the said sugges- tiveness of words .- ' Suggestion ' is that function of the meaning which brings about the cognition of another meaning, by persons endowed with imaginative intuition,-through peculiarities of (a) the speaker, (b) the person spoken to, (c) intonation, (d) the sentence, (e) the expressed meaning, (f) the presence of another, (g) context, (b) place, (i) time and so forth .- (21-22). 'The person spoken to'-i. e. one for whose sake the

CHAPTER III 41

अर्थस्य वाच्यलक्ष्यव्यङ्गयात्मनः। क्रमेणोदाहरणानि। अइपिहुलं जलकुंभं घेत्तूण समागदह्नि सहि तुरिअं। समसेअसलिलणीसासणीसहा वीसमामि खणं ॥ १३ ॥ अत्र चौर्यरतगोपनं गम्यते। ओण्णिद्ं दोब्बल्लं चिंता अलसत्तणं सणीससिअं। मह मंदभाइणीए केरं सहि तुह वि अहह परिहवइ ।।१४।।

words are used ;- ' Intonation'-variation of tone ;- 'context'-the occasion ;- ' of the meaning'-i. e. of the expressed, the indicated or the suggested meaning. Examples are cited in due order-(a) 'O Friend ! having taken up a heavy jar of water, I have come walking fast, I feel fatigued and languid through perspiration and breathlessness ; I shall rest awhile.' Here what is suggested is that the speaker is trying to conceal her stolen amours. [What the woman describes are the physical signs that may be caused either by hard physical work or by amorous flirtations ; but on account of the character of the speaker being known to be that of a woman with loose morals, what is suggested is that the signs described have been due to dalliance, and she is trying to conceal this by ::. them to her having carried a heavy jar of water.] (b) 'Oh my friend ! for the sake of wretched me, thou also art suffering from sleeplessness, weakness, anxiety, lassitude and breathlessness !' Here what is suggested is that the friend, who has been acting as an intermediary between the separated lovers, has herself been enjoying the company of her friend's lover. [The physical effects described are such as may be caused, either by constant moving about from one party to the other for the purpose

42 KĀVYAPRAKĀŚA

अत्र दूत्यास्तत्कामुकोपभोगो व्यज्यते। तथाभूतां दृष्टवा नृपसदसि पाञ्चालतनयां वने व्याधैः सार्ध सुचिरमुषितं वल्कलधरैः । विराटस्यावासे स्थितमनुचितारम्भनिभृतं गुरु: खेदं खिन्ने मयि भजति नाद्यापि कुरुषु ॥१५॥ अत्र मयि न योग्यः खेदः कुरुषु तु योग्य इति काक्वा प्रका- श्यते। न च वाच्यसिद्धयङ्गमत्र काकुरिति गुणीभूतव्यङ्गयत्वं शङ्गयम् । प्रश्नमात्रेणापि काकोविश्रान्तेः । of bringing the lovers together, or by dalliance ; but the friend addressed being known to be prone to misbehaviour, the suggested meaning is that the symptoms described are due to her secret intercourse with her friend's lover.] (c) 'Having seen the Princess of Pañchāla subjected to indescribable indignity in the assembly of kings,- having observed the way in which for a long time we lived in the forest, clad in tree-bark, along with the foresters,-and having witnessed how we lived in Virāta's house, secretly and engaged in unbecoming acts,-having seen all it is still towards myself, sorely afflicted as I am, that our eldest brother bears anger, and not even now towards the Kurus !' Here what is suggested by the ' Intonation' (the em- phasis laid upon the pronoun 'myself') is that 'it is not right for the king to bear anger towards me, it is time now that he were angry with the Kurus '. It will not be right to argue here that, inasmuch as the Intonation only serves to complete the directly expressed meaning of the sentence, this is a case of the suggested meaning being subservient (to the expressed meaning) .- This, we say, will not be right ; the Intonation does really serve to complete the meaning of the sentence; but this

CHAPTER III 43

तइआ मह गंडत्थलणिमिअं दिट्ठिं ण णेसि अण्णत्तो। एण्हि सच्चेअ अहं ते अ कवाला ण सा दिट्ठी ।१६।। अत्र मत्सखीं कपोलप्रतिबिम्बितां पश्यतस्ते दृष्टिरन्यैवाभूत् चलितायां तु तस्यामन्यैव जातेत्यहो प्रच्छन्नकामुकत्वं ते इति व्यज्यते। उद्देशोयं सरसकदलीश्रेणिशोभातिशायी कुञ्जोत्कर्षाङकुरितरमणीविभ्रनमो नर्मदायाः किं चैतस्मिन् सुरतसुहृदस्तन्वि ते वान्ति वाता येषामग्रे सरति कलिताकाण्डकोपो मनोभू: ॥१७॥ it does only in so far as it expresses the question (' does the king bear anger towards me, and not towards the Kurus ? -and not as it suggests the further meaning of the im- propriety of anger towards the speaker). [Hence in so far as the suggestion by the Intonation is concerned,. there is no 'subserviency to the expressed meaning', specially as the suggestion appears after the expressed meaning has been duly com -- prehended.] (d) ' At that time you did not turn away your eyes: fixed as they were upon my cheeks; now however, even. though I am the same, and the cheeks are the same, yet that look of yours is no more.' Here the meaning suggested is-'while my friend was sitting by me her face being reflected in my cheek; the way in which you looked towards that reflection was of quite a different character ; when however she has gone away, it has completely changed,-what a stealthy lover you are !' [The suggestion is due to the fact of the sentences containing the terms ' at that time ' and ' now'.] (e) 'This spot on the bank of the Narmada is redolent with the beauty of fresh plantain-groves, and excites,

44 KĀVYAPRAKĀŚA

अत्र रतार्थ प्रविशेति व्यङ्गचम्। णोल्लेइ अणोल्लमणा अत्ता मं घरभरम्मि सअलम्मि। खणमेत्तं जइ संझाइ होइ ण व होइ वीसामो ॥१८॥ अत्र संध्या संकेतकाल इति तटस्थं प्रति कयाचिद्द््योत्यते। सुव्वइ समागमिस्सदि तुज्भ पिओ अञ्ज पहरमेत्तेण । एमे अकित्ति चिट्ठसि ता सहि सञ्जेसु करणिज्जं ॥१९॥ through the loveliness of its bowers, the sportive graces of the lovely woman ! and further, O delicate one ! here are blowing breezes favourable to love-making, led as they are by the God of Love flurried with unaccountable excitement.' Here the meaning suggested is-'let us enter the bower for the purpose of love-making.' [This suggestion is due to the expressed meaning of the following words -- (1) ' Tanvi ', which expresses delicacy brought about by the influence of love,-(2) ' Narmada,' the literal meaning of which is ' that which gives pleasure', -- 3)' uddesa' which means ' that which can only be pointed out, and not easily reached, hence free from intru- sion,'-(4) ' sarasa' denotes freshness of the leaves, hence freedom from all fear of any shuffling sound being made,-(5) ' śreni' denotes thickness of the grove, and hence invisibility from outside.] (f) 'My hard-hearted mother-in-law is always urging me to all household work ; it is only in the evening that I get some respite, if any at all '. Here a woman suggests to the person close by that evening is the only time at which assignation could be made. [The expressed meaning is that the womnan has no time except in the evening, and by reason of the proximity of her lover who is waiting for assignation, this simple statement suggests the evening as the time at which she agrees to meet him.] (g) 'We hear your husband is coming here in three hours' time ; why then are you sitting idle ? O, friend, make your preparations '.

CHAPTER III 45

अन्नोपपति प्रत्यभिसर्तु प्रस्तुता न युक्तमिति कयाचिन्निवार्यते। अन्यत्र यूयं कुसुमावचायं कुरुध्वमत्रास्मि करोमि सख्यः। नाहं हि दूरं भ्रमितुं समर्था प्रसीदतायं रचितोञ्जलिवः।।२०॥ अत्र विविक्तोयं देश इति प्रच्छन्नकामुकस्त्वयाभिसार्यता- मिति आश्वस्तां प्रति कयाचिंन्निवेद्यते। गुरुअणपरवस पिअ कि भणामि तुइ मंदभाइणी अहअं। अज्ज पवासं वच्चसि वच्च सअं जेव्व सुणसि करणिज्जं ॥२१॥ अन्राद्य मधुसमये यदि व्रजसि तदाहं तावत् न भवामि तव तु न जानामि गतिमिति व्यज्यते। ॥

A woman who is on the point of going out to meet her lover, is warned by another woman that it would not be right to do so. [The expressed meaning is that the woman should make prepara- tions for meeting her husband who will soon be arriving ; but this being said on the occasion of the woman going out to meet a lover, suggests the said meaning.] (b) 'O dear friends, you please do the flower-picking in some other place ; I am doing it here; I am unable to wander farther off ; do me, therefore, this favour ; here I am beseeching you with joined palms '. What is suggested by the speaker to her confidante is-'This place being quite solitary, please bring in my lover.' The expressed meaning is simply a request to her companions to leave her alone ; the sequestered position of the spot where the speech is made suggests the aforesaid request to the confidante.] (i) 'O my beloved, you are bound to obey the wishes of your elders ; what shall I say to you, unfortunate as I am ! If you have to go on your journey, you may go ; you will hear what I am going to do.'

. 46 KĀVYAPRAKĀŚA

आदिग्रहणाच्चेष्टादेः । तत्र चेष्टाया यथा- द्वारोपान्तनिरन्तरे मयि तया सौन्दर्यसारश्रिया प्रोल्लास्योरुयुगं परस्परसमासक्तं समासादितम् । आनीतं पुरतः शिरोंशुकमधः क्षिप्ते चले लोचने वाचस्तत्र निवारितं प्रसरणं संकोचिते दोरलते ॥२२॥

The meaning suggested is-'The spring-season having arrived (when lovers should be united), if you are going away from home, I shall not be alive any longer and shall, therefore, not know where you may be.' [This suggestion is due to the fact of the speech being made during spring-time.] (j) The phrase ' and so forth' (in Text 22) is meant to include gesture and such other details. An example of suggestion by expressed meaning, through the peculia- rity of gesture, we have in the following- ' While I was standing close to the door, she, res- plendent with the very essence of beauty, having dilated her thighs, pressed them together; she brought down the veil over her face, cast unsteady glances, suppressed her speech and drew her arms together.' Here the various gestures described suggest to the lover the wishes of the speaker. [(1) The movement of the thighs suggests her desire for inverted intercourse, (2) the bringing down of the veil suggests that the lover should come secretly,-(3) the unsteady glances suggest that her passion of love has been aroused,-(4) the suppression of speech suggests that there should be no talk regardirg the meeting,-(5) and the bringing together of the arms suggests that when he comes to her he will receive her embraces.] Whenever occasion presents itself, examples are cited again and again for the purpose of explaining the subject

CHAPTER III 47

अत्र चेष्टया प्रच्छन्नकान्तविषय आकूतविशेषो ध्वन्यते। निराकाङक्षप्रतिपत्तये प्राप्तावसरतया च पुनः पुनरुदान्नि- यते। वक्त्रादीनां मिथःसंयोगे द्विकादिभेदेन । अनेन क्रमेण लक्ष्यव्यङ्गययोश्च व्यञ्जकत्वमुदाहार्यम् ।। २१-२२।। शब्दप्रमाणवेद्योर्थो व्यनक्त्यर्थान्तरं यतः । अर्थस्य व्यञ्जकत्वे तच्छब्दस्य सहकारिता ॥२३॥ शब्देति। नहि प्रमाणान्तरवेद्योर्थो व्यञ्जकः ॥ २३ ॥

इति श्रीकाव्यप्रकाशर्थव्यञ्जकतानिर्णयो नाम तृतीय उल्लासः ॥३॥

so fully as to leave nothing to be desired on the part of the enquirer. Sometimes we have suggestion based upon the pecu- liarity of two or more of the conditions of the ' speaker' and the rest enumerated here. The suggestiveness of the 'indicated' and ' suggest- ed' meanings also may be illustrated in the same manner (as that of the 'expressed' meaning.) 22. Inasmuch as the meaning that suggests another meaning is itself cognisable by means of the word,-the word also is helpfful in the suggestiveness of the meaning .- (23). 'By means of the word',-That is, anything cognised through any other means of knowledge is never suggestive. 23.

चतुर्थ उल्लासः

यद्यपि शब्दार्थयोनिर्णये कृते दोषगुणालंकाराणां स्वरूपम- भिधानीयं तथापि धर्मिणि प्रदशिते धर्माणां हेयोपादेयता जायत इति प्रथमं काव्यभेदान् आह- अविवक्षितवाच्यो यस्तत्र वाच्यं भवेद्ध्वनौ। अर्थान्तरे सङकरमितमत्यन्तं वा तिरस्कृतम्॥ २४॥ लक्षणामूलगूढव्यङ्गयप्राधान्ये सत्येव अविवक्षितं वाच्यं यत्र स 'ध्वनौ' इत्यनुवादात् ध्वनिरिति ज्ञेयः । तत्र च वाच्यं क्वचिदनुपयुज्यमानत्वादर्थान्तरे परिणमितम्। यथा

CHAFTER IV

SUGGESTIVE POETRY. 'Word' and 'meaning' having been defined, the next subject to be dealt with should be the exact nature of 'defects,' ' excellences' and ' figures of speech' [in view of the form in which the definition of ' poetry' has been worded]; but it is only when the object to which the properties belong has been described that it can be ascertained whether certain properties of it are fit to be rejected or admitted; for this reason the author now proceeds to describe the various kinds of poetry (of which the defects, excellences and figures are properties.) In that' suggestive' poetry where the ' expressed' meaning is not meant to be applicable,-the ' expressed meaning' is either (a) transformed into another meaning or (b) entirely rejected .- (24).

CHAPTER IV 49

त्वामस्मि वच्मि विदुषां समवायोत्र तिष्ठति। आत्मीयां मतिमास्थाय स्थितिमत्र विधेहि तत् ।।२३।। अत्र वचनादि उपदेशादिरूपतया परिणमति। दर्वचिदनुपपद्यमानतया अत्यन्तं तिरस्कृतम्। यथा- उपकृतं बहु तत्र किमुच्यते सुजनता प्रथिता भवता परम् । विदधदीदृशमेव सदा सखे सुखितमास्स्व ततः शरदां शतम् ॥२४॥

The ' expressed meaning ' is ' not meant to be appli- cable ' only in cases where predominance attaches to that abstruse 'suggested meaning' which is based upon Indication ;- and it is such instances that should be under- stood as ' Dhvani', 'suggestive poetry'; since they have been referred to in the text by the expression ' dhvanau,' 'in suggestive poetry ' .- (a) In this ' suggestive poetry,' the ' expressed meaning', being found to have no useful significance, becomes, in some cases, 'transformed into another meaning' ;- e. g. in the following- 'I tell you here sits an assembly of learned men ; you should, therefore, remain here with your mind fully alert.' Here, mere telling (having no significance at all) becomes transformed into advising (the suggestion being 'I advise you that in this assembly of learned men, you should keep your mind alert, or else you will make yourself ridiculous'). (b) While in other cases, the 'expressed meaning,' being found to be inapplicable, becomes ' entirely rejec- ted ' ;- e. g in the following- 'Much benefit has been conferred upon me ;- what shall I say ?- Extreme gentlemanliness has been evinced by you ! May you, therefore, O friend, live in happiness for a hundred years, always behaving as you have done !' 4

50 KĀVYAPRAKĀŚA

एतद् अपकारिणं प्रति विपरीतलक्षणया कश्चिद्वक्ति ॥२४॥ विवक्षितं चान्यपरं वाच्यं यत्रापरस्तु सः । अन्यपरं व्यङ्गयनिष्ठम् ॥ एष च कोप्यलक्ष्यक्रमव्यङ्ग्यो लक्ष्यव्यङ्गयकमः परः ॥२५॥ अलक्ष्येति। न खलु विभावानुभावव्यभिचारिण एव रसः । अपि तु रसस्तैः इत्यस्ति क्रमः । स तु लाघवान्न लक्ष्यते ॥२५॥ अत्र

This is addressed to a person who has caused much injury to the speaker, who addresses to him these words in an ironical sense. [The gratitude expressed by the words is altogether inapplicable to one who has done harm; hence it is 'entirely rejected,' and its contrary is suggested.] 24. [Suggestive Poetry based upon Indication having been described, the author proceeds to describe that based upon denotation.] That (suggestive poetry), however, where the 'expressed meaning' is meant to be applicable, and is yet subservient to another meaning,-is the other kind. ' Subservient to another'-i. e. implies the ' suggested meaning '. This 'other kind' of suggestive poetry is of two varieties- (a) One in which the order of sequence of the 'suggested meaning' is imperceptible. and (b) the other in which the order of sequence of the ' suggested meaning' is perceptible. 25. 'Imperceptible' ;- there is this 'order of sequence' (in the case of all 'passionate' poetry, which is of the ' suggestive' kind) that the Excitants, the Ensuants and the Variables (which are ' expressed' by the words)

CHAPTER IV

रसभावतदाभासभावशान्त्यादिरक्रमः । भिन्नो रसाद्यलङ्कारादलङ्कार्यंतया स्थितः॥२६॥ आदिग्रहणाद् भावोदयभावसंधिभावशबलत्वानि। प्रधानतया यत्र स्थितो रसादिस्तत्रालंकार्यः यथोदाहरिष्यते। अन्यत्र तु प्रधाने वाक्यार्थे यत्राङ्गभूतो रसादिस्तत्र गुणीभूतव्यङ्गये

do not themselves constitute the 'Rasa' or 'Passion' (which is the 'suggested' meaning),-but this latter is manifested by them [and thus there is a distinct order of sequence, first the Excitant and the rest, and then the Passion]; but this sequence, being extremely subtle, is not perceptible in the case of the first kind of poetry here described. 25. (a) Passion (b) Emotion (c) Aberrations of these, and the (d) Allayment of Emotion and the rest, constitute that in which the sequence is imperceptible ;- and all this, appearing in the form of something to be embellished, is distinct from those embellishments (Figures of Speech), which are known as the ' Passionate' (Rasavat) and the like. ' And the rest'-this is meant to include (a) the mani- festation of emotions, (b) the conjuncture of emotions, and (c) the admixture of emotions. In cases where the Passion and the rest appear as the predominant factor, they are to be embellished ; as is going to be illustrated later on. In other cases, where the literal meaning of the sentence forms the predominant factor, and the Passion comes in only as a secondary element, the suggested meaning is subordinated, these same (passion and the rest), become embellishments, known as (a) 'Rasavat' (Passionate), [where the Passion forms the subordinate. factor], (b) ' Preya' (agreeable) [where emotion forms the

52 KĀVYAPRAKĀŚA

रसवत्प्रेयऊर्जस्विसमाहितादयोलंकाराः। ते च गुणीभूतव्यङ्गया- भिधाने उदाहरिष्यन्ते ॥ २६।। तत्र रसस्वरूपमाह- कारणान्यथ कार्याणि सहकारीणि यानि च । रत्यादेः स्थायिनो लोके तानि चेन्नाटयकाव्ययोः॥२७॥ विभावा अनुभावास्तत् कथ्यन्ते व्यभिचारिणः । व्यक्तः स तैविभावाद्यैः स्थायी भावो रसः स्मृतः ॥२८॥ उक्तं हि भरतेन "विभावानुभावव्यभिचारिसंयोगाद् रसनिष्पत्तिः" इति ।

कारणैः रत्यादिको भावो जनितः अनुभावैः कटाक्षभुजाक्षेपप्रभृ- तिभि: कार्येः प्रतीतियोग्यः कृतः व्यभिचारिभिनिर्वेदादिभिः सहकारिभिरुपचितो मुख्यया वृत्त्या रामादावनुकार्ये तद्रूपसंधा- नान्नर्तकेपि प्रतीयमानो रसः" इति भट्टलोल्लटप्रभृतयः ।

subordinate factor], (c) ' urjasvi' (Forceful) [where the aberration of Passion forms the subordinate factor], (d) ' Samahita' Quiescent [where the allayment of emotion forms the subordinate factor] .- Instances of these are to be cited under the sections dealing with 'Poetry of Sub- ordinated Suggestion' (under Chapter V). 26. The author now describes the nature of 'Passion '- Text-What are known, in ordinary langnage, as (a) ' causes' (b) ' effects' and (c) ' auxiliaries' of the ' latent emotion' of Love and the like,-come to be spoken of as (a) 'excitants', (b) ' ensuants' and (c) ' variants', when found in Drama and Poetry ; and when the latent emotion comes to be manifested by these, it is known as ' Rasa', ' Passion' .- (27-28).

CHAPTER IV 53

राम एवायम् अयमेव राम इति 'न रामोयम्' इत्यौत्तर- कालिके बाधे रामोयमिति रामः स्याद्वा न वायमिति राम- सदृशोयमिति च विलक्षणया चित्रतुरगादिन्यायेन रामोयमिति प्रतिपत्त्या ग्राह्ये नटे This is what has been thus declared by Bharata (in his Nātyaśāstra)-“ There is accomplishment of Passion through the conjunction of the excitant, the ensuant and the variant." [Four different interpretations of this assertion have been propounded, and each of these interpretations forms the basis of a distinct theory regarding the genesis of Rasa]. (A) The first interpretation is that given by Bhatta- Lollata and his followers ; it is as follows :- The (latent) sentiment of love (and the like) is (a) generated by the excitants-i. e., the basic cause, in the shape of the woman, and the inflaming cause, in the shape of the garden and so forth-(b) rendered cognisable by the ensuants-i. e., effects, in the form of amorous glances, embraces and so forth,-and (c) consummated by the variants-such as self-disparagement and the like ;- this emotion, though primarily and really subsisting in the character personated- e. g. Räma-comes to be recognised as subsisting in the personating actor by reason of his having assumed that character ; and when thus recognised, it is called ' Rasa', 'passion '. [This theory is open to the objection that it fails to explain the emotion that arises in the mind of the spectator of the dramatic representation; as according to it, the sentiment is generated in the personated character and secondarily recognised in the personating actor.]

54 KĀVYAPRAKĀŚA

'सेयं ममाङ्गेषु सुधारसच्छटा सुपूरकर्पू रशलाकिका दृशोः । मनोरथश्रीर्मनसः शरीरिणी प्राणेश्वरी लोचनगोचरं गता ॥२५॥ दैवादहमद्य तया चपलायतनेत्रया वियुक्तश्च । अविरलविलोलजलदः काल: समुपागतश्चायम्' ॥२६॥

प्रकटनेन च नटेनैव प्रकाशितैः कारणकार्यसहकारिभिः

(B) The second interpretation put forward by Śri Śankuka is as follows :- When an actor is personating Rāma, the spectator has with regard to him, the idea that ' this is Rama himself'; but this idea is of a peculiar kind, being of the same nature as the idea of ' horse' that one has in regard to the picture of a horse ; it is different from all the four kinds of ordinary notions : (1) it is not of the nature of the ordinary right notion that one has in the case of the real Räma. 'Räma is the person', which is also confirmed by the subsequent cognition ' this is Rāma himself' [the cognition in question cannot be of this kind as Räma is not present there] ;- (2) it is different also from the ordinary wrong cognition 'this is Räma', which appears in regard to one who is not really Rama, and which is sublated by the subsequent cognition ' this is not Rāma ' [the cognition in question cannot be of this nature, as there is no such sublation in this case1 ;- (3) nor is it of the same nature as the doubtful cognition ' this may or may not be Rama' ;- (4) nor lastly is it of the nature of the cognition of mere similarity, 'he is like Rāma' [the cognition in question cannot be of the nature of these last two cognitions, as it partakes of the notion of identifica- tion] ;- and this actor gives expression to the causes, effects and auxiliaries by the display of his art acquired

CHAPTER IV 55

कृत्रिमैरपि तथानभिमन्यमानैविभावादिशब्दव्यपदेश्यैः 'संयोगात्, गम्यगमकभावरूपात् अनुमीयमानोपि वस्तुसौन्दर्यबलाद्र- सनीयत्वेनान्यानुमीयमानविलक्षणः स्थायित्वेन संभाव्यमानो रत्यादिर्भावस्तत्रासन्नपि सामाजिकानां वासनया चर्व्यमाणो रस इति श्रीशङकुकः । through instruction and practice, and pondering over such poetry as the following- 'That lady, the mistress of my life, a splash of nectar to my body, unguent of camphor to my eyes, the very embodiment of the glorious longings of my heart, glided within the range of my vision' ;- 'Unfortunately I have to-day been separated from her, with eyes large and unsteady ; and that season has arrived wherein clouds are constantly flitting about'; Though all these causes, effects and auxiliaries are only artificially assumed, yet they are not regarded as such, and hence they are spoken of as 'excitants," ensuants' and 'variants ' ;- the ' samyoga', ' conjunction', of these three,-i. e., through the relation of ' the indicative and the indicated ', subsisting between these three and the result- ant feeling-leads to the inference of the 'latent emotion', of Love e. g .;- though thus inferred, the emotion is by reason of the peculiar charm, different from all other objects of inference ; and hence it is recognised as something subsisting latently ; and as, though thus inferred, this emotion is recognised, through its peculiar charm, as some- thing relished, and as such different from other ordinary inferred things ; it is imagined to be subsisting latently in the actor ; and even though not really present in him, it is relished by the spectators through their predisposed tendencies.

56 KĀVYAPRAKĀŚA

न ताटस्थ्येन नात्मगतत्वेन रसः प्रतीयते नोत्पद्यते नाभिव्य- ज्यते अपि तु काव्ये नाटये चाभिधातो द्वितीयेन विभावादि- साधारणीकरणात्मना भावकत्वव्यापारेण भाव्यमान: स्थायी सत्त्वोद्रेकप्रकाशानन्दमयसंविद्विश्रान्तिसतत्त्वेन भोगेन भुज्यते इति भट्टनायक: ।

[Under this view, the causes, effects and auxiliaries are the invariable concomitants of the emotion,-and hence when they are perceived, in the Actor, they lead to the inference of the emotion; and the inference of this non-existent emotion is explained as being due to the predisposition of the audience.] [The objection against this view is that inference is a purely intellectual process, and hence cannot account for the highly complex emotional phenomena involved in Rasa.] (C) The third interpretation, that of Bhatta-nāyaka, is as follows :- 'Passion' is not cognised (inferred), or generated, or manifested,-either unconcernedly (as not concerning the spectator at all, as held by Bhatta-Lollata), or as subsisting in the spectator himself (relished by him, as held by Śrī-Śankuka) ;- what happens is that in poetry and drama words are endowed with a peculiar presentative potency, distinct from direct Denotation (and indirect Indication)-which tends to generalise the Excitants, Ensuants and Variants, and thereby presents to consciousness the 'latent emotion', which thereupon comes to be relished by a process of delectation abounding in enlightenment and bliss, due to the plenitude of the quality of Harmony (Sattva). [According to this view the relishing of Passion is the outcome of the purely verbal process of ' generalised presentation '. This is open to the objection that it makes the unwarrantable assumption of this last mentioned verbal process.]

CHAPTER IV 57

लोके प्रमदाभिः स्थाय्यनुमानेभ्यासपाटववतां काव्ये नाटये च तैरेव कारणत्वादिपरिहारेण विभावनादिव्यापार- वत्त्वादलौकिकविभावादिशब्दव्यवहायै ममैवैते शत्रोरेवैते तटस्थ- स्यैवैते न ममैवैते न शत्रोरेवैते न तटस्थस्यैवैते इति संबन्ध- विशेषस्वीकारपरिहारनियमानध्यवसायात् साधारण्येन प्रती- तैरभिव्यक्तः सामाजिकानां वासनात्मतया स्थितः स्थायी (D) The fourth explanation, propounded by the revered Acharya Abhinavagupta, is as follows :- In the mind of such spectators as are proficient in the art of feeling emotion, a particular emotion is already present, in the form of 'predisposition' ;- lying thus latent, it becomes patently manifested by such agencies as those of women and other things, which, in ordinary parlance are known as 'causes', (effects and auxiliaries); but in poetry and drama, they renounce these names by reason of their being endowed with the faculty of exciting and so forth, and, on this account, come to be spoken of by the extraordinary names of ' Excitants', 'Ensuants' and 'Variants' ;- these Excitants and the rest being recognised in their most generalised forms, not partaking of any restrictions due to either the affirmation or negation of any of those specific relationships that are involved in such conceptions as (1) 'this is mine' or 'this is my enemy's', or 'this belongs to a disinterested person ' (where specific relationship is affirmed) or (2) ' this is not mine', 'this is not my enemy's', ' this does not belong to a disinterested person' (where specific relationship is denied) ;- though the said emotion actually subsists in the particular spectator himself, yet, by reason of the genera- lised form in which it is presented, the man loses, for the moment, all sense of his separate personality and has his

58 KĀVYAPRAKĀŚA

रत्यादिको नियतप्रमातृगतत्वेन स्थितोपि साधारणोपायबलात्

शून्यापरिमितभावेन प्रमात्रा सकलसहृदयसंवादभाजा साधा- रण्येन स्वाकार इवाभिन्नोपि गोचरीकृतश्चर्व्यमाणतैकप्राणो

consciousness merged in the universal ; and this repre- senting the mental condition of all men of poetic sensibi- lity, he apprehends the said emotion; though, having been manifested in its most generalised form, it has no existence apart from its own apprehension ; in fact its sole essence consists in its being relished, and it lasts as long as the Excitants, Ensuants and Variants continue to exist ;- it is relished in the same manner as a mixed beverage ; and when it is relished, it appears as if it were vibrating before the eyes, entering the inmost recesses of the heart, inspiriting the entire body, and eclipsing everything else ; it makes one feel the rapturous bliss of Brahman ;- the emotion thus manifested becomes the source of transcendent charm and is spoken of as ' rasa', 'Passion' .- This Passion is not an effect, something pro- duced (by the excitants and the rest) ; for if it were an effect, it would continue to exist even after these excitants and the rest had ceased to exist. [As the jar continues to exist even after the destruction of the stick and other causes that had operated in its production. ] Nor is it something to be made known (by the excitants etc.); as it is never an accomplished entity (like the jar, and it is only an accomplished entity that can be made known) ;- in reality, it is only manifested by the Excitants, Ensuants and Variants, and is something to be relished .- Against this, the question may be asked-"where has anything been seen to exist apart from what produces and from what makes

CHAPTER IV 59

विभावादिजीवितावधि: पानकरसन्यायेन चर्व्यमाण: पुर इव परिस्फुरन् हृदयमिव प्रविशन् सर्वाङ्गीणमिवालिङ्गन् अन्यत् सर्वमिव तिरोदधत् ब्रह्मास्वादमिवानुभावयन् अलौकिक- चमत्कारकारी शृङ्गारादिको रसः।सचन कार्यः। विभावादि- विनाशेपि तस्य संभवप्रसङ्गात्। नापि ज्ञाप्यः सिद्धस्य तस्या- संभवात्। अपि तु विभावादिभिर्व्यन्जितश्चर्वणीयः। कारक- ज्ञापकाभ्यामन्यत् क्व दृष्टमिति चेत् न क्वचिद्दृष्टमित्यलौकि- कसिद्धेर्भृषणमेतन्न दूषणम्। चर्वणानिष्पत्त्या तस्य निष्पत्तिरुप- चरितेति कार्योडप्युच्यताम्। लौकिकप्रत्यक्षादिप्रमाणताटस्थ्याव-

known ?"-Our answer to this is that the fact that what occurs in the case of Passion has not been seen anywhere else only serves to confirm, not vitiate, the transcendental nature of Passion. It may however be spoken of as an 'effect' by virtue of its being accomplished by the accom- plishment of its relishing ; and it may also be regarded as ' to be known', ' cognised', in the sense that it forms the object of a super-physical consciousness, which differs (1) from Perception and other ordinary forms of cogni- tion, (2) from the cognition of the imperfect Yogin, which is independent of the ordinary means of cognition and (3) also from the cognition of the perfect Yogin, . which is self-centered and free from all touch of any other cognisable thing .- Further the cognition that apprehends it cannot be of the ' indeterminate ' kind, a due recognition of the excitants, ensuants and variants forming an impor- tant element in it ; nor can it be of the ' determinate ' kind, because what is merely relished as transcendent bliss de- pends entirely upon its own realisation (which is not the case with determinate cognitions) .- Here also as before,

60 KĀVYAPRAKĀŚA

तपरिमितेतरयोगिसंवेदनविलक्षणलोकोत्तरस्वसंवेदनगोचर इति प्रत्येयोप्यभिधीयताम्। तद्ग्राहकं च न निर्विकल्पकं विभावादिपरामर्शप्रधानत्वात्। नापि सविकल्पकं चर्व्यमाणस्या- लौकिकानन्दमयस्य स्वसंवेदनसिद्धत्वात्। उभयाभावस्वरूपस्य चोभयात्मकत्वमपि पूर्ववल्लोकोत्तरतामेव गमयति न तु विरोधमिति श्रीमदाचार्याभिनवगुप्तपादाः ॥ व्याघ्रादयो विभावा भयानकस्येव वीराद्भुतरौद्राणाम् अश्रुपातादयोनुभावाः शृङ्गारस्येव करुणभयानकयोः चिन्ता- दयो व्यभिचारिणः शृङ्गारस्येव वीरकरुणभयानकानामिति पृथगनैकान्तिकत्वात् सूत्रे मिलिता निर्दिष्टाः ।

the fact that it is neither the one nor the other, and yet it partakes of the nature of both, only confirms its trans- cendental character, and does not vitiate it. [The difference between the fourth and the third explanations lies in the fact that according to the third,there is relishing of the emotion which is not present in the spectator's mind, while according to the fourth, it is present in his mind in the form of predisposition. The propriety of this explanation is further strengthened by the fact that the spectator whose mind is free from such predisposition does not feel the passion,]

The 'excitants, ensuants and variants' have been spoken of in the Sütra (of Bharata) in a general way, be- cause as a rule they are not related specifically to any parti- cular Passion ; for instance, the Tiger is an excitant of the 'Frightful', as also of the 'Heroic', the ' Marvellous' and the 'Furious'; the shedding of tears is an ensuant of the ' Erotic', as also of the ' Pathetic' and the ' Fright- ful'; painful reflection is the variant of the 'Erotic', as also of the ' Heroic', the ' Pathetic' and the ' Frightful.'

CHAPTER IV 61

वियदलिमलिनाम्बुगर्भमेघं नधुकरकोकिलकूजितैर्दिशां श्रीः।

प्रणतिपरे दयिते प्रसीद मुग्धे ॥२७॥ इत्याद परिमृदितमृणालीम्लानमङ्गं प्रवृत्ति: कथमपि परिवारप्रार्थनाभि: क्रियासु। कलयति च हिमांशोर्निष्कलक्कस्य लक्ष्मी- मभिनवकरिदन्तच्छेदकान्तः कपोलः ॥२८॥ इत्यादौ दूरादुत्सुकमागते विवलितं संभाषिणि स्फारितं संश्लिष्यत्यरुणं गृहीतवसने किंचान्चितभ् लतम् । मानिन्याश्चरणानतिव्यतिकरे बाष्पाम्बुपूर्णेक्षणं चक्षुर्जातमहो प्रपञ्चचतुरं जातागसि प्रेयसि ॥२९॥

In the following verses- (a) 'The sky is overcast with heavy clouds dark as the black bee; the atmosphere has acquired loveliness through the warbling of the cuckoo and the bee ; the earth bears on her lap the shoots of tender sprouts ; young woman ! be reconciled to your lover who is so devoted in his affections !' ;- (b) ' Her body withered and languid like the squeezed lotus-stalk, her activity due to the expostulations of her attendants, her cheek lovely like a piece of fresh ivory, bears the sheen of the stainless moon ' ;- (c) ' Her lover having given cause for offence, the eyes of the self-respecting woman became skilled in giving expression to varied emotions-being anxious on seeing

62 KĀVYAPRAKĀŚA

इत्यादौ च यद्यपि विभावानामनुभावानामौत्सुक्यव्रीडाहर्षकोपासूया- प्रसादानां च व्यभिचारिणां केवलानामत्र स्थितिः, तथाप्ये- तेषामसाधारणत्वमित्यन्यतमद्वयाक्षेपकत्वे सति नानैकान्तिक- त्वमिति ॥ २८॥ तद्विशेषानाह- शृङ्गारहास्यकरुणरौद्रवीरभयानकाः - बीभत्साद्भुतसंज्ञौ चेत्यष्टौ नाटचे रसाः स्मृताः ॥२९॥

her lover at a distance, averted on his drawing near her, beaming on being spoken to, blushing on embrace, curving the brows on her clothes being touched, filling with tears on his falling on her feet,'- We find that the first (a) mentions the excitants only (in the shape of the woman, the season and so forth; and makes no mention of any ensuants or variants),-the second (b) mentions the ensuants alone (in the shape of the languishing of the body and so forth),-and the third (c) mentions only the variants, in the shape of Anxiety, Modesty, Joy, Anger, Aversion and Conciliation ; [and as such it would appear to be not right to say that Passion is manifested by the excitants, ensuants and variants collec- tively, as the Sutra declares] .- But what each of the cited examples directly mentions-are the exceptional elements of each case, and the other two factors are also indirectly implied ; so that they do not vitiate the truth of the general proposition (propounded by Bharata). 28. The Author next mentions the particular kinds of Passion .- (1) The Erotic, (2) the Comic, (3) the Pathetic, (4) the Furious, (5) the Heroic, (6) the Frightful, (7) the Disgustful,

CHAPTER IV 63

तत्र शृङ्गारस्य द्वौ भेदौ। संभोगो विप्रलम्भश्च। तत्राद्यः परस्परावलोकनालिङ्ग नाधरपानपरिचुम्बनाद्यनन्तत्वादपरि- च्छेद्य एक एव गण्यते। यथा शून्यं वासगृहं विलोक्य शयनादुत्थाय किंचिच्छनै- निद्राव्याजमुपागतस्य सुचिरं निर्वर्ण्य पत्युर्मुखम्। विस्रब्धं परिचुम्ब्य जातपुलकामालोक्य गण्डस्थलीं लज्जानम्रमुखी प्रियेण हसता बाला चिरं चुम्बिता॥३०॥ तथा त्वं मुग्धाक्षि विनैव कञ्चुलिकया धत्से मनोहारिणीं लक्ष्मीमित्यभिधायिनि प्रियतमे तद्वीटिकासंस्पृशि। शय्योपान्तनिविष्टसस्मितसखीनेत्रोत्सवानन्दितो निर्यातः शनकैरलीकवचनोपन्यासमालीजनः ॥३१॥ and (8) the Marvellous have been described as the eight Passions in the Drama .- (29). Of the Erotic there are two varieties-(1) in union and (2) in privation ; of these the former is counted as one only, any classification of it being impossible by reason of the endless variety of its manifestations, in the form of mutual glances, kissing, embraces, and so forth. Examples- (a) 'Finding the love-chamber empty, she rose gently from the couch and having intently gazed at the face of her husband who was feigning sleep, she kissed him with confidence ; but noticing a tremor in his cheeks, she hung her head through shame and was repeatedly kissed by her smiling lover'. [Here the first overture comes from the woman ] .- (b) "'O thou of lovely eyes, thou appearest heart- ravishing without the bodice'-saying this the lover

64 KĀVYAPRAKĀŚA

अपरस्तु -- अभिलापविरहेर्ष्याप्रिवासशापहेतुक इति पञ्चविधः । कमेणोदाहरणम- प्रेमार्द्रा: प्रणयस्पृशः परिचयादुद्गाढरागोदया- स्तास्ता मुग्धदृशो निसर्गमधुराश्चेष्टा भवेयु्मयि। यास्वन्तःकरणस्य बाह्यकरणव्यापाररोधी क्षणा- दाशंसापरिकल्पितास्वपि भवत्यानन्दसान्द्रो लयः ॥ ३२॥ अन्यत्र व्रजतीति का खलु कथा नाप्यस्य तादृक् सुहृद् यो मां नेच्छति नागतश्च हहहा कोयं विधे: प्रक्रमः । इत्यल्पेतरकल्पनाकवलितस्वान्ता निशान्तान्तरे बाला वृत्तविवर्तनव्यतिकरा नाप्नोति निद्रां निशि॥ ३३॥ touched the knot of the bodice ; whereupon her friends, delighted at the look of rapture in the eyes of their smiling companion seated upon the couch, went out on various pretexts." [Here the overture comes from the man]. The other kind of the Erotic (that in Privation), is of five kinds, the feeling being due to (a) longing, (b) separa- tion, (c) jealousy, (d) residence abroad, and (e) curse. Examples in order- (a) 'May the behaviour of the fair-eyed one towards me be steeped in affection and full of love and naturally sweet !, that behaviour in which love has been intensified by ripening acquaintance, and the mere thought of which immerses the heart in a flood of joy, suspending the func- tioning of all external organs.' (b) 'Has he gone elsewhere ?- What possibility is there of that ? He has no such friend as does not want me. And yet he has not come ! Oh! What an irony of fate !- Having her heart devoured by these consider- able vascillations, the girl rolls about in her bed and does not obtain sleep.'

CHAPTER IV 65

एषा विरहोत्कण्ठिता। सा पत्युः प्रथमापराधसमये सख्योपदेशं विना नो जानाति सविभ्रमाङ्गवलनावक्रोक्तिसंसूचनम् । स्वच्छैरच्छकपोलमूलगलितैः पर्यस्तनेत्रोत्पला बाला केवलमेव रोदिति लुठल्लोलालकैरश्रुभिः ॥३४॥ प्रस्थानं वलयैः कृतं प्रियसखैरस्रैरजस्रं गतं धृत्या न क्षणमासितं व्यवसितं चित्तेन गन्तुं पुरः । यातुं निश्चितचेतसि प्रियतमे सर्वे समं प्रस्थिता गन्तव्ये सति जीवित प्रियसुहृत्सार्थः किमु त्यज्यते ॥३५॥ त्वामालिख्य प्रणयकुपितां धातुरागैः शिलाया- मात्मानं ते चरणपतितं यावदिच्छामि कर्तुम्। अस्त्रैस्तावन्मुहुरुपचितैर्दृष्टिरालुप्यते मे क्रूरस्तस्मिन्नपि न सहते संगमं नौ कृतान्तः॥३६॥

The girl depicted here is anxious in separation. (c) ' On the occasion of her husband's first delin- quency, not having been instructed by her friend, she knows not how to make any graceful gestures or poignant remarks ; all that she does is to turn away her lotus-like eyes and weep with tears flowing down her cheeks and rolling over her dishevelled tresses', (d) ' The Bracelets have gone ; your dear friends the Fears have freely departed ; Patience stayed not for a moment ; the Mind determined to go forward ;- on my beloved having made up his mind to depart, all these have started together ; O Life ! as you also have to go, why are you losing the company of your dear friends ?' (e) 'Having painted thee in a mood of loving dis- pleasure, on a slab of stone with mineral pigments,-as 5

66 KĀVYAPRAKĀŚA

हास्यादीनां क्रमेणोदाहरणम्- आकुञ्च्य पाणिमशुचि मम मूध्नि वेश्या मन्त्राम्भसां प्रतिपदं पृषतैः पवित्रे । तारस्वनं प्रथितथूत्कमदात्प्रहारं हाहा हतोहमिति रोदिति विष्णुशर्मा ॥३७ ॥ हा मातस्त्वरितासि कुत्र किमिदं हा देवताः क्वाशिषः धिक् प्राणान् पतितोशनिर्हुतवहस्तेङ्गेषु दग्धे दृशौ। इत्थं घर्घरमध्यरुद्धकरुणाः पौराङ्गनानां गिर- श्चित्रस्थानपि रोदयन्ति शतधा कुर्वन्ति भित्तीरपि ।३८॥

soon as I think of representing myself as fallen upon thy feet, my vision becomes blurred by the frequent outburst of tears ; cruel Fate brooks not our union even in the picture !' [This is cited as an instance of ' privation due to curse', as it describes a lover who was separated from his lady by reason of a curse of banishment pronounced upon him by his master.] The following are examples, in due order, of the Comic and other passions :- (1) " Clenching her dirty hands, the harlot struck with a loud thumping sound upon my head, sanctified with drops of water consecrated with incantations; -Ah ! I am damned !"-so cries Visnu Śarman." -(The Comic). (2) " O mother, whereto hast thou hastened away ? What is this ? O Gods, where be the blessings ? Fie ›n our lives ! Thunderous fire has fallen on thy limbs ! 3yes scorched !"-These loud and pathetic lamentations f the female citizens make even statues weep and shatter even walls into hundreds of pieces' .- (The Pathetic).

CHAPTER IV 67

कृतमनुमतं दृष्टं वा यैरिदं गुरुपातकं मनुजपशुभिरनिर्मर्यादैर्भर्वन्ध्ि रुदायुधैः । नरकरिपुणा सार्ध तेषां सभीमकिरीटिना- मयमहसृङमेदोमांसैः करोमि दिशां बलिम् ॥३९॥ क्षुद्रा संत्रासमेते विजहत हरयः क्षुण्णशक्र्ेभकुम्भा युष्मद्दहेषु लज्जां दर्धात परममी सायका निष्पतन्तः । सौमित्रे तिष्ठ पात्रं त्वमसि न हि रुषां नन्वहं मेघनादः किंचिद्भ्र भङ्गलीलानियमितजलधि राममन्वेषयामि॥४०॥ ग्रीवाभङ्गाभिरामं मुहुरनुपतति स्यन्दने बद्धदृष्टिः पश्चार्धेन प्रविष्टः शरपतनभयाद्भूयसा पूर्वकायम् । दभैरर्धावलीढैः श्रमविवृतमुखभ्रंशिभिः कीर्णवर्त्मा। पश्योदग्रप्लुतत्वाद्वियति बहुतरं स्तोकमुर्व्यां प्रयाति॥४१॥ (3) 'O you dishonourable beasts of men wielding weapons, by whom this heinous crime has been committed, sanctioned or witnessed ! Here I am going to make to the Quarters an offering of the blood, fat and flesh of all these along with Bhima and Arjuna and Krsna' .- (The Furious). (4) 'Poor monkeys ! Give up your fears ; these arrows that have shattered the temple of Indra's elephant feel ashamed to fall upon your bodies ;- O son of Sumitrā, stand where you are ; you are not a fit object of my wrath ; -I, Meghanāda, am looking for Rāma, who has bound down the ocean by a mere curving of his eye-brows !'- (The Heroic). (5) 'Behold ! The deer, owing to the great speed at which it is running, is moving more in the sky than on the earth ; with a graceful turn of its neck, it is casting backward glances at the pursuing chariot; through fear

68 KĀVYAPRAKĀŚA

उत्कृत्योत्कृत्य कृतिं प्रथममथ पृथूत्सेधभूयांसि मांसा- न्यंसस्फिक्पृष्ठपिण्डयाद्यवयवसुलभान्यग्रपूतीनि जग्ध्वा । आर्त्तः पर्यस्तनेत्रः प्रकटितदशनः प्रेतरङ्क: करङ्का- दङ्कस्थादस्थिसंस्थं स्थपुटगतमपि त्रव्यमव्यग्रमत्ति ॥४२।। चित्रं महानेष बतावतार: क्व कान्तिरेषाभिनवैव भङ्गि: । लोकोत्तरं धैर्यमहो प्रभाव: काप्याकृतिर्नूतन एष सर्गः॥४३॥ एषां स्थायिभावानाह- रतिर्हासश्च शोकश्च क्रोधोत्साहौ भयं तथा। जुगुप्सा विस्मयश्चेति स्थायिभावाः प्रकीतिताः॥३०॥ of the falling of the arrow, it has much of its hinder part contracted within the fore-part ; and it scatters on the path half-chewed morsels of grass out of its mouth gaping with fatigue' .- (The Frightful). (6) 'Having first torn and stripped off the skin, and then devoured the swollen and fearfully stinking lumps of flesh that could be easily got at from such parts of the: body as the shoulder, the back and the buttocks, the beggarly ghost casts its glances all round, and displaying its teeth, is leisurely devouring the flesh that remains on the bones and joints of the skeleton lying on its lap.'-(The- Disgustful). (7) 'How wonderful ! A superb incarnation this ! What effulgence ! An unprecedented grace ! Super- natural equanimity ! Marvellous majesty ! An indes- cribable figure ! Quite a novel creation !'-(The Mar- vellous). 29. The author now mentions the ' basic feelings' of the above-mentioned Passions- Love, Mirth, Sorrow, Resentment, Heroism, Fear, Loathing and Wonder bave been declared to be the ' Basic Feelings.'-(30)

CHAPTER VI 69

स्पष्टम् ॥ ३०॥ व्यभिचारिणो ब्रूते- निर्वेदग्लानिश ङ्काख्यास्तथास्या मदश्रमा: आलस्यं चैव दैन्यं च चिन्ता मोहः स्मृतिर्धृतिः॥३१॥ व्रीडा चपलता हर्ष आवेगो जडता तथा। गर्वो विषाद औत्सुक्यं निद्रापस्मार एव च॥ ३२॥ सुप्तं प्रबोधोमर्षश्चाप्यवहित्थमथोग्रता - सतिर्व्याधिस्तथोन्मादस्तथा मरणमेव च॥३३॥। त्रासश्चैव वितर्कश्च विज्ञेया व्यभिचारिणः । त्रर्यस्त्रिशदमी भावाः समाख्यातास्तु नामतः ॥ ३४॥ निर्वेदस्यामङ्गलप्रायस्य प्रथममनुपादेयत्वेप्युपादानं व्यभि- चारित्वेपि स्थायिताभिधानार्थम्। तेन

He next describes the Variants- (1) Self-disparagement, (2) Debility, (3) Apprehension, (4) Hatred, (5) Intoxication, (6) Lassitude, (7) Indolence, (8) Depression, (9) Painful Reflection, (10) Distraction, (11) Recollection, (12) Serenity, (13) Shame, (14) Unsteadiness, (15) Joy, (16) Flurry, (17) Stupefaction, (18) Arrogance, (19) Despondency, (20) Impatience, (21) Drowsiness, (22) Dementedness, (23) Dreaming, (24) Awakening, (25) Animosity, (26) Constraint, (27) Irascibility, (28) Resolve, (29) Sickness, (30) Mental Derangement, (31) Demise, (32) Alarm and (33) Trepidation,-these are the thirty-three Variants described by name .- (31-34). Though ' self-disparagement' is an almost inaus- picious feeling, and as such should not have been mentioned first, yet it has been so mentioned with a view to indicate that though it is a 'variant', it serves as a 'basic emotion' also ; hence it is that-

70 KĀVYAPRAKĀŚA

निर्वेदस्थायिभावोस्ति शान्तोपि नवमो रसः । यथा अहौ वा हारे वा कुसुमशयने वा दृषदि वा मणौ वा लोष्टे वा बलवति रिपौ वा सुहृदि वा। तृणे वा स्त्रैणे वा मम समदृशो यान्ति दिवसाः क्वचित्पुण्यारण्ये शिव शिव शिवेति प्रलपतः ॥ ४४॥ रतिर्देवादिविषया व्यभिचारी तथाञ्जितः ॥३५॥ भावः प्रोक्तः आदिशब्दान्मुनिगुरुनृपपुत्रादिविषया। कान्ताविषया तु व्यक्ता शृङ्गारः । The Quietistic is the ninth Passion, of which Self-disparage- ment is the basic feeling. Example .- 'May my days pass in some sacred forest, while I am muttering Siva, Siva, with an equal eye towards a snake or a necklace, a flower-bed or a stone-slab, a jewel or a clod of earth, a powerful enemy or a friend, a straw or a woman !' [Having provided a full account of ' Passion,' the author proceeds to define ' Emotion' and the other subdivisions of ' suggestion with imperceptible sequence,' mentioned in Text 26.] ' Love' (and the other feelings) tonards a god or such other beings , as also a ' Variant' when suggested (as a primary factor), is described as ' Bhava', ' Emotion'. [The ' Basic Feeling, ' when not sufficiently developed into 'Passion, '-e.g. when the feeling of Love is towards a god or some such superior being,-it is known simply as ' Emotion,' Bhāva, as distinguished from the ' Latent Emotion,' Sthāyī Bhāva.] ' Such other beings' refers to sages, preceptors, king, son and so forth; when Love is manifested towards a woman, it becomes the 'Erotic' passion.

CHAPTER IV 71

उदाहरणम् कण्ठकोणविनिविष्टमीश ते कालकूटमपि मे महामृतम् । अप्युपात्तममृतं भवद्वपुर्भेदवृत्ति यदि मे न रोचते ॥ ४५॥ हरत्यघं संप्रति हेतुरेष्यतः शुभस्य पूर्वाचरितैः कृतं शुभैः । शरीरभाजां भवदीयदर्शनं व्यनक्ति कालत्रितयेपि योग्यताम्।४६।। एवमन्यदप्युदाहार्यम्। अ्जितव्यभिचारी यथा जाने कोपपराङमुखी प्रियतमा स्वप्नेद्य दृष्टा मया मा मां संस्पृश पाणिनेति रुदती गन्तुं प्रवृत्ता पुरः । नो यावत्परिरभ्य चाटुशतकैराश्वासयामि प्रियां भ्रातस्तावदहं शठेन विधिना निद्रादरिद्रीकृतः ॥४७॥

Example (of the said ' Emotion ")- (a) 'O Lord ! Even the deadly poison, though hidden within Thy throat, is pure nectar to me ; while nectar itself (in the shape of the moon), even though held high (on Thy head), pleases me not, as it does not form part of Thy body',-(Love towards a God). (b) ' It destroys sin at the present time, it is the cause of forthcoming blessings, and is brought about by (and indicative of) virtuous acts of the past : thus does your visit to all corporeal beings bear testimony to their ex- cellent character at all the three periods of time'. -(Love towards a sage, Nārada). Example of the Variant suggested (as the predominant factor) .- 'My best loved one was seen by me to-day in a dream, having her face turned away through anger, weeping and saying "don't, don't touch me with your hand," and proceeding to go away ; as soon as I was going to em-

72 KĀVYAPRAKĀŚA

अत्र विधि प्रत्यसूया। तदाभासा अनौचित्यप्रवत्तिताः । तदाभासा रसाभासा भावाभासार्च। तत्र रसाभासो यथा स्तुमः कं वामाक्षि क्षणमपि विना यं न रमसे विलेभे कः प्राणान् रणमखमुखे यं मृगयसे। सुलग्ने को जातः शशिमुखि यमालिङ्गसि बलात् तपःश्रीः कस्यैषा मदननगरि ध्यायसि तु यम् ॥४८॥ अत्रानेककामुकविषयमभिलाषं तस्याः स्तुम इत्याद्यनुगतं बहुव्यापारोपादानं व्यनक्ति।

brace and pacify her with sweet and loving words, I was, O brother, deprived by wicked Fate of sleep.' Here Hatred towards Fate is what is meant to be sugges- ted. The ' aberrations of these' are these same when improperly manifested. 'Aberrations of these' i. e.,-' aberration of Passion' and ' Semblance of Emotion.' An example of the 'semblance of Passion' we have in the following .- ' O fair-eyed one ! Which is the man whom I should adore, without whom thou art not happy even for a moment ? Who gave up his life in battle, whom thou art seeking ? Who is born in an auspicious moment, whom thou O moon-faced one, embracest firmly ? Who is the man with such glorious religious merit as that thou thinkest of him, O abode of Cupid !' In this verse the various sentences-' whom I should adore' and so forth-are indicative of the manifold

CHAPTER IV 73

भावाभासो यथा राकासुधाकरमुखी तरलायताक्षी सा स्मेरयौवनतरङ्गतविभ्रमाङ्गी। तत् किं करोमि विदधे कथमत्र मैत्रीं तत्स्वीकृतिव्यतिकरे क इवाभ्युपायः ॥४९॥ अत्र चिन्ता अनौचित्यप्रवर्तिता। एवमन्येप्युदाहार्याः॥ भावस्य शान्तिरुदयः सन्धिः शबलता तथा ॥३६॥

activities of the woman, which show that she entertains the feeling of love towards several lovers. [And the love of the speaker towards such a woman, on that account, and also on account of her not entertaining any such feeling towards himself, not reaching the high degree of 'Passion,' becomes manifested only as an ' aberration' thereof. ] The following is an example of the ' Aberration of Emotion '- 'She has a face like the full moon ; her eyes are large and unsteady ; her body is vibrating with budding youth ; what shall I do ? How should I proceed to win her favour ? What is the means whereby she would accept me ?' Here we have ' Reflection' 'improperly manifested.' [The impropriety is lying in the fact that the love proceeds from the man before it has arisen in the woman, which is not the conven- tional process.] Similarly examples of the other ' aberrations ' may be cited. Of Emotion, there are (a) ' Allayment,' (b) ' Mani- festation', (c) ' Conjuncture' and (d) ' Admixture'-(36). Examples in due order- (a) '"Why are you concealing, under the pretence of falling on my feet, your chest bearing the marks of

74 KĀVYAPRAKĀŚA

कमेणोदाहरणम्

किं वक्षशचरणानतिव्यतिकरव्याजेन गोपाय्यते। इत्युक्ते क्व तदित्युदीर्य सहसा तत् संप्रमार्ष्टु मया साश्लिष्टा रभसेन तत्सुखवशात्तन्व्या च तद्विस्मृतम् ।५०॥।

अत्र कोपस्य।

एकस्मिञ्न शयने विपक्षरमणीनामग्रहे मुग्धया सदो मानपरिग्रहग्लपितया चाटूनि कुर्वन्नपि। आवेगादवधीरितः प्रियतमस्तूष्णीं स्थितस्तत्क्षणं मा भूत्सुप्त इवेत्यमन्दवलितग्रीवं पुनर्वीक्षितः ॥५१॥ अत्रौत्सुक्यस्य। उत्सिक्तस्य तपःपराक्रमनिधेरभ्यागभादेकतः सत्संगप्रियता च वीररभसोत्फालश्च मां कर्षतः । वैदैहीपरिरम्भ एष च मुहुश्चैतन्यमामीलयन् आनन्दी हरिचन्दनेन्दुशिशिरस्निग्धो रुणद्वयन्यतः ॥५२॥

the embrace of her sandal-painted breasts ?"-After she had said this, I said 'where is it ?'-and embraced her suddenly and quickly, for the purpose of wiping off the mark ; and the tender one forgot all about it under the fervent bliss ensuing from that embrace '. Here we have the 'allayment' of Anger, (b) 'When the young woman lying on the same bed had her indignation aroused on the naming of her rival, she firmly disdained him with all his advances and loving assurances ; and he, having lain silent for a moment, the girl looked back upon him, fearing that he might go to sleep'.

CHAPTER IV 75

अत्रावेगहर्षयोः। क्वाकार्य शशलक्ष्मण: क्व च कुलं भूयोपि दृश्येत सा दोषाणां प्रशमाय न श्रुतमहो कोपेपि कान्तं मुखम्। किं वक्ष्यन्त्यपकल्मषाः कृतधियः स्वप्नेपि सा दुर्लभा चेतः स्वास्थ्यमुपैहि कः खलु युवा धन्योधरं धास्यति॥५३॥

भावस्थितिस्तूक्ता उदाहृता च ।। ३६ ।। मुख्ये रसेपि तेङ्गित्वं प्राप्नुवन्ति कदाचन।

Here we have the ' manifestation' of Impatience. (c) ' On one side attract me my love for good com- pany and sudden outburst of heroism on seeing this recep- tacle of austerity and prowess ; on the other, the exquisite embrace of Sīta, cooling and soft like celestial sandal and like the moon, lulls my consciousness and keeps me back'. Here we have the 'conjuncture' of Flurry and Joy. (d) 'Where on one side is this unblemished lunar dynasty, and where, on the other, this improper act ?- May she be seen again ! Our learning is meant to be a check upon evil tendencies ;- her face lovely even in anger ! What shall the wise and pure ones say ?- She is difficult to be got at even in a dream ! O, heart, be calm ;- what blessed young man will kiss her lips !' Here we have the 'admixture' of Trepidation, Im- patience, Resolve, Recollection, Anxiety, Depression, Serenity and Painful Reflection. The mere presence of 'emotion' has already been described and illustrated (vide above-' Jāne kopapa- ranmukhī etc.") 36. Though it is Passion that is the predominant factor, yet these also acquire predominance sometimes.

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ते भावशान्त्यादयः । अङ्ित्वं राजानुगतविवाहप्रवृत्तभृत्यवत् ।। अनुस्वानाभसंलक्ष्यक्रमव्यङ्गयस्थितिस्तु यः ॥३७॥ शब्दार्थोभयशक्त्युत्थस्त्रिधा स कथितो ध्वनिः । शब्दशक्तिमूलानुरणनरूपव्य ङ्गयः, अर्थशक्तिमूलानुरणनरूप- व्यङ्गयः, उभयशक्तिमूलानुरणनरूपव्य ङ्गयश्चेति त्रिविधः ॥३७॥

' These'-i. e., the Allayment (Manifestation, Conjun- cture and Admixture) of Emotions. ' Predominance' .- This occasional predominance is like that of the King's servant whose marriage is attended by the King (who, for the time, occupies a position subordi- nate to that of the servant). [Having described the suggestion ' with imperceptible sequence,' the author proceeds to describe that in which the sequence is percep- tible.] That suggestion in which the (suggested meaning has its sequence to the suggestive word) clearly perceptible, in the manner of a reverberating echo, has been said to be of three kinds- (1) that arising from the force of the word, (2) that arising from the force of the meaning, and (3) that arising from the force of both. 37. The three kinds are-(1) that in which the reverbera- ting suggested meaning is based on the force of the word, (2) that in which the suggested meaning is based upon the force of the meaning, and (3) that in which the suggested meaning is based upon the force of both. [Whether in a certain case the suggestion proceeds from the word or from its expressed meaning is determined by the possibility or otherwise of its being got at even by the changing of the word : If it is found that the suggestion remains unaffected even when we substitute other synonyms of the word, then it is regarded as based upon the meaning, while if the slightest change in the word vitiates the suggestion, then it is regarded as based upon the word.] 37.

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त्त्र अलङ्कारोथ वस्त्वेव शब्दाद्यत्रावभासते ॥ ३८॥ प्रधानत्वेन स ज्ञेयः शब्दशक्त्युद्भवो द्विधा। वस्त्वेति, अनलंकारं वस्तुमात्रम्। आद्यो यथा उल्लास्य कालकरवालमहाम्बुवाहं देवेन येन जरठोजितगर्जितेन। निर्वापितः सकल एव रणे रिपूणां धाराजलैस्त्रिजगति ज्वलितः प्रतापः ॥५४॥

Suggestion based upon the force of the word is of two kinds,-according as what is principally represented by the word is (a) a figure of speech or (b) a bare matter of fact. 38. 'Bare matter of fact,'-i. e. the simple statement of a fact, without any ornamental figure of speech. (a) As an example of the former we have the follow- ing -- ' Ullāsya kālakarabālamabāmbuvāham Devena yena jarathorjitagarjitena Nirvāpitaķ sakala eva rane ripūņām Dhārājalaistrijagati jvalitab pratāpab.' Here the literal meaning of the sentence would be distinctly irrelevant ; hence with a view to avoiding this, it has to be assumed that what is intended is to describe the similarity between the directly mentioned subject (the king) and the one only indirectly implied (Indra) ; and thus what comes to be suggested here is the figure of speech known as ' Simile'. The full meaning of the sentence being'Just as Indra brings up the cloud, dark and fresh, and accompanied by fierce thundering, extinguishes, by means of torrents of rain, the heat of the destructive fires pervading over the three worlds,-in the same manner has this king

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अत्र वाक्यस्यासंबद्धार्थाभिधायकत्वं मा प्रसाङक्षीदिति प्राकरणिकाप्राकरणिकयोरुपमानोपमेयभावः कल्पनीय इत्य- त्रोपमालंकारो व्यङ्गयः । तिग्मरुचिरप्रतापो विधुरनिशाकृद्विभो मधुरलील: मतिमानतत्त्ववृत्तिः प्रतिपदपक्षाग्रणीविभाति भवान् ।।५५॥ अत्रैकैकस्य पदस्य द्विपदत्वे विरोधाभासः । with a fierce roar, lifted his sharp sword, and by means of its flickering edge, has destroyed the glory of his enemies, which was extending over the three worlds.' And this suggestion is held to be ' based. upon the force of the word,' because the words used here lend them- selves to the above interpretation only because they have double. meanings; and this effect would be lost if they were replaced by their synonyms.] (Another example ofthe same)-(a) Tigmaruchirapratapo, (b) Vidhuranisakrd vibho, (c) madhuratlīlaḥ, (d) ' Matimānatattvavrttiķ, and (e) Pratipadapaksāgraņīrvibhātī bhavān.' Here, if each of the five terms (a, b, c, d and e) is re- solved into two terms, we get the suggestion of the figure of speech known as ' Seeming Contradiction.' [' Vibho bhavān vibhāti,' ' O' Lord, you are resplendent', is the principal sentence, the other five terms are epithets of ' bhavan '. (a) 'Tigmaruchirapratāpab', When taken as one word, means ' he whose splendour is tigma, fierce, and ruchira, sweet ' ; but when it. is resolved into two words, it means ' tigmaruchib, with fierce splendour' and 'apratapab, wanting in splendour, which expresses two contra- dictory qualifications ;- (b) ' vidhuranišākrt,' taken as one word, means ' capable of bringing about the nisha, extinction, of his vidhura, enemies ; but when resolved into two words, it means ' vidhuh' the moon, and ' anisakrt, not the night making moon,' an apparent contradiction; (c) 'madhurlilab', when taken as one word, means ' he whose lila, operations, are madhura, sweet, pleasing ' ; but when rerolved into words, it means ' madhu' the spring-time,' and alīlab,

CHAPTER IV 79

अमितः समितः प्राप्तैरुत्कषै हर्षद प्रभो । अहित: सहित: साधुयशोभिरसतामसि ॥५६॥ अत्रापि विरोधाभासः । निरुपादानसंभारमभित्तावेव तन्वते। जगच्चित्रं नमस्तस्मै कलाउलाध्याय शूलिने ॥ ५७॥ अत्र व्यतिरेकः ।

devoid of beauty,' a contradiction ;- (d) ' matimanatattvavrttih', taken as one word, means 'who acts with mati, intelligence, and mana, magnanimity ;' but when resolved into two terms, it means 'matiman, intelligent' and ' atattvavrtti, acting blankly,' an apparent contradiction ;- (e) ' pratipadapaksāgranīb', as one term, means the ' agranīh, of your paksa, party, pratipada, at each step' ; but when it is resolved into two terms, it means ' pratipat, the first day of the fortnight, and ' apaksagranih, not the opening day of the fortnight', an apparent contradiction.] [Here also the suggestion of ' Seeming Contradiction' would be 1ost if other synonyms were substituted ; hence it is held to be 'based upon the force of words'.] [Another example of the same kind] ' Amitaḥ samitaḥ prāptairutkarșairharsada prabho Ahitah sahitaḥ sadhu-yashobhirasatāmasi.' Here also Seeming Contradiction is the figure suggested. [The meaning is ' prabho, O Lord, harsada, you who are the giver of joy, (harsam dadati) and also the destroyer of joy (harsam dyati),- through the glories attained in battle (samitab) you are ' amitab' immea- sureably great, (you are both samitab, measureable, and amitah, immea- sureable) ; being endowed, sahitab, with good fame, you are the ahitab, enemy, of all wicked men.' The epithets are so chosen as to imply, in their second intention, an apparent contradiction.] [Another example of the same kind.] 'Salutation to that Trident-bearer whose art is so praiseworthy that he paints the mundane picture without aboard and without the painting brush or other accessories"

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अलंकार्यस्यापि ब्राह्मणश्रमणन्यायेनालंकारता। वस्तुमात्रं यथा पंथिअ ण एत्थ सत्थरमत्थि मणं पत्थरत्थले गामे। उण्णअपओहरं पेख्खिऊण जइ वससि ता वससु ॥५८॥ अत्र यद्युपभोगक्षमोसि तदा आस्स्वेति व्यज्यते । शनिरशनिश्च तमुच्चैनिहन्ति कुप्यसि नरेन्द्र यस्मै त्वम् । यत्र प्रसीदसि पुनः स भात्युदारोनुदारश्च ॥५९॥

Here the figure of speech suggested is the Vyatireka, Dissimilitude (between the god described and the ordinary painter.) Though in the examples cited the figure suggested is the predominant factor, and hence something to be embellished (alankārya; and for that reason, it cannot be right to call it, as the text has done, an alankāra, an em- bellishment, a figure of speech), yet it is so called on the analogy of the expression ' brahmanaśramana.' [When one has become a ' śramana,' a Buddhist monk, he has no- caste ; and yet the expression ' brahmana śramana' is used in the sense ' the monk that was, under other circumstances, a Brāhmana' ; similarly in the case in question, what is meant by the suggested mea- ning being a figure, an ' alankara,' is that, under other circumstances, -i. e. when expressed directly by the word and not only suggested,-it. would be so, even though in the instances cited it is not so.] (b) The following is the example of that where what is suggested is a bare matter of fact .- ' O traveller, in this village of stones, there is not a bedding to be had ; yet, seeing the rising clouds (unnata- payodhara, my blossoming breasts), if you decide to lodge here, you may do so.' Here what is suggested is-' if you are fit to enjoy my company, then you may stay here.'

CHAPTER IV 81

अविरुद्धावपि त्वदनुवर्तनार्थमेकं कार्य कुरुत इति ध्वन्यते । अर्थशक्त्युद्भवोप्यर्थो व्यञ्जकः संभवी स्वतः ॥३९॥ प्रौढोकिमवम्िद्धो वा कवेस्तेनोम्भितस्य वा। वस्तु वालंकृतिर्वेति षड्भेदोसौ व्यनक्ति यत् ॥४० ॥ वस्त्वलंकारमथवा तेनायं द्वादशात्मकः। स्वतःसंभवी न केवलं भणितिमात्रनिष्पन्नो यावद्बहिरप्यौ- चित्येन संभाव्यमानः । कविना प्रतिभामात्रेण बहिरसन्नपि निर्मितः कविनिबद्धेन वक्त्रेति वा द्विविधोपर इति त्रिविधः ।

[Another example of the same kind]- 'O King, when you are angry with a man, both Sani (the evil planet Saturn) and Asani (the thunderbolt) strike him fiercely ; while when you are pleased with a man, he shines nobly (udara) and has his wife obedient to him (anudāra)'. Here what is suggested is that even mutually con- tradictory forces (Sani-Asani, and Udāra-Anudāra) co-operate in obeying your wishes. Inasmuch as the suggestive object ' based upon the force of the meaning' is either (a) self-existent or (b) owing its existence to the bold assertion of the poet or (c) owing its existence to the bold assertion of some character portrayed by the poet ;- each of these three being either a figure of speech or a bare fact, it comes to be of six kinds (39-40) ; and since each of these suggests a figure or a fact, it comes to be of twelve kinds. (a) ' Self-existent'-Not only created by the words of the poet, but having a real existence in the world ; -(b) created by the poet's imagination, and having no real existence in the external world ;- (c) created by the imagination of a speaker portrayed by the poet ;- these two non-existent varieties along with the former make the 6

82 KĀVYAPRAKĀŚA

वस्तु वालंकारो वासाविति षोढा व्यञ्जकः । तस्य वस्तु वालं- कारो वा व्यङ्ग्य इति द्वादशभेदोर्थशक्त्युद्भवो ध्वनिः । क्मेणोदाहरणम्- अलसशिरोमणि धुत्ताणं अग्गिमो पुत्ति धणसमिद्धिमओ। इअ भणिएण णअङ्गी पप्फुल्लविलोअणा जाआ ॥ ६०॥ अत्र ममैवोपभोग्य इति वस्तुना वस्तु व्यज्यते। धन्यासि या कथयसि प्रियसंगमेपि विस्रब्धचाटुकशतानि रतान्तरेषु। नीवीं प्रति प्रणिहिते तु करे प्रियेण सख्यः शपामि यदि किंचिदपि स्मरामि ॥ ६१॥ three kinds. This being either a fact or a figure of speech, the suggestive object comes to be of six kinds. What is suggested by this is again either a fact or a figure. Thus suggestion ' based upon the force of meaning ' has twelve varieties. Examples in due order- (1) " He is the most indolent, foremost among pro- ficient men, and O child, he is possessed of immense wealth ;"-When this was said, she hung down her head and her eyes bloomed .- (The self-existent fact suggesting the self-existent fact). Here the mere fact-' the person referred to is just the one suited for receiving my love'-is suggested (by the fact of the blooming of the girl's eyes). (2) 'Thou art really fortunate, that on meeting your lover, you can, even during the intervals of dalliance utter endless sweet and coquettish words ! O Friends, as for me I swear I do not remember anything after my beloved places his hand on the knot of my waist-cloth.'-(The self-existent fact suggesting a figure).

CHAPTER IV 83

अत्र त्वमधन्या अहं तु धन्येति व्यतिरेकालंकारः। दर्पान्धगन्धगजकुम्भकपाटकूट- संक्रान्तिनिघ्नघनशोणितशोणशोचिः । वीरैर्व्यलोकि युधि कोपकषायकान्तिः कालीकटाक्ष इव यस्य करे कृपाणः ॥६२॥ अत्रोपमालंकारेण सकलरिपुबलक्षयः क्षणात् करिष्यते इति वस्तु। गाढकान्तदशनक्षतव्यथासंकटादरिवधूजनस्य यः । ओष्ठविद्रुमदलान्यमोचयन्निर्दशन् युधि रुषा निजाधरम् ॥६३॥ अत्र विरोधालंकारेणाधरनिर्दशनसमकालमेव शत्रवो व्यापा- दिता इति तुल्ययोगिता मम क्षत्याप्यन्यस्य क्षतिर्निवर्ततामिति

Here the meaning being-'I am fortunate, you are unfortunate'-we have the figure ' Dissimilitude ' (sugges- ted by the facts described). (3) 'In whose hand the sword was seen by the heroes in battle, resembling the wrath-red glances of the goddess Kalī ; since it shone red through the thick blood on being struck against the hard surface of the forehead of redolent elephants blinded with intoxication.' (The self-existent figure suggesting a fact.) Here the fact that ' all the enemies would be killed in a trice ' is suggested by the figure ' Simile'. (4) ' Who, biting with rage his own underlip in battle, freed the coral lips of his enemy's wives from the pain arising from the deep wound inflicted by the teeth of their husbands.' (The self-existent figure suggesting a figure). Here the figure of ' Seeming Contradiction' (involved in the statement that the biting of the lips relieved the lips of pain) suggests either the figure of 'Equal Pairing,' in the implication that ' the enemies were killed at the very

84 KĀVYAPRAKĀŚA

तद्वुद्धिरुत्प्रेक्ष्यते इत्युत्प्रेक्षा च। एषूदाहरणेषु स्वतःसंभवी व्यञ्जकः । कैलासस्य प्रथमशिखरे वेणुसंमूर्छनाभिः श्रुत्वा कीतिं विबुधरमणीगीयमानां यदीयाम् । स्रस्तापाङ्गा: सरसबिसिनीकाण्डसंजातशङ्का दिङमातङ्गा श्रवणपुलिने हस्तमावर्तयन्ति ॥ ६४॥ अत्र वस्तुना येषामप्यर्थाधिगमो नास्ति तेषामप्येवमादि- बुद्धिजननेन चमत्कारं करोति त्वत्कीर्तिरिति वस्तु ध्वन्यते। केसेसु बलामोडिअ तेण असमरम्मि जअसिरी गहिआ। जह कन्दराहिँ विहुरा तस्स दढं कंठअम्मि संठविआ ।६५॥

moment in which the king bit his lips in rage',-or the figure 'Poetic Fancy', in the implication that ' the king desires to relieve the pain of others even by hurting himself'. In all these (four) examples, the suggestive factor is something that is really Self-existent. (5) ' Hearing his fame sung by the nymphs on the highest peak of mount Kailāsa, to the accompaniment of the melodies of the flute,-the Elephants of the quarters, casting side-long glances, mistake it to be the juicy lotus- root (on account of its pure whiteness), and hence extend their trunk to their ears (in order to reach the Fame which has reached the ears).' (A fact, the creation of the poet's fancy, suggests a fact). Here the fact that-' even such beings as do not com- prehend the meaning of the song sung are affected in the manner described,-such is the wonderful effect of your fame '-is suggested (by the imaginary fact of the elephants extending their trunks to the ears). (6) 'Victory was so forcibly held by her locks by the king that his discomfited enemies were drawn by the caves to their necks.'-(Figure suggested by a fact created by the poet's imagination).

CHAPTER IV 85

अत्र केशग्रहणावलोकनोद्दीपितमदना इव कन्दरास्तद्वि- धुरान् कण्ठे गृह्न्ति इत्युत्प्रेक्षा। एकत्र संग्रामे विजयदर्शनात्त- स्यारयः पलाय्य गुहासु तिष्ठन्तीति काव्यहेतुरलंकारः। न पलाय्य गतास्तद्वैरिणोपि तु ततः पराभवं संभाव्य तान् कन्दरा न त्यजन्तीत्यपहूनुतिश्च। गाढालिंगणरहसुज्जअम्मि दइए लहु समोसरइ। माणंसिणीण माणो पीलणभीअ व्व हिअआहिं ॥ ६६ ॥ अत्रोत्प्रेक्षया प्रत्यालिङ्गनादि तत्र विजृम्भते इति वस्तु ।

Here we have the (a) figure ' Poetic Fancy', in the implication that 'the caves (females) had their sexual passion aroused by looking at the locks of the lady, Victory, being held (in dalliance, as it were) and hence embraced the enemies (males)' ;- also (b) the figure 'Poetic Reason', in the implication that ' the enemies fled away to hide themselves in caves on seeing that the king had attained victory in battle ' ;- as also (c) the figure ' Conceal- ment', in the implication that ' it was not that the enemies fled to the caves, but what happened was that the caves, fearing that the said enemies would suffer at the hands of the king, did not allow them to go out '. [And all this is suggested by the imaginary fact that the king caught hold of the locks of one lady and the enemies were embraced by other ladies.] (7) 'On the lover preparing to embrace them, the feelings of indignation gently depart from the hearts of the high-minded girls, being, as it were, afraid of the pre- ssure of the embrace'-(Fact suggested by Figure created by the poet's fancy).

86 KĀVYAPRAKĀŚA

जा ठेरंव्व हसन्ती कइवअणंबुरुहबद्धविणिवेसा। दावेइ भुअणमंडलमण्णं विअ जअइ सा वाणी ॥ ६७॥ अत्रोत्प्रेक्षया चमत्कारैककारणं नवं नवं जगत् अजडासनस्था निर्मिमीते इति व्यतिरेकः । एषु कविप्रौढोक्तिमात्रनिष्पन्नो व्यञ्जकः । जे लंकागिरिमेहलासु खलिआ संभोगखिण्णोरइ- फारुप्फुल्लफणावलीकवलणे पत्ता दरिद्दत्तणं । ते एह्िं मलआनिला विरहिणीणीसाससंपक्किणो जादा भत्ति सिसुत्तणे वि बहला तारुण्णपुण्णा विअ॥ ६८ ॥

Here the fact that ' the embraces began to be returned' is suggested by the figure 'Poetic Fancy ' herein set forth. (8) 'Ever glorious is that Goddess of Speech who has taken up her abode in the lotus of the poet's mouth, exhibiting a universe of unique character, and who is, as it were, ridiculing the old Fogey ' .- (Figure suggested by an imaginary figure). Here the figure of ' Poetic Fancy ' set forth in the verse suggests the figure of 'Dissimilitude', in the implication that ' the goddess of speech has an animate seat (in the shape of the poet's mouth, while Brahma, the creator of the world is seated upon the inanimate lotus), and creates a world (of poetic imagination) which is always new and the source of unmixed charm (while the creator's world is old and not always beautiful)'. In the last four examples the suggestive agent is the creation of the poet's bold assertion. (9) 'The winds from the Malaya, which had become emaciated by being inhaled in the large and rising hoods of the female serpents lying exhausted in dalliance on the lower ranges of the Hemakūta mountain, attain the exu-

CHAPTER IV 87

अत्र निःश्वासैः प्राप्तैश्वर्या वायवः किं किं न कुर्वन्तीति वस्तुना वस्तु व्यज्यते। सहि विरइऊण माणस्स मज्य धीरत्तणेण आसासं। पिअदंसणविहंखलेलक्खणम्मि सहसत्ति तेण ओसरिअं॥६९॥ अत्र वस्तुनाकृतेपि प्रार्थने प्रसन्नेति विभावना प्रियदर्शनस्य सौभाग्यबलं धैर्येण सोढुं न शक्यते इत्युत्प्रेक्षा वा। ओल्लोल्लकरअरअख्खएहि तुह लोअणेसु मह दिण्णं। रत्तंसुअं पसाओ कोवेण पुणो इमे ण अक्कमिआ ॥ ७०॥

berance of youth,-even though only new born-by contact with the sighs of women suffering from the pangs of separation from their lovers.'-(Fact suggested by Fact, based upon the bold assertion of an imaginary person). Here the fact that 'the winds strengthened by the sighs become capable of doing anything ' is suggested by the fact (that the ' Malaya-winds have become youthful', which is purely imaginary, being set forth by the particular person, the lady's friend, portrayed by the poet). (10) ' Self-possession, after having encouraged my self-respect, suddenly vanished at the exciting moment of my lover's visit' .- (Figure suggested by fact asserted by an imaginary person). Here, either (a) the figure of 'Peculiar Causation,-in the implication that ' the lady became reconciled to her lover even before he made his protestations ' .- or (b) the figure of ' Poetic Fancy ',-in the implication that ' self- possession cannot withstand the force of the charm of the lover's visit',-is suggested by the fact (that the indignant lady became reconciled) [and this is asserted by the ima- ginary female character portrayed by the poet]'. (11) 'These eyes of mine are not seized by anger; in fact they have received the red clothing as a reward from

88 KĀVYAPRAKĀŚA

अत्र किमिति लोचने कुपिते वहसि इति उत्तरालंकारेण न केवलमार्द्रनखक्षतानि गोपायसि यावत्तेषामहं प्रसादपात्रं जातेति वस्तु । महिलासहस्सभरिए तुह हिअए सुहअ सा अमाअन्ती। अणुदिणमणण्णकम्मा अङ्गं तणुअं वि तणुएइ।७१॥ अत्र हेत्वलंकारेण तनोस्तनूकरणेपि तव हृदये न वर्तते इति विशेषोक्तिः । एषु कविनिबद्धवक्तृप्रौढोक्तिमात्रनिष्पन्न-

the fresh marks of nails and teeth on your body' .- (Fact suggested by figure set forth by an imaginary character). On the question (being put by the lover)-'why are your eyes looking angry ?'-the lady makes her answer, in the above form, which involves the figure of ' Reply'; and this figure suggests the fact that 'the lover is not only trying to hide the fresh marks, they are also rewarding the lady (by enabling her to detect the lover's infidelity)'. [and the said figurative assertion comes from an imaginary character delineated by the poet]. (12) 'O blessed one ! All the place in your heart being taken up by thousands of women, she is unable to find place in it ; hence, giving up all other work, she is making her already thin body still thinner and thinner day by day' .- (Figure suggested by Figure in the assertion of an imaginary character). Here the figure of 'Poetic Reason' (in the implication that ' the reason for her getting thinner lies in her attempt to make herself thin enough to find room in your filled- up heart') suggests the figure of 'Peculiar Allegation', 'in the implication that ' even though she is making herself thinner and thinner, she finds no room in your heart'.

CHAPTER IV 89

शरीरो व्यञ्जकः। एवं द्वादश भेदाः ॥ शब्दार्थोभयभूरेक: अतन्द्रचन्द्राभरणा समुद्दीपितमन्मथा। तारकातरला श्यामा सानन्दं न करोति कम् ॥ ७२॥ अत्रोपमा व्यङ्गया।

In these last four examples the suggestive factor is based upon the assertion of an imaginary character delinea- ted by the poet. These are the twelve varieties (of Suggestion Based upon the Force of Meaning). That (suggestion) based upon both Word and Meaning is one only. For example- ' Atandrachandrābharaņā samuddīpitamanmathā. Tārakātaralā śyāmā sānandamna karoti kam'. 'Whom does the young woman not please-adorned as she is, with a bright head-jewel, arousing love, and with unsteady glances-being like the night adorned with the bright moon, arousing thoughts of love, and glimmering with stars ?' Here the figure of 'Simile' is suggested. [And all this is 'suggested by the imaginary fact that the king caught hold of the locks of one lady and the enemies were embraced by other ladies.] [And this suggestion is based upon the power of both word and meaning ; the former, because the entire similitude rests upon the double meanings of the words ' śyama,' ' chandra' and ' taraka, which cannot be replaced by their synonyms without destroying the said effect ; and the latter because the other words are such as can be easily replaced by other synonyms without spoiling the effect.]

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भेदा अष्टादशास्य तत्॥४१॥ अस्येति ध्वनेः ॥४१॥ ननु रसादीनां बहुभेदत्वेन कथमष्टादशेत्यत आह। रसादीनामनन्तत्वाद्भेद एको हि गण्यते। अनन्तत्वादिति। तथाहि-नव रसाः । तत्र शृङ्गारस्य द्वौ भेदौ। संभोगो विप्रलम्भश्च। संभोगस्यापि परस्परावलोकना- लिङ्गनपरिचुम्बनादिकुसुमोच्चयजल केलिसूर्यास्तमयचन्द्रोदयषड-

Thus there are eighteen varieties of it. ' of it'-i. e. of Suggestion. 41. Objection :- "There being many varieties of Passion (Emotion and so forth),-why are the varieties of sugges- tion said to be eighteen only ?" The answer to this is as follows :- The varieties of ' Passion' and other forms being endless, these (Passion, Emotion, etc.) are counted as a single variety. ' Endless' .- For instance, there are nine Passions ;- of the Erotic Passion there are two varieties -that in union and that in privation ;- the former has several varieties, in the form of 'mutual glances', 'em- brace', 'kissing', 'flower-picking,' 'amorous water- sports', descriptions of sunset, rise of the moon, the six seasons and so forth ;- the Erotic in privation again has been already described as being of several kinds, such as longing and so forth ;- then again, these two kinds of the Erotic vary with the variations in the particular Excitants, Ensuants and Variants ;- the hero again is of three kinds, noble, ignoble and middling ;- these vary with the pecu- liarities of time, place and other circumstances ;- so that of the single Passion of the Erotic there are ' endless' varieties ;- not to speak of others ?

CHAPTER IV 91

ऋतुवर्णनादयो बहवो भेदाः। विप्रलम्भस्याभिलाषादय उक्ताः । तयोरपि विभावानुभावव्यभिचारिवैचित्र्यम् । तत्रापि नायकयोरुत्तममध्यमाधमप्रकृतित्वम्। तत्रापि देशकालावस्थादि- भेदा इत्येकस्यैव रसस्यानन्त्यम्। का गणना त्वन्येषाम्। असंलक्ष्य- ऋमत्वं तु सामान्यमाश्रित्य रसादिध्वनिभेद एक एव गण्यते। वाक्ये द्वयुत्थः द्वयुत्थ इति शब्दार्थोभयशक्तिमूलः ॥ पदेप्यन्ये अपिशब्दाद्वाक्येपि। एकावयवस्थितेन भूषणेन कामिनीव पदद्योत्येन व्यङ्गयेन वाक्यव्यङ्गयापि भारती भासते। तत्र पदप्रकाश्यत्वे क्रमेणोदाहरणानि-

The suggestion, however, of all these, Passion and the rest, is counted as one ' kind' only, on the basis of the com- mon characteristic of having the ' sequence imperceptible'. [Having described the eighteen varieties of suggestion, the author proceeds to differentiate among them by pointing out that while the one variety-that based upon the force of both word and meaning-is found in sentences, only the other seventeen are found in sentences as well as in single words.] That arising from both is present in the sentence only. 'Arising from both'-i. e. suggestion based upon the force of both word and meaning. [Example cited above-'Atandrachandrābharaņā' etc.] The others in the word also. The term ' also' indicates that they are also found in the sentence. Even though a certain statement is such as is suggested by the sentence, yet it acquires additional charm through what is suggested by a word occurring in that sentence, just as a lovely woman does by an ornament worn on one part of her body.

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यस्य मित्राणि मित्राणि शत्रवः शत्रवस्तथा । अनुकम्प्योनुकम्प्यशच स जातः स च जीवति ॥७३॥(१) अत्र द्वितीयमित्रादिशब्दा आश्वस्तत्वनियन्त्रणीयत्वस्नेहपात्र- त्वादिसंक्रमितवाच्याः । खलववहारा दीसन्ति दारुणा जहवि तहवि धीराणं। हिअअवअस्सवहुमआ ण हु ववसाआ विमुज्झन्ति॥७४॥(२) अत्र विमुह्यन्तीति। लावण्यं तदसौ कान्तिस्तद्रूपं स वच:क्रमः । तदा सुधास्पदमभूदधुना तु ज्वरो महान् ॥ ७५॥

The following are the examples in order of the se- venteen kinds of suggestion as based upon the word :- (1) [Transference of the expressed meaning to another by a word]-'He alone is really born and lives whose friends are friends, foes, foes and the affable, affable'. Here the expressed meaning of the second term- 'friends'-is altered into (stands for) reliability, that of the second 'enemies' into reprehensibility, and that of the second ' affable' into lovability. (2) [The expressed meaning entirely ignored, in a word]- 'Even though the behaviour of the wicked is always found to be terrible, the efforts of the wise are never stupefied, being always approved by their heart, as if by a friend'. Here the suggestion lies in the single word ' stupefied '. [Stupefaction, which is impossible for the inanimate 'efforts,' star.ds for being impeded.] (3) [ The 'suggestion of imperceptible sequence', in a single word].

CHAPTER, IV 93

अत्र तदादिपदैरनुभवैकगोचरा अर्थाः प्रकाश्यन्ते। यथा वा मुग्धे मुग्धतयैव नेतुमखिल: काल: किमारभ्यते मानं धत्स्व धृति बधान ऋजुतां दूरे कुरु प्रेयसि। सख्यैवं प्रतिबोधिता प्रतिवचस्तामाह भीतानना नीचै:शंस हृदि स्थितो हि ननु मे प्राणेश्वरःश्रोष्यति।।७६।।(३) अत्र भीताननेति। एतेन हि नीचै:शंसनविधानस्य युक्तता गम्यते। भावादीनां पदप्रकाश्यत्वेधिकं न वैचित्र्यमिति न तदुदाह्नियते।

'That loveliness, that brilliancy, that beauty, and that sweetness of speech,-were all like nectar at that time; but now it is all a terrible fever '. Here the term, 'that' used several times, suggests that the things spoken of are such as can be only seen (and cannot be described) Another example of the same- "O beautiful one, why do you ptoceed to pass the whole time in mere simplicity ? Have self-respect ; hold out with patience ; set aside your artless behaviour towards your lover " ;- on being thus exhorted by her friend, the girl, replied with fear-stricken face-" Talk low, lest the Lord of my life residing in my heart should overhear what your are saying". Here the epithet ' with fear-stricken face' suggests the propriety of ' talking low '. Emotion [and Aberration of Passion, Aberration of Emotion, Allayment of Emotion, Conjuncture of Emotions and Admixture of Emotions] do not acquire any additional charm, when suggested by a single word [to the same extent as that of 'Passion' does]; hence examples of these have not been cited.

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रुधिरविसरप्रसाधितकरवालकरालरुचिरभुजपरिघः। झटिति भ्रुकुटिविटङ्गितललाटपट्टो विभासि नृप भीम॥७७॥(४) अत्र भीषणीयस्य भीमसेन उपमानम्। भुक्तिमुक्तिकृदेकान्तसमादेशनतत्परः । कस्य नानन्दनिस्यन्दं विदधाति सदागमः ।७८।। (५) काचित् संकेतदायिनमेवं मुख्यया वृत्त्या शंसति ।

(4) [ Suggestion of perceptible process by a word-founded on the power of words-of figure by fact- 'O King, thou awe-inspiring one (Bhīma) ! Thou art resplendent, with thy bolt-like arm pleasing and terrible through the sword reddened with the flow of blood, and with thy broad forehead marked with creases caused by the sudden curvature of the eye-brows.' The similitude (Simile) of the awe-inspiring King to Bhimasena is suggested (by the fact of the King's sword being reddened with blood and so forth, and this is done through the force of the single word ' bhima,' the replacing of which by its synonym would spoil the whole effect). (5) [ Suggestion of perceptible process-founded on the power of a word-of fact by fact. ] 'To whom does Sadagama, (a) true scripture, [ (b) lover's visit ] not bring continued bliss,-(a) always offering salutary advice and leading to heavenly pleasure and beati- tude [ (b) always bent upon indicating secluded rendezvous, and bringing about enjoyment and deliverance from the pangs of separation] ?' " The woman is conveying (her acquiescence) to the lover suggesting a meeting-place, by means of suggestion. [And this is done through the double meanings of the words chosen ; it is the suggestion of the fact of her acceptance by the fact described.]

CHAPTER IV 95

सायं स्नानमुपासितं मलयजेनाङ्गं समालेपितं यातोस्ताचलमौलिमम्बरमणिविस्रब्धमत्रागतिः। आश्चर्य तव सौकुमार्यमभितः क्लान्तासि येनाधुना नेत्रद्वन्द्वममीलनव्यतिकरं शवनोति तेनासितुम् ॥७९॥(६) अत्र वस्तुना कृतपुरुषपरिचया क्लान्तासीति वस्तु अधुनापद- द्योत्यं व्यज्यते। तदप्राप्तिमहादुःखविलीनाशेषपातका । तच्चिन्ताविपुलाह्लादक्षीणपुण्यचया तथा॥ ८० ॥ चिन्तयन्ती जगत्सूर्ति परब्रह्मस्वरूपिणम् । निरुच्छवासतया मुक्ति गतान्या गोपकन्यका ।।८१। (७)

(6) [ Suggestion of perceptible process-by word-founded on the force of meaning-of fact by self-existent fact]- ' In the evening thou hadst recourse to bath and anoin- ted thy body with sandal-paste ; the ethereal gem has passed the crest of the setting mount ; and thy coming here has been unflurried; [thus there being no external cause for fatigue], astonishing then is thy tenderness by virtue of which thou art at this time so completely ex- hausted that thy eyes cannot help being closed frequently.' Here the fact that ' thou art exhausted by reason of having met a paramour ' is suggested, through the impli- cation of the term ' at this time', ' adhuna'. (7) [ Suggestion of perceptible process-by word-founded on the force of meaning-of figure by a self-existent fact]- 'Meditating upon the Origin of the World, the in- carnation of supreme Brahma (i. e. 'Krsna), another milk- maid had her breath suspended and obtained beatitude ; all her sins being dissolved by the great suffering caused

96 KĀVYAPRAKĀŚA

अत्र जन्मसहस्त्रैरुपभोक्तव्यानि दुष्कृतसुकृतफलानि वियोग- दुःखचिन्तनाह्वादाभ्यामनुभूतानीत्युक्तम्। एवं चाशेषचय- पदद्योत्ये अतिशयोकती। क्षणदासावक्षणदा वनमवनं व्यसनमव्यसनम्। बत वीर तव द्विषतां पराङमुखे त्वयि पराङमुखं सर्वम् ॥८२॥(८) अत्र शब्दशक्तिमूलविरोधाङ्गेनार्थान्तरन्यासेन 'विधिरपि त्वामनुवर्तते' इति सर्वपदद्योत्यं वस्तु।

by her not meeting him, and the store of her spiritual merit exhausted in the deep joy of contemplating upon Him.' What is meant here is that the sins and spiritual merit, the fruition of which would ordinarily extend over thou- sands of lives, were passed through merely by the pangs of separation and the joy of contemplation ; and thus the figure of Hyperbole is suggested by the two terms 'all' and ' store' (by the fact of the girl having attained beati- tude). (8) [ Suggestion of perceptible process-by word-based on force of meaning of fact by self-existent figure]- 'O heroic king! When you become contrary to your ene- mies, every thing of theirs becomes contradictory-Ksanada [ (a) night ] becomes aksaņadā [ (a) non-night, (b) uneasy], vana (forest) becomes a-vana [ (a) non-vana, (b) shelter], and vyasana (occupation) becomes a-vyasana [ (a) non-vyasana, (b) sheep-tending]. [ i.e. They pass uncomfortable nights, fly to the forest and take to the tending of sheep ].' Through the implication of the term ' everything ' the fact that ' even Fate follows your lead' is suggested by the Figure of ' Transition', which subserves the figure

CHAPTER IV 97

तुह वल्लहस्स गोसम्मि आसि अहरो मिलाणकमलदलो। इअ णववहुआ सोऊण कुणइ वअणं महिसँमुहं।।८३। (९) अत्र रूपकेण त्वयास्य मुहुर्मुहुः परिचुम्बनं तथा कृतं येन म्लानत्वमिति मिलाणादिपदद्योत्यं काव्यलिङ्गम्। एषु स्वतः- संभवी व्यञ्जकः । राईसु चंदधवलासु ललिअमप्फालिऊण जो चावं। एकच्छत्तं विअ कुणइ भुअणरज्जं विजंभंतो।।८४।। (१०) अत्र वस्तुना येषां कामिनामसौ राजा स्मरस्तेम्यो न कश्चि- दपि तदादेशपराङमुख इति जाग्रद्भिरुपभोगपरैरेव तैनिशाति- of 'Contradiction', which is based on the force of the words with double meanings, which cannot be replaced by others. (9) Suggestion of perceptible process,-based on the force of meaning-of Figure by self-existent Figure. ]- "In the morning your lover's lips were withered lotus-leaves,"-on hearing this, the young bride cast her face towards the ground." The Figure of 'Metaphor' involved in the term 'withered lotus-leaves' suggests the 'Poetic Reason', in the implication that 'your lover's lips looked faded on account of your having continued to kiss him fre- quently (till the very morning).' In these examples the suggestive factor is self-existent. (10) [ Suggestion of perceptible process-based on the force of meaning-of fact by imaginary fact.]- 'He who, brandishing his beautiful bow, during moon-lit nights, brings the three worlds under his own undisputed sway.' The (imaginary) fact (of Cupid's undisputed sway over the world), expressed by the term ' sway over the three worlds', suggests the fact that ' not a single one of those 7

98 KĀVYAPRAKĀSA

वाह्यते इति भुअणरज्जपदद्योत्यं वस्तु प्रकाश्यते। निशितशरधियार्पयत्यनङ्गो दृशि सुदृशः स्वबलं वयस्यराले। दिशि निपतति यत्र सा च तत्र व्यतिकरमेत्य समुन्मिषन्त्यवस्थाः॥॥८५॥(११) अत्र वस्तुना युगपदवस्थाः परस्परविरुद्धा अपि प्रभवन्तीति व्यतिकरपदद्योत्यो विरोधः । वारिज्जंतो वि पुणो संदावकदत्थिएण हिअएण। थणहरवअस्सएण विसुद्धजाई ण चलइ से हारो ॥८६। (१२) अत्र विशुद्धजातित्वलक्षणहेत्वलंकारेण हारोनवरतं कम्पमान persons over whom Cupid has his sway ever goes against his orders, hence they spend the nights in wakeful dalliance.' (11) Suggestion of perceptible process-of Figure by an imaginary Fact.]- 'Regarding it as his sharp arrow, the Bodiless God (Cupid) lends all his force to the glance of the beautiful- eyed woman at her saucy age; whenever on whatever side it falls, it produces quite an admixture of conditions.' The Figure of 'Contradiction',-in the implication that 'even mutually incompatible conditions appear simultaneously'-involved in the term 'admixture', is suggested by the (imaginary) fact (of Cupid lending his. forces to the arrow and bringing about mixed conditions). (12) [ Suggestion of perceptible process-of a fact by an imaginary Figure.]- 'Even though forbidden by the heart suffering from pain (due to the impediment to embrace caused by the presence of the ornament), the necklace, being of pure breed, does not abandon its friends, the breasts.' The (imaginary) Figure of 'Poetic Reason' involved

CHAPTER, IV 99

एवास्ते इति ण चलइ-पदद्योत्यं वस्तु। सो मुद्धसामलंगो धम्मिल्लो कलिअललिअणिअदेहो। तीए खंधाहि बलं गहिअ सरो सुरअसंगरे जअइ।।८७।।(१३) अत्र रूपकेण मुहुर्मुहुराकर्षणेन तथा केशपाशः स्कन्धयोः प्राप्तो यथा रतिविरतावप्यनिवृत्ताभिलाषः कामुकोभूदिति खंध-पदद्योत्या विभावना।। एषु कविप्रौढोक्तिमात्रनिष्पन्नशरीरः ॥ णवपुण्णिमामिअंकस्स सुहअ को तं सि भणसु मह सच्चं। का सोहग्गसमग्गा पओसरअणिव्व तुह अज्ज ।।८८।। (१४) in the epithet 'being of pure breed' (which accounts for the constancy of the heart) suggests the Fact that ' the necklace remained constantly scintillating ', which is expressed by the phrase ' abandons not.' (13) [ Suggestion of perceptible process-of a Figure by an imaginary Figure]- ' Cupid has, as it were, regained his beautiful body in the shape of the black and lovely tresses of the girl, and having borrowed strength from here shoulder, trium- phs in the b:tde of dalliance.' The Figure of 'Peculiar Causation', involved in the word 'shoulder', and implying that ' when the lover pulled the locks frequently they fell upon her shoulder in such a ravishing way that, even at the close of the intercourse, the man's passion did not cease ',-is sugges- ted by the Metaphor (involved in the comparing of' dalli- ance ' to 'battle' and of ' Cupid' to the ' tresses'). In the last four examples the suggestion is reared en- tirely by the imaginary assertion of the poet. (14) [ Suggestion of fact by fact, founded wpon the assertion of an imaginary person.]-

100 KĀVYAPRAKĀŚA

अत्र वस्तुना मयीवान्यस्यामपि प्रथममनुरक्तस्त्वं न तत इति णवेत्यादि-पओसेत्यादिपदद्योष्यं वस्तु व्यज्यते।। सहि णवणिहुवणसमरम्मि अंकवालीसहीए णिविडाए। हारो णिवारिओ विअ उच्छेरन्तो तदो कहं रमिअं।८९॥(१५) अत्र वस्तुना हारच्छेदानन्तरमन्यदेव रतमवश्यमभूत् तत्कथय कीदृगिति व्यतिरेक: कहंपदगम्यः ॥

'O beautiful one, tell me truly how you are related to the moon newly risen on the fullmoon night, and who is the lady that enjoys your love as the early evening does that of the moon.' [During the early part of the evening the full moon appears 'red'; this redness, is regarded figuratively, as representing the moon's love towards the evening; it is fleeting, disappearing with the advent. of night ; and the indignant wife insinuates that her husband's love for his new found lady will be as fleeting.] The fact (described in the verse) suggests the fact that ' you are attached to this other lady only now in the beginning, and you will not remain so much longer, just as it was in my case,'-this suggestion being based upon the terms 'newly risen', 'early evening.' (15) [ Suggestion of perceptible process-of Figure by fact asserted by the fanciful assertion of an imaginary person.]- 'O friend'! When in the battle of dalliance, your necklace snapped, on being restrained (from intruding) by your fast friend in the shape of the lover's embrace,- in what manner did your enjoyment proceed ?' The figure of 'Dissimilitude', indicated by the term 'in what manner', and implying that ' after the snapping of the necklace, the form of the enjoyment must have been peculiarly sweet',-is suggested by the fact (des- cribed in the verse).

CHAPTER IV 101

प्रविसंती घरवारं विवलिअवअणा विलोइऊण पहं। खंधे घेत्तूण घडं हा हा णट्ठोत्ति रुअसि सहि किंति ॥९०॥ अत्र हेत्वलंकारेण संकेतनिकेतनं गच्छन्तं दृष्टवा यदि तत्र गन्तुमिच्छसि तदा अपरं घटं गृहीत्वा गच्छेति वस्तु किंति-पद- द्योत्यम्। यथा वा विहलंखलं तुमं सहि दट्ठूण कुडेण तरलतरदिद्विं। वारप्फंसमिसेण अ अप्पा गुरुओत्ति पाडिअ विहिष्णो।।९१।। (१६) अत्र नदीकूले लतागहने कृतसंकेतमप्राप्तं गृहप्रवेशावसरे पश्चादागतं दृष्टवा पुनर्नदीगमनाय द्वारोपघातव्याजेन बुद्धिपूर्व व्याकुलतया त्वया घटः स्फोटित इति मया चिन्तितं तत्किमिति

(16) [ Suggestion of perceptible process-of a fact by a figure resting upon the fanciful assertion of an imaginary person.]- 'O friend ! You were entering your house-door, with the jar on your shoulders, and turning your face and looking towards the road, you say " the jar is broken " and are weeping :- why is this ?' The Figure of 'Poetic Reason' (implying 'you are weeping because the jar is broken'), suggests the follow- ing fact-' on seeing your lover going to the place of appointment, if you wish to go there, then you take up another jar and go there', which is implied by the ex- pression 'why is this '. Another example of the same- 'The jar, seeing that you were exhausted and your eyes were unsteady, thought itself too heavy for you, and therefore, it has broken itself under the pretext of having struck against the door.' The Figure of ' concealment', involved in the expre- ssion ' under the pretext of having struck against the door',

102 KĀVYAPRAKĀŚA

नाश्वसिषि तत्समीहितसिद्धये व्रज अहं ते श्वश्रूनिकटे सर्वं समर्थयिष्ये इति द्वारस्पर्शनव्याजेनेत्यप ह्वृत्या वस्तु। जोहणाइं महुरसेण अ विइण्णतारुण्च्छुअमणा सा। वुड्ढावि णवोढव्विअ परवहुआ अहह हरइ तुह हिअअं।।९२।।(१७) अत्र काव्यलिङ्गेन वृद्धां परवधूं त्वमस्मानुज्झित्वाभिलषसीति त्वदीयमाचरितं वक्तुं न शक्यमित्याक्षेपः परवहूपदप्रकाश्यः ।

suggests the following fact-' you had made an appoint- ment with your lover that you would meet him in the bower on the river-bank,-you went there but he was not there ; so you returned; but entering the house you found that he had come to the place after you had left ;- so in order to be able to return to the river you have in- tentionally broken the jar under the pretext of striking against the door ;- all this I have understood ; why then don't you take heart ? Go and fulfil your desires, I justify everything to your mother-in-law.' (17) Suggestion of perceptible process-of figure by figure based upon the fanciful assertion of an imaginary person. 'What a pity that your concubine captivates your heart, like a young girl, even though she is an old hag, to whose mind youthful sensuality is lent by moonlight and wine'. The figure of ' Poetic Reason' (involved in the state- ment that the fact of her being the concubine, and not your wife, is the reason why she captivates your heart) suggests the figure of 'Hint', on the following implica- tion-' you neglect young girls like myself and go after old women who are the wives of other men,-this conduct of yours is simply inexplicable'; all this being indicated by the word ' concubine'.

CHAPTER IV 103

एषु कविनिबद्धवक्तृप्रौढोक्तिमात्रनिष्पन्नशरीरः । वाक्यप्रकाश्ये तु पूर्वमुदाहृतम् ॥ शब्दार्थोभयशक्त्युद्भवस्तु पदप्रकाश्यो न भवतीति पञ्चत्रिशद्भेदाः । प्रबन्धेप्यर्थशक्तिभू: ॥४२॥ यथा गृधगोमायुसंवादादौ। अलं स्थित्वा रमशानेस्मिन् गृधगोमायुसंकुले। कक्कालबहले घोरे सर्वप्राणिभयंकरे॥ ९३॥। In these last examples the suggestion is based entirely upon the fanciful assertion of a person portrayed by the poet. Suggestion manifested by a sentence has already been exemplified before (in the commentary on Text 24)- ' Tvāmasmi vachmì etc.' That arising from both word and meaning is never manifested by a word ; hence there are thirty-five varieties of Suggestion. [Eighteen manifested by sentence and seventeen manifested by word.] That (suggestion) which is based upon the force of meaning occurs in Context also .- (42). As is found in the following dialogue of the Vulture and the Jackal .- Says the vulture to the men (who have brought the dead body of a boy to the cremation ground and are mourning over it) whom it is anxious to send away, while it is yet day, in order to enable it to feed upon the body which it could do during the day only -- ' There is no necessity for staying in this horrible crematorium crowded with vultures and jackals, abound- ing in skeletons, frightful and full of terror to all living

104 KĀVYAPRAKĀŚA

न चेह जीवितः कश्चित् कालधर्ममुपागतः । प्रियो वा यदि वा द्वेष्यः प्राणिनां गतिरीदृशी ॥ ९४॥ इति दिवा प्रभवतो गृधस्य पुरुषविसर्जनपरमिदं वचनम्॥ आदित्योयं स्थितो मूढाः स्नेहं कुरुत सांप्रतम् । बहुविघ्नो मुहुर्तोयं जीवेदपि कदाचन ॥ ९५॥ अमुं कनकवर्णाभं बालमप्राप्तयौवनम्। गृधवाक्यात्कथं मूढास्त्यजध्वमविशङ्िताः ॥९६॥ इति निशि विजम्भमाणस्य गोमायोर्जनव्यावर्तननिष्ठं च वचनमिति प्रबन्ध एव प्रथते॥।

beings; when once one has fallen a victim to death, one never revives, whether one be loved or hated ; such is the end of all living beings'. This is followed by the following from the jackal who can feed on the body only when night has arrived and who tries to dissuade the people from going away early- 'O foolish men ! the sun is still up; satisfy your affections yet ; the present may be an inauspicious mo- ment, and it is just possible the dead may come back to life after sometime ; how is it that like fools you are with- out any hesitation, merely on the word of the vulture, leaving behind this boy of golden complexion who has scarcely attained youth ?' Exactly what is meant by the two speakers here is indicated only by the context. The other eleven varieties of this suggestion (through Context) are not illustrated here; as that would make our work too prolix ; they can be easily followed from the definition itself.

CHAPTER IV 105

अन्ये त्वेकादश भेदा ग्रन्थविस्तरभयान्नोदाहृताः स्वयं तु लक्षणतोनुसर्तव्याः ॥ अपिशब्दात्पदवाक्ययोः ॥४२॥ पदैकदेशरचनावर्णेष्वपि रसादयः । तत्र प्रकृत्या यथा रइकेलिहिअणिवसणकरकिसलअरुद्धणअणजुअलस्स। रुद्दस्स तइअणअणं पव्वईपरिचुंबिअं जअइ ॥ ९७॥ अथ जयतीति न तु शोभते इत्यादि। समानेपि हि स्थगन- व्यापारे लोकोत्तरेणैव व्यापारेणास्य पिधानमिति तदेवोत्कृष्टम्।

' Also' ;- this means that the said suggestion is found in word and sentence also. 42. Passion (Emotion, Aberrations of Passion, Aberrations of Emotion, Allayment of Emotion, Conjunction of Emotions and Admixture of Emotions) are (suggested imperceptibly) also (a) by parts of words, (b) by style and (c) by individual letters. (a) Example of suggestion by the base of a word- Ratikelihrtanivasanakarakisalayaruddhanayanayugalasya. Rudrasya trtīyanayanam pārvatīparichumbitanjayati. 'The two eyes of Siva having been closed by her two lotus-like hands when she was deprived of her cloth,- His third eye being (closed by being) kissed by Pārvatī scores a triumph.' Here the suggestion of the Erotic ' Passion' lies in the use of the root ' ji ' in the verb ' jayati', ' scores a triumph', in preference to the verb ' shobhate', 'appears beautiful'; -the implication of the particular rootbeing that, ' though the action of being closed was common to all the three eyes, yet there is a distinct superiority in the third eye, the manner of whose closing was entirely unique.'

106 KĀVYAPRAKĀŚA

यथा वा प्रेयान् सोयमपाकृतः सशप्थं पादानतः कान्तया द्वित्राण्येव पदानि वासभवनाद्यावन्न यात्युन्मनाः । तावत्प्रत्युत पाणिसंपुटगलन्नीविनिबन्धं धृतो धावित्वेव कृतप्रणामकमहो प्रेम्णो विचित्रा गतिः ।।९८।। अत्र पदानीति न तु द्वाराणीति॥ तिङसुपोर्यथा पथि पथि शुकचञ्चूचारुराभाङकुराणां दिशि दिशि पवमानो वीरुधां लासकश्च । नरि नरि किरति द्राक सायकान् पुष्पधन्वा पुरि पुरि विनिवृत्ता मानिनीमानचर्चा ।। ९९।।

Another example of the same kind of suggestion- Preyān soyamapākrtab saśapatham pādānātaļ kāntayā. Dvitrānyeva padāni vāsabhavanād yāvanna yātyunmanāb. Tāvat pratynta pānisamputagalannīvīnibandbandbrto. Dhāvitveva krtapraņāmakamaho premņo vichitrā gatih. ' Though when the lover lay adjuringly at her feet, he was rejected by his beloved, yet no sooner does he, in a dejected mood, go two or three steps out of the love- chamber, than she runs up to him with her loosened cloth held in her hands and falling on his feet, embraces him.' Here the suggestion (of loving anxiety) lies in the use of the noun ' pada' (steps) instead of ' dvara' (gates.) [The suggestion being that she was so anxious that he may not go away that she could not bear his moving away even a few steps to the door of the room itself.] Suggestion by verbal and nominal affixes- Pathi pathi sukachanchūchārurābhānkurāņām Dishi dishi pavamāno vīrudhām lāsakaścha. Nari nari kirati drāk sāyakān puspadhanvā Puri puri vinivrttā māninīmānacharchā.

CHAPTER, IV 107

अत्र किरतीति किरणस्य साध्यमानत्वं निवृत्तेति निवर्तनस्य सिद्धत्वं तिङा सुपा च तत्रापि क्तप्रत्ययेनातीतत्वं द्योत्यते। यथा वा लिखन्नास्ते भूमिं बहिरवनतः प्राणदयितो निराहाराः सख्यः सततरुदितोच्छननयना: । परित्यक्तं सर्वं हसितपठितं पञ्जरशुकैः तवावस्था चेयं विसृज कठिने मानमधुना॥१००॥

'Or every way-side there is the sheen of sprouts re- sembling the parrot's beak ; on every side the breeze is making the creepers dance ; on every male is the Flower- bowed God showering his arrows ; and in every town has ceased the very talk of self-restraint on the part of affronted women.'

The present tense form ' kirati,' ' is showering,' indi- cates, by the conjugational affix, that the act of showering arrows is still only in the course of accomplishment, and the past-participle form ' vinivrtta,' ' has ceased,' indicates by the nominative ending, that the action of ceasing has become a thing accomplished already ; and further, the past-participle affix ' kta' (in 'vinivrttā) indicates that the action (of ceasing) is past. [And the suggestion here is that the circumstances described are so effective in exciting the Erotic Passion that they accomplish their purpose even before they are themselves accomplished.] Another example of the same- Likhannāste bhumim vahiravanatab prāņadayito Nirabarah sakhyab satataruditochchhūnanayanāb. Parityaktam sarvam hasitapathitam pañjaraśukais- Tavāvasthā cheyam visrja kathine mānamadhunā.

108 KĀVYAPRAKĀŚA

अत्र लिखन्निति न तु लिखतीति तथा आस्ते इति न तु आसीत इति अपि तु प्रसादपर्यन्तमास्ते इति भूमिमिति न तु भूमाविति न हि बुद्धिपूर्वकमपरं किंचिल्लिखतीति तिङसुब्वि- भक्तीनां व्यङ्गचम्। संबन्धस्य यथा गामारुहम्हि गामे वसामि णअरट्ठिइं ण जाणामि । णाअरिआणं पइणो हरेमि जा होमि सा होमि ॥१०१॥

' The beloved of thy life sits outside, depressed, scratch- ing the ground ; thy friends with eyes swollen by constant weeping, have been without food ; all amusing talk has been given up by the parrots in the cages ; thy own con- dition is this ; even now, O cruel one, give up thy sense of dignity injured.' Here we have (a) the form ' likhan' (' scratching,' the present participle in which suggests the continuity of an aimless act) and not ' likhati' (' writes,' in the present tense, which would indicate writing with a purpose) ;- again (b) ' aste' (' stays') which suggests that the man will continue to so stay till reconciliation, and not ' asīta' ('is seated,' which would indicate an accomplished act, without regard to anything else) ;- again (c) ' bhūmin' (with the Accusative ending), -which suggests that he is scratching the ground aimlessly-and not 'bhāmau' (with the locative ending, which would indicate that the act was done with some purpose.) Thus we have here suggestion by verbal and nominal affixes. Example of suggestion by relationship (denoted by the genitive ending)- I am born in the village and live in the village, and know not the ways of the city ; whatever I am, I capture the husbands of city-momen.'

CHAPTER IV 109

अत्र नागरिकाणामिति षष्ठयाः । रमणीयः क्षत्रियकुमार आसींत् इति कालस्य । एषा हि भग्नमहेश्वरकार्मुकं दाशरथ प्रतिकुपितस्य भार्गवस्योक्ति। वचनस्य यथा। ताणँ गुणग्गहणाणं ताणुक्कंठाणं तस्स पेम्मस्स । ताणँ भणिआणं सुंदर एरिसिअँ जाअमवसाणं ॥१०२॥ अत्र गुणग्रहणादीनां बहुत्वं प्रेम्णश्चैकत्वं द्योत्यते॥। पुरुषव्यत्ययस्य यथा

The suggestion here lies in the genitive ending in ' of city-women,' ' nāgarīkāņām.' [The use of the expression 'husbands of city-women,' instead of city-men, suggests the extreme cleverness of the speaker, who is able to capture, not the ordinary men of the city, but those men of the city who have acquired much cleverness by their connection with the very clever ' city-women.'] In the sentence 'lovely was this Ksattriya boy,' the suggestion lies in the tense; it is said by the enraged Bhärgava with reference to Räma who has broken the bow of Shiva. [The suggestion by the use of the Past Tense being that the boy is as good as already killed by me and exists no more.] The following is an example of suggestion by num- ber- 'O beautiful one ! such has been the end of those appreciations of good qualities, of those longings, of that love and of those conversations !' What is suggested here (by the plural number in 'appreciations', 'longings' and ' conversations' and the singular number in ' love ') is that though the appreciation and the rest (which aroused the love) have been many

110 KĀVYAPRAKĀŚA

रे रे चञ्चललोचनान्चितरुचे चेतः प्रमुच्य स्थिर- प्रेमाणं महिमानमेणनयनामालोक्य किं नृत्यसि। किं मन्ये विहरिष्यसे बत हतां मुञ्चान्तराशामिमाम् एषा कण्ठतटे कृता खलु शिला संसारवारांनिधौ॥१०३॥ अत्र प्रहासः । पूर्वनिपातस्य यथा येषां दोर्बलमेव दुर्बलतया ते संमतास्तैरपि प्रायः केवलनीतिरीतिशरणैः कार्य किमुर्वीश्वरैः ।

and multifarious, the Love (aroused by them) is one and uniform. The following is an example of suggestion by the change of 'Person.' ' O thou my heart, in whom has been aroused a hanker- ing after the fickle-eyed woman ! Why dost thou relin- quish that exalted position of lasting devotion and begin to dance at the sight of the fawn-eyed one ? I think-you will dally ! Ah ! give up this despicable desire ; this is a piece of stone tied to one's neck in the ocean of the world.' Here ridicule (is suggested by the sudden change into the First Person in ' I think,'' manye,' according to Pānini's rule 1.4.106 whereby the First Person singular affix added to the root 'man' to 'think ' implies ridicule). The following is an example of suggestion by 'irre- gular priority.'- Those men who have only the strength of arms have been regarded as weak ; what useful work again can be done by those kings who take shelter in mere statesman- ship ? O terrestrial Indra ! Those who, like you, have

CHAPTER IV 111

ये क्ष्माशकर पुनः पराक्रमनयस्वीकारकान्तक्रमास् -- ते स्युर्नैव भवादृशास्त्रिजगति द्वित्रा: पवित्रा: परम् ॥१०४॥ अत्र पराक्रमस्य प्राधान्यमवगम्यते। विभक्तिविशेषस्य यथा प्रधनाध्वनि धीरधनुर्ध्वनिभृति विधुरैरयोधि तव दिवसम्। दिवसेन तु नरप भवानयुद्ध विधिसिद्धसाधुवादपदम् ।१०५।। अत्र दिवसेनेत्यपवर्गतृतीया फलप्राप्ति द्योतयति। भूयो भूयः सविधनगरीरथ्यया पर्यटन्तं दृष्टवा दृष्ट्वा भवनवलभीतुङ्गवातायनस्था। साक्षात्कामं नवमिव रतिर्मालती माधवं यत् गाढोत्कण्ठालुलितलुलितैर ङ्गकैस्ताम्यतीति ॥१०६॥ their actions guided by both valour and statesmanship (" parakramanaya"),-of those there may, or may not be, even two or three in all the three worlds !" Here the placing of 'parākrama' (valour) before 'naya' (statesmanship) in the compound [which is irregular in view of the rule that the shorter term should precede the longer] suggests the superior importance of Valour. Pradhanādhvani dhīradbanurdhvanibhrti vidhurairayodhi tava divasam. Divasena tu narapa bhavānayuddha vidhisiddhasādhuvādapadam. 'O protector of men ! in the battle resounding with the twanging of bows wielded by the brave, thy enemies fought all the day long; you, on the other hand, fought by the day in such a way as to win encomiums from all good men.' The Instrumental ending in ' divasena' (' by the day "), which denotes 'success' (according to Pānini 2.3.6)), suggests that the king addressed attained the object for which he fought. ' Seated in the high window of her mansion, whenever Malatī, who resembles Rati, sees Madhava, who is a new

112 KĀVYAPRAKĀŚA

अत्रानुकम्पावृत्तेः करूपतद्धितस्य। परिच्छेदातीतः सकलवचनानामविषयः पुनर्जन्मन्यस्मिन्ननुभवपथं यो न गतवान् । विवेकप्रध्वंसादुपचितमहामोहगहनो विकारः कोप्यन्तर्जडयति च तापं च कुरुते ।१०७॥ अत्र प्रशब्दस्योपसर्गस्य । कृतं च गर्वाभिमुखं मनस्त्वया किमन्यदेवं निहताश्च नो द्विषः । तमांसि तिष्ठन्ति हि तावदंशुमान् न यावदायात्युदयाद्रिमौलिताम् ।।१०८।। personification of the Love-god himself, passing by the adjacent highway, she suffers from her poor limbs (angakaib) being charmingly affected by deep longings.' Here the suggestion (of the fragility of the limbs due to the Erotic Passion) is made by the nominal affix ' Ka' (in 'angakaib') which signifies pitiableness. 'An indescribable feeling benumbs and inflames my heart,-a feeling above all measure and beyond all power of expression, which has never in this life come within the range of experience, and which, owing to the entire destruction ('pradhvamsat') of my discriminative faculty, has become deep and has brought about extreme stupor.' Here the suggestion ( of the Erotic in privation) is made by the prefix ' pra' (in ' pradhvamsat', which means entire). 'You turned your mind towards glory, and-what else ?- our enemies were destroyed [krtañcha garvā- bhimukham manastvayā ... nihatashcha no dvişab] ;- Darkness prevails only so long as the sun does not reach the crest of the Rising Mount.'

CHAPTER IV 113

अत्र तुल्ययोगिताद्योतकस्य 'च' इति निपातस्य । रामोसौ भुवनेषु विक्रमगुणैः प्राप्तः प्रसिद्धिं परा- मस्मदभाग्यविपर्ययाद्यदि परं देवो न जानाति तम्। बन्दीवैष यशांसि गायति मरुद्यस्यैकबाणाहति- श्रेणीभूतविशालतालविवरोद्गीणै : स्वरैःसप्तभिः ॥१०९॥

Here the suggestion of Heroic Passion is made by the Indeclinable ' cha' ('and'), which implies the figure of 'Equal Pairing ' [the simultaneity of the king's thinking of glory and the destruction of the enemies.] Rāmosau bhuvanesu vikramagunaib prāptab prasiddhim parām Asmadbhāgyaviparyayād yadi param devo na jānāti tam. Bandīvaişa yaśā msi gāyati marud yasyaikabāņāhati- Śrenībhūtavisālatālavivarodgīrņaih svaraih saptabhib. 'Through his valour and other excellences, this Rāma has attained great renown in the worlds ; through the reversal of our fortune, your majesty does not yet re- cognise him ; his fame is being sung, as if by a bard, by the wind, in all the seven notes of music issuing forth from the holes made by the stroke of a single arrow in the seven huge palm-trees standing in a line.' The passion of the Heroic is suggested here-(a) by the pronoun ' asau', 'this' (which indicates that the person is well-known), (b) by the basic noun ' bhuvanesu' ' in the worlds ' (which mean that the person's fame is not confined to any particular province or country), (c) by the number in 'gunaih' (which means that he is famous not only for one or two qualities but for many), (d) by the use of the term ' asmat' (our) in preference to ' tvat' (your) or 'mat' (mine) [in the compound ' asmadbhāgya' ... ], which implies that the misfortune is of all the persons 8

114 KĀVYAPRAKĀŚA

अत्रासाविति भुवनेष्विति गुणैरिति सर्वनामप्रातिपदिकवच- नानां न त्वदिति न मदिति अपि अस्मदित्यस्य सर्वाक्षेपिणः भाग्यविपर्ययादित्यन्यथासंपत्तिमुखेन न त्वभावमुखेनाभिधानस्य। तरुणिमनि कलयति कलामनुमदनधनुर्म्रुवोः पठत्यग्रे। अधिवसति सकलललनामौलिमियं चकितहरिणचलनयना ॥११०॥ अत्र इमनिजव्ययीभावकर्मभूताधाराणां स्वरूपस्य तरुणत्वे, इति धनुषः समीपे, इति मौलौ वसतीति त्वादिभिस्तुल्ये, एषां वाचकत्वे, अस्ति कश्चित् स्वरूपस्य विशेषो यश्चमत्कारकारी स एव व्यञ्जकत्वं प्राप्नोति।

concerned,-and (e) by the term ' bhāgyaviparyayāt,' ' reversal of fortune, ' which means that it is not only that we have no fortune or luck, but that our fortune has taken an entirely wrong turn. Tarunimani kalayati kalamanumadanadhanurbhruvoķ pathatyagre. Adhivasati sakalalalanāmaulimiyam chakitabariņachalana- Jana. 'On youthfulness being fully developed in vivacity, and the eye-brows having become instructed in liveliness under the guidance of Cupid's Bow, she with eyes unsteady like that of the fawn occupies the highest position among damsels.' Here the Erotic Passion is suggested by the form (a) of the ' imanich' affix (in ' tarunimani'), (b) of the Avyayi- bhava compound (' anumadanadhanuh'), (c) of the locative used accusatively (in ' maulim'). The expressed meaning of each of these would be exactly the same as that res- pectively of (a) ' tarunatve', with the nominal affix ' tva' (instead of 'imanich'), (b) ' madanadhanusah samīpe,' and

CHAPTER IV 115

एवमन्येषामपि बोद्धव्यम् । वर्णरचनानां व्यञ्जकत्वं गुणस्वरूपनिरूपणे उदाहरिष्यते अपिशब्दात् प्रबन्धेषु नाटकादिषु । एवं रसादीनां पूर्वगणितभेदाभ्यां सह षड् भेदाः । भेदास्तदेकपञ्चाशत् व्याख्याता: ॥ (c) ' maulau'; and yet there is something distinctly charm- ing in the use of the forms used by the poet ; and it is in these forms that there lies the said suggestiveness. Suggestion by other (parts of words) may be similarly explained. The suggestiveness of Letters and Style is going to be described in the section dealing with Qualities (under Chapter VIII). Thus, along with the two kinds previously enumerated, there are six varieties of Suggestion of Passion and the rest. [i. e. As suggested by (1) Sentence, (2) Word, (3) Part of Word, (-4) Style, (5) Letter and (6) Context]. Thus there are fifty-one varieties. These have been already described. (A) That where the expressed meaning is not intended has two varieties-(a) That in which the expressed meaning is transferred into another and (b) in which it is entirely ignored, and each of these belonging to word and meaning, make up Four varieties ;- (B) that where the expressed meaning is intended to be subservient to another, and the suggestive process is imperceptitle, belongs to word, sentence, part of word, style, letters and context, makes up six varieties ;- (c) The same where the suggestive process is perceptible has forty-one varieties as follows :- 2 varieties of that, based on word and each belong- ing to word and sentence, make four,-12 varieties of that based on meaning and each belonging to word, sentence and context, make thirty-six; and one variety of that based on both word and meaning; and 4+6+41 make 51.

116 KĀVYAPRAKĀŚA

तेषां चान्योन्ययोजने । ४३॥ संकरेण त्रिरूपेण संसृष्टया चैकरूपया। न केवलं शुद्धा एवैकपञ्चाशद्भेदा भवन्ति। यावत्तेषां स्वप्रभेदैरेकपञ्चाशता संशयास्पदत्वेनानुग्राहकतयैकव्यञ्जकानु- प्रवेशेन चेति त्रिविधेन संकरेण परस्परनिरपेक्षरूपयैकप्रकारया संसृष्टया चेति चतुर्भिगुणने। वेदखाब्धिवियच्चन्द्राः शुद्धभेदैः सह शरषुयुगखन्दवः॥ ४४।।

By the mutual combination of these, in the three forms of commixture and one form of uniform conjunction, they come to the number made up of (a) the Vedas (4), (b) the sky (0), (c) the oceans (4). (d) the sky (0) and the moon (1) [i. e. 10404]. There are not only the 51 simple varieties ; each of these 51 has its own 51 varieties, and each of these combines with the other in three ways (in which there is mutual dependency)-vix. (1) where it is doubtful which one is the predominant factor, (2) where one dis- tinctly helps the other (and is hence the predominant fac- tor, and (3) where both form part of a single suggestive factor-and also in one another way (in which both are independent of each other) ; and thus by multiplying by 4 the fifty-one times fifty-one varieties) the number be- comes 10404. These mixed varieties along with the (51) pure varie- ties make the number- made up of-(a) arrows (5), (b) arrows (5), (c) age-cycles (4), (d) sky (0) and (e) the Moon (1)-i. e. 10455.

CHAPTER IV. 117

तत्र दिङमात्रमुदाह्नियते। खणपाहुणिआ देअर जाआए सुहअ किंपि दे भणिआ। रुअइ पडोहरवलहीघरम्मि अणुणिञ्जउ वराई॥१११॥ अत्रानुनयः किमुपभोगलक्षणेर्थान्तरे संक्रमितः किमनुरण- नन्यायेनोपभोगे एव व्यङ्गये व्यञ्जकः इति संदेहः। स्निग्धश्यामलकान्तिलिप्तवियतो वेल्लद्बलाका घना: वाताः शीकरिणः पयोदसुहृदामानन्दकेकाः कलाः । कामं सन्तु दृढं कठोरहृदयो रामोस्मि सर्वं सहे वैदेही तु कथं भविष्यति ह हा हा देवि धीरा भव ॥११२॥

These are illustrated only partially- 'O brother ! Has the girl, a guest for the moment, been told something by your wife ? She is weeping behind the house ; go, console the poor creature '. Here it is doubtful whether the 'consoling' is meant to be transformed into something else, in the form of dalliance, (thus making the suggestion one of ' transferred denotation'), or it itself suggests, in the manner of an echo, the dalliance (making the suggestion one in which the expressed meaning, while applicable, is subservient to another meaning) ' The clouds have overspread the sky with dense black lustre, and are adorned with lines of cranes ; the wind is blowing in sprays ; there is joyous shrieking of the friends of clouds (Peacocks) .- Let all these be ! I am surely Rama of the hard heart and shall bear all ; but how will Vaidehi be keeping ? Ah ! O Lady, bear up with fortitude !' Here (a) in the terms ' overspread' and 'friends of clouds' we have the 'conjunction' (mutually indepen-

118 KĀVYAPRAKĀŚA

अत्र लिप्तेति पयोदसुहृदामिति च अत्यन्ततिरस्कृतवाच्ययोः संसृष्टिः । ताभ्यां सह रामोस्मीत्यर्थान्तरसंक्रमितवाच्यस्या- नुग्राहकभावेन रामपदलक्षणैकव्यञ्जकानुप्रवेशेन चार्थान्तरसं- ऋमितवाच्यरसध्वन्योः संकरः । एवमन्यदप्युदाहार्यम् ॥ इति काव्यप्रकाशे ध्वनिनिर्णयो नाम चतुर्थ उल्लासः ॥४॥

dent) of the two suggestions (where the expressed mean- ing is entirely ignored) ;- and (b) again with these two there is 'commixture' with the suggestion in the expression 'I am Rama', whose expressed meaning is transformed into something else (i. e. disregard for himself, who is known to be the receptacle of constant sufferings); in which commixture (of the second kind) the two factors help each other,-and another ' commixture' (of the third kind) of the suggestion (by the whole sentence) of the ' erotic in privation' and that (by the single word 'rāmaḥ') of 'self-abnegation', in both of which the Expressed meaning is transformed, and both of which form part and parcel of what is indicated by the single word ' ramab'. The other varieties may be similarly illustrated. 43-44. [Here ends the chapter IV entitled Description of Suggestion of the Kāvyaprakāśa.]

अथ पञ्चम उल्लासः

एवं ध्वनौ निर्णीते गुणीभूतव्यङ्गयप्रभेदानाह। अगूढ मपरस्याङ्गं वाच्यसिद्धयङ्गमस्फुटम्। सन्दिग्धतुल्यप्राधान्ये काक्वाक्षिप्तमसुन्दरम्॥ ४५॥ व्यङ्गयमेवं गुणीभूतव्यङ्गयस्याष्टौ भिदाः स्मृताः । कामिनीकुचकलशवत् गूढं चमत्करोति। अगूढं तु स्फुटतया वाच्यायमानमिति गुणीभूतमेव ।

CHAPTER V POETRY OF SUBORDINATE SUGGESTION

(POETRY OF INTERMEDIATE ORDER).

Suggestive Poetry having been described, the author proceeds to describe the varieties of 'Poetry of Subordinate Suggestion '- There are eight varieties of the Poetry of Subordinate Suggestion, according as the suggested meaning is-(1) obvious, (2) subservient to something else, (3) subservient to the accom- plishment of the 'expressed' meaning, (4) abstruse, (5) of doubtful prominence (in comparison to the expressed meaning), (6) of equal importance (with the expressed meaning), (7) rendered manifest by intonation, or (8) not beautiful. Like the breasts of a young girl, suggestion has a charm only while it is concealed; when it is not concealed, it becomes too obvious and hence as prosaic as the expressed meaning ; this is what is meant by its being ' subordinate'.

120 KĀVYAPRAKĀŚA

अगूढं यथा यस्यासुहृत्कृततिरस्कृतिरेत्य तप्त- सूचीव्यधव्यतिकरेण युनक्ति कणौं। काञ्चीगुणग्रथनभाजनमेष सोस्मि जीवन्न संप्रति भवामि किमावहामि ॥११३॥ अत्र जीवन्नित्यर्थान्तरसंक्र्मितवाच्यस्य। उन्निद्रकोकनदरेणुपिरशङ्गताङ्गा गायन्ति मञ्जु मधुपा गृहदीर्घिकासु। एतच्चकास्ति च रवेर्नवबन्धुजीव- पुष्पच्छदाभमुदयाचलचुम्बि बिम्बम् ।।११४।। अत्र चुम्बनस्यात्यन्ततिरस्कृतवाच्यस्य ।

(1) Example of obvious suggestion- 'In former times the taunts of an enemy always appeared in my ears like piercing hot needles,-and now that same I have been reduced to this position that I am entrusted with the work of knitting the girdle-zones of ladies ! Even though existing, I am not alive ! What can I do ?' Here the suggestion lies in the term 'existing,' which has its expressed meaning of 'living' transformed into some- thing else (i. e., ignominious existence) [ and this is too' obvious ' to be charming]. Another example- 'Among the house-hold pools, the black bees, are humming sweetly, their bodies rendered tawny with the dust of the full-blown red lotus ; and here shines the Sun, bright as the petals of the Bandhujiva flower, kissing the Rising Mount.' Here the suggestion of dawn lies in the term 'kissing',

CHAPTER V 121

अत्रासीत् फणिपाशबन्धनविधि: शक्त्या भवद्देवरे गाढं वक्षसि ताडिते हनुमता द्रोणाद्रिरत्राहृतः । दिव्यैरिन्द्रजिदत्र लक्ष्मणशरैरलोकान्तरं प्रापितः केनाप्यत्र मृगाक्षि राक्षसपतेः कृत्ता च कण्ठाटवी ॥११५॥(१) अत्र केनाप्यत्रेत्यर्थशक्तिमूलानुरणनरूपस्य । 'तस्याप्यत्र' इति युक्त: पाठः । अपरस्य रसादेर्वाच्यस्य वा (वाक्यार्थीभूतस्य) अङ्गं रसादि अनुरणनरूपं वा। यथा

which has its expressed meaning entirely ignored, [and this is too 'obvious '.] Another example- 'Here occurred the act of being bound in the serpentine noose ; here was the Drona mountain brought by Hanu- man when your younger brother-in-law was wounded by the missile in his chest ; here was Indrajit sent to the re- gions of the dead by the celestial arrows of Laksmana ; and O fawn-eyed one, here was cut down by some one the line of heads of the Demon-king.' Here the suggestion of the speaker himself lies in the term 'by some one', where the suggestive reverberation is based upon the force of the meaning. [And this is too 'ob- vious '.] 'Tasyapyatra' (of that) would be the better reading (in which case the suggestion would not be too obvious or subordinated). (2) Example of that Passion (Emotion and so forth) which is ' subservient to-a mere echo of-' something else '-i. e., of another Passion (Emotion and so forth), or of the expressed meaning, denoted by a sentence,-

122 KĀVYAPRAKĀŚA

अयं स रशनोत्कर्षी पीनस्तनविमर्दनः । नाभ्यूरुजघनस्पर्शी नीवीविस्रंसनः करः ॥११६॥ अत्र शृङ्गारः करुणस्य । कैलासालयभाललोचनरुचा निर्वर्तितालक्तक- व्यक्तिः पादनखद्युतिगिरिभुवः सा वः सदा त्रायताम् । स्पर्धाबन्धसमृद्धयेव सुदृढं रूढा यया नेत्रयोः कान्तिः कोकनदानुकारसरसा सद्यः समुत्सार्यंते ॥११७॥ अत्र भावस्य रसः । अत्युच्चा: परितः स्फुरन्ति गिरयः स्फारास्तथाम्भोधय- स्तानेतानपि बिभ्रती किमपि न क्लान्तासि तुभ्यं नमः ।

'This is that same hand which used to pull (my) girdle-zone, press the plump breasts, touch the navel, the thighs and the hips and loosen the cloth-knot.' Here the Erotic is 'subservient' to the Pathetic. [It is the speech of the wife of a hero in the Māhabharata war, addressed on seeing the dead body of her husband]. Another example- 'May the sheen of the foot-nails of Parvati ever protect you,-the red paint wherein has become heightened by the (red) light emanating from the eye on the forehead of Siva (who has fallen upon her feet for the purpose of propitiating her) ; and this sheen, urged by emulation as it were, speedily and steadily sets aside the red-lotus-like lustre of her eyes (by depriving them of the redness due to her anger which has ceased upon her husband falling at her feet)'. Here the Passion (Erotic) is ' subservient' to the Emo- tion (the poet's devotion to the goddess).

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आश्चर्यण मुहुर्मुहुः स्तुतिमिति प्रस्तौमि यावद्भुव- स्तावद्बिभ्रनदिमां स्मृतस्तव भुजो वाचस्ततो मुद्रिताः॥११८॥ अत्र भूविषयो रत्याख्यो भावो राजविषयस्य रतिभावस्य । बन्दीकृत्य नृप द्विषां मृगदृशस्ता: पश्यतां प्रेयसां श्लिष्यन्ति प्रणमन्ति लान्ति परितश्चुम्बन्ति ते सैनिकाः । अस्माकं सुकृतैदृ शोनिपतितोस्यौचित्यवारांनिधे विध्वस्ता विपदोखिलास्तदिति तैः प्रत्याथभिः स्तूयसे॥११९॥ अत्र भावस्य रसाभासभावाभासौ प्रथमार्धद्वितीयार्धद्योत्यौ।

Another example- "On all sides there rise these lofty mountains and wide-expanding oceans,-though thou bearest all these, yet thou feelest not the slightest fatigue,-all reverence to thee !"-While, struck with wonder, I was thus singing the praises of the Earth, I remembered your arm, O King, bearing, as it does, the burden even of this earth, and thereupon my speech became sealed'. The feeling of veneration for the earth is ' subservient' to the same feeling for the king. Another example- 'O King, your soldiers, having captured the fawn-eyes wives of your enemies, embrace them, court them, carry them about and kiss them, even while their husbands are looking on ;- and yet those same enemies of yours are praising you in the following strain-" O ocean of pro- priety, it is by virtue of our past good deeds that you have come before our eyes and all our troubles have been des- troyed."' The ' Aberration of the Passion ' (of the Erotic, appear- ing in the soldiers)-which is implied in the first half of the verse,-and the ' Aberration of the feeling ' of venera-

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ददृशे तव वैरिणां मदः स गतः क्वापि तवेक्षणे क्षणात् ॥१२०॥ अत्र भावस्य भावप्रशमः । साकं कुरङ्गकदृशा मधुपानलीलां कर्तु सुहृद्भिरपि वैरिणि ते प्रवृत्ते । अन्याभिधायि तव नाम विभो गृहीतं केनापि तत्र विषमामकरोदवस्थाम् ॥१२१॥ अत्र त्रासोदयः ।

tion (for the king, on the part of his enemies)-implied in the second half-are 'subservient' to the (poet's) feeling of veneration for the king. Another example- 'The haughtiness of your enemies was seen in the constant brandishing of swords, in the curvature of the eye-brows and in frequent roaring ; but at sight of you, it instantly disappeared'. The ' Allayment of the Feeling' (of pride) is sub- servient to the (poet's) feeling (of veneration for the king). Another example- 'On the occasion of your enemy setting about a drinking revelry in the company of the fawn-eyed girl and his friends,-your name, even though mentioned by some one in another connection, filled him with dis- tress'.

Here the 'appearance of the feeling of fear' (is subservient to the poet's feeling of veneration for the king).

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असोढा तत्कालोल्लसदसहभावस्य तपसः कथानां विश्रम्भेष्वथ च रसिक: शैलदुहितुः । प्रमोदं वो दिश्यात् कपटबटुवेषापनयने त्वराशैथिल्याभ्यां युगपदभियुक्तः स्मरहरः ॥१२२॥ अत्रावेगधैर्ययोः संधिः॥ पश्येत्कश्चिच्चल चपल रे का त्वराहं कुमारी हस्तालम्बं वितर ह ह हा व्युत्कमः क्वासि यासि। इत्थं पृथ्वीपरिवृढ भवद्विद्विषोरण्यवृत्तेः कन्या कंचित् फलकिसलयान्याददानाभिधत्ते ॥१२३।।

Another example- ' May the Destroyer of Kāma (Siva) ordain your happiness,-He who, being unable to bear any longer the zealousness of Parvati's austerities, and fondly grati- fied at her confidently loving manner of address, was seized simultaneously by both precipitancy and languor'. Here we have the 'Conjunction' of the feelings of Flurry and Equanimity, (which is ' subordinate' to the poet's feeling of devotion to the king). Another example- '"O impetuous one ! Some one might be looking ! Move aside .- What is the hurry ?- I a virgin !- Offer me the support of your arms .- Ah ! Ah ! this perverted order of things !- Where are you ? Whither are you going ?"-O Lord of the earth, thus does the daughter of your enemy who has retired to the forest address some man while she is collecting fruits and leaves'. Here there is the 'Commixture' of the feelings of Apprehension (' some one might be looking '), Calmness (' what is the hurry ?'), Remembrance (' I, a virgin'), Lan-

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अत्र श ङ्कासूयाधृतिस्मृतिश्रमदैन्यविबोधौत्सुक्यानां शबलता। एते च रसवदाद्यलंकाराः । यद्यपि भावोदयभावसंधिभाव- शबलत्वानि नालंकारतया उक्तानि तथापि कश्चित् ब्रूयादि- त्येवमुक्तम्। यद्यपि स नास्ति क्चिद्विषयः यत्र ध्वनिगुणीभूतव्यङ्गययोः स्वप्रभेदादिभिः सह संकर: संसृष्टिर्वा नास्ति तथापि प्राधान्येन व्यपदेशा भवन्तीति क्वचित्केनचिद्वयवहारः ।

guor (' offer me the support of your arms'), Depression (' Ah, ah '), Determination (' what a perverted order of things'), and Longing ('whither are you going ?'),- (which is ' subordinate ' to the poet's regard for the king). These [(1) Passion, (2) Feeling, (3) Aberration of Passion, (4) Aberration of Feeling, (5) Manifestation of Feeling, (6) Conjunction of Feeling and (7) Commixture of Feeling-as ' subordinate' to another Passion or Feel- ing] are what are known as the Figures of Speech [called (1) the Sentimental, (2) the Agreeable, (3) the Forcible, (4) the Quiescent, (5) Manifested Feeling, (6) Conjunct Feeling and (7) Commingled Feeling respectively]. Though as a matter of fact, 'Manifested Feeling', ' Conjunct Feeling ' and ' Commingled Feeling ' (the last three of those just mentioned) have nowhere been spoken of as 'Figures', yet, we have made the above assertion (including these also) in view of the possibility of some one describing them as such. Though there is no single case where there is no commixture of both 'Suggestive Poetry' and 'Poetry of Subordinate Suggestion ' and their respective varieties- where one or the other is the more prominent or where both are of equal importance [and hence no example can

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जनस्थाने भ्रान्तं कनकमृगतृष्णान्धितधिया वचो वैदेहीति प्रतिपदमुदश्रु प्रलपितम् । कृतालंकाभर्तुर्वदनपरिपाटीषुघटना मयाप्तं रामत्वं कुशलवसुता न त्वधिगता ॥१२४॥ अत्र शब्दशक्तिमूलानुरणनरूपो रामेण सहोपनानोपमेय- भावो वाच्याङ्गतां नीतः ।

be cited as a pure unmixed example of any one kind],-yet we classify the examples as of one or the other, according as one or the other happens to be the prominent factor ; and this is done in accordance with the principle that appellations are applied to things in accordance with what happens to be their most prominent element. [ Example of Suggested Figure subservient to the expressed meaning]- Janasthāne bhrāntam kanakamrgatrsnāndhitadbiyā Vacho vai-dehīti pratipadamudaśru pralapitam Kṛtā-lankābharturvadanaparipāțīsughațanā Mayāptam rāmatvam kuśalavasutā na tvadhigatā 'I wandered among men's haunts [in the Janasthãna for- est], with my mind blinded by a miragic solicitude for gold [by a desire for the golden deer] ;- at every step, with tearful eyes, I said the words " Please give me " [" O Vai- dehi ") ;- enough attempt was made by me at flattering the meanly rich people [I directed my arrows at the serried heads of the king of Lanka] ;- thus though I attained the position of Rama, yet I did not obtain perfect affluence [the mother of Kuśa and Lava, Sītā].' Here the similitude between the speaker and Rāma, which is suggested through the force of the reverberating

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आगत्य संप्रति वियोगविसंष्ठुलाङ्गी मम्भोजिनीं क्वचिदपि क्षपितत्रियामः । एतां प्रसादयति पश्य शनैः प्रभाते तर्न्वङ्गि पादपतनेन सहस्ररश्मिः ॥१२५॥ (२) अत्र नायकवृत्तान्तोर्थशक्तिमूलो वस्तुरूपो निरपेक्ष- रविकमलिनीवृत्तान्ताध्यारोपेणैव स्थितः ॥ वाच्यसिद्धयङ्गं यथा भ्रमिमरतिमलसहृदयतां प्रलयं मूर्छा तमः शरीरसादम् । मरणं च जलदभुजगजं प्रसह्य कुरुते विषं वियोगिनीनाम् ॥१२६॥

echo of the words (with double meanings), has been made subservient to the expressed meaning. [Since all that the suggested similitude does is to justify the assertion 'I have attained the position of Rama'.] [Example of the 'Suggestion of Fact' being made subservient to the expressed meaning]. ' See, O delicate lady, the Sun, having passed the night somewhere else, is propitiating the Lotus withered through separation from him, by falling at her feet.' Here the fact of the lover (propitiating his lady-love),- which is suggested by the force of the meaning of the word,-appears merely as an imposition upon (as lending additional charm to) the entirely different fact of the Lotus (blooming on the contact of the Sun's rays). (3) Example of ' suggestion subservient to the accom- plishment of the expressed meaning,'- ' The rain (poison) emanating from the serpent-like clouds forcibly brings about, in ladies separated from

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अत्र हालाहलं व्यङ्गयं भुजगरूपस्य वाच्यस्य सिद्धिकृत् । यथा वा गच्छाम्यच्युत दर्शनेन भवतः किं तृप्तिरुत्पद्यते किं त्वेवं विजनस्थयोर्हतजनः संभावयत्यन्यथा । इत्यामन्त्रणर्भाङ्गसूचितवृथावस्थानखेदालसाम् आश्लिष्यन् पुलकोत्कराञ्चिततनुर्गोपीं हरिः पातु वः ॥१२७॥३) अत्राच्युतादिपदव्य ङ्गयमामन्त्रणेत्यादिवाच्यस्य। एतच्चेकत्र एकवक्तृगतत्वेन अपरत्र भिन्नवक्तृगतत्वेनेत्य- नयोर्भेदः ॥ अस्फुट यथा

their lovers, vertigo, apathy, lassitude, insensibility, coma, stupefaction, physical prostration and death.' Here the suggestion of ' poison' only serves to com- plete the expressed meaning (serpent) of the term ' bhujaga.' Another example- "O Achyuta (Immovable One), I am going ; is any satisfaction to be obtained from merely looking at you ? In fact, if we remain together in this solitary place, wret- ched people will think quite otherwise ;"-after the cow- girl signified her depression and languor due to her futile stay by the special form of address, Krsna embraced her and the hairs on his body were thrilled ;- may Krsna, in this condition, protect you.' Here the suggestion (of unperturbability) made by the term ' achyuta' ('looking on' and so forth) only serves to help in the fulfilment of what is expressed by the expression "having signified .... form of address." The difference between the two examples just cited lies in the fact that the former consists of the speech 9

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अदृष्टे दर्शनोत्कण्ठा दृष्टे विच्छेदभीरता । नादृष्टेन न दृष्टेन भवता लभ्यते सुखम् ॥१२८॥(४) अत्रादृष्टो यथा न भवसि वियोगभयं च यथा नोत्पद्यते तथा कुर्या इति क्लिष्टम् ॥ संदिग्धप्राधान्यं यथा हरस्तु किंचित्परिवृत्तधैर्यश्चन्द्रोदयारम्भ इवाम्बुराशिः । उमामुखे बिम्बफलाधरोष्ठे व्यापारयामास विलोचनानि ॥१२९।५ अत्र परिचुम्बितुमैच्छदिति किं प्रतीयमानं किं वा विलोचनव्यापारणं वाच्यं प्रधानमिति संदेहः ।

of only one speaker (the poet) while the latter consists of the speeches of two persons (the poet and the cow- girl). (4) Example of the Abstruse Suggestion. ' While you are not seen, there is longing to see you, and when you are seen, there is fear of separation ; there is no comfort either on seeing you or not seeing you.' What is sugested here is that 'you should act in such a way that you may not remain unseen and yet there may be no fear of separation,'-and this is not very clear (abs- truse). (5) Example of the suggestion ' of doubtful promi- nence.'- 'Śiva, having his equanimity slightly perturbed, like the ocean at the appearance of the moon, directed his eyes towards Parvati's face with bimba-like lips.' Here it is doubtful whether prominence attaches to the suggested meaning that ' he wished to kiss her.' or to the expressed meaning that ' the eyes were turned towards the face.'

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तुल्यप्राधान्यं यथा ब्राह्मणातिक्रमत्यागो भवतामेव भूतये। जामदग्न्यस्तथा मित्रमन्यथा दुर्मनायते ॥१३०॥ (६) अत्र जामदग्न्यः सर्वेषां क्षत्रियाणामिव रक्षसां क्षणात् क्षयं करिष्यतीति व्यङ्गयस्य वाच्यस्य च समं प्राधान्यम्।। काक्वाक्षिप्तं यथा मथ्नामि कौरवशतं समरे न कोपात् दुःशासनस्य रुधिरं न पिबाम्युरस्तः ॥ संचूर्णयामि गदया न सुयोधनोरू संधिं करोतु भवतां नृपतिः पणेन ॥१३१॥ (७) अत्र मथ्नाम्येवेत्यादि व्यङ्गयं वाच्यनिषेधसहभावेन स्थितम् ॥ (6) Example of the suggestion ' of equal prominence '- 'To abandon insulting the Brähmanas will be conducive to your welfare ; otherwise your well-known friend Paraśurāma will become displeased.' Here the suggested meaning-' Paraśurāma will ex- terminate the Rāksasas in the same manner as he did the Ksattriyas '-and the directly expressed one [ that ' he will be angry ']-are both equally charming. (7) Example of suggestion 'rendered manifest by intonation,'- ' I shall not wrathfully batter the hundred Kauravas ! I shall not drink the blood from Duhśasana's heart ! I shall not smash Duryodhana's thighs ! Let your king make peace by an amicable settlement.' Here what is suggested is-' I shall surely batter etc., etc .; and this, appearis by the side of the negation (of battering &c.), which is directly expressed [is got at only through the peculiar intonation in which the words are uttered].

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असुन्दरं यथा वाणीरकुञ्जुड्डीणसउणिकोलाहलं सुणंतीए। घरकम्मवावडाए बहुए सीअन्ति अंगाइं ॥१३२॥ (८) अत्र दत्तसंकेतः कश्चिल्लतागहनं प्रविष्ट इति व्यङ्गयात् सीदन्त्य ङ्गानीति वाच्यं सचमत्कारम् ॥ एषां भेदा यथायोगं वेवतव्श्च पूर्ववत् ॥४६॥ यथायोगमिति "व्यज्यन्ते वस्तुमात्रेण यदालंकृतयस्तदा। ध्रुवं ध्वन्यङ्गता तासां काव्यवृत्तेस्तदाश्रयात् ।" इति ध्वनिकारोक्तदिशा वस्तुमात्रेण यत्रालंकारो व्यज्यते न तत्र गुणीभूतव्यङ्गयत्वम् ।

(8) Example of the ' not beautiful' suggestion- "When she heard the chatter of parrots flying from the Vetasa-bower, on account of her being engaged in her house-hold work, her limbs began to writhe.' Here the directly expressed meaning-that 'her limbs. are suffering (from her deep longing for her lover)' is more charming than the suggested meaning (that into the bower has entered a lover with whom she had made an engagement]. The varieties of these (eight kinds of Poetry of Sub-ordinate Suggestion should be understood to be, as far as possible, like those of what has gone before (i. e. Suggestive Poetry) .- (46). ' As far as possible.'-This has been added with a view to the fact that there is no 'subordination of suggestion' in a case where a Figure is manifested by a mere Fact ;- as has been declared by the author of the- Dhwani in the following passage-"Whenever Figures:

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सालङ्कारर्ध्वनेस्तैश्च योग:। संृणठठङ्करः । सालंकारैरिति तैरेवालंकारै: अलंकारयुक्तैश्च तैः। तदुक्तं ध्वनिकृता "स गुणीभूतव्यङ्गयैः सालंकारैः सह प्रभेदैः स्वैः। संकरसंसृष्टिभ्यां पुनरप्युद्दयोतते बहुधा ।।" इति । अन्योन्ययोगादेवं स्याद्भेदसंख्यातिभूयसी॥४७॥

of Speech are suggested by a mere Fact, they only serve the purpose of making it regarded as ' Suggestive Poetry '; because the existence of poetry rests upon those Figures (which, therefore, cannot be regarded as ' Subor- dinate ' to the expressed meaning). 46. There is a combination of ' Suggestive Poetry, with these (eight varieties of Poetry of Subordinate Suggestion) (a) as transformed into ' Figures' (the' sentimental,' the ' agreeable' and so forth), and also (b) as accompanied (embellished) by (other) Figures (directly expressed),-this combination being per subserviency as also per equality. The term ' salankaraib' is to be expounded as 'alankaraib'-' with these as themselves transformed into, assuming the character of, Figures of speech,'- and 'alankārayuktai, with those as embellished by other figures of speech.' The following declaration has been made by the author of the Dhvani :- ' This (Suggestive Poetry),-combining, per sub- serviency and per equality, with its own varieties, as also with the varieties of Poetry of Subordinate Suggestion, along with the Figure of Speech,-appears in many forms '. Thas by mutual combination the number of its varieties becomes very large .- (47).

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एवमनेन प्रकारेण अवान्तरभेदगणनेतिप्रभूततरा गणना। तथाहि-शृङ्गारस्यैव भेदप्रभेदगणनायामानन्त्यम्। का गणना तु सर्वेषाम्। संकलनेन पुनरस्य ध्वनेस्त्रयो भेदाः । व्यङ्गयस्य त्रिरूपत्वात्। तथाहि-किंचिद्वाच्यतां सहते किंचित्त्वन्यथा। तत्र वाच्यतासहम् अविचित्रं विचित्रं चेति। अविचित्रं वस्तुमात्रं विचित्रं त्वलंकार- रूपम्। यद्यपि प्राधान्येन तदलंकार्य तथापि ब्राह्मणश्रमण- न्यायेन तथोच्यते। रसादिलक्षणस्त्वर्थः स्वप्नेपि न वाच्यः ।

'Thus',-in the manner described,-by counting all the sub-divisions,-the number becomes very large ; e. g. the varieties of the Erotic Passion itself are endless,- not to speak of others. Thus, briefly, of Suggestive Poetry there are three varieties, there being three kinds of what is suggested (according as it happens to be a Fact or a Figure or Passion, Feeling and the rest) ;- of these again, some (i. e. Figure and Fact) are such as can be expressed also, while others (e. g. Passion and the rest) can never be expressed. Of those that can be also expressed, some are fanciful, while others are not fanciful ; what is not fanciful is the mere fact, and what is fanciful is the Figure .- Though, in this connection the Figure (when suggested) is really what is itself embellished (and hence cannot be called a ' figure', ' embellishment,' in the exact sense of the term), yet it is called by the name of' figure,' on the same principle as the Brähmana, who has become a mendicant and thereby has ceased to be a real Brāhmana, is still called a 'Brähmana' in view of his having formerly been a Brahmana. Passion and the rest, however, cannot be regarded even in a dream to

CHAPTER V 135

स हि रसादिशब्देन शृङ्गारादिशब्देन वाभिधीयेत। न चाभि- धीयते तत्प्रयोगेपि विभावाद्यप्रयोगे तस्याप्रतिपत्तेस्तदप्रयोगेपि विभावादिप्रयोगे तस्य प्रतिपत्तेश्चेत्यन्वयव्यतिरेकाभ्यां विभा- वाद्यभिधानद्वारेणैव प्रतीयते इति निश्चीयते। तेनासौ व्यङ्गय एव। मुख्यार्थबाधाद्यभावान्न पुनर्लक्षणीयः।

be directly expressed. If these were expressed, they could be so, either by the (generic) words 'rasa' (Passion) and the rest, or by the (particular) words 'śrngāra' (erotic) and the rest ; as a matter of fact they are not so expressed ; as is clear from the facts (a) that even though these words are used, the Passion and the rest are not cognised, so long as the excitants (ensuants and variants) are not mentioned, and (b) that even when those words are not used, if the excitants (ensuants and variants) are mentioned, there is due cognition of Passion and the rest ; and from these two premises-both affir- mative and negative-it follows that what brings about the cognition of these latter is the mention of the excitants (ensuants and variants) (and not any verbal expressions at all). It is for this reason that Passion and the rest can be only suggested, and not even indicated, because the necessary conditions of Indication,-such as incompatibility of the primary meaning and so forth-are wanting. Then again, it has been already explained how there can be no ' Indica- tion' without that kind of ' suggestion of Fact in which the expressed meaning is either transformed into some- thing else or entirely ignored. In that 'suggestion' which is based upon the force of the words, the denota- tion itself being restricted, any other that may be denoted,

136 KĀVYAPRAKĀŚA

अर्थान्तरसंक्रमितात्यन्ततिरस्कृतवाच्ययोर्वस्तुमात्ररूपं व्यङ्गयं विना लक्षणैव न भवतीति प्राक् प्रतिपादितम्। शब्दशक्तिमूले तु अभिधाया नियन्त्रणेनानभिधेयस्यार्थान्तरस्य तेन सहोपमा- देररंलंकारस्य च निर्विवादं व्यङ्गत्वम्। अर्थशक्तिमूलेपि विशेषे संकेतः कर्तु न युज्यते इति सामान्यरूपाणां पदार्थानामाकाङक्षा-संनिधि-योग्यतावशात्पर- स्परसंसर्गो यत्रापदार्थोपि विशेषरूपो वाक्यार्थस्तत्राभिहितान्वय- वादे का वार्ता व्यङ्गयस्याभिधेयतायाम्।

as also the Simile or any other figure of speech that may be perceptible, must doubtless be regarded as ' sugges- ted '. In cases of ' suggestion ' based upon the force of mean- ing also, how can there be any possibility of the ' sugges- ted' meaning being regarded as 'expressed' or ' deno- ted', when,-in accordance with the ' Abhihitānvaya' theory-what is expressed by a sentence is the mutual relationship among the denotation of the component words based upon their mutual need, proximity and capability ; and as such it must be confined to particular individuals, and hence cannot be ' denoted' by any single word, whose denotation must always pertain to Universals only, for the simple reason that convention, upon which alone ' deno- tation ' is based, can never pertain to particular individuals. [ 'Suggestion ' being shown to be inevitable according to the Bhatta theory of ' Abhihitanvaya,' the author proceeds to show that it must be accepted under the Prabhākara theory of ' Anvitabhidhana' also ; and for this purpose he sets forth this latter theory, as bearing upon the matter under consideration.]

CHAPTER V 137

यप्याहुः "शब्दवृद्धाभिधेयांश्च प्रत्यक्षेणात्र पश्यति । श्रोतुश्च प्रतिपन्नत्वमनुमानेन चेष्टया ।। १।। अन्यथानुपपत्त्या तु बोधेच्छकिति द्वयात्मिकाम् । अर्थापत्त्यावबोधेत संबन्धं त्रिप्रमाणकम् ॥२॥ इति प्रतिपादितदिशा देवदत्त गामानय इत्याद्युत्तमवृद्धवाक्य- प्रयोगाद्देशाद्देशान्तरं सास्नादिमन्तमर्थ मध्यमवृद्धे नयति सति अनेनास्माद्वाक्यादेवंविधोर्थः प्रतिपन्नः इति तच्चेष्टयानुमाय The upholders of the ' Anvitabhidhana' theory have offered the following explanation of the process of denotation :- (a) "The word, the experienced elderly man uttering it, and the object denoted by the word, these three things the young child perceives by his senses,-(b) that the young man to whom the word has been addressed has understood its meaning, he deduces by inference from the action of the young man,-(c) and the two-fold potency (of the word to denote and of the object to be denoted) he recognises by means of presumption based upon 'apparent inexplicability ;'-thus the denotative relationship (of the word and its meaning) is cognised through three means of cognition." -- According to this account what happens is that-(a) the elder person utters the words ' bring the cow,'-(b) upon which the younger person (to whom the words are add- ressed) is found to bring from one place to another an animal with the dewlap and other distinguishing features,- (c) the youngest person (the child) then deduces from this action that 'such and such a meaning has been under- stood by the younger person from the words that have been uttered' ;- (d) thus he comes to recognise the de-

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तयोरखण्डवाक्यवाक्यार्थयोरर्थापत्त्या वाच्यवाचकभावलक्षणं संबन्धमवधार्य बालस्तत्र व्युत्पद्यते। परतः चैत्र गामानय देवदत्त अश्वमानय देवदत्त गां नय इत्यादिवाक्यप्रयोगे तस्य तस्य शब्दस्य तं तमर्थमवधारयतीति अन्वयव्यतिरेकाभ्यां प्रवृत्ति- निवृत्तिकारि वाक्यमेव प्रयोगयोग्यमिति वाक्यस्थितानामेव

notative relationship subsisting between the said sentence and its meaning as one impartible whole, and thereby he himself comes to comprehend its signification ;- (e) after sometimes he hears such sentences as 'Chaitra, bring the cow,' ' Devadatta, bring the horse.' ' Devadatta, take away the cow,' and so forth, and thence deduces the mean- ing of the several words and expressions. Thus it is clear from positive as well as negative concomitance that what is really significant and hence capable of being used is the sentence only ; so that the denotative convention pertaining to each individual word is cognised only when it occurs in a sentence, and is connected with other words ; so that the meaning of the sentence consists only in the denotations of its component words as related to one another ; and it is not that each word expresses its own meaning and then these several meanings become correlated (through proximity etc.) ; though it is true that individual words when found to be used in other sentences become recognised as the same (as the one that was heard for the first time). Thus what forms the subject of denotative convention is the denotation of a single word only as correlated to the denotation of other words ; thus though, when the said convention comes to be com- prehended, it is comprehended in a particular form, yet this particular form is one that is always overshadowed

CHAPTER V 139

पदानामन्वितैः पदाथैरन्वितानामेव संकेतो गृह्यते इति विशिष्टा एव पदार्था वाक्यार्थः । न तु पदार्थानां वैशिष्टयम्। by the corresponding generic character (a notion of the particular being impossible without that of the corrrespond- ing universal) ; and this for the simple reason that those word-meanings that are inter-related are always of the said character (i. e., the particular over-shadowed by the universal)." According to this view also, the subject of Conven- tion is only such word-meaning as appears in a particular form, but over-shadowed by the corresponding universal ; from which it follows that when a word occurs in a sentence, what is denoted by it forms part of the denotation of the sentence as a whole, and as such what it expresses is some- thing that is very much restricted to an extremely specific form (in which it is correlated to the other words of the particular sentence) and this very specific form which is expressed by the word, not being the subject of convention (which appertains to particulars only as overshadowed by universals), cannot be regarded as directly 'denoted' by the word. And thus when the ordinary meaning of a word also cannot be ' denoted' by it, it is a far cry to what we hold to be the objects of ' suggestion,' which are totally different from the direct meaning of the words employed ;- e. g., in the verse ' The Sandal paint over thy breasts is entirely rubbed of ... thou hast not gone to that wretched man,' what is ' suggested' is that the person addressed has gone to the man, while the direct meaning of the words is quite the opposite. Thus it is found that-(a) according to the ' Abhi- bitānvayavāda', what is ' denoted' by the word is some-

140 KĀVYAPRAKĀŚA

यद्यपि वाक्यान्तरप्रयुज्यमानान्यपि प्रत्यभिज्ञाप्रत्ययेन तान्येवैतानि पदानि निश्चीयन्त इति पदार्थान्तरमात्रेणान्वितः पदार्थः संकेतगोचरः । तथापि सामान्यावच्छादितो विशेष- रूप एवासौ प्रतिपद्यते व्यतिषक्तानां पदार्थानां तथाभूतत्वादि- त्यन्विताभिधानवादिनः । तेषामपि मते सामान्यविशेषरूपः पदार्थः संकेतविषय इत्यतिविशेषभूतो वाक्यार्थान्तर्गतोसंकेतितत्वादवाच्य एव यत्र पदार्थः प्रतिपद्यते तत्र दूरे अर्थान्तरभूतस्य निःशेषच्युतेत्यादौ विध्यादेश्चर्चा । अनन्वितोर्थोभिहितान्वये पदार्थान्तरमात्रेणान्वित- स्त्वन्विताभिधाने अन्वितविशेषस्त्ववाच्य एव इत्युभयन येप्यपदार्थ एव वाक्यार्थः । यदप्युच्यते नैमित्तिकानुसारेण निमित्तानि कल्प्यन्ते इति। thing not correlated to anything else, and (b) according to the ' Anvitābhidhānavāda ', what is ' denoted' is some- thing only correlated in a general way with what is ex- pressed by other words ; so that in either case the parti- cular object as related to another particular object is what is never ' denoted'; and hence under both these theories the meaning of the sentence can never be the object of direct verbal denotation ' Some people have urged the following arguments (against the ' suggestion-theory ')-"In every case causes are inferred from their effects. So that when we find an expression producing a certain idea, we conclude that that expression is possessed of the potency necessary for ex- pressing that idea; consequently, whether the idea be expressed directly or indirectly, the fact remains that it has been expressed by the word ; and hence every case can be

CHAPTER V 141

तत्र निमित्तत्वं कारकत्वं ज्ञापकत्वं वा शब्दस्य। प्रकाशक- त्वान्न कारकत्वम्। ज्ञापकत्वं तु अज्ञातस्य कथम्। ज्ञातत्वंच संकेतेनैव स चान्वितमात्रे एवं च निमित्तस्य नियतनिमित्तत्वं यावन्न निश्चितं तावन्नैमित्तिकस्य प्रतीतिरेव कथम् इति 'नैमित्तिकानुसारेण निमित्तानि कल्प्यन्ते इत्यविचारिताभि- धानम्। regarded to be of the word expressing an idea ; and there is no ground for making any such distinction as that into ' expression', 'indication' and ' suggestion'." In answer to this we ask-What is meant by the word being the 'cause' here ? Does it mean that it produces the idea ? or that it makes it known ? It cannot be said to produce the idea, as what the word does is to give expression to an idea, it can never produce one. As regards its making (the idea) knonm, how can the power to do this belong to what is itself not known or understood ? [i. e. So long as the meaning of the word itself has not been understood, it cannot give expression to anything else.] As a matter of fact, the word itself can be understood only through convention; and this convention is (as shown above) only in regard to such words as are correlated to others. Thus then, so long as the precise extent of causal potency of the cause has not been ascertained, how can the cause itself be recognised as such ? So that the assertion that ' causes are inferred from their effects' is extremely ill-conceived. Others again urge the following argument-"The action of the word is like that of an arrow, its reach being prolonged further and further; so that in whatever sense a word may be used, that is the meaning expressed or de- noted by it. Thus then (even in the case of the verse 'the

142 KĀVYAPRAKĀŚA

ये त्वभिदधति सोयमिषोरिव दीर्घदीर्घतरो व्यापार: इति यत्पर: शब्दः स शब्दार्थः इति विधिरेवात्र वाच्य इति। तेप्यतात्पर्यज्ञास्तात्पर्यवाचोयुक्तेर्देवानांप्रियाः । तथाहि 'भूतभव्यसमुच्चारणे भूतं भव्यायोपदिश्यते' इति कारक- पदार्थाः क्रियापदार्थेनान्वीयमानाः प्रधानक्रियानिर्वर्तकस्व- क्रियाभिसंबन्धात् साध्यायमानतां प्राप्नुवन्ति। ततश्चा- दग्धदहनन्यायेन यावदप्राप्तं तावद्विधीयते। यथा ऋत्विक्प्रचरणे

sandal-paint has been entirely ...... thou hast not gone to that wretched man '), the affirmation (' thou bast gone',- which has been held to be the suggested meaning) is what is really only expressed or denoted by it." These ignorant people also do not understand what is meant by a word being 'used in a certain sense'. It is a well-established principle that ' when an accomplished entity (i. e., substance) is spoken of along with what is to be accomplished (i. e. an action), the former is mentioned as subserving the purposes of the latter; and according to this principle, when substantives become correlated to verbs (e. g. in the expression ' bring the cow '), they them- selves acquire the character of ' what is to be accompli- shed,' inasmuch as they have to be the substratum of their own action of walking which helps in the accomplishment of the principal action (of bringing) [as the bringing of the cow can be accomplished only when she herself does the walking]; and in this case (where the accomplished entity, cow, is tainted with the character of what is to be accom- plished, i. e. its walking), the direction in question ('bring the cow ') involves the injunction or predication of that factor alone which is not already accomplished. For' example in the case of the sentence-' The red-turbaned

CHAPTER V 143

प्रमाणान्तरात् सिद्धे "लोहितोष्णीषा ऋत्विजः प्रचरन्ति" इत्यत्र लोहितोष्णीषत्वमात्रं विधेयं हवनस्यान्यतः सिद्धेः "दध्ना जुहोति" इत्यादौ दध्यादेः करणत्वमात्रं विधेयम् ॥ क्वचिदुभयविधिः क्वचित्त्रिविधिरपि यथा 'रक्तं पटं वयः' इत्यादौ एकविधिद्विविधिस्त्रिविधिर्वा। ततश्च 'यदेव विधेयं तत्रैव तात्पर्यम्' इत्युपात्तस्यैव शव्दस्यार्थे तात्पर्य न तु प्रतीतमात्रे एवं हि 'पूर्वो धावति' इत्यादावपराद्यथपि क्वचित्ता- त्पर्यं स्यात्। priests move along,'-it being found that the ' moving of the priests' is already accomplished (through another injunction),-all that the sentence does is to enjoin that they shall wear red turbans. Similarly in the sentence ' one shall pour the libation of curds,' the pouring of the libation having been got at from other sources, this sen- tence enjoins that the libation is to be of curds. In some cases the injunction applies to two factors, and sometimes to three factors ; e. g., when one says ' weave the red cloth,' this may involve the injunction of one or two or three things. [ (a) If the direction is addressed to the weaver for the first time, it involves the injunction of (1) the weaving -of (2) the cloth-which (3) should be red (b) if the man has been previously told to weave, the injunction applies to (1) the cloth and (2) its red colour (c) if the weaving of the cloth has been enjoined before, the present injunction applies to the red colour only]. Thus every direction is said to 'have its sense' in the injunction of that particular factor only which forms its direct objective. So that the 'sense' or 'import' can apply only to what is directly expressed by the word ac- tually used, and not to anything and everything that may be implied (by it); otherwise (if everything implied were to

144 KĀVYAPRAKĀŚA

यत्तु 'विषं भक्षय मा चास्य गृहे भुङक्थाः' इत्यत्र 'एतद्गृहे न भोक्तव्यम्' इत्यत्र तात्पर्यमिति स एव वाक्यार्थ इति, उच्यते तत्र चकार एकवाक्यतासूचनार्थः न चाख्यातवाक्ययोद्वयोरङ्गा- ङ्विभाव इति विषभक्षणवाक्यस्य सुहृद्वाक्यत्वेनाङ्गता कल्प- नीयेति 'विषभक्षणादपि दुष्टमेतद्गृहे भोजनमिति सर्वथा मास्य गृहे भुङ् क्थाः' इति, उपात्तशब्दार्थे एव तात्पर्यम्। be included in the ' sense' or ' import' of a certain word, then) the expression ' the former man is running' would have to be regarded as having its ' sense' applying to the notion of the ' latter ' also [as the notion of the 'latter', is implied by that of the ' former,' which is the word pro- nounced]. Then again, it has been urged that in the case of the sentences, 'Eat poison, and don't eat in that man's house,' the sense is that 'you should not eat in that man's house,' and this is accepted as the meaning of the sentence [though it is only implied and not directly expressed]. But what happens in the case of this sentence is that the conjunctive particle 'and' indicates that the two sentences have to be construed together,-and as between the two sentences themselves, there can be no justification, (without sufficient reason) for taking one as subordinate to the other ;- but it is found that there is such reason in the shape of the fact that the admonition coming from a friend, the first sentence ' Eat poison ' (being incompatible, in its direct meaning) must be regarded as subordinate to the second one,-the meaning of the two sentences taken together being ' Eating in that man's house is worse than eating poison, therefore you should never eat in his house.' And when we accept this to be the sense or im- port of the sentence, it is only what is expressed by the

CHAPTER V 145

यदि शव्दश्रुतेरनन्तरं यावानर्थो लभ्यते तावति शब्दस्या- भिधैव व्यापार: ततः कथं 'ब्राह्मण पुत्रस्ते जातः ब्राह्मण कन्या ते गर्भिणी' इत्यादौ हर्षशोकादीनामपि न वाच्यत्वम्। कस्माच्च लक्षणा लक्षणीयेप्यर्थे दीर्घदीर्घतराभिधाव्यापारेणैव प्रतीतिसिद्धेः। किमिति च श्रुतिलिङ्गवाक्यप्रकरणस्थानसमाख्यानां पूर्वपूर्वबली- यस्त्वम् इत्यन्विताभिधानवादेपि विधेरपि सिद्धं व्यङ्गयत्वम्।।

words of the sentence itself (by Indication, if not by direct Denotation). [The distinction between such ' Indication' and the ' Suggestion " under dispute is that the indicated meaning is apprehended immediately from the words themselves, while what is suggested comes to be grasped. some time after the direct denoted meaning has been comprehended]. Further, if we were to accept the view that in regard to anything and everything that happens to be perceived on the hearing of a certain word, the action of the word is always 'Denotation' only,-then, in the case of the words 'O Brähmana, a son has been born to you-and your unmarried daughter is enciente '-why should not joy and dejection that become manifested on the face of the man to whom they are addressed be regarded as the mean- ing of the words ? 'Why too, in that case, admit of 'Indication' either (as a Secondary Verbal process) ? For in the case of' Indication ' also, the gradually extending reach of ' Denotation ' itself could account for the desired signification .- Why again should there be any gradually descending authority attaching to ' Direct Vedic Declara- tion', 'Indicative Power', ' Syntactical Connection', ' Con- text', 'Position' and ' Name' (as the means of ascertain- ing what accessory is subservient to what sacrificial act) ? From all this it follows that under the theory of the ' Anvitabhidhana' also, 'the affirmation (implied by the 10

146 KĀVYAPRAKĀŚA

किं च 'कुरु रुचिम्' इति पदयोवैपरीत्ये काव्यान्तर्वर्तिनि कथं दुष्टत्वम्। न ह्मत्रासभ्योर्थः पदार्थान्तरैरन्वितः इत्यनभिधेय एवेति एवमादि अपरित्याज्यं स्यात् । यदि च वाच्यवाचकत्वव्यतिरेकेण व्यङ्गयव्यञ्जकभावो नाभ्युपेयते तदासाधुत्वादीनां नित्यदोषत्वं कष्टत्वादीनामनित्य-

verse 'The sandal paint ...... thou hast not gone to the wretched man ') must be regarded as the object of sugges- tion.'

Further, in the case of the expression ' kuru ruchim' ('have the pleasure '), it has been held that if in a poem, the order of the two words is inverted, and we have the form ' ruchinkuru', it becomes defective [by reason of the unseemly suggestion by the word ' chinku,' which would be heard in the middle of the said expression, and which is the name of a private part of the female body] ;- now why should the said expression be defective ? [Even though a particular sound-combination may have an unseemly significance, yet] the unseemly meaning is not correlated to any other words of the expression ; and not being so correlated, it would be as good as not denoted (according to the view that there is no other verbal signification ex- cept ' denotation' and the denotation of a word must always be correlated to the denotation of other words) ; and thus there would be no ground for avoiding the use of such expressions as the one noted above (which are to be avoided only on account of the unseemly meaning suggested by the particular sound-combination). Then again, if the suggestive process be not accepted as distinct from the denotative process, it would be im-

CHAPTER V 147

दोषत्वमिति विभागकरणमनुपपन्नं स्यात्। न चानुपपन्नं सर्वस्यैव विभक्ततया प्रतिभासात्। वाच्यवाचकभावव्यतिरेकेण व्यङ्गयव्यञ्जकताश्रयणे तु व्यङ्गयस्य बहुविधत्वात् क्वचिदेव कस्यचिदेवौचित्येनोपपद्यत एव विभागव्यवस्था ॥ 'द्वयं गतं संप्रति शोचनीयतां समागमप्रार्थनया कपालिनः ।'

possible to make any such distinction among 'Defects' as that ' grammatical mistake' and others like it are per- manent defects (always defective), while ' Harshness 'and the like are impermanent defects (sometimes defective and sometimes not so). [Harshness is regarded as an excellence when occurring in words depicting the Heroic Passion, but a defect in those portraying the Pathetic; and the reason for this lies in the idea that the suggestions made by the harsh sounds are helpful in the delineation of Heroism, but mar the effect of the Pathetic Passion. There is no difference in the denotation or expressed meaning of a word, be its letters harsh or sweet. Hence if denotation were the only verbal process, there could be no ground for regarding the mere sound as either helpful or preju- dicial to the sentiment depicted.]

And yet we know that such distinction is not impossible; in fact we find such distinction made by all men. If, on the other hand, the suggestive process is accepted as dis- tinct from the denotative, the suggested meaning of words being manifold, some of these only may be appropriate in a certain instance ; and as such the said distinction (among defects) would be quite permissible. Then again in the line-'The brilliant digit of the Moon and Thyself (Pärvati), who art like moon-light to the eyes of people, are the two things that have become pitiable by reason of seeking association with the Holder

148 KĀVYAPRAKĀŚA

इत्यादौ पिनाक्यादिपदवैलक्षण्येन किमिति कपाल्यादि- पदानां काव्यानुगुणत्वम् । अपि च वाच्योर्थः सर्वान् प्रतिपत्त्न् प्रति एकरूप एवेति नियतोसौ। न हि 'गतोस्तमर्कः' इत्यादौ वाच्योर्थः क्वचिदन्यथा भवति। प्रतीयमानस्तु तत्तत्प्रकरणवक्तृप्रतिपत्त्रादिविशेष- सहायतया नानात्वं भजते। तथा च 'गतोस्तमर्कः' इत्यतः सपत्नं प्रत्यवस्कन्दनावसर इति अभिसरणमुपक्रम्यतामिति प्राप्तप्रायस्ते प्रेयानिति कर्मकरणान्निवर्तामह इति सांध्यो

of the Begging-bonl (Siva),'-what is that peculiar charm that is added by the use of the particular name ' kapalin' (Holder of the Begging-bowl), in preference to such other names as 'Pinākin' (Holder of the Pināka bow) ? [Both ' Kapalin' and ' Pinakin ' are the names of Siva; so that there is no difference in their denotation ; and yet there is a peculiar charm in the use of the former name, which lies in its suggestion of poverty, which heightens the ' pitiable' character spoken of]. Further, the denoted meaning of a word is one and the same for all persons bearing it ; so that it is fixed and uniform ; the denoted or directly expressed meaning of the words 'the sun has set' never varies (is fixed), while its sug gested meaning varies with the variation in such accessory conditions as the context, the character of the speaker, the character of the person spoken to, and so forth. For instance, the words 'the sun has set' suggests (1) the idea that 'now is the opportunity to attack the enemy' (when they are addressed by the general to the king) ;- (2) that you should set forth to meet your lover' (when addressed by the confidant to the girl in love),-(3) that 'your lover is just coming' (when addressed by a friend

CHAPTER V 149

विधिरुपक्रम्यतामिति दूरं मा गा इति सुरभयो गृहं प्रवेश्यन्ता- मिति संतापोधुना न भवतीति विक्रेयवस्तूनि संह्नियन्तामिति नागतोद्यापि प्रेयानित्यादिरनवधिर्व्यङ्गयोर्थः तत्र तत्र प्रतिभाति।

वाच्यव्यङ्गययोः निःशेषेत्यादौ निषेधविध्यात्मना "मात्सर्यमुत्सार्य विचार्य कार्यमार्याः समर्यादमुदाहरन्तु। सेव्या नितम्बाः किमु भूधराणामुतस्मरस्मेरविलासिनीनाम्॥१३३"

to a girl who is eagerly awaiting the arrival of her lover),- (4) that ' we shall rest from our labours ' (when addressed by one labourer to another),-(5) 'let us betake ourselves to our twilight prayers' (when addressed by one religious student to another),-(6) ' don't go very far' (when add- ressed to a way-farer),-(7) 'let the cows enter their fold' (when addressed to the cowherd),- (8) ' we shall not suffer from heat now ' (when addressed by one way- farer to another),-(9) 'let us pack up our merchandise' (when addressed by one salesman to another),-(10)' my love has not come even to-day ' (when spoken by an impatient girl waiting for her beloved's return from a journey) ; thus, in fact, there is no end to the number of suggested meanings. As a matter of fact, the suggested and the expressed mean- ings differ on the following (seven) points :- (1) In point of character :- e. g., (a) in the verse ' the sandal-paint is entirely rubbed out ... thou hast not gone to the wretched man', the expressed meaning is negative, while the suggested one is affirmative (' thou hast gone') .- (b) Or in the verse-' you noble men, give up all partiality and after due consideration say whether one should have

150 KĀVYAPRAKĀŚA

इत्यादौ संशयशान्तशृङ्गार्यन्तरगतनिश्चयरूपेण, "कथमवनिप दर्पो यन्निशातासिधारा- दलनगलितमूर्ध्ना विद्विषां स्वीकृता श्रीः। ननु तव निहतारेरप्यसौ कि न नीता त्रिदिवमपगताङ्गवेल्लभा कीर्तिरेभिः ॥१३४॥" इत्यादौ निन्दास्तुतिवपुषा स्वरूपस्य । पूर्वपश्चाद्भावेन प्रतीते: कालस्य शब्दाश्रयत्वेन शब्दतदेक- देशतदर्थवर्णसंघटनाश्रयत्वेन च आश्रयस्य शब्दानुशासन- ज्ञानेन प्रकरणादिसहायप्रतिभानैर्मल्यसहितेन तेन चावगम इति

recourse to the outskirts of mountains or to the waists of beautiful women smiling with love,'-the expressed meaning is the mere doubt (whether one should have re- course to the one or the other), while what is suggested is the definite assertion, that 'one should have recourse to women' (when the speaker or the person addressed is inclined to be erotic),-or that ' one should retire to the mountains' (when the persons concerned are of the quietistic temperament) .- (c) Or again, in the verse- ' why should you feel proud of your having appropriated to yourself the property of your enemies, whose heads were cut off by the sharp edge of your sword ? When you had killed your enemies, was not your Fame, so loved of you, been taken away to heaven by those enemies, even when they had lost their bodies ' ;- what is expressed is reproach, while what is suggested is praise. (2) In point of times :- The suggested meaning is comprehended after the expressed meaning. (3) In point of the conveying medium :- The expressed meaning is conveyed by the word, while the suggested meaning may be conveyed by the word, by a part of the

CHAPTER V 151

निमित्तस्य बोड्धमात्रविदग्धव्यपदेशयोः प्रतीतिमात्रचमत्कृ- त्योश्च करणात् कार्यस्य "गतोस्तमर्कः" इत्यादौ प्रदशितनयेन संख्याया:

"कस्स व ण होइ रोसो दट्ठूण पिआइ सव्वणं अहरं। सभमरपडमग्घाइणि वारिअवामे सहसु एण्हिं ।१३५।।"

word, by the expressed meaning of the word, by the letters, and by the style. (4) In point of the means (of knowing) :- The expressed meaning is understood with the help of grammatical rules, while the suggested meaning is understood with the help of those as also with that of context and other conditions (described above). (5) In point of their effects :- The expressed meaning brings about a simple comprehension and that also in every one who hears the word, while the suggested meaning brings about a certain charm in the minds of such persons as are entitled to the name of ' cultured'.

(6) In point of number :- As has been found in the case of the expression ' the sun has set' (where the expressed meaning is one only and the suggested meanings are ten or more). (7) In point of the person addressed :- In the verse- 'who will not be annoyed at seeing the lips of his wife bitten ? I warned you not to smell the lotus with the bee inside it !'-while the expressed meaning is conveyed to the girl-friend [who, on appearing before her husband, has her lips bearing the mark of her paramour's kiss, and feels disconcerted at the husband's notice of it,] while the suggested meaning (that the mark on the lips of my friend

152 KĀVYAPRAKĀŚA

इत्यादौ सखीतत्कान्तादिगतत्वेन विषयस्य च भेदेपि यद्येकत्वम् तत् क्वचिदपि नीलपीतादौ भेदो न स्यात्। उक्तं हि "अयमेव हि भेदो भेदहेतुर्वा यद्विरुद्धधर्माध्यासः कारण- भेदश्च" इति। वाचकानामर्थापेक्षा व्यञ्जकानां तु न तदपेक्षत्वमिति न वाचकत्वमेव व्यञ्जकत्वम्। कि च "वाणीरकुडंगु-"इत्यादौ प्रती- यमानमर्थमभिव्यज्य वाच्यं स्वरूप एव यत्र विश्राम्यति तत्र

is one made by the sting of the bee in the lotus, and not by a man's kiss) is conveyed to the husband. Even when differing in so many points, if the two are to be regarded as one and the same, then there can be no difference at all, even in the case of such things as the blue and the yellow colour and so forth. In fact, it has been declared that-"The difference, or the ground of difference, (between any two things) consists in their having contrary properties and in having different causes ' [and both these conditions are fulfilled in the case of the ex- pressed and suggested meanings] Then again, purely denotative or expressive words require (in the act of denoting their meaning) the aid of an actually existent meaning (fixed by convention), while suggestive words do not stand in need of any such meaning (as suggestion very often lies in mere letters or syllables, which have no meaning at all). For this reason also suggestive- ness cannot be the same as denotativeness. Further, in the verse quoted above-'Hearing the chattering of parrots in the Vetasa bower etc.,'-where, it has been shown, the expressed meaning rests within itself after having signified the suggested meaning,-and which, on that account, has been regarded as an instance

CHAPTER V 153

गुणीभूतव्य ङ्गयेतात्पर्यभूतोप्यर्थः स्वशब्दानभिधेयः प्रतीतिपथ- मवतरन् कस्य व्यापारस्य विषयतामवलम्बतामिति। ननु 'रामोस्मि सर्व सहे' इति 'रामेण प्रियजीवितेन तु कृतं प्रेम्ण: प्रिये नोचितम्' इति 'रामोसौ भुवनेषु विक्रमगुणैः प्राप्तः प्रसिद्धि पराम्' इत्यादौ लक्षणीयोप्यर्थो नानात्वं भजते विशेषव्यपदेशहेतुश्च भवति। तदवगमश्च शव्दार्थायत्तः प्रकर- णादिसव्यपेक्षश्च इति कोयं नूतनः प्रतीयमानो नाम।

of ' subordinated suggestion, '-it is found that a meaning, which is not denoted by the words and which does not fall within their import, is yet brought within the range of cognizance ;- and under what operation of the word would the meaning thus cognised fall (if Suggestion is not ad- mitted) ? [ The following question is raised by one who admits of 'Indication' as distinct from 'Denotation', but does not accept 'Suggestion. ']-"In such instances as (a) ' I am Räma and shall bear everything', (b) ' O beloved one, Räma is so fond of his life that he has not done what befits love', and (c) ' This Rama has attained high fame for the excellence of his valour ' and so forth, we find that the 'indicated ' meaning (of the single word ' Rāma') is mani- fold and also capable of having the several peculiar appella- tions [' with the expressed meaning transformed', ' with the expressed meaning entirely ignored' and others that have been described above as pertaining to 'suggestion' and 'suggested meaning '],-the comprehension also of such 'indicated' meaning is based (like that of the ' suggested' meaning) upon both words and meanings, and is also dependent upon context and other conditions ; so that (all these conditions being fulfilled by the ' Indicated' mean-

154 KĀVYAPRAKĀŚA

उच्यते-लक्षणीयस्यार्थस्य नानात्वेपि अनेकार्थशब्दाभि- धेयवन्नियतत्वमेव। न खलु मुख्येनार्थेनानियतसंबन्धो लक्षयितुं शक्यते। प्रतीयमानस्तु प्रकरणादिविशेषवशेन नियत संबन्धः अनियतसंबन्ध: संबद्धसंबन्धरच द्योत्यते। न च "अत्ता एत्थ णिमज्जइ एत्थ अहं दिअहए पलोएहि। मा पहिअ रत्तिअन्धअ सेज्जाए मह णिमज्जहिसि ॥१३६॥" ing), what is this new kind of meaning that is called 'suggested' ?" Our answer to this is as follows :- Firstly, even though a word may have several ' indi- cated' meanings, yet their number must be limited, just like the expressed meaning of a word which has many meanings .- Secondly, what is 'indicated' can never be such as has no definite connection with the primary (denoted) meaning, while the ' suggested' meaning, under the influence of ' context' and other circumstances, may have a definite connection (with the expressed meaning), or it may have only an indefinite (vague) connection with it, or it may be only indirectly connected (being connected with something else which is connected with the expressed meaning) .- Thirdly, the primary (expressed) meaning is not 'barred' by (incompatibility) in the case of 'suggestion', in such instances as-' my mother-in-law lies here, and here myself, mark this well while there is daylight ; lest, O wayfarer, you tumble into our beds at night' ;- so that (the very first condition of 'Indication' being wanting) how can this be regarded as a case of ' Indication' ?- Fourthly, it has been already shown (under Chapter II) that in the process of 'Indication' also, 'Suggestion' comes in as an essential factor.

CHAPTER V 155

इत्यादौ विवक्षितान्यपरवाच्ये ध्वनौ मुख्यार्थबाधः । तत्कथमत्र लक्षणा। लक्षणायामपि व्यञ्जनमवश्यमाश्रयितव्य- मिति प्रतिपादितम् । यथा च समयसव्यपेक्षा अभिधा तथा मुख्यार्थबाधादित्रय- समयविशेषसव्यपेक्षा लक्षणा। अत एवाभिधापुच्छभूता सेत्याहुः। न च लक्षणात्मकमेव ध्वननं तदनुगमेन तस्य दर्शनात्। न च तदनुगतमेव अभिधावलम्बनेनापि तस्य भावात्। न चोभयानु- सार्येव अवाचकवर्णानुसारेणापि तस्य दृष्टेः। न च शब्दानुसार्येव अशब्दात्मकनेत्रत्रिभागावलोकनादिगतत्वेनापि तस्य प्रसिद्धेः इति अभिधातात्पर्यलक्षणात्मकव्यापारत्रयातिवर्ती ध्वननादिपर्यायो व्यापारोनप ह्ववनीय एव ।।

-Fifthly, just as 'Denotation' is dependent upon convention, so is 'Indication' also upon the particular convention relating to the three conditions of 'the primary meaning being barred' and the rest (described under Chapter II); and it is on this account that 'Indication' has been called the ' tail of Denotation.' [ Hence it is just as impossible for 'Suggestion' to be included under ' Indication' as under' Denotation.']- Sixthly, 'Suggestion' is not exactly of the nature of ' Indication ', because in some cases Suggestion follows on the wake of Indication ; nor indeed does Suggestion always follow on the wake of Indication, as in several instances Suggestion is based upon Denotation itself nor again is Suggestion always based upon these two ; (Denotation and Indication), as it is found to emanate even from mere letters and syllables which do not ' denote ' anything at all,-or even from such entirely non-verbal sources as side-long glances and other mere gestures.

156 KĀVYAPRAKĀŚA

तत्र "अत्ता एत्थ" इत्यादौ नियतसंबन्धः "कस्स व ण होइ रोसो" इत्यादौ, अनियतसंबन्धः । "विपरीअरए लच्छी बम्हं दटठूण णाहिकमलट्ठं। हरिणो दाहिणणअणं रसाउला झत्ति ढक्केइ॥१३७॥" इत्यादौ संबद्धसंबन्धः । अत्र हि हरिपदेन दक्षिणनयनस्य सूर्यात्मकता व्यज्यते। तन्निमीलनेन सूर्यास्तमयः। तेन पद्मस्य संकोचः । ततो ब्रह्मणः स्थगनम्। तत्र सति गोप्या ङ्गस्यादर्शनेन अनिर्यन्त्रणं निधुवनविलसितमिति। From all this it follows that we cannot reject ' Sugges- tion' as a process which functions far beyond the three processes of 'Denotation', 'Import' and ' Indication'. (a) In the verse referred to above-' my mother-in- law lies here &c.'-the 'suggested' meaning is one that bars a definite relationship (to the expressed meaning); (b) while in the verse 'who will not get annoyed etc., (quoted above) the relationship is extremely vague and (c) in the following verse- ' On the occasion of ...... when Laksmi saw Brahma seated on the naval-lotus of her husband, she, being too immersed in her passion, closed the right eye of Visnu (her husband)', -the suggested meaning is related to the expressed indirectly through something else related to it ; e. g. the term ' Hari' (Visnu) suggests the fact of his right eye being the Sun (the Sun and the Moon being described as the two eyes of Visnu), hence the closing of that eye signifies sunset, which signifies the closing of the lotus and the consequent hiding of Brahma seated upon it, which, lastly, suggests the fact that her secret parts being rendered invisible to anyone, her pleasure would con- tinue unmolested.

CHAPTER V 157

'अखण्डबुद्धिनिर्ग्राह्यो वाक्यार्थ एव वाच्यः वाक्यमेव च वाचकम्' इति येप्याहुः तैरप्यविद्यापदपतितैः पदपदार्थकल्पना कर्तव्यैवेति तत्पक्षेप्यवश्यमुक्तोदाहरणादौ विध्यादिर्व्यंङ्गय एव। ननु वाच्यादसंबद्धं तावन्न प्रतीयते यतः कुतश्चित् यस्य कस्यचिदर्थस्य प्रतीतेः प्रसङ्गात् । एवं च संबन्धात् व्यङ्गय-

Others again (the Vedantins) have held the view that -- "It is the meaning of the sentence which, comprehended through a single indivisible cognition, is what is ' ex- pressed' or ' denoted', and it is the sentence alone that is denotative". But even these men, when they descend to the regions of 'Illusion', have to take into account 'words' and ' meanings of words'; so that according to these people also, in the examples cited above '('The sandal-paint over thy breasts has been ...... thou hast not gone to that wretched man ') the affirmation and such other meanings must be regarded as being ' suggested'. [The logician starts off with another objection to the 'Suggestion theory ']-"What is suggested is not some- thing entirely unconnected with the expressed meaning ; if it were, then anything could be suggested by any word, without any restriction. In view of some such connection being essential, there can be no suggestiveness in the absence of some restrictive relationship ; and thus what really happens in the case of ' Suggestion' is that there is (1) a constant relation (between the suggested and the sug ges- ter), (2) the relation is such that the suggester is never con- comitant with the contrary of the suggested, and (3) the suggester subsists in the suggested ; so that the suggester fulfilling the three conditions of the ' Inferential Problems',

158 KĀVYAPRAKĀŚA

व्यञ्जकभावोप्रतिबन्धेवश्यं न भवतीति व्याप्तत्वेन नियतधर्ममिनिष्ठत्वेन च त्रिरूपाल्लिङ्गाल्लिं्िज्ञानमनुमानं यत् तद्रूप: पर्यवस्यति। तथाहि- "भम धम्मिअ वीसद्धो सो सुणओ अज्ज मारिओ तेण। गोलाणइकच्छकुडंगवासिणा दरिअसीहेण ।१३८॥" अत्र गृहे श्वनिवृत्त्या भ्रमणं विहितं गोदावरीतीरे सिंहोप- लब्धेरभ्रमणमनुमापयति। यत् यत भीरुभ्रमणं तत्त्ङ्गयकारण- निवृत्त्युपलब्धिपूर्वकं गोदावरीतीरे सिंहोपलब्धिरिति व्यापकविरुद्धोपलब्धिः । अत्रोच्यते-भीरुरपि गुरोः प्रभोर्वा निदेशेन प्रियानुरागेण अन्येन चैवंभूतेन हेतुना सत्यपि भयकारणे भ्रमतीत्यनैकान्तिको

our knowledge of the suggested meaning comes to be purely inferential in character. For instance, in the following verse-'My good man, roam about as you choose ; the dog has been killed by the lion living in the cave of the banks of the Godavari',-what is advised is the safety of roaming about due to the removal of the dog from the house, and this leads to the inference of the danger involved in wandering on the banks of the Godavari, by reason of the presence of the lion. The ' roaming of a coward' is invariably concomitant with the certainty of ' the ab- sence of all cause of fear' ;- on the banks of the Godā- vari ' the cause of fear ' is present ; and so this ' presence' is the contrary of the aforesaid ' absence' with which the said roaming is invariably concomitant. Hence the said ' presence ' leads to the deduction of what is contrary to the aforesaid 'roaming', i. e. the impropriety of roaming". Our answer to the above is as follows :- (a) As a matter of fact, even a coward is found going to places where

CHAPTER V 159

हेतुः शुनो बिभ्यदपि वीरत्वेन सिंहान्न बिभेतीति विरुद्धोपि गोदा- वरीतीरे सिंहसद्भावः प्रत्यक्षादनुमानाद्वा न निश्चितः। अपि तु वचनात्। न च वचनस्य प्रामाण्यमस्ति। अर्थेनाप्रतिबन्धादित्य- सिद्धश्च तत्कथमेवंविधाद्धेतोः साध्यसिद्धिः। तथा "निःशेषच्युत-"इत्यादौ गमकतया यानि चन्दनच्यवना- दीन्युपात्तानि तानि कारणान्तरतोपि भवन्ति। अतश्चात्रैव स्नान-

there is danger, under certain circumstances, such as by - the order of his preceptor or master, under the influence of his love for his beloved ; so that the inferential pro- bans (premise) is 'inconclusive ' (the ' coward's roaming ' being not invariably concomitant with the ' absence of danger ');(b) and again, it is possible that the person addressed may be a brave man who, even though fearing the dog, would not fear the lion, and thus the premise is also 'contradictory' (the ' presence of the lion' not nece- ssarily involving the impossibility of the 'fearing man' not roaming that way) ;- (c) further,' the presence of the lion ' on the banks of the Godavari is not something known either by direct Perception or by Inference, it is learnt only from the words (of the speaker), and since no reliability belongs to the mere word (of a stray person), until it has been found to be consonant with facts, the probans is 'unknown' also .- Thus the probans being vitiated by three fallacies, how can it lead to any valid inference of the conclusion ?- Further, in the case of the verse ' the san- dal-paint over thy breasts has been entirely rubbed out ...... thou hast not gone to the wretched man', the marks- rubbing out of the sandal-paint and so forth-which have been set forth as suggestive (of the conclusion ' thou hast gone ') are such as could be brought out by (and hence be indicative of) other circumstances also ; in fact even in

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कार्यत्वेनोक्तानीति नोपभोगे एव प्रतिबद्धानीत्यनैकान्तिकानि। व्यक्तिवादिना चाधमपदसहायानामेषां व्यञ्जकत्वमुक्तम्। न चात्राधमत्वं प्रमाणप्रतिपन्नमिति कथमनुमानम् । एवंविधा- दर्थादेवंविधोर्थ उपपत्त्यनपेक्षत्वेपि प्रकाशते इति व्यक्तिवादिनः पुनस्तत् अदूषणम् ॥ इति काव्यप्रकाशे ध्वनिगुणीभूतव्य ङ्गयसंकीर्णभेदनिर्णयो नाम पञ्चम उल्लास: ।५।।

the verse itself they are described as brought about by bathing ; so that they are not invariably concomitant with the ' dalliance ' (of the person addressed, which is held to be suggested). According to the upholder of the ' Suggestion ' theory, on the other hand, the said suggestion has been explained as brought about by the marks described, through the aid of the epithet ' wretched' (applied to the lover, which suggests his infidelity in having dallied with the messen- ger) .- Nor could this ' wretchedness' be made the basis of any Inference, for the simple reason that it is not some- thing that is already cognised through any (other) valid means of cognition. As for the fact thut a certain set of words gives rise to the notion of things (not actually expressed by them), without any rhyme or reason,-this cannot be effectively urged against the upholder of the ' Suggestion' theory (who takes pride in the suggestion of such meanings). 47. Thus ends Chapter V dealing with the sub-divisions of Suggestive Poetry and the Poetry of Subordinate Suggestion.

अथ षष्ठ उल्लास: शब्दार्थचित्रं यत्पूर्व® काव्यद्वयमुदाहृतम् । गुणप्राधान्यतस्तत्र स्थितिश्चित्रार्थशब्दयोः ॥४८॥ न तु शब्दचित्रे अर्थस्याचित्रत्वमर्थचित्रे वा शब्दस्य। तथा चोक्तम् "रूपकादिरलंकारस्तस्यान्यैर्बहुधोदितः । न कान्तमपि निर्भूषं विभाति वनिताननम्॥ रूपकादिमलंकारं बाह्यमाचक्षते परे। सुपां तिडां च व्युत्पत्ति वाचां वाञ्छन्त्यलंकृतिम्॥

CHAPTER VI LOWEST KIND OF POETRY

OF FANCIFUL WORD AND FANCIFUL MEANING In the two kinds of Poetry spoken of above-that of Fan- ciful Word and that of Fanciful Meaning,-subordinacy and pre- dominance belong respectively to the fanciful meaning and the fanciful word. It is not that in the Poetry of Fanciful Word, there is no fanciful meaning or vice versa. [All that the division means is that though in any individual instance, we may have both fanciful word and fanciful meaning, yet it is regarded as the Poetry ' of Fanciful Word ' when the fanciful word (i.e., the Verbal Figure of Speech) is more prominent than the fanci- ful meaning (i. e., the Ideal Figure of Speech) ; and it is regarded as ' of fanciful meaning ' when the fanciful meaning is the more prominent of the two]. [In support of this commixture of both] we have the following declaration :- '(a) Some writers have spoken of Metaphor and the other (ideal) Figures of Speech as the real ' embellishments ' 11

162 KĀVYAPRAKĀŚA

तदेतदाहु: सौशब्द्यं नार्थव्युत्पत्तिरीदृशी। शब्दाभिधेयालंकारभेदादिष्टं द्वयं तु नः ॥" इति ॥ शब्दचित्रं यथा "प्रथममरुणच्छायस्तावत्ततः कनकप्रभ- स्तदनु विरहोत्ताम्यत्तन्वीकपोलतलद्युतिः । उदयति ततो ध्वान्तध्वंसक्षमः क्षणदामुख सरसबिसिनीकन्दच्छेदच्छविर्मृगलाञ्छनः"॥१३९॥

of Poetry ; even the face of a woman, though beautiful in itself, does not appear charming when it is without any ornaments [similarly Poetry, however beautiful in itself is not charming unless it is embellished by a Figure of Speech] ;- (b) others regard Metaphor and the other Ideal Figures of Speech as something foreign to Poetry, and they hold that the real embellishment consists in the elegant placing of nouns and verbs ; it is this that they call ' ele- gance of composition'; no such elegance (or charm) attaches to the mere Ideal figure (the fanciful meaning) ;- (c) we however accept both kinds of embellishments ro figures-the Verbal and the Ideal'. Example of the 'Fanciful Word ' (Verbal Figure of Speech)- Prathamamarunachchhāyastāvattatah kanakaprabhas. Tadanu virahottāmyattanvī kapolataladyutiķ. Udayati tato dhvāntadhvamsakşamaļ kşaņadāmukhe Sarasabisinkandachchhedachchhavirmrgalāñchhanab. 'The Moon rises at first with a shade of red ; then he takes the golden hue ; after that he has the lustre of the cheeks of the slender woman pining under separation; then towards night he takes the splendour of the bulbous

CHAPTER VI 163

अर्थचित्रं यथा

ते दृष्टिमात्रपतिता अपि कस्य नात्र क्षोभाय पक्ष्मलदृशामलकाः खलाश्च। नीचाः सदैव सविलासमलीकलग्ना ये कालतां कुटिलतामिव न त्यजन्ति ॥१४०॥ यद्यपि सर्वत्र काव्येन्ततः विभावादिरूपतयैव पर्यवसानं तथापि स्फुटस्य रसस्यानुपलम्भादव्यङ्गयमेतत्काव्यद्वयमुक्तम् ।

root of the fresh lotus-stock and is then capable of dis- persing darkness'. [Here the charm, lies in alliteration, which is more prominent and charming than the series of similes involved]. Example of the 'Fanciful Meaning' (Ideal Figure of Speech)- ' Whom do not (a) the locks of the woman with fair- lashed eyes-and (b) the wicked people -not perturb,- when they (a) curl over the eyes [ (b) are seen ], (a) hanging low [(b) mean ], (a) lying beautifully on the forehead [ (b) delighting in telling lies ], and never abandon their (a) blackness [(b) fraudulence ] and (a) curls [(b) crooked- ness, dishonesty ]'. [ Here we have the ideal figure ' Combination' aided by 'Paranomasia ' and ' Simile]'. Though in reality, in the case of all kinds of Poetry, everything ultimately turhs upon the Excitants, Ensuants and Variants (and the Passion manifested by these) [ and hence in Fanciful Poetry also there is bound to be some suggestion of Passion ], yet what happens in the two kinds of Fanciful Poetry just described is that no real 'Passion' is clearly discernible and it is on that ground

164 KĀVYAPRAKĀŚA

अत्र च शब्दार्थालंकारभेदाद्बहवो भेदा: ते चालंकारनिर्णये निर्णेष्यन्ते।।

इति काव्यप्रकाशे शब्दार्थचित्रनिरूपणं नाम षष्ठ उल्लासः ॥६॥।

that they are regarded as 'devoid of suggestiveness' [ and hence ' inferior' ]. The varieties of this kind of Poetry are many, in accor- dance with the number of Figures of Speech-ideal and verbal ; and these are going to be described under the section treating of the 'Figures of Speech' (Chapters IX and X). 48. Thus ends Chapter VI dealing with the Poetry of Fanciful Word and Meaning.

अथ सप्तम उल्लास:

काव्यस्वरूपं निरूप्य दोषाणां सामान्यलक्षणमाह मुख्यार्थहतिर्दोषो रसश्च मुख्यस्तदाश्रयाद्वाच्यः । उभयोपयोगिन: स्युः शब्दाद्यास्तेन तेष्वपि सः॥४९॥ हतिरपकर्षः । शब्दाद्याः इत्याद्यग्रहणाद्वर्णरचने। विशेषलक्षणमाह दुष्टं पदं श्रुतिकटु च्युतसंस्कृत्यप्रयुक्तमसमर्थम् । निहतार्थमनुचितार्थ निरर्थकमवाचकं त्रिधाशलीलम्॥।५०॥

CHAPTER VII

OF DEFECTS Having described the form of Poetry, the author states the general definition of defects (the absence of which he has made a necessary condition in all poetry) :- Defect is the repressor of the principal meaning ; the ' principal meaning' being the Passion, as also the Expressed Meaning, which is essential for the manifestation of the Passion ;- both of these requiring the aid of Word and the rest, Defects pertain to these latter also. 49. 'Repressing' is hindering the agreeableness. 'Word and the rest .- The phrase 'and the rest' is meant to include Letters and Syntactical construction (i. e. Sentence). The author now proceeds to add specific definitions of particular Defects .- The defective Word is such as-(1) unpleasant to the ear, (2) lacking correctness, (3) unconventional, (4) incapable

166 KĀVYAPRAKĀŚA

सन्दिग्धमप्रतीतं ग्राम्यं नेयार्थमथ भवेत् क्लिष्टम् । अविमृष्टविधेयांशं विरुद्धमतिकृत्समासगतमेव ॥ ५१॥ (१) 'श्रुतिकटु' परुषवर्णरूपं दुष्टम् । यथा अनङ्गमङ्गलगृहापाङ्गर्भाङ्गतर्राङ्गतैः । आलिङ्गितः स तन्वङ्गया कार्तार्थ्य लभते कदा ॥१४१॥ अत्र कातर्थ्यमिति॥ (२) 'च्युतसंस्कृति' व्याकरणलक्षणहीनम्

of giving sense, (5) having its meaning suppressed, (6) having an improper signification, (7) useless, (8) not expressive, (9) indecorous in three ways, (10) ambiguous, (11) unintelligible, (12) vulgar, (13) and one whose meaning has to be guessed ;- and it is (14) obscure, or (15) having the predicative factor not discriminated, or (16) of repugnant implication,-only when occurring in a compound. 51. [ Examples of each of the above sixteen defects ]-(1) The word that has the defect of being ' unpleasant to the ear',-i. e. consisting of harsh letters,-is found in the following- ' Anargamanaal ıgrhapāngabhangitar angitaib Alingitaķ sa tanvangyā kārtārthyam labhate kadā'. 'When will he attain the fulfilment of his desires, on being embraced by the slender-bodied girl, lovely through the graces of her glance, the auspicious abode of the Love-god himself ?'. Here the word ' kartarthyam' is 'unpleasant to the ear ' (Harsh). (2) The following contains an example of the word 'lacking in correctness', i. e. not according with the rules of grammar .-

CHAPTER VII 167

यथा एतन्मन्दविपक्वतिन्दुकफलश्यामोदरापाण्डर- प्रान्तं हन्त पुलिन्दसुन्दरकरस्पर्शक्षमं लभ्यते। तत् पल्लीपतिपुत्रि कुञ्जरकुलं कुम्भाभयाभ्यर्थना- दीनं त्वामनुनाथते कुचयुगं पत्रावृतं मा कृथाः ॥१४२॥ अत्रानुनाथते इति। 'सर्पिषो नाथते' इत्यादावाशिष्येव नाथतेरात्मनेपदं विहितम्। "आशिषि नाथः" इति। अत्र तु याचनमर्थः । तस्मात् 'अनुनाथति स्तनयुगम्' इति पठनीयम् ।

' Etanmanda Dīnamtvāmanunāthate 'O thou, the daughter of the chief of the settlement ! the herd of elephants, seeking safety from danger (at the hands of young foresters), is begging you not to cover your breasts with leaves,-breasts that resemble the half ripe Tinduka fruit in being dark in the centre and slightly white all round, and which deserve to be fondled by Shabara-youths '. [The sense is that if the girl does not cover her breasts the hunting youths would be attracted nearer towards them than towards the heads of the elephants.] Here the verb ' anunathate' is grammatically incorrect. In accordance with Panini's Sūtra 2.3.15, the root ' nath' can take the Atmanepada-ending only when it is used in the sense of benediction (hope or espectation), as in the ex- pression ' sarpiso nathate' ('he expects to obtain butter '); while in the verse cited, the word 'anunathate' has the sense of begging. Hence the correct reading should have been ' anunāthati stanayrgam'.

1,68 KĀVYAPRAKĀSĀ

(३) 'अप्रयुक्तं तथा आम्नातमपि कविभिर्नादृतम् । यथा. यथायं दारुणाचार: सर्वदैव विभाव्यते। तथा मन्ये दैवतोस्य पिशाचो राक्षसोथ वा ॥१४३॥ अत्र दैवतशब्दो "दैवतानि पुंसि वा" इति पुंस्याम्नातोपि न केनचित्प्रयुज्यते।। (४) 'असमर्थ' यत्तदर्थ पठयते न च तत्रास्य शक्तिः । यथा तीर्थान्तरेषु स्नानेन समुपाजितसत्कृतिः । सुरस्रोतस्विनीमेष हन्ति संप्रति सादरम् ।१४४।। अत्र हन्तीति गमनार्थम् ॥

(3) The following is an example of the 'unconven- tional',-i. e. a word, which though quite correct formally, is one that has not been admitted by poets into usage- ' yathāyam. .daivatosya 'Inasmuch as this person is always cruel in his actions, it seems as if his guiding spirit were a ghost or a demon '. Though the form ' daivatab' is formally correct,-it being mentioned in the lexicons as belonging both to the masculine and neuter genders-yet as a matter of fact, it has never been used in its masculine form. (4) The following is an example of the word incapable of giving sense', i. e. one used in a sense to which its denotative potency does not extend. ' Tīrthantaresu ...... hanti samprati sādaram' ' After having acquired merit from bathing in other sacred places, he now reverentially repairs to the Celestial River.' Here the verb ' hanti' has been used in the sense of going (which it is incapable of denoting). [ In the Dhätupätha the root han is mentioned to have the mean- ings "to kill" and "to go". ]

CHAPTER VII 169

(५) 'निहृतार्थ' यदुभयार्थमप्रसिद्धेर्थ प्रयुक्तम् । यथा यावकरसार्द्रपादप्रहारशोणितकचेन दयितेन । .. मुग्धा साध्वसतरला विलोक्य परिचुम्बिता सहसा॥१४५॥ अत्र शोणितशब्दस्य रुधिरलक्षणेनार्थेनोज्ज्वलीकृतत्वरूपोर्थो व्यवधीयते।। (६) 'अनुचितार्थ' यथा तपस्विभिर्या सुचिरेण लभ्यते प्रयत्नतः सत्न्निभिरिष्यते च या। प्रयान्ति तामाशु गति यशस्विनो रणाश्वमेधेपशुतामुपागताः।।१४६।।

(5) The following is an example of a word which has its meaning 'suppressed'-i. e. used in a sense which, though formally correct, is not generally known- Yāvakarasārdra ......... shonitakachena ......... .. parichumbitā sahasā. ' When the lover, who had his locks made ruddy by the touch of her feet painted with red alakta, saw that the young girl was flurried through fright (caused by the sus- picion that the redness might be due to blood), he kissed her vehemently '. Here the intended meaning of the word ' shonita' i. e. 'made ruddy '-is 'suppressed' by its better known meaning, 'blood '. (6) In the following we have an example of the word ' with an improper signification '- ' Tapasvibhiryā .. .. ranāshvamedhe pisbntamnpagatab' 'The glorious men who have become beasts offered in the sacrifice of battle quickly attain that condition which is attained by ascetics by prolonged austerities, and which is eagerly sought after by performers of sacrifices.'

170 KĀVYAPRAKĀŚA

अत्र पशुपदं कातरतामभिव्यनक्तीत्यनुचितार्थम्।। (७) 'निरर्थकं पादपूरणमात्रप्रयोजनं चादिपदम् । यथा उत्फुल्लकमलकेसरपरागगौरद्युते मम हि गौरि । अभिवाञ्छितं प्रसिद्धयतु भगवति युष्मत्प्रसादेन ॥१४७॥ अत्र हिशब्दः। (८) 'अवाचकं' यथा अवन्ध्यकोपस्य विहन्तुरापदां भवन्ति वश्याः स्वयमेव देहिनः । अमर्षशून्येन जनस्य जन्तुना न जातहार्देन न विद्विषादरः ॥१४८॥

Here the word 'pashu', 'beast ',-indicating (in its proper denotation) as it does, cowardliness-conveys a sense that is 'improper' (and repugnant to the context). [The meaning is that those who lose their lives in battle attain heaven more quickly than others ; this has been figuratively expressed by means of the words ' men who are killed in battle as beasts are offered in sacrifice ',-and this implies that the men are possessed of the qualities of the 'beasts' ; and these qualities are quite the reverse of bravery and other qualities which are generally associated with the heroes of war.] (7) In the following we have an example of the ' useless ' (redundant) word .- ' Utphulla. .mama hi gauri yuşmatprasādena' ' O blessed Gauri, whose complexion is bright like the pollen of the full-blown lotus, may my desired object be accomplished by your kindness !' Here the particle ' hi' is entirely superfluous. (8) In the following we have an example of the 'in- expressive' word- (a) ' Abandbyakopasya jantunā ......... daraļ.'

CHAPTER VII 171

अत्र जन्तुपदमदातर्यर्थे विवक्षितं तत्र च नाभिधायकम्। यथा वा हाधिक सा किल तामसी शशिमुखी दृष्टा मया यत्र सा तद्विच्छेदरुजान्धकारितमिदं दग्धं दिनं कल्पितम् । किं कुर्मः कुशले सदैव विधुरो धाता न चेत्तत्कथं तादृग्यामवतीमयो भवति मे नो जीवलोकोधुना।।१४९।।

' To him whose anger is never futile and who is ever able to destroy his own troubles, people surrender them- selves of their own accord; on the other hand, if one is devoid of resentment, men do not mind his enmity, nor do they care for his friendship, if he is not generous'. Here the word 'jantu' (which means ' animal"), is used in the sense of 'not generous', which it never expresses. [A distinction is made between the 'inexpressive ' word and the word 'incapable of giving sense' (4) on the ground that while the latter, though incapable of expressing the intended meaning in its entirety, does express a portion of it, the former is absolutely unable to express any portion of it at all : that is of the two factors of the intended meaning, the object and its qualities, while the 'Incapible word' may signify one or the other, though not both, the 'Inexpressive word ' signifies neither.] Another example of the " Inexpressive Word"- Hā dhik. dagdhamı dinam ..

.. jīvaloko dhunā'. 'Woe to me! That time when I saw the Moon- faced one is said to have been (dark) night, and this present time, darkened as it is by the pangs of her separation, is held to be (light) day ! What shall I do ? The Dispenser is ever averse to my welfare ! Or else, why was not the entire living world transformed for me into that same night.'

172: KĀVYAPRAKĀŚA

अत्र दिनमिति प्रकाशमयमित्यर्थेवाचकम् । यच्चोपसर्गसंसर्गादर्थान्तरगतम्

यथा जङ्घाकाण्डोरुनालो नखकिरणलसत्केसरालीकराल: प्रत्यग्रालक्तकाभाप्रसरकिसलयो मञ्जुमञ्जीरभृङ्ग। भर्तुर्नृ त्तानुकारे जयति निजतनुस्वच्छलावण्यवापी- संभूताम्भोजशोभां विदधदभिनवो दण्डपादो भवान्याः।१५०।। अत्र दधदित्यर्थे विदधदिति।।

Here the word 'dinam' is not quite expressive of brightness [in the same manner as ' tāmasī' is of darkness.] Another example of this same defect we have in a case where (though the verbal root is quite expressive of the intended meaning), the meaning becomes changed by the particular prefix added to it ; as in the following- ' Janghā. ... vidadhadabhinavo ... bhavānyāb '

'Glorious is the Dandapāda attitude struck up by Bhavanī when imitating her husband's dance,-the attitude (of the legs) which bears the splendour of the lotus grown in the tank of the exquisite charm of her body, having the thighs for its stalk, the lustrous nails for its filaments, the bright red paints on the feet for its petals, and the jingling anklets for the bees hovering round it.' Here the word ' vidadhat' has been used in the sense of 'dadhat,' 'bears.' [The form ' dadhat ' without the prefix ' means ' bearing'; with the said prefix, it means ' ordaining,'' encompassing ' and so forth.]

CHAPTER VII 173

(९) 'अश्लीलम्' त्रिधेति व्रीडाजुगुप्सामङ्गलव्यञ्जकत्वात्। यथा साधनं सुमहद्यस्य यन्नान्यस्य विलोक्यते । तस्य धीशालिनः कोन्यः सहतारालितां भ्रुवम् ॥१५१॥(१) लीलातामरसाहतोन्यवनितानिःशङ्कदष्टाधरः कश्चित्केसरदूषितेक्षण इव व्यामील्य नेत्रे स्थितः । मुग्धा कुडमलिताननेन ददती वायुं स्थिता तत्र सा भ्रान्त्या धूर्ततयाथ वा नतिमृतेतेनानिशं चुम्बिता॥१५२॥(२) (9) The ' indecorous' word is of three kinds, implying either (a) indecency or (b) disgust or (c) inauspiciousness ; we have an example of (a) in the following :- ' Sādhanam . bhruvam' 'He whose vast sadhana (army-the male organ) is one that is not found with any one else,-of such an intelligent person who can bear the eyebrows curved (in anger) ?' There is an indecent implication in the double meaning of the word ' sādhanam '. An example of (b) we have in the following- ' Līlātāmarasā ... dadatī vayum ...... chumbitā' ' He who had his lips bearing the marks of the freely bestowed kisses of a strange woman, on being struck (in anger) by his wife with her sporting lotus, stood rubbing his eyes, as if they were hurt by the dust of the flower falling into them ; the simple-minded young girl (taking pity on him) stood there puffing air into the eyes with her budded mouth ; thereupon, either through mistake or through cunningness, the man kissed her repeatedly (thus becoming reconciled), without having had to throw him- self at her feet (and seek her forgiveness)'.

174 KĀVYAPRAKĀŚA

मृदुपवनविभिन्नो मत्प्रियाया विनाशाद् घनरुचिरकलापो निःसपत्नोद जातः । रतिविगलितबन्धे केशपाशे सुकेश्या: सति कुसुमसनाथे कं हरेदेष बही ॥१५३॥ (३) एषु साधनवायुविनाशशब्दाः ब्रीडादिव्यञ्जकाः ॥ (१०) 'संदिग्धं' यथा आलिङङगितस्तत्रभवान् संपराये जयश्रिया। आशी:परंपरां वन्दां कर्णे कृत्वा कृपां कुरु॥१५४॥ The phrase ' vayum dadatī', has an implication that arouses disgust. (c) ' Mrdupavana ...... vināshāt .. barhī'. 'By the disappearance of my beloved, this dense and lovely train of the peacock, ruffled by mild breeze, has been left without a rival ; for in the presence of the hair- braid of that fair-tressed one, interspersed with flowers, and ruffled in dalliance, whom could this peacock capti- vate ?' Here the term ' vinasat' has an inauspicious implication (as it denotes death). (10) In the following we have an example of the ' ambi- guous ' word- ' Alingitastatra. ... vandyām ......... kura'. Embraced by glorious victory, may you, revered Sire, receive in your ears reverent and continuous bene- dictions, and extend your mercy !' The exact signification of the word ' vandyam' is ambiguous ; it being doubtful whether it means ' forcibly

CHAPTER VII 175

अत्र वन्द्यां किं हठहतमहिलायां किं वा नमस्यामिति संदेहः॥ (११) 'अप्रतीतं' यत्केवले शास्त्रे प्रसिद्धम्। यथा सम्यग्ज्ञानमहाज्योतिर्दलिताशयताजुषः । विधीयमानमप्येतन्न भवेत्कर्मबन्धनम् ॥१५५॥ अत्राशयशब्दो वासनापर्यायो योगशास्त्रादावेव प्रयुक्तः॥ (१२) 'ग्राम्यं' यत्केवले लोके स्थितम् । यथा राकाविभावरीकान्तसंक्रान्तद्युति ते मुखम् । तपनीयशिलाशोभा कटिश्च हरते मनः ॥१५६॥

captured women ' (in which case the sentence would mean 'may you extend your mercy towards the captive woman"), or 'reverent' (in which case it would qualify ' asihparam- parām"). (11) The following is an example of the ' unintelligible ' word,-i. e. one that is used in a technical sense attaching to it only in scientific literature :- ' Samyagjñāna dalitāshayatājusa bandhanam.' ' One who has his desires destroyed by the supreme light of True Wisdom,-to him an act, even though done, does not act as a bondage.' Here the term ' ashhaya' in the sense of desire or longing is a technicality of the Yoga and other technical philoso- phical literature. (12) In the following we have an example of the ' vul- gar' word, i. e. one that is used only by the lower order of men. ' Rākā. .. katiśhcha harate manah.' ' Thy face which has taken to itself the lustre of the

176 KĀVYAPRAKĀŚA

अत्र कटिरिति।। (१३) 'नेयार्थम्'। "निरूढा लक्षणाः काश्चित् सामर्थ्यात् अभिधानवत्। क्रियन्ते सांप्रतं काश्चित् काश्चिन्नैव त्वशक्तितः ॥" इति यन्निषिद्धं लाक्षणिकम्। यथा शरत्कालसमुल्लासिपूर्णिमाशर्वरीप्रियम्। करोति ते मुखं तन्वि चपेटापातनातिथिम्।१४७॥

full moon, and these thy buttocks resembling a block of gold, captive the heart'. The word ' kati' (is one that is used only in vulgar parlance.) (13) The following is an example of the word ' whose meaning has to be guessed out',-i. e. which is used in such a secondary or figurative sense as is not permissible, in accordance with the law (stated by Kumārila) that (a) ' Some forms of figurative use are such as are as well recognised as direct denotation itself, being based upon the inherent potency of the words, (b) there are others adopted for the moment, for some special purpose, (c) while there are some that are absolutely incapable of afford- ing the required sense and are hence inadmissible.' [ And it is this third kind of figurative use that is meant in the present context ]. ' Sharatkāla .chapetapatanātithim'. 'Thy face, O slender one, makes the Moon, who is the beloved of the autumnal Full-moon night, the recipient of a slap '. Here the ' giving of a slap ' is meant to be indicative of surpassing [ and this indication is not based upon either convention or upon any special purpose to be served ].

CHAPTER VII 17,7

अत्र चपेटापातनेन निजितत्वं लक्ष्यते। अथ समासगतमेव दुष्टमिति संबन्धः, अन्यत् केवलं समासगतं च।। (१४) 'क्लिष्टं' यतः अर्थप्रतिपत्तिर्व्यवहिता। यथा अत्रिलोचनसंभूतज्योतिरुद्गमभासिभिः । सदृशं शोभतेत्यर्थ भूपाल तव चेष्टितम् ॥१५८॥ अत्रात्रिलोचनसंभूतस्य चन्द्रस्य ज्योतिरुद्गमेन भासिभि: कुमुदैरित्यर्थः ॥ (१५) 'अविमृष्टविधेयांशम्' अविमृष्टः प्राधान्येनानिर्दिष्टो विधेयांशो यत्र तत्। यथा

' Samāsagatameva' (in the text) is to be construed as meaning that the three defects that are mentioned last are so only when occurring in a compound, the others being defective both when occurring in a single word and in a compound. (14) The following one contains an example of the ' obscure ' word,-i. e. where the comprehension of the intended meaning is impeded :- ' Atrilochanasambhatajyotirudgamabbasibbib * Sadrsham shobhatetyartham bhūpāla tava chestitam n 'Thy conduct looms bright like those that bloom in the light of him who was born of the eyes of the sage Atri' What are meant here are the white 'lilies', which bloom in the light of the Moon, who is described as being born out of the eyes of the sage Atri. [And this is ex- tremely obscure ]. (15) The following is an example of ( a compound) where ' the predicative factor is not discriminated,'-i. e. not sufficiently emphasised as the principal factor,- 12

178 KĀVYAPRAKĀŚA

मूर्द्ध्नामुद्दृत्तकृत्ताविरलगलगलद्रक्तसंसक्तधारा-

दोष्णां चैषां किमेतत् फलमिह नगरीरक्षणे यत् प्रयास: ॥१५९।। अत्र मिथ्यामहिमत्वं नानुवाद्यम् अपि तु विधेयम्। यथा वा

Mūrdbnāmud. Dhauteshānghriprasādopanatajayajagajjātamithyāmabimnām.

prayāsaḥ'. 'What is the use of these my heads and arms, if I have to make an effort even for the protecting of the city ?- the heads whose false glory was trumpeted to the world through victories gained by the favour of Shiva's feet, washed as they were with the unimpeded flow of blood issuing from them when they were majestically cut off by myself ;- and the arms full of intense pride manifes- ted in the deep longing for the lifting of the Kailasha mountain.' Here the defect lies in the compound ending with mithyāmabimnām', where ' mithya' 'false', forming the first term of the qualitative compound, appears only as a qualifying adjunct (anuvadya, referred to for the sake of, and hence subordinate) to something else (i. e. ' greatness"), while in reality it is meant to be the predicative factor, and the predominant element. [The meaning being that ' the greatness had turned out to be false, inasmuch as I have to make an effort to guard my city'. In this manner there is a logical connection between the assertion of falsity and the subsequent statement; in the other case the two statements stand separately -(a) ' my heads have false greatness' and (b) ' I have to guard the city' ; and there is no logical connection between the two.]

CHAPTER VII 179

स्रस्तां नितम्बादवरोपयन्ती पुनः पुनः केसरदामकाञ्चीम् ॥ न्यासीकृतां स्थानविदा स्मरेण द्वितीयमौर्वीमिव कार्मुकस्य ॥१६०।। अत्र द्वितीयत्वमात्रमुत्प्रेक्ष्यम्। मौर्वी द्वितीयामिति युक्त: पाठः। यथा वा वपुर्विरूपाक्षमलक्ष्यजन्मता दिगम्बरत्वेन निवेदितं वसु। वरेषु यद्बालमृगाक्षि मृग्यते तदस्तिकिं व्यस्तमपि त्रिलोचने॥१६१॥ अत्र 'अलक्षिता जनिः' इति वाच्यम्। यथा वा

Another example of the same we have in the follow- ing :- ' Srastām ......... dvitīyamaurvīmiva. ' She again and again tucked up the girdle of Bakula- flowers which slid down from her waist,-the girdle that resembled the second bow-string kept in her charge by the Love-God who knows the proper place to deposit things '. What is meant to be emphasised here is the fact of the girdle being the second ; [As it is only when it is the second, that there can be any possibility of its being deposited ; -and this fact of its being the second is subordinated in the compound, where 'dvitīya', ' second,' appears only as a subordinate factor.] The right reading, therefore, would be ' maurvir dvitīyamiva' [where ' dvitīyam'' standing by itself, the fact of being ' second' becomes duly emphasised]. Another example of the same defect :- ' Vapurvirūpākşamalaksyajanmatā. trilochane. 'His body contains disfigured eyes, he is of unknown birth, and his wealth is indicated by his having no dress; O thou fawn-eyed one, is there in Shiva, even singly any of those qualities that one seeks for in a bridegroom ?'

180 KĀVYAPRAKĀŚA

आनन्दसिन्धुरतिचापलशालिचित्त- संदाननैकसदनं क्षणमप्यमुक्ता। या सर्वदैव भवता तदुदन्तचिन्ता तान्ति तनोति तव संप्रति धिग्धिगस्मान् ॥१६२॥ अत्र 'न मुक्ता' इति निषेधो विधेयः । यथा नवजलधरः संनद्धोयं न दृप्तनिशाचरः सुरधनुरिदं दूराकृष्टं न तस्य शरासनम्। अयमपि पटुर्धारासारो न बाणपरंपरा कनकनिकषस्निग्धा विद्युत् प्रिया न ममोर्वशी ॥१६३॥ What is meant to be emphasised here is that 'his birth is unknown' [and this has been made a subordinate factor in the compound ' alaksyajanmata]. The right read- ing would thus have been ' alaksitā janih.' Yet another example of the same defect .- ' Ananda ... kşanamapyamuktā

.. dhigdhigasmān' ' Being the ocean of bliss, the one abode of the force enchaining the fickle heart, she was not left by you even for one moment ; and now her very name brings disgust in you,-woe to us !' What is meant to be emphasised or predicated here is the negation-' not left' ;- and hence the negative particle should have stood by itself, as ' na muktā',-as it is in the verse 'navajaladharab ......... na drptanishācharaķ, . ........... suradhanūridam ... na tasya sharāsanam, ... ayamapi ...... dhārā- sāro na bāņaparamparā, ......... vidyut priyā na mamorvashī'- 'This is the fresh dense cloud, not a vainglorious demon ;

CHAPTER VII 181

'इत्यत्र। न त्वमुक्ततानुवादेनान्यदत्र किंचिद्विहितम्। यथा जुगोपात्मानमत्रस्तो भेजे धर्ममनातुरः । अगृध्नुराददे सोर्थानसक्तः सुखमन्वभूत् ॥१६४॥ इत्यत्र अत्रस्तत्वाद्यनुवादेनात्मनो गोपनादि। (१६) 'विरुद्धमतिकृत्' यथा सुधाकरकराकारविशारदविचेष्टितः । अकार्यमित्रमेकोसौ तस्य किं वर्णयामहे॥१६५॥

this is the celestial bow, not the bow of that demon ; this is the downpour of rain ; not the flight of arrows ; this is the lightning bright like the hue of gold on a touch-stone, and not my beloved Urvashi ;- while, in the passage quoted before we have the negative particle appearing as the subordinate factor in the compound ' amukta', which would have been justified only if there were something else predicated in reference to the 'non-abandoning', as is found to be the case with the following-' jugopātma- namatrasto ; bheje dharmamanāturab ; agrdhnurādade sorthān; asaktah sukhamanvabhūt ;- ' Though unterrified, he guarded himself ; though untroubled, he had recourse to righteous- ness ; though not greedy, he received wealth ; and though unattached, he enjoyed pleasures;' [where the self-guarding is predicated with reference to the fact of the king being unterrified and so forth, which justifies the compounding of the negative particle.] (16) The following is an example of ' repugnant sugges- tion',- ' sudbā. akāryamitra .. .. varnayāmabe' 'What shall I say of him who is a disinterested friend, his conduct being as pure as the rays of the moon.'

182 KĀVYAPRAKĀŚA

अत्र 'कार्य विना मित्रम्' इति विवक्षितम् 'अकार्ये मित्रम् इति' तु प्रतीतिः । यथा वा चिरकालपरिप्राप्तलोचनानन्ददायिनः । कान्ता कान्तस्य सहसा विदधाति गलग्रहम् ॥१६६।। अत्र 'कण्ठग्रहम्' इति वाच्यम्। यथा वा न त्रस्तं यदि नाम भूतकरुणासंतानशान्तात्मनः तेन व्यारुजता धनुर्भगवतो देवाद्भवानीपतेः । तत्पुत्रस्तु मदान्धतारकवधाद्विश्वस्य दत्तोत्सवः स्कन्दः स्कन्द इव प्रियोहमथ वा शिष्यः कथं विस्मृतः ॥१६७॥

Here the sense meant to be conveyed by the word ' akaryamitram' is that he is friendly without any selfish motive-a disinterested friend ; whereas the word has also the other (repugnant) signification-that 'he is a mitra, a companion, an associate, in akārya, evil deeds.' Another example- ' Chirakāla ... .... galagrabam' 'Meeting after a long time her lover rejoicing her eyes, the loving girl suddenly offers him her embrace.' Here the right word to use would have been ' Kantha- graham', 'falling on his neck '. [The word that is used, however, ' galagraham', is better known as the name of a particular disease of the neck, and as such it has a most repugnant implication in the present context.] Another example- ' Na trastam ... .bhavānīpate ... vismrta.' ' When Räma broke the bow of the husband of Bha- väni, he did not fear that God himself, because his heart

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अत्र भवानीपतिशब्दो भवान्याः पत्यन्तरे प्रतीति करोति। यथा वा गोरपि यद्वाहनतां प्राप्तवतः सोपि गिरिसुतासिंहः। सविधे निरहंकारः पायाद्वः सोम्बिकारमण: ॥१६८।। अत्राम्बिकारमण इति विरुद्धां धियमुत्पादयति। 'श्रुतिकटु' ससासगतं यथा

is quiescent through his mercy on all living creatures ; the son of that God, Skanda, also, was the source of joy to the universe by reason of his having killed the haughty demon Täraka (and hence he also could not be feared) ; but how is it that he did not think of myself, the disciple of the God Siva, and as dear to him as his son Skanda ?' Here the word ' bhavanipati', literally meaning ' the husband of Bhava's wife' (' bhavāni' meaning the ' wife of Bhava' another name for Shiva,) has the repugnant signification that the Goddess had a husband other than Shiva, the God spoken of. Another example- ' Gorapi. .. ambikāramaņab' ' May Ambika's husband protect you,-he near whom even Gauri's lion becomes freed from all ill-feeling towards the bull that is used as a conveyance by that God.' Here the word 'ambikāramanab' has a repugnant signification (its literal meaning ' one who enjoys the company of ' Ambika', Mother). [Having dealt with the defects found in compounds only, the author proceeds to deal with the other defects described before, the 'disagreeable to the ear' and the rest which are held to occur in single words as also in compounds.] But he gives an example of only one of them, the ' disagreeable to the ear,' as occurring in a compound-

184 KĀVYAPRAKĀŚA

सा दूरे च सुधासान्द्रतरङङ्गितविलोचना। बहिंनिर्ह्नादनार्होयं कालश्च समुपागतः॥१६९॥ एवमन्यदपि ज्ञेयम् ॥ अपास्य च्युतसंस्कारमसमर्थ निरर्थकम्। वाक्येपि दोषाः सन्त्येते पदस्यांशेपि केचन ॥ ५२॥ केचन न पुनः सर्वे। क्रमेणोदाहरणम् सोध्यैष्ट वेदांस्त्रिदशानयष्ट पितृनतार्प्सीत्सममंस्त बन्धून्। व्यजेष्ट षडवर्गमरंस्त नीतौ समूलघातं न्यवधीदरींरच ।१७०॥

' Sa düre. Barhinirhrādanārhoyam ...... gatah' 'Far away is she of the lovely and graceful glances, and here has arrived the season resounding with the cry of the peacocks !' [Here the compound in the second line is harsh-sound- ing]. The other defects (as occurring in compounds) may be similarly exemplified. 51. Excepting (a) ' lack of correctness', (b) ' incapability of giving sense ' and (c) ' uselessness '-these (aforesaid) defects occur in a sentence also; and some of them in parts of words as well. 52. ' Some of them',-not all. The following are the examples in due order- (1) [The sentence ' disagreeable to the ear ']- Sodhyaista vedārstridashānayasta ' Pitrīnatārpsīt samamamsta bandhūn ' Vyajesta sadvargamaramsta nītau ' Samūlaghātamı nyavadhīdarīm shcha'. ' He studied the Vedas, offered sacrifices to the Gods and oblations to the Pitrs, honoured his friends, subjuga- ted the ' sixfold group' (of Desire, Anger, Avarice, Delu-

CHAPTER VII 185

१ स रातु वो दुश्च्यवनो भावुकानां परंपराम् । अनेडमूकतादैश्च द्यतु दोषैरसंमतान् ॥१७१॥ अत्र दुश्च्यवन इन्द्रः अनेडमूको मूकबधिरः॥ सायकसहायबाहोमंकरध्वजनियमितक्षमाधिपतेः । अब्जरुचिभास्वरस्ते भातितरामवनिप श्लोक: ॥१७२॥

sion, Pride and Envy), took delight in statesmanship, and rooted out his enemies '. [Though in most cases cited as exemplifying the defects as occurring in a sentence the defects are actually found to lie in words only,-as here the harshness lies in the words 'adhyaista', ' ayasta' and so forth,-yet the distinction is justified on the ground that where the defect lies in a single word in the sentence, it is regarded as occurring in the word, while where it occurs in more than one word, it is taken as occurring in the sentence.] (2) [ The ' unconventional ']- ' Sa rātu vo dushchyavano bhāvukānām paramparām ' Anedamūkatādyaishcha dyatu doşairasammatān'. 'May Indra bring you a continuity of prosperity ! May he strike your enemies with deafness, dumbness and other disabilities !' Here the word ' dushchyavana' for Indra, and ' aneda- mūka' for ' deaf and dumb', are such as are not used, are 'unconventional.' (3) [ The ' suppressed meaning ']- ' Sāyakasahāyabāhormakaradhvajaniyamitakşamādhipateļ ' Abjaruchibhāsvaraste bhātitarāmavanipa shlokaķ' 'You, O King, who are the master of the Ocean- bounded Earth, and have the sword for your companion, have your fame shining resplendent like the moon'. Here the words ' sāyaka', ' makaradhvaja', ' kşamā', ' abja' and ' shloka' have been used in the sense, respec-

186 KĀVYAPRAKĀŚA

अत्र सायकादय: शब्दा: खड्गाब्धिभूचन्द्रयशःपर्यायाः शराद्यर्थतया प्रसिद्धाः ॥ कुविन्दस्त्वं तावत्पटयसि गुणग्राममभितो यशो गायन्त्येते दिशि दिशि च नग्नास्तव विभो। शरज्ज्योत्स्नागौरस्फुटविकटसर्वाङ्गसुभगा तथापि त्वत्कीर्ति्भ्रमति विगताच्छादनमिह ।१७३। अत्र कुविन्दादिशब्दोर्थान्तरं प्रतिपादयन्नुपश्लोक्यमानस्य तिरस्कारं व्यनक्तीत्यनुचितार्थः ।

tively, of sword, ocean, earth, moon, and fame,-while they are better known as having the sense of arrow, love-god, forgiveness, lotus and verse, respectively [and hence the desired signification of all these words is ' suppressed ']. (4) ['Improper signification '] Kuvindastvam tāvat patayasi guņagrāmamabhito Yasho gāyantyete dishi dishi cha nagnāstava vibbo Sharajjyotsnāgaurasphutavikatasarvāngasubhagā Tathāpi tvatkīrtirbhramati vigatāchchhādanamiha'. ' As Lord of the Earth, you are spreading on all sides hosts of good qualities ; these bards are singing your fame on all sides ; and yet thy renown, beautiful and resplen- dent as the autumnal moon, wanders about unfurled.' Here there is an 'improper signification,' inasmuch as some of the words-e. g. ' kuvinda' [' patayasi', ' nagna', 'yasha'] have a second meaning which indicates disrespect towards the person described. [' Kwvinda' means a weaver, ' gunam patayasi' means ' weave yarn, ' nagna ' means naked, ' yashab is capable of being read or construed as ' ayaśab,' so that the person addressed comes to be described as a weaver weaving cloth and so forth.]

CHAPTER VII 187

प्राभ्रभ्राड्विष्णुधामाप्य विषमाश्वः करोत्ययम् । निद्रां सहस्रपर्णानां पलायनपरायणाम् ॥१७४॥ अत्र प्राभ्रभ्राड्विष्णुधामविषमाश्वनिद्रापर्णशब्दाः प्रकृष्टजलद- गगनसप्ताश्वसंकोचदलानामवाचका: । भूपतेरुपसर्पन्ती कम्पना वामलोचना । तत्तत्प्रहरणोत्साहवती मोहनमादधौ ॥१७५॥ अत्रोपसर्पणप्रहरणमोहनशब्दा व्रीडादायित्वादश्लीलाः । तेन्यैर्वान्तं समश्नन्ति परोत्सर्ग च भुञ्जते। इतरार्थग्रहे येषां कवीनां स्यात्प्रवर्तनम्॥१७६॥ (5) [The ' Inexpressive']- ' Prābhrabhrād vişņudhamāpya vişamāshvab karotyayam Nidrām sahasraparņānām palāyanaparāyaņām. 'Having reached the beautifully clouded sky, the sun puts to flight the sleep of the lotuses.' Here the words ' prābhrabhrāt,' visnudhāma, 'vişamāshva', ' nidra' and 'parna' have been used in the sense, res- pectively, of 'beautiful cloud', 'sky'sun', 'closing' and ' petal',-while, as a matter of fact they do not ex- press or denote these things. (6) [Indecorous-shameful]- ' Bhūpaterupasarpantī kampanā vāmalochanā Tattatpraharaņotsāhavatī mohanamādadhau'. 'The angry army of the king brought about the stupefac- tion (of the enemy) by marching and energetically striking'. Here the words ' upasarpanti', ' praharana' and ' moba- na' give rise to feelings of shame by reason of their second meanings (women in love, embraces and passionate love, respectively), and are ' therefore' 'indecorous '. [Indecorous-Disgusting]- Tenyairvantam samashnanti parotsargamcha bhuñjate.

188 KĀVYAPRAKĀŚA

अत्र वान्तोत्सर्गप्रवर्तनशब्दा जुगुप्सादायिनः । पितृवसतिमहं व्रजामि तां सह परिवारजनेन यत्र मे। भवति सपदि पावकान्वये हृदयमशेषितशोकशल्यकम्॥१७७॥ अत्र पितृगृहमित्यादौ विवक्षिते रमशानादिप्रतीतावम ङ्गलार्थत्वम्। सुरालयोल्लासपर: प्राप्तपर्याप्तकम्पनः । मार्गणप्रवणो भास्वद्भूतिरेष विलोक्यताम्।१७८॥

'Those who are prone to making use of the ideas of other poets eat out of other people's vomitings and slutt- ings.' Here the words 'vomiting ', 'slutting' and ' excret- ing' (which is another meaning of pravartana) are produc- tive of disgust. [Indecorous-Inauspicious]- ' Pitrvasatimaham vrajāmi tām saha parivārajanena yatra me ' Bhavati sapadi pāvakānvaye hrdayamas heşitashokashalyakam'. 'With all my family I shall repair to my father's house, where in the purifying family, my heart shall have all its darts of grief removed.' Here the words ' pitrvasati' (and ' pavaka') intended to convey the meaning of 'father's house' (and ' purify- ing'), signify also the crematorium (and fire), and are for that reason ' inauspicious.' (7) [The ' Ambiguous ']- ' Surālayollāsaparaķ prāptaparyāptakampanaķ Mārgaņapravaņo bhāsvadbhūtirea vilokyatām.' It is doubtful whether (a) the words ' surālaya', 'kampana', ' mārgana' and ' bhūti' are meant to signify 'abode of the gods', 'army', 'arrow' and ' glory' [in which case the passage would mean-' Look at this king, who is bent upon Heaven, is equipped with sufficient

CHAPTER VII 189

अत्र किं सुरादिशब्दा देवसेनाशरविभूत्यर्थाः कि मदिराद्यर्थाः इति संदेह: ॥ तस्याधिमात्रोपायस्य तीव्रसंवेगताजुषः । दृढभूमि: प्रियप्राप्तौ यत्नः स फलितः सखे ॥१७९॥ अत्राधिमात्रोपायादयः शब्दा योगशास्त्रमात्रप्रयुक्तत्वादप्रतीताः॥ ताम्बूलभृतगल्लोयं भल्लं जल्पति मानुषः । करोति खादनं पादं सदैव तु यथा तथा॥१८०॥

army, clever in the use of arrows and of resplendent glory '], or (b) 'wine-shop', 'trembling', ' begging' and ' destruction ' [in which case the meaning would be- ' Look at this man, ever bent upon wine-shops, constantly trembling, efficient in begging and with destruction facing him ']. (8) [The ' Unintelligible ']- ' Tasyādhimātropāyasya

Drdhabbūmiķ prīyaprāptau Yatnab sa phalitah sakhe'. ' The powerful efforts of the man have succeeded in helping him to attain what he desired,-he having em- ployed the methods (of self-control and the rest) conducive to true wisdom, and practising intense renunciation '. Here the words ' adhimātra' (' tīvrasamvega' and ' dr dhabhūmi") are used in their technical sense found in Yoga literature only, and as such they are not intelligible '. (9) ['The Vulgar ']- ' Tāmbūlabhrtagalloyamı bhallam jalpati mānusaḥ' ' Karoti khādanam pānam sadaiva tu yathā tathā'. 'Having his cheeks filled with betel-leaves, and eating and drinking always, he goes on talking rapidly'.

190 KĀVYAPRAKĀŚA

अत्र गल्लादय: शब्दा: ग्राम्याः॥ वस्त्रवैदूर्यचरणैः क्षतसत्त्वरजःपरा । निष्कम्पा रचिता नेत्रयुद्धं वेदय सांप्रतम् ॥१८१॥ अत्राम्बररत्नपादैः क्षततमा अचला भू: कृता नेत्रद्वन्द्वं बोधयेति नेयार्थता।।

The words ' galla' (and ' bhalla") are ' vulgar'. (10) ['Whose meaning is to be guessed'] ' Vastravaidūryacharanaib Kşatasattvarajabparāķ Nişkampā rachitā netra- Yuddham vedaya sampratam'. ' This unshaking thing (i. e. the earth) has its third besides Harmony and Energy (i. e. Darkness) dispelled by the feet (i. e. rays) of the emerald (i. e. gem) of the vastra (i. e. 'ambara', viz : sky) [i. e. the sun]; so open now the battle (i. e. pair) of your eyes '. The meaning intended to be conveyed here is that ' the sun having dispelled darkness from the earth, the eyes should be opened'; and this can only be guessed out of the words used. [(a) ' Vastra' has another synonym in ' ambara', which means the sky,-' vaidurya' denotes the emerald, which is one kind of gem,- ' charana' is synonymous with ' pada', which also means ' rays ',- hence the compound ' vastravaiduryacharana' the rays of the gem of the sky i.e. the sun ;- 'Sattva', Rajas and Tamas are the three cosmic attributes,-so that the third besides Rajas and Sattva is Tamas, which denotes darkness,-so that the compound ' ksatasattvarajabparāh' means ' whose darkness has been dispelled ;'-' niskampā' meaning unshaking, is used for the immovable Earth ;- ' yuddha ' is synony- mous with ' dvandva', which also means 'pair',-hence the compound ' netrayuddham ' means ' pair of eyes'.]

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धम्मिल्लस्य न कस्य प्रेक्ष्य निकामं कुरङ्गशावाक्ष्याः । रज्यत्यपूर्वबन्धव्युत्पत्तेर्मानसं शोभाम् ।।१८२।। अत्र धम्मिल्लस्य शोभां प्रेक्ष्य कस्य मानसं न रज्यतीति संबन्धे क्लिष्टत्वम् ॥ न्यक्कारो हययमेव मे यदरयस्तत्राप्यसौ तापसः सोप्यत्रैव निहन्ति राक्षसकुलं जीवत्यहो रावणः । धिग्धिक् शक्रकजितं प्रबोधितवता कि कुम्भकर्णेन वा स्वर्गग्रामटिकाविलुण्ठनवृथोच्छूनैः किमेभिर्भुजैः॥१८३॥

(11) [The ' obscure'.]- 'Dhammillasya na kasya preksya nikāmam kurangashāvaksyāh Rajyatyapūrvabandhavyutpattermānasam shobbām'. 'Whose heart does not become enamoured on seeing the loveliness of the beautifully-braided locks of the fawn- eyed one ?' The syntactical connection intended here- ' Dhammillasya shobhāniı preksya kasya mānasam na rajyati',-is difficult to get at, 'obscure [by reason of the order in which the words are placed]. (12) ['The predicative factor not discriminated ']- ' Nyakkārohyayameva me yadarayastatrapyasau tāpasab

Svargagramatikavilunthanavrthochchhūnaih kimebhirbhujaib'. ' It is a disgrace that I have enemies ; and even that an ascetic, who is slaughtering the host of demons ; and that at this very place ; and yet Ravana is living ; woe, woe, to Meghanada ! What has come out of Kumbhakarna having been awakened. What too has been the use of these my arms that have become uselessly fattened by plundering the tiny hamlet of heaven ?'

192 KĀVY APRAKĀŚA

अत्र 'अयमेव न्यक्कारः' इति वाच्यम्। उच्छनत्वमात्रं चानुवाद्यम्, न वृथात्वविशेषितम् । अत्र च शब्दरचना विपरीता कृतेति वाक्यस्यैव दोषो न वाक्यार्थस्य । यथा वा अपाङ्गसंसर्गि तर्राङ्गतं दृशोभ्रुवोररालान्तविलासि वेल्लितम्। विसारि रोमाञ्चनकञ्चुकं तनोस्तनोति यो सौ सुभगे तवागतः।। ।१८४॥

What is intended is that ' that I have enemies is itself a disgrace', and the proper order of words would be 'ayameva nyakkārab'; and secondly, what should have been merely referred to, is the mere fattening of the arms, for the purpose of predicating its uselessness, which should not have been made a mere qualifying adjunct in the com- pound. [The meaning intended is that the fattening of my arms has been of no use; being of no use, therefore, being the predicated factor, should have stood by itself, while it has been made a subordinate adjunct by being placed in the middle of a compound.] Inasmuch as the fault here lies in the order of the words being reversed, the defect is attributed to the sen- tence, not to the meaning of the sentence. Another example (of ' non-discrimination of the pre- dicative factor ')- ' Apāngasamsargi tarangitam drshorbhruvorarālāntavilāsi- vellitam Visāri romāňchanakañchukam tanostanoti yosau subhage tavāgatab' 'Here has come-one who brings a tremor to your eyes, an elegant curvature to your eye-brows and a bodice of thrilling hairs to your body'.

CHAPTER VII 193

अत्र योसाविति पदद्वयमनुवाद्यमात्रप्रतीतिकृत् । तथाहि-प्रक्रान्तप्रसिद्धानुभूतार्थविषयस्तच्छब्दो यच्छब्दो- पादानं नापेक्षते। क्रमेणोदाहरणम्। कातर्य केवला नीतिः शौर्य ्वापदचेष्टितम् । अतः सिद्धिं समेताभ्यामुभाभ्यामन्वियेष सः ॥१८५॥ द्वयं गतं संप्रति शोचनीयतां समागमप्रार्थनया कपालिनः । कला च सा कान्तिमती कलावतस्त्वमस्य लोकस्य च नेत्रकौमुदी

Here the two pronouns 'yab and asau' only serve to point out the person as merely referred to [and the predicative pronoun ' he', 'sab', is wanting]. It is the pronoun ' tat', ' that', which, standing as it does for (a) what has been spoken of before, or (b) what is well-known, or (c) what has been already seen or heard of, does not require the corresponding pronoun 'yat', 'which' or 'what'; as for example- (a) ' Kātaryam .. .. sab' .- ' Regarding pure statesmanship as a weakness, and sheer valour to be beast- like, he always sought to attain success by both these means' ;- [Here the pronoun 'sab', 'he', stands for the king spoken of before, and hence the corresponding ' who' is not required] ;- (b) ' Dvayam ...... kalā cha sā ...... kaumudī- By seeking to be associated with the God of the Begging Bowl, two things have become objects of concern-that resplendent digit of the moon and thyself, who art like moonlight to the eyes of this world ;'-[Here the pronoun 'sā' re- ferring to the well-known digit of the moon on Siva's forehead, does not require the corresponding 'yā'] ;- 13

194 KĀVYAPRAKĀŚA

उत्कम्पिनी भयपरिस्खलितांशुकान्ता ते लोचने प्रतिदिशं विधुरे क्षिपन्ती। करूरेण दारुणतया सहसैव दग्धा धूमान्धितेन दहनेन न वीक्षितासि ।।१८७।। यच्छब्दस्तूत्तरवाक्यानुगतत्वेनोपात्तः सामर्थ्यात्पूर्ववाक्यान्- गतस्य तच्छब्दस्योपादानं नापेक्षते। यथा साधु चन्द्रमसि पुष्करैः कृतं मीलितं यदभिरामताधिके। उद्ता जयिनि कामिनीमुखे तेन साहसमनुष्ठितं पुनः ॥१८८॥ प्रागुपात्तस्तु यच्छब्दस्तच्छब्दोपादानं विना साकाङक्षः । (c) ' Utkampinī ...... te lochane ......... vīkşitāsi' ;- ' Tremb- ling and having the clothing gliding off through fear, and casting those timid glances all round, thou wert burnt by the cruel fire blinded by smoke, and wert no longer seen' ;- [Here the pronoun ' te', 'those', standing for the glances that the speaker has seen before, does not stand in need of the corresponding ' ye']. The pronoun ' yat', (who or which) also, when occurring in the latter of two correlated clauses, does not require the corresponding ' tat' in the prcceding clause, because by reason of its inherent power (it always implies a pre- ceding 'tat') ; as we find in the following example- ' Sādhu ... yadabhirāmatādhike ... punab ;'-' On the rising of the lovelier moon the lotuses did well that they closed themselves ; but this moon has behaved most arrogantly when he has risen even on the appearance of the face of the lovely woman, which is far superior to her'. [Here ' yat mīlitam' implies the corresponding ' tat sadbu krtam', and hence the actual presence of this latter pronoun is not necessary in the preceding clause]. But in cases when the pronoun 'yat' occurs in the

CHAPTER VII 195

यथा अत्रैव श्लोके आद्यपादयोर्व्यत्यासे। द्वयोरुपादाने तु निरा- काङक्षत्वं प्रसिद्धम्। अनुपादानेपि सामर्थ्यात्कुत्रचिद्द्वयमपि गम्यते। यथा ये नाम केचिदिह नः प्रथयन्त्यवज्ञां जानन्ति ते किमपि तान् प्रति नैष यत्नः । उत्पत्स्यतेस्ति मम कोपि समानधर्मा कालो ह्ययं निरवधिर्विपुला च पृथ्वी॥१८९॥

preceding clause, it is always deficient (wanting in essen- tials), if the corresponding ' tat' is not actually present ; as for example in the verse just quoted, if we reverse the order of the two clauses [reading ' mīlitam yadabhirāmatā- dhike sādhu chandramasi puskaraih krtam'] we find that it gives no sense. (a) In cases where both the pronouns are used, of course, there is nothing wanting, as every one knows ; and (b) in certain cases, even when neither is present, both are implied by the force of the sentence. e. g. (a) ' Ye nāma kechidiha nab prathayantyavajňām Jānanti te kimapi tān prati naisa yatnab ; (b) Utpatsyatesti mama kopi samānadharmā Kālo hyayam niravadhirvipulā cha prthvī'. ' Who would deride me in this attempt, know some- thing perhaps ,-for them this effort of mine is not inten- ded ; some one possessed of qualities similar to mine may yet be born,-or he may even be living now,-time is interminable and the earth immense'. Here in the second half both ' yat' and ' tat' are under- stood, the meaning intended being ' the person who will be born, for him is this mark of mine meant '.

196 KĀVYAPRAKĀŚA

अत्र य उत्पत्स्यते तं प्रतीति। एवं च तच्छब्दानुपादानेत्र साकाङक्षत्वम्। न चासाविति तच्छब्दार्थमाह। असौ मरुच्चुम्बितचारुकेसर: प्रसन्नताराधिपमण्डलाग्रणीः । वियुक्तरामातुरदृष्टिवीक्षितो वसन्तकालो हनुमानिवागतः।१९०॥ अत्र हि न तच्छब्दार्थप्रतीतिः।

[The first half of the verse is an example of this correct use of both 'yat' and 'tat' and the second half that of the correct suppression of both.]

[Having thus discussed the correct use of the relative pronouns 'yat' and ' tat', the author takes up the thread of his remarks on the verse ' apāngasamsargi' &c.', see above]. Thus in the above-mentioned verse, the ab- sence of the pronoun ' tat' causes a deficiency, and leaves something wanting to complete the sentence .- It cannot be said that the pronoun ' asau' has the same sense at ' tat'; because in such sentences as the following we do not find the word ' asau' conveying the sense of ' tat'- ' Asau maruchchumbita ...... āgatah' ' Like Hanumān, (a) having his beautiful locks kissed by the Wind-god (his father), (b) the leader of the army of the Lord of Tāra (Sugrīva), and (c) eagerly looked up to by Räma, separated from his wife,-has this spring- time season arrived, (a) having its flower-pollen wafted by the breeze, (b) beautified by the bright moon, and (c) eagerly looked upon by women separated from their lovers.'

In fact if the pronoun' asau' conveyed the same sense as ' tat', then the use of the pronoun ' sa' (the masculine

CHAPTER VII 197

प्रतीतौ वा करवालकरालदोः सहायो युधि योसौ विजयार्जुनकमल्लः । यदि भूपतिना स तत्र कार्ये विनियुज्येत ततः कृतं कृतं स्यात् ॥१९१॥ अत्र स इत्यस्यानर्थक्यं स्यात्। अथ योविकल्पमिदमर्थमण्डलं पश्यतीश निखिलं भवद्वपुः । आत्मपक्षपरिपूरिते जगत्यस्य नित्यसुखिनः कुतो भयम् ॥१९२॥

nominative form of ' tat') in the following example would be entirely superfluous :- 'Karabāla ...... yosan ...... ' Yadi ......... sa tatra ...... syāt' ' If this person, who is the only equal of Arjuna, atten- ded by his sword, were employed by the King in this work, then would it be perfectly accomplished'. It might be argued that the pronoun 'asau' in the passage in question may be taken in the sense of 'tut' (even though it may not be quite synonymous with it) ; just as we find, in the following passage the pronoun ' asya' (the genitive form of ' idam") used in the sense of 'tat' ('that', though its ordinary meaning is 'this ']- ' yovikalpa ...... ..... asya ......... bhayam '-' For one who perceives, without any doubt, your body in all this world, where is there any fear in this universe, filled as it is with his own self ?' Our answer to this is that if in the passage in question the pronoun ' asau' were really intended to convey the sense of ' tat', (as ' idam' is in the passage just quoted), then it would have been used in a clause other than the one in which the pronoun 'yat' ('yab') occurs,-as in the passage just quoted, ' asya' occurs in a separate clause,-

198 KĀVYAPRAKĀŚA

इतीदंशब्दवदद:शब्दस्तच्छब्दार्थमभिधत्ते इति उच्यते। तर्ह्यत्रैव वाक्यान्तरे उपादानमर्हति न तत्रैव। यच्छब्दस्य हि निकटे स्थितः प्रसिद्धिं परामृशति। यथा यत्तदूर्जितमत्युग्रं क्षात्रं तेजोस्य भूपतेः । दीव्यताक्षैस्तदानेन नूनं तदपि हारितम् ॥१९३॥ इत्यत्र तच्छब्दः । ननु कथम् कल्याणानां त्वमसि महसां भाजनं विश्वमूर्ते धुर्यां लक्ष्मीमथ मयि भूशं धेहि देव प्रसीद । यद्यत्पापं प्रतिजहि जगन्नाथ नम्रस्य तन्मे भद्रं भद्रं वितर भगवन् भूयसे मङ्गलाय ॥१९४॥

and not in the same clause (as it does in the passage in question, where we have the two pronouns appearing in juxtaposition, 'yosau'). In fact when pronouns like 'tat' and ' adas', appear in close juxtaposition to 'yat', they signify the well-known character of the thing spoken of [and they are not used predicatively] ;- e. g. in the passage-' yattadūrjita ... ... hāritam '-' Even that well- known virile and glorious warlike spirit of the king was lost in the gambling,'-where the pronoun ' tat' signifies the well-known character of the ' spirit.' It might be argued that, if such be the rule (that the pronoun ' yat' in one clause must be followed by a corres- ponding ' tat' in a subsequent clause), then how is it that in the following passage, though the preceding clause contains the pronoun 'yat' repeated twice-' yat-yat'- the corresponding ' tat' occurs only. once in the subse- quent clause-' Kalyāņām ...... yadyat pāpam ...... tanme ...... mangalaya'-' Oh Thou of form universal ! Thou art

CHAPTER VII 199

अत्र यद्यदित्युक्त्वा तन्मे इत्युक्तम्। उच्यते -- यद्यदिति येन केनचिद्रूपेण स्थितं सर्वात्मक वस्त्वाक्षिप्तं तथाभूतमेव तच्छब्देन परामृश्यते। यथा वा किं लोभेन विलङघितः स भरतो येनतदेवं कृतं मात्रा स्त्रीलघुतां गता किमथ वा मातैव मे मध्यमा । मिथ्यैतन्मम चिन्तितं द्वितयमप्यार्यानुजोसौ गुरु- र्माता तातकलत्रमित्यनुचितं मन्ये विधात्रा कृतम् ॥१९५॥

the receptacle of the most auspicious effulgence ! Be pleased to ordain for me the highest prosperity ! O Lord of the world ! destroy whatever sin there is in me,-I bow down to thee ! O Blessed Lord ! bestow upon me for my welfare, everything that is good !' Our answer to this is that 'yad-yat' stands for any- thing and everything that exists, that is the entire world regarded as a single entity, and it is this single entity that is referred to in the subsequent clause by the pronoun 'tat' [so that there is perfect co-ordination]. [Finding that the example of the defect cited by him above has given rise to difficulties, the author cites another example of the defect, whereby the predicative factor is not discriminated.] Kiin lobbena ... āryānujosan ...... tātakalatram ... krtam'. ' Was Bharata beset with greed that he got this done through his mother ? Or, did my second mother herself succumb to the meanness common among women ?- Both these ideas of mine are wrong ; as he (Bharata) is the younger brother of my noble brother, and she, my revered mother, is my father's wife. So I think that this improper deed is the work of Providence itself.' Here stress is meant to be laid upon the terms ' ārya' and ' tata' [the idea being that 'it is of my noble brotber

200 KĀVYAPRAKĀŚA

अत्रार्यस्येति तातस्येति च वाच्यम्। न त्वनयोः समासे गुणीभावः कार्यः । एवं समासान्तरेप्युदाहार्यम्॥ विरुद्धमतिकृद्यथा श्रितक्षमा रक्तभुवः शिवालिङ्गितमूर्तयः । विग्रहक्षपणेनाद्य शेरते ते गतासुखाः ॥१९६॥ अत्र क्षमादिगुणयुक्ताः सुखमासते इति विवक्षिते हता इति विरुद्धा प्रतीतिः॥

Rama, that Bharata is the younger brother ;' and ' it is of my father that Kaikeyi is the wife,' and ' it is not possible for a brother of Rama or for the wife of my father to do anything wrong '], [and hence these two being the pre- dicative factors] the proper expressions should have been ' āryasyānujosau' ' tātasya kalatram'; and it was not right to make both these the subordinate factors of compounds. Similar examples may be cited of this defect occurring in other compounds. (13) The following is an example of 'repugnant im- plication.'- ' Shritakşamā raktabhuvaķ ' Śhivālingitamūrtayaļ ' Vigrahakşapaņeņādya ' Sherate te gatāsukhāķ' ' They, having recourse to forgiveness, with the world attached to them, and their bodies embraced by all that is good, lie down, with all their troubles gone through the removal of all quarrels.' Here the meaning intended is that ' persons of forgiving nature remain happy ' (as translated above), but the words chosen have another signification, which is entirely repug- nant to this [Lying down on the ground (shrtaksamāb),

CHAPTER VII 201

पदैकदेशे यथासंभवं क्रमेणोदाहरणम् अलमतिचपलत्वात्स्वप्नमायोपमत्वात परिणतिविरसत्वात्संगमेना ङ्गनायाः। इति यदि शतकृत्वस्तत्त्वमालोचयाम- स्तदपि न हरिणाक्षीं विस्मरत्यन्तरात्मा ॥१९७॥ अत्र त्वादिति। यथा वा तद्गच्छ सिद्धयै कुरु देवकार्यमर्थोयमर्थान्तरलभ्य एव। अपेक्षते प्रत्ययम ङ्गलब्ध्यै बीजाङकुरः प्रागुदयादिवाम्भः ॥१९८॥

having reddened the earth with their blood (raktabhurab), their bodies tossed about by jackals (shivālingitamurtayab)), they lie down with their life and organs all gone(gatāsukhab), through the destruction of their body (vigrahaksapanend)'.] The text has said that ' some of those defects occur in parts of words also ;' the following are the examples- (1) [ The 'Disagreeable to the ear '] ' Alamatichapalatvāt Svapnamāyopamatvāt Pariņativirasatvāt ...... ...... ātmā' " Have done with this association with women, which is extremely fickle, resembling dreamy illusion, and leads to unpleasant consequences ;"-even though this truth I ponder over hundreds of times, yet my inner soul for- gets not the fawn-eyed one '. Here the repetition of the syllable ' trat ' is ' unpleasant to the ear'. Another example of the same- ' Tad gachchha siddhyai ......... labdhyai ......... vāmbba!'. 'Thus you go forward to success, do the work of the gods ; this end in view, which can be attained only

202 KĀVYAPRAKĀŚA

अत्र द्धयै ब्ध्यै, इति कटु॥ यश्चाप्सरोविभ्नममण्डनानां संपादयित्रीं शिखरैबिभर्ति। बलाहकच्छेदविभक्तरागामकालसंध्यामिव धातुमत्ताम् ॥१९९॥ अत्र मत्ताशब्द: क्षीबार्थे निहतार्थः ॥ आदावञ्जनपुञ्जलिप्तवपुषां श्वासानिल्लोल्लासित- प्रोत्सर्पद्विरहानलेन च ततः संतापितानां दृशाम् । संप्रत्येव निषेकमश्रुपयसा देवस्य चेतोभुवो भल्लीनामिव पानकर्म कुरुते कामं कुरङ्गेक्षणा ॥२००॥ through something else, stands in need of an operative agent, just as the sprouting of the seed, before it appears, needs water '. Here the repetition of 'ddhyai' and bdhai is 'unpleasant to the ear'. (2) [The ' suppressed meaning ']- ' Yashchapsaro. .. dhātumattām' ' Who bears on his (snowy) summits a supply of (red) minerals which help in making up the coquettish toilet of celestial women,-as if it were the red hue of the suddenly falling evening, interspersed with pieces of (white clouds)'. The term ' matta' (which forms part of the word ' dhātumattā") is better known in the sense of 'intoxica- ted,' (which suppresses the sense of the possessive, which is intended). (3) ['The useless '.]- Ādāvañjana. .drshām : .. kurute kāmam kurangeksaņā' 'Her eyes having been painted with collyrium, and then heated by the fire of the pangs of separation formed by the hot sighs, the fawn-eyed one is now sprinkling her tears, and thereby is doing, as it were,the sharpening of the arrows of the Love-god'.

CHAPTER VII 203

अत्र दृशामिति बहुवचनं निरर्थकम् कुरङ्गेक्षणाया एकस्या एवोपादानात्। न चालसवलितैरित्यादिवत् व्यापारभेदाद- बहुत्वम व्यापाराणामनुपातत्वात। न च व्यापारेत्र दृकशब्दो वर्तते। अत्रैव 'कुरुते' इत्यात्मनेपदमप्यनर्थकम्। प्रधानक्रिया- फलस्य कर्त्रसंबन्धे कत्रभिप्रायक्रियाफलाभावात्।। चापाचार्यस्त्रिपुरविजयी कार्तिकेयो विजेयः शस्त्रव्यस्तः सदनमुदधिर्भूरियं हन्तकारः ।

[In sharpening a weapon, the mechanic smears it with acid and ashes, then heats it and then sprinkles water over it ;- the eyes being the love-god's arrows these arrows are sharpened in the manner described.] Here the plural number in 'drshām' is ' useless' or meaningless, as only one ' fawn-eyed girl' is spoken of. It is true that in certain cases,-e. g., in the verse ' alasara- litaiķ etc.,'-the plural number is used in view of the multi- plicity or manifoldness of functions ; but in the present instance it cannot be due to any such manifoldness ; as no such manifold functions are mentioned ; nor does the term ' drk' ('eye') denote any functions. Then again, in this same verse the Atmanepadu ending in 'kurute' is also 'useless', because the effect of the action connoted does not belong to the subject ( 'woman'), and hence the condition necessary for the use of the Atina- nepada ending-that the result of the action should pertain to the subject-is not fulfilled. (4) [The ' Inexpressive '] ' Chapacharys .... " .... chandrahāsaļ.' ' Your preceptor in archery is the victor of the three ci ties (Shiva), Kārtikeya is your subduable, the ocean,

204 KĀVYAPRAKĀŚA

अस्त्येवैतत् किमु कृतवता रेणुकाकण्ठबाधां बद्धस्पर्धस्तव परशुना लज्जते चन्द्रहासः ॥२०१॥ अत्र विजेय इति कृत्यप्रत्ययः क्तप्रत्ययार्थेवाचक: ॥ अतिपेलवमतिपरिमितवर्ण लघुतरमुदाहरति शठः । परमार्थतः स हृदयं वहति पुनः कालकूटघटितमिव ॥२०२॥ अत्र पेलवशब्दः ॥ यः पूयते सुरसरिन्मुखतीर्थसार्थ- स्नानेन शास्त्रपरिशीलनकीलनेन। सौजन्यमान्यजनिरूरजितम् जितानां सोयं दृशोः पतति कस्यचिदेव पुंसः ॥२०३॥

forced back by your weapons, is your abode, and the earth is for you an object to be given away ; though all this is so, yet my sword Chandrahasa is ashamed at being pitted against your axe which cut off Renuka's head !' The verbal potential affix (' yat') in ' vijeya' has been used in the sense of the past participle affix ' kta', which sense it can never have. [What is meant is that Kartikeya has been subdued by you, while the word used is 'vijeya' which means 'subduable'.] (5) [The ' Indecorous ']- (a) ' Atipelava ......... ghatitamiva' 'A rogue always speaks very little, and that softly and gently; in reality 'however' he has his heart full of poison.' Here the term ' pelava' is 'indecorous' (being the name in the Lata language of a secret part of the human body). (b) 'Yab pūyate ......... pumsab' 'Rare is the person before whose eyes comes a great man like this, who is sanctified by bathing in the Ganga apw other sacred places, and also by the consolidation of

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अत्र पूयशब्दः॥ विनयप्रणयैककेतनं सततं योभवदङ्ग तादृशः । कथमद्य स तद्वदीक्ष्यतां तदभिप्रेतपदं समागतः ॥२०४॥ अथ प्रेतशब्दः ॥ कस्मिन् कर्मणि सामर्थ्यमस्य नोत्तपतेतराम् । अयं साधुचरस्तस्मादञ्जलिर्बध्यतामिह॥२०५॥ अत्र किं पूर्व साधुः उत साधुषु चरतीति संदेहः ॥

this knowledge of the scriptures,-of noble and respectabie birth, the personified spirit of all that is spirited.' The term ' puya' is 'indecorous' (as it denotes pars). (c) ' Vinaya ...... tadabhipretapadam sami gatcb'. 'O friend ! he who used to be the one receptacle of humility and love,-how can be looked upon as the same, when he has attained the position he desired (of becoming the lover of another woman) ?' Here the term ' preta' is 'indecorous' (as it denotes the ' departed dead "). (6) [The 'Ambiguous ']- ' Kasmin karmani samarthyam ... ayam sadhucharah ... ibe'. 'In what action does his capacity not shine ?- And he is of virtuous character ; so salute him.' The exact meaning of the part (' chara') of the word ' Sadhucharab' is 'ambiguous ' ;- ' chara' is an aflix denoting 'something that is past', and in that sense ' Sadhucharah' means 'who was good in the past'; on the other hand, ' chara' may be a noun derived from the root 'chara' (to behave), in which case the compound 'Sadhucharah' would mean ' he who behaves virtuously '

206 KĀVYAPRAKĀŚA

किमुच्यतेस्य भूपालमौलिमालामहामणेः । सुदुर्लभं वचोबाणैस्तेजो यस्य विभाव्यते ॥२०६॥ अत्र वच:शब्देन गीःशब्दो लक्ष्यते। अत्र खलु न केवलं पूर्वपदम् यावदुत्तरपदमपि पर्यायपरिवर्तनं न क्षमते । जलध्यादा- वुत्तरपदमेव वडवानलादौ पूर्वपदमेव ।।

(7) ['The meaning having to be guessed ']- ' Kimuchyate ...... vachobānaiļ ... vībhāvyate.' ' What is to be said to this central crest-jewel of kings !- whose splendour is such as is difficult even for the gods to attain !'

Here the term ' vachab' (in ' vachobāņaiļ') is meant to indicate its synonym ' gīh' (which gives the word ' gīr- bana',-which is one of the names of the gods), and thus the meaning of the compound ' vachobanaib' is such as can be 'guessed' with difficulty]. In fact the compound word ' gīrbana' (as a name of the gods) is such that it is not only the first term of the com- pound that does not admit of being replaced by a synonym; the second term also does not admit of being so replaced [i.e. just as we cannot have ' vachobana' so also we cannot have 'gih-śara']. As compound names where the second term does not admit of being replaced by a synonym, we have such words as 'jaladhi' (ocean) and the like (which become entirely altered in sense by being trans- formed into 'jaladhara', which means cloud) ; and as ins- tances of compound names in which the first term does not admit of being replaced by a synonym, we have such words as ' vādavānala' (the submarine fire) [which, when changed into ' aśvānala' does not mean the same thing].

CHAPTER VII 207

यद्यप्यसमर्थस्यैवाप्रयुक्तादयः केचन भेदाः तथाप्यन्यैरा- लंकारिकैर्विभागेन प्रदर्शिता इति भेदप्रदर्शनेनोदाहर्तव्या इति च विभज्योक्ताः ॥५२।। प्रतिकूलवर्णमुपहतलुप्तविसर्ग' विसन्धि हतवृत्तम् । न्यूनाधिककथितपदं पतत्प्रकर्ष समाप्तपुनरात्तम् ॥ ५३॥ अर्धान्तरैकवाचकमभवन्मतयोगमनभिहितवाच्यम् । अपदस्थपदसमासं संकीर्ण गर्भितं प्रसिद्धिहतम् ॥५४॥। भग्नप्रक्ममक्रमभमतपरार्थं च वाक्यमेव तथा। (१) रसानुगुणत्वं वर्णानां वक्ष्यते। तद्विपरीतं प्रतिकूलवर्णम ।

Though the words classed as 'unconventional' and the rest are only sub-classes of what is 'incapable of giving sense', yet they have been described separately, because some rhetoricians have treated of them as separate and hence it was thought proper to cite separate examples of them. 52. That sentence is defective which (1) contains discordant letters, (2) has the visarga blunted, (3) has the visarga deleted, (4) involves an unharmonious euphony, (5) involves a marred metre, (6) is deficient in words, (7) is redundant in words, (8) contains repeated words, (9) has its excellence receding, (10) resumes the concluded, (11) has a word isolated in a distinct half, (12) is devoid of intended connection, (13) omits a necessary statement, (14) bas a word misplaced, (15) has a compound misplaced, (16) is confused, (17) is parenthetical, (18) is oppossed to usage, (19) has its uniformity broken, (20) has no uniformity and (21) has an undesirable second meaning. (1) It is going to be explained later on (Ch. VIII) how certain letters are in consonance with the delinea- tion of certain particular Passions ; and letters that are

208 KĀVYAPRAKĀŚA

यथा शृङ्गारे अकुण्ठोत्कण्ठया पूर्णमाकण्ठं कलकण्ठि माम् । कम्ब्रुकण्ठयाः क्षणं कण्ठे कुरु कण्ठार्तिमुद्धर।२०७॥ रौद्रे यथा देश: सोयमरातिशोणितजलैर्यस्मिन् ह्नदाः पूरिताः क्षत्त्रादेव तथाविधः परिभवस्तातस्य केशग्रहः। तान्येवाहितहेतिघस्मरगुरूण्यस्त्राणि भास्वन्ति मे यद्रामेण कृतं तदेव कुरुते द्रोणात्मजः क्रोधनः॥२०८॥

not in such consonance are called ' discordant'. For example in the following delineation of the Erotic- ' Akunthotkanthayā pūrnamākāntham kalakanthi mām Kambukanthyāh ksanam kanthe kuru kanthartimuddhara.' ' O sweet-voiced one ! Do place me, who am full up to the throat with unimpeded longing, on the neck of the conch-necked one, and thereby remove the pangs of my neck' ;- [The frequent repetition of the harsh letter ntha is highly discordant with the sentiment depicted]. Or, in the following delineation of the Furious- ' Desab soyamarātisonitajalairyasmin hradāb pūritāķ Kşattrādeva tathāvidhab paribhavastātasya keśagrahaļ Tānyevāhītahetighasmaragurūnyastrāni bhāsvanti me Yad rāmeņa krtantadeva kurute dronātmajab krodhanah'. 'This land is the same where pools were filled (by Paraśurāma) with the blood of slaughtered enemies ; insult at the hands of a Ksattriya, in the shape of the father's locks being pulled, is also similar; these resplendent weapons of mine also are similarly famous as being des- tructive of the weapons of enemies ; the wrathful son of

CHAPTER VII ' 209

अत्र हि विकटवर्णत्वं दीर्घसमासत्वं चोचितम्। यथा

कोधप्रेरितभीमभार्गवभुजस्तम्भापविद्धः क्षणात् । उज्ज्वाल: परशुर्भवत्वशिथिलस्त्वत्कण्ठपीठातिथि- र्येनानेन जगत्सु खण्डपरशुर्देवो हरः ख्याप्यते ॥२०९॥ यत्र तु न क्रोधस्तत्र चतुर्थपादाभिधाने तथैव शब्दप्रयोग:।

Drona is going to do precisely what was done by Paraśu- rāma ' .- What would have been in consonance with the senti- ment depicted would be [not the soft letters and simple words used, but] harsh sounding letters and long com- pounds ; as in the following- ' Prāgaprāptanishumbhashāmbhava- dhanurdvedhavidhavirbhavat- Krodhapreritabhīmabhārgavabhuja- stambhāpaviddhab kşaņāt Ujjvālab parashurbhavatvashithilas- tvatkanthapīthātithir- Yenānena jagatsu khandaparashur- devo harah khyāpyate'. 'May this blazing and powerful axe of mine, by reason whereof the god Shiva is known as 'the god of the broken axe,' (He having bestowed a part of his axe to me), be the guest of the back of your neck,-being wielded by my pillar-like terrific arms urged into action by the wrath excited by the breaking of the ever unbent bow of Siva' ;- [We find long compounds and harsh-sounding words] ; but in the last quarter of the verse, where no anger is expressed (but only a deferential reference to the God Shiva), we have words suited to the sentiment.

210 KĀVYAPRAKĀŚA

(२) उपहृत उत्वं प्राप्तो (३) लुप्तो वा विसर्गो यत्र तत्। यथा धीरो विनीतो निपुणो वराकारो नृपोत्र सः । यस्य भृत्या बलोत्सिक्ता भक्ता बुद्धिप्रभाविताः ॥२१०॥ (४) विसंधि संधेवैरूप्यम् विश्लेषोश्लीलत्वं कष्टत्वं च । तत्राद्यं यथा राजन्विभान्ति भवतश्चरितानि तानि इन्दोर्द्युति दधति यानि रसातलेन्तः । धीदोर्बले अतितते उचितानुवृत्ती आतन्वती विजयसंपदमेत्य भात: ॥२११॥

(2) and (3) The following is an example of the ' visarga blunted ',-i. e., transformed into 'o',-as also of the ' visarga deleted '- ' Dhīro vinīto nipuno varākāro nrpotra saķ-(2) Yasya bhrtyā balotsiktā bhaktā buddhiprabhāvitā'-(3) ' This king is dignified, modest, efficient and of hand- some presence ; his dependants are strong in intelligence, devoted to their master and proud of their strength.' [In the first half the visarga is transformed into 'o' no less than five times; and in the second half it is deleted thrice.] (4) The ' Cacophonous' is that which involves a dis- cordant euphony,-this discordance manifesting itself in three ways : (a) in disjunction, (b) in indecorousness and (c) in harshness. (a) The following is an example of the euphony of discordant- disjunction- Rajan ... tani indor ...... dhīdorbale atitate uchitānuvrttī ātanvatī ......... bhātab ' ..

CHAPTER VII 211

यथा वा तत उदित उदारहारहारिद्युतिरुच्चैरुदयाचलादिवेन्दुः।। निजवंश उदात्तकान्तकान्तिर्वत मुक्तामणिवच्चकास्त्यनर्घ:॥२१२॥

'O King ! thy deeds shine resplendent even in the nethermost regions, resembling the sheen of the moon; and the power of thy intellect and arms, functioning in the right manner, brings about thy victory and glory and shines in the world '. [Here the disjunction between 'tani' and 'indob', between 'bale' and 'atitate' and 'uchitanuvrtti' and 'atanvati' even though gramma- tically correct, is highly discordant'.] Or in the following- ' Tata udita udārahāra ...... nijavamsba- ........ udātta ........ ... narghab'. ' That great man of the exquisitely fascinating splen- dour rises resplendent in his family, resembling the pearl (appearing from the bamboo) ; and having his resplendence enhanced by the beautiful pearl-necklace, he resembles the moon (whose sheen is like that of the flawless pearl) '. [Here the visarga is deleted twice after 'tatah' and 'uditab.] In this connection it has to be borne in mind that there are two conditions under which the disjunction in euphony is grammatically permissible,-in the first place, there is the very wide rule which makes all euphonious combination purely optional, and secondly in the case of the preceding word being a noun with a dual termination ending in the vowel ' i' or ' u', where according to 'Panini (1.1.11 and 6.1.125), no conjunction takes place. Now if the disjunc- tion in euphony is of the former kind, then even a single instance makes the sentence defective ; while if it belongs

212 KĀVYAPRAKĀŚA

संहितां न करोमीति स्वच्छया सकृदपि दोषः प्रगृह्यादिहेतुकत्वे त्वसकृत्।। वेगादुड्डीय गगने चलण्डामरचेष्टितः । अयमुत्तपते पत्त्री ततोत्रैव रुचिङकुरु ॥२१३॥ अत्र संधावश्लीलता। उर्व्यसावत्र तर्वाली मर्वन्ते चार्ववस्थितिः । नात्रर्जु युज्यते गन्तुं शिरो नमय तन्मनाक् ।२१४॥ (५) हतं लक्षणानुसरणेप्यश्रव्यम्। अप्राप्तगुरुभावान्तलघु रसान- नुगुणं च वृत्तं यत्र तत् हतवृत्तम्। क्र्मेणोदाहरणम्-

to the latter class, then it renders the sentence defective if it occurs more than once. (b) ' Vegā ...... chalandāmara ......... ruchinkuru' This bird of unrestrained activity, flying in the sky with great force, finds it extremely hot ; so take your rest here.' Here the euphonious combination (involved in the expressions ' chalandāmara' and ' ruchinkuru') lead to in- decorousness (in this that they give rise to sounds mani- festing the terms ' landa' and ' chinku' respectively, both of which are the names of certain private parts of the human body). (c) ' Urvyasāvatra tarvālī marvante charvavasthitib nātrārju .. ... manāk'. 'Hence on the outskirts of a sandy desert the ground is covered by a line of trees affording a nice resting place ; it is not right to go through it standing ; so just lower your head a little.' [Here the euphonious combination becomes barsh.] (5) The ' marred metre ' is of three kinds-(a) Though technically satisfying the formal conditions, it may be

CHAPTER VII 213

अमृतममृतं क: संदेहो मधून्यपि नान्यथा मधुरमधिकं चूतस्यापि प्रसन्नरसं फलम्। सकृदपि पुनर्मध्यस्थः सन् रसान्तरविज्जनो वदतु यदिहान्यत्स्वादु स्यात्प्रियादशनच्छदात् ॥२१५॥ अत्र 'यदिहान्यत्स्वादु स्यात्' इत्यश्रव्यम्। यथा वा जं परिहरिउं तीरइ मणअंपि ण सुन्दरत्तणगुणेण। अह णवरँ जस्स दोसो पडिपक्खेहिं पि पडिवण्णो ॥२१६॥ अत्र द्वितीयतृतीयगणौ सकारभकारौ।

unpleasant to the ear, unmelodious,-(b) it may not have the last syllable of the foot elongated,-and (c) it may not be in harmony with the sentiment depicted. The following are the examples of each of these three. (a) ' Amrtam ......... vadatu yadihānyat svādu ...... chhadāt.' What doubt is that nectar is really nectar; honey also is not otherwise; the fruit of the mango also is very sweet and of pleasing flavour ; yet let any disinterested person, who is capable of appreciating the various kinds of flavours; say if anything in this world is sweeter than the lips of one's beloved !' In the fourth line the portion ' yadihānyat svādu syāt' (though formally correct) is not pleasant to the ear. Or again in the following- ' Jam pari ......... padivanno'. 'That by reason of their very fascinating character affairs of love cannot be avoided is their one defect, which has been admitted even by their opponents '. Here the close proximity of the group of three letters 'ha-ri-um'-which is technically named' sa' (i. e. the group of three in which, the first two letters are short and the third long),-to the next group, ' ti-ra-i'-which is technically called ' bha' (i. e. one long letter followed by

214 KĀVYAPRAKĀŚA

नवकिसलयचारुचामरश्रीहरति मुनेरपि मानसं वसन्तः ॥२१७॥ अत्र हारिशब्दः । हारिप्रमुदितसौरभेति पाठो युक्तः। यथा वा अन्यास्ता गुणरत्नरोहणभुवो धन्या मृदन्यैव सा संभारा: खलु तेन्य एव विधिना यैरेष सृष्टो युवा। श्रीमत्कान्तिजुषां द्विषां करतलात् स्त्रीणां नितम्बस्थलात् दृष्टे यत्र पतन्ति मूढमनसामस्त्राणि वस्त्राणि च ।२१८।।

two short ones),-is unmelodious [as has been recognised by standard writers on metrics also]. (b) ' Vikasitasahakāratārahāriparimala ... .vasantaļ'. ' The spring bearing the fascinating fragrance of the blossoming mangoes, having swarms of black bees humm- ing about, and beautified by chowries in the shape of the fresh leaves of trees-captivates the heart of even the ascetic '.

Here the metre is halting at ' hari' [where the last vowel is not elongated]. The right reading would be ' hari-pramudita etc. etc.' Or, as in the following- ' Anyāstā .. .. vastrāņi cha'.

' Wonderful must have been the mines that produced these jewels of qualities ! wonderful too that blessed clay, as also the accessories, wherewith this young man has been created by God ! Since at his appearance, the weapons fall off from the hands of his rich and elegant enemies, and clothes slur away from the waists of beautiful women,- both of these having their hearts benumbed (the former through fear and the latter through love)'.

CHAPTER VII 215

अत्र 'वस्त्राण्यपि' इति पाठे लघुरपि गुरुतां भजते॥ हा नृप हा बुध हा कविबन्धो विप्रसहस्त्रसमाश्रय देव। मुग्धविदग्धसभान्तररत्न क्वासि गतः क्व वयं च तवैते ॥२१९॥

(६) न्यूनपदं यथा तथाभूतां दृष्टवा नृपसदसि पाञ्चालतनयां वने व्याधैः सार्ध सुचिरमुषितं वल्कलधरैः । विराटस्यावासे स्थितमनुचितारम्भनिभृतं गुरु: खेदं खिन्ने मयि भजति नाद्यापि कुरुषु ॥२२०॥

[Here the short syllable ' cha' at the end is such as cannot take the long accent]. If the reading were ' nyapi' (instead of 'ni cha'), the 'pi', even though short, could have taken the long accent (by virtue of its being preceded by the conjunct consonant " nya"). (c) ' Ha nrpa. ... tavaite'. 'O king ! O wise one ! O patron of poets, the patron of hundreds of Brāhmanas ! O godlike one, jewel of the assembly of the learned and the wise ! Whereto have you gone ?- and where are we, your very own ?' The metre adopted here is suited to the delineation of the Comic (and not of the Pathetic, to which it is employed here). (6) The following is an example of the ' deficient in words '- ' Tathābhūtām drstvā mrpasadasi pāňchālatanayām Vane vyādhaih sārdham suchiramuşitam valkaladharaiļ Virātasyāvāse sthitamonuchitārambhanibbrtam Guruķ khedam khinne mayi bhajati nādyāpi kurusu. (See translation above in Chapter III,)

216 KĀVYAPRAKĀŚA

अत्रास्माभिरिति "खिन्न" इत्यस्मात्पूर्वमित्थमिति च।। (७) अधिकं यथा स्फटिकाकृतिनिर्मल: प्रकामं प्रतिसंक्रान्तनिशातशास्त्रतत्त्वः । अविरुद्धसमन्वितोक्तियुक्तिः प्रतिमल्लास्तमयोदयः स कोपि ॥ ।।२२ १ ।। अत्र आकृतिशब्दः । यथा वा इदमनुचितमक्रमश्च पुंसां यदिह जरास्वपि मान्मथा विकाराः। यदपि चनकृतं नितम्बिनीनां स्तनपतनावधि जीवितंरतं वा॥।२२२॥

Here, in the first sentence the word 'asmabhib' is wanting (without which the sentence is left without a nominative) ; similarly before ' khinne', the adverb ' ittham' 'in this manner' is wanting [the intended meaning being 'he bears anger towards me, who have suffered in the manner described ']. (7) The following in an example of the 'Redundant word'- ' Sphatikākrti ...... sa kopi' 'Truly marvellous is this King !- clean like the form of the rock-crystal, all the most abstruse principles of the sciences fully reflected in himself, his statements consistent and closely reasoned, and the source of the destruction of his adversaries.' Here the term ' akrti' (' form') is entirely superfluous. Another example- ' Idamanuchitam .. Yadapi cha na krtam ...... ratam vā'. 'It is improper and unnatural that men should evince sexual desires even in old age ; as also that of women, either life itself or sexual enjoyment was not made to end with the fall of their breasts'.

CHAPTER VII 217

अत्र कृतमिति। कृतं प्रत्युत प्रकरमभङ्गमावहति। तथा च 'यदपि' च न कुरङ्गलोचनानाम्' इति पाठे निराकाङक्षैव प्रतीतिः ॥ (८) कथितपदं यथा अधिकरतलतल्पं कल्पितस्वापलीला- परिमिलननिमीलत्पाण्डिमा गण्डपाली। सुतनु कथय कस्य व्यञ्जयत्यञ्जसैव स्मरनरपतिलीलायौवराज्याभिषेकम् ॥२२३॥ अत्र लीलेति।। (९) पतत्प्रकर्ष यथा क: कः कुत्र न घुर्घुरायितघुरीघोरो घुरेत्सूकर: क: कः कं कमलाकरं विकमलं कर्तु करी नोद्यतः ।

Here the term ' krtam' is superfluous ; in fact its insertion breaks the uniformity (of the two statements). If the reading were 'yadapi cha na kurangalochanānām', the intended sense would be quite complete. (8) The following is an example of the 'Repeated Word '- ' Adhikara ...... līlā- Smaranarapatilīlā ...... şėkam' 'The paleness of your cheek is waning on account of the pressure of your arms upon which it rested during sleep ; tell me, O beautiful one ! of what young man does this (cheek) indicate the coronation as the Prince of the sportings of King Cupid.' Here the word ' lila' is needlessly repeated. (9) The following is the example of ' Receding Ex- cellence '- ' Kah kah kutra na ghurghurāyitaghurīghoro ghuret sukaraķ Kah kab kam kamalākaram vikamalam kartum karī nodyatab

218 KĀVYAPRAKĀŚA

के के कानि वनान्यरण्यमहिषा नोन्मूलयेयुर्यतः सिंहीस्नेहविलासबद्धवसतिः पञ्चाननो वर्तते ॥२२४॥ (१०) समाप्तपुनरात्तं यथा क्रेङ्कारः स्मरकार्मुकस्य सुरतक्रीडापिकीनां रवः भङ्कारो रतिमञ्जरीमधुलिहां लीलाचकोरीध्वनिः । तन्व्याः कञ्चुलिकापसारणभुजाक्षेपस्खलत्कङ्कण- क्वाण: प्रेम तनोतु वो नववयोलास्याय वेणुस्वनः ॥२२५॥

Ke ke kāni vanānyaranyamahişā nonmūlayeyuryatab Simbīsnebavilāsabaddhavasatiķ pañchānano vartate' 'What boar and where would not make the terrible ghur ghur sound ?- What elephant would not deprive the lotus-ponds of its lotuses ?- What wild buffalo would not uproot the forests ?- Now that the lion lies capti- vated by the love of the lioness !' [Here the climax is not maintained to the end; it breaks off after the third line. The destructiveness of one animal is described in the first foot, greater destrucriveness is described in the second foot, and still greater destructiveness is desc ibed in the third foot; this climax would have been rightly maintained, if the lion were described, in the last foot, as bringing greate: destruction than that wrought by all the aforesaid animals. What is done on the other hand is that the fierce destructiveness of animals is toned down towards the end to the quiescent lying down of the lion under the captivating influence of feminine charms.] (10) The following is the example of ' Resuming the Concluded ' ' Krenkārah ... venusvanab' 'Like unto the twang of Cupid's bow, the sweet singing of the cuckoo of dalliance, the humming of bees in the blossom of love, the sound of the partridge of graceful sportiveness,-may the jingling of the slender

CHAPTER VII 219

(११) द्वितीयार्धगतैकवाचकशेषप्रथमार्ध यथा मसृणचरणपातं गम्यतां भू: सदर्भा विरचय सिचयान्तं मूध्नि घर्मः कठोरः । तदिति जनकपुत्री लोचनैरश्रुपूर्णै: पथि पथिकवधूभिर्वीक्षिता शिक्षिता च ॥२२६।। (१२) अभवन् मतः (इष्टः) योगः (संबन्धः) यत्र तत्। यथा

girl's bangles dropped in the shaking of her arms at the time of the attempt to remove her bodice, expand your love !- the jingling resembling the ring of the flute, played to the dancing of youthfulness !' [The last qualification is thrown in, after the sentence has been completed, without materially adding to the beauty of the descrip- tion.] (11) The following is an example of the 'Isolation, in the second part of a word required by the first half'- ' Masrņa ............ bhūķ sadarbhā

Taditi .shikitā cha'.

'The ground is covered with grass-shoots, therefore, weak with soft foot-steps ; the sun is strong overhead, therefore place a piece of cloth on your head ;- thus was Janakī on her way exhorted and looked upon with tearful eyes by the wives of fellow-travellers '. [The construction here is 'bhūh sadarbha-'(the ground is covered with shoots) tat (therfore) gamyatam (walk with soft tread etc. etc.); and the term 'tat' which is required in the first half of the verse has been placed in the second half, with which it has no syntactical connection.] (12) The following is an example of what is ' devoid of intended connection', i.e. where the desired connection is wanting-

220 KĀVYAPRAKĀŚA

येषां तास्त्रिदशेभदानसरितः पीताः प्रतापोष्मभि- र्लीलापानभुवश्च नन्दनवनच्छायासु यैः कल्पिताः । येषां हुंकृतयः कृतामरपतिक्षोभाः क्षपाचारिणां किं तैस्त्वत्परितोषकारि विहितं किंचित्प्रवादोचितम् ॥२२७॥ अत्र "गुणानां च परार्थत्वादसंबन्धः समत्वात्स्यात्" इत्युक्तनयेन यच्छब्दनिदश्यानामर्थानां परस्परमसमन्वयेन यैरि- त्यत्र विशेषस्याप्रतीतिरिति। 'क्षपाचारिभिः' इति पाठे युज्यते समन्वयः ।

(a) ' Yeşām tāstridashebhadānasaritaļ pītā pratāposmabhi Līlāpānabhuvashcha nandanavana-

chchhāyāsu yaiķ kalpitāb (b)

(c) Yesām humkrtayab krtāmarapati- kşobhāb kşapāchārīņām Kim taistvatparitoşakāri vihitam kiñchit pravādochitam'. 'By the fire of whose glory was dried the ichor-flow of the celestial elephants,-by whom were established drink- ing booths in the shady groves of the Nandana garden,- of which demons the slightest sound of displeasure brought up perturbation in the mind of the king of the gods,-what satisfactory act has been done by them which could be spoken of ?' Here it is not comprehensible what is the antecedent (qualified and referred to) of the pronoun 'yaih' (there being no noun with the instrumental ending),-it being not possible to co-ordinate it with ' yesam' and thus corre- late it with the 'demons' (ksapacharinam' with the

CHAPTER VII : 221

यथा वा त्वमेवंसौन्दर्या स च रुचिरताया: परिचितः कलानां सीमानं परमिह युवामेव भजथः । अपि द्वन्द्वं दिष्टया तदिति सुभगे संवदति वाम् अतः शेषं यत्स्याज्जितमिह तदानीं गुणितया ॥२२८।। अत्र यदित्यत्र तदिति तदानीमित्यत्र यदेति वचनं नास्ति ।

genitive ending, which is the antecedent of the pronoun ' yeşām"), because, according to the dictum of Jaimini (Mimā. Sū. 3.1.22), when there are several subordinate factors (in the present case, the pronouns ' yesam', in the first line, 'yaib' in the second line and ' yesam' in the third line), they are all equally subservient to something else, and as such cannot be mutually correlated. The necessary co-ordination (and antecedent) would be got at, if we read ' ktapache:biib', (with the instrumental ending, in place of ' kşapāchāriņām'. Another example of the same defect we have in the following- ' Tvamevam saundaryāb sa cha ruchiratāyāh parichitab Kalānām sīmānam paramiha yuvāmeva bhajathab Api dvandvamn distyā taditi subhage sarizvadati vām Ataļ sheşam yat syāj jitamiha tadānīm guņitayā'. ' You are endowed with such beauty, and he is not unfamiliar with handsomeness ; both of you possess the highest proficiency in the finer arts; thus fortunately the pair of you two is quite compatible ; if the subsequent issue were what it should be, then indeed would the en- dowment of qualities become duly glorified.' Here the relative pronoun ' yat' (in the fourth line) requires a corresponding ' tat', and the term ' tadānīm'

222 KĀVYAPRAKĀŚA

'चेत्स्यात्' इति युक्त: पाठः। यथा वा संग्रामाङ्गणमागतेन भवता चापे समारोपिते देवाकर्णय येन येन सहसा यद्यत्समासादितम् । कोदण्डेन शराः शरैररिशिरस्तेनापि भूमण्डलं तेन त्वं भवता च कीर्तिरतुला कीर्त्या च लोकत्रयम् ।।२२९।। अत्राकर्णनक्रियाकर्मत्वे कोदण्डं शरानुइत्यादि वाक्यार्थस्य कर्मत्वे कोदण्डः शरा इति प्राप्तम्। न च यच्छब्दार्थस्तद्विशेषणं वा कोदण्डादि। न च केन केनेत्यादि प्रश्नः।

requires a corresponding ' yadānīm'; but both these are absent [and hence the desired connection becomes im- possible]. The right reading would be ' chet syat' (for ' yat syāt"). Another example of the same. ' Sangrāmāngaņamāgatena bhavatā chāpe samāropite ' Devākarņaya yena yena sahasā yad yat samāsāditam Kodandena sharāķ sharairarishirastenāpi bhūmandalam Tena tvam bhavatā cha kīrtiratulā kīrtyā cha lokatrayam'. ' O king ! listen to what was attained by what, when you came to the field of battle and stringed your bow : The bow obtained the arrows,-the arrows, the enemy's head,-this head, the earth,-the earth, yourself (for its master),-you, unrivalled fame,-and the fame, all the three worlds.'

As objectives of the verb ' listen', all the nouns men- tioned should have the accusative ending-' Kodandam sharan' and so forth. If the whole of the subsequent sentence were to be treated as the objective of the said verb, then the form would be ' Kodandah sharah' [as what

CHAPTER VII 223

यथा वा "चापाचार्यस्त्रिपुरविजयी कार्तिकेयो विजेयः शस्त्रव्यस्तः सदनमुदधिर्भूरियं हन्तकारः । अस्त्येवैतत् किमु कृतवता रेणुकाकण्ठबाधां बद्धस्पर्द्धस्तव परशुना लज्जते चन्द्रहासः" ॥२३०॥ इत्यादौ भार्गवस्य निन्दायां तात्पर्यम् । कृतवतेति परशौ सा प्रतीयते। 'कृतवतः' इति तु पाठे मतयोगो भवति।

are meant to be ' listened ' to are (1) the thing that attains, and (2) the thing attained; and in any enumeration of these, both of them should be spoken of by means of nouns with the nominative ending] .- Nor is it possible for the 'Bow' and other things to be regarded either as included in the denotation of the pronoun ' yat' (in the first line, which is the objective of the verb to listen), or as a qualification of that denotation. Nor lastly is there any such question as-' what was attained by what ?'- ' kena kena kim kim'-(which would have established the intended connection between the two sets of sentences). Another example of the same defect- ' Chāpāchāryastripuravijayī kārtikeyo vijeyaķ Shastravyastab sadanamudadhirbhūriyar hantakāraķ Astyevaitat kimu kītavatā reņukā-kanthabādhām Baddhaspardhastava parashunā lajjate chandrabāsah' (For translation see above, stanza No. 201) What is intended here is the deprecation of Parashu- räma himself (for having killed his mother) ; while the term 'krtavatā' qualifying the axe, makes the said de- precation appliable to this latter. The reading ' krtavatab' (which would qualify ' tava') would afford the intended connection.

224 KĀVYAPRAKĀŚA

यथा वा चत्वारो वयमृत्विजः स भगवान् कर्मोपदेष्टा हरिः संग्रामाध्वरदीक्षितो नरपतिः पत्नी गृहीतव्रता। कौरव्या: पशवः प्रियापरिरभवक्लेशोपशान्तिः फलं राज्यन्योपनिमन्त्रणाय रसति स्फीतं हतो दुन्दुभिः ॥२३१। अत्राध्वरशब्दः समासे गुणीभूत इति न तदर्थ: सर्वैः संयुज्यते। यथा वा जङघाकाण्डोरुनालो नखकिरणलसत्केसरालीकराल: प्रत्यग्रालक्तकाभाप्रसरकिसलयो मञ्जुमञ्जीरभृङ्ग:।

Another example- Chatvāro vayamrtvija sa bhagavān karmopadestā hariķ Samgrāmādhvaradīkșito narapatih patnī grhītavratā Kauravyāh pashavaķ priyāparibhavakleshopashāntiķ phalam Rājanyopanimantraņāya rasati sphītam hato dundubhiļ.' ' We four are the sacrificial priests ; the blessed Hari is the spiritual adviser ; the king has been initiated for the battle-ritual ; and his wife is keeping the vows ; the Kurus are the animals (to be sacrificed) ; the result aimed at is the allayment of the pain caused by the molestation of our beloved wife ; the battle-drum is being sounded for the purpose of inviting the Ksattriyas (to the sacrifice)'. Here the term ' adhvara', ' sacrifice', has been made a subordinate member of the compound, and hence what is denoted by it fails to be connected with all the sacrificial details mentioned. The following is yet another example ;- ' Janghākāndorunālo nakhakiraņalasatkesarālīkarālaļ Pratyagrālaktakābhāprasarakisalayo mañjumañjīrabhrngab

CHAPTER VII 225

भर्तुर्नृत्तानुकार जयति निजतनुस्वच्छलावण्यवापी- संभूताम्भोजशोभां विदधदभिनवो दण्डपादो भवान्याः ॥२३२॥

विवक्षिता॥ अत्र दण्डपादगता निजतनुः प्रतीयते भवान्याः संबन्धिनी तु

(१३) अवश्यवक्तव्यमनुक्तं यत्र। यथा अप्राकृतस्य चरितातिशयैश्च दृष्टै- रत्यद्भुतैरपहृतस्य तथापि नास्था। कोप्येष वीरशिशुकाकृतिरप्रमेय- सौन्दर्यसारसमुदायमयः पदार्थः ॥२३३॥ अत्र 'अपहृतोस्मि' इत्यपहृतत्वस्य विधिर्वाच्यः तथापीत्यस्य द्वितीयवाक्यगतत्वेनैवोपपत्तेः। यथा वा

Bharturnrttānukāre jayati nijatanusvachchhalāvanyāvāpī- Sambhūtāmbhojashobhām vidadhadabhinavo daņdapādo bhavānyab'. (Translated above as stanza No. 150) Here the expression ' nijatanu', appearing in the com- pound, is understood as refering to the Dandapāda, while it is intended to refer to Bhavānī. (13) In the following we have an example of the 'Omission of a necessary Statement ' .- ' Aprākrtasya charitātishayaishcha drstair Atyadbhutairapabrtasya tatbāpi nāsthā Kopyeşa vīrashishukākrtiraprameya- Saundaryasārasamudāyamayab padārthab'. 'Though I am captivated by the apparently excellent and marvellous deeds of this extraordinary person, yet I have no faith (in the fact that the bow has been broken by him); for this is an indescribable entity constituted by the very essence of illimitable beauty, appearing in the shape of a heroic boy.' Here what should have been expressly stated was the 15

226 KĀVYAPRAKĀŚA

एषोहमद्रितनयामुखपद्मजन्मा प्राप्तः सुरासुरमनोरथदूरवर्ती। स्वप्नेनिरुद्धघटनाधिगताभिरूप- लक्ष्मीफलामसुरराजसुतां विधाय ॥२३४।। अत्र मनोरथानामपि दूरवर्तीत्यप्यर्थो वाच्यः। यथा वा त्वयि निबद्धरतेः प्रियवादिनः प्रणयभङ्गपराङमुखचेतसः । कमपराधलवं मम पश्यसि त्यजसि मानिनि दासजनं यतः ॥२३५॥ direct affirmation of his having 'become captivated',- the right reading being ' apahrtosmi ' (for ' apabrtasya'); specially as the use of the expression ' tathapi' could be justified only as occurring in a totally different sentence [hence it is essential that there should be a finite verb in the preceding sentence, without which there would not , be two distinct sentences.] Another example of the same :- ' Eşohamadritanayāmukhapadmajanmā Prāptab surāsuramanorathadūravartī Svapneniruddhaghatanādhigatābhirūpa- Laksmīphalāmasurarājasutām vidhāya'. 'I, born of the lotus-face of Parvati, who am beyond the reach of the longings of gods and demons, have come here, after having made the daughter of the demon-king such as has her exquisite beauty rendered fruitful through association, in a dream, with Aniruddha.' [Here the sense intended to be conveyed is that 'I am beyond even the longings of the gods and demons ;' [ and this idea the words used fail to convey ]. Similarly in the following verse also- Tvayi nibaddharateļ priyavādinah Pranayabbangaparānmukhachetasah Kamaparādhalavam mama pashyasi Tyajasi mānini dāsajanam yatah.

CHAPTER VII 227

अत्र 'अपराधस्य लवमपि' इति वाच्यम्।। (१४) अस्थानस्थपदं यथा प्रियेण संग्रथ्य विपक्षसंनिधा- वुपाहितां वक्षसि पीवरस्तने। स्रजं न काचिद्विजहौ जलाविलां वसन्ति हि प्रेम्णि गुणा न वस्तुषु ॥२३६।। अत्र 'काचिन्न विजहौ' इति वाच्यम्। यथा वा

' O proud one ! what trace of fault do you find in me, which makes you abandon me, your servant ?- I, whose love is centered in you, who always talk to you affec- tionately and whose mind is ever averse to any breach of endearment.' Here also what is meant to be expressed is ' even the slightest trace of a fault.' (14) The following is an example of the ' Misplaced Word'- ' Priyeņa sangrathya vipakşasannidhā- Vupāhitām vaksasi pīvarastane Srajam na kāchid vijahau jalāvilām Vasanti hi premni guņā na vastusu.' ' The lover had carefully knitted a garland and placed it over her chest covered with her high breasts, in the presence of her rivals; and though this garland had become sullied with water, yet not a certain girl did remove it ; the value lies, not in the presented object, but in the love that prompts it.' What is intended to be expressed is that 'a certain woman did not remove the garland ;' and to this end the ' na' should have come before ' vijahau'.

, 228 KĀVYAPRAKĀŚA

लग्नः केलिकचग्रहश्लथजटालम्बेन निद्रान्तरे मुद्राङ्क: शितिकन्धरेन्दुशकलेनान्त:कपोलस्थलम् । पार्वत्या नखलक्ष्मशङ्गितसखीनर्मस्मित ह्नीतया प्रोन्मृष्ट: करपल्लवेन कुटिलाताम्रच्छविः पातु वः ॥२३७॥ अत्र नखलक्ष्मेत्यतः पूर्व 'कुटिलताम्र०' इति वाच्यम् ॥ (१५) अस्थानस्थसमासं यथा अद्यापि स्तनशैलदुर्गविषमे सीमन्तिनीनां हृदि स्थातुं वाञ्छति मान एष धिगिति क्रोधादिवालोहितः ।

[As it stands, the expression means 'not some one,-but all- removed the garland.'] Another example of the same- Lagnab kelikachagrahashlatbajatālambena nidrāntare Mudrankab shitikandharendushakalenāntahkapolasthalam Pārvatyā nakhalakşmashankitasakhīnarmasmitabrītayā Pronmrsta karapallavena kutilātāmrachhaviķ pātu vaļ. 'May the curved red mark made on Pārvati's cheek by Shiva's moon-digit, while she slept on his matted locks, tired during dalliance, protect you !- the marks wiped off by her tender hands, when she was abashed by the smiles of her companion who suspected the mark to be of nails.' The epithet ' kutilatamrachchhavih' (red and curved") should have been placed before the term ' nakhalaksma etc.' [As it is the 'curvature and redness' that supply the grounds for the companion's suspicion.] (15) The following is an example of the 'Misplaced Compound '- ' Adyāpi stanashailadurgavişame sīmantinīnām brdi Sthātum vānchhati māna esa dhigiti krodhādivālobitaķ

CHAPTER VII 229

प्रोद्यद्दूरतरप्रसारितकरः कर्षत्यसौ तत्क्षणात् फुल्लत्कैरवकोशनिःसरदलिश्रेणीकृपाणं शशी।।२३८।। अत्र क्रुद्धस्योकतौ समासो न कृतेः कवेरुवतौ तु कृतः॥ (१६) संकीर्णम् यत्र वाक्यान्तरस्य पदानि वाक्यान्तरमनु- प्रविशन्ति। यथा किमिति न पश्यसि कोपं पादगतं बहुगुणं गृहाणेमम् । ननु मुञ्च हृदयनाथं कण्ठे मनसस्तमोरूपम् ॥२३९॥

Prodyaddūrataraprasāritakaraļ karşatyasau tatksaņāt Phullatkairavakoshanissarodalishrenīkrpānam shasbī'. ' Even yet this pride wishes to stay in the hearts of - women, fortified by the hill-like breasts ! Woe be to me !- Saying this, and becoming reddened with rage, the moon immediately puts forth his arms (rays) far and wide and draws the sword in the shape of the line of black bees issuing forth from the blooming lily.' Here the first line represents the speech of the enraged moon, and the rest that of the poet ; the long compounds however, appear in the latter and not in the former (where it would have been more in keeping with the sentiment expressed). (16) The following is an example of ' Confusion',- i.e., where the words of one sentence are found in the midst of another- ' Kimiti na pashyasi kopam pādagatam babugūnam grhānemam Nanu muncha brdayanātham kanthe manasastamorūpam.' 'Why do you not look upon your heart's lord, the receptacle of many good qualities, fallen upon your feet ? Embrace him on the neck and renounce your anger, which hangs like a gloom on" your heart'.

230 KĀVYAPRAKĀŚA

अत्र पादगतं बहुगुणं हृदयनाथं किमिति न पश्यसि। इमं कण्ठे गृहाण मनसस्तमोरूपं कोपं मुञ्चेति। एकवाक्यतायां तु क्लिष्टमिति भेदः ॥ (१७) गभितम् यत्र वाक्यस्य मध्ये वाक्यान्तरमनुप्रविशति। यथा परापकारनिरतैर्दुर्जनैः सह संगतिः । वदामि भवतस्तत्त्वं न विधेया कथञ्चन ॥२४०॥ अत्र तृतीयपादो वाक्यान्तरमध्ये प्रविष्टः। यथा वा लग्नं रागावृताङ्गया सुदृढमिह ययैवासियष्टयारिकण्ठे मातङ्गानामपीहोपरि परपुरुषैर्या च दृष्टा पतन्ती।

The sentences meant here are-' Atra pādagatam bahugunam hrdayanātham kimiti na pashyasi,-imam kanthe grhāna,-manasastamorūpam kopam muñcha.' The difference between this (confusion) and 'obs- curity' lies in the fact that in the latter it is the words of a single sentence that appear in a confused order (while in the former they appear in several sentences). (17) In the following we have an example of the ' Paren- thetical Expression '- ' Parāpakāraniratairdurjanaīb saha sangatiļ' Vadāmi bhavatastattvam na vidheyā kathaňchana ' Association with bad men bent upon injuring others, -I tell you the truth,-should never be maintained.' Here the third foot of the verse (' vadāmi bhavatastatt- vam') occurs in the middle of a sentence. Another example of the same- Lagnam rāgāvrtāngyā sudrdbamiba yayaivasiyaştyārikanthe Mātangānāmapīihopari parapuruşair- yācha drstā patantī

CHAPTER VII 231

तत्सक्तोयं न किंचिद्गणयति विदितं तेस्तु तेनास्मि दत्ता भृत्येभ्यः श्रीनियोगाद्गदितुमिव गतेत्यम्बुधिं यस्य कीतिः॥२४१॥ अत्र 'विदितं तेस्तु' इति एतत्कृतम्। प्रत्युत लक्ष्मीस्ततोप- सरतीति विरुद्धमतिकृत् ॥ (१८) "मञ्जीरादिषु रणितप्रायं पक्षिषु च कूजितप्रभृति । स्तनितमणितादि सुरते मेघादिषु गजितप्रमुखम् ।।

Tatsaktoyam na kimchid ganayati viditam testu tenāsmi dattā Bhrtyebhyah shrīniyogād gaditumiva gate- tyambudhim yasya kīrtib' 'Whose fame repaired to the ocean to deliver the following message to him under orders from the Goddess of Wealth-"This Sword (woman), corroded with blood (full of passion) fell upon the neck [(a) in the act of cutting, (b) in the act of embracing] of the enemy, and which was seen by strangers to fall upon elephants (to repair to Chan- dālas),-being attached to this same Sword (woman), this king cares for nothing else, and-be this known to you-I am being given away by him to his dependents". Here the clause ' viditam testu', ' be this known to you ', is unnecessarily inserted ; in fact it has the implication that ' the Goddess of Wealth is going to desert the king', which is entirely repugnant to the context. (18) ' Opposed to Usage or Convention' is that which contravenes such conventions as the following-"The sound of the anklet and such ornaments is to be described as ' ranita' (jingling), that of birds as ' kūjīta' (warbling), those produced at the time of embraces, as ' stanita' (murmur), ' manita' (cooing) and so forth, and that of clouds as 'garjita' (thundering)".

232 KĀVYAPRAKĀŚA

इति प्रसिद्धिमतिक्रान्तम्। यथा महाप्रलयमारुतक्षुभितपुष्करावर्तक- प्रचण्डघनगजितप्रतिरुतानुकारी मुहुः । रवः श्रवणभैरवः स्थगितरोदसीकन्दरः कुतोद्य समरोदधेरयमभूतपूर्वः पुरः ॥२४२॥ अत्र रवो मण्डूकादिषु प्रसिद्धो न तूक्तविशेषे सिंहनादे॥ (१९) भग्नः प्रक्रम: प्रस्तावः यत्र । यथा नाथे निशाया नियतेर्नियोगादस्तं गते हन्त निशापि याता। कुलाङ्गनानां हि दशानुरूपं नातःपरं भद्रतरं समस्ति ॥२४३॥ We have an example of this in the following- ' Mahāpralayamārutaksubhitapuskarāvartaka- Prachandaghanagarjitapratirutānukārī muhub Ravab shravaņabhairavab sthagitarodasīkandaraķ Kutodya samarodadherayamabhūtapurvah puraļ'. ' Whence this unprecedented ear-splitting sound of the ocean of battle, pervading the entire valley between the earth and the heavens, and resembling the echo of the thundering of clouds tossed about by storms during uni- versal dissolution ?' The word ' rava' (sound) that is used here is generally used in the sense of the noise made by frogs and such ani- mals, and not in that of the particular leonine roar, here referred to. (19) The following is an example of ' Broken Unifor- mity', i. e. where the ' uniformity', i. e. continuity of sequ- ence, is broken :- Nāthe nishāyā niyaterniyogād Astam gate hanta nishāpi yātā Kulānganānām bi dasbānurūpam Natah param bhadrataram samasti.'

CHAPTER VII 233

अत्र 'गते' इति प्रकान्ते 'याता' इति प्रकृतेः । 'गता निशापि' इति तु युक्तम् । ननु 'नैकं पदं द्विः प्रयोज्यं प्रायेण' इत्यन्यत्र कथितपदं दुष्ट- मिति चेहैवोक्तम्। तत्कथमेकस्य पदस्य द्विःप्रयोगः । उच्यते। उद्देश्यप्रतिनिर्देश्यव्यतिरिक्तो विषय एकपदप्रयोगनिषेधस्य। तद्वति विषये प्रत्युत तस्यैव पदस्य सर्वनाम्रो वा प्रयोगं विना दोष: । तथाहि-

' Under the ordination of destiny, the Lord of Night having gone to set, it is well that the Night also has de- parted ; for noble women, there is no better condition and more in keeping with the state of things than this'. The statement, having opened with ' gata' (gone), ends with 'yata' (departed) ; thus violating the unifor- mity of the verbal root. The right reading would have been 'gatā nishāpi', [which would have been more appropriate in describing the exact following by the wife in the foot-steps of her lord.] Objection :- "In another work (Vāmana's sūtras) it has been laid down that no word should be repeated twice, and in this work itself the Repetition of words has been described as a Defect ; how then should it be regarded advisable to repeat the same word gata') as suggested ?" Our answer is as follows :- The prohibition of the repeating of a word is meant to apply to cases other than the one where what is spoken of subsequently is meant to be precisely the same that has been mentioned previously ; [as in the case in question the going of the night is meant to be precisely the same as the going of the moon ] where, on the other hand, such identity is meant, it would be a positive defect if the same noun were not repeated, either

234 KĀVYAPRAKĀŚA

उदेति सविता ताम्रस्ताम्र एवास्तमेति च । संपत्तौ च विपत्तौ च महतामेकरूपता॥ २४४॥ अत्र रक्त एवास्तमेतीति यदि क्रियेत तदा पदान्तरप्रति- पादितः स एवार्थोर्थान्तरतयेव प्रतिभासमानः प्रतीति स्थगयति॥ यथा वा यशोधिगन्तुं सुखलिप्सया वा मनुष्यसंख्यामतिवर्तितुं वा । निरुत्सुकानामभियोगभाजां समुत्सुकेवाङ्कमुपैति सिद्धिः॥२४५॥

by itself, or by a corresponding pronoun ; as for instance, in the folllwing- ' Udeti savitā tāmrastāmra evāstameti cha Sampattau cha vipattau cha mahatāmekarūpatā'. ' The sun rises red, and sets red also ; great beings retain the same condition both in prosperity and adversity'. Here if the form adopted in the second clause were ' rakta evastameti', though the meaning would be the same expressed in different words, yet it would not afford the idea intended (of unchangeableness),-the use of different words giving rise to the notion that the condition spoken of is different from that spoken of before. The following is an example of the ' Violation of Uni- formity', as realating to the affix- ' Yashodbigantum sukhalipsayā vā Manuşyasankhyāmativartitum vā Nirutsukānāmabhiyogabbājām Samutsukevānkamupaiti siddbiķ'. 'To those who exert themselves without flurry,- either to obtain fame, or with a desire to obtain pleasure, or to surpass ordinary humanity,-success comes to the lap, as if it were anxious to reach him'.

CHAPTER VII 235

अत्र प्रत्ययस्य। 'सुखमीहितुं वा' इति युक्त: पाठः । ते हिमालयमामन्त्र्य पुनः प्रेक्ष्य च शूलिनम् । सिद्धं चास्मै निवेद्यार्थ तद्विसृष्टाः खमुद्ययुः ॥२४६॥ अत्र सर्वनाम्नः । 'अनेन विसृष्टाः' इति तु वाच्यम्। महीभृतः पुत्रवतोपि दृष्टिस्तस्मिन्नपत्ये न जगाम तृप्तिम् । अनन्तपुष्पस्य मधोहिं चूते द्विरेफमाला सविशेषसङ्गा ॥२४७॥

Here the uniformity of the affix (Infinitive) is broken. The right reading would be ' sukhamīhitum va'. In the following we have an example of the ' Violation of the Uniformity' of the Pronoun- ' Te himālayamāmantrya punab preksya cha shūlinam Siddhamchasmai nivedyartham tadvisrstab khamudyayub' ' Having asked Himälaya and seen Shiva, communica- ted to him the fulfilment of the purpose, and, having ob- tained his leave, repaired to the skies'. Here the uniformity of the pronoun is broken ; the right form would have been ' anena visrstab' (in place of ' tadvisrstā', which latter points to some one different from the person, Shiva, just mentioned). In the following we have an example of the' Violation of the Uniformity' of the synonym- ' Mahībhrtab putravatopi drstis- Tasminnapatye na jagāma trptim Anantapuspasya madhorhi chūte Dvirephamālā savisheşāsangā'. 'Though he had sons, yet his eyes were never tired of feasting upon that child ; though spring is full of endless flowers, yet the line of black bees has a special attachment for the mango.'

236 KĀVYAPRAKĀŚA

अत्र पर्यायस्य । 'महीभृतोपत्यवत्तोपि' इति युक्तम् । 'अत्र सत्यपि पुत्रे कन्यारूपेप्यपत्ये स्नेहोभूत्' इति केचित्सम- र्थयन्ते। विपदोभिभवन्त्यविक्रमं रहयत्यापदुपेतमायतिः । नियता लघुता निरायतेरगरीयान्न पदं नृपश्रियः ॥२४८।। अत्रोपसर्गस्य पर्यायस्य च। 'तदभिभवः कुरुते निरायतिम्।

The right reading would have been ' mahibhrtopatyava- topi' (which would be in keeping with ' apatya' in the second line). Some people defend the original reading on the ground that it affords the meaning that-' though he had sons, male children, yet, he had special love for the daughter, the female child'. [A meaning which will not be available if the suggested emendation were made]. In the following we have an example of the ' Violation of the Uniformity' of the prefix, as also of the synonym- ' Vipadobhibhavantyavikramam Rahayatyāpadupetamāyatih Niyatā laghutā nirāyater- Agarīyānna padannrpashriyaķ.' 'Calamities press upon one who is devoid of courage ; future prospects desert one who is beset with calamities ; disrespect is the certain lot of one who is deprived of future prospects ; and he who commands no respect is not the receptacle of kingly splendour.' [In the first sentence we have the term 'vipat', which is replaced in the second sentence by 'apat' the prefix being changed; again in the preceding sentence we have the term 'laghuta', whose place in the following sentence is taken by its synonym 'agariyān'.] The right reading would be- (a) ' Tadabhibhavab kurnte nirāyatim'

CHAPTER VII 237

लघुतां भजते निरायतिर्लघुतावान्न पदं नृपश्रियः ॥ इति युक्तम्। काचित्कीर्णा रजोभिर्दिवमनुविदधौ मन्दवक्त्रेन्दुलक्ष्मी- रश्रीकाः काश्चिदन्तर्दिश इव दधिरे दाहमुद्भ्रान्तसत्त्वाः। भ्रेमुर्वात्या इवान्याः प्रतिपदमपरा भूमिवत्कम्पमाना: प्रस्थाने पार्थिवानामशिवमिति पुरो भावि नार्य: शशंसुः ॥२४९॥

(b) ' Laghutām bhajate nirāyatih' (c) 'Laghutāvanna padannrpashriyab' (fourth line) In the following we have an example of the ' Violation of the Uniformity' of number. ' Kāchit kīrņā rajobhirdivamanuvidadhau mandavaktrenda- lakşmīr- Ashrīkāh kāschidantardisha iva dadhire dāhamudbhrān- tasattvāh Bhremurvātyā ivānyāh pratipadamaparāb bhūmivat kam- pamānāḥ Prasthāne pārthivānāmashivamiti puro bhāvi nāryaļ shashamsub.' ' At the time of the king's departure the women fore- boded impending calamity ;- while one was beset with menstrual impurity and had her moon-like face bedimmed, thereby resembling the atmosphere (dusty and with a dull moon, a sign of coming trouble),-others, devoid of all splendour and their minds unsteady under the fire of the pangs of separation, resembled the quarters (dull and amazing all animals by their red glare, another inauspicious sign) ;- others again flitted about like storms (an inauspici- ous sign), and another shook like the earth (earth-quake being a premonition of impending disaster).' [In the first we have the noun in the Singular number, whilc throughout the following sentences of the verse, the Plural number is used, and in the last sentence again we find the Singular number.]

238 KĀVYAPRAKĀSA

अत्र वचनस्य । 'काश्चित्कीर्णा रजोभिर्दिवमनुविदधुर्मन्द- वक्त्रेन्दुशोभा निःश्रीकाः' इति 'कम्पमानाः' इत्यत्र 'कम्पमापुः' इति च पठनीयम्। गाहन्तां महिषा निपानसलिलं शृङ्गर्मुहुस्ताडितं छायाबद्धकदम्बकं मृगकुलं रोमन्थमभ्यस्यताम् । विश्रब्धैः क्रियतां वराहपतिभिर्मुस्ताक्षतिः पल्वले विश्रान्ति लभतामिदं च शिथिलज्याबन्धमस्मद्धनुः ॥२५०॥ अत्र कारकस्य । 'विश्रब्धा रचयन्तु शूकरवरा मुस्ताक्षतिम्' इत्यदुष्टम्।

The right reading would be- ' Kāshchit kīrņā rajobhīrdivamanuvidadhurmandavaktren- dushobhāb, niķshrīkāh c., rc .... .... kampamāpub' In the following we have an example of ' Violation of the Uniformity' of the case-termination- ' Gāhantām mahişā nipānasalilam shrngairmuhustāditam Chhāyābaddhakadambakam mrgakulam romanthamabhya- syatām Vishrabdhaih kriyatām varāhapatibhirmustāksatiķ palvale Visbrāntim labhatāmidam cha shithilajyabandhamasmaddha- nub'. 'The wild buffaloes may now dabble in the pools, striking the water frequently with their horns ; the deer herded under the shade may practise rumination; the huge boars may fearlessly destroy the long grass along the tanks ;- this very bow also may obtain rest on having its string slackened.' [While we have the Active nominative ending throughout the verse, in the third line we have the Passive nominative ending]. The right reading would be- ' Visbrabdbā rachayantu shūkaravarā mustākșatim.'

CHAPTER VII 239

अकलिततपस्तेजोवीर्यप्रथिम्नि यशोनिधा- ववितथमदाध्माते रोषान्मुनावभिगच्छति। अभिनवधनुर्विद्यादर्पक्षमाय च कर्मणे स्फुरति रभसात्पाणिः पादोपसंग्रहणाय च ।२५१॥ अत्र क्मस्य। पादोपसंग्रहणायति पूर्व वाच्यम्। एवमन्य- दप्यनुसतव्यम् ।। (२०) अविद्यमानः क्रमो यत्र । यथा

In the following we have 'Violation of the Unifor- mity' of sequence - ' Akalitatapastejovīryaprathimni yashonidbā- Vavitathamadādhmāte roşānmunāvabhigachchhati. Abhinavadhanurvidyādarpaksamāya cha karmane Sphurati rabhasātpāņiļ pādopasangrahaņāya cha.' 'On the arrival of this sage, who is endowed with greatness due to illimitable ascetic virtue, and is the receptacle of fame, puffed with real haughtiness-my arms suddenly throb for such action as would be in keep- ing with the efficiency newly acquired in the science of archery, and also for clasping his feet.' The presence of ' ascetic virtue' is mentioned before that of ' haughtiness', hence in the corresponding passage, 'the clasping of the feet' ' pādopasangrahanāya, which would be the correlative of the presence of ascetic virtue, should have been mentioned first (before the ' efficiency in Archery' which would correspond with the sage's 'haughtiness '.) Other similar examples may be cited. (20) In the following we have the example of the 'Absence of Uniformity '.

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द्वयं गतं संप्रति शोचनीयतां समागमप्रार्थनया कपालिनः । कला च सा कान्तिमती कलावतः त्वमस्य लोकस्य च नेत्रकौमुदी ॥२५२॥ अत्र त्वंशब्दानन्तरं चकारो युक्तः । यथा वा शक्तिर्निस्त्रिंशाजेयं तव भुजयुगले नाथ दोषाकरश्री- र्वक्त्रे पार्श्वे तथैषा प्रतिवसति महाकुट्टनी खड्गयष्टिः । आज्ञेयं सर्वगा ते विलसति च पुरः किं मया वृद्धया ते प्रोच्येवेत्थं प्रकोपाच्छशिकरसितया यस्य कीर्त्या प्रयातम् ॥२५३॥

' Dvayangatam samprati shochanīyatām Samāgamaprārthanayā kapālinab Kalā cha sā kāntimatī kalāvatas- Tvamasya lokasya cha netrakaumudī.' (For translation, see above stanza No. 186). The presence of the particle ' cha' after ' tvam' would be proper (making the two correlated clauses more uni- form). Another example of the same- ' Shaktirnistrimshajeyam tava bhujayugale nātha doşākaraśrīr Vaktre pārshve tathaişā prativasati mahākuttanī khadgayastiķ Ajñeyam sarvagā te vilasati cha puraķ kim mayā vrddhayā te Prochyevettham prakopāchchhashikarasitayā yasya kīrtyā prayātam.' '"O Lord ! you have in your hands (in your arms, in your embrace) this strength of your long sword (a prosti- tute); in your face you have the splendour of the moon (the receptable of blemishes); by your side hangs this sword, a mighty slaughterer (a pandering woman); your command, all-pervading (going to all men) dances before you ;- what use can you have of myself, overgrown

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अत्र 'इत्थं प्रोच्येव' इति न्याय्यम्। तथा 'लग्नं रागावृताङ्गया० ॥२५३ (क) । इत्यादौ 'इति श्रीनियोगात्' इति वाच्यम्।। (२१) अमतः प्रकृतविरुद्धः परार्थो यत्र। यथा राममन्मथशरेण ताडिता दुःसहेन हृदये निशाचरी। गन्धवद्रुधिरचन्दनोक्षिता जीवितेशवसति जगाम सा॥२५४॥ अत्र प्रकृते रसे विरुद्धस्य शृङ्गारस्य व्यञ्जकोपरोर्थः ॥५४॥ अर्थदोषानाह अर्थोपुष्टः कष्टो व्याहतपुनरुक्तदुष्कमग्राम्याः॥५५॥ संदिग्धो निर्हेतुः प्रसिद्धिविद्याविरुद्धश्च । अनवीकृतः सनियमानियमविशेषा विशेषपरिवृत्ताः॥५६।।

(old) as I am "-Having said this the king's Fame, white as the moon's rays, went forth, as if in a rage.' Here the proper order of words would have been ' ittham prochyeva. Another example of the same defect we have in the verse 'Lagnam rāgavrtāngyā etc.' (quoted above, stanza No. 241) ; where the proper form would have been ' iti shrīniyogāt'. (21) In the following we have an example of ' Undesirable Second Meaning'; i.e. where the words have an implication repugnant to the context :- 'The demoness, struck in her heart by the unbearable arrows of the Cupid-like Rama, went to the abode of the Lord of Life, being smeared all over with her own sandal- like stinking blood.' Here the sentiment desired to be described is that of Disgust,-and repugnant to this is the erotic sentiment which is implied by the words used. 54. The author now describes the defects of meaning (Ideal Defects, as distinguished from Verbal Defects described above). 16

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साकाङक्षोपदयुक्तः सहचरभिन्नः प्रकाशितविरुद्धः। विध्यनुवादायुक्तस्त्यक्तपुनःस्वीकृतोश्लील: दुष्ट इति संबध्यते। क्रमेणोदाहरणम्- (१) अतिविततगगनसरणिप्रसरणपरिमुक्तविश्रमानन्दः । मरुदुल्लासितसौरभकमलाकरहासकृद्रविर्जयति ॥२५५॥। अत्रातिविततत्वादयोनुपादानेपि प्रतिपाद्यमानमर्थं न बाधन्त इत्यपुष्टा: न त्वसंगता: पुनरुक्ता वा ॥

The meaning is-(1) irrelevant, (2) obscure, (3) inconsistent, (4) tautophonous, (5) irregular, (6) vulgar, (7) dubious, (8) inconsequential, (9) opposed to prevailing notions, (10) opposed to scientific notions, (11) monotonous, (12) too unspecific, (13) too specific, (14) too restricted, (15) too unrestricted, (16) incomplete, (17) misplaced, (18) mismatched, (19) of repugnant implication, (20) with improper predicate, (2) with improper adjunct, (22) resuming the concluded, and (23) indecorous. 55-57 The ' meaning ' here referred to is to be understood as the ' defective' meaning.

The following are the examples of the defects of mean- ing in due order :- (1) 'Having renounced the pleasures of ease during his constant journey through the very wide-spread ethereal path, and making to smile the lotus which has its fragrance wafted by the breeze-the sun shines resplendent.' The epithets ' very wide-spread' (' path') and the rest are such that even if they were dropped, there would be no harm done to the sense ; hence they are ' irrelevant'- not 'inconsistent' or ' tautological'.

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(२) सदा मध्ये यासामियममृतनिस्यन्दमधुरा सरस्वत्युद्दामा वहति बहुमार्गा परिमलम्। प्रसादं ता एता घनपरिचिताः केन महतां महाकाव्यव्योम्नि स्फुरितमधुरा यान्तु रुचयः ॥२५६॥ अत्र यासां कविरुचीनां मध्ये सुकुमारविचित्रमध्यमात्मक- त्रिमार्गा भारती चमत्कारं वहति ताः गम्भीरकाव्यपरिचिताः कथमितरकाव्यवत प्रसन्ना भवन्तु। यासामादित्यप्रभाणां मध्ये (2) The following is an example of the 'obscure' meaning- ‘ Sadā madhye yāsāmiyamamrtanisyandamadhurā Sarasvatyuddāmā vahati bahumārgā parimalam Presādam tā etā ghanaparichitāb kena mahatām Mahākāvyavyomni sphuritamadhurā yāntu ruchayaķ.' ' How can the imaginative flashes of great poets attain simplicity, when within them flows untramelled the Goddess of Speech rendered sweet and passionate with the flow of nectar, decked in various styles and carrying a peculiar charm,-flashes which, assiduously practised, waft sweetness in the atmosphere of Poetry ?- How too (second entendre) can the rays of the Twelve Sons become pleasant, when in their midst flows untramelled the river Sarasvati sweet with flowing water, running in diverse directions and spreading sweet fragrance,-the rays accompanied by clouds and wafting sweet water in the atmosphere ?' The meaning of this, expressed too succinctly is as follows-(a) 'The flashes of the poet's imagination, wherein speech produces a peculiar charm through the styles-the lucid, the picturesque and the medium,- and which are found in deep poetry,-how can these be easy, like ordinary poetry ?- (b) 'The sun's rays,

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त्रिपथगा वहति ता मेघपरिचिताः कथं प्रसन्ना भवन्तीति संक्षेपार्थः ॥ (३) जगति जयिनस्ते ते भावा नवेन्दुकलादय: प्रकृतिमधुराः सन्त्येवान्ये मनो मदयन्ति ये। मम तु यदियं याता लोके विलोचनचन्द्रिका नयनविषयं जन्मन्येकः स एव महोत्सवः ॥२५७॥ अत्रेन्दुकलादयो यं प्रति पस्पशप्रायाः स एव चन्द्रिकात्व- मुत्कर्षार्थमारोपयतीति व्याहतत्वम् ।। (४) कृतमनुमतमित्यादि ॥२५८॥ अत्रार्जुनार्जुनेति भवद्भिरिति चोक्ते सभीमकिरीटिनामिति

among whom flows the Triple stream (Ganga), which are interspersed with clouds,-how can these be plea- sant ?' [And this, second meaning, is extremely obscure]. (3) [Example of the Inconsistent]- 'In the universe there are several most excellent things,-such as the fresh lustre of the moon and so forth-which are, by their very nature, sweet and which enrapture the heart ; but for me, the one ubilant event in my life has been this that she, who is like moonlight to the eye, has come within the range of my vision.' Here, the very person to whom moonshine and other things are described (in the first sentence) as being very insignificant, regards the woman's likeness to moonlight as a ground of excellence ; and herein lies the inconsis- tency. (4) In the verse ' krtamanumatam &c.' (see above, stanza No. 39), the mention of Arjuna in the compound ' sabhīmakirītinām' is ' tautophonous, ' where the speaker

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किरीटिपदार्थ: पुनरुक्तः। यथा वा अस्त्रज्वालावलीढप्रतिबलजलधेरन्तरौर्वायमाणे। सेनानाथे स्थितेस्मिन्मम पितरि गुरौ सर्वधन्वीश्वराणाम् । कर्णालं संभ्रमेण व्रज कृप समरं मुञ्च हार्दिक्य शङ्कां ताते चापद्वितीये षहति रणधुरं को भयस्यावकाशः ॥२५९॥ अत्र चतुर्थपादवाक्यार्थः पुनरुक्तः ॥ (५) भूपालरत्न निर्दैन्यप्रदानप्रथितोत्सव । विश्राणय तुरङ्गं मे मातङ्गं वा मदालसम् ॥२६०॥ अत्र मातङ्गस्य प्राङनिर्देशो युक्तः।

has already mentioned the name of Arjuna twice in the words preceding the verse. Another example of the same we have in the follow- ing :- ' While my father, the preceptor of all the foremost archers, is acting like the submarine fire in the midst of the ocean of the enemy-warriors licked by the flame of his weapons, remains the commander of the army,-there is no ground, O Karna ! for this flurry ! O Krpa repair to the fray ! O Krtavarman, give up all fear ! While my father, aided by his bow, is bearing the brunt of the battle, where can there be any room for fear ?' Here what is said in the last foot of the verse is a need- less repetition. (5) [ Example of the ' Irregular']- ' O best of kings, who are known to rejoice in the bestowing of wealth,-give to me a horse, or an elephant in lethargic intoxication.' The correct order would have been to mention the ' elephant ' (the larger gift) first.

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(६) स्वपिति यावदयं निकटे जनः स्वपिमि तावदहं किमैपति ते। तदपि सांप्रतमाहर कूर्परं त्वरितमूरुमुदञ्चय कुञ्चितम्॥२६१॥ एषोविग्दग्धः । (७) मात्सर्यमुत्सार्येत्यादि ॥२६२॥ अत्र प्रकरणाद्यभावे संदेहः शान्तशृङ्गार्यन्यतराभिधाने तु निश्चयः॥ (८) गृहीतं येनासीः परिभवभयान्नोचितमपि प्रभावाद्यस्याभून्न खलु तव कश्चिन्न विषयः । परित्यक्तं तेन त्वमसि सुतशोकान्न तु भया- द्विमोक्ष्ये शस्त्र त्वामहमपि यतः स्वस्ति भवते ॥२६३॥

(6) [Example of the ' Vulgar']- 'While this person is asleep, I sleep by your side ; what do you lose by that ?- So, you may remove your elbows and spread out your thighs.' The speaker here is entirely vulgar (in the expression of his desire). 55. (7) In the verse 'mātsaryamutsārya etc.' (see above, stanza No. 133), the meaning is 'dubious' or doubtful until there is some determining factor in the form of context and the like. When, on the other hand, it is known whether the speaker is a man of the erotic or the quietistic temperament, there is no doubt regarding the meaning. (8) [Example of the 'Inconsequential'] 'O weapon ! though such conduct was not consistent with his caste, yet thou wert taken up by my father to guard against ill-treatment ; through his valour, there was nothing that did not fall within thy range; now thou hast been relinquished by him, not through fear, but through grief for his son ;- I also am going to leave thee in a place, where all may go well with thee !'

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अत्र शस्त्रमोचने हेतुर्नोपात्तः।। (९) इदं ते केनोक्तं कथय कमलात ङ्कवदने यदेतस्मिन् हेम्नः कटकमिति धत्से खलु धियम्। इदं तंद् दुःसाधाक्रमणपरमास्त्रं स्मृतिभुवा तव प्रीत्या चक्रं करकमलमूले विनिहितम् ॥२६४॥ अत्र कामस्य चक्रकं लोकेप्रसिद्धम्। यथा वा (९ अ) उपपरिसरं गोदावर्याः परित्यजताध्वगाः सरणिमपरो मार्गस्तावद्द्वन्ध्िरिहेक्ष्यताम् । इह हि विहितो रक्ताशोक: कयापि हताशया चरणनलिनन्यासोदञ्चन्नवाङकुरकञ्चुकः ।२६५॥ अत्र पादाघातेनाशोकस्य पुष्पोद्गमः कविषु प्रसिद्धो न पुनरङकु- रोद्गमः ।

This supplies no reason why the speaker is giving up his weapon. (9) [Example of what "is contrary to prevalent notions "]- ' O thou, whose face abashes the lotus ! who has told you this, by virtue of which thou entertainest the notion that this thing is a bangle of gold ? In reality, it is the disc of the Love-god placed, through his love for you, on your wrist, as the weapon capable of striking the most invulnerable of men !' The idea of the Love-god holding a disc is ' contrary to all prevalent notions' regarding him. Another example- 'O travellers ! Give up this path that passes along the Godavari, and look out for another path ; as on this spot the red Asoka tree has grown fresh sprouts through the action of the lotus-feet of some mischievous woman '.

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(सुसितवसनालंकारायां कदाचन कौमुदी- महसि सुदृशि स्वैरं यान्त्यां गतोस्तमभूद्विधुः । तदनु भवतः कीर्तिः केनाप्यगीयत येन सा प्रियगृहमगान्मुक्ताशङ्का क्व नासि शुभप्रदः ॥२६६॥ अत्रामूर्तापि कीर्ति: ज्योत्स्नावत्प्रकाशरूपा कथितेति लोक- विरुद्धमपि कविप्रसिद्धेर्न दुष्टम् ।) (१०) सदा स्नात्वा निशीथिन्यां सकलं वासरं बुधः । नानाविधानि शास्त्राणि व्याचष्टेच शृणोति च ।।२६७।।

What is known as a poetical convention is that the touch of woman's feet leads to the appearance of blossoms,-and not sprouts-on the Asoka tree. In cases where what is described is in keeping with poetic convention, it is not defective, even though it may be contrary to popular notions. For example, in the following verse, though Fame, which is popularly known to be formless, has been described as having the form of light,-and to that extent it is contrary to popular notions,- yet it is not regarded as defective, as it is in keeping with poetic conventions .- ' While a certain beautiful-eyed woman, decked in white garments and ornaments, was proceeding fearlessly in the bright moon-light, the moon went down; after that your fame was sung by some one, whereby she proceeded unhesitatingly to the house of her lover ;- where is it that you are not a source of happiness ?' (10) [ An example of what is ' Unscientific.']- (a) 'The learned man always bathes at midnight and expounds and listens to lectures upon the various scrip- tures throughout the day.'

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ग्रहोपरागादिकं विना रात्रौ स्नानं धर्मशास्त्रण विरुद्धम्। (१० अ) अनन्यसदृशं यस्य बलं बाह्वोः समीक्ष्यते । षाडगुण्यानुसृतिस्तस्य सत्यं सा निष्प्रयोजना ॥२६८।। एतत् अर्थशास्त्रेण। (१० आ) विधाय दूरे केयूरमनङ्गाङ्गणमङ्गना। बभार कान्तेन कृतां करजोल्लेखमालिकाम् ॥२६९॥ अत्र केयूरपदे नखक्षतं न विहितमिति। एतत्कामशास्त्रेण। (१० इ) कष्टाङ्गयोगपरिशीलनकीलनेन दुःसाधसिद्धिसविधं विदधद्विदूरे। आसादयन्नभिमतामधुना विवेक- ख्याति समाधिधनमौलिमणिविमुक्तः ॥२७०॥

Bathing at night, except on the occasion of an eclipse, is contrary to the Scriptural Code. (b) 'In the case of the king the strength of whose arms is unequalled, the following of the dictates of ' the Science of Six Limbs' (Political Science) is entirely useless.' This is contrary to the Code of Polity. (c) ' The woman, who is the very altar of the Love- god, threw away her armlet, and wore (in its stead) the series of nail-marks made by her lover.' Nail-marks are not laid down as to be made on the place where the armlet is worn ; hence what is said here is contrary to the Science of Erotics. (d) 'By the strenuous practice of the eight-limbed Yoga, having laid aside the whereabouts of the unattain- able success,-the chief of Yogins obtained the desired discriminative wisdom and became released.'

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अत्र विवेकख्यातिस्ततः संप्रज्ञातसमाधिः पश्चादसंप्रज्ञा- तस्ततो मुक्तिर्न तु विवेकख्यातौ। एतत् योगशास्त्रेण।। एवं विद्यान्तरैरपि विरुद्धमुदाहार्यम्।। (११) प्राप्ताः श्रियः सकलकामदुघास्ततः किम् दत्तं पदं शिरसि विद्विषतां ततः किम्। संतर्पिताः प्रणयिनो विभवैस्ततः किम् कल्पं स्थितं तनुभृतां तनुभिस्ततः किम् ॥२७१॥ अत्र ततः किमिति न नवीकृतम्। तत्तु यथा यदि दहत्यनलोत्र किमद्भुतं यदि च गौरवमद्रिषु किं ततः । लवणमम्बु सदैव महोदधे: प्रकृतिरव सतामविषादित ॥२७२।। The doctrine of the Science of Yoga being that-first of all one obtains discriminative wisdom, then concrete meditation, then abstract meditation and then Release ; and Release is not obtained immediately after discrimina- tive wisdom. Hence what is here stated is opposed to the Science of Yoga. Similar examples of opposition to other Sciences may be cited. (11) [Example of ' Monotony ']- ' All-affording wealth has been attained ;- what then ? The foot has been placed on the head of the enemy ;- what then ? Friends have been fully supplied with riches ; -what then ? The bodies of men have lasted for a whole cycle ;- what then ?' Here the frequent repetition of ' what then' is mono- tonous. This ' monotony' is avoided in the following- 'If fire burns,-what is the wonder ? If mountains are full of gravity,-what then ? The water of the ocean is ever salty. To great beings freedom from depression comes naturally.'

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(१२) यत्रानुल्लिखितार्थमेव निखिलं निर्माणमेतद्विधेर- उत्कर्षप्रतियोगिकल्पनमपि न्यक्कारकोटि: परा । याता: प्राणभृतां मनोरथगतीरुल्लङघय यत्संपदस् तस्याभासमणीकृताश्मसु मणेरश्मत्वमेवोचितम्।।२७३।। अत्र 'छायामात्रमणीकृताश्मसु मणेस्तस्याश्मतैवोचिता' इति सनियमत्वं वाच्यम्। (१३) वक्त्राम्भोजं सरस्वत्यधिवसति सदा शोण एवाधरस्ते बाहुः काकुत्स्थवीर्यस्मृतिकरणपटुर्दक्षिणस्ते समुद्रः ।

(12) [Example of the 'Too unspecific' or 'Too generalised ']- 'In view of the Chintamani jewel, the entire creation of God becomes purposeless ; any mention of its excellences would be the highest insult to it ; and its plentiful richness has exceeded the bounds of human desire ; and yet when it gets mixed up with pebbles, which have been rendered gem-like through its reflection, it should be regarded as a pebble only'. Here some such specification as ' through its mere reflec- tion' is necessary ; and the right reading of the last foot therefore should' be-' chhāyāmātramaņīkrtāshmasu maņes- tasyāshmataivochitā.' [Such specification would imply that the other gems belong to an inferior category; and the absence of this specification places the Chintamani on the same level as the other gems, which is not what is intended by the poet.] (13) [Example of the ' Too specific']- ' The Sarasvati river (Goddess of Learning) resides permanently in your lotus-like mouth ; your under-lip is the Shona (red) itself ; your arm, which is capable of reminding people of the valour of 'Kākutstha, is the

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वाहिन्यः पार्श्वमेताः क्षणमपि भवतो नैव मुञ्चन्त्यभीक्षणं स्वच्छेन्तर्मानसेस्मिन् कथमवनिपते तेम्बुपानाभिलाषः ॥२७४॥ अत्र 'शोण एव' इति नियमो न वाच्यः ॥ (१४) श्यामां श्यामलिमातमानयत भो: सान्द्रैर्मषीकूर्चकैर् मन्त्रं तन्त्रमथ प्रयुज्य हरत श्वेतोत्पलानां श्रियम् । चन्द्रं चर्णयत क्षणाच्च कणशः कृत्वा शिलापट्टके येन द्रष्टुमहं क्षमे दश दिशस्तद्वक् त्रमुद्राङ्डिताः॥२७५।। अत्र 'ज्यौत्स्नीम्' इति श्यामाविशेषो वाच्यः ॥ (१५) कल्लोलवेल्लितदृषत्परुषप्रहारै रत्नान्यमूंनि मकरालय मावमंस्थाः । किं कौस्तुभेन विहितो भवतो न नाम याच्चाप्रसारितकरः पुरुषोत्तमोपि ॥२७६॥

southern ocean (adorned with rings); these rivers (armies) never leave your side even for a moment ; your inside being the pure Mänasa lake (your inner heart being clean),-how can there be any thirst of water for you ?' Here the specification-' Shona itself'-is one that should not have been made. (14) [Example of the ' Too unrestricted ']- ' Make the night black with brushes of dense ink ; destroy the beauty of the white lotuses by means of in- cantations or herbs ; smash the moon to pieces on a slab of stone ; so that I may be able to look upon all the quarters marked with the stamp of her face.' Here the 'night' should have been restricted to the ' bright, moon-lit.' (15) [Example of thê ' Too restricted ']- 'O, thou abode of alligators ! do not ill-treat these gems by striking them with stones thrown about by the

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अत्र 'एकेन किं न विहितो भवतः स नाम' इति सामान्यं वाच्यम्। (१६) अर्थित्वे प्रकटीकृतेपि न फलप्राप्तिः प्रभो: प्रत्युत द्रुह्यन् दाशरथिविरुद्धचरितो युक्तस्तया कन्यया। उत्कर्ष च परस्य मानयशसोरविस्रंसनं चात्मनः स्त्रीरत्नं च जगत्पतिर्दशमुखो देवः कथं मृष्यते ॥२७७॥ अत्र स्त्रीरत्नम् 'उपेक्षितुम्' इत्याकाङक्षति। नहि परस्येत्य- नेन संबन्धो योग्यः । waves; was it not due to the Kaustubha-gem that even Lord Vișnu himself was made to appear before you with hands spread out to beg ?' [Here the restricted mention by name of one particular gem, the Kaustubba, is not very effective] :- the statement should appear in a more generalised form-' was it not due to one of these gems that even Lord etc.' (16) [Example of the ' Incomplete '] ' Arthitve prakatīkrtepi na phalapraptih prabhob pratyuta Druhyan dāsharathirviruddhacharito yuktasatayā kanyayā Utkarşam cha parasya mānayashasorvishramsanañchātmanaķ Strīratnam cha jagatpatirdashamukho devah katham mrsyate' 'O Lord ! even though you exhibited beggarliness, yet the desired object has not been attained; on the contrary, to her has been wedded the son of Dasharatha, your enemy, who hates you. How can you, the ten faced lord of the world, bear this superiority of the enemy, and the derogation of your own pride and fame,-as also the jewel among women ?' Here the intended assertion is-' How can you bear the idea of giving up the jewel among women'; and inasmuch as the passage as the term ' striratnam' only, it is, to that extent, 'incomplete.' It might be urged that the term

254 KĀVYAPRAKĀŚA

(१७) आज्ञा शक्र्कशिखामणिप्रणयिनी शास्त्राणि चक्षुर्नवं भक्तिर्भूतपतौ पिनाकिनि पदं लङ्केति दिव्या पुरी। उत्पत्तिर्द्रुहिणान्वये च तदहो नेदृग्वरो लभ्यते स्याच्चेदेष न रावण: क्व नु पुनः सर्वत्र सर्वे गुणाः ।२७८।। अत्र 'स्याच्चेदेष न रावणः' इत्यत्र एव समाप्यम् ॥ (१८) श्रुतेन बुद्धिर्व्यसनेन मूर्खता मदेन नारी सलिलेन निम्नगा। निशा शशाङ्केन धृतिःसमाधिना नयेन चालंक्रियते नरेन्द्रता।।२७९।।

'strīratnam' may be construed with ' parasya',-the sense being 'how can you bear the idea that the jewel among women belongs to another'. But such a construction is not possible, [the term 'parasya' having been already cons- trued with ' utkarsam'] (17) [Example of the ' Misplaced.']- 'His command is borne by Indra on his head ; the sciences constitute his efficient organ of vision ; his devo- tion rests in Shiva, the lord of beings; and beautiful Lankā is his residence ; and his birth is in the family of Brahmā ; thus, then, no such other bridegroom could be found :- only if he were not Rāvana (the Terrible) ! But wherein can all good qualities be found ?' The sentence should have ended with ' only if he were not Ravana'. [As what is meant is that this single disqualification nullifies all the aforesaid qualifications, and as such puts him out of court as a suitable bridegroom. This sense is prevented by the subsequent clause-'wherein &c.'-which is a sort of a palliative excuse for the presence of a single disqualification as against a large number of qualifications. which tends to indicate the suitability of Ravana]. (18) [Example of the ' Mismatched ']- Intelligence is adorned by learning, illiteracy by frivolity, woman bv lasciviousness, the river by water,

CHAPTER VII 255

अत्र श्रुतादिभिरुत्कृष्टैः सहचरितैर्व्यसनमूर्खतयो्निकृष्टयोभिन्नत्वम्। (१९) लग्नं रागावृताङ्गया० ।।२८०।। इत्यत्र विदितं तेस्त्वित्यनेन श्रीस्तस्मादपसरतीति विरुद्धं प्रकाश्यते॥ (२०) प्रयत्नपरिबोधितः स्तुतिभिरद्य शेषे निशा- मकेशवमपाण्डवं भुवनमद्य निःसोमकम् । इयं परिसमाप्यते रणकथाद्य दोःशालिना- मपैतु रिपुकाननातिगुरुरद्य भारो भुवः ॥२८१॥ अत्र 'शयितः प्रयत्नेन बोध्यसे' इति विधेयम्। यथा वा

the night by the moon, steadiness by calmness, and king- ship by policy.' Here the excellent things, 'Learning' and the rest are wrongly associated with such inferior things as ' illi- :teracy ' and ' frivolity '. (19) In the verse ' lagnam rāgāvrtāngyā.' (see above, stanza No. 241) we have an example of 'Repugnant Implication', as the clause ' might be known to you ' implies that the Goddess of wealth is going to depart from the king. (20) [Example of 'Improper Predication ']- ' Prayatnaparibodhitah dc., erc.' ' To-night you will sleep so soundly that you will be awakened with great effort by means of eulogising songs ; the world is going to be deprived to-day of Krsna, of Pāndavas and of the entire Somaka-tribe ; thus to-day is going to be finished all talk of war among the Ksattriyas ; may the burden of the forest of our enemies depart to-day from the surface of the earth !' The right form of predication would have been ' when asleep it will be with great effort that you will be awakened.' [With stress upon 'effort', which is lost when 'prayatna' is made the subordinate factor in the compound prayatna-paribodhitab].

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वाताहारतया जगद्विषधरैराश्वास्य निःशषितं ते ग्रस्ता: पुनरभ्नतोयकणिकातीव्रव्रतैर्बहिभिः । तेपि करचमूरुचर्मवसनैर्नीताः क्षयं लुब्धकैर्- दम्भस्य स्फुरितं विदन्नपि जनो जाल्मो गुणानीहते॥२८२॥। अत्र वाताहारादित्रयं व्युत्क्रमेण वाच्यम्।। (२१) अरे रामाहस्ताभरण भसलश्रेणिशरण स्मरक्रीडाव्रीडाशमन विरहिप्राणदमन ।

Another example of the same ' (defect of improper predication' when the impropriety consists in the wrong order of the things spoken of)- 'The world was emptied by the snakes, who inspired confidence by living upon air; the snakes themselves. were devoured by peacocks undergoing the difficult penance of living on rain-drops from the clouds ; these latter again were consigned to destruction by the fowlers clad in deer-skin ;- even knowing the effects of religious hypocrisy, foolish people expect to find excellent qualities (in such persons)'. The three things mentioned here should have been mentioned in the reverse order. [The austerities should have been mentioned in the ascending scale : the less difficult coming before the more difficult; in the passage however the most difficult austerity, living upon air, has been mentioned first, and the least difficult, wearing of deer-skin, comes last ; this spoils the effect of the climax.] (21) [Example of the ' Improper(unsuitable) Adjunct']- 'O my friend, the Blue Lotus-who is an ornament for the hands of women, and the shelter of the line of black bees, who serves to suppress all modesty during love-

CHAPTER VII 257

सरोहंसोत्तंस प्रचलदल नीलोत्पल सखे सखेदोहं मोहं श्लथय कथय क्वेन्दुवदना ।।२८३।। अत्र 'विरहिप्राणदमन' इति नानुवाद्यम्।। (२२) लग्नं रागावृताङ्गयेत्यादि ।।२८४।। अत्र 'विदितं तेस्तु' इत्युपसंहृतोपि तेनेत्यादिना पुनरुपात्तः ॥ (२३) हन्तुमेव प्रवृत्तस्य स्तब्धस्य विवरैषिणः । यथास्य जायते पातो न तथा पुनरुन्नतिः।।२८५।। अत्र पुंव्यञ्जनस्यापि प्रतीतिः ।'

dalliance, who destroys the lives of separated lover, who is an ornament of the best of lakes, and whose petals are moving ! I am grief-stricken ; remove my bewilderment and tell me where the moon-faced one is.' Here the adjunct ' who destroys the lives of separated lovers' is highly improper. [As one who does this can never be expected to help the lover in his difficulties, and it is such help that the speaker is seeking.] (22) In the verse 'Lagnam ragavrtangya' c.'(see above, stanza No. 241) though the statement is ' concluded' at the clause ' be it known to you,'-yet it is resumed again in the clause ' by him &c.' [So this is an example of the ' resuming of the concluded]. (23) [Example of the 'Indecorous "]. ' Hantumeva pravrttasya Stabdhasya vivaraişiņab Yathāsya jāyate pāto Na tathā punarunnatiķ.' ' An evil person being always arrogant, bent upon mischief, given to fault-finding,-his fall, when it comes, is such that he can never rise again.' 17

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यत्रैको दोष: प्रदर्शितस्तत्र दोषान्तराण्यपि सन्ति तथापि तेषां तत्राप्रकृतत्वात्प्रकाशनं न कृतम् ।५५-५७॥ कर्णावतंसादिपदे कर्णादिध्वनिनिरमितिः । संनिधानादिबोधार्थम् अवतंसादीनि कर्णाद्याभरणान्येवोच्यन्ते। तत्र कर्णादि- शब्दा: कर्णादिस्थितिप्रतिपत्तये। यथा अस्या: कर्णावतसेन जितं सर्व विभूषणम्। तथैव शोभतेत्यर्थमस्याः श्रवणकुण्डलम् ॥२८६॥

The words used here have an implication which points to the male organ (and thus this becomes ' indecorous '). Though in several cases, a verse that has been cited as an example of a certain defect, contains other defects also, yet these latter have not been pointed out, as not being quite pertinent to the context. 55-57. In such expressions as 'Karnavatamsa' and the like, the introduction of the term ' karna' is for the purpose of expressing proximity. Such words as 'avatamsa' and the like denote the ear-ring itself ; the addition of the term ' karna' ' ear' (in the compound ' karnavatamsa') serves the purpose of expressing proximity [and hence it cannot be regarded as 'redundant ']. Examples of such use are found in the following verses- ' Asyāh karņāvatamsena Jitam sarvam vibhūşanam Tathaiva shobhatetyartham Asyāb shravanakundalam.

CHAPTER VII 259

अपूर्वमधुरामोदप्रमोदितदिशस्ततः । : आययुर्भृङ्गमुखराः शिरःशेखरशालिनः ।२८७। अत्र कर्णश्रवणशिर:शब्दाः संनिधानप्रतीत्यर्थाः।। विदीर्णाभिमुखारातिकराले संगरान्तरे। धनुरज्याकिणचि ह्वेन दोष्णा विस्फुरितं तव ।।२८८।। अत्र धनुःशब्द आरूढत्वावगतये।।

Apūrvamadhurāmoda-Pramoditadishastataķ Ayayurbhringamukharāb shirahshekharashālinaļ. 'By her ear-ornament on the ear, all ornament has been subdued ; similarly does excellently shine her ear-ring in the ear :- The men came forward, rendering all the direc- tions fragrant with excellent perfumes, with bees humming about them, and wearing crown-jewels on their heads.' Here the terms 'karna', 'shravana' and 'shirah' (when the terms ' avatamsa', ' kundala' and ' shekhara' denote respectively, the ear-ornament, the ear-ring and the head-ornament), serve the purpose of expressing proximity (i.e., the fact of the ornament being actually worn on the occasion spoken of). Similarly in the following verse- ' Vidīrņābhimukhārātikarāle sangarāntare Dhamm;Fkivachibmna dosna visphuritam tava', 'Throbbing was thy arm, hardened by the marks made by the bow-string of thy bow, and terrible through the rending of opponents during battle ' ;- the addition of the term ' dhanuh,' 'bow' (when 'jya' itself denotes the bow-string) serves to indicate the fact of the string being placed upon the bow. (That the addition of the term 'bow' is meant to

260 KĀVYAPRAKĀŚA

अन्यत्र तु ज्याबन्धनिष्पन्दभुजेन यस्य विनिश्वमद्वक्त्रपरंपरेण । कारागृहे निर्जिंतवासवेन लङ्केश्वरेणोषितमा प्रसादात् ॥२८९॥ इत्यत्र केवलो ज्याशब्दः ।

मुक्ताहारेण लसता हसतीव स्तनद्वयम् ॥२०९। अत्र मुक्तानामन्यरत्नामिश्रितत्वबोधनाय मुक्ताशब्दः ।

convey this additional idea is shown by the fact that) in other cases (where no such idea is meant to be conveyed), we find the term ' jya',' bow-string,' used alone by itself ; e.g., in the following- ' Jyābandhanişpandabhujena yasya Vinishvasadvaktraparamparena Kārāgrhe nirjitavāsavena Lankeshvarenositamāprasādāt.' 'In whose prison, there lived, till propitiation, the king of Lanka, the subduer of Indra, who had his arms paralysed by being tied up with the bowstring, and the line of his mouths panting.' In the following .- ' Prāneshvaraparisvangavibhramapratipattibhiķ Muktāhāreņa lasatā hasatīva stanadvayam'. 'The pair of breasts, beautified by the pearl-necklace is smiling as it were, under the consciousness of the joys of the embrace of her lover ;'-the addition of the term 'muktā', 'pearl' (when the term 'bāra', 'necklace', itself signifies the presence of pearls) is meant to express the fact that no other gems were mixed with the pearls in the necklace.

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सौन्दर्यसंपत् तारुण्यं यस्यास्ते ते च विभ्रमाः । षट्पदान् पुष्पमालेव कान् नाकर्षति सा सखे ॥२९१॥ अत्रोत्कृष्टपुष्पविषये पुष्पशब्दः । निरुपपदो हि मालाशब्दः पुष्पस्रजमेवाभिधत्ते।। स्थितेष्वेतत्समर्थनम् ॥५८॥। न खलु कर्णावतंसादिवज्जघनकाञ्चीत्यादि क्रियते। जगाद मधुरां वाचं विशदाक्षरशालिनीम् ।।२९२।

Similarly in the following- ' Saundaryasampat tārunyam yasyāste te cha vibbramāķ Satpadān puspamāleva kān nākarşati sā sakhe. ' She who is endowed with a richness of beauty, youth and excellent graces,-whom does she not captivate, O Friend ! in the same manner as a flower-garland attracts the bees ?'- The term ' puspa' 'flower', has been added in the sense of excellent flowers,-the word ' mala' 'garland', without a prefix, denoting merely a string of flowers (without any idea of the quality of the flowers strung). This is a justification of only such instances as are actually found (in standard works). 58. It is not meant to justify such usage by modern writes) ; so that it would not be right to use such expressions as 'jaghanakanchi', on the analogy of the expression 'Karnāvatamsa' (justified above p. 258). In such expressions as 'jagāda madhurām vācham vishadākarashālinīm' ( uttered a speech, sweet and clearly worded"), it is not right

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इत्यादौ क्रियाविशेषणत्वेपि विवक्षितार्थप्रतीतिसिद्धौ "गतार्थस्यापि विशेष्यस्य विशेषणदानार्थ क्वचित्प्रयोगः कार्यः" इति न युक्तम्। युक्तत्वे वा चरणत्रपरित्राणरहिताभ्यामपि द्रुतम् । पादाभ्यां दूरमध्वानं व्रजन्नेष न खिद्यतें ।।२९३।। इत्युदाहार्यम् ।।५८।।

to justify (as Vāmana has done) the addition of the noun 'vacham', 'speech', [which would appear to be superfluous on the ground of the verb 'jagada' 'uttered', itself denoting the ' uttering of speech'], on the ground that ' even though the sense of the noun may have been obtained already, it is added for the purpose of adding qualifying epithets to it'; because the purpose sought to be served by the adding of these epithets could be more easily served by the use of adverbs (qualifying the verb itself) ; [So that the addition of the noun should not be necessary, even for that purpose]. [The expression with the adverbs could appear in the form 'jagāda madhuram vidvān vishadāksarashāli cha]. As an example of the propriety of the justification suggested by Vamana we have (not the aforesaid sentence cited by him, but) the following- ' Charanatraparitrānarahitābhyāmapi drutam Pādābhyānı dūramadhvānamn vrajannesa na khidyate. 'He is not fatigued even when he walks long distances swiftly with feet deprived of shoes.'-[Where the purpose served by the addition of adjectival epithets to the noun ' charana' is such as could not be served by the addition of any adverbial expressions]. 58.

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ख्यातेर्थे निर्हेतोरदुष्टता यथा चन्द्रं गता पद्मगुणान्न भुङक्ते पद्माश्रिता चान्द्रमसीमभिख्याम्। उमामुखं तु प्रतिपद्य लोला द्विसंश्रयां प्रीतिमवाप लक्ष्मी: ॥२९४।। अत्र रात्रौ पद्मस्य संकोचः दिवा चन्द्रमसरच निष्प्रभत्वं लोकप्रसिद्धमिति 'न भुङक्ते' इति हेतुं नापेक्षते । अनुकरणे तु सर्वेषाम् । सर्वेषां श्रुतिकटुप्रभृतीनां दोषाणाम्। यथा मृगचक्षुषमद्राक्षमित्यादि कथयत्ययम् । पश्यैष च गवित्याह सूत्रामाणं यजेत च ।२९५॥ In cases where what is stated is a well-known fact, ' inconsequentiality' is not a defect. As an example we have the following- ' Located in the Moon, grace does not imbibe the qualities of the lotus ; and when located in the lotus, it partakes not of the beauty of the Moon ; but when it rested in Uma's face, the fickle grace obtained the charm belonging to both (Moon and Lotus).' The statement that grace ' does not imbibe &c. &c.' does not need an explanation ; as it is well-known that the lotus is closed up during the night, and the Moon is lustreless during the day. In imitation, all the defects (cease to be defects). ' All the defects'-' unmelodiousness' and the rest. As examples we have the following- ‘ Mrgachaksuşamadrākşamityādì kathayatyayam Pashyaişa cha gavityāha sūtrāmānam yajeta cha.' 'He says "I saw the fawn-eyed one' and so forth; he says " see the cow " and also " offer sacrifices to Indra."

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वक्त्राद्यौचित्यवशाद्दोषोपि गुण: क्वचित्क्वचिन्नोभौ।५९॥ वक्तृप्रतिपाद्यव्यङ्गवाच्यप्रकरणादीनां महिम्ना दोषोपि क्वचिदगुण: क्वचिन्न दोषो न गुणः। तत्र वैयाकरणादौ वक्तरि प्रतिपाद्ये च रौद्रादौ च रसे व्यङ्गे कष्टत्वं गुणः । क्रमेणोदाहरणम्- दीधीङवेवीङसमः कश्चिद्गुणवृद्धयोरभाजनम् । क्विप्प्रत्ययनिभः कश्चिद्यत्र संनिहिते न ते ॥२१६॥।

[ (a) 'Mrgachakşuşam' is unmelodious ;- (b) 'gaviti' is ungramma- tical ;- and (c) 'sūtrāmānam' is unconventional; but being only reproductions of what has been said by another person, they do not constitute defects in the reproduction.] By virtue of the special character of the speaker and the rest, sometimes a defect becomes an excellence, and sometimes it is neither the one nor the other. 59. By virtue of the importance attaching to the character of -(a) the speaker, (b) the person spoken to, (c) the meaning suggested, (d) the thing described, (e) the context and so forth,-a defect sometimes becomes an excellence ; and in certain cases it is neither a defect nor an excellence. For instance, when a grammarian is the person speak- ing, or the person spoken to,-or when the passion of 'Fury' forms the suggested meaning,-the Harshness of words becomes an excellence. Examples in order :- (a) ' Dīdhinvevīnsamaḥ kashchid Gunavrddhyorabhājanam Kvippratayanibhab kashchid Yatra sannibite na te.'

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यदा त्वामहमद्राक्षं पदविद्याविशारदम् । उपाध्यायं तदास्मार्षं समस्प्राक्षं च संमदम् ॥२९७॥ अन्त्रप्रोतबृहत्कपालनलकक्रूरक्वणत्क ङ्कण-

पीतच्छर्दितरक्तकर्दमघनप्राग्भारघोरोल्लस- द्वयालोलस्तनभारभैरववपुर्दर्पोद्धतं धावति ॥२९८।।

'Like the roots " dīdhin " and " vevin", some people are not amenable to excellence and prosperity (en and ai, changes, to which the said roots are not subject) ; others again are like the " kvip" affix, by virtue of whose proxi- mity, the said two things (excellence and prosperity) do not exist. [Here since the speaker is a grammarian, the obscurity attaching to the expressions becomes an excellence.I (b) 'Yadā tvāmahamadrākşam Padavidyāvishāradam Upādhyāyam tadāsmārşam Samasprāksam cha sammadam.' 'When I saw you well-versed in grammatical lore, I was reminded of my own teacher and became elated with joy '. [The person spoken to being a grammarian, obscurity is an excellence.] (c) ' Antraprotabrhatkapālanalakakrūrakvaņatkankaņa- Prāyaprenkhitabhūribhūşanaravairāghoşayantyambaram Pitachchharditaraktakardamaghanaprāgbhāraghorollasad- Vyālolastanabhārabhairavavapurdarpoddhatam dbāvati'. · ' She is rushing forward with proud arrogance, filling the atmosphere with the jingling of her dangling ornaments consisting of sculls and thighbones strung on the entrails,- her body appearing frightful on account of her dangling

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वाच्यवशादथा मातङ्गा: किमु वल्गितैः किमफलैराडम्बरैर्जम्बुकाः सारङ्गा महिषा मदं व्रजथ किं शून्येषु शरा न के। कोपाटोपसमुद्भटोत्कटसटाकोटेरिभारे: पुरः सिन्धुध्वानिनि हुडकृते स्फुरति यत् तद्गर जितं गर्जितम् ॥२९९॥ अत्र सिंहे वाच्ये परुषाः शब्दाः ॥ प्रकरणवशाद्था

breasts bespattered with the muddy blood that she has drunk and vomited.' [The passion of disgust being suggested here, the harshness of the words becomes a source of excellence.] (d). The following is an example where the defect (of Harshness) becomes an excellence by virtue of the character of the thing described .- ' Mātangāh kimu valgitaiķ kimaphalaīrādambarairjambukāļ Sārangā mahişā madam vrajata kim shūnyesu shūrā na ke Kopātopasamudbhatotkatasatākoteribhāreķ purab Sindhudhvānini hunkrte sphurati yat tad garjitam garjitam' 'O elephants, what of your cries ! O jackals, what of these useless struttings ! O deer and buffaloes, wherefore are you so proud ? Who is not brave, in solitude ? Roaring would be real roaring, only in the presence of the ocean-like rumble of the lion with his name ruffled in anger.' In the latter half of this verse, the lion being the thing described, the harsh-sounding words are a source of excellence. (e) The following is an example of a defect becoming an excellence, by virtue of the context or occasion.

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रक्ताशोक कृशोदरी क्क नु गता त्यक्त्वानुरक्तं जनं नो दृष्टेति मुधैव चालयसि किं वातावधूतं शिरः । उत्कण्ठाघटमानषट्पदघटासंघट्टदष्टच्छद- स्तत्पादाहतिमन्तरेण भवतः पुष्पोद्गमोयं कुतः ॥३००॥ अत्र शिरोधूननेन कुपितस्य वचसि॥ क्वचिन्नीरसे न गुणो न दोषः। यथा

' Raktāshoka krshodarī kva nu gatā tyaktvānuraktamjanam No drsteti mudhaiva chālayasi kim vātāvadhūtam shirab Utkanthāghatamānatol padaghatāsonghatla- dastachchhadas- Tatpādāhatimantarena bhavatab puspod- gamoyankuta.' ' O red Ashoka tree, whereto has the slender-waisted one gone, leaving her lover ?- Why do you dishonestly shake your wind-blown head as if denying your having seen her ?- Without the touch of her feet, whence could there appear in you these blossoms, which have their petals bitten off by the swarms of black bees hovering round in their anxiety (to get at the flowers) '. The latter half of the verse is spoken by the speaker on an occasion when he has become enraged by the dis- honest behaviour of the tree shaking its head, [and hence the harshness of the words used is an excellence].

• In some cases, where there is no Passion depicted, Harshness is neither a defect nor an excèllence. For example-

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शीर्णघ्राणाङिघ्रपाणीन् व्रणिभिरपघनैर्घर्घराव्यक्तघोषान् दीर्घाघातानघौघैः पुनरपि घटयत्येक उल्लाघयन् यः । घर्मांशोस्तस्य वोन्तर्द्विगुणघनघृणानिघ्ननिर्विघ्नवृत्तेर् दत्तार्घाः सिद्धसंघैर्विदधतु घृणयः शीघ्रमंहोविघातम् ॥३०१॥ अप्रयुक्तनिहतार्थौं श्लेषादावदुष्टौ। यथा येन ध्वस्तमनोभवेन बलिजित्कायः पुरा स्त्रीकृतो यश्चोद्दृत्तभुजङ्गहारवलयोगङ्गां च योधारयत् ।

' Shīrnaghrānānghrīpānīn vranibhirapagha- nairghargharāvyaktaghoșān Dīrghāghrātānaghoghaib punarapi ghatayat- yeka ullāghayan yab Gharmāmshostasya vontardvigunaghanaghrnā- nighnanirvighnavrtter Dattarghah siddhasanghairvidadhatu ghrnayab shīghramamhovighātam.' ' May the rays of the sun, to whom water-offerings are made by the hosts of gods, bring about the destruction of your sins ;- the sun who restores and rejuvenates the bodies of lepers which, beset with hosts of sins, have the nose, legs and hands shattered and ulcerated, and whose voice is indistinct ; and whose disposition is affected by doubly intensified pity.' [Here since no Passion of any kind is meant to be described, the high-sounding words do not constitute either a defect or an exce- llence.] 'Unconventionality' and ' Suppression of Meaning' are not defective in passages where we have the figure of Paronomasia. For instance, in the folldwing verse :- ' Yena dhvastamanobbavena balijitkāyab purāstrīkrto Yashchadvrttabbujangahāravalayogangām cha yodhārayat

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यस्याहु: शशिमचच्छिरोहर इति स्तुत्यं च नामामराः पायात्स स्वयमन्धकक्षयकरस्त्वां सर्वदोमाधवः ॥३०२॥ अत्र माधवपक्षे शशिमदन्धकक्षयशब्दावप्रयुक्तनिहतारथा॥ अश्लीलं क्वचिद्गुणः। यथा सुरतारम्भगोष्ठयाम् "द्वयर्थे: पदैः पिशुनयेच्च रहस्यवस्तु" इति कामशास्त्रस्थितौ

Yasyahub shashimachchhirohara iti stutyam cha nāmāmarāb Pāyāt sa svayamandhakakşayakarastvām sarvadomādhavaķ. (A) (Applied to Krsna)-' May the all-giving husband of Laksmī protect you !- He who has destroyed the de- mon Shakata, and himself unborn, conquered Bali, assumed a female form, subdued the serpent Kālīya ; in whom all sound becomes merged, who upheld the mountain and the earth, whose praiseworthy name the gods declare to be ' the chopper of the head of Rahu', and who established the residence of the Andhaka race.' (B) (Applied to Shiva)-'May the husband of Umā ever protect you !,-He, the destroyer of the mind-born Love-god, who turned into an arrow the body of Visnu (the subduer of Bali), who has large serpents as his necklets and bangles, bears the Ganga, and the moon also on his forehead, whose praiseworthy name declared by the gods is 'Hara', and who destroyed the demon Andhaka'. In this verse the terms ' shashimat' and ' andhakasaya' are ' unconventional', when applied to Krsna (but are not regarded as defective). The 'Indecorous' is an excellence in certain cases ; for instance, in conversations leading upto sexual dalliance ; in accordance with the dictum of the Science of Erotics that secret matters are to be concealed by means of words with double meanings ' ;- e. g., in the following verse-

270 KĀVYAPRAKĀŚA

करिहस्तेन संबाधे प्रविश्यान्तर्विलोडिते। उपसर्पन् ध्वजः पुंसः साधनान्तर्विराजते ॥३०३॥ शमकथासु उत्तानोच्छनमण्डूकपाटितोदरसंनिभे । क्लेदिनि स्त्रीव्रणे सक्तिरकृमेः कस्य जायते ॥३०४॥ निर्वाणवैरदहनाः प्रशमादरीणां नन्दन्तु पाण्डुतनयाः सह माधवेन। रक्तप्रसाधितभुवः क्षतविग्रहाश्च स्वस्था भवन्तु कुरुराजसुताः सभृत्याः ॥३०५॥ अत्र भाव्यमङ्गलसूचकम् ॥

Karihastena sambadhe pravishyantarvilodite Upasarpan dhvajaķ pumsaļ sādhanāntarvirājate. Similarly also in conversation dealing with the quiet- istic sentiment ; e.g. ' Uttānochchhūnamaņdūkapāțitodarasannibhe Kledini strīvraņe saktirakrme kasya jāyate.' Further, in the following verse, 'Indecorousness' is regarded as an excellence, by virtue of its affording a premonition of impending calamity -- ' Nirvāņavairadahanāķ prashamādarīņām Nandantu pāndutanayāķ saha mādhavena Raktaprasādhitabhuvah ksatavigrahāshcha Svasthā bhavantu kururājasutāķ sabhrtyāb' 'May the sons of Pandu along with Krsna rejoice, on having the fire of animosity extinguished by the death (or peacefulness) of enemies ! and may the sons of the Kuru-king, along with their dependants, rest at peace (or

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संदिग्धमपि वाच्यमहिम्ना क्वचिन्नियतार्थप्रतीतिकृत्त्वेन व्याज- स्तुतिपर्यवसायित्वे गुणः । यथा पृथुकार्तस्वरपात्रं भूषितनिःशेषपरिजनं देव। विलसत्करेणुगहनं संप्रति सममावयोः सदनम् ॥३०६॥ प्रतिपाद्यप्रतिपादकयोर्त्वे सत्यप्रतीतं गुणः । यथा

in heaven), after having ruled over the world-kingdom attached to them (or, after having covered the earth with their blood), and having their quarrels set at rest (or having their bodies cut up).' [Here the thing that is wished to happen is indicative of inaus- piciousness.] In cases where, the force of the character of the thing described tends to point to a definite meaning, ' Ambiguity ' is regarded as an excellence, on account of its leading up to the Figure of Dissembling Eulogy. For instance, in the following versu- ' Prthukārtasvarapātram bhūşitaniķsheşaparijanam deva Vilasatkarenugahanam samprati samamāvayoh sadanam' .- 'O Lord, at present the houses of both of us (you and I) are similar : yours being full of large golden vessels (and mine, full of the piteous shriekings of children), with all the servants decorated (mine, with all the inmates lying on the ground), and teeming with large elephants (mine, covered with mouse-dust);' -- [The fact of the words being addressed to the king point to the figure of Dissembling Eulogy, whereby the king's affluence is described] In cases where the speaker and the person spoken to are both learned men, 'unintelligibility' is an excellence. For instance, in the following verse-

272 KĀVYAPRAKAŚA

आत्मारामा विहितरतयो निर्विकल्पे समाधौ ज्ञानोद्रेकाद्विघटिततमोग्रन्थयः सत्त्वनिष्ठाः । यं वीक्षन्ते कमपि तमसां ज्योतिषां वा परस्तात् तं मोहान्ध: कथमयममुं वेत्ति देवं पुराणम् ॥३०७॥ स्वयं वा परामशे। यथा षडधिकदशनाडीचक्रमध्यस्थितात्मा हृदि विनिहितरूपः सिद्धिदस्तद्विदां यः । अविचलितमनोभिः साधकैमृग्यमाण: स जयति परिणद्धः शक्तिभिः शक्तिनाथः ॥३०८॥

' Ātmārāmā vihitaratayo nirvikalpe samādhau Jňānodrekād vighatitatamogranthayab sattvanisthāb Yam vīkşante kimapi tamasām jyotişām vā parastāt Tam mohāndhah kathamayamamum vetti devam purānam. ' How can this man (Duryodhana), blinded with delu- sion as he is, recognize the eternal God, whom only those perceive who, fixed in Goodness, have outgrown Dark- ness and Passion, and who have the knot of ignorance cut by the current of knowledge, given upto abstract medita- tion, and rejoicing in the contemplation of the god-head'. [This is said by Bhimasèna to Sahadeva, both highly educated princes : hence the use of Yoga technicalities is not a defect.] In soliloquy also Unintelligibility is not a defect ; e. g., in the following- Şadadhikadashanādīchakramadhyasthitātma Hrdì vinihitarūpaķ siddhidastadvidām yab Avichalitamanobhiļ sādhakairmrgyamāņab Sa jayati parinaddhab shaktibbiķ shaktināthab' ;- 'Glorious is Shiva, the Lord of the Female Divinity, possessed of manifold potentiality, having his soul located . within the circle of the sixteenfold artery, who has his

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अधमप्रकृत्युक्तिषु ग्राम्यो गुणः । यथा फुल्लुक्करं कलमकूरणिहं वहन्ति जे सिन्धुवारविडवा मह वल्लहा दे। जे गालिदस्स महिसीदहिणो सरिच्छा दे किं च मुद्धविअइल्लपसूणपुञ्जा।३०९॥ अत्र कलमभक्तमहिषीदधिशब्दा ग्राम्या अपि विदूषकोक्तौ॥ न्यूनपदं क्वचिद्गुणः। यथा गाढालिङ्गनवामनीकृतकुचप्रोद्भूतरोमोद्गमा

form in the heart, the ordainer of success to those who know Him, and who is looked up to by devotees with steady minds'. ' Vulgarity' is an excellence in the speeches of low- born persons. e.g .- ' Phullukkuram kalamakūraņiham vahanti Je sindhubarabidavā mahaballabā de Je gālidassa mahisīdahiņo sarichchhā De kim cha muddhaviaillapasūņapuňjā'. ' Those branches of the Sindhuvāra trees are dear to me, which bear fruits like rice ; as also are those masses of Mallika flowers which resemble the squeezed curdled milk of a she-buffalo'. In this the terms ' kalama', 'bhakta', 'kūra', mahișī' and ' dadhi', though vulgar, are not regarded as defective, as they occur in the speech of the clown. 'Verbal deficiency' is in some cases an excellence, e. g., in the following :- ' Gādbālinganavāmanīkrtakuchaprodbhūtaromodgamā Sandrasneharasātirekavigalachchhrīmannitambāmbarā 18

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मा मा मानद माति मामलमिति क्षामाक्षरोल्लापिनी सुप्ता किं नु मृता नु किं मनसि मे लीना विलीना नु किम् ॥३१०॥ क्वचिन्न गुणो न दोषः । यथा तिष्ठेत्कोपवशात्प्रभावपिहिता दीर्घ न सा कुप्यति स्वर्गायोत्पतिता भवेन्मयि पुनर्भावार्द्रमस्या मनः । तां हतुं विबुधद्विषोपि न च मे शक्ता: पुरोवर्तिनीं सा चात्यन्तमगोचरं नयनयोर्यातेति कोयं विधि: ॥३११॥

Mā mā mānada māti māmalamiti kşāmākşarollāpinī Suptā kim nu mrtā nu kim manasi me līnā vilīnā nu kim'. Her breasts dwarfed by firm embrace, and the body thrilling all over, her beautiful clothing slipping away from her waist, under the intensity of deep love, she uttered broken words-"Do not ! O ! do not ! my love ! not too much ! Ah me! Enough !"-After which I know not if she went to sleep or was dead, or having entered into my heart, became assimilated therewith'. [Here the broken utterance serve to intensify the feeling depicted.] In certain cases the same defect of ' Verbal Deficiency' is neither a defect nor an excellence ; e.g., in the follow- ing- ' Tişthet kopavashāt prabhāvapihitā dīrgham na sā kupyati Svargāyotpatitā bhavenmayi punarbhāvārdramasyā manab Tām hartum vibudhavişopi na cha me shaktā purovartinīm Sa chātyantamagocharam nayanayoryāteti koyam vidhi.' 'May she be lying concealed ?- She angers not for long ! Might she have flown to the heavens ?- Her heart bore deep affection towards me. Even the demons could not wrench her away from before me .- And yet she has passed completely beyond the range of my vision. What a process of fate !'

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अत्र पिहिता इत्यतोनन्तरं 'नैतद्यतः' इत्येतैर्न्यूनैः पदैर्विशेष- बुद्धरकरणान्न गुणः । उत्तरा प्रतिपत्तिः पूर्वां प्रतिपत्ति बाधते इति न दोष:।। अधिकपदं क्वचिद्गुणः। यथा; यद्वञ्चनाहितमतिर्बहुचाटुगर्भ कार्योन्मुखः खलजनः कृतकं ब्रवीति। तत्साधवो न न विदन्ति विदन्ति किंतु कर्तु वृथा प्रणयमस्य न पारयन्ति ॥३१२॥ अत्र 'विदन्ति' इति द्वितीयमन्ययोगव्यवच्छेदपरम्।

After ' pihita', 'concealed', there should have been the expression-' it is not so, because ' and so forth; but this deficiency cannot be regarded as an excellence, because it does not afford any additional suggestion (as is done in the proceeding case); nor can it be regarded as a defect, because inasmuch as the second statement (' she angers not for long ') by itself sets aside the first one, there is no real harm done by the omission of the words. 'Redundancy' is sometimes an excellence ; e.g. in the following- ' Yadvañchanāhitamatirbahuchātugarbham Kāryonmukhab khalajanab krtakam bravīti Tatsādhavo na na vidanti vidanti kimtu Kartum vrthā praņayamasya na pārayanti'. ' The deceitful and cunning way in which evil people tell lies in business,-it is not that the good men do not know it, they do know it, even though they are unable to frustrate their hypocritical attachment'. The second ' vidanti', ' they do know', serves the pur- pose of excluding others from the knowledge in question [and as such the repetition is not a defect].

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यथा वा वद वद जितः स शत्रुर्न हतो जल्पंश्च तव तवास्मीति। चित्रं चित्रमरोदीद्धा हेति परं मृते पुत्रे ।।३१३।। इत्येवमादौ हर्षभयादियुक्ते वक्तरि॥। कथितपदं क्वचिद्गुणः लाटानुप्रासे अर्थान्तरसंक्रमित- वाच्ये विहितस्यानुवाद्यत्वे च। क्रमेणोदाहरणम्- सितकरकररुचिरविभा विभाकराकार धरणिधर कीतिः । पौरुषकमला कमला सापि तवैवास्ति नान्यस्य ॥३१४॥

Another example of the same- ' Vada vada jitab sa shatrur-na hato jalpam shcha tava tavāsmīti Chitram chitramarodīddha heti param mrte putre'. 'Say, say, if the enemy has been conquered' ;- ' he was not killed, saying I am yours, yours and most curiously did he weep on the death of his son'. Here the redundant words are not defective, as the speakers are under the influence of too much joy (in the first sentence), or too much fear (in the second). Repetition also in some cases is an excellence. For instance, (a) in Läta-alliteration, (b) where the expressed meaning is transferred to another meaning, and (c) where what has been asserted before is referred to again. For instance- (a) ' Sitakarakararuchiravibhā- Vibhākarākāra dharanidhara kīrtih Pauruşakamalā kamalā Sāpì tavaivāsti nānyasya.' 'O Lord of the Earth, who resemblest the Moon, like the Moon's lovely sheen is thy fame ; thine alone too is the prosperity attendant upon valour'. [Here the repetitions in kara-kara, vibhā-vibhā and kamalā-kamalā are not defective, since they serve to accomplish the Alliteration].

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ताला जाअंति गुणा जाला दे सहिअएहिँ घेप्पन्ति। रइकिरणाणुग्गहिआइँ होन्ति कमलाइँ कमलाइँ॥३१५॥ जितेन्द्रियत्वं विनयस्य कारणं गुणप्रकर्षो विनयादवाप्यते। गुणप्रकर्षेण जनोनुरज्यते जनानुरागप्रभवा हि संपदः ॥३१६॥ पतत्प्रकर्षमपि क्वचिद्गुणः। यथा उदाहृते प्रागप्राप्त-इत्यादौ।३१७। (b) 'Tālā jāamti guņāb Jālā de sahiaehim gheppanti Raïkiranānuggahiaim Honti kamalāim Kamalāim. 'Excellences appear when they are appreciated by really appreciative men. It is only when favoured by the Sun's rays that lotuses become lotuses'. [Here the second 'lotuses' connotes full-grown fragrance, and hence having its expressed meaning transformed it is not a defect]. (c) ' Jitendriyatvam vinayasya kāranam Guņaprakaro vinayādavāpyate Gunaprakarşeņa janonurajyate Janānurāgaprabhavā hi sampadab'. Subjugation of the senses leads to humility ; by means of humility is excellence of qualities attained; through excellent qualities, people become attached ; and prosperity follows from the attachment of the people'. [The 'humility' described in the first sentence as the effect, is again referred to in the second sentence as the cause, and so on; and under the circumstances, the use of the same words and expressi- ons only serves to lend force to the idea that what appears as the cause in the following sentence is precisely the same as that spoken of as the effect in the preceding sentence.] 'Receding Excellence', is sometimes an excellence ; as in the verse 'Pragaprapta-&c'. (see above, stanza No. 209). [Where the softer language adopted in the fourth line is only right and proper, as it involves the remembrance of the speaker's preceptor.]

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समाप्तपुनरात्तं क्वचिन्न गुणो न दोषः। यत्र न विशेषण- मात्रदानार्थ पुनर्ग्रहणम् अपि तु वाक्यान्तरमेव क्रियते। यथा अत्रैव प्रागप्राप्त इत्यादौ ॥३१८॥ अपदस्थसमासं क्वचिद् गुणः । यथा उदाहृते रक्ताशोक- इत्यादौ ॥३१९॥ गर्भितं तथैव। यथा- हुमि अवहत्थिअरेहो णिरंकुसो अह विवेअरहिओ वि। सिविणे वि तुमम्मि पुणो पत्तिहि भत्ति ण पसुंमरामि ॥३२०॥ अत्र प्रतीहीति मध्ये दृढप्रत्ययोत्पादनाय। एवमन्यदपि लक्ष्याल्ल- क्ष्यम् ॥५९।।

'Resumption of the Concluded ' is neither a defect nor an excellence in cases where the resumption is not for the purpose of adding a further epithet, but is introduced as a distinct statement; an example of this also we have in the verse just referred to (' Prāgaprāpta-etc. stanza No. 209). 'Misplaced Compound' is an excellence in certain cases ; e. g., in the verse ' Raktashoka &c'. (See above, stanza No. 300). [Where, though the long compound is not quite appropriate in the delineation of the erotic passion, yet, as serving to intensify the displeasure felt by the suffering lover, it helps to heighten the said passion and becomes, as such, an excellence.] Similarly the 'Parenthetical' also is an excellence in some cases ; e. g., in the following : ' Humi avahatthiareho Niramkuso aha vivearahio vi Sivinevi tumammi puno. Pattibì bhattim na pasumarāmi'. Though devoid of the steady decorum of behaviour, unrestrained and indiscreet, I do not even dream, believe me, of disobeying you'. 59.

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व्यभिचारिरसस्थायिभावानां शब्दवाच्यता.। कष्टकल्पनया व्यक्तिरनुभावविभावयो: ॥६०॥ प्रतिकूलविभावादिग्रहो दीप्तिः पुनः पुनः । अकाण्डे प्रथनच्छदाव ङएष्य तिविस्तृतिः ॥ ६१॥ प्रकृतीनां विपर्यय:। अनङ्गस्याभिधानं च रसे दोषा: स्युरीदृशाः॥६२॥ (१) स्वशब्दोपादानं व्यभिचारिणो यथा सव्रीडा दयितानने सकरुणा मातङ्गचर्माम्बरे सत्रासा भुजगे सविस्मयरसा चन्द्रेमृतस्यन्दिनि। सेर्ष्या जहूनुसुतावलोकनविधौ दीना कपालोदरे पार्वत्या नवसंगमप्रणयिनी दृष्टिः शिवायास्तु वः ॥३२१॥

The parenthetical clause ' believe me' is inserted for the purpose of emphasising the assertion. So may others be illustrated. (1) (2) (3)-The mention by name of the variant sentiments, the Passion and of the latent sentiments,-(4), (5) Far-fetched Indication of the Ensuant and the Excitant,-(6) Admission of adverse Concomitants,-(7) Repeated Heightening,-(8) Unti- mely Introduction,-(9) Untimely Interruption,-(10) Excesive dilatation of the Subordinate Factor,-(11) Neglect of the Principal Factor,-(12) Perversion of Characters, and (13) Mention of what is not Germane; such are the defects in the delineation of Passion, Rasa. 60-62. (1) Example of the mention by name, of the variant emotions- ' Savrīdā dayitānane sakaruņā mātangacharmāmbare Satrāsā bhujage savismayarasā chandremrtasyandini Sersyā jahnusutāvalokanavidhau dīnā kapālodare. Pārvatyā navasangamapranayinī drstib shivāyāstu vab'.

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अत्र व्रीडादीनाम्। 'व्यानम्रा दयितानने मुकुलिता मातङ्गचर्माम्बरे सोत्कम्पा भुजगे निमेषरहिता चन्द्रेमृतस्यन्दिनि । मीलद्भू: सुरसिन्धुदर्शनविधौ म्लाना कपालोदरे' इत्यादि तु युक्तम् ।। (२) रसस्य स्वशब्देन शृङ्गारादिशब्देन वा वाच्यत्वम्। क्रमेणो- दाहरणम्- तामनङ्गजयमङ्गलश्रियं किंचिदुच्चभुजमूललोकिताम् । नेत्रयोः कृतवतोस्य गोचरे कोप्यजायत रसो निरन्तरः॥३२२॥

'May the glance of ParvatI, full of love at the first · meeting of her husband, ordain your welfare ;- the glance which is affected by bashfulness when turned towards the face of her beloved,-imbued with pathos, when fall- ing upon the dress of elephant's skin,-full of fear when turned towards the serpent,-struck by wonder at the nectar-dripping moon,-burning with jealousy when look- ing at the Ganga,-and humiliated at the sight of the begging-bowl'. Here the mention, by name, of ' bashfulness' and other variant emotions is defective. The right reading would be- ' vyānamrā dayitānane mukulitā mātangacharmāmbare sotkampā bhujage nimeşarahitā chandremrtasyandini mīladbhūb surasindbudarshanavidhau mlānā kapālodare' (where the same emotions are mentioned, not by their names, but by means of their physical effects). (2) Example of the 'mention by name' of Passion,- (a) by the word ' passion,' ' rasa', itself, and (b) by the names of the particular passions, the 'Erotic' and the rest.

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आलोक्य कोमलकपोलतलाभिषिक्त व्यक्तानुरागसुभगामभिराममूर्तिम् । पश्यैष बाल्यमतिवृत्य विवर्तमान: शृङ्गारसीमनि तर्राङ्गतमातनोति ॥३२३॥। (३) स्थायिनो यथा संप्रहारे प्रहरणैः प्रहाराणां परस्परम् । ठणत्कारैः श्रुतिगतैरुत्साहस्तस्य कोप्यभूत् ।।३२४।। (a) ' Tāmanangajayamangalashriyam Kiñchiduchchabhujamūlalokitām Netrayob krtavatosya gochare Kopyajāyata raso nirantarab 'When he got her within the range of his vision,- she, the auspicious glory of the victory of the Love-god, and having the slight elevation at the end of her arms rendered perceptible,-there became manifested in him a peculiar unimpeded passion.' (b) ' Alokya komalakopolatalābhişikta- Vyaktānurāgasubhagāmabhirāmamūrtim Pashyaişa bālyamativrtya vivartamānab Shrngārasīmani tarangitamātanoti. ' See how this young man, just passed his boyhood, behaves,-striking like waves as it were, on the boundaries of the Erotic, on seeing her of beautiful form, graceful and exquisitely handsome, through the loveful blush on her soft cheeks.' (3) Example of the 'mention by name' of the Latent Emotion- ' Samprahāre praharanaih prahārānām parasparam Țhaņatkārai shrutigatairutsāhastasya kopyabhūt.' 'When he heard the sound of weapons clashing in battle, there appeared in him a peculiar daring.'

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अत्रोत्साहस्य ।। (४) कर्पूरधूलिधवलद्युतिपूरधौत- दिङमण्डले शिशिररोचिषि तस्य यूनः । लीलाशिरोंशुकनिवेशविशेषक्लृप्ति- व्यक्तस्तनोन्नतिरभून्नयनावनौ सा ॥३२५॥ अत्रोद्दीपनालम्बनरूपाः शृङ्गारयोग्या विभावा अनुभाव- पर्यवसायिनः स्थिता इति कष्टकल्पना । (५) परिहरति रति मति लुनीते स्खलति भृशं परिवर्तते च भूयः । इति बत विषमा दशास्य देहं परिभवति प्रसभं किमत्र कुर्मः॥३२६॥

Here the mention of ' utsaha' (Daring) is defective. (4) 'On the atmosphere being washed by the flood of the camphor-like bright light of the Moon,-she, having the appearance of her breasts brought about by a sportive manipulation of her veil, came within the range of the young man's vision.' What are described here are the two kinds of excitants- (a) basic (in the shape of the woman) and (b) aggravative (in the shape of moonlight)-of the Erotic Passion ; and these do not serve to indicate the corresponding ensuants (in the young man, in the shape of thrilling and so forth) ; and it is with some difficulty that they become compre- hended. This is what is meant by the ensuants being 'far-fetched.' (5) 'He shuns pleasure, interrupts his thoughts, trembles and rolls about ; thus, Oh ! a violent condition is attacking his body ; what shall we do ?' What are described here are the ensuants (certain effects produced in the young man) ; and it is only with some difficulty that one can comprehend that the loved woman

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अत्र रतिपरिहारादीनामनुभावानां करुणादावपि संभवा- त्कामिनीरूपो विभावो यत्नतः प्रतिपाद्यः ॥ (६) प्रसादे वर्तस्व प्रकटय मुदं संत्यज रुषं प्रिये शुष्यन्त्यङ्गान्यमृतमिव तें सिञ्चतु वचः । निधानं सौख्यानां क्षणमभिमुखं स्थापय मुखं न मुग्धे प्रत्येतुं प्रभवति गतः कालहरिणः ॥३२७॥ अत्र शृङ्गारे प्रतिकूलस्य शान्तस्यानित्यताप्रकाशनरूपो विभावस्तत्प्रकाशितो निर्वेदश्च व्यभिचारी उपात्तः ॥ णिहुअरमणम्मि लोअणपहम्मि पडिए गुरुअणमज्झम्मि। सअलपरिहारहिअआ वणगमणं एव्व महइ वह ॥३२८।

is the excitant ; specially as the ensuants described are such as could be due to the Passion of Pathos also. [This is what is meant by the excitant being ' farfetched '] (6a) ' Do be propitiated ; O my love ! give expression to joyfulness and give up anger ; let thy nectarine voice sprinkle my withering limbs. Just for a moment keep your face, the very fount of felicity, before me. O lovely damsel, past opportunities never come again.' What is described here is : (1) an excitant, in the shape of the man's expression of the notion of the impermanence of pleasures, and also (2) a variant emotion, in the shape of self-disparagement,-both of which are concomitants helpful to the Quietistic Passion, but adverse to (and marring the effect of) the Erotic (which is the Passion described). [Thus, this is an example of the admission of adverse concomitants in the shape of discordant excitant and variants.] (6b) 'Her eyes having fallen upon her lover, while she was among her elders, she withdraws her heart from all work and is anxious to proceed to the forest.'

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अत्र सकलपरिहारवनगमने शान्तानुभावौ। इन्धनाद्या- नयनव्याजेनोपभोगार्थ वनगमनं चेत् न दोष: ।। (७) दीप्तिः पुनः पुनर्यथा कुमारसंभवे रतिविलापे।। (८) अकाण्डे प्रथनं यथा वेणीसंहारे द्वितीये ङ्गेनेकवीरक्षये प्रवृत्ते भानुमत्या सह दुर्योधनस्य शृङ्गारवर्णनम् । (९) अकाण्डे छेदो यथा वीरचरिते द्वितीये क्के राघवभार्गव- योर्धाराधिरूढे वीररसे 'कङ्कणमोचनाय गच्छामि' इति राघ- वस्योक्तौ ।।

The ensuants depicted here are the losing of interest in all work and proceeding to the forest ; and both of these are helpful to the quiestistic Passion (and adverse to the Erotic.) [Thus this is a case of the 'admission of adverse concomitants', in the shape of the ensuant.] There would be nothing objectionable if there were something to indicate that the desire to proceed to the forest was for the purpose of meeting the lover, under the pretext of fetching fuel and such things. (7) As an example of 'Repeated Heightening' we have ' Rati's Lament' in the Kumarasambhava. (8) An example of 'untimely introduction' we have in the Second Act of the Venisa mhara, where, while the slaughter of numerous heroes is proceeding, the poet proceeds to describe the loving dalliances of Duryodhana with Bhanumati. (9) An example of 'untimely interruption' we have in the Second Act of the Mahaviracharita, where the Heroic sentiment between Räma and Parashurama having reached the highest pitch, Räma says-' I am going to unfasten the nuptial bracelet.'

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(१०) अङ्गस्याप्रधानस्यातिविस्तरेण वर्णनम् । यथा हय- ग्रीववधे हयग्रीवस्य।। (११) अङ्गिनोननुसंधानम्। यथा रत्नावल्यां चतुर्थेक्के बाभ्नव्यागमने सागरिकाया विस्मृतिः ॥ (१२) प्रकृतयो दिव्या अदिव्या दिव्यादिव्याश्च वीररौद्र- शृङ्गारशान्तरसप्रधाना धीरोदात्तधीरोद्धतधीरललितिधी र - प्रशान्ताः उत्तमाधममध्यमाश्च। तत्र रतिहासशोकाद्भुतानि अदिव्योत्तमप्रकृतिवत् दिव्येष्वपि। किं तु रतिः संभोगशृङ्गार- रूपा उत्तमदेवताविषया न वर्णनीया। तद्वर्णनं हि पित्रोः संभोग- वर्ण निमवात्यन्तमनुचितम्।

(10) 'Excessive Dilatation of the Subordinate Factor' we find in the lengthy description of Hayagriva in the Hayagrīvavadha-Kāvya. (11) 'Neglect of the Principal Factor' we find in the Fourth Act of the Ratnavali, where, on the approach of Bābhravya, Sāgarikā, the heroine, is completely ignored. (12) ' Characters' are of three kinds-Divine, Non- divine, (Human) and Humo-divine. Each of these again is (a) firm-noble, (b) firm-haughty, (c) firm-gay, and (d) firm-calm, according as they are under the influence respectively of (a) the Heroic, (b) the Furious, (c) the Erotic and (d) the Quietistic Passions. [Thus there are 12 kinds ]. Each of these again is either High, Medium or Low .- Now among these, Love, Mirth, Grief and Wonder are found in Divine as well as Human characters ; but it is not right to describe the Erotic Love-dalliances of a High-Divine character ; in fact such a description would be as highly improper as that of the love-dealings of one's own parents.

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कोधं प्रभो संहर संहरेति यावद् गिरः खे मरुतां चरन्ति। तावत्स र्वह्निर्भवनेत्रजन्मा भस्मावशेषं मदनं चकार ।।३२९॥ इत्युक्तवत् भ्रुकुटयादिविकारवर्जितः क्रोधः सद्यःफलदः स्वरगपातालगगनसमुद्रोल्लङघनाद्युत्साहश्च दिव्येष्येव । अदिव्येषु तु यावदवदानं प्रसिद्धमुचितं वा तावदेवोपनिबन्द्धव्यम्। अधिकं तु निबध्यमानमसत्यप्रतिभासेन 'नायकवद्वर्तितव्यं न प्रति- नायकवत्' इत्युपदेशे न पर्यवस्येत्। दिव्यादिव्येषु उभयथापि।

Further, it is only in the case of Divine characters that there can be either such heroism as involved in the under- taking of a journey to the Heavens or the nether regions, the jumping over the ocean and so forth, or such anger as is immediately effective, though not accompanied by any visible physical signs as the curvature of the brows and so forth ; such anger, for instance, as is delineated in the following verse- '" O Lord, withdraw your wrath-do please with- draw it ",-by the time that these words of the gods go forth into the skies, the fire emanating from the eye of Shiva reduced the Love-god to ashes'. In the case of non-divine or human characters only such activity should be described as is known from past experience to have been possible ; if more than this were attributed to a human character, it would bear the stamp of untruth, and as such, fail to lead up to exhortation (which is the aim of poetry) that ' one should behave like the hero, and not like his opponent' .- Lastly in the case of humo-divine cha- racters, both the above kinds of actions may be described. This being the right course to adopt, if things are attributed to the Divine and other characters, or to the Firm-noble and the rest, which are not in keeping with the

CHAPTER VII 287

एवमुक्तस्यौचित्यस्य दिव्यादीनामिव धीरोदात्तादीनामप्यन्यथा- वर्णनं विपर्ययः। तत्रभवन् भगवन्नित्युत्तमेन न अधमेन मुनिप्रभृतौ न राजादौ भट्टारक-इति नोत्तमेन राजादौ प्रकृतिविपर्यया- पत्तेर्वाच्यम्। एवं देशकालवयोजात्यादीनां वेषव्यवहारादिकमु- चितमेवोपनिबन्द्धव्यम् ॥ (१३) अनङ्गस्य रसानुपकारकस्य वर्णनम्। यथा कर्पूर- मञ्जर्या नायिकया स्वात्मना च कृतं वसन्तवर्णनमनादृत्य बन्दि- र्वणितस्य राज्ञा प्रशंसनम् ॥ "ईदृशाः" इति। नायिकापादप्रहारादिना नायककोपादिवर्णनम्।

above-mentioned proprieties,-it involves the ' perver- sion' (of the characters). Similarly there is 'perversion of character' also in the case of the infringement of such rules as the following :- (a) such forms of address as ' tatrabhavan' and ' bhagavan' are to be used only by the higher, and never by the lower characters,-and these too, only with reference to sages, and never to kings ;- (b) the address ' bhattāraka' is to be used, in reference to kings, only by such characters as do not belong to the higher order .- Similarly too the dress and actions of the characters are to be described in due accordance with the time, place, age, caste and such other circumstances. [And if this is not done, it involves ' perversion of character.'] (13) An example of ' what is not germane',-i. e., not helpful in the delineation of the Passion concerned,-we have in the Karpüramañjarī, where the king ignores the description of the spring by the heroine and also that by himself, and goes on to praise that by the bard.

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उक्तं हि ध्वनिकृता "अनौचित्यादृते नान्यद् रसभङ्गस्य कारणम् । औचित्योपनिबन्धस्तु रसस्योपनिषत्परा॥।" इति ॥६०-६२॥ इदानीं क्वचिददोषा अप्येते इत्युच्यन्ते। न दोषः स्वपदेनोक्तावपि संचारिणः क्वचित्।

यथा औत्सुक्येन कृतत्वरा सहभुवा व्यावर्तमाना ह्निया तैस्तैर्बन्धुवधूजनस्य वचनैर्नीताभिमुख्यं पुनः । दृष्ट्वाग्रे वरमात्तसाध्वसरसा गौरी नवे संगमे संरोहत्पुलका हरेण हसता श्लिष्टा शिवायास्तु वः ॥३३०॥

'Such ' (in the text) is meant to include such descriptions as that of the Lover getting angry at being struck by the feet of his loved one and so forth.

(In regard to Defects) the Author of the Dhvani has made the following declaration- ' Apart from impropriety, there is nothing that mars the Passion ; as Propriety is the highest secret of the right delineation of the Passion'. 60-62. In certain cases the said Defects are not defective. This is what is explained next. In some cases the ' mention by name' of a variant emotion is not a defect. For example, in the following- ' Autsukyena krtatvarā sahabhuvā vyāvartamānā hriyā Taistairbandhuvadhūjanasya vachanairnītābhimukhyam punab Drstvāgre varamāttasādhvasarasā gaurī nave samgame Samrohatpulakā bareņa hasatā shlīstā shivāyāstu vab'.

CHAPTER VII 289

अत्रौत्सुक्यशब्द इव तदनुभावो न तथा प्रतीतिकृत्। अत एव 'दूरादुत्सुकम्' इत्यादौ व्रीडाप्रेमाद्यनुभावानां : विवलितत्वादी- नामिवोत्सुकत्वानुभावस्य सहसा प्रसरणादिरूपस्य तथा प्रति- पत्तिकारित्वाभावादुत्सुकमिति कृतम् ।। संचार्यादेविरुद्धस्य बाध्यस्योक्तिर्गुणावहा ॥६३॥

' Hastening through longing, turning back from in- born modesty, carried before her husband by the exhor- tations of her female relatives, showing some fear on seeing her husband before her,-may Gauri, on the occasion of her first meeting, embraced by smiling Shiva, and with her hairs thrilling, ordain your welfare !' Here the variant emotion of Autsukya, ' Longing', is mentioned by name, because the mere mention of the ensuants (the effects of the emotion) would not have been equally significant [as the said effects might be due to causes other than Longing; hence the mention of the name of ' Autsukya' is not regarded as a defect.] Similarly in the verse-' Dūradutsukamagate &c. ' (see above stanza No 29), though the poet has described the emotions of modesty, affection and the rest, through their respective ensuants, in the form of ' turning aside' and so forth, yet the emotion of 'Longing' has been mentioned by name ' utsuka', because the mere mention of its ensuants, in the form of approaching nearer, would not be equally expressive of what is intended. The mentioning of ' adverse concomitants' in the form of variant emotions (excitants and ensuants) is conducive to axcellence, when they are spoken of as suppressed. 63. That is, when they are mentioned in such a manner as to indicate that they are to be understood as being 19

290 KĀVYAPRAKĀŚA

बाध्यत्वेनोक्तिर्न परमदोषः यावत् प्रकृतरसपरिपोषकृत। यथा 'क्वाकार्यं शशलक्ष्मण: क्व च कुलम्' इत्यादौ ॥३३१॥ अत्र वितर्कादिषु उद्गतेष्वपि चिन्तायामेव विश्रान्तिरिति प्रकृतरसपरिपोष: । पाण्ड क्षामं वदनं हृदयं सरसं तवालसं च वपुः । आवेदयति नितान्तं क्षेत्रियरोगं सखि हृदन्तः ॥३३२॥ इत्यादौ साधारणत्वं पाण्डुतादीनामिति न विरुद्धम् ।। सत्यं मनोरमा रामा: सत्यं रम्या विभूतयः । किं तु मत्ताङ्गनापाङ्गभङ्गलोलं हि जीवितम् ॥३३३॥

suppressed, such mention is not very defective; on the contrary, it serves to heighten the principal Passion depicted. As an example we have the verse 'Kvākāryam shashalaks- mana &c'. (See above, stanza No. 53), where though the variants, ensuants and excitants, in the form of 'argu- mentation', 'doubt' and so forth (which are adverse to the Passion depicted) are mentioned as appearing, yet they are all represented as becoming merged into painful reflection, which tends to heighten the Passion depicted. Similatly, in the following verse- 'O friend, thy face is pale and emaciated, and heart full of substance, and body languid; all this indicates the presence of an incurable disease of the heart'- though Paleness and the other effects mentioned are in a sense adverse to the Erotic Passion depicted (inasmuch as they can be the effects of the Pathetic Passion also) ; -yet, inasmuch as they are common (to the Erotic and to the Pathetic), they cannot be regarded as entirely * adverse.'

CHAPTER VII. 291

इत्यत्राद्यमर्धं बाध्यत्वेनैवोक्तम्। जीवितादपि अधिकमपाङ्ग- भङ्गस्यास्थिरत्वमिति प्रसिद्धभङगुरोपमानतयोपात्तं, शान्तमेव पुष्णाति न पुनः शृङ्गारस्यात्र प्रतीतिस्तदङ्गाप्रतिपत्तेः । न तु विनेयोन्मुखीकरणमत्र परिहारः शान्तशृङ्गारयोनैरन्तर्यस्या-

Similarly again, in the verse- 'It is true that women are heart-ravishing, and riches also are pleasing ; but life itself is as unsteady as the amorous glances of a love-intoxicated woman' .- The first half (though adverse to the Quietistic Passion meant to be depicted) is spoken of only as something that is suppressed or negatived by the second half'; the sense thus being that-' the glances' are more unsteady or transient than 'life'; and this mention of a parallel, which is universally known to be transitory, only serves to heighten the Quietistic Passion ; which is what is de- picted here, and not the Erotic (as has been held by the author of the Dhvani) because we do not recognise in the verse any such accessories as would point to this latter passion .- It has been argued (in support of the view that the Erotic is the passion depicted here) that it is the Erotic that is meant to be depicted, but only with a view to engaging the attention of the pupil addressed (by the depicting of a more agreeable subject, and through that, leading him on to the Quietistic) .- But this can not be right ; as there is such a large gap between the Erotic and the Quietistic (that one cannot lead on to the other) .- Another explanation (in support of the view in question) is that the Erotic is depicted here with a view to lending a charm to the poetry .- But this also cannot be accepted ; because charm could be added to the poetry either through

292 KĀVYAPRAKĀŚA

भावात्। नापि काव्यशोभाकरणं रसान्तरादनुप्रासमात्राद्वा तथाभावात्।६३।। आश्रयैक्ये विरुद्धो यः स कार्यो भिन्नसंश्रयः। रसान्तरेणान्तरितो नैरन्तर्येण यो रसः ॥६४॥ वीरभयानकयोरेकाश्रयत्वेन विरोध इति प्रतिपक्षगतत्वेन भयानको निवेशयितव्यः । शान्तशृङ्गारयोस्तु नैरन्तर्येण विरोध इति रसान्तरमन्तरे कार्यम् यथा नागानन्दे शान्तस्य जीमूत- वाहनस्य 'अहो गीतम् अहो वादित्रम्' इत्यद्भुतमन्तर्निवेश्य मलयवतीं प्रति शृङ्गारो निबद्धः। न परं प्रबन्धे यावदेकस्मिन्नपि वाक्ये रसान्तरव्यवधिना विरोधो निवर्तते। यथा

some other Passion than the Erotic (i. e., through the Quietistic itself), or through mere Alliteration [so that for purposes of this charm also, it would not be necessary to introduce the Erotic]. 63 If one Passion is repugnant to another when found together in the same substratum, they should be delineated in different substrata ; and if one Passion is repugnant to another when appearing in close contiguity, they should be separated by some other Passion. 64. The Heroic and the Frightful are found to be repug- nant to one another, when found in the same person; hence the Frightful is to be depicted as subsisting in the hero's opponent (while the Heroic belongs to the hero himself) .- And between the Erotic and the Quietistic, there is incompatibility only when they appear in close contiguity ; hence a third Passion should be made to intervene between these two. For instance, in the Nāga-

CHAPTER VII 293

भूरेणुदिग्धान् नवपारिजात- मालारजोवासितबाहुमध्या। गाढं शिवाभि: परिरभ्यमाणान् सुराङ्गनाश्लिष्टभुजान्तराला: ।।३३४।। सशोणितैः क्रव्यभुजां स्फुरद्भिः पक्षैः खगानामुपवीज्यमानान् । संवीजिताश्चन्दनवारिसेकै: सुगन्धिभिः कल्पलतादुकूलैः ॥३३४॥ (अ)॥ विमानपर्य ङ्ग तले निषण्णाः कुतूहलाविष्टतया तदानीम्। निर्दिश्यमानान् ललनाङगुलीभिर्- वीरा: स्वदेहान् पतितानपश्यन् ॥३३५॥

nanda, when the Quietistic Jīmūtavahana is described as falling in love with Malayavati, the passion of Wonder is brought in between the two, by the sentences ' what a song ! what music !', This incompatibility is warded off in this manner not only as occurring in course of a complete poetic work, but also in the same sentence. For instance, in the following verse :- ' The heroic men, lying upon magnificent beds in the flying cars, their chests perfumed by the pollens of the fresh Parijata-garlands, embraced by celestial nymphs, and fanned by silken cloths made out of the celestial trees, wet and fragrant,-saw their own bodies rolling in the dust of the earth, pointed to by the damsels through curiosity, em- braced by jackals, and fanned by the flapping wings of the carnivorous birds dripping with blood',-

294 KĀVYAPRAKĀŚA

अत्र बीभत्सशृङ्गारयोरन्तर्वीररसो निवेशितः ।।६४।। स्मर्यमाणो विरुद्धोपि साम्येनाथ विवक्षितः। अङ्गिन्यङ्गत्वमाप्तौ यौ तौ न दुष्टौ परस्परम् ॥ ६५॥ अयं स रशनोत्कर्षी पीनस्तनविमर्दनः । नाभ्यूरुजघनस्पर्शी नीवीविस्रंसनः करः ॥३३६॥ एतद् भूरिश्रवसः समरभुवि पतितं हस्तमालोक्य तद्वधूर- भिदधौ। अत्र पूर्वावस्थास्मरणं शृङ्गाराङ्गमपि करुणं परि- पोषयति॥ दन्तक्षतानि करजैश्च विपाटितानि प्रोद्भिन्नसान्द्रपुलके भवतः शरीरे। दत्तानि रक्तमनसा मृगराजवध्वा जातस्पृहैमुनिभिरप्यवलोकितानि ॥३३७॥

the Heroic has been made to intervene between the Disgustful and the Erotic. 64. Even if two Passions are incompatible, they do not mar each other,-(a) when one is merely remembered, or (b) when it is intended to be equal to the other (in importance), or (c) when the two become subservient to a third Principal (Passion). 65. For instance, (a) in the following verse-' Ayam sa rashanotkarsī c. 'This is that same hand &c.' (see above,)-which contains the speech of the wife of Bhurishravas when she saw his hand lying on the battle field,-the remembrance of her past experience, even though savouring of the Erotic, only serves to heighten the Pathetic. (b) In the following verse- ' The teeth-marks and the nail-tearings made in your thrilling body by the blood-thirsty (loving) lioness (wo- man), were looked at even by the sages, with coveting eyes '.

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अत्र कामुकस्य दन्तक्षतादीनि यथा चमत्कारकारीणि तथा जिनस्य। यथा वा परः शृङ्गारी तदवलोकनात्सस्पृहस्तद्वत् एतद्दृशो मुनय इति साम्यविवक्षा।। कामन्त्यः क्षतकोमलाङ् गुलिगलद्रक्तैः सदर्भा: स्थलीः पादैः पातितयावकैरिव गलद्बाष्पाम्बुधौतानना। भीता भर्तृकरावलम्बितकरास्त्वच्छत्रुनार्योधुना दावागि्निं परितो भ्रमन्ति पुनरप्यु द्यद्विवाहा इव ॥३३८।

The meaning is that the marks made on the body of the Buddha by the lioness looked as charming as those made on the body of the lover by his beloved woman ; or that,' just as the erotically inclined man looks covetingly upon the marks of endearment made by a woman upon the body of another man, so did the sages look covetingly upon the marks upon Buddha's body made by the lioness '; and here both the Passions (the Heroic and the Erotic) are meant to be of equal importance. (c) In the following verse- 'The frightened wives of your enemies sprinkle, with their feet on the grassy ground, blood issuing from their fingers, and appear as if dropping the red paint of their feet ; their faces are washed with flowing tears ; and supporting themselves on the hands of their husbands, they walk round the forest-fire, appearing as if they were again going through their marriage-rites ' .- The principal factor meant to be delineated by the clever statement is the speaker's regard for the king, and to this principal factor, both, the Pathetic as well as the Erotic, are equally subservient; and under the circumstances,

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अत्र चाटुके राजविषया रतिः प्रतीयते। तत्र करुण इव शृङ्गारोप्यङ्गमिति तयोर्न विरोधः । यथा एहि गच्छ पतोत्तिष्ठ वद मौनं समाचर। एवमाशाग्रहग्रस्तैः क्रीडन्ति धनिनोरथिभिः ॥३३९॥ इत्यत्र एहीति क्रीडन्ति गच्छेति क्रीडन्तीति क्रीडनापेक्षयोः आगमनगमनयोर्न विरोधः । क्षिप्तो हस्तावलग्नः प्रसभमभिहतोप्याददानोंशुकान्तं गृहुणन् केशेष्वपास्तश्चरणनिपतितो नेक्षितः संभ्रमेण । आलिङ्गन् योवधूतस्त्रिपुरयुवतिभिः साश्रुनेत्रोत्पलाभि: कामीवार्द्रापराधः स दहतु दुरितं शांभवो वः शराग्निः ॥३४०॥

there is no incompatibility. Just as there is no incongruity in the mention of two mutually contradictory actions, when these are mentioned as subservient to a third act ; e.g., in the verse-"Come"-"go "-"fall down"- "rise "-" speak "-"keep quiet",-in this manner do the rich make fun of the needy men who are held in by hopes for ' getting something,'-' coming' and ' going' are both subservient ' to the act of making fun '. Similarly in the following verse- 'May the fire of Shiva's arrows burn your sin,-the fire which, upon embracing the young ladies of Tripura, was shaken off by them with tearful eyes,-was thrown aside. on touching their hands, was swiftly struck back, when catching hold of their cloth-end, -thrust aside, when touching their locks,-not even perceived, through flurry, when fallen on their feet ; and thus appeared like a

CHAPTER VII 297

इत्यत्र त्रिपुररिपुप्रभावातिशयस्य करुणोङ्गम्। तस्य तु शृङ्गारः। तथापि न करुणे विश्रान्तिरिति तस्याङ्गतैव। अथवा प्राक् यथा कामुक आचरति स्म तथा शराग्निरिति शृङ्गारपोषि- तेन करुणेन मुख्य एवार्थ उपोद्बल्यते।

उक्तं हि

'गुणः कृतात्मसंस्कारः प्रधानं प्रतिपद्यते। प्रधानस्योपकारे हि तथा भूयसि वर्तते ॥' इति॥

guilty lover of theirs,'-the principal object of delineation is the superior majesty of Tripura's enemy (Shiva) ; and to this is subservient the Pathetic, to which latter the Erotic is subservient ; and even though in view of the Erotic being subservient to it, the Pathetic might be regarded as the predominant factor,-yet it has to be regarded as only a subordinate factor in view of the fact that the delineation of the Pathetic does not form the end of the describer. Or, the sense may be that-' the fire of the arrow behaved in the same manner as a guilty lover has done',-wherein the principal factor (greatness of Shiva) becomes heightened by the Pathetic as strengthened by the Erotic [so that in this sense also the Pathetic is not the end arrived at.] In support of our view, we have the following state- ment-'It is only when it has undergone a purificatory process that the subordinate factor approaches its Princi- pal, and it is only thus that it tends to help that principal.' In this connection it has to be borne in mind that there can be no 'incompatibility' between one Passion and another,-when we understand Passion to be what it has been described to be above (under Ch. IV) ; nor can there

298 KĀVYAPRAKĀŚA

प्राक्प्रतिपादितस्य रसस्य रसान्तरेण न विरोध: नाप्यङ्गा- ङ्गिभावो भवति इति रसशब्देनात्र स्थायिभाव उपलक्ष्यते ।६५।। इति काव्यप्रकाशे दोषदर्शनो नाम सप्तम उल्लास:।।७।।

be any relative subserviency between them ; hence in the present context, the term 'rasa', 'passion', should be taken as standing for the corresponding ' Sthāyī-Bhāva' 'Latent Feeling." 65. [ Thus ends the Chapter VII dealing with the illustrations of Faults of Poetry in the Kāvya-Prakāśa. ]

काव्यप्रकाश:

अथ अष्टम उल्लास:

एवं दोषानुक्त्वा गुणालंकारविवेकमाह- ये रसस्याङ्गिनो धर्माः शौर्यादय इवात्मनः । उत्कर्षहेतवस्ते स्युरचलस्थितयो गुणाः ॥६६॥ आत्मन एव हि यथा शौर्यादयो नाकारस्य तथा रसस्यैव माधुर्यादयो गुणा न वर्णानाम्। क्वचित्तु शौर्यादिसमुचितस्याकारमहत्त्वादेर्दर्शनात् 'आकार एवास्य शूर:' इत्यादेर्व्यवहारादन्यत्राशूरेपि वितताकृतित्वमात्रेण 'शूरः' इति क्वापि शूरेपि मूर्तिलाघवमात्रेण 'अशूरः' इति अवि-

CHAPTER VIII

OF EXCELLENCES

Having described the Defects, the Author next pro- ceeds to describe the difference between 'Excellences' and ' Ornaments' or 'Figures of speech '- Those properties that belong to the Passion, the principal factor,conducive to its maturity and baving an unceasing existence,-are called ' Gunas', ' Excellences', in the same manner as Bravery and such qualities belong to the Soul. 66. Just as Bravery and such qualities belong to the Soul, not to the body ,-so Sweetness and the other Excellences belong to the Passion, not to the letter. In some cases it so happens that people find bravery co-existing with the large-sized body, and come to speak of the body itself as ' brave'; and hence in another case also, on seeing a large body, they are led to believe, from II-

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श्रान्तप्रतीतयो यथा व्यवहरन्ति तद्वन्मधुरादिव्यञ्जकसुकुमारादि- वर्णानां मधुरादिव्यवहारप्रवृत्तेरमधुरादिरसाङ्गानां वर्णानां सौकुमार्यादिमात्रेण माधुर्यादि मधुरादिरसोपकरणानां तेषामसौ- कुमार्यादेरमाधुर्यादि रसपर्यन्तविश्रान्तप्रतीतिबन्ध्या व्यवहरन्ति। अत एव माधुर्यादयो रसधर्माः समुचितैर्वर्णैर्व्यज्यन्ते न तु वर्णमात्राश्रयाः । य्थेषां व्यञ्जकत्वम् तथोदाहरिष्यते ॥६६॥

the analogy of the former case, that this other man also- must be brave ;- and thus, even a really brave man comes. to be believed to be not brave on the ground of the smallness of his body ; and such beliefs are very common ;- in the same manner people (like Vämana and others) have come to speak (a) of the soft-sounding letters as 'sweet',. though in reality they are only suggestive of sweetness ;- and they come to speak of such passion and its accessories as are not really ' sweet', as ' sweet', simply by reason of the softness of the letters (expressing them) ; in the same manner, they also speak of the really ' sweet' passions. and accessories as 'not sweet', when they are expressed in such words as are not soft-sounding ;- and in all this, they do not take into account the Passion at all (attri- buting as they do, the sweetness to the letters). It is in view of all this divergent usage that it has been asserted (in the text) that sweetness and other excellences are properties really belonging to the Passion, and what. the properly selected letters do is only to render such qualities perceptible ; and those qualities do not subsist in the letters entirely. In what manner the letters serve. to manifest the qualities is going to be shown by means of examples. 66.

CHAPTER VIII 301

उपकुर्वन्ति तं सन्तं येङ्गद्वारेण जातुचित् । हारादिवदलंकारास्तेनुप्रासोपमादयः ॥६७॥ ये वाचकवाच्यलक्षणाङ्गातिशयमुखेन मुख्यं रसं संभविन- मुपकुर्वन्ति ते कण्ठाद्यङ्गानामुत्कर्षाधानद्वारेण शरीरिणोपि उपकारका हारादय इवालंकाराः । यत्र तु नास्ति रसस्तत्रोक्ति- वैचित्र्यमात्रपर्यवसायिनः । क्वचित्तु सन्तमपि नोपकुर्वन्ति । यथाक्रममुदाहरणानि -- अपसारय घनसारं कुरु हारं दूर एव किं कमलैः । अलमलमालि मृणालैरिति वदति दिवानिशं बाला ॥३४१॥

Those dualities which sometimes adorn the existing Passion, through its components, just as the necklace and the like ( do for the Soul, through the body),-are the ornaments (figures of speech), Alliteration, Simile and the rest. 67. Those qualities that adorn the principal factor,- i. e. the Passion-where it exists,-by imparting excellence to its components, in the shape of the expres- sive words and their expressed meaning, are called 'or- naments', because they resemble the necklace and other things which, by imparting beauty to the neck and other parts of the body, come to adorn the soul also. Where, however, the Passion does not exist, the said ornaments tend to become merely fanciful expressions. In certian cases, even when the Passion is present, they do not serve to adorn it. Examples in order :- (1) In the following verse [and others] the ornament (Alliteration) adorns the Passion through the expressive words- Apasāraya ghanasāram kuru hāram dūra eva kim kamalaiķ Alamalamāli mrņālairiti vadati divānisham bālā.

302 KĀVYAPRAKĀŚA

इत्यादौ वाचकमुखेन मनोरागस्तीव्रं विषमिव विसर्पत्यविरतं प्रमाथी निर्धूमं ज्वलति विधुतः पावक इव । हिनस्ति प्रत्यङ्गं ज्वर इव गरीयानित इतो न मां त्रातुं तातः प्रभवतिन चाम्बा न भवती॥३४२॥ इत्यादौ वाच्यमुखेनालंकारौ रसमुपकुरुतः॥ चित्ते चिहुट्टदि ण टुट्टदि सा गुणेसुं सेज्जासु लोट्टदि विसप्पदि दिमुंहेसुं। बोलम्मि वद्टदि पवट्टदि कव्वबन्धे झाणेण दुद्ददि चिरं तरुणी तरट्टी॥३४३॥

"Remove the camphor; throw away the garland; what is the use of lotus-flowers ? O Friend, enough, enough of these lotus-stalks !"-Thus does the young girl go on speaking day and night.' (2) In the following verse the Figure (Stringed Simile). adorns the Passion through the expressed meaning- 'The galling all-conquering love is freely circulating like poison ; it burns fiercely (smokelessly) like fire fanned by the wind; it afflicts every limb, like high fever; neither father nor mother nor your ladyship is able to save me from this. In the following verse, the ornament (Alliteration) adorns only the words (and not the Passion depicted)- ' Chitte cibuttadi na tuttadi sa gunesuii Sejjāsu lottadi visappadi dirmuhesuri Bolammi vattadi pavattadi kavvabandhe Jhhanena tuttadi chiram tarunī taratțī.' 'The young woman acts sensibly ; she is not devoid of excellences ; she rolls about on the bed, moves all round and talks freely ; she engages in poetical composition, and

CHAPTER VIII 303

इत्यादौ वाचकमेव। मित्रे क्वापि गते सरोरुहवने बद्धानने ताम्यति ऋन्दत्सु भ्रमरेषु वीक्ष्य दयितासन्नं पुरः सारसम् । चक्राह्वेन वियोगिना बिसलता नास्वादिता नोज्झिता कण्ठे केवलमर्गलेव निहिता जीवस्य निर्गच्छतः ॥३४४॥ इत्यादौ वाच्यमेव न तु रसम्। अत्र बिसलता न जीवं रोदुं क्षमेति प्रकृताननुगुणोपमा ।। एष एव च गुणालंकारप्रविभाग: । एवं च "समवायवृत्त्या. शौर्यादय: संयोगवृत्त्या तु हारादय इत्यस्तु गुणालंकाराणां भेदः ।

for long periods of time she does not break off her con- templation !' (4) In the following verse, the Figure (Simile) adorns only the expressed meaning-and not the Passion depicted. 'When the sun had gone away,, the lotus had closed its mouth in anger, and the bees had begun to cry (in grief), the forlorn Chakravaka bird, seeing the Crane seated closed to his beloved, did not either eat or give up the lotus- fibre ; it was only retained in the throat, like a bar, as it were, to the outgoing life-breath.' As a matter of fact, under the sorrowful circumstances depicted, a lotus-fibre cannot serve to keep back the breath ; so that the Simile, as it stands, only mars the effect of the Passion (Erotic-Privative) depicted (and does not help it). Such is the actual difference between 'Excellence' . and ' Ornament'. And this puts out of court all such assertions as the following (in the Bhamahavrtti, by Bhattod- bhata)-"The difference between such Excellences as Bravery and the rest, and such Ornaments, as necklace and

304 KĀVYAPRAKĀŚA

ओजःप्रभृतीनामनुप्रासोपमादीनां चोभयेषामपि समवायवृत्त्या स्थितिरिति गड्डलिकाप्रवाहेणैवैषां भेदः" इत्यभिधानमसत्॥ यदप्युक्तम् "काव्यशोभायाः कर्तारो धर्मा गुणास्तदतिशय- हेतवस्त्वलंकाराः" इति तदपि न युक्तम् । यतः कि समस्तैर्गुणैः काव्यव्यवहारः उत कतिपयैः । यदि समस्तैः तत्कथमसमस्त- गुणा गौडी पाञ्चाली च रीतिः काव्यस्यात्मा। अथ कतिपयैः ततः

the rest, may be that while the former subsists by in- herence, the latter is present only by conjunction ; [this may be true in the case of the Body and its excellences and orna- ments but (in the case of Passion and its delineation) we find that both,-excellences like Floridity and the rest, as well as ornaments, like Simile, Alliteration and the rest- subsist by inherence only ; consequently any distinction drawn between these two must be regarded as merely based upon a blind tradition-a case of sheep blindly following another." Then again, some people (Vamana and his followers), have stated the distinction in the form that " while Ex- cellences serve to produce charm in poetry, Ornaments serve to heighten the charm already produced."-This also is not right. Because the questions would arise-Is poetry to be regarded as such only through the presence of all the excellences, or through that of a few of these only ? If the former, how could the Gaudi and Panchali dictions, which are not possessed of all the excellences, constitute the 'soul of Poetry' (as has been held by Vamana) ?- If, , on the other hand, it is only the presence of a few of the Excellences that renders Poetry capable of being so re- garded,-then, it would be permissible to regard as 'poetry',

CHAPTER VIII 305

अद्रावत्र प्रज्वलत्यग्निरुच्चैः प्राज्यः प्रोद्यन्नुल्लसत्येष धूमः॥३४५॥ इत्यादावोज: प्रभृतिषु गुणेषु सत्सु काव्यव्यवहारप्राप्तिः। स्वर्गप्राप्तिरनेनैव देहेन वर्वणिनी । अस्या रदच्छदरसो न्यक्करोतितरां सुधाम् ॥३४६॥ इत्यादौ विशेषोक्तिव्यतिरेकरौ गुणनिरपेक्षौ काव्यव्यवहारस्य प्रवर्तकौ ॥६७॥ इदानीं गुणानां भेदमाह माधुयौ जःप्रसादाख्यास्त्रयस्ते न पुनर्दश। एषां क्रमेण लक्षणमाह आह्लादकत्वं माधुर्यं शृङ्गारे द्रुतिकारणम् ॥६८।।

even such statements as- ' adrāvatra prajvalatyagniruchchaib prājyab prodyannul lasatyesa dhūmaļ.' ['In this hill fire burns high, because there arises thence a dense volume of smoke '], where some of the Excellences, Floridity and the rest, are present .- Further, in such verses as the following- ' This handsome woman represents the acquisition of the Heaven in this human form, and the loveliness of her lips puts nectar itself into the shade',- we find that it is regarded as ' poetry', through the presence of the two Ornaments or Figures ' Peculiar Allegation' and 'Dissimilitude', independently of the presence of any excellences. 67.

Excellences .- The Author next proceeds to describe the varieties of

Sweetness, Floridity and Lucidity-they are these three, and not ten. He states [one by one] the definition of each of these three- 'Sweetness' is a source of delectability ; it is what leads to mollification in the case of the Erotic Passion. 68.

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शृङ्गारे अर्थात् संभोगे। द्रुतिर्गलितत्वमिव। श्रव्यत्वं पुनरोजः प्रसादयोरपि ।६८॥। करुणे विप्रलम्भे तच्छान्ते चातिशयान्वितम्। [अतिशयान्वितमिति] अत्यन्तद्रुतिहेतुत्वात्।। दीप्त्यात्मविस्तृतेहेंतुरोजो वीररसस्थिति ॥६९॥ चित्तस्य विस्ताररूपदीप्तत्वजनकमोज: ॥६९॥ बीभत्सरौद्ररसयोस्तस्याधिक्यं क्रमण च। वीराद्बीभत्से ततो रौद्रे सातिशयमोज: ॥ शुष्कन्धनाग्निवत् स्वच्छंजलवत्सहसव यः॥७०॥ व्याप्नोत्यन्यत् प्रसादोसौ सर्वत्र विहितस्थितिः । It leads to ' mollification',-i.e., soft flow or melting as it were,-in the case of the 'Erotic', i.e., of the agreeable kind. As for mere melodiousness, it belongs to Floridity and Lucidity also (and as such cannot form the differentia of sweetness, as has been held by Bhāskara). 68. In the case of the Pathetic, the Privative-Erotic and the Quietistic, it (Sweetness) is present in an excessive degree. 'Present in an excessive degree'-because it leads to excessive mollification. Floridity, the source of the lustrous expanding of the heart, resides in the Heroic Passion. 69. [ For the variant reading आत्मविस्मृतिः-Floridity the source of self- forgetfulness through illumination.] Floridity brings about that glow of the heart which appears in the form of its expansion. 69. It is present in an excessive degree in the Disgustful and Furious Passions, in order. In the Disgustful, Floridity is present, in a greater degree than in the Heroic; and in a still greater degree in the Furious.

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अन्यदिति। व्याप्यमिह चित्तम्। सर्वत्रेति। सर्वेषु रसेषु सर्वासु रचनासु च।। गुणवृत्त्या पुनस्तेषां वृत्ति: शब्दार्थयोर्मता ॥७१॥ गुणवृत्त्या उपचारेण। तेषांगुणानाम्। आकारे शौर्यस्येव।।७०-७१।। कुतस्त्रय एव न दश इत्याह केचिदन्तर्भवन्त्येषु दोषत्यागात्परे श्रिताः । अन्ये भजन्ति दोषत्वं कुत्रचिन्न ततो दश ॥ ७२॥

That which quickly pervades the other like fire among dry fuel, or like a clean stream of water, is Lucidity, whose presence is proper everywhere. 'The other'-i. e., the heart. ' Every where'-i.e., in all Passions and in all forms of composition. These (excellences) are held to subsist in words and their meanings only indirectly. 70-71. ' Indirectly'-i. e., figuratively. 'These '-Excellences. These excellences (really subsisting in Passion) are figuratively spoken of (even in Mammata's own definition of Poetry) as subsisting in words and their meanings, in the same manner as Bravery and such qualities are attributed to the body (though really belonging to the soul). 70-71. "Why should the number of these excellences be three only, and not ten (as described by Vāmana) ?" The author answers this question- (a) Some (of the ten) are included under these (three) ; (b) others are resolved into the mere negation of certain defects ; (c) the rest, in certain cases, have the character of Defects ;- for this reason they are not ten. 72.

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बहूनामपि पदानामेकपदवद्भासनात्मा यः श्लेष:यश्चारोहा- वरोहक्मरूपः समाधिः या च विकटत्वलक्षणा उदारता यश्चौजो- मिश्रितशैथिल्यात्मा प्रसादः तेषामोजस्यन्तर्भावः। पृथक्पदत्वरूपं माधुर्य भङ्गया साक्षादुपात्तम् । प्रसादेनार्थव्यक्तिगृ हीता। मार्गाभेदरूपा सभता क्वचिद्दोषः । तथाहि 'मातङ्गाः किमु वल्गितैः इत्यादौ सिंहाभिधाने मसृणमार्गत्यागो गुणः ।

मार्यम् औज्ज्वल्यरूपा कान्तिश्च स्वीकृता ॥

(Among the ten enumerated by Vāmana) are-(1) Shlesa, Coalescence, defined as that property whereby several words have the appearance of a single word,-(2) Samādhi, Smoothness, defined as consisting in the proper adjustment of ascent (high-flown language) and descent (simple langu- age),-(3) Udararta, Magnificence, consisting in the fanciful grouping of words,-(4) Prasāda, Simplicity, consisting in dullness mixed with floridity ;- and all these are included in 'Floridity' (as defined by ourselves) ;- (5) Mādhurya, Sweetness, consisting in the distinctness of words, has, in a way, been admitted by us also under the same name ;- (6) Arthavyakti, Clearness of Meaning, is included under ' Lucidity',-(7) Samata, Uniformity, consisting in the sameness of style, is, in some cases, a defect ; e. g., in such verses, ' mātangāih kimu &c.' (see above stanza No. 229.), where too, the abandoning of the softer diction, in the description of the Lion (in the fourth line), is a posi- tive excellence,-(8) Saukumārya, Softness, consisting in the absence of harshness, and (9) Kanti, Polish, consisting in the brightness of style, are admitted as the negations respectively of 'harshness' and ' vulgarity', which have been mentioned as defects.

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एवं न दश शब्दगुणा: ।। 'पदार्थे वाक्यरचनं वाक्यार्थे च पदाभिधा। प्रौढिर्व्याससमासौ च साभिप्रायत्वमस्य च ।।' इति या प्रौढिः ओज इत्युक्तं तद् वैचित्र्यमात्रम् न गुणः । तदभावेपि काव्यव्यवहारप्रवृत्तेः। अपुष्टार्थत्वाधिकपदत्वानवी- कृतत्वामङ्गलरूपाशलीलग्राम्याणां निराकरणेन च साभि- प्रायत्वरूपमोजः अर्थवमल्यात्मा प्रसादः उक्तिवैचित्र्यरूपं माधुर्यम् अपारुष्यरूपं सौकुमार्यम् अग्राम्यत्वरूपा उदारता च Thus it follows that the number of excellences pertain- ing to words is not ten. As regards those same Excellences as pertaining to the meaning, (1) the first (mentioned by Vamana) is Praudhi, Boldness, also called (the first kind of ' ojas' ' strength'), which has been defined as consisting (a) in the use of a sentence for the expressing of what can be expressed by a single word, (b) in using a single word for the expressing of what would be expressed by a sen- tence, (c) in expansion, (d) in brevity and (e) in the effective- ness of epithets. But this is merely a flourish of style, and not an 'excellence'; since expressions are regarded as 'poetical ' even in the absence of the said (five kinds of) Boldness .- (1a) the second kind of 'ojas', 'strength', which has been defined as consisting in significance (a preg- nancy of meaning), is only the negation of the defect of Irrelevancy ;- (2) ' Prasāda', consisting in clearness of meaning, is the negation of the defect of ' redundancy'; -(3) ' Mädhurya', consisting of fanciful expression, is the negation of the defect of 'monotony' ;- (4) Saukumārya, consisting of freedom from ruggedness, is the negation of the defect of 'Indecorous Inauspiciousness ' ;- (5) Udāratā, consisting in the absence of vulgarity, is the

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स्वीकृतानि। अभिधास्यमानस्वभावोक्त्यलंकारेण रसध्वनि- गुणीभूतव्यङ्गयाभ्यां च वस्तुस्वभावस्फुटत्वरूपा अर्थव्यक्तिः, दीप्तरसत्वरूपा कान्तिश्च स्वीकृता। क्रमकौटिल्यानुल्बणत्वोप- पत्तियोगरूपघटनात्मा श्लेषोपि विचित्रत्वमात्रम्। अवैषम्य- स्वरूपा सभता दोषाभावमात्रं न पुनर्गुणः। कः खल्वनुन्मत्तो- न्यस्य प्रस्तावेन्यदभिदध्यात्। अर्थस्यायोने रन्यच्छायायोनेर्वा यदि न भवति दर्शनं तत्कथं काव्यम् इत्यर्थदृष्टिरूपः समाधिरपि न गुण: ॥७२।। negation of the defect of 'vulgarity.'-(6) Arthavyakti, consisting in the distinctness of the character of things, is included under the Figure of Svabhāvokti, ' natural description,'-going to be described later on ; (7) Kānti, consisting in the brilliance of Passion, is included under the ' Suggestion of Passion', either as the predominant or the subordinated factor .- (8) Shlesa,-consisting of a combination of several circumstances, such as (a) sequence of several actions, (b) deceit (c) well-known character, and (d) statement of, reasons,-is only a flourish of the poetic fancy .- (9) Samata, consisting in the non-relinquish- ment of continuity, is only the negation of a defect (of 'Broken Uniformity '), and not a positive excellence ; what man, unless he were mad, would ever begin with one thing and then speak of a totally different thing ?- (10) Samādhi, consisting in the true appreciation of the meaning (as being original or imitated), is not an excellence ; because unless one comprehends the true meaning of a poem, and recognises whether it is an original idea of the poet concerned, or has its source in the idea of some other poet,-how can the composition be regarded as 'poetry' at all ? 72.

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तेन नार्थगुणा वाच्या: न वाच्या: न वक्तव्याः ॥ प्रोक्ता: शब्दगुणाशच ये। वर्णाः समासो रचना तेषां व्यञ्जकतामिताः ॥७३॥ के कस्य इत्याह मूध्नि वर्गान्त्यगा: स्पर्शा अटवर्गा रणौ लघू। अवृत्तिर्मध्यवृत्तिर्वा माधुर्ये घटना तथा॥७४॥ टठडढवर्जिताः कादयो मान्ताः शिरसि निजवर्गान्त्ययुक्ताः तथा रेफणकारौ ह्स्वान्तरिताविति वर्णाः समासाभावो मध्यमः

For these reasons, the excellences (held by others) as pertaining to the meaning should not be mentioned sep arately). ' Should not be mentioned'-do not deserve to be mentioned. Those excellences that have been spoken of as pertaining (indirectly) to words,(though really belonging to Passion depicted)- these are suggested by Letters, compounds and diction. 73. The text proceeds to describe what is suggestive of what excellence .- (a) The 'sparsha' [mute] consonants, with the exception of those of the ' ta'-group, combined with the last consonant of their group,-(b) the consonants 'r' and n' when short,-(c) expressions free compounds,-(d) compounds of medium length,- and (e) harmonious diction-are (suggestive) of Sweetness. 74. (a) All the consonants from k to m-except t, th, d and dh-combined with the last letter of their res- pective groups, (b) r and n combined with short vowels ; -these are the ' letters' (suggestive of Sweetness). As for ' compounds'-(e) ' expressions free from com- pounds' or (d) ' compounds of medium length ' (are suggestive of Sweetness).

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समासो वेति समासः तथा माधुर्यवती पदान्तरयोगेन रचना माधुर्यस्य व्यज्जिका ॥ उदाहरणम् अनङ्गरङ्गप्रतिमं तदङ्गं

कुर्वन्ति यूनां सहसा यथैताः स्वान्तानि शान्तापरचिन्तनानि॥३४७।।७४।।। योग आद्यतृतीयाभ्यामन्त्ययो रेण तुल्ययो: । टादि: शषौ वृत्तिदैध्यं गुम्फ उद्धत ओजसि ॥ ७५॥ वर्गप्रथमतृतीयाभ्यामन्त्ययोः द्वितीयचतुर्थयोः रेफेण अध उपरि उभयत्र वा यस्य कस्यचित् तुल्ययोः तेन तस्यैव (e) ' Harmonious diction'-i. e., such diction in which the words are so combined as to make it soft-is also suggestive of Sweetness. Example- Anangarangapratimam tadangam Bhangībhirangīkrtamānatāngyāb Kurvanti yūnām sahasā yathaitāķ Svāntāni shāntāparachintanāni.' 'The exquisite body of the slender-bodied one, re- sembling the sportive altar of the Love-god, accompanied by graceful motions makes the innermost hearts of young men think of things other than the quietistic.' 74. (A) The combination-(a) of the first and of the third consonants of a group with the consonant following them,-(b) of any consonant with r,-and (e) of any two similar consonants ;- (B) the consonants beginning with t -(C) the consonants sh and s-(D) long compounds,-and (E) the bombastic diction,-these are suggestive of Floridity. 75. (a) The combination of the first and third letters tof a group with those following them -i.e., with the second and the fourth respectively ;- (b) any consonant

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संबन्धः टवर्गोर्थात् णकारवर्जः शकारषकारौ दीर्घसमासः विकटा संघटना ओजसः । उदाहरणम्-मूर्ध्नामुद्द त्तकृत्तइत्यादि ।।३४८।।७५।। श्रुतिमात्रेण शब्दात्तु येनार्थप्रत्ययो भवेत् । साधारणः समग्राणां स प्रसादो गुणो मतः ॥७६॥ समग्राणां रसानां संघटनानां च। उदाहरणम् परिम्लानं पीनस्तनजघनसंगादुभयतस्- तनोर्मध्यस्यान्तः परिमिलनमप्राप्य हरितम् । इदं व्यस्तन्यासं श्लथभुजलताक्षेपवलनैः कृशाङ्गयाः संतापं वदति बिसिनीपत्रशयनम् ॥३४९॥७६॥

having r either above or below it ;- (c) the combination of ' similar consonants' i.e., that of a consonant with itself -(d) the entire t-group with the exception of n- (e) the consonants sh and s-(f) long compounds-and (g) bombastic dictive ;- all these are suggestive of Flori- dity. As an example we have the verse ' Mārdhnāmudvrtta drc.' (see above stanza No. 285.) Lucidity has been held to be that excellence, common to all, by virtue of which the comprehension of meaning of words follows on the mere hearing of it. 76. ' All'-i. e., all Passions and all styles or diction. Example .-

Tanor madhyasyānta parimilanamaprāpya haritam Idam vyastanyāsam shlathabhujalatāksepabalanai Krshāngyāļ santāpam vadati bisinīpatrashayanam.' ' This bedding of lotus-leaves shows the distress of the slender-bodied one,-being as it is withered at its

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यद्यपि गुणपरतन्त्राः संघटनादयस्तथापि वक्तृवाच्यप्रबन्धानामौचित्येन क्वचित्क्वचित् । रचनावृत्तिवर्णानामन्यथात्वमपीष्यते क्वचिद्वाच्यप्रबन्धानपेक्षया वक्त्रौचित्यादेव रचनादयः। यथा मन्थायस्तार्णवाम्भ:प्लुतकुहरचलन्मन्दरध्वानधीरः कोणाघातेषु गर्जत्प्रलयघनघटान्योन्यसंघट्टचण्डः । कृष्णाकोधाग्रदूतः कुरुकुलनिधनोत्पातनिर्घातवातः केनास्मत्सिंहनादप्रतिरसितसखो दुन्दुभिस्ताडितोसौ॥३५०॥

two ends where it has come into contact with the plump breasts and thighs-green in the middle where it did not come into contact with her slender waist-and ruffled by the throwing about of her unnerved arms.' 76. [Although Construction, etc. are subservient to Excellence-] The diction, the compounds and the letters are sometimes altered, in accordance with the nature of (a) the speaker, (b) the subject and (c) the form (of the composition). 77. (a) In some cases the Diction &c., are made to accord with the nature of the speaker, irrespective of the subject or of the composition ; as an example of which we have the following- Manthayastār navambhabplutakuhara-chalanmandaradhvānadhīraļ Konāghātesu garjatpralayaghanaghatā-nyonyasanghattachandaļ Krsnākrodhāgradūtaḥ kurukulanidhanotpātanirghātavātaķ Kenāsmatsimhanādapratirasitasakho dundubhistāditosau. 'By whom has this trumpet been blown,-appearing as it does like the echo of my lion-roar, the forward messenger of Draupadi's wrath, the cyclone presaging the annihilation of the Kuru-race, resembling, at each stroke of the beating-stick, the terrible clash of the thundering

CHAPTER VIII 315

अत्र हि न वाच्यं क्रोधादिव्यञ्जकम्। अभिनेयार्थ च च काव्यमिति तत्प्रतिकूला उद्धता रचनादयः । वक्ता चात्र भीमसेनः ॥ क्वचिद्वक्तृप्रबन्धानपेक्षया वाच्यौचित्यादेव रचनादयः ॥ यथा प्रौढच्छेदानुरूपोच्छलनरयभवत्सैंहिकेयोपघात- त्रासाकृष्टाश्वतिर्यग्वलितरविरथेनारुणेनेक्ष्यमाणम् । कुर्वत् काकुत्स्थवीर्यस्तुतिमिव मरुतां कन्धरारन्ध्भाजां भांकारैर्भीममेतन्निपतति वियतः कुम्भकर्णोत्तमाङ्गम् ॥३५१॥ clouds at the time of universal dissolution, being as deep as the rumbling of the Mandara mountain tossed about and having its caves overflowing with the water of the sea thrown about, as it were, by the churning rod.' Here the subject described ,is not one suggestive of anger, or any such violent emotion ; the form of the work also is one to be staged; so that the bombastic diction is not compatible with either of these two conditions ; and yet, since the speaker is Bhimasena (well-known as a 'Furious' character) [the bombastic diction is quite suitable.] In other cases the diction and other things are altered in accordance with the character of the subject portrayed, irrespective of the speaker or the form. For instance, in the following :- ' Praudhachchhedanurupochchhalanarayabhavatsaimhikeyopaghāta- Trāsākrstāshvatiryagral:taravirathenāruneneksyamānam Kurvat kākutsthavīryastutimiva marutām kandbarārandhrabbājārir Bhankārairbhīmametannipatati viyatab kumbhakarņottamāngam' 'Here falls from the sky the head of Kumbhakarņa, terrible on account of the curious humming of winds contained in the holes in his shoulders, and hence appearing II-2

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क्वचिद्वक्तृवाच्यानपेक्षाः प्रबन्धोचिता एव ते ॥ तथाहि- आख्यायिकायां शृङ्गारेपि न मसृणवर्णादयः। कथायां रौद्रेपि नात्यन्तमुद्धताः। नाटकादौ रौद्रेपि न दीर्घसमासादयः ॥ एवमन्यदप्यौचित्यमनुसर्तव्यम् ।७७।। इति काव्यप्रकाशे गुणालंकारभेदनियतगुणनिर्णयो नाम अष्टम उल्लास: ॥ ८ ॥

as it were, singing the praises of Rama,-and being looked at by Aruna (the Sun's charioteer) wheeling about the sun's chariot and pulling up the horses on one side, fearing it to be Rähu, on account of the force with which it has shot forth under the impact of the powerful stroke (of the sword).' In other cases, the Diction &c. are altered in accordance with the nature of the form, irrespective of the speaker and the subject .- For instance in an Akhyāyika soft letters are not admissible even in the delineation of the Erotic Passion ;- in a Katha, even in the delineation of the 'Furious', bombastic words are not used ;- and in dramas and works of that kind, long compounds are not used even in the depicting of the 'Furious'. Similarly in other cases, the proprieties are to vary with the circumstances. 77. [ Thus ends Chapter VIII dealing with the determination of Excellences as different from Ornaments (Figures of Speech).]

अथ नवम उल्लास:

गुणविवेचने कृतेलंकाराः प्राप्तावसराः इति संप्रति शब्दा- लकारानाह- यदुक्तमन्यथा वाक्यमन्यथान्यन योज्यते। श्लेषण काक्वा वा ज्ञेया सा वक्रोक्तिस्तथा द्विधा॥ ७८॥ तथेति श्लेषवक्रोक्तिः काकुवक्रोक्तिश्च। तत्र पदभङ्गश्लेषेण यथा नारीणामनुकूलमाचरसि चेज्जानासि कश्चेतनो वामानां प्रियमादधाति हितकृन्नैवाबलानां भवान् । युक्तं किं हितकर्तनं ननु बलाभावप्रसिद्धात्मनः सामर्थ्यं भवतः पुरन्दरमतच्छेदं विधातुं कुतः ॥३५२॥

CHAPTER IX THE VERBAL FIGURES OF SPEECH. The Excellences having been examined, the author now describes the Verbal Figures of Speech. (1)-When what is said by one person in one sense is construed by another person in a different sense-either through punning or through intonation,-it is Equivoque (Vakrokti) : and thus it is of two kinds. 78. 'Thus'-i.e., (1) Equivoque based on Punning and (2) Equivoque based upon Intonation. The following is an example of Equiyoque based upon pun due to the breaking up of words :- ' Nārīņāmanukūlamācharasi chejjānāsi kashchetano Vāmānām priyamādadhāti hitakrnnaivābalānām bhavān Yuktam kim hitakartanam nanu balābhāvaprasiddhātmanaķ,- Samarthyam bhavatab purandaramatachchhedam vidhatum kutah.'

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अभङ्गश्लेषण यथा अहो केनेदृशी बुद्धिर्दाुणा तव निर्मिता। त्रिगुणा श्रूयते बुद्धिर्न तु दारुमयी क्वचित् ॥३५३॥

"If you behave satisfactorily towards women, then you are wise" .- "What intelligent person does what is agreeable to his enemies ?" [This reply being based upon the pun involved in breaking up the term 'nārīnām', spoken by the first speaker in the sense of ' towards women', into two terms ' na-arīnām', 'not to enemies ']-"Then you are not a benefactor of the weaker sex." [This rejoinder takes the term ' vāmānam', used by the second speaker in the sense ' of enemies', in the sense ' of the weaker sex'.]- "Would it be proper to destroy the good of a person known to be weak ?" [This answer is based upon the term ' hitakrt', used by the former speaker in the sense of hitam karoti 'benefactor, one who does good', being taken in the sense of hitam ' krntati',' one who destroys the good ']. -"Whence can there be any power in you to bring about the destruction of what is desired by Indra ?" [This reply is based on the expression ' balabhavaprasiddhatmanab', used by the former speaker in the sense of 'one known to be weak', being taken by the latter in the sense of 'one who is known by his killing of the demon Bala, i.e., Indra'.] The following is an example of Equivoque based upon Paronomasia, not involving the breaking up of words. ' Aho kenedrshi buddhirdaruna tava nirmitā Triguņā shrūyate buddhirna tu dārumayī kvachit'. "Oh! By whom has this Intelligence of yours been made so cruel ?"-"Intelligence is known to consist of the three attributes, and never of wood". [The reply

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काक्वा यथा गुरुजनपरतन्त्रतया दूरतरं देशमुद्यतो गन्तुम् । अलिकुलकोकिलललिते नैष्यति सखि सुरभिसमयेसौ ॥३५४॥७८॥ वर्णसाम्यमनुप्रासः॥ स्वरवैसादृश्येपि व्यञ्जनसदृशत्वं वर्णसाम्यम्। रसाद्यनुगतः प्रकृष्टो न्यासोनुप्रासः ॥

is based upon the word ' daruna', used by the first speaker in the sense of 'cruel', being taken by the other in the sense of 'of wood'.] The following is an example of Equivoque based on Intonation. 'Gurujanaparatantratayā dūrataram deshamudyato gantum Alikulakokilalalite naisyati sakhi surabhisamayesau'. 'Being obedient to his elders, he is prepared to go to a far remote country ; and O friend ! will he not come during the fragrant season (of spring), which is beautified by the presence of swarms of black bees and cuckoos ?' [ To this the friend is supposed to reply ' will he not come ?' this reply in this sense being obtained by giving to the word ' naisyati', ' will not come', the intonation of a ques- tion ; so that the word used by the first speaker in the former sense is taken by the second in the latter sense, which carries the further meaning 'he is sure to come.'] Alliteration (Anuprasa) consists in the similarity of letters. The ' similarity of letters' meant here is the sameness of the consonants, even though the vowels may be different. The figure is called ' Anuprāsa', because it consists in such 'prāsa'-prakrsta nyāsa, i.e., excellent allocation (of letters)-as is 'anu'-anugata, favourable, to the delineation of Passion and other things.

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छेकवृत्तिगतो द्विधा।। छेका: विदग्धाः । वृत्तिर्नियतवर्णगतो रसविषयो व्यापारः। गत इति छेकानुप्रासो वृत्त्यनुप्रासश्च ।। किं तयो: स्वरूपम् इत्याह- सोनेकस्य सकृत्पूर्वः।। अनेकस्य अर्थात् व्यञ्जनस्य सकृदेकवारं सादृश्यं छेकानुप्रासः। उदाहरणम् ततोरुणपरिस्पन्दमन्दीकृतवपुः शशी। दध्रे कामपरिक्षामकामिनीगण्डपाण्डुताम् ।।३५५।।

It is of two kinds,-as pertaining to (a) chheka (experts) and (b) vrtti (diction). 'Chheka'-Experts ; 'vrtti'-that function of letters which affects the delineation of Passion ;- 'pertaining to' these,-i.e., the two kinds of Alliteration are (a) ' chhekānu- prāsa' and (b) Vrttyanuprāsa.' [These are merely fanciful names, as is clear from the definitions that follow, according to which the two kinds may be called (a) 'Isolated' and (b) 'Complex' Alliteration.] The author states the characteristics of these two kinds of Alliteration .- The former is the single repetition of several. When there is a single repetition of 'several'-consona- nts, it is ' Chhekanuprasa', 'Isolated Alliteration.' Example- ' Tato' runaparispandamandīkrtavapuh sbashī Dadhre kāmapariksāmakāminīgandapāndutām'. 'The Moon, having his body eclipsed by the advent of the Sun, bore the paleness of the cheek of a woman emaciated by the pangs of love.' [Here we have 'single repetition of the consonants (a) 'n-d' and

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एकस्याप्यसकृत्परः ॥७९॥। एकस्य अपिशब्दादनेकस्य व्यञ्जनस्य द्विर्बहुकृत्वो वा सादृश्यं वृत्त्यनुप्रास: ।७९॥ तत्र माधुर्यव्यञ्जकैर्वर्णैरुपनागरिकोच्यते। ओज:प्रकाशकस्तैस्तु परुषा। उभयत्रापि प्रागुदाहृतम्। कोमला परैः ॥ ८० ॥ परैःशेषैः। तामेव केचित् ग्राम्येति वदन्ति। उदाहरणम् अपसारय घनसारं कुरु हारं दूर एव किं कमलैः। अलमलमालि मृणालैरिति वदति दिवानिशं बाला ॥३५६॥८०॥ The latter consists in several repetitions of one also. 79. When there are ' several'-two or more-' repetitions' of 'one'-consonant-'also'-i.e., or of several consonants,- we have the 'Trttyanuprasa', the 'Alliteration of Diction'. 79. As regards ' Vrtti', 'Diction' :- (a) That (Diction) which is characterised by consonants suggestive of sweetness is called ' Upanagarika' ' Polished'; and (b) that which is characterised by consonants suggestive of floridity is called ' Paruşā', ' Harsh'. Examples of both these have been cited above (in Ch. VIII, under ' Sweetness' and 'Floridity'). (c) That characterised by others is called ' komala', ' soft'. 80. ' Others'-Consonants other than the two kinds mention- ed above. This last diction some people also call ' gramya', 'Vulgar.' Example- ' Apasāraya ghanasāram kuru hāram dūrameva kim kamalaiķ Alamalamāli mrņālairitì vadati divānisham bālā. For translatlon (see above stanza No. 341.) 80.

322 KĀVYAPRAKĀŚA

केषांचिदेता वैदर्भीप्रमुखा रीतयो मताः ॥ एतास्तिस्रो वृत्तयः वामनादीनां मते वैदर्भीगौडीपाञ्चाल्याख्या रीतयो मता: ॥ शाब्दस्तु लाटानुप्रासो भेदे तात्पर्यमात्रतः ॥ ८१।। शब्दगतोनुप्रासः शब्दार्थयोरभेदेप्यन्वयमात्रभेदात् लाट- जनवल्लभत्वाच्च लाटानुप्रासः। एष पदानुप्रास इत्यन्ये ।।८१।। पदानां सः । स इति लाटानुप्रासः । उदाहरणम् By some people these styles of diction have been called the ' Vaidarbhi' and the rest. According to others-i.e., Vämana and his followers,- the three styles of diction just described have been called, respectively, (a) ' Vaidarbhī', (b) 'Gaudī' and ' Pānchalī.' The Latanuprasa is verbal ; the difference lying only in the import. 81. When there is Alliteration (repetition) of words (not mainly of single consonants as in the other two kinds of Alliteration),-and though the form and the meaning of the words thus repeated are the same, yet there is difference in the syntactical relation of the words,- it is 'Lātānuprāsa, so called because of its being popular among the inhabitants of the Lata country. Others have called this the 'Alliteration of Words." ['Words' are here divided into the (A) verbal forms complete with the terminations ; and (B) simple basic substantives. In the Alliteration of (A), there may be repetition either (a) of several words, or (b) of a single word; and in that of (B), the repetition may be cither (a) in the same compound or (b) in different compounds. Each of these is next dealt with.] 81. (Aa) This pertains to several words. 'This'-i.e. The Lātānuprāsa.

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यस्य न सविधे दयिता दवदहनस्तुहिनदीधितिस्तस्य । यस्य च सविधे दयिता दवदहनस्तुहिनदीधितिस्तस्य ।।३५७।। पदस्यापि। अपिशब्देन स इति समुच्चीयते। उदाहरणम् वदनं वरवणिन्यास्तस्याः सत्यं सुधाकरः । सुधाकर: क्व नु पुनः कलङ्कविकलो भवेत् ॥३५८॥ वृत्तावन्यत्र तत्र वा। नाम्न: स वृत्त्यवृत्त्योश्च।

Example- ' Yasya na savidhe dayitā davadahanastuhinadīdhitistasya Yasya cha savidhe dayitā davadahanastuhinadīdhitistasya.' ' To one who has not his beloved near him, even the cool-rayed Moon is like the forest-conflagration ; while to one who has his beloved near him, even the forest-con- flagration is like the cool-rayed Moon.' [Here we have the repetition of several words (a) 'yasya-savidhe dayita' and (a) 'davadahanab-tuhinadīdhitih-tasya'.] (A) It pertains to a single word also. The particle ' api', 'also', indicates that the pronoun ' sab' of the preceding text is to be construed here also. Example .- ' Vadanam varavarņinyāştasyāh satyam sudhākarab Sudhākaraķ kva nu punah kalamkavikalo bhavet.' 'The face of the fair-complexioned one is really the Moon ;- where else could the Moon be free from stains ?' [Here we have the repetition of the single word 'sudhakarah'.] (B) It is (repetition) of the same substantive base, either (a) in the same compound, or (b) in different compounds, or (c) once in a compound and once in a non-compound.

324. KĀVYAPRAKĀŚA

एकस्मिन् समासे भिन्ने वा समासे समासासमासयोर्वा नाम्नः प्रातिपदिकस्य न तु पदस्य सारूप्यम्। उदाहरणम् सितकरकररुचिरविभा विभाकराकार धरणिधर कीतिः। पौरुषकमला कमला सापि तवैवास्ति नान्यस्य ॥३५९॥ तदेवं पञ्चधा मतः॥८२॥ अर्थे सत्यर्थभिन्नानां वर्णानां सा पुनः श्रुतिः । यमकम् । समरसमरसोयमित्यादावेकेषामर्थवत्त्वे अन्येषामनर्थकत्वे भिन्नार्थानामिति न युज्यते वक्तुम् इति अर्थे सतीत्युक्तम्। सेति सरोरस इत्यादिवैलक्षण्येन तेनैव क्रमेण स्थिता। The repetition of the substantive base,-not of the word (with terminations),-either (a) in one and the same compound, or (b) in different compounds, or (c) occurring once in a compound and for the second time in a non- compound. Example- (a) Sitakarakararuchiravibhā vibhākarākāra (b) dharanidhara kīrtib (c) Pauruşakamalā kamalā sāpi tavaivāsti nānyasya'. (See above stanza No. 314). [Here in (a) we have the repetition of the substantive 'kara' in the same compound; in (b) we have the substantive 'vibha' occurring in two distinct compounds and in (c) the substantive 'kamala' occurs first in a compound and then by itself, not in a compound.] Thus is Alliteration of five kinds :[82]: (3) The repetition of letters in the same order, with a different meaning, when there is meaning,-constitute ' Yamaka', ' Chime'. 'If there is meaning'; this has been added in anticipation of the objection that-"in such expressions as 'samarasamarasoyam' (' one whose passion for war is

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पादतद्भागवृत्ति तद्यात्यनेकताम् ॥८३॥ प्रथमो द्वितीयादौ द्वितीयस्तृतीयादौ तृतीयश्चतुर्थे प्रथम- स्त्रिष्वपीति सप्त। प्रथमो द्वितीये तृतीयश्चतुर्थे प्रथमश्चतुर्थे द्वितीयस्तृतीये, इति द्वे। तदेवं पादजं नवभेदम्। अर्धावृत्ति: श्लोकावृत्तिश्चेति द्वे।

uniform'), the letters ' sa-ma-ra', when occurring first, have the sense of 'war', but when repeated, the same letters have no sense, (as they form part of the compound * samarasah') ; so that it is not right to say that Chime consists in the repetition of letters with a different meaning." 'Sa', 'in the same order',-this is meant to exclude such repetition, as in ' sarorasa' (where the consonants are not repeated in the same order). As occurring in the several feet of a verse or in several parts thereof,-it becomes manifold. 83. (1) The first foot repeated in the second foot, (2) the first foot repeated in the third foot, (3) the first foot repeated in the fourth foot ;- (4) the second foot repeated in the third foot, (5) the second foot repeated in the fourth foot ;- (6) the third foot repeated in the fourth, -and (7) the first foot repeated in all the other three feet .- These make seven varieties .- Then there are two varie- ties-vix :- (8) the repetition of the first foot in the second foot, and that of the third in the fourth foot-and (9) the repetition of the first foot in the fourth and that of the second in the third .- Thus there are nine varieties of Chime as occurring in the several feet of a verse .- In addition to these there are two varieties-viz.,-(10) the repetition of one half of the verse and (11) the repetition of the entire verse.

326 KĀVYAPRAKĀŚA

द्विधा विभक्ते पादे प्रथमादिपादादिभाग: पूर्ववत् द्विती- यादिपादादिभागेषु अन्तभागोनन्तभागेष्विति विशतिर्भेदाः श्लोकान्तरे हि नासौ भागावृत्तिः । त्रिखण्डे त्रिंशत् चतुःखण्डे चत्वारिंशत्। प्रथमपादादिगतान्त्यार्धादिभागो द्वितीयपादादिगते आद्यार्धादिभागे यम्यते इत्याद्यन्वर्थतानुसरणेनानेकभेदम्। अन्ता- दिकम्। आद्यन्तिकम्। तत्समुच्चयः । मध्यादिकम्। आदिमध्यम्।

Then again, each foot of the verse being divided into two parts, there may be repetition of the first part of the first foot in the first part of the second foot and so forth,- and repetition of the second half of the first foot in the second half of the second foot and so forth ;- such partial repetition as occurring in different verses are not counted as such ;- so that in this way there are twenty varieties. If each foot is divided into three parts, similar repe- titions give rise to thirty varieties ; and when each foot is divided into four parts, there would be forty varieties. The latter end of the second half of the first foot chim- ing with the former half of the second foot, and so forth, would give rise to several varieties. For instance, (1) The latter half of the first chiming with the former half of the second foot,-(2) the former half of the first chim- ing with the latter half of the second foot, and (3) the combination of these two ;- (4) (each of the feet being divided into three or more parts) the middle part of the first chiming with the first part of the second foot,-(5) the first part of the first foot chiming with the middle part of the second foot, (6) the third part of the first chiming with the middle part of the second foot,-(7) the middle part of the first chiming with the last part of the second

CHAPTER IX 327

अन्तमध्यम्। मध्यान्तिकम्। तेषां समुच्चयः। तथा तस्मिन्नेव पादे आद्यादिभागानां मध्यादिभागे अनियते च स्थाने आवृत्ति- रिति प्रभूततमभेदम् । तदेतत्काव्यान्तर्गड्भूतम् इति नास्य भेदलक्षणं कृतम्। दिङमात्रमुदाह्ियते। सन्नारीभरणोमायमाराध्य विधुशेखरम् । सन्नारीभरणोमायस्ततस्त्वं पृथिवीं जय ।।३६०॥। विनायमेनो नयतासुखादिना विना यमेनोनयता सुखादिना। महाजनोदीयत मानसादरं महाजनोदी यतमानसादरम् ॥३६१॥

foot,-(8) the combination of the last three .- Similarly there can be repetition of the first and other parts in the middle, and other parts of the same foot,-or again, the repetition may be without any fixed order, any part of one foot being repeated in any part of another ; and so forth,"there would be many varieties. All this however is a mere excrescence in the body of poetry ; and hence any detailed definition of these varieties has not been attempted; examples also we are citing of only a few kinds .- (1) Sannārībharanomāyastatastvam prthivīm jaya.' 'Having worshipped the Moon-crested God, who has obtained the jewel of pure women, may you win the earth,-you, who are free from deceit and in whose battle your enemy's elephants have perished.' (2) ' Vināyameno nayatāsukhādinā Vinā yamenonayatā sukhādinā Mahājanodīyata mānasādarari Mahājanodī yatamānasādaram.

328 KĀVYAPRAKĀŚA

स त्वारम्भरतोवश्यमबलं विततारवम् । सर्वदा रणमानैषीदवानलसमस्थितः ॥३६२॥ सत्त्वारम्भरतोवश्यमवलम्बिततारवम्। सर्वदारणमानैषी दवानलसमस्थितः ॥३६३॥ अनन्तमहिमव्याप्तविश्वां वेधा न वेद याम् । या च मातेव भजते प्रणते मानवे दयाम् ॥३६४॥ यदानतो यदा नतो नयात्ययं न यात्ययम् । शिवेहितां शिवे हितां स्मरामितां स्मरामि ताम् ॥३६५॥ 'The soul-bird, great and destructive of the annoyers of the good, was estranged from the mind by the Death- god, who carries away people without fault, devours life and strips off all pleasure.' (3) ' Satvārambharatovashyam- abalam vitatāravam Sarvādāraņamānaisī- davānalasamasthitaķ. Scttrarambherotovaslem- avalambitatāravam Sarvadāraņa mānaisī davānālasamasthitab.' 'The king, quick in action, devoted to Visnu, always acting rightly, anxious to reach the heart of the people, and resembling the Submarine Fire,-always brought his enemies to battle, who were weak and noisy, who had not been subdued and hence resembled trees still standing upright.' (4) vedhā na veda yām Yā cha māteva bhajate pranate mānave dayām (5) ' Yadānatoyadānato nayātyayam na yātyayam Shivebitām shive hitām smarāmitam smarami tam' (4) 'I meditate upon Pärvatī,-whose immanent

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सरस्वति प्रसादं मे स्थिति चित्तसरस्वति । सर स्वति कुरु क्षेत्रकुरुक्षेत्रसरस्वति ॥३६६॥ ससार साकं दर्पेण कन्दर्पेण ससारसा। शरन्नवाना बिभ्रनाणा नाबिभ्राणा शरन्नवा।३६७।। मधुपराजिपराजितमानिनीजनमनःसुमनःसुरभि श्रियम् । अभृत वारितवारिजविप्लवं स्फुटितताम्रतताम्रवणं जगत्॥३६८॥।

majesty even Brahma cannot fathom, and who, like a mother, bestows her grace upon devoted man.' (5) 'I meditate upon Her who was sought after by Shiva,-by bowing to whom man, being auspiciously favoured by Her who is ever favourable to us, never goes beyond the bounds of propriety.' (6) ' Sarasvati prasādam me sthitim chittasarasvati Sara svati kuru kşetrakurukşetrasarasvati.' 'O Sarasvati, who art in the body, like the river Sarasvatī in Kuruksetra ! Be propitiated and make the ocean of my heart thy splendid abode. (7) 'Sasāra sākamı darpeņa kandarpeņa sasārasā Sharannavānā bibhrāņā nāvibhrāņā sharannavā 'The excellent autumn, accompanied by the lotus and fresh-looking carts, conducive to the ripening of the long grass, not devoid of the song of birds, slunk away along with the arrogant Love-god.' (8) ' Madhuparājiparājitamāninī- janamanabsumanab surabhi shriyam Abhrta vāritavārijaviplavam Sphutitatāmratatāmravaņam jagat.' 'The world acquired resplendence,-bearing the sweet fragrance of the flower-like hearts of love-quarrelled women subjugated by the appearance of lines of black

330 KĀVYAPRAKĀŚA

एवं वैचित्र्यसहस्त्रैः स्थितमन्यदुन्नियम् ।।८३। वाच्यभेदेन भिन्ना यद् युगपद्भाषणस्पृशः । श्लिष्यन्ति शब्दाः श्लेषोसावक्षरादिभिरष्टधा॥८४॥ 'अर्थभेदेन शब्दभेद': इति दर्शने 'काव्यमार्गे स्वरो न गण्यते' इति च नये वाच्यभेदेन भिन्ना अपि शब्दा यत् युग- पद्ुच्चारणेन श्लिष्यन्ति भिन्नं स्वरूपमपह्नुवते स श्लेषः । स च वर्णपदलिङ्गभाषाप्रकृतिप्रत्ययविभक्तिवचनानां भेदादष्टधा।

bees, discontinuing the destruction of the lotus and ad- orned with blossoming, tawny and wide-expanding mango- groves.' In the above manner, we may deduce the examples of endless varieties of Chime. 83. (IV) When words that are different by reason of the difference in their denotations coalesce (become identified) through the sameness of their pronunciation, it is a case of Coalescence or Pun ; and through Letter and other factors, it is of eight kinds. 84. There is the theory that words having different meanings must be regarded as different,-and also that in poetry, accents do not count ; and in accordance with the former theory, even though two words may be the same in their verbal form, yet they are regarded as different and in accordance with the latter, when these words (though differently accented, by reason of their meanings) come to be pronounced in exactly the same manner, they are regarded as 'coalescing', i.e., as having their differences undiscernible ;- and when this happens, it is a case of Coalescence, Pun. This Pun is of eight kinds, as based upon the eight different factors of (1) letters, (2) words, (3) gender, (4)

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तमेणोदाहरणम्- अलंकार: शङ्काकरनरकपालं परिजनो विशीर्णाङ्गो भृङ्गी वस च वृष एको बहुवयाः । अवस्थेयं स्थाणोरपि भवति सर्वामरगुरोर्- विधौ वक्रे मूध्नि स्थितवति वयं के पुनरमी ॥३६९॥ पृथुकार्तस्वरपात्रं भूषितनिःशेषपरिजनं देव । विलसत्करेणुगहनं संप्रति सममावयोः सदनम् ॥३७०॥ भक्तिप्रह्वविलोकनप्रणयिनी नीलोत्पलस्पर्धिनी ध्यानालम्बनतां समाधिनिरतैर्नीतेहितप्राप्तये ।

dialect, (5) crude forms, (6) affixes, (7) terminations (declensional and conjugational) and (8) number. The following are the examples in this same order :- (1) ' Alankāraķ shankākaranarakapālam parījano Vishīrņāngo bhrngī vasu cha vrsa eko bahuvayāb Avastheyam sthānorapi bhavati sarvāmaraguror Vidhau vakre mīrdhni sthitavati vayamı ke punaramī. 'For his ornament the fearful human skull; for his attendant Bhrngi of the broken limbs ; for his property, a single aged bull ;- when such is the condition of even Shiva, the revered of all the gods, when the curved m00n (untoward Fate) stands on his head, who are we (that we should not suffer from untoward Fate) ?' (2) ' Prthukārtasvarapātram bhūşitanihshesaparijanam deva Vilasatkarenugahanam samprati samamāvayoh sadanam (See above stanza No. 306.) (3) and (8) ' Bhaktiprahvavilokanapraņayinī nīlotpalaspardhinī Dhyānālambanatām samādhiniralairnītchitaprāptoye TT_3

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लावण्यस्य महानिधी रसिकतां लक्ष्मीदृशोस्तन्वती युष्माकं कुरुतां भवार्तिशमनं नेत्रे तनुर्वा हरे:॥३७१॥

एष वचनश्लेषोपि। महदेसुरसंधम्मे तमवसमासंगमागमाहरणे। हरबहुसरणं तं चित्तमोहमवसरउमे सहसा ॥३७२॥

Lāvanyasya mahānidhī rasikatām laksmīdr shostanvatī Yuşmākam kurutāmiı bhavārtishamanam netre tanurvā hareķ. 'May (a) the eyes or (b) the body of Visnu set at rest. your worldly troubles !- (a) the eyes looking tenderly upon devotees, and (a) the body looked upon by persons in humble devotion,-(a) the eyes and (b) the body both vying with the lotus, mediated upon by yogins for the attainment of their highest ends,-the ocean of beauty, and producing charming sensations in the eyes of Laksmī.' (2) Here again we have also the coalescence of the two numbers [Dual and Singular, the form of the various epithets being the same in both numbers ; the Neuter- Dual forms being the same the Feminine-Singular]. (4) ' Mahadesurasamdhamme tamavasamāsamgamāgamāharaņe Harabahusaraņam tam chittamoham- avasaraume sahasā.'. [This couplet, when taken as Sanskrit, means-'O Umā, who ordains happiness,- please safeguard my devo- tion to Vedic studies, which lead to union with the gods, and in proper time destroy the ever-growing delusion of my mind

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अयं सर्वाणि शास्त्राणि हृदि ज्ञेषु च वक्ष्यति । सामर्थ्यकृदमित्राणां मित्राणां च नृपात्मजः ॥३७३॥ रजनिरमणमौले: पादपझ्मावलोक- क्षणसमयपराप्तापूर्वसंपत्सहस्त्रम्। प्रमथनिवहमध्ये जातुचित्त्वत्प्रसादाद् अह्मुचितरुचिः स्यान्नन्दिता सा तथा मे ॥३७४॥

And when taken as Prakrit, its meaning is as follows- 'O Consott of Shiva ! produce in me a regard for virtue, and destroy my desire for birth and re-birth, which has i s source in Tamas !- Thou art my sole refuge ; so please remove the delusion of my mind.'- Thus in this case we have the coalescence of the two dialects.] (5) ' Ayam sarvāņi shāstrāņi brdi jñeşu cha vaksyati Sāmarthyakrdamitrānām mitrānām cha nrpatmajab'. ['The son of the king shall (a) bear in his heart, and (b) discuss with the learned, all the sciences, and he shall be the (a) strength-c'r.r to his friends and (b) the strength- destroyer of his foes.] (6) ' Rajaniramaņamauleḥ pādapadmāvaloka- Kşanasamayaparāptāpūrvasam patsabasram Pramathanivahamadbye jātuchittvatprasādād Ahamuchitaruchih syānnanditā sā tatha me.' 'Having obtained a thousandfold splendour on the occasion of looking at the lotus-feet of the Moon-crested God, and having acquired the right devotion through your grace,-may I among Shiva's hosts, (a) become the joy-giver and (b) attain the position of Nandi, their leader !'

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सर्वस्वं हर सर्वस्य त्वं भवच्छेदतत्परः । नयोपकारसांमुख्यमायासि तनुवर्तनम् ॥३७५॥८४॥ भेदाभावात्प्रकृत्यादर्भेदोपि नवमो भवेत्। नवमोपीत्यपिभिन्नकमः । उदाहरणम्- योसकृत्परगोत्राणां पक्षच्छेदक्षणक्षमः । शतकोटिदतां बिभ्रद्विबुधेन्द्रः स राजते ॥३७६॥

(7) Sarvasvam hara sarvasya Tvar bhavachchhedatatparab Nayopakārasāmmukhyam Āyāsi tanuvartanam. [This may be construed either (a) as addressed by a devotee to Shiva, or (b) as addressed by a thief to his son :- (a) 'O Shiva ! you are the all in all of the entire universe,-addicted to the destruction of the world; as such you have a body wherefrom emanates all that is conducive to good and virtue' ;- (b) 'O Son, take away all the property of all men ; employ yourself in cutting the walls ; do away with the idea of returning good for good ; and extend your livelihood at the cost of others.'- [Here we have the coalescence (a) of the declensional termination, the vocative, and the conjugational termination, imperative, in the word 'hara' ;- (b) of the conjugational termination, imperative and the declensional termination, the genitive, understood in the word 'bhava'; also we have (c) the coalescence in the word 'ayasi', of the possessive ending 'nini' and the conjugational termination, the present.] 84. There is also the ninth kind (of Pun), where there is no difference in the crude form or other factors. The particle ' api', 'also', is to be construed with 'navamab', 'ninth'.

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अत्र प्रकरणादिनियमाभावात् द्वावप्यर्थौ वाच्यौ।। ननु स्वरितादिगुणभेदाद् भिन्नप्रयत्नोच्चार्याणां तदभा- वादभिन्नप्रयत्नोच्चार्याणां च शब्दानां बन्धेलंकारान्तरप्रति- भोत्पत्तिहेतुः शब्दश्लेषोर्थश्लेषश्चेति द्विविधोप्यर्थालंकारमध्ये परिगणितोन्यैरिति कथमयं शब्दालंकारः।

Example- ' Yosakrtparagotrāņām pakşachchhedaksanaksamaķ Shatakoțidatām bibhrad vibhudhendrab sa rājate.' There being no defining factor in the shape of con- text and the rest, this couplet is equally capable of affording .both. the meanings-(a) 'The king of the learned is resplendent, being capable of repeatedly destroying in a moment the prosperity of his enemy's people, and bearing the mark of having given away hundreds of millions' ;- (b) 'The king of the gods, Indra, is resplendent,-capable of cutting off in a moment, the wings of the great moun- tains, and bearing the character of striking with the thun- derbolt.' [Here we have a coalescence, where there is no difference in the two cases, in any one of the eight factors mentioned above .- This kind has been called the 'Abhanga-shlesa' 'Unbroken Pun', on the ground that it does not necessitate the breaking up of the words into its various factors ;- the necessity of which breaking up leads to the above-mentioned eight kinds of Pun being called 'Sabhanga-shlesa', 'Broken Pun.' ] . An objection is raised in this connection :- " A com- position consists (a) of words that are pronouncible by diverse 'efforts' on account of the divergence in their accents, 'samahara' and other qualifications,-and also (b) of words that are pronouncible by similar ' efforts', by reason of there being no difference in the said qualifi-

336 KĀVYAPRAKĀŚA

उच्यते-इह दोषगुणालंकाराणां शब्दार्थगतत्वेन यो विभाग: सः अन्वयव्यतिरेकाभ्यामेव व्यवतिष्ठते। तथाहि- कष्टत्वादिगाढत्वाद्यनुप्रासादय: व्यर्थत्वादिप्रौढयाद्युपमा- दयस्तद्भावतदभावानुविधायित्वादेव शब्दार्थगतत्वेन व्यवस्था- प्यन्ते।

cations ; in such a composition, 'coalescence' serves the purpose of intimating the Simile and such other figures of speech ; the ' Coalescence' or 'Pun' is of two kinds, 'verbal' (based upon the forms of words); and 'ideal' (based upon the meanings of words) ; and since both these kinds of Pun have been included by others among 'Ideal Figures of Speech', why should it be treated as a verbal figure of speech (as it is done in the present context) ?" The answer to the above is as follows :- In the present connection, when we divide defects or excellences or figures of speech into 'verbal' and 'ideal'. such a division is based upon a consideration of concomi- tances, positive and negative. [That is to say, when a certain defect pertains to and is concomi- tant with only the verbal form of words and takes no account of the meaning, it is classed as 'verbal'; while it if is found to be concom- tant with and pertaining to the meaning of words and is not affected by the verbal forms, then it is classed as 'ideal']. For instance, Harshness (defect), Floridity (excellence), Alliteration (figure of speech) and the rest are classed as ' verbal', because they are dependent entirely upon the presence or absence of the verbal forms of words ; and 'Irrelevancy' (defect), Boldness (excellence) and Simile (figure of speech) and the rest are classed as 'ideal', be- cause they are dependent entirely upon the presence or

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स्वयं च पल्लवाताम्रभास्वत्करविराजिता । इत्यभङ्ग: प्रभातसंध्येवास्वापफललुब्धेहितप्रदा ॥ ३७७॥ इति सभङ्ग: इति द्वावपि शब्दकसमाश्रयाविति द्वयोरपि शब्दश्लेषत्वमुप- पन्नं न त्वाद्स्यार्थश्लेषत्वम्। अर्थश्लेषस्य तु स विषयः यत्र शब्दपरिवर्तनेपि न श्लेषत्वखण्डना। यथा absence of the meanings of words. For example, in the - following two passages- (a) 'Svayam cha pallavātāmrabhāsvatkaravirājitā, (b) prabhātasandhyevāsvāpaphalalubdhehitapradā.' [Gaurī-(1) adorned by hands red as the fresh leaf, and (2) fulfilling the desires of persons seeking for results hard to attain,-resembles the morn, which is (1) adorned by the shining sun red like the fresh leaf and fulfills the desires of persons intent upon performing the rites of the early dawn,' [-we have, in the first an ins- tance of ' broken pun'. [Since it involves the breaking up of the expression ' bhāsvatkaravirājitā' into ' bhāsvat- kara-virājita' in one case, and into bhasvatka-ravi- rājitā' in the other], and in the second an instance of the 'unbroken pun ' [since the pun rests in the word ' asvapa', which retains the same form in both cases and has not got to be broken up]. [The commentators have made a hopeless muddle of this passage, being landed into it by the wrong reading whereby the first passage is spoken of as 'abhanga' and the second as 'sabhanga'; while, as a matter of fact, the case is just the reverse. The commentators say that 'asvāpa involves a 'broken pun'; but in both cases the word retaining the same form,-where is the breaking ?] Since both these puns are based upon the verbal forms of the words, it is only right that they should be regarded as ' verbal'. It is not possible for even the first half to be regarded as 'ideal', because that Pun alone can be regarded

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स्तोकेनोन्नतिमायाति स्तोकेनायात्यधोगतिम् । अहो सुसदृशी वृत्तिस्तुलाकोटे: खलस्य च ।३७८॥ न चायमुपमाप्रतिभोत्पत्तिहेतुः श्लेषः अपि तु श्लेषप्रति- भोत्पत्तिहेतुरुपमा। तथाहि-यथा 'कमलमिव मुखं मनोज्ञमेतत्कचतितराम्' इत्यादौ गुणसाम्ये क्रियासाम्ये उभयसाम्ये वा उपमा। तथा 'सकलकलं पुरमेत- ज्जातं संप्रति सुधांशुबिम्बमिव' इत्यादौ शब्दमात्रसाम्येपि सा युक्तैव। तथा ह्युक्तं रुद्रटेन as 'ideal', where the pun remains unaffected even when the words are changed ; as is the case in the verse- ' Stokenonnatimāyāti stokenāyātyadhogatim aho susadrshī vriļistulākoļe! khalasya cha'] [ Rising with little and falling with little,-the character of the wicked is exactly like that of the balance-beam ']- [where the Pun remains unaffected even when other synonyms are substituted for the words 'stokena', 'unnatim' and 'adhogatim'.] Nor would it be right to regard the instance cited above ( svayañcha pallavā c.', stanza No. 377.) as only serving the purpose of indicating the Semblance of a Simile [as has been held by the objector], for in reality it is the Simile (the similitude between ' Gauri's hands' and ' Morn ') that serves the purpose of indicating the Semblance of the Pun. [It will not be right to urge that " the similitude between 'Gauri's hands' and the 'Morn' resting merely on the fact of the verbal form of certain epithets being applicable to both, it can not be a case of Simile" ; because] even such instances as Sakalakalam purametajjātam samprati sudhāmshubimbamiva' [This city has become sakalakala, · full of humming voices, and hence resembles the disc of the Moon which is sakalakala, complete with all its

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"स्फुटमर्थालंकारावेतावुपमासमुच्चयौ किं तु। आश्रित्य शब्दमात्रं सामान्यमिहापि संभवतः ॥" इति। न च 'कमलमिव मुखम्' इत्यादिः साधारणधर्मप्रयोगश्न्य उपमाविषय इति वक्तुं युक्तं पूर्णोपमाया निर्विषयत्वापत्तेः॥ देव त्वमेव पातालमाशानां त्वं निबन्धनम् । त्वं चामरमरुद्भूमिरेको लोकत्रयात्मकः ॥३७९॥

digits '] [where the similitude lies in the verbal form of the epithet ' sakalakalam' being applicable to both the city and the Moon],-it is just as right to regard it as a case of Simile, as in the case of such passages as ' kamalamiva mukham manojñametat kachatitaram'] 'This face, blooms beautifully like the lotus '] where there is similitude of quality (beauty) or of action (blooming) or of both .- It has been well said by Rudrata-' Simile and Conjunction are clearly ideal figures ; but in the case in question (of the passage sakalakalam etc.') also they are possible, on the basis of the similitude in verbal expression only.' Some people have held the following view :- " It is only those passages that do not contain any terms ex- pressive of a common property-e.g., 'the face is like the lotus'-that can be regarded as instances of Simile [ and those that contain such terms fall under 'Pun'; so that the passage 'this face blooms beautifully like the lotus' should be regarded as a case of Pun pure and simple". But this cannot be right ; for if it were so, then there would be no instances of the complete Simile (where the expression of the common property is essential). As regards Pun however, we have instances of it, which are entirely free from all tinge of Simile and the other figures of speech ; e.g., in the following :-

340 KĀVYAPRAKĀŚA

इत्यादिः श्लेषस्य चोपमाद्यलंकारविविक्तोस्ति विषय इति। द्वयोर्योंगे संकर एव। उपपत्तिपर्यालोचने तु उपमाया एवायं युक्तो विषयः । अन्यथा विषयापहार एव पूर्णोपमायाः स्यात्। न च 'अबिन्दुसुन्दरी नित्यं गलल्लावण्यबिन्दुका' इत्यादौ विरोधप्रतिभोत्पत्तिहेतुः श्लेषः अपि तु श्लेषप्रतिभोत्पत्ति-

Deva tvameva pātālamāshānām tvam nibandhanam Tvam chāmaramarudbhūmireko lokatrayātmakaļ [Which, (a) as addressed to Visnu, means-' O Vișņu, you are the nether region, the bounds of space, and the land of the immortals ;- thus centralising in yourself all the three regions' :- and (b) as addressed to the king- ' O king, you alone are the thorough protector, the ful- filment of all desires ; you are also the recipient of the wind flowing from the royal chowries ; thus though one, you are threefold'.] ;- If, however, we admit the presence of both the figures here, it will have to be regarded as a case of ' combina- tion' of figures. In reality however, on a full review of all the circumstances, the passage in question (' the face is blooming like the lotus') must be taken as an ins- tance of Simile ; for if it were not so, there could be no instance of the 'Complete Simile' at all. [As in the case of Simile, so in the case of Contradic- tion also] some people have held that in certain cases Pun is indicative of the 'semblance of Contradiction' also, e.g., in the passage ' Abindusundarī nityam galalla- vanyabindukā.' (She is dripping with loveliness, and is (a) beautiful as the Moon reflected in water (b) beautiful without drops) the Pun contained in the word ' abindusun- darī' serves to indicate the ' semblance of contradiction' (as between 'without drops' and ' dripping'.)

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हेतुर्विरोधः । न ह्यत्रार्थद्वयप्रतिपादकः शब्दश्लेषः द्विती- यार्थस्य प्रतिभातमात्रस्य प्ररोहाभावात्। न च विरोधाभास इव विरोध: श्लेषाभास: श्लेषः। तदेवमादिषु वाक्येषु श्लेषप्रति- भोत्पत्तिहेतुरलंकारान्तरमेव। तथा च सर्द्वंशमुक्तामणिः ॥३८०॥ नाल्पः कविरिव स्वल्पश्लोको देव महान् भवान्॥३८१॥ अनुरागवती संध्या दिवसस्तत्पुरःसरः। अहो दैवगतिश्चित्रा तथापि न समागमः ॥३८२॥ This, however, is not right ; as here also the case is just the reverse : it is the Contradiction that serves to indicate the 'semblance of Pun'. And the reason for this lies in the fact that there is in reality no such verbal Pun as has a clear double meaning (which is the necessary element in all Puns), for the second meaning (' beautiful without drops ') is merely hinted at and is not sufficiently complete or explicit (the epithet ' beautiful without drops' not being expressive enough to have any force). Nor is the mere Semblance of Pun a Figure of speech, in the same manner as the Semblance of Contradiction (Apparent Con- tradiction) is. All this leads to the conclusion that in cases like those cited, it is the other figures of speech that are predominant and serve to indicate the mere semblance of Pun. For instance, in the following four passages- (a) 'Sadvarıshamuktamanib'-'The pearl-gem in the noble family ['growing a nice bamboo '],-(b) ' Nālpab kaviriva svalpashloko deva mahān bhavān,'-' O king, you are great, and are not of little fame, like an inferior poet, whose poems are insignificant ;'- (c) ' Anurāgavatī sandhyā divasastatpurassaraķ aho daivagatishchitrā tathāpi na samāgamaļ ;-

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आदाय चापमचलं कृत्वाहीनं गुणं विषमदृष्टिः । यश्चित्रमच्युतशरो लक्ष्यमभाङक्षीन्नमस्तस्मै ।।३८३।।

त्वमुचितं न तु श्लेषत्वम् । शब्दश्लेष इति चोच्यते अर्थालंकारमध्ये च लक्ष्यते इति कोयं नयः । किं च वैचित्र्यमलंकार इति य एव कविप्रतिभासं-

'The evening (girl) is red in the atmosphere (full of love), and the Day ( her lover ) goes before it (is present before her), and yet such is the curious way of Destiny that the two never meet ;'- (d) ' Adāya chāpamachalam krtvāhīnam guņam vişamadrstih, yashchitramachyutasharo laksyamabhānksīnnamastasmai'. 'Having taken up the bow immovable (in the shape of the Himalaya mountain), putting to it a string worn out (in the shape of the lord of serpents), and having an arrow which never moved (in the shape of Visnu), the Being with deranged vision ( the Three-eyed God, Shiva), shattered his target in a strange manner ;- salutation to Him !' ;- the Figure that is predominant is, not ' Pun', but respectively, (a) Partial Metaphor, (b) Dissimilitude based upon Pun, (c) Modal Metaphor and (d) Contradiction. Then again, the objector calls the Figure in question ' Verbal Pun', and yet he includes it among ' Ideal Figures;' -what sort of principle is this ? Further, a Figure of Speech is only a form of imagery or fancy,-and this imagery can belong to only that (word or idea) which forms the final goal of the poet's imagi- nation ; and it is only this (Word or Idea) that forms the substratum of the Figure of Speech. [So that it carinot be right to say that all Pun is Ideal, as the objector has

CHAPTER IX 343

रम्भगोचरस्तत्रव विचित्रता इति सैवालंकारभूमिः। अर्थ- मुखप्रेक्षित्वमेतेषां शब्दानामिति चेत् अनुप्रासादीनामपि तथैवेति तप्यर्थालंकाराः किं नोच्यन्ते। रसादिव्यञ्जकस्वरूपवाच्य- विशेषसव्यपेक्षत्वेपि ह्यनुप्रासादीनामलंकारता। शब्दगुण- दोषाणामप्यर्थापेक्षयैव गुणदोषता। अर्थगुणदोषालंकाराणां शब्दापेक्षयैव व्यवस्थितिरिति तेपि शब्दगतत्वेनोच्यन्ताम् । 'विधौ वक्र मूध्नि' इत्यादौ च वर्णादिश्लेषे एकप्रयत्नोच्चार्य- त्वेर्थश्लेषत्वं शब्दभेदेपि प्रसज्यतामित्येवमादि स्वयं विचार्यम्।।

held] .- It might be argued that-"The words (in which the Pun rests) always look up to (depend upon ) their meanings [so that in the long run, they must be regarded as ideal]."-But the same thing happens in the case of Alliteration and other Figures (which even the objector regards as verbal) ; so that why are not, these also called ' verbal' ? As a matter of fact, even though Alliteration and the other verbal figures are dependent upon the mean- ings of words, and also upon all those factors that serve to suggest a Passion or Sentiment and the rest,-yet they are regarded as 'Figures of Speech'; [and according to the objector, these should have to be regarded as Ideal] .- Further, the Excellences and Defects of words also are to be regarded only as bearing upon their meanings [so that according to the objector these should all be regarded as ideal, bearing upon the meaning only]. Further, even those Excellences, Defects and Figures that are regarded (by both parties) as belonging to the meaning or Idea are*dependent upon the verbal form of the words ; so that, on the same principle, these latter should be held to belong to the verbal forms only .- Lastly in such passages as ' vidhau vakre murdhni r c.' (See above stanza No. 369),

344 KĀVYAPRAKĀŚA

तच्चित्रं यत्र वर्णानां खड्गाद्याकृतिहेतुता। ८५। संनिवेशविशेषेण यत्र न्यस्ता वर्णाः खड्गमुरजपझ्माद्याकार- मुल्लासयन्ति तच्चित्रं काव्यम्। कष्टं काव्यमेतदिति दिङमात्रं प्रदश्यंते। उदाहरणम्- मारारिशक्ररामेभमुखैरासाररंहसा। सारारब्धस्तवा नित्यं तदार्तिहरणक्षमा ॥३८४॥ माता नतानां संघद्टःश्रियां बाधितसंभ्रनमा । मान्याथ सीमा रामाणां शं मे दिश्यादुमादिमा ॥३८५॥ (खङ्गबन्धः)

where the Pun rests in single letters, though the two words are entirely distinct (e.g., 'vidhi' and 'vidhu'), yet on the mere ground of the word (' vidhau in both cases) being such as. is pronouncible by the same ' effort', it may be possible to speak of these as instances of ' Ideal' Pun. All these points have to be left to your intelligent consideration. V. Where the letters assume the form of such objects as the sword and the like, it is the Figure Pictorial. 85. In cases where the letters arranged in particular ways appear in the form of (a) the sword, (b) or the drum, (c) or the lotus and so forth, we have Pictorial Poetry (i.e. Poetry with the Pictorial Figures). As this sort of poetry is extremely difficult, we are citing only a few examples-(a) The Sword ' Mārārishakrārāmebhamukhairāsāraramhasā Sārārabdhastavā nityantadārtiharanakşama' 'May the primeval Uma,-eloquently eulogised by Shiva, Indra and Rama,-always removing their troubles, the centre of majesty, free from all anxiety, esteemed by the best of women,-ordain our prosperity.'

CHAPTER IX 345

सरला बहुलारम्भतरलालिबलारवा। वारलाबहुलामन्दकरलाबहुलामला ॥३८६॥

भासते प्रतिभासार रसाभाताहताविभा । (मुरजबन्धः)

भावितात्मा शुभा वादे देवाभा बत ते सभा ॥३८७॥ (पद्मबन्धः) रसासार रसा सारसायताक्षक्षतायसा। सातावात तवातासा रक्षतस्त्वस्त्वतक्षर॥३८८।। (सर्वतोभद्रम्) [The words of this verse lend themselves to being arranged in the form of the Sword; for which see Appendix-I.] [ The second stanza has not been translated with original translatien. It may be rendered us :- Mother of the humble, assemblage of prosperities, who has removed the fear, the Venerable, the model of women, the first of all beings, may such Umā make (me) happy.] (b) The Drum Saralā bāhulārambhataralālibalāravā Vāralābahulāmandakaralābahulāmalā' ' Clean, resounding with the humming of the active black bees, abounding in swans, with the royal officers fully alive to their duties, bright even during the darker fortnight-[may the Autumn ever prosper !]' [This verse lends itself to being arranged in the form of the Drum, for which see Appendix-I.] (c) The Lotus ' Bhāsate pratibhāsārarasābbātāhatāvibbā Bhāvitātmā shubhā vāde devābhā bata te sabhā' 'O essence of genius ! your court shines resplendent with sentiments, undeterred, with undimmed lustre, in which the true nature of the soul has been rccognized, ever expert in debåtes and equal to the gods.'

346 KĀVYAPRAKĀŚA

संभविनोप्यन्ये प्रभेदाः शक्तिमात्रप्रकाशका न तु काव्य- रूपतां दधतीति न प्रदर्श्यन्ते ।।८५।। पुनरुक्तवदाभासो विभिन्नाकारशब्दगा। एकार्थतव।। भिन्नरूपसार्थकानर्थकशब्दनिष्ठमेकार्थत्वेन मुखे भासनं पुनरुक्त- वदाभासः । सच शब्दस्य ।।

[This verse can be arranged in the form of the Lotus ; for which see Appendix-I.] (d) The All-round Square ' Rasāsararasāsārasāyatāksakşatāyasā Sātāvāta tavātāsā raksatastvastvatamkșara'. 'O essence of the Earth ! whose eyes are as large as. the lotus, who has destroyed all illusion, and who is vastly generous ! when you protect her, may the Earth, destroy the wicked and remain free from harm !' [This verse can be arranged in the form of the Square ; for which see Appendix-I.] There are several possible varieties of this form of poetry; but they only serve to display the (perverted) ingenuity of the poet, and do not attain to the dignity of real Poetry ; it is for this reason that we are not describing them here in detail. 85. VI .- When it appears as if one and the same meaning is expressed by words in diverse forms,-it is Semblance of Repetition. When, on the face of it, (there is by chance) an appearance of one and the same meaning, in words of diverse forms,-with or without meaning,-it is ' Semblance of Repetition '. This -- (a) Subsists in a word ;-

CHAPTER IX 347

सभङ्गाभङ्गरूपक वलशब्दनिष्ठः । उदाहरणम्- अरिवधदेहशरीरः सहसा रथिसूततुरगपादातः । भाति सदानत्यागः स्थिरतायामवनितलतिलकः ॥३८९॥ चकासत्यङ्गनारामाः कौतुकानन्दहेतवः । तस्य राज्ञः सुमनसो विबुधाः पार्श्ववर्तिनः ॥३९०॥ तथा शब्दार्थयोरयम् । ८६॥

That is, it subsists merely in a word, either (1) broken or (2) unbroken. Example (a) Semblance of Repetition in ' broken words '- ' Arivadhadehasharīraļ sahasā rathisūtaturagapādātaķ Bhāti sadānalyāga sthiratāyāmavanit alatilakaķ. 'The King, the ornament of the Earth, is glorious, through his meekness, being the leader of archers longing for the destruction of enemies, whose infantry and cavalry are kept compact by charioteers, and who is quite a moun- tain in his firmness.' [Here we have ' Semblance of Repetition' in -1) ' deha-sharīra', (2) ' sarathi-suta' and (3) ' dana-tyaga', and each of these cases involves the breaking of the words (1) ' vadhadeha', (2) ' sahasa' and (3). "'sada ' respectively.] (b) Example of 'Semblance of Repetition' in ' un- broken words '- ' Chakāsatyanganārāmāḥ kautukānandahetavaļ Tasya rājñah sumanaso vibudhah parshvavartinab'. ' Resplendent are the king's attendants,-who are happy at home, who are the source of pleasure to him through their arts, well-disposed and learned.' [Here we have the ' Semblance of Repetition ' the words-(1) ' anganā-rāmā ', (2) ' kautuka-ānanda', and (3) ' sumanaso-vibudhāķ', in neither of which there is a breaking up of any word.] II-4

348 KĀVYAPRAKĀŚA

उदाहरणम्- तनुवपुरजघन्योसौ करिकुञ्जररुधिररक्तखरनखरः। तेजोधाम महःपृथुमनसामिन्द्रो हरिर्जिष्णुः ॥३९१। अत्रैकस्मिन् पदे परिवर्तिते नालंकार इति शब्दाश्रयः अपरस्मिस्तु परिवर्तितेपि स न हीयते इत्यर्थनिष्ठ इत्युभया- लंकारोयम् ।।८६।। इति काव्यप्रकाशे शब्दालंकारनिर्णयो नाम नवम उल्लास:॥

And also in both Word and Meaning. 86. Example- ' TowetarejgLeryoca karikunjararudhiraraktakharanakharab Tejodhāma mahabprthumanasāmindro barirjisnuķ'. 'This lion, though slim, is yet mighty,-having his sharp nails reddened with the blood of mighty elephants, the receptacle of glory, the leader of the glorious and the brave, and ever victorious. ' [Here we have the ' Semblance of Repetition' in-(1) 'tanu-vapuh', (2) 'kari-kuñjara', (3) 'rudhira-rakta', (4) 'tejo-dhama-mahab' and (5) 'indro-harir-jisnub']; and among these some of the words-' tanu', ' kuňjara', 'rakta', ' dhāma', 'hari' and 'jisnu'-are such as cannot be altered without spoiling the effect of the Figure of Speech ; and to this extent the Figure subsists in words, and is ' verbal' ;- while others-' vapuh', ' kari', ' rudhira' and ' indra'-are such as can be replaced by their synonyms without spoiling the effect, and to this extent, the Figure subsists in the meaning, and is 'ideal'. And thus the Figure belongs to both, Word and Meaning. 86. Thus ends chapter IX of the Kavya Prakāsha, dealing with the Verbal Figures of Speech.

अथ दशम उल्लास:

अथोलकारानाह- साधर्म्यमुपमा भेदे॥ उपमानोपमेययोरेव न तु कार्यकारणादिकयोः साधर्भ्य भवतीति तयोरेव समानेन धर्मेण संबन्ध उपमा। भेदग्रहणमनन्वयव्यवच्छेदाय।। पूर्णा लुप्ता च ।। उपमानोपमेयसाधारणधर्मोपमाप्रतिपादकानामुपादाने पूर्णा। एकस्य द्वयोस्त्रयाणां वा लोपे लुप्ता।।

CHAPTER X THE IDEAL FIGURES OF SPEECH.

The author now describes the Ideal Figures of Speech- I. Upamā-Simile. I. When there is similarity of properties, while there is difference (between the objects themselves), it is Simile. What the text is referring to is the similarity of the properties belonging to the two objects of comparison (the object compared and the object compared to),-and not those belonging to the cause and the effect, and such other correlatives ; so that it is a case of Simile when the said objects of comparison are related to some common property. 'While there is difference' ;- this has been added with a view to distinguish the Figure, Ananvaya, ' Comparison Absolute'. [Simile is of two kinds]-(a) Complete and (b) Elliptical.

350 KĀVYAPRAKĀŚA

साग्रिमा। श्रौत्यार्थी च भवेद्ाक्ये समासे तद्धिते तथा॥८७॥ अग्रिमा पूर्णा। यथेवादिशब्दा यत्परास्तस्यैवोपमानताप्रतीतिरिति यद्यप्युप- मानविशेषणान्येते तथापि शब्दशक्तिमहिम्ना श्रुत्यैव षष्ठीवत् संबन्धं प्रतिपादयन्तीति तत्सद्भावे श्रौती उपमा। तथैव "तत्र तस्येव" इत्यनेनेवार्थे विहितस्य वतेरुपादाने॥

It is a case of Complete Simile when all the factors are mentioned-(1) the object compared, (2) the object compared to, (3) the common property, and (4) terms signifying similitude ; and it is one of Elliptical Simile, when either one or two or three of these factors are omitted. The former of these is (a) directly expressed and (b) implied; and it appears (1) in sentence, (2) in a compound and (3) in a nominal affix. 87. 'Former', i.e., the Complete Simile Such words as 'yatha', 'iva' and the like (meaning 'like', 'as', 'just as' and so forth.) As a matter of fact, that object is recognised as the ' object compared to', in connection with which such terms (expressive of similitude) as 'yatha', 'iva' and so forth are used ; and in this sense these terms serve to qualify the " object compared to'; but the force of these words such that, like the genitive case-ending, they directly express relationship ; so that in a passage where these terms are present, it is a case of Directly Expressed Simile .- So also in cases where the affix 'vati' is used in the sense of ' iva', and other terms expressive of simi- litude in accordance with Pānini 5.1.116 (which prescribes the use of ' vati' in the sense of similarity.)

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'तेन तुल्यं मुखम्' इत्यादावुपमेये एव 'तत्तुल्यमस्य' इत्यादौ चोपमाने एव 'इदं च तच्च तुल्यम्' इत्युभयत्रापि तुल्यादिशब्दानां विश्रान्तिरिति साम्यपर्यालोचनया तुल्यताप्रतीतिरिति साधर्म्य- स्यार्थत्वात्तुल्यादिशब्दोपादाने आर्थी तद्वत् 'तेन तुल्यं क्रिया चेद्वतिः' इत्यनेन विहितस्य वतेः स्थितौ। "इवेन नित्यसमासो विभक्त्यलोपः पूर्वपदप्रकृतिस्वरत्वं च"'इति नित्यसभासे इवशब्दयोगे समासगा। क्रमेणोदाहरणम्-

On the other hand, it is a case of Implied Simile, where the similitude is implied by the presence of such terms as ' tulya', 'equal' and the like ; this equality as expressed by the term ' equal' and the like being comprehended by the due recognition of similarity (a) in the ' object com- pared',-where the expression used is in the form ' the face is equal to that (i. e. the lotus),' (b) in the 'object compared to', where the expression used is in the form " that (lotus) is equal to this- (face),' and (c) in both, where the expression is in the form' this (face) and that (lotus) are equal.' So it is also in cases where the affix ' vati' is used in accordance with Panini 5.1.115 ( which prescribes the use of the affix in the sense of similarity of action.) We have the directly expressed Simile occurring in a compound, in cases where the compound is formed with the term 'iva', in accordance with the Varttika under Pānini 2.1.4 and 2.4.71-'There is nitya compounding with the term iva; where the case-termination of the pre- ceding member is not dropped and where the preceding member takes the accent of its crude form.' Examples are cited in order. (1) [The Directly Expressed Simile, in a Sentence]-

352 KĀVYAPRAKĀŚA

स्वप्नेपि समरेषु त्वां विजयश्रीर्न मुञ्चति । प्रभावप्रभवं कान्तं स्वाधीनपतिका यथा ॥३९२॥ चकितहरिणलोललोचनाया: ऋुधि तरुणारुणतारहारिकान्ति। सरसिजमिदमाननं च तस्याः सममिति चेतसि संमदं विधत्ते॥३९३।। अत्यायतैनियमकारिभिरुद्धतानां दिव्यैः प्रभाभिरनपायमयैरुपायैः। शौरिर्भुजैरिव चतुर्भिरदः सदा यो लक्ष्मीविलासभवनैर्भुवनं बभार ।३९४॥

Svapnepi samaresu tvām Vijayashrīrna muňchati Prabhāvaprabhavam kāntam Svādhīnapatikā yathā. ' Victory in battle leaves you not, even in a dream, just as a woman to whom her husband is devoted leaves him not, who bestows deep affection upon her.' (2) [The Implied Simile, in a Sentence]- ' Chakitahariņalolalochanāyāb Krudhi taruņāruņatārabārikānti Sarasijamidamānanamcha tasyāh Samamiti chetasi sammadam vidhatte. ' He goes into raptures when he finds that her face and the lotus are equal,-she with eyes like those of the - frightened fawn, and face flushed with indignation and shining like a brilliant red necklace ! (3) [The Directly Expressed Simile in a Compound]- ' Atyāyatairniyamakāribhiruddhatānānı Divyaiķ prabhābhiranapāyamayairupāyaiķ Shaurirbhujairiva chaturbhiradab sadā yo Lakşmīvilāsabhavanairbhuvanam babhāra.

CHAPTER X 353

अवितथमनोरथपथप्रथनेषु प्रगुणगरिमगीतश्रीः । सुरतरुसदृशःस भवानभिलषणीयः क्षितीश्वरोन कस्य॥३९५॥ गाम्भीर्यगरिमा तस्य सत्यं गङ्गाभुजङ्गवत्। दुरालोकः स समरे निदाघाम्बररत्नवत् ॥३९६॥

'The king who held this world in sway through the four expedients, just as Visnu does by his four arms,- the expedients and the arms both being ' atyayata' (the expedients efficient, and the arms long), subjugators of the wicked, glorious, resplendent and infallible, the abode of the sportings of the Goddess of Wealth.' [Here the simile lies in ' bhujairiva', which is a ' nitya' compound does not drop the case-termination of the first term.] (4) [ The Implied Simile, in a Compound ]-' ' Avitathamanorathapathaprathanesu praguņa garimagītashrīķ Suratarusadrshab sa bhavān abhilasanīyab kşitīshvaro na kasya' ' O King, who is there by whom you are not sought after ?- You who, having your great excellence sung as lying in the opening of the way for desires that never remain unfulfilled, are similar to the Celestial Tree.' (5) and (6) [The Directly Expressed and the Implied Simile, in nominal Affixes]- ' Gāmbhīryagarimā tasya satyamgangābhujagavat Durālokab sa samare nidāghāmbararatnavat' 'The profundity of his depth is like that of the Ganga's Lover (Ocean) ; and in battle he is hard to look at, like the summer Sun.' [In the first sentence, the similitude is expressed directly by the affix ' vati' in 'bhujangavat', which is used in the sense of 'iva', like ;- the term 'bhujangavat' being equivalent to 'vhrjangasa iva' ;- and in

354 KĀVYAPRAKĀŚA

स्वाधीनपतिका कान्तं भजमाना यथां लोकोत्तरचमत्कारभू: तथा जयश्रीस्त्वदासेवनेनेत्यादिना प्रतीयमानेन विना यद्यपि नोक्तेवैचित्र्यम्। वैचित्र्यं चालंकारः। तथापि न ध्वनिगुणी- भूतव्यङ्गयव्यवहारः। न खलु व्यङ्गयसंस्पर्शपरामर्शादत्र चारुताप्रतीतिः । अपि तु वाच्य वैचित्यप्रतिभासादेव॥ रसा-

the second half it is implied only indirectly, by the same affix in 'ratnavat', which is equivalent to 'ratnena tulyam', so that the affix ' vati' in this case can only signify similarity of action; and through this is implied the. similitude between the entities acting.] [An objection is raised-"Fanciful Poetry has been defined in Ch. I as that which, " endowed with Excellences. and Figures of Speech, is devoid of suggestion ;" and Figurative Poetry is Fanciful Poetry ; so that in poetry where there is a Figure of Speech, there should be no suggestion at all ; as a matter of fact, however, such is not found to be the case ; for instance.] Even in the first example cited, until we recognise the suggested meaning, that ' the constant attendance of Victory upon the King' is as supremely charming as the attachment of the wife to. the devoted husband' ;- there is no fancy, in the verse ; and a Figure of Speech is nothing more than a 'fancy' [so that every one of these examples should be regarded. as instances, not of ' Fanciful Poetry, but of either Sugges- tive Poetry or Poetry of Subordinate Suggestion].' The answer to this is that, though this is so, yet the examples are regarded as either 'Suggestive Poetry' or 'Poetry of Subordinate Suggestion', because in these cases the recognition of elegance follows, not from the perception of the tinge of Suggestion that may be present,> but purely from the perception of the fanciful character of the expressed meaning itself.

CHAPTER X 355

दिस्तु व्यङ्गयोर्थोलंकारान्तरं च सर्वत्राव्यभिचारीत्यगणयित्वैव तदलंकारा उदाहृताः । तद्रहितत्वेन तु उदाह्नियमाणा विर- सतामावहन्तीति पूर्वापरविरुद्धाभिधानमिति न चोदनीयम् ।।८७।। तद्वद् धर्मस्य लोपे स्यान्न श्रौती तद्धिते पुनः । धर्मः साधारणः । तद्धिते कल्पबादौ त्वार्थ्येव ॥ तेन पञ्च ॥

Then, as regards the presence of suggestion of Charm and other factors or of Figures of Speech other than the one, a particular verse is quoted to exemplify,-this will always be found in all cases. Hence when examples of particular Figures are cited, all these (concomitant issues) are entirely ignored. In fact, if we were to cite examples entirely devoid of any suggestion (of charm and other factors), they would be extremely distasteful. For these reasons, it would not be right to urge that in citing the above examples there is an inconsistency with what has been said before (regarding Figurative or Fanci- ful Poetry being devoid of suggestion). [The 19 kinds of the Elliptical Simile are next described.] 87. The property being omitted, this (form of Elliptical Simile) would be like the foregoing (Complete Simile) ; but in that case the Directly Expressed Simile would not occur in a word built with a nominal formative affix. ' Property'-i. e., the common property. ' In a nominal formative affix',-i. e., in such affixes as ' kalpa', ' va' and so forth ; in connection with which we could have the Implied Simile only. It is thus of five kinds. (1) Example [of the Elliptical Simile, omitting the common property, and directly expressed, in a sentence]

356 KĀVYAPRAKĀŚA

उदाहरणम् -- धन्यस्यानन्यसामान्यसौजन्योत्कर्षशालिन: करणीयं वचश्चेतः सत्यं तस्यामृतं यथा ॥३९७॥ आकृष्टकरवालोसौ संपराये परिभ्रमन् । प्रत्याथसेनया दृष्टः कृतान्तन समः प्रभुः ॥३९८॥ करवाल इवाचारस्तस्य वागमृतोपमा। विषकल्पं मनो वेत्सि यदि जीवसि तत्सखे ॥३९९॥

Dhanyasyānanyasāmānyasaujanyotkar șashālinaķ Karanīyam vachashchetah satyam tasyāmrtam yathā 'He being generous and possessed of uncommon gentlemanly qualities, his words, true and like nectar as they are, should be acted up to.' [Here the common property, sweetness, of nectar and words, has. been omitted]. (2) [Example of the Elliptical Simile omitting the common property, implied.] ' Akrstakarabālosau samparāye paribhraman Pratyarthisenaya drstah krtantena samab prabhub' 'Roaming in battle with the drawn sword, he was looked upon by the enemies, as equal to the Death-god.' [Here the common property, cruelty, has been omitted; and as it is the sameness of action that is meant, the Similitude is 'implied.'] (3)-(4)-(5) [Example of the Elliptical Simile, omitting the common property, (a) directly expressed, in a com- pound, (b) implied, in a compound and (c) implied, in a nominal affix.] Karavāla ivāchārastasya vāgamrtopamā Vişakalpam mano vetsi yadi jīvasi tat sakhe' ' You will live if you know. that (a) his behaviour is like that of the sword, (b) his speech is almost like nectar, and (c) his mind is like poison.'

CHAPTER X 357

उपमानानुपादाने वाक्यगाथ समासगा ॥ ८८॥ सअलकरणपरवीसामसिरिविअरणं ण सरसकव्वस्स । दीसइ अह वा णिसम्मइ सरिसं अंसंसमेत्तेण॥४००॥ कव्वस्सेत्यत्र कव्वसममिति सरिसमित्यत्र च गूणमिति पाठे एषैव समासगा ।।८८।। - वादेलोपे समासे सा कर्माधारक्यच क्याड। कर्मकर्त्रोर्णमुलि॥

[(a) ' Karabāla-iva, is a ' nitya ' compound, where the case-termina- tion of the first member is not elided, and the common property of murderousness is omitted ;- (b) ' amrtopama' omits the common property of sweetness, and the similitude is implied, the term ' upama' directly expressing merely resemblance in general ;- (c) ' visakalpam' ends in the nominal affix ' kalpa,' which denotes approximate resemblance in general, and hence the Simile is an implied one, and the common property of harmfulness has been omitted.] (6) (7) On the omission of the ' object compared to', the Simile occurs in a sentence and in a compound. (6) [Example of Elliptical Simile, omitting the object compared to, occurring in a sentence]- ' Saalakaranaparavīsāmasiriviaraņam na sarasakavvassa Dīsaï aha vā nisammai sarisam amsamsametteņa' ' For affording pleasure to the highest senses, nothing is either known or seen to be equal to charming poetry, even in its smallest part.' [The object to which Poetry is compared is not mentioned, and the similitude is implied by the sentence.] (7) In this same verse if we read ' kavvasamam' for 'kavvassa,' and ' nunam' for ' sarisam', we have an example of the same kind of Simile occurring in a compound. 88. On the omission of ' va' and such other terms (expressing similitude), it occurs (8) in a compound, (9) in the affix

358 KĀVYAPRAKĀŚA

वाशब्दः उपमाद्योतक इति। वादेरुपमाप्रतिपादकस्य लोपे षट् समासेन कर्मणोधिकरणाच्चोत्पन्नेन क्यचा कर्तु: क्यडा कर्मकर्त्रोरुपपदयोर्णमुला च भवेत्। उदाहरणम् -- ततः कुमुदनाथेन कामिनीगण्डपाण्डुना। नेत्रानन्देन चन्द्रेण माहेन्द्री दिगलंकृता।।४०१।। तथा असितभुजगभीषणासिपत्रो रुहरुहिकाहितचित्ततूर्णचारः । पुलकिततनुरुत्कपोलकान्तिः प्रतिभटवि्रमदर्शनेयमासीत्॥४०२।। 'kyach' as denoting the objective, (10) in the same affix as denoting location, (11) in the affix ' kyan', (12) in the affix ' namul' used with a substantive used accusatively, and . (13) in the same affix used with a substantive used nominatively. The term 'va' is expressive of similitude; and on the omission of this term 'va' and of others. similarly expressive of similitude,-there are six kinds of Simile, as occurring-(8) in a compound, (9) in the affix ' kyach" as used in the sense of the accusative, (10) in the affix ' kyach' as used in the sense of the location; (11) in the affix ' kyan' as used in the sense of the nomi- native, (12) in the affix ' namul' with a substantive used ccusatively, and (13) in the affix ' namul' with a substan- ive used nominatively. Example of (8)- ' Tataļ kumudanāthena kāminīgandapāndunā Netrānandena chandrena mābendrī digalankrtā 'The eastern quarter was thereupon adorned by the Moon, a joy to the eyes, pale like the cheeks of a love-' stricken woman.'

CHAPTER X 359

पौरं सुतीयति जनं समरांन्तरेसा- वन्तःपुरीयति विचित्रचरित्रचुञ्चुः। नारीयते समरसीम्नि कृपाणपाणेर् आलोक्य तस्य चरितानि सपत्नसेना॥४०३।। मृधे निदाघघर्मांशुदर्श पश्यन्ति तं परे। स पुनः पार्थसंचारं संचरत्यवनीपतिः ॥४०४।

Another example of the same- 'Asitabhujagabhīşanāsipatro ruharuhikāhitachittatūrņachāraļ Pulakitatanurutkapolakāntib pratibhatavikramadarshaneyamāsīť 'This king, his sword-blade terrible like the black snake, and his movements inspired by energy, became - thrilled, whereupon the freshness of his cheeks became manifested.' (9)-(10)-(11)- ' Pauranı sutīyati janam samarantaresā- Vantabpurīyatī vichitracharitrachuñchuķ. Nārīyate samarasīmni krpānapāner Ālokya tasya charitāni sapatnasenā.' ' He treats the citizens as his children ; famous for his wonderful deeds, he behaves in battlefield as if it were his harem; and the army of his enemies, seeing him, sword in hand, performing extraordinary feats in battle, come to behave like women.' [(a) In 'sutiyati' we have the ' kyach' affix in the accusative sense; (b) in ' antabpurīyati,' we have the same affix used in the locative sense, and (c) in ' narīyate,' we have the affix ' kyan' in the nominative sense.] (12)-(13)- ' Mrdhe nidaghagharmāmshudarsham pashyanti tam pare Sa punab pārthāsamchāram saňcharatyavanīpatiķ.'

360 KĀVYAPRAKĀŚA

एतद्द्विलोपे क्विप्समासगा ॥।८९ ॥।

एतयोर्धर्मवाद्योः। उदाहरणम्- सविता विधवति विधुरपि सवितरति तथा दिनन्ति यामिन्यः । यामिनयन्ति दिनानि च सुखदुःखवशीकृते मनसि ।।४०५।। परिपन्थिमनोराज्यशतैरपि दुराक्रमः । संपरायप्रवृत्तौसौ राजते राजकुञ्जर:॥४०६॥८९॥

'In battle his enemies look upon him as they would upon the summer-sun ; and the King himself moves about as if he were Arjuna.' [In the first sentence the 'namul' affix has the force of the accusative and in the second that of the nominative.] (14)-(15)-On the omission of both these, it occurs in the ' kvip' affix and in a compound. 89. 'Of these two'-i.e., of the common property and the term expressive of similitude. (14) Example (of the Elliptical Simile, omitting both, occurring in the affix ' kvip")- ' Savitā vidhavati vidhurapi savitarati tathā dinanti yāminyab Yāminayanti dināni cha sukhadubkha-vashīkrte manasi'. ' When the mind is under the influence of pleasure, the sun becomes the moon and the nights become days ; when, on the other hand, it is under the influence of pain, the moon becomes the sun and days become nights .' [Here the Simile lies in the 'Kvip' affix in the words 'vidhavati', " savitarati', ' dinanti' and 'yāminayanti'.] (15) [Of the same, in a compound]- ' Paripanthimanorājyashatairapi durākramaļ Samparāyapravrttosau. rājate rājakuñjara'.

CHAPTER X 361

धर्मोपमानयोलोंपे वृत्तौ वाक्ये च दृश्यते। टुण्टुण्णन्तो मरिहिसि कण्टअकलिआइँ केअइवणाइँ। मालइकुसुमसरिच्छं भमर भमन्तो ण पाविहिसि ।।४०७।। कुसुमेण सममिति पाठे वाक्यगा। क्यच वाद्युपमेयासे। आसे निरासे। अरातिविक्रमालोकविकस्वरविलोचनः । कृपाणोदग्रदोर्दण्डः स सहस्रायुधीयति।।४०८।।

'The chief of kings shines resplendent in battle, being unapproachable, as he is, by even the dreaming desires of his enemies.' [Here the said Simile lies in the compound "rajakuñjarab'.] 89. (16)-(17)- On the omission of the common property and the object compared to, it is found in a compound and in a sentence. (16) 'Tuntunnanto marihisi kantaakaliāim keaivaņāin Mālaikusumasarichchham bhamara bhamanto na pāvihisi' 'O black bee ! thou shalt perish, wandering among Ketaki-bowers ; but however much thou mayst wander, thou shalt never find anything like the Malati-flower.' [The Simile lies in the compound ' malai-kusuma-sarichcham ].' (17) If we read ' kusumena samam' (in place of' kusuma- sarichchham'), the same verse becomes an example of . the same kind of compound as occurring in a sentence. (18)-On the omission of the term expressive of simi- litude and the object compared, it occurs in the affix ' Kyach'. 'Asā' means "nirāsā', 'on the omission.' (18)- [Example]- ' Arātivikramālokavikasvaravilochana Krpāņodagradordanda sa sahasrāyudbīyati'

362 KĀVYAPRAKĀŚA

अत्रात्मा उपमेयः । त्रिलोपे च समासगा ॥ ९०॥ त्रयाणां वादिधर्मोपमानानाम्। उदाहरणम्- तरुणिमनि कृतावलोकना ललितविलासवितीर्णविग्रहा। स्मरशरविसराचितान्तरा मृगनयना हरते मुनेर्मनः॥४०९॥ अत्र सप्तम्युपमानेत्यादिना यदा समासलोपौ भवतः। तदेदमुदा- हरणम्॥

'Having his eyes widely opened by the sight of his enemy's prowess, and arms terrible through his sword, he disports himself like the thousand-armed king Kārtta- vīrya.' [Here the king's own self is the object compared ; the Simile, occurring in the affix ' Kyach' in the word ' Sahasrayudhīyati', means ' disports himself like the thousand-armed king '.] (19)-On the omission of the three, it occurs in a compound. 90. ' Three'-the term expressing similitude, the common property and the object compared to. Example- ' Taruņimani krtāvalokanā lalitavilāsavitīrņavigrabā Smarasharavisarachitāntarā mrganayanā harate munermanah." Just peeping into youthfulness, surrendering her body to graceful dalliance, and having her heart pierced by a flight of Cupid's arrows, the fawn-eyed one captivates the heart of even the ascetic.' This verse forms an apposite example only when the compound 'mrganayana' is expounded in accordance with the Vartika on Panini 2.2.24 (as mrganayana iva nayane yasyab), involving the elision [(1) of the former ' nayane', which is the 'object compared to', and (2) of the term

CHAPTER X 363

ऋरस्याचारस्यायःशूलतयाध्यवसायाद् अयःशूलेनान्विच्छति 'आयःशूलिकः' इत्यतिशयोक्तिर्न तु क्रूराचारोपमेयतैक्ष्ण्यधर्मवा- दीनां लोपे त्रिलोपेयमुपमा। एवमेकोनविंशतिर्लुप्ताः पूर्णाभिः सह पञ्चविंशतिः ॥ अनयेनेव राज्यश्रीदैन्येनेव मनस्विता । मम्लौ साथ विषादेन पद्मिनीव हिमाम्भसा॥४१०॥ इत्यभिन्ने साधारणे धर्मे। ज्योत्स्नेव नयनानन्दः सुरेव मदकारणम् । प्रभुतेव समाकृष्टसर्वलोका नितम्बिनी॥४११॥ इति भिन्ने च तस्मिन् एकस्यैव बहूपमानोपादाने मालोपमा।

' iva' expressive of similitude ; in addition to these there is the omission (3) also of the common property of ' fickle- ness.'] The term ayashulikab,' one who behaves like a spear ', has been taken by some people to be an example of that kind of Simile which omits the three factors of (1) the object compared-the cruel person, (2) the common pro- perty-cruelty and (3) the term expressive of similitude- ' va' and the rest. But this is not right ; as what the term means is ' ayahshiilena anvichchhati' ' who behaves like the spear,' and what is done here is that ' cruel behaviour' is spoken of as the 'spear', and this involves the figure of Atishayokti, Hyperbole,-and not that of Simile with three factors omitted. These nineteen kinds of Elliptical Simile, along with the six kinds of the Complete Simile, make up the twenty- five varieties of Simile. As regards other varieties of Simile that have been described by others, we find-(a) the Mālopamā, String- simile, where a single object is compared to several, with its two varieties-one in which the same common property II-5

364 KĀVYAPRAKĀŚA

यथोत्तरमुपमेयस्योपमानत्वे पूर्ववदभिन्नधर्मत्वे अनवरतकनकवितरणजललवभृतकरतर्राङ्गतारथिततेः। भणितिरिव मतिर्मतिरिव चेष्टा चेष्टेव कीतिरतिविमला ॥४१२॥ मतिरिव मूर्तिर्मधुरा मूर्तिरिव सभा प्रभावचिता। तस्य सभेव जयश्रीः शक्या जेतुं नृपस्य न परेषाम् ॥४१३॥ इत्यादिका रशनोपमा च न लक्षिता एवंविधवैचित्र्य- सहस्रसंभवात् उक्तभेदानतिकमाच्च ।।९०।।

of prowithering appears throughout the ' string'-as in the verse .- ' Like royal splendour, through injustice and corrup- tion,-like prowess through poverty,-like the lotus. through frost,-she has withered through sorrow ;' -and the other in which diverse common properties are involved,-e. g., in the verse-'Like light, she is a joy to the eyes ; like wine, she is maddening; and like sove- reignty, she attracts to herself all the world ;'-and (b) the Rashanopama, the 'Girdle-simile', where the object compared in the preceding Simile becomes the object com- pared to in the succeeding one, with its two varieties, as before; with the same or diverse common properties ; e.g., (A) " When the King brings together hosts of suppli- cants like waves on his hand which is full of water used, in his continuous gifts of gold, his heart is like his words, like his heart his actions, and his fame pure like his ac- tions' ;- and (B) ' Of the King, the body is sweet like his heart, his court powerful as his body, and his victory irrepressible by enemies, like his court.' But we have not described these, because in the first place there are thousands of such possible varieties, and secondly, they are not such as cannot be included under the varieties already described above. 90.

CHAPTER X 365

उपमानोपमेयत्वे एकस्यवैकवाक्यगे अनन्वय: ॥ उपमानान्तरसंबन्धाभावोनन्वयः । उदाहरणम्- न केवलं भाति नितान्तकान्तिर्नितम्बिनी सैव नितम्बिनीव। यावद्विलासायुधलास्यवासास्ते तद्विलासा इव तद्विलासाः॥४१४॥ विपर्यास उपमेयोपमा तयोः ॥९१॥ तयोः उपमानोपमेययोः । परिवृत्तिः अर्थात् वाक्यद्वये। इतरोपमानव्यवच्छेदपरा उपमेयेनोपमा इति उपमेयोपमा।

II-Ananvaya-Comparison Absolute When one and the same thing appears in a single sentence as both the ' object compared', and the ' object compared to' it is 'Comparison Absolute'. ' Comparison Absolute ' means that there is no other thing to which the thing described could bear comparison. Example- 'It is not only that possessed of exquisite loveliness, that woman shines as that woman herself; in fact, her graces also, which are the abode of the Cupid's blandish- ments, are like her own graces.' III-Upameyopama-Reciprocal Comparison When there is alternation of these two, it is Reciprocal Comparison. 91. 'Of these two' i. e., of the object compared and the object compared to ;- there is ' alternation', interchange, in two separate sentences,-this means that there is no third thing with which either of them could bear comparison, we have ' Upameyopama-i.e., a figure, where there is 'Upama'-(comparison, of the object compared to) with the ' Upameya' (object compared) itself.

366 KĀVYAPRAKĀŚA

उदाहरणम्- कमलेव मतिर्मतिरिव कमला तनुरिव विभा विभेव तनुः । धरणीव धृतिर्धृतिरिव धरणी सततं विभाति बत यस्य ।।४१५।।९१।। संभावनमथोत्प्रेक्षा प्रकृतस्य समेन यत् । समेन उपमानेन। उदाहरणम्- उन्मषं यो मम न सहते जातिवैरी निशायाम् इन्दोरिन्दीवरदलदृशा तस्य सौन्दर्यदर्पः । नीतः शान्ति प्रसभमनया वक्त्रकान्त्येति हर्षाल् लग्ना मन्ये ललिततनु ते पादयो: पद्मलक्ष्मीः ॥४१६॥

Example- 'His heart is like Lakşmī,-Lakşmī is like his heart ; his splendour is like his body, and his body is like his. splendour ; his fortitude is like the earth, and the earth is. like his fortitude.' 91. IV-Utpreksa-Poetic Fancy. Poetic Fancy consists in the imagining of the thing described as (identical) with a similar thing. ' Similar thing'-i.e., that to which it is meant to be compared. Example- 'O beautiful one ! I think that the beauty of the lotus attaches itself to your feet, on being happy at the idea that her born enemy the Moon, who brooks not her blossoming during the night, has had the pride of his beauty quickly suppressed by the splendour of the face of this lotus-eyed girl. [Here the object compared is the beauty of the girl's feet, and this has been imagined to be the beauty of the lotus fallen on her feet, which, in reality, is the object to which the former is meant to be compared.]

CHAPTER X 367

लिम्पतीव तमोङ्गानि वर्षतीवाञ्जनं नभः । असत्पुरुषसेवेव दृष्टिर्विफलतां गता॥४१७॥ इत्यादौ व्यापनादि लेपनादिरूपतया संभावितम्॥ ससंदेहस्तु भेदोक्तौ तदनुक्तौ च संशयः ॥९२॥ भेदोक्तौ यथा अयं मार्तण्ड: कि स खलु तुरगैः सप्तभिरितः कृशानु: किं सर्वाः प्रसरति दिशो नैष नियतम् । कृतान्तः कि साक्षान्महिषवहनोसाविति चिरं सभालोक्याजौ त्वां विदधति विकल्पान् प्रतिभटाः ॥४१८।

In the following verse- ' Limpatīva tamongāni varşatīvāñjanam nabhaķ Asatpuruşaseveva drstirviphalatām gatā' 'Darkness besmears the limbs as it were ; the sky is, as it were, showering soot; and vision has become as useless as the service of a wicked master' ;- what is done is that the pervading (of darkness) has been imagined to be besmearing. [And the spreading of darkness has been imagined to be the showering of soot : so that this is an instance of Poetical Fancy, and not Simile, as some people have taken it to be, having been misled to this view by the presence of the particle ' iva '] V-Sasandeba-Doubtful. The statement of a doubt constitutes the Doubtful,-the distinction being asserted or not asserted. 92. For example, we have the ' difference stated', in the following verse- 'Is this the sun ?- But the sun is carried by seven horses. Is he the Fire ?- Surely, Fire never flames on all sides. Is he the Death-god ?- But the Death-god has the buffalo for his conveyance. Thus, O King, on

368 KĀVYAPRAKĀŚA

भेदोक्तावित्यनेन न केवलमयं निश्चयगर्भो यावन्निश्चयान्तोपि संदेहः स्वीकृतः । यथा इन्दुः कि क्व कलङ्क: सरसिजमेतत् किमम्बु कुत्र गतम् । ललितसविलासवचनैर्मुखमिति हरिणाक्षि निश्चितं परतः॥४१९॥ किं तु निश्चयगर्भ इव नात्र निश्चयः प्रतीयमान इति उपे- क्षितो भट्टोद्भटेन। तदनुक्तौ यथा अस्या: सर्गविधौ प्रजापतिरभूच्चन्द्रो नु कान्तिप्रदः शृङ्गारैकरसः स्वयं नु मदनो मासो नु पुष्पाकरः । वेदाभ्यासजड: कथं नु विषयव्यावृत्तकौतूहलो निर्मातुं प्रभवेन्मनोहरमिदं रूपं पुराणो मुनिः ॥४२०॥९२॥

seeing you in battle, do your enemies entertain various doubts.' Inasmuch as the definition speaks of the difference being stated, it follows that we have this Figure, not only when the certainty is left concealed (implied), but also when the cogitation leads on to certainty. e.g .- 'Is this the moon ?- But where is the dark stigma ? Is this the lotus ?- But where is the water gone to ? O Fawn-eyed one ! that what was seen was the face ascertained later on through the presence of sweet and elegant speech.' But this variety of the Donbtful has been omitted by Rudrata, on the ground that in this case the certainty is not merely suggested, as it is in that variety where the cer- tainty is left concealed [and hence it loses its effectiveness.] The following is an example of the case where the difference is not stated-' In the creating of this woman, was the position of the creator occupied by the Moon,

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तद्रूपकमभेदो य उपमानोपमेययोः । अतिसाम्याद् अनपह नुतभेदयोः अभेदः । समस्तवस्तुविषयं श्रौता आरोपिता यदा॥९३॥ आरोपविषया इव आरोप्यमाणाः यदा शव्दोपात्ताः तदा समस्तानि वस्तूनि विषयोस्येति सभस्तवस्तुविषयम्। आरोपिता इति बहुवचनमविवक्षितम्। यथा ज्योत्स्नाभस्मच्छुरणधवला बिभ्रनती तारकास्थी- न्यन्तर्धानव्यसनरसिका रात्रिकापालिकीयम् । द्वीपाद् द्वीपं भ्रमति दधती चन्द्रमुद्राकपाले न्यस्तं सिद्धाञ्जनपरिमलं लाञ्छनस्यच्छलेन ।।३२१।।

the source of effulgence ? or was it the Love-god him- self abounding in the erotic passion ? Or was it the season of spring ?- How else could the ancient sage, whose sensibility had been deadened by Vedic study and whose interest had been withdrawn from all objects, be able to create such a heart-ravishing body ?' 92. VI-Rūpaka-Metaphor. Where there is non-difference between the ' object compared to' and the ' object compared', it is Metaphor. What is meant by 'non-difference' is that idea of non-difference which is based upon extreme likeness between two objects, whose difference is not entirely concealed. (1) In cases where what is imposed is directly expressed, it is Metaphor Universal. 93. In cases where, as the objects imposed upon, so the objects imposed also, are directly mentioned by words, it is that Metaphor which is called ' Universal',-in the sense that the whole (samasta) of what is imposed (nyasta) is its expressed objective (vişaya).

370 KĀVYAPRAKĀŚA

अत्र पादत्रये, अन्तर्धानव्यसनरसिकत्वमारोपितधर्म एवेति रूपकपरिग्रहे साधकमस्तीतितत्संकराशङ्का न कार्या ।।९३।। श्रौता आर्थाश्च ते यस्मिन्नकदेशविर्वर्ति तत्।। केचिदारोप्यमाणाः शब्दोपात्ताः केचिदर्थसामर्थ्यादवसेयाः इत्येकदेशविवर्तनात् एकदेशविवर्ति। यथा

No significance attaches to the plural number, in the term 'aropitab'. Example [of Metaphor Universal.]- 'This Nun of the Night, white with the painting of the ash of light, wearing the bones of the stars, and delighting in vanishing from view, is wandering from continent to continent, carrying in the bowl of the lunar disc the magic unguent, under the garb of the dark stigma.' [Here we have the said Metaphor in the expressions 'jyotsnā- bhasma', where there is ' non-difference' between light and ashes, (2) ' tarakasthi', where there is ' non-difference ' between stars and bones, (3) in 'rātrikapālikī', where there is 'non-difference' between the Night and the Nun, and (4) in ' chandramudrakapala', where there is 'non-difference ' between the lunar disc and the boml.] In connection with this verse, there is no justification for the suspicion that it is a case of the ' dubious commix- ture' [of Simile and Metaphor, on the ground that the compound expressions concerned are also capable of being construed as actually expressing similitude, and hence involving so many similes ]; because in favour of its being regarded as 'Metaphor' there is the special reason that the property of ' delighting in vanishing from view ' is one that (while actually belonging to the sentient Nuns) is imposed (upon the insentient Night). 93. (2) In a case where what is imposed is direcily expressed as well as indirectly implied, it is the Partial Metaphor.

CHAPTER X 371

जस्स रणंतेउरए करे कुणंतस्स मण्डलग्गलअं। रससंमुही वि सहसा परंमुही होइ रिउसेणा ॥४२२॥ अत्र रणस्यान्तःपुरत्वमारोप्यमाणं शब्दोपात्तम् मण्डलाग्र- लतायाः नायिकात्वम् रिपुसेनायाश्च प्रतिनायिकात्वम् अर्थ- सामर्थ्यादवसीयते इति एकदेशे विशेषेण वर्तनादेकदेशविवर्ति। साङ्गमेतत् ॥ उक्तद्विभेदं सावयवम् ॥

Where some of the imposed factors are directly expressed by words, while some are cognised only through the force of the meanings of the words,- it is 'partial', ekadeshavivarti',-so called, because of its functioning directly (vivartana) in one part (ekadesha). ' Jassa ranamnteurae kare kunamtassa mandalaggalaam Rasasamımubī vi sahasā parammubī hoi riuseņā'. 'When, in the harem of the battle-field, he takes in his arms the sword-blade (his beloved wife). the oppo- sing army (her rival), even though passionate, turns away from him '. Here the character of 'harem' as imposed upon the 'battlefield' is directly expressed by the words, while the fact of the 'sword-blade' being the 'beloved wife', as also that of the 'opposite army' being her 'rival', is comprehended only through the force of the meaning of the words employed ; and thus the Metaphor, being particularly, explicit in only a part of it, is called ' partial'. This is complex, with all its constituents. The two kinds of Metaphor just described are equipped with all constituents. [i. e. in these what is imposed is not only the object compared to, by itself alone, but along with all its accessories.]

372 KĀVYAPRAKĀŚA

निरङ्गं तु शुद्धम् ॥ यथा कुरङ्गीवाङ्गानि स्तिमितयतिागीतध्वनिषु यत् सखीं कान्तोदन्तं श्रुतमपि पुनः प्रश्नयति यत्। अनिद्रं यच्चान्तः स्वपिति तदहो वेद्म्यभिनवां प्रवृत्तोस्याः सेक्तुं हृदि मनसिजः प्रेमलतिकाम् ॥४२३॥ माला तु पूर्ववत् ॥ ९४॥ मालोपमायामिवैकस्मिन् बहव आरोपिताः। यथा सौन्दर्यस्य तर्राङ्गणी तरुणिमोत्कर्षस्य हर्षोद्गमः कान्तेः कार्मणकर्म नर्मरहसामुल्लासनावासभू: ।

(3) That which is devoid of constituents is the Pure Metaphor. [When the object alone by itself is imposed.] Example-'While listening to songs, she keeps her limbs unmoved, like the doe; asks her friend the news about her lover, even though she has already heard it ; she lies down within, without sleep; from all this I gather that the Love-god has begun to water the fresh sprout of affection in her heart'. [Here, all that is imposed upon the affection is the character of the sprout ; and nothing is said regarding any detailed properties of the latter.] The 'String' is like the foregoing. 94. Just as in the 'String Simile' so in the ' String Metaphor ' also, the character of several objects is imposed upon a single object. Example-' That beloved one is the stream of beauty, the joyous effusion of youthful exuberance, the touch- stone of resplendence, the abode of loving confidences,

CHAPTER X 373

विद्या वक्रगिरां विधेरनवधिप्रावीण्यसाक्षात् क्रिया बाणा: पञ्चशिलीमुखस्य ललनाचूडामणि: सा प्रिया॥४२४॥९४॥ नियतारोपणोपायः स्यादारोपः परस्य यः । तत्परंपरितं श्लिष्टे वाचके भेदभाजि वा॥९५॥ यथा विद्वन्मानसहंस वैरिकमलासंकोचदीप्तद्युते दुर्गामार्गणनीललोहित समित्स्वीकारवैश्वानर। सत्यप्रीतिविधानदक्ष विजयप्राग्भावभीम प्रभो साम्राज्यं वरवीर वत्सरशतं वैरिञ्चमुच्चैः क्रियाः॥४२५॥

the tutoress of clever conversation, the direct evidence of the illimitable efficiency of the Creator, the arrows of the Love-god and the crest-jewel of lovely women'. 94. (4). Where as a means of the desired imposition, there is imposition of something else, it is the Consequential Metaphor ; -where the expressive word is either ' coalescent' (in Pun) or ' distinct'. 95. Example ' Vidvanmānasahamsa vairikamalāsamıkochadīptadyute Durgāmārgaņanīlalohita samitsvīkāravaishvānara Satyaprītividhānadaksa vijayapragbhāvabhīma prabho Sāmrājyam varavīra vatsarashatam vairiňchamuchchaihkriyāb ' O thou, who art like the swan in the mind of the learned [which is like the Manasa-lake] ; like the sun in the shri- velling of the prosperity of your enemies [which is like the blossoming of the lotus]; like Shiva is not seeking the shelter of forts [which is like the longing for Durga] ; like Fire in accepting battle [which is like the consuming of fuel]; like Daksa in attachment to truth [which is like displeasure with Sati] ; like Bhima in the exuberance of victory [which like being the elder brother of Arjuna] ;- bravest of the

374 KĀVYAPRAKĀŚA

अत्र मानसमेव मानसम् कमलायाः संकोच एव कमलानाम- संकोचः दुर्गाणाममार्गणमेव दुर्गायाः मार्गणम् समितां स्वीकार एव समिधां स्वीकारः सत्ये प्रीतिरेव सत्यामप्रीतिः विजयः परपराभव एव विजयोर्जुनः एवमारोपणनिमित्तो हंसादेरारोपः। यद्यपि शब्दार्थालंकारोयमित्युक्तं वक्ष्यते च तथापि प्रसिद्धयनुरोधादत्रोक्तः। एकदेशविवर्ति हीदमन्यैरभिधीयते॥

brave ! Mayst thou continue to sway your empire for a hundred years of Brahma ! Here (1) the character of the 'swan' is imposed upon the 'king', only as a means of imposing (through Pun) upon the ' mind' the character of the 'Manasa lake' ;- (2) the character of the ' Sun ' is imposed upon the ' king', only as a means of imposing (through Pun) the character of ' the blossoming of lotuses' upon ' the shrivelling of the enemy's prosperity' ;- (3) the character of 'Shiva' is imposed upon the ' king', only as a means of imposing (through Pun) the character of ' longing for Durga' upon ' the not seeking of the shelter of forts ' ;- (4) the character of ' fire' is imposed upon the ' king', only as a means of imposing (through Pun) the character of ' consuming fuel' upon 'the accepting of battle' ;- (5) the character of 'Dakşa' is imposed upon the 'king' only as a means of imposing (through Pun) of the character of ' displeasure with Sati' upon the 'attachment to truth' ;- (6) the character of 'Bhima' is imposed upon the 'king' as a means of imposing (through Pun) the character of ' being he elder brother of Arjuna' upon the 'exuberance of victory '. Though (by reason of the Puns being such as do not admit of the replacing of the words used by their synonyms)

CHAPTER X 375

भेदभाजि यथा आलानं जयकुञ्जरस्य दृषदां सेतुर्विपद्वारिधे: पूर्वाद्रि: करवालचण्डमहसो लीलोपधानं श्रियः । संग्रामामृतसागरप्रमथनक्रीडाविधौ मन्दरो राजन् राजति वीरवैरिवनितावैधव्यदस्ते भुजः ॥४२६॥ अत्र जयादेभिन्नशब्दवाच्यस्य कुञ्जरत्वाद्यारोपे भुजस्य आलानत्वाद्यारोपो युज्यते।

this would be an instance of a verbal figure of speech, as has been already explained above, and as is going to be explained also later on,-yet it has been mentioned here, in accordance with usage (established by earlier writers on the subject), on the basis whereof some people have called this an instance of the Partial Metaphor. The following is an example of the Consequential Metaphor where the expressive words are distinct (and not coalescing in a Pun)- 'O King ! Ever glorious is thy arm, bringing about, as it does the widow-hood of the wives of the heroic ene- mies ;- the arm, which is the post for the tying of the elephant of victory, the embankment against the ocean of adversity, the Rising Mount of the Sun of the Sword, the sporting fellow of the Goddess of Fortune,and the Man- dara Mountain in the process of the churning of the nectar- ocean of Battle'. Here the imposition of the character of the 'post' upon the arm is rendered possible by the imposition of the character of the ' elephant' upon ' Victory', both of these being mentioned by means of separate words ; similarly also with the other impositions in the verse.

376 KĀVYAPRAKĀŚA

अलौकिकमहालोकप्रकाशितजगत्त्रयः । स्तूयते देव सद्वंशमुक्तारत्नं न कैर्भवान् ।४२७॥ निरवधि च निराश्रयं च यस्य स्थितमनिवर्तितकौतुकप्रपञ्चम् । प्रथम इह भवान् स कूर्ममूर्तिर्जयति चतुर्दशलोकवल्लिकन्दः॥४२८।। इति च अमालारूपकमपि परंपरितं द्रष्टव्यम्॥ किसलयकरैर्लतानां करकमलै: कामिनां मनो जयति। नलिनीनां कमलमुखैः मुखेन्दुभिर्योषितां मदनः ॥४२९॥ इत्यादि रशनारूपकं न वैचित्र्यवदिति न लक्षितम् ॥।९५।। [The following is an example of the Punning Consequential ' Metaphor]. ' Alaukikamahālokaprakāshitajagattraya Stūyate deva sadvamshamuktāratnam na kairbhavān. 'O King ! brightening the three worlds with your superhuman resplendence, and being a pearl in the bamboo of a noble race, by whom are you not eulogised ?' [Here the imposition of the character of ' pearl' upon the king is made possible by the imposition of the character of the ' bamboo » upon the ' noble race,' both of these latter being expressed by the punning word ' sadvamsha'], [The following is an example of the non-punning Consequential Metaphor]- 'Ever glorious are you, the primeval Tortoise-shaped God ! the root of the creeper of the fourteen regions, whose existence, infinite (in time) and unsupported. is never bereft of extraordinary phenomenon.' [Here the imposition of the character of the ' root' upon the God is rendered possible by the imposition of the character of ' creeper' upon the ' fourteen regions,' both of these latter being cxpressed by distinct words.] In both these cases we have the Consequential Meta- phor, not in the form of a ' string.'

CHAPTER X 377

प्रकृतं यन्निषिध्यान्यत् साध्यते सा त्वपह्नुतिः । उपमेयम् असत्यं कृत्वोपमानं सत्यतया यत् स्थाप्यते सा तु अपह्नुतिः उदाहरणम्- अवाप्तः प्रागल्भ्यं परिणतरुचः शैलतनये कल ङ्को नैवायं विलसति शशाङ्कस्य वपुषि। अमुष्येयं मन्ये विगलदमृतस्यन्दशिशिरे रतिश्रान्ता शेते रजनिरमणी गाढमुरसि॥४३०॥ इत्थं वा बत सखि कियदेतत् पश्य वैरं स्मरस्य प्रियविरहकृशेस्मिन् रागिलोके तथा हि।

There is ' Girdle-Metaphor' also, in such verses as- "The Love-god captivates the hearts of amorous men, by means (1) of the hand-like leaves of creepers, (2) of the lotus-like hands and moon-like faces of women, and (3) of the lotus-like faces of the lotus -pond.' This, however, has not been described here as there is not much charm in it. 95. VII-Apahnuti-Concealment. When the object to be described is negatived and another is affirmed, it is Concealment. Where the ' object compared' is 'negatived'-declared to be unreal,-and the 'object compared to' is 'affirmed' declared to be real, it is the Figure of Concealment. Example- ' O Parvati ! This that you see is not the fully de- veloped stigma in the disc of the moon shining with full lustre ; I think it is his beloved, Night, fatigued by dalli- ance, sleeping soundly on his chest, rendered cool by the drops of nectar.'

378 KĀVYAPRAKĀŚA

उपवनसहकारोद्भासिभृ ङ्गच्छलेन प्रतिविशिखमनेनोट्टङ्ितं कालकूटम् ।।४३१।। अत्र हि न सभृङ्गाणि सहकाराणि अपि तु सकालकटा: शरा इति प्रतीतिः । एवं वा अमुष्मिल्लावण्यामृतसरसि नूनं मृगदृशः स्मर: शर्वप्लुष्टः पृथुजघनभागे निपतितः । यदङ्गाङ्गाराणां प्रथमपिशुना नाभिकुहरे शिखा धूमस्येयं परिणमति रोमावलिवपुः ।।४३२।। अत्र न रोमावलि: धूमशिखेयमिति प्रतिपत्तिः ॥ एवमियं भङ्गयन्तरैरप्यूह्या।। Or again- 'O friend ! Just see the ill-will borne by the Love- god towards lovers already emaciated by separation from. their beloved : Under the pretext of black bees hovering over the mango-trees in the garden. he has applied poison to each one of his arrows'. Here the idea meant to be conveyed is that ' what are seen are not mango-trees with black bees hovering about them, but so many arrows dipped in poison'. Yet another example- ' Verily, the Love-god, scorched by Shiva, has fallen upon the plump thighs of the Fawn-eyed one,-which are like the tank of the nectar of loveliness ; as from the hole of her naval there is proceeding a line of smoke, in the form of the line of hair, which is the first sign of the extin- guishing of the fire-embers of his body.' The idea conveyed here is that ' what we see is not the line of hair, but the line of smoke.'

CHAPTER X 379

श्लेषः स वाक्य एकस्मिन् यत्रानेकार्थता भवेत् ॥ ९६॥ एकार्थप्रतिपादकानामेव शब्दानां यत्रानेकोर्थः स श्लेषः । उदाहरणम्- उदयमयते दिङ्गमालिन्यं निराकुरुतेतरां नयति निधनं निद्रामुद्रां प्रवर्तयति क्रियाः । रचयतितरां स्वैराचारप्रवर्तनकर्तनं बत बत लसत्तेजःपुञ्जो विभाति विभाकरः।४३३॥ अत्राभिधाया अनियन्त्रणात् द्वावप्यर्कभूपौ वाच्यौ ।९६।।

Thus may other ways of expressing this Figure be deduced. VIII-Shlesa-Paronomasia. When in a single sentence, there are several meanings, it is Paronomasia. 96. Where a set of words, expressive of one meaning, is found to have several meanings, it is Paronomasia. Example- ' Udayamayate dinmālinyam nirākurutetarām Nayati nidhanamı nidrāmudrām pravartayati kriyāb. Rachayatitarām svairāchārapravartanakartanam Vata vata lasattejabpuñjo vibbāti vibhākarab' '(a) The Sun, [ (b) the king named Vibhākara], (a) the receptacle of effulgent light [(b) possessing exuberant energy],-who attains (a) the Rising Mount [(b) pros- perity], sets aside (a) the darkness of the quarters [ (b) the poverty-stricken appearance of the people], destroys (a) sleepiness [(b) depression], sets going (a) business- operations [(b) the performance of religious rites], puts a stop to all (a) free love-making [(b) unrestrained acti- vity],-is shining'. II-6

380 KĀVYAPRAKĀŚA

परोवितिर्भेदकैः श्लिष्टैः समासोक्तिः । प्रकृतार्थप्रतिपादकवाक्येन श्लिष्टविशेषणमाहात्म्यात् न तु विशेष्यस्य सामर्थ्यादपि यत् अप्रकृतस्यार्थस्याभिधानम् सा समासेन संक्षेपेणार्थद्वयकथनात् समासोकतिः । उदाहरणम्- लहिऊण तुज्झ बाहुप्फंसं जीए स को वि उल्लासो। जअलच्छी तुह विरहे ण हुज्जला दुब्बला णं सा॥४३४॥ अत्र जयलक्ष्मीशब्दस्य केवलं कान्तावाचकत्वं नास्ति॥

As there is nothing in the shape of Context and the rest to restrict the denotation of the words used, both, the Sun as well as the King, are equally capable of being accepted as the object described. 96. IX-Samasokti-Modal Metaphor. Where the other object is implied by means of paronomatic differentiating adjusts, it is Modal Metaphor. When a sentence descriptive of the object meant to be described serves to imply something else not meant to be described, through the force of adjectives used punningly-and not through any force of the object it- self,-it is Modal Metaphor, ' Samasokti', so called be- cause it consists in a 'statement' (ukti) of two meanings, in brief' (samasena). Example- ' Lahiūņa tnjjba bāhuppharsam Jīe sa ko vi ullāso. Jaa-lachchhī tuha virahe na hujjalā dubbalā nam sā'. Jayalaksmī (the Glory of Victory) who felt a peculiar exhilaration on attaining the touch of your arms, is no longer bright, on being separated from you ; in fact she is emaciated.'

CHAPTER X 381

निदर्शना। अभवन्वस्तुसंबन्ध उपमापरिकल्पकः ॥९७॥ निदर्शनं दृष्टान्तकरणम्। उदाहरणम्- क्व सूर्यप्रभवो वंशः क्व चाल्पविषया मतिः । तितीर्षुर्दुस्तरं मोहादुडुपेनास्मि सागरम्।४३५॥ अत्र उडुपेन सागरतरणमिव मन्मत्या सूर्यवंशवर्णनमित्युप- मायां पर्यवस्यति । यथा वा उदयति विततोर्ध्वरश्मिरज्जावहिमरुचौ हिमधाम्नि याति चास्तम्। वहति गिरिरयं विलम्बिघण्टाद्वयपरिवारितवारणेन्द्रलीलाम्।४३६।

Here the term ' jayalaksmi' is so used (with such adjec- tives) that it expresses, not only the king's lady love, [but also the glory of victory in battle]. X-Nidarsbana-Illustration. Where an impossible relation of things constitutes the similitude, it is Illustration. 97. 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 intelli- gence : through sheer foolishness am I desirous of cross- ing 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 ot the ocean by a raft.' Another example- 'When (on one side) the Sun is rising with his rays

382 KĀVYAPRAKĀŚA

अत्र कथमन्यस्य लीलामन्यो वहतीति तत्सदृशीमित्युपमायां पर्यवसानम् । दोर्भ्यांतितीर्षति तरङ्गवतीभुजङ्गम् आदातुमिच्छति करे हरिणाङ्कबिम्बम्। मेरुं लिलङघयिषति ध्रुवमेष देव यस्ते गुणान् गदितुमुद्यममादधाति ।।४३७।। इत्यादौ मालारूपाप्येषा द्रष्टव्या ।।९७।। स्वस्वहेत्वन्वयस्योक्तिः क्रिययैव च सापरा । क्रिययैव स्वस्वरूपस्वकारणयोः संबन्धो यदवगम्यते सा अपरा निदर्शना। यथा

shooting upwards, and (on the other) the Moon is setting, this mountain acquires the splendour of an elephant with two bells hanging on its two sides.' The actual acquiring of the splendour of one thing (the elephant) by the other (the mountain) being an im- possibility, 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 ;- e.g. 'O Lord ! the man that makes an attempt to describe your good qualities, (a) desires to cross the ocean with his arms, (b) wishes to catch the moon with his hands, and (c) to jump over the Meru mountain.' 97. There is another kind of Illustration, where the action itself indicates the (causal) relation between itself and its cause. Where the connection between the action itself and its cause is indicated by the action itself .- it is another kind of Illustration.

CHAPTER X 383

उन्नतं पदमवाप्य यो लघुहेलयैव स पतेदिति ब्रुवन्। शैलशेखरगतो दृषत्कणश्चारुमारुतधुतः पतत्यधः ॥४३८॥ अत्र पातक्रियया पतनस्य लाघवे सति उन्नतपदप्राप्ति- रूपस्य च संबन्धः ख्याप्यते।।

अप्रस्तुतप्रशंसा या सा सैव प्रस्तुताश्रया ॥ ९८। अप्राकरणिकस्याभिधानेन प्राकरणिकस्याक्षेपोप्रस्तुतप्रशंसा।।९८।। कार्ये निमित्ते सामान्ये विशेषे प्रस्तुते सति। तदन्यस्य वचस्तुल्ये तुल्यस्येति च पञ्चधा ॥ ९९।।

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 lom person attaining to bigh positions. XI-Aprastutaprashamsa-Indirect Description. Where the description of an irrelevant thing points to the object meant to be described, it is Indirect Description. 98. When the description of something not connected with the context serves to point to, imply, that which is meant to be described,-it is Indirect Description. 98. It is of five kinds :-... bere what is meant to be described is-(a) the effect, 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. 99.

384 KĀVYAPRAKĀŚA

तदन्यस्य कारणादेः । क्रमेणोदाह्यणम्- याता किं न मिलन्ति सुन्दरि पुनश्चिन्ता त्वया मत्कृते नो कार्या नितरां कृशासि कथयत्येवं सबाष्पे मयि। लज्जामन्थरतारकेण निपतत्पीताश्रुणा चक्षुषा दृष्टवा मां हसितेन भाविमरणोत्साहस्तया सूचितः॥४३९।। अत्र प्रस्थानात्किमिति निवृत्तोसीति कार्ये पृष्टे कारणमभिहितम्। राजन्राजसुता न पाठयति मां देव्योपि तूष्णीं स्थिताः कुब्जे भोजय मां कुमारसचिवैर्नाद्यापि कि भुज्यते। इत्थं नाथ शुकस्तवारिभवने मुक्तोध्वगैः पञ्जराच् चित्रस्थानवलोक्य शून्यवलभावेकैकमाभाषते ॥४४०।।

' Their converse '-i.e. (a) cause and the rest. Examples in order- (a) '" O beautiful one, don't those who go out 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 over- flowing 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 [in 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 let out of the cage by the passers-by, it sees the figure of its 'master on the pictures.'

CHAPTER X 385

अत्र प्रस्थानोद्यतं भवन्तं ज्ञात्वा सहसैव त्वदरयः पलाय्य गताः इति कारणे प्रस्तुते कार्यमुक्तम् । एतत्तस्य मुखात्कियत् कमलिनीपत्रे कणं वारिणो यन्मुक्तामणिरित्यमंस्त स जडः शृण्वन्यदस्मादपि । अङ्गुल्यग्रलघुक्रियाप्रविलयिन्यादीयमाने शनैः कुत्रोड्डीय गतो ममेत्यनुदिनं निद्राति नान्त:शुचा।।४४१।। अत्रास्थाने जडानां ममत्वसंभावना भवतीति सामान्ये प्रस्तुते विशेषः कथितः । सुहृद्दधूबाष्पजलप्रमार्जनं करोति वैरप्रतियातनेन यः। स एव पूज्यः स पुमान्स नीतिमान्सुजीवितं तस्य स भाजनं श्रियः ।४४२।

What is meant to be described here is the fact that ' as soon as your enemies came to know of your 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 away, goes with- out sleep day after day.' What was meant to be described was the Universal or general fact that ' foolish people have even misplaced long- ings and affections,'-while what is actually described is a particular instance of it.

386 KĀVYAPRAKĀŚA

अत्र 'कृष्णं निहत्य नरकासुरवधूनां यदि दुःखं प्रशमयसि तत् त्वमेव श्लाघ्यः' इति विशेषे प्रकृते सामान्यमभिहितम्। तुल्ये प्रस्तुते तुल्याभिधाने त्रयः प्रकाराः। श्लेषः समासोक्ति: सादृश्यमात्रं वा तुल्यात् तुल्यस्य ह्याक्षेपे हेतुः। क्र्मेणोदाहरणम्- पुंस्त्वादपि प्रविचलेत् यदि यद्यधोपि यायाद् यदि प्रणयने न महानपि स्यात्। अभ्युद्धरेत्तदपि विश्वमितीदृशीयं केनापि दिक् प्रकटिता पुरुषोत्तमेन ।।४४३।।

(d) 'When a man wipes away the tears from the eyes of his friend's wives, by avenging himself 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 state- ment (addressed to Narakasura's (friend) that-' Then alone: will you be deserving of praise, when, by killing Krsna (who has killed Narakasura), you will have alleged the anguish of Naraka's wives'; while what is actually ex- pressed is a general statement (without reference to any particular case). - (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 are 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

CHAPTER X 387

येनास्यभ्युदितेन चन्द्र गमितः क्लान्ति रवौ तत्र ते युज्येत प्रतिकर्तुमेव न पुनस्तस्यैव पादग्रहः । क्षीणेनैतदनुष्ठितं यदि ततः किं लज्जसे नो मनाग् अस्त्वेवं जडधामता तु भवतो यद् व्योम्नि विस्फूर्जसे ॥४४४॥ आदाय वारि परितः सरितां मुखेभ्यः किं तावदर्जितमनेन दुरर्णवेन। क्षारीकृतं च वडवादहने हुतं च पातालकुक्षिकुहरे विनिवेशितं च।।४४५।।

himself,-he may do all this if thereby he can 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 another noble benefactor in the per- son 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 be- come 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 behaviour of a certain impoverished person ; and this is indicated by the description of another impoverished person in the shape of the Moon ; and this is done through Modal Metaphor based upon the Pun involved in the words ' pada- grahab' and 'jadadhāmatā.'] (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.'

388 KĀVYAPRAKĀŚA

इयं च काचित् वाच्ये प्रतीयमानार्थानध्यारोपेणैव भवति। यथा अब्धेरम्भः स्थगितभ् वनाभोगपातालकुक्षे: पोतोपाया इह हि बहवो लङ् घनेपि क्षमन्ते। आहो रिक्तः कथमपि भवेदेष दैवात् तदानीं को नाम स्यादवटकुहरालोकनेप्यस्य कल्पः ॥४४६॥ क्वचिदध्यारोपेणैव। यथा कस्त्वं भो: कथयामि दैवहतकं मां विद्धि शाखोटकं वैराग्यादिव वक्षि साधु विदितं कस्मादिदं कथ्यते।

[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 become emptied, who would be able to even look at the holes and cavities in it ?' [Here the implied meaning is that ' for the people it is best that the king, if wicked, should remain prosperous ;' but the directly expressed description of the ocean itself being quite apt, it is not necessary for the former to be imposed upon this latter.] In other cases the said imposition is essential ; as for instance, in the following verse .- ' Who are you, Sir ?'-' Know me to be the fatestricken 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

CHAPTER X 389

वामेनात्र वटस्तमध्वगजन: सर्वात्मना सेवते न च्छायापि परोपकारकरणे मार्गस्थितस्यापि मे ॥४४७॥ क्वचिदंशेष्वध्यारोपेण। यथा सोपूर्वो रसनाविपर्ययविधिः तत् कर्णयोश्चापलं दृष्टिः सा मदविस्मृतस्वपरदिक किं भूयसोक्तेन वा। सर्व विस्मृतवानसि भ्रनमर हे यद्वारणोद्याप्यसौ अन्तःशून्यकरो निषेव्यत इति भ्रातः क एष ग्रहः॥४४८॥

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 implied here is the condition of a lowborn person whose gifts have been refused by a qualified recipient : and the imposition of this upon the expressed description 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 imposition ; for instance, in the following verse- 'That curious process whereby the tongue was re- versed ; the fickleness of ears ; vision incapacitated by intoxication to discriminate 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 attachment ? [ Here what is implied is the relation between an un- appreciating 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 circumstances as would justify the abandoning of the elephant by the bee ; it is only the ' fickleness of the

390 KĀVYAPRAKĀŚA

अत्र रसनाविपर्यासः शून्यकरत्वं च भ्रमरस्यासेवने न हेतुः कर्णचापलं तु हेतुः मदः प्रत्युत सेवने निमित्तम् ।।९९।। निगीर्याध्यवसानं तु प्रकृतस्य परेण यत्। प्रस्तुतस्य यदन्यत्वं यद्यर्थोक्तौ च कल्पनम् ॥१००॥ कार्यकारणयोर्यश्च पौर्वापर्यविपर्ययः । विज्ञेयातिशयोक्ति: सा। उपमानेनान्तर्निगीर्णस्योपमेयस्य यदध्यवसानं सैका। यथा कमलमनम्भसि कमले च कुवलये तानि कनकलतिकायाम्। सा च सुकुमारसुभगेत्युत्पातपरंपरा केयम् ॥४४९॥ अत्र मुखादि कमलादिरूपतयाध्यवसितम् ।

ears' that would 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 through the Puns involved in 'reversal of the tongue', 'fickleness of the ear' and ' emptiness of the hand ']. 99. XII-Atishayokti-Hyperbole. 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 object 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. (a) When the 'object compared' is recognised 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 three are found on a golden creeper ;- and that creeper is tender and lovely ;- what a series of portentous phenomena !'

CHAPTER X 391

यच्च तदेवान्यत्वेनाध्यवसीयते सा अपरा। यथा अण्णं लडहत्तणअं अण्णा विअ का वि वत्तणच्छाआ। सामा सामण्णपआवइणो रेहच्चिअ ण होइ ।४५०।। 'यद्यर्थस्य' यदिशब्देन चेच्छब्देन वा उक्तौ यत् कल्पनम् (अर्थात् असंभविनोर्थस्य) सा तृतीया। यथा राकायामकलंक चेदमृतांशोर्भवेद्वपुः। तस्या मुखं तदा साम्यपराभवमवाप्नुयात्।४५१।। कारणस्य शीघ्रकारितां वक्तुं कार्यस्य पूर्वमुक्तौ चतुर्थी। यथा

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 to 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 'chet', Example- ' If the body of the Moon at night were to be spotless, 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.

392 KĀVYAPRAKĀŚA

हृदयमधिष्ठितमादौ मालत्याः कुसुमचापबाणेन। चरमं रमणीवल्लभ लोचनविषयं त्वया भजता ॥४५२॥ प्रतिवस्तृपमा तु सा ॥ १०१।। सामान्यस्य द्विरेकस्य यत्र वाक्यद्वये स्थितिः । साधारणो धर्मः उपमेयवाक्ये उपमानवाक्ये च कथित- पदस्य दुष्टतयाभिहितत्वात् शब्दभेदेन यत् उपादीयते सा वस्तुनो वाक्यार्थस्योपमानत्वात् प्रतिवस्तूपमा। यथा देवीभावं गमिता परिवारपदं कथं भजत्वेषा। न खलु परिभोगयोग्यं दैवतरूपाङ्कितं रत्नम् ॥४५३॥

Example- ' Malati's 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).' [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.'] VIII-Prativastupama-Typical Comparison. Typical Comparison is that where a single common property stands twice, in two sentences. When the common property is mentioned, 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, ' Prativastupamā', 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

CHAPTER X 393

यदि दहत्यनलोत्र किमद्भुतं यदि च गौरवमद्रिषु किं ततः। लवणमम्बु सदैव महोदधे: प्रकृतिरेव सतामविषादिता।।४५४॥ इत्यादिका मालाप्रतिवस्तूपमा द्रष्टव्या। एवमन्यत्राप्यनुसर्तव्यम्।। दृष्टान्तः पुनरेतेषां सर्वेषां प्रतिबिम्बनम्॥ १०२॥ एतषां साधारणधर्मादीनां दृष्टोन्तो निश्चयो यत्र स दृष्टान्तः । त्वयि दृष्ट एव तस्या निर्वाति मनो मनोभवज्वलितम् । आलोके हि हिमांशोर्विकसति कुसुमं कुमुद्दत्याः।।४५५।। एष साधम्यण।

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 in different words.] In the following verse we have the ' Stringed Typical 'What is the wonder, if fire burns etc.' (See above, stanza No. 272). Similarly may other forms be illustrated. XIV .- Drstanta-Exemplification. Exemplification is the reflectional representation of all these. 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 inflammation of love and (e) the becoming calm, being reflected respectively in, (a) the moon, (b) the lily plant, (c) the flower, (d) the withering caused by the sun's rays, and (e) the blooming].

394 KĀVYAPRAKĀŚA

वैधर्म्येण तु तवाहवे साहसकर्मशर्मण: करं कृपाणान्तिकमानिनीषतः । भटा: परेषां विशरारुतामगुः दधत्यवात स्थिरतां हि पांसवः॥४५६।। १००-२. सकृद्वृत्तिस्तु धर्मस्य प्रकृताप्रकृतात्मनाम् । सैव क्रियासु बह्वीषु कारकस्येति दीपकम्॥ १०३॥ प्राकरणिकाप्राकरणिकानाम् अर्थात् उपमानोपमेयानां धर्म: क्रियादि: एकवारमेव यत् उपादीयते तत् एकस्थस्यैव सभस्तवाक्यदीपनाद् दीपकम्। यथा

Exemplification per dissimilarity we find in the follow- ing .- 'When you, who delight in valorous deeds in battle, extended your hand towards the sword, your enemie's became shattered ; it is only in the absence of the wind that dusts lie undisturbed.' 100-102. XV-Dipaka-Illuminator. -(a) When the (common) property belonging to several objects-that to be described, as mell as those not to be described,-occurs once,-and (b) mhen a single substantive occurs in connection with several verbs,-it is the Illuminator. 103. (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 com- pared to,-is mentioned only once, it is Illuminator, ' Dīpaka'; so-called because the term expressing the property, though occurring only once, 'illumines' the entire sentence.

CHAPTER X 395

किवणाणँ वणं णागाणं फणमणी केशराइँ सीहाणं। कुलबालिआणँ त्थणआ कुत्तो छिप्पन्ति अमुआणं।।४५७।। कारकस्य च बहुवीषु क्रियासु सकृद्वत्तिर्दीपकम्। यथा स्विद्यपि कू्णतत वेल्लति विचलति निमिषति विलोकयति तिर्यक्। अन्तर्नन्दति चुम्बितुमिच्छति नवपरिणया वधू: शयने॥४५८॥१०३ मालादीपकमाद्यं - पूर्वेण पूर्वेण वस्तुना उत्तरमुत्तरं चेदुपक्रियते तत् मालादीपकम्। यथा संग्रामाङ्गणमागतेन भवता चापे समारोपिते देवाकर्णय येन येन सहसा यद्यत्समासादितम् । कोदण्डेन शराः शरैररिशिरस्तनापि भूमण्डलं तेन त्वं भवता च कीतिरतुला कीर्त्या च लोकत्रयम्।४५९।। Example :- 'The wealth of misers, the head-jewel of serpents, the mane of lions, and the breasts of girls belonging to noble families,-how can these be touched until they are dead ?' (b) It is Illuminator also when a single substantive 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. 103. It is the Stringed Illuminator where what precedes imparts excellence to what follows. If what follows is helped by what precedes it,-then we have the Stringed Illuminator. Example .- ' Sangrāmāngaņamāgatena' etc." ( See above stanza No. 229.) II-7

396 KĀVYAPRAKĀŚA

नियतानां सकृद्धर्मः सा पुनस्तुल्ययोगिता ॥ १०४॥ नियतानां प्राकरणिकानामेव अप्राकरणिकानामेव वा। क्रमेणो- दाहरणम्- पाण्डु क्षामं वदनं हृदयं सरसं तवालसं च वपुः । आवेदयति नितान्तं क्षेत्रियरोगं सखि हृदन्तः॥४६०॥ कुमुदकमलनीलनीरजालिर्ललितविलासजुषोर्दृशोः पुरः का। अमृतममृतरश्मिरम्बुजन्म प्रतिहतमेकपदे तवाननस्य।।४६१॥१०४ उपमानाद्यदन्यस्य व्यतिरेकः स एव सः । अन्यस्योपमेयस्य व्यतिरेक आधिक्यम्। XVI-Tulyayogita .- Equal Pairing. The single mention of a property as belonging to a number of things of the same kind constitutes Equal Pairing 104. '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., (see above, stanza No. 332.) [Here the property, being indicative of the disease, is 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.] 104. XVII-Vyatireka-Dissimilitude. The dissimilitude of the other to the ' object compared to" constitutes the figure of the same name. 'Of the other'-i.e., of the object compared. ' Dissimilitude'-Superiority.

CHAPTER X 397

क्षीण: क्षीणोपि शशी भूयो भूयोभिवर्धते सत्यम्। विरम प्रसीद सुन्दरि यौवनमनिवर्तति यातं तु॥४६२॥ इत्यादावुपमानस्योपमेयादाधिक्यमिति केनचिदुक्तम् तदयुक्तम्। अत्र यौवनगतास्थैर्याधिक्यं हि-विवक्षितम् ॥ हेत्वोरुक्तावनुक्तीनां त्रये साम्ये निवेदिते॥ १०५॥ शब्दार्थाभ्यामथाक्षिप्ते श्लिष्टे तद्वत्त्रिरष्ट तत् । व्यतिरेकस्य हेतुः उपमेयगतमुत्कर्षनिमित्तम्। उपमानगतम- पकर्षकारणम्। तयोद्वयोरुक्तिः, एकतरस्य द्वयोर्वा अनुक्ति- रित्यनुक्तित्रयम्। एतद्भेदचतुष्टयमुपमानोपमेयभावे शब्देन

[ 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 ephemeral character (in which point it is superior to the Moon, the object com- pared 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. It is of twenty-four kinds :- (1) When the ground (o) dissimilitude) is mentioned ; (2-4) the three cases where the said ground is not mentioned ;- each of these (four) bas the similitude either expressed by word or expressed by meaning, or implied ;- and each of these (twelve) again occurs in a paronomatic word also. The ground of dissimilitude-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 one kind of Dissimilitude] ;- where one or the other of these, or both, are not mentioned [we

398 KĀVYAPRAKĀŚA

प्रतिपादिते आर्थेन च क्रमेणोक्ताश्चत्वार एव भेदाः । आक्षिप्ते चौपम्ये तावन्त एव। एवं द्वादश ॥ एते श्लेषेपि भव- न्तीति चतुर्विशतिभेदाः । क्रमेणोदाहरणम्- असिमात्रसहायस्य प्रभूतारिपराभवे। अन्यतुच्छजनस्येव न स्मयोस्य महाधृतेः ॥४६३॥ अत्रैव तुच्छेति महाधृतेरित्यनयोः पर्यायेण युगपद्वानपादा- नन्यत् भेदत्रयम्। एवमन्येष्वपि द्रष्टव्यम्। अत्र इवशब्दस्य सद्भावाच्छाब्दमौपम्यम्। असिमात्रसहायोपि प्रभूतारिपराभवे। नैवान्यतुच्छजनवत्सगर्वोयं महाधृतिः ।।४६४।। 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 '.

CHAPTER X 399

अत्र तुल्यार्थे वतिरित्यार्थमौपम्यम्। इयं सुनयना दासीकृततामरसश्रिया। आननेनाकलङ्केन जयतीन्दुं कलङ्िनम् ।४६५।। अत्रेवादितुल्यादिपदविरहेण आक्षिप्तैवोपमा। जितेन्द्रियतया सम्यग्विद्यावृद्धनिषेविणः । अतिगाढगुणस्यास्य नाब्जवद्भङगुरा गुणाः ॥४६६।। अत्रेवार्थे वतिः। गुणशब्दः श्लिप्टः । शाब्दमौपम्यम् ॥

(5) ' This person, possessed of great dignity, did not become proud,-anyatuchchhajanavat, like other inferior persons,-when 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 simi- larity. (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 samyagvidyāvr ddhanişeviņa Atigādbaguņasyāsya nābjavad bhangurā guņāb. 'This man, possessed of unfathomable excellences and devoted to persons of sound learning, having sub- jugated 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.

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अखण्डमण्डल: श्रीमान् पश्यैष पृथिवीपतिः । न निशाकरवज्जातु कलावैकल्यमागतः ।४६७।। अत्र तुल्यार्थे वतिः। कलाशब्दः श्लिष्टः । मालाप्रतिवस्तुपमावत् मालाव्यतिरेकोपि संभवति। तस्यापि भेदा एवमूह्याः। दिङमात्रमुदाह्नियते। यथा हरवन्न विषमदृष्टिर्हरिवन्न विभो विधूतविततवृषः । रविवन्न चातिदुःसहकरतापितभू: कदाचिदसि ॥४६८॥ अत्र तुल्यार्थ वतिः। विषमादयश्च शब्दाः श्लिष्टाः ।

(8) ' Akhandamandalab shrīmān pashyaisa prthivīpatiķ Na nishākaravajjātu kalāvaikalyamāgatab'. 'Lo, this blessed Lord of the Earth, with an umnbroken 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. 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 of varieties (as in the case of simple Dissimilitude). Of these we are exemplifying only a few. ' Haravanna vişamadrstih harivanna vibho vidhūtavitatavrsab Ravivanna chātiduķsahakaratāpitabhūļ 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-impor- tant Dharma,-as Hari is vidhutavitatavrsa, one who has destroyed the huge demon Vrsasura; you are never atidubsahakaratapitabhub, one who has oppressed the world with very unbearable taxes,-as the Sun is atiduhsaha-

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नित्योदितप्रतापेन त्रियामामीलितप्रभः । भास्वतानेन भूपेन भास्वानेष विनिजित: ॥४६९।। अत्र ह्याक्षिप्तैवोपमा भास्वतेतिश्लिष्टः । यथा वा स्वच्छात्मतागुणसमुल्लसितेन्दुबिम्बं बिम्बप्रभाधरमकृत्रिमहृद्यगन्धम् । यूनामतीव पिबतां रजनीषु यत्र तृष्णां जहार मधु नाननमङ्गनानाम्॥४७०॥

karatapitabhīh, one who has heated the Earth with his extremely unbearable 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 triyāmāmīlitaprabhaķ Bhāsvatānena bhūpena bhāsvānesa vinirjitab'. '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 ' bhāsvān'. Another example of the same kind- ' Svachchhātmatāgunasamullasitendubimbamı Bimbaprabhādharamakrtrimahrdyagandham Yīmāmatīva pibatām 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 kissing ;- the wine (a) reflecting the bright disc of the Moon, (b) bearing the likeness of the red Bimba fruit, and (c) possessed of natural

402 KĀVYAPRAKĀŚA

अत्रेवादीनां तुल्यादीनां च पदानामभावेपि श्लिष्टविशेषणै- राक्षिप्तैवोपमा प्रतीयते। एवंजातीयकाः श्लिष्टोक्तियोग्यस्य पदस्य पृथगुपादानेन्येपि भेदाः संभवन्ति। तेपि अनयैव दिशा द्रष्टव्या: ॥ निषेधो वक्तुमिष्टस्य यो विशेषाभिधित्सया॥ १०६॥ वक्ष्यमाणोक्तविषयः स आक्षेपो द्विधा मतः । विवक्षितस्य प्राकरणिकत्वादनुपसर्जनीकार्यस्य अशक्य- वक्तव्यत्वमतिप्रसिद्धत्वं वा विशेषं वक्तुं निषेधो निषेध इव यः स वक्ष्यमाणविषय उक्तविषयश्चेति द्विधा आक्षपः।

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 'iva' ' 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 .- Aksepa-Hint. 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. 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),-

CHAPTER X 403

ऋमेणोदाहरणम्- ए एहि किंपि कीएवि कएण णिक्किव भणामि अलमह वा। अविआरिअकज्जारम्भआरिणी मरउ ण भणिस्सं ॥४७१॥ ज्योत्स्ना मौक्तिकदाम चन्दनरसः शीतांशुकान्तद्रवः कर्पूरं कदली मृणालवलयान्यम्भोजिनीपल्लवाः । अन्तर्मानसमास्त्वया प्रभवता तस्या: स्फुलिङ्गोत्कर- व्यापाराय भवन्ति हन्त किमनेनोक्तेन न ब्रूमहे॥४७२॥

suppresses it,-i.e., he makes what appears to be a suppress- ion 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. Exampls in order :- (a) 'O ! come, I shall tell you, O cruel one ! some- thing 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 separa- tion being borne by the girl ; and in 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 mentioned.] (b) '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 in order to convey the idea of its being too well-known, the speaker suppresses it,-but only after the sub- ject has been already mentioned.]

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क्रियायाः प्रतिषेधेपि फलव्यक्तिविभावना॥१०७॥ हेतुरूपत्रियायाः निषेधेपि तत्फलप्रकाशनं विभावना। यथा कुसुमितलताभिरहताप्यधत्त रुजमलिकुलैरदष्टापि । परिवर्तते स्म नलिनीलहरीभिरलोलिताप्यघूर्णत सा।४७३॥ १०-१०७ विशेषोक्तिरखण्डेषु कारणेषु फलावचः । मिलितेष्वपि कारणेषु कार्यस्याकथनं विशेषोक्तिः । अनुक्त- निमित्ता उक्तनिमित्ता अचिन्त्यनिमित्ता च।

IX .- Vibhavana-Peculiar Causation. Peculiar Causation consists in the mention of the effect, even though there is denial of the cause. 106-107. 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.]' 10-107. XX .- Vishesokti-Peculiar Allegation. Peculiar Allegation consists in the omission to affirm the effects, even nhen its causes are present in full force. When, even in the combined presence of 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, (n) having the reason mentioned and (c) having the reason such as is inconceivable.

CHAPTER X 405

ऋमेणोदाहरणम्- निद्रानिवृत्तावुदिते द्युरत्ने सखीजने द्वारपदं पराप्ते। श्लथीकृताश्लेषरसे भुजङ्ग चचाल नालिङ्गनतोङ्गना सा।४७४।। कर्पूर इव दग्धोपि शक्तिमान् यो जने जने। नमोस्त्ववार्यवीर्याय तस्मै मकरकेतवे॥४७५॥ स एकस्त्रीणि जयति जगन्ति कुसुमायुधः । हरतापि तनुं यस्य शम्भुना न बलं हृतम्॥४७६॥ यथासंख्यं क्रमेणैव क्रमिकाणां समन्वयः॥ १०८॥

Examples in order- (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 of the effect, which consists in 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, in the shape of the ' irre- pressible 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 of the body would be sure to bring about the destruction of the power; and the reason, why Shiva didnot do the latter when he did the former, is one that we cannot conceive of.] XXI-Yathāsankhya-Symmetrical. The Symmetrical consists in the orderly connection among things mentioned in a definite order. 108.

406 KĀVYAPRAKĀŚA

यथा एकस्त्रिधा वससि चेतसि चित्रमत्र देव द्विषां च विदुषां च मृगीदृशां च। तापं च संमदरसं च रति च पुष्णन् शौर्योष्मणा च विनयेन च लीलया च।।४७७।। १०८।। सामान्यं वा विशेषो वा तदन्येन समर्थ्यंते। यत्तु सोर्थान्तरन्यासः साधर्म्येणेतरेण वा॥ १०९॥ साधर्म्येण वैधर्म्येण वा सामान्यं विशेषेण यत् समर्थ्यते विशेषो वा सामान्येन सोर्थान्तरन्यासः। क्रमेणोदाहरणम्- निजदोषावृतमनसामतिसुन्दरमेव भाति विपरीतम् । पश्यति पित्तोपहतः शशिशुभ्रं शङ्कमपि पीतम्।४७८।।

Example -- '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,-pro- ducing in them, (a) pain, (b) joyous feelings and (c) love, through (a) the force of your valour, (b) your humility and (c) your amorous sportings.' 108. XXII-Arthantaranyasa-Transition. . Where either a Universal or a Particular is supported by its converse,-either through similitude or otherwise,-it is Transition. 109. When, either through similitude, or dissimilitude,-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

CHAPTER X 407

सुसितवसनालंकारायां कदाचन कौमुदी- महसि सुदृशि स्वैरं यान्त्यां गतोस्तमभूद्विधुः । तदनु भवतः कीर्तिः केनाप्यगीयत येन सा प्रियगृहमगान्मुक्ताशङ्का क्व नासि शुभप्रदः॥४७९।। गुणानामेव दौरात्म्याद् धुरि धुर्यो नियुज्यते। असंजातकिणस्कन्धः सुखं स्वपिति गौर्गलिः॥४८०॥ अहो हि मे बहवपराद्धमायुषा यदप्रियं वाच्यमिदं मयेदृशम् । त एव धन्या: सुहृदः पराभवं जगत्यदृष्ट्वैव हिये क्षयं गताः॥४८१॥ १०९॥ विरोधः सोविरोधेपि विरुद्धत्वन यद्वचः ।

be the reverse : a person suffering from bile sees the snow-white conch also as yellow.' [Here a universal statement is supported by a particular case through similarity.] (b) ' Susitavasanālankārāyām' etc. etc.,' (see above stanza No. 266.) [Here a particular statement is supported through similarity by a Universal one.] (c) ' It is on account of the evil nature of good qua- lities that the capable person is employed in a difficult task ; the worthless bull whose shoulder is not hardened by work sleeps comfortably.' [Here a universal case is supported by a particular one, but through similarity.] (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 dissi- milarity.] 109. XXIII-Virodha-Contradiction When something is spoken of as contradictory, even when there is no contradiction,-it is the Figure Contradiction.

408 KĀVYAPRAKĀŚA

वस्तुवृत्तेनाविरोधेपि विरुद्धयोरिव यदभिधानं स विरोधः । जातिश्चतुर्भिर्जात्याद्यैविरुद्धा स्याद्गुणस्त्रिभिः ॥ ११०॥ क्रिया द्वाभ्यामपि द्रव्यं द्रव्येणैवेति ते दश।

क्रमेणोदाहरणम्- अभिनवनलिनीकिसलयमृणालवलयादि दवदहनराशिः । सुभग कुरङ्गदृशोस्या विधिवशतस्त्वद्वियोगपविपाते ॥४८२॥ गिरयोप्यनुन्नतियुजो मरुदप्यचलोब्धयोप्यगम्भीराः। विश्वंभराप्यतिलघुर्नरनाथ तवान्तिके नियतम् ।४८३। येषां कण्ठपरिग्रहप्रणयितां संप्राप्य धाराधरस तीक्ष्णः सोप्यनुरज्यते च कमपि स्नेहं पराप्नोति च।

When, as a matter of fact, there is no real contra- diction between two things,-and they are spoken of as if they were contradictory,-it is the Figure Contradiction. (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, Action and Sub- stance], -(8-9) Action contradicted by two [i. e. Action and Substance]-and (10) Substance contradicted by Substance ;- 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.'

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तेषां संगरसङ्गसक्तमनसां राज्ञां त्वया भूपते पांसूनां पटलै: प्रसाधनविधिनिर्वर्त्यते कौतुकम् ॥४८४। सृजति च जगदिदमवति च संहरति च हेलयैव यो नियतम्। अवसरवशतः शफरो जनार्दनः सोपि चित्रमिदम् ॥४८५॥ सततं मुसलासक्ता बहुतरगृहकर्मघटनया नृपते। द्विजपत्नीनां कठिना: सति भवति कराः सरोजसुकुमाराः॥४८६।। पेशलमपि खलवचनं दहतितरां मानसं सत्तत्त्वविदाम् । परुषमपि सुजनवाक्यं मलयजरसवत् प्रमोदयति ॥४८७॥

(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 Brähmana-women, which had become hardened by the handling of the wooden mallet, in the course of household duties, have, during your reign, become soft like the lotus.' (6) [Quality contradicted by Action]- ' The words of the wicked, even though soft, burn the hearts of wise men; and the words of gentlemen, even though harsh, are a source of joy, like the sandal- juice.'

410 KĀVYAPRAKĀŚA

कौञ्चाद्रिरुद्दामदृषद्दृढोसौ यन्मार्गणानर्गलशातपाते। अभून्नवाम्भोजदलाभिजातः स भार्गवः सत्यमपूर्वसर्गः ॥४८८॥ परिच्छेद्ातीतः सकलवचनानामविषयः पुनर्जन्मन्यस्मिन्ननुभवपथं यो न गतवान्। विवेकप्रध्वंसादुपचितमहामोहगहनो विकार: कोप्यन्तर्जडयति च तापं च कुरुते ॥४८९॥ अयं वारामेको निलय इत रत्नाकर इति श्रितोस्माभिस्तृष्णातरलितमनोभिर्जलनिधिः । क एवं जानीते निजकरपुटीकोटरगतं क्षणादेनं ताम्यत्तिमिमकरमापास्यति मुनिः ॥४९०॥ समदमतङ्गजमदजलनिस्यन्द- तर्राङ्गणीपरिष्वङ्गात्। (7) [Quality contradicted by Substance]- ' Verily, Parashuräma was a wonderful object of creation, under the uninterrupted shower of whose arrows, the Krauñcha mountain, though hard as stone, became: soft like the fresh lotus.' (8) [Action contradicted by Action]- 'Parichchhedatītab etc., etc., (See above stanza No. 107.) (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 alligators 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 of the river Ganga, she becomes the Yamuna, by

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क्षितितिलक त्वयि तटजुषि शंकरचूडापगापि कालिन्दी ।।४९१।। स्वभावोक्तिस्तु डिम्भादेः स्वक्रियारूपवर्णनम् ॥ १११॥ स्वयोस्तदेकाश्रययोः। रूपं वर्णः संस्थानं च। उदाहरणम्- पश्चादङघी प्रसार्य त्रिकनतिविततं द्राघयित्वाङ्गमुच्चैर् आसज्याभुग्नकण्ठो मुखमुरसि सटां धूलिधूम्रां विधूय। घासग्रासाभिलाषादनवरतचलत्प्रोथतुण्डस्तुरङ्गो मन्दं शब्दायमानो विलिखति शयनादुत्थितः क्ष्मां खुरेण ॥४९२॥। ।११०-११।। व्याजस्तुतिर्मुखे निन्दा स्तुतिर्वा रूढिरन्यथा। contact with the rivulet of the ichor of your intoxicated elephants.' 110-111. XXIV-Svabhavokti-Natural Description. When, of the child and other things, their own action and form are described,-it is Natural Description. 110-111. 'Their own'-i. e., (the Action and the form) as sub- sisting 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 it back, brings his mouth to his chest, with his neck curved ; and flutters his dusted mane; his lips quivering on account of his desire for grass ; and softly neighing, he is scratching the ground with his hoofs.' 110-111. XXV .- Vyajastuti-Dissembling Eulogy. When, what, on the face of it, is praise or disparagement, turns out to be otherwise, it is Dissembling Eulogy. The name 'Dissembling Eulogy', ' Vyajastuti', is applied to this figure in the sense that it is a enlogy (' stuti") in the form of, or throngh dissimulation (' vyaja'). II-8

412 KĀVYAPRAKĀŚA

व्याजरूपा व्याजेन वा स्तुतिः। क्रमेणोदाहरणम्- हित्वा त्वामुपरोधबन्ध्यमनसां मन्ये न मौलि: परो लज्जावर्जनमन्तरेण न रमामन्यत्र संदृश्यते। यस्त्यागं तनुतेतरां मुखशतैरेत्याश्रितायाः श्रियः प्राप्य त्यागकृतावमाननमपि त्वय्येव यस्याः स्थितिः॥४९३॥ हे हेलाजितबोधिसत्त्व वचसां कि विस्तरैस्तोयधे नास्ति त्वत्सदृशः परः परहिताधाने गृहीतव्रतः । तृष्यत्पान्थजनोपकारघटनावैमुख्यलब्धायशो- भारप्रोद्वहने करोषि कृपया साहायकं यन्मरोः ॥४९४॥ सा सहोक्तिः सहार्थस्य बलादेकं द्विवाचकम्॥ ११२॥

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 considera- tion for those dependent upon you ; and apart from Laksmi, the Goddess, of Wealth, nowhere is shamelessness to be found : you are giving away the Wealth-goddess who has come to you in hundreds of ways, and though thus she has received the ill-treatment of being given up, she continues to reside in yourself alone'. (b) [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.' XXVI-Sabokti-Connected Description. Where one word is expressive of two things, through the

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एकार्थाभिधायकमपि सहार्थबलात् यत् उभयस्याप्यवगमकं सा सहोक्तिः। यथा सह दिअहणिसाहिँ दीहरा सासदण्डा सह मणिवलयेहिँ बाहधारा गलन्ति। तुह सुहअ विओए तीअ उब्बिग्गिरीए सह अ तणुलदाए दुब्बला जीविदासा।४९५।। श्वासदण्डादिगतं दीर्घत्वादि शाब्दम् दिवसनिशादिगतं तु सहार्थसामर्थ्यात्प्रतिपद्यते ॥११२।। विनोक्तिः सा विनान्येन यत्रान्यः सन्न नेतरः ।

force of some synonym of the word ' saha' (along with),-it is Connected Description. 112. Where, a word, which really denotative of one thing, comes, through the force of some word 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 with 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 (c) '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) 'bracelects', and (c) 'slender body'], they are applicable only through the force of the term 'along with'. 112. XXVII-Vinokti-Privative Description.

414 KĀVYAPRAKĀŚA

क्वचिदशोभनः क्वचिच्छोभनः । क्रमेणोदाहरणम्- अरुचिर्निशया विना शशी शशिना सापि विना महत्तमः । उभयेन विना मनोभवस्फुरितं नैव चकास्ति कामिनोः ॥४९६॥ मृगलोचनया विना विचित्रव्यवहारप्रतिभाप्रभाप्रगल्भः । अमृतद्युतिसुन्दराशयोयं सुहृदा तेन विना नरेन्द्रसूनु: ।४९७।। परिवृत्तिविनिमयो योर्थानां स्यात्समासमैः॥११३॥ परिवृत्तिरलंकारः। उदाहरणम्- लतानामेतासामुदितकुसुमानां मरुदयं मतं लास्यं दत्त्वा श्रयति भृशमामोदमसमम् ।

That is Privative Description in which one thing, without the other, is either (a) not beautiful or (b) the contrary. 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 intelligence; and in the absence of that friend, his heart is as beautiful as the moon '. XXVIII-Parivrtti-Exchange. When there is an interchange between equal or unequal things-it is Exchange. 113. 'Parivrttib'-i.e., the figure named 'Parivrtti', Exchange. Example- (a) 'The wind imparts graceful movement to the blossoming creepers and receives their unrivalled fragrance;

CHAPTER X 415

लतास्त्वध्वन्यानामहह दृशमादाय सहसा

अत्र प्रथमेर्धे समेन समस्य द्वितीये उत्तमेन न्यूनस्य। नानाविधप्रहरणैनृप संप्रहारे स्वीकृत्य दारुणनिनादवतः प्रहारान्। दृप्तारिवीरविसरेण वसुंधरेयं निर्विप्रलम्भपरिरम्भविधिर्वितीर्णा ।।४९९।। अत्र न्यूनेनोत्तमस्य।।११३।। प्रत्यक्षा इव यद्भावाः क्रियन्ते भूतभाविनः । तद्भाविकम् ॥ भूताश्च भाविनश्चेति द्वन्द्ः। भावः कवेरभिप्रायोत्रास्तीति

(b) these creepers, on the other hand, draw to themselves the eyes of travellers, and give to them pain, physical and mental, as also perplexity and nervelessness.' Here in the former half, we have an interchange bet- ween 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. 113. XXIX-Bhavika-Visualisation. When past and future things are delineated as if they were before the eyes,-it is Visualisation. ' Bhutabhavinab'-' past and future'-a copulative compound. This figure is called ' Bhavika' in the sense that it

416 KĀVYAPRAKĀŚA

भाविकम्। उदाहरणम्- आसीदञ्जनमत्रेति पश्यामि तव लोचने। भाविभूषणसंभारां साक्षात्कुर्वे तवाकृतिम् ॥५००॥ आद्ये भूतस्य द्वितीये भाविनो दर्शनम्॥ काव्यलिङ्गं हेतोर्वाक्यपदार्थता ॥११४॥ वाक्यार्थता यथा

वपुःप्रादुर्भावादनुमितमिदं जन्मनि पुरा पुरारे न प्रायः क्वचिदपि भवन्तं प्रणतवान्। नमन् मुक्तः संप्रत्यहमतनुरग्रेप्यनतिभाङ महेश क्षन्तव्यं तदिदमपराधद्वयमपि ॥५०१॥

represents the poet's intention (bhāva). 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 (a) there is ' visualisation' of the past (collyrium), and in (b) that of the future (ornamentation). XXX-Kawelingc-Poetical Reason. When a reason is expressed either (a) by a sentence, or (b) by a word,-it is Poetical Reason. 114. (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 thereby becoming libera- ted, 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.'

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अनेकपदार्थता यथा प्रणयिसखी सलीलपरिहासरसाधिगतैर् ललितशिरीषपुष्पहननैरपि ताम्यति यत् । वपुषि वधाय तत्र तव शस्त्रमुपक्षिपतः पततु शिरस्यकाण्डयमदण्ड इवैष भुजः ॥५०२॥ एकपदार्थता यथा भस्मोद्धलन भद्रमस्तु भवते रुद्राक्षमाले शुभं हा सोपानपरंपरां गिरिसुताकान्तालयालंकृतिम् । अद्याराधनतोषितेन विभुना युष्मत्सपर्यासुखा- लोकोच्छेदिनि मोक्षनामनि महामोहे निधीयामहे ॥५०३॥

(b) Reason expressed by several words .- ' Her body is such as suffers pain even on being struck with soft Sirisha-flowers by her loving friends in sportive jokes ; and it is against such a body that you have raised your weapon ; so fall on your head this arm of mine, resembling the missile of the Death-God.' [This is an instance of the reason being expressed by several words,-not by a sentence,-because it is expressed by the words ' vapusi shastramupaksipatab', which, in the absence of a finite verb, cannot be regarded as a complete sentence.] (c) Reason expressed by a single word :- 'Paintings with ashes, fare thee well ! Garland of rosary, may good befall you ! Oh, for the line of steps adorning the house of Parvati ! 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 !'

418. KĀVYAPRAKĀŚA

एषु अपराधद्वये पूर्वापरजन्मनोरनमनम् भुजपाते शस्त्रोपक्षेप: महामोहे सुखावलोकोच्छेदित्वं च यथाक्रममुक्तरूपो हेतु:।११४।। पर्यायोक्तं विना वाच्यवाचकत्वेन यद्वचः । वाच्यवाचकभावव्यतिरिक्तेनावगमनव्यापारेण यत् प्रति- पादनं तत् पर्यायेण भङ्गयन्तरेण कथनात् पर्यायोक्तम् । उदाहरणम्- यं प्रेक्ष्य चिररूढापि निवासप्रीतिरुज्झिता। मदेनैरावणमुखे मानेन हृदये हरे: ॥५०४॥ Here, in (a) the omission of obeisance during the preceding and coming births is the cause of the two faults :- in (b) the raising 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'. 114. XXXI .- Paryāyokta-Periphrasis. Periphrasis consists in such description as is independent of the ordinary denotative relation between the expressive word and the expressed meaning. When a certain fact is desctibed by words, through the implicative (suggestive) function,-and not through the ordinary relation between the expressive word and the expressed meaning :- it is Peripbrasis, ' Paryayokta' ;- so called because what is said ('ukta') is by other means (paryāya). Example- 'Even though long-standing, the love of residence was renounced by intoxication and self-respect, in regard respectively to theface of Airavana and the heart of Indra.' The particle 'api', 'even though' serves to imply that 'Airavana's face and Indra's heart became bereft

CHAPTER X '419

अत्र ऐरावणशक्रौ मदमानमुक्तौ जाताविति व्यङ्गयमपि शब्देनोच्यते। तेन यदेवोच्यते तदेव व्यङ्गयम्। यथा तु व्यङ्गयं न तथोच्यते। यथा गवि शुक्ले चलति दृष्टे 'गौः शुक्लश्चलति' इति विकल्पः। यदेव दृष्टं तदेव विकल्पयति न तु यथा दृष्टं तथा। यतोभिन्नासंसृष्टत्वेन दृष्टम् भेदसंसर्गाभ्यां विकल्पयति ॥ उदात्तं वस्तुनः संपत्।। संपत् समृड्धियोगः । यथा मुक्ता: केलिविसूत्रहारगलिताः संमार्जनीभिहृताः प्रातः प्राङ्गणसीम्नि मन्थरचलद्बालाङघ्रिलाक्षारुणाः । of intoxication and self-respect' ; and this idea so sugges- ted is the same as is directly expressed by the words themselves [the expressed meaning also being that ' intoxi- cation and self-respect renounced their love of residing in Airavana's face and in Indra's 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 an indeterminate form) apprehended the object (ox) not as distinct from and related to (the other two factors, the quality of whiteness, and the action of walking), while the subsequent cognition does actually apprehend it as so distinct and related. XXXII .- Udatta-Exalted. The Exalted consists (a) in the Exaltation of the thing; 'Exaltation '-being endowed with prosperity.

420 KĀVYAPRAKĀŚA

दूराददाडिमबीजशङङ्गितधियः कर्षन्ति केलीशुकाः यद्विद्वद्भवनेषु भोजनृपतेस्तत् त्यागलीलायितम् ॥५०५॥ महतां चोपलक्षणम् ॥ ११५॥ उपलक्षणमङ्गभावः अर्थादुपलक्षणीयेर्थे। उदाहरणम्- तदिदमरण्यं यस्मिन् दशरथवचनानुपालनव्यसनी। निवसन् बाहुसहायश्चकार रक्षःक्षयं रामः ॥५०६॥ न चात्र वीरो रसः तस्येहाङ्गत्वात् ॥११५॥ तत्सिद्धिहेतावेकस्मिन् यत्रान्यत्तत्करं भवेत्। समुच्चयोसौ।।

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 pome- granate-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.' (b) It consists also in the representation of great beings as adjuncts (to the thing exalted). 115 ' Adjunct'-being subordinate,-i.e., to the thing; described. Example- 'This is that same forest residing wherein Rāma, bent upon obeying the words of Dasharatha, with the help of his arms, brought about the destruction of demons." [Here the fact of Räma being an adjunct, a resident of the forest, serves to exalt the latter ; it is the forest, which is the predominating factor [ and not the Heroic Sentiment ; as this latter is itself only a subordinate factor.]

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तस्य प्रस्तुतस्य कार्यस्य एकस्मिन् साधके स्थिते साध- कान्तराणि यत्र संभवन्ति स समुच्चयः । उदाहरणम्- दुर्वाराः स्मरमार्गणाः प्रियतमो दूरे मनोत्युत्सुकं गाढं प्रेम नवं वयोतिकठिना: प्राणाः कुलं निर्मलम् । स्त्रीत्वं धैर्यविरोधि मन्मथसुहृत् काल: कृतान्तोक्षमो नो सख्यश्चतुरा: कथं नु विरहः सोढव्य इत्थं शठः ।५०७॥ अत्र विरहासहत्वं स्मरमार्गणा एव कुर्वन्ति। तदुपरि प्रियतमदूरस्थित्यादि उपात्तम् ॥। एष एव समुच्चय: सद्योगेसद्योगे सदसद्योगे च पर्यवस्यतीति XXXIII-Samuchchaya-Concatenation. (a) It is Concatenation, when, while one cause conducive to the effect in question being already present, another also turns out to be conducive to it. 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 Love-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 feminine character is incompatible with firmness ; the season is helpful to the Love-god; the God of Death is incapable (of putting an end to my life); my friends are not sufficiently clever ;- how then can this cruel pang of separation be borne ?' 'The arrows of the Love-god' are enough to make the pangs of separation unbearable ;and in addition to this are mentioned the other circumstances conducive to the same effect,-such as the beloved being at a distance and so forth.

422 KĀVYAPRAKĀŚA

न पृथक् लक्ष्यते। तथाहि- कुलममलिनं भद्रा मूर्तिमतिः श्रुतिशालिनी भुजबलमलं स्फीता लक्ष्मीः प्रभुत्वमखण्डितम् । प्रकृतिसुभगा ह्येते भावा अमीभिरयं जनो व्रजति सुतरां दर्प राजन् त एव तवाङकुशाः ॥५०८॥ अत्र सतां योगः। उक्तोदाहरणे त्वसतां योगः। शशी दिवसधूसरो गलितयौवना कामिनी सरो विगतवारिजं मुखमनक्षरं स्वाकृतेः । प्रभुर्धनपरायण: सततदुर्गतः सज्जनो नृपाङ्गणगतः खलो मनसि सप्त शल्यानि मे ॥५०९॥ 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 combi- nation of good and bad' [which three have been des- cribed 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 combi- nation 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 circumstances 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 following 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)-

CHAPTER, X 423

अत्र शशिनि धूसरे शल्ये शल्यान्तराणीति शोभनाशोभनयोगः । स त्वन्यो युगपद् या गुणक्रियाः ॥ ११६।। गुणौ च क्रिये च गुणक्रिये च गुणक्रियाः। करमेणोदाहरणम्- विदलितसकलारिकुलं तव बलमिदमभवदाशु विमलं च। प्रखलमुखानि नराधिप मलिनानि च तानि जातानि ॥५१०॥ अयमेकपदे तया वियोग: प्रियया चोपनतः सुदुःसहो मे। नववारिधरोदयादहोभिर्भवितव्यं च निरातपत्वरम्यैः ॥५११॥ कलृषं च तवाहितेष्वकस्मात्सितपङ्केरुहसोदरश्रि चक्षुः । पतितं च महीपतीन्द्र तेषां वपुषि प्रस्फुटमापदां कटाक्षैः ॥५१२॥ 'The Moon dim during the day,-the woman with faded youth,-the tank devoid of the lotus,-the illiterate mouth of a handsome person,-the master too much attached to wealth,-the good man always in trouble,- the wicked man at the King's Court,-these are the seven darts in my heart.' (b) It is another kind of the same figure (Concatenation) when qualities and actions are (described as) simultaneons. 116. The compound ' gunakriyab' is explained as meaning (1) 'two qualities', (2) 'two actions' and (3) ' quality and action' Examples in order :- (1) [Concatenation of two simultaneous qualities]-'O King, having shattered the forces of your enemy, your army quickly became bright, [ and clean ] and those 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.'

424 KĀVYAPRAKĀŚA

'धुनोति चासिं तनुते च कीर्तिम्' इत्यादेः 'कृपाणपाणिश्च भवान् रणक्षितौ ससाधुवादाश्चसुराः सुरालये' इत्यादेश्च दर्शनात् 'व्यधिकरणे' इति 'एकस्मिन् देशे' इति च न वाच्यम् ॥११६॥ एकं क्रमेणानेकस्मिन् पर्यायः॥ एकं वस्तु क्रमेणानेकस्मिन् भवति क्रियते वा स पर्यायः । क्मेणोदाहरणम्- नन्वाश्रयस्थितिरियं तव कालकूट केनोत्तरोत्तरविशिष्टपदोपदिष्टा। प्रागर्णवस्य हृदये वृषलक्ष्मणोथ कण्ठेधुना वससि वाचि पुनः खलानाम् ।५१३॥

(3) [Concatenation of a quality and an action]- 'O Indra [ among the Lords of the ] Earth ! your eyes, bearing the beauty of the white lotus, [suddenly] 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 brandishes 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 heaven' [where the subs- trata of the two actions are different]. 116. XXXIV-Paryāya-Sequence. When one thing occurs successively in more than one, it is Sequence. . When one thing (1) subsists or (2) is made to appear, in several things, it is Sequence.

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यथा वा बिम्बोष्ठ एव रागस्ते तन्वि पूर्वमदृश्यत । अधुना हृदयेप्येष मृगशावाक्षि लक्ष्यते ॥५१४॥ रागस्य वस्तुतो भेदेप्येकतयाध्यवसितत्वादेकत्वमविरुद्धम्। तं ताण सिरिसहोअररअणाहरणम्मि हिअअमेक्करसं। बिम्बाहरे पिआणं णिवेसिअं कुसुमबाणेण ॥५१५॥ अन्यस्ततोन्यथा ।। अनेकमेकस्मिन् क्रमेण भवति क्रियते वा सोन्यः। (1) [One thin existing in several]- 'O Poison ! by whom has been ordained this success- ively 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 (rāga attachment, love) is perceived in your heart also." Though here the ' raga' spoken of is not exactly 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, that 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. (b) When the process is inverted, it is another kind (of Sequence). When several things successively (1) subsist, or (2) are made to appear, in one thing,-it is another kind of Sequence.

426 KĀVYAPRAKĀŚA

क्मेणोदाहरणम्- मधुरिमरुचिरं वच: खलानाममृतमहो प्रथम पृथु व्यनक्ति। अथ कथयति मोहहेतुमन्तर्गतमिव हालहलं विषं तदेव ॥५१६॥ तद्गेहं नतभित्ति मन्दिरमिदं लब्धावकाशं दिव: सा धेनुर्जरती नदन्ति करिणामेता घनाभा घटाः । स क्षुद्रो मुसलध्वनिः कलमिदं संगीतक योषिताम् आश्चर्य दिवसैद्विजोयमियतीं भूमिं समारोपितः ॥५१७॥ अत्र एकस्यैव हानोपादानयोरविवक्षितत्वात् न परिवृत्तिः । अनुमानं तदुक्तं यत् साध्यसाधनयोर्वचः॥११७॥ पक्षधर्मान्वयव्यतिरेकित्वेन त्रिरूपो हेतु: साधनम्। धर्मिणि अयोगव्यवच्छेदो व्यापकस्य साध्यत्वम्। यथा

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 Brähmana has been transported into this condition in so very few days.' The renouncing (of one set of things) and acceptance (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 '. XXXV-Anumana-Inference. It is the description of the Probans and the Probandum that costuitutes Inference. 117.

CHAPTER X 427

यत्रैता लहरीचलाचलदृशो व्यापारयन्ति भ्रुवं यत् तत्रैव पतन्ति संततममी मर्मस्पृशो मार्गणाः ।

धावत्यग्रत एव शासनधरः सत्यं सदासां स्मरः ॥५१८॥ साध्यसाधनयो: पौर्वापर्यविकल्पे न किंचिद्वैचित्र्यमिति न तथा दशितम् ॥११७॥ विशेषणैर्यत्साकूतैरुक्तिः परिकरस्तु सः ॥ अर्थाद्विशेष्यस्य। 'Probans',-the Reason, the 'Middle Term', which fulfils the threefold condition of (1) subsisting in the 'Minor Term', (b) being concomitant (with the 'Major Term ') and (3) being non-concomitant (with the contrary of the Major Term). 'Probandum'-the constant concomitant of the "Major Term' and the ' Minor Term'. Example .- ' Because 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. 117. XXXVI-Parikara-Insinuation. Insinuation is description with significant epithets. II-9

428 KĀVYAPRAKĀŚA

उदाहरणम्- महौजसो मानधना धनार्चिता धनुर्भृतः संयति लब्धकीर्तयः। न संहतास्तस्य न भेदवृत्तय: प्रियाणि वाञ्छन्त्यसुभिः समीहितुम् ॥५१९।। यद्यप्यपुष्टार्थस्य दोषताभिधानात्तन्निराकरणेन पुष्टार्थ- स्वीकार: कृतः तथाप्येकनिष्ठत्वेन बहूनां विशेषणानामेव- मुपन्यासे वैचित्र्यमित्यलंकारमध्ये गणितः ॥

निगूढमपि वस्तुनो रूपं कथमपि प्रभिन्नं केनापि व्यपदेशेन यदपहनूयते सा व्याजोक्तिः । 'Description' of and object qualified by the said epithets. Example- ' Archers,-brilliant, self-respecting, honoured with riches, who have made their reputation in war, 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 ' Irrele- vancy' as a defect, 'relevancy' or 'significance' has already been admitted (as an excellence),-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-Artful Assertion. Artful Assertion consists in concealing, by some artifice, the unhidden character of a thing. 118. When the form of a thing, not explicit in itself, somehow becomes explicit,-and yet such form is, by some artifice, concealed,-it is Artful Assertion.

CHAPTER X 429

न चैषापह्नुतिः प्रकृताप्रकृतोभयनिष्ठस्य साम्यस्येहासंभवात् । उदाहरणम्- शैलेन्द्रप्रतिपाद्यमानगिरिजाहस्तोपगूढोल्लसद्- रोमाञ्चादिविसंष्ठुलाखिलविधिव्यासङ्गभङ्गाकुल: । हा शैत्यं तुहिनाचलस्य करयोरित्यूचिवान् सस्मितं

अत्र पुलकवेपथू सात्त्विकरूपतया प्रसूतौ शैत्यकारणतया प्रकाशितत्वादपलपितस्वरूपौ व्याजोक्ति प्रयोजयतः ॥११८। किंचित् पृष्टमपृष्टं वा कथितं यत् प्रकल्पते। तादृगन्यव्यपोहाय परिसंख्या तु सा स्मृता ॥ ११९॥

This is not the same as 'Concealment' (see above Kārikā No. 96), 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 details of the marriage-rites,-blurted out-"Oh, how cold are the hands of the Snow-moun- tain !" Here the thrilling and the trembling (the latter being among the 'other effects'),-though really appearing as the calm effects (of the 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. 118.

430 KĀVYAPRAKĀŚA

प्रमाणान्तरावगतमपि वस्तु शब्देन प्रतिपादितं प्रयोजना- न्तराभावात् सदृशवस्त्वन्तरव्यवच्छेदाय यत् पर्यवस्यति सा भवेत्परिसंख्या। अत्र च कथनं प्रश्नपूर्वकं तदन्यथा च परिदृष्टम्। तथा उभयत्र व्यपोह्यमानस्य प्रतीयमानता वाच्यत्वं चेति चत्वारो भेदा: ॥ क्रमेणोदाहरणम्- किमासेव्यं पुंसां सविधमनवद्यं द्युसरितः किमेकान्ते ध्येयं चरणयुगलं कौस्तुभभृतः । किमाराध्यं पुण्यं किमभिलषणीयं च करुणा यदासक्त्या चेतो निरवधिविमुक्त्यै प्रभवति ॥५२१॥

XXXVIII-Parisamkhya-Exclusion. Where something, either (a) asked or (b) unasked, on being mentioned, serves to exclude other things similar thereto,-it is said to be Exclusion. 119. 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 implied-] 'Q. What is it that deserves to be attended upon by men ? A. The excellent proximity of the Heavenly River .- Q. What is it that should be meditated upon in seclusion ? A. The two feet of Visnu-Q. What is it that should be honoured ? A. Virtue-Q. What is it

CHAPTER X 431

किं भूषणं सुदृढमत्र यशो न रत्नं किं कार्यमार्यचरितं सुकृतं न दोषः । किं चक्षुरप्रतिहतं धिषणा न नेत्रं जानाति कस्त्वदपरः सदसद्विवेकम् ॥५२२॥ कौटिल्यं कचनिचये करचरणाधरदलेषु रागस्ते। काठिन्यं कुचयुगले तरलत्वं नयनयोर्वसति ॥५२३॥ भक्तिर्भवे न विभवे व्यसनं शास्त्रे न युवतिकामास्त्रे । चिन्ता यशसि न वपुषि प्रायः परिदृश्यते महताम् ॥५२४॥११९॥ यथोत्तरं चेत् पूर्वस्य पूर्वस्यार्थस्य हेतुता। तदा कारणमाला स्यात्॥

that should be desired ? A. Mercy, by the presence whereof the mind leads on to Liberation.' (b) [Preceded by question-the Excluded expressed]- 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, know 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 ex- pressed]- ' Devotion to Shiva, not to riches ; addiction to learn- ing, not to women, the weapon of love ; anxiety for re- putation, not for the body ; all this is found in nearly all good men.' 119.

432 KĀVYAPRAKĀŚA

उत्तरमुत्तरं प्रति यथोत्तरम्। उदाहरणम्- जितेन्द्रियत्वं विनयस्य कारणं गुणप्रकर्षो विनयादवाप्यते। गुणप्रकर्षेण जनोनुरज्यते जनानुरागप्रभवा हि संपदः ।५२५॥। "हेतुमता सह हेतोरभिधानमभेदतो हेतुः।" इति हेत्वलंकारो न लक्षितः । आयु्घृ तमित्यादिरूपो ह्येष न भूषणतां कदाचिदर्हति वैचित्र्याभावात्। अविरलकमलविकास: सकलालिमदश्च कोकिलानन्दः । रम्योयमेति संप्रति लोकोत्कण्ठाकर: काल: ॥५२६॥

XXXIX-Karanamala-The String of Causes. Where (among a number of things mentioned), each preceding one appears as the cause of each succeeding one,-it is the String of. Causes. 'Yathottaram',-of each of the succeeding. Example- ' Control over the senses is the cause of good char- acter ; excellence of qualities is obtained from good 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 delineation of the affect as not different from the cause',-has not been mentioned here, because such an identification, being of the nature of 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,- · Aviralakamalavikāsab Sakalālimadashcha kokilānandaķ Ramyoyameti samprati Lokotkanthākarab kāla.'

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इत्यत्र काव्यरूपतां कोमलानुप्रासमहिम्नैव समाम्नासिषुर्न पुनर्हेत्वलंकारकल्पनयेति पूर्वोक्तकाव्यलिङ्गमेव हेतु: ॥

वस्तुनोर्जननेन्योन्यम् ।। क्रियया तु परस्परम् ॥ १२०॥

अर्थयोरेकक्रियामुखेन परस्परं कारणत्वे सति अन्योन्यनामा अलंकारः। उदाहरणम् -- हंसाणं सरेहिं सिरी सारिज्जइ अह सराण हंसेहिँ। अण्णोण्णं विअ एए अप्पाण्णं णवर गरुअन्ति ॥५२७॥। अत्रोभयेषामपि परस्परजनकता मिथःश्रीसारतासंपादनद्वारेण।। 'Now is come the lovely season, which bears the beauty of dense lotuses, 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'. Here 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, throngh an action,-it is the Reciprocal. When through a single action, two things appear as the cause of each other,-it is the Figure called ' Reciprocal'. Example .- 'Tanks add beauty to the lakes, and the lakes add beauty to the swans ; these two only serve to improve each other.' [ The छाया of विभ is given as एव in Vama, nacarya. In the tran- slution the word has been omitted. ] Here the two things spoken of are the ' cause' of each other through the common action of 'beautifying'.

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उत्तरश्रुतिमात्रतः । प्रश्नस्योन्नयनं यत्र क्रियते तत्र वा सति ॥१२१॥ असकृद् यदसंभाव्यमुत्तरं स्यात् तदुत्तरम् । प्रतिवचनोपलम्भादेव पूर्ववाक्यं यत्र कल्प्यते तदेकं तावदुत्त- रम्। उदाहरणम् -- वाणिअअ हत्थिदन्ता कुत्तो अम्हाण वग्घकित्ती अ। जाव लुलिआलअमुही घरम्मि परिसक्कए सोण्हा ॥५२८॥ हस्तिदन्तव्याघ्रकृत्तीनामहमर्थी ताः मूल्येन प्रयच्छेति क्रेतुर्वचनम् अमुना वाक्येन समुन्नीयत।। न चैतत् काव्यलिङ्गम् उत्तरस्य ताद्रूप्यानुपपत्तेः। नहि प्रश्नस्य प्रतिवचनं जनको हेतुः। नापीदमनुमानम् एकधमिनिष्ठ- तया साध्यसाधनयोरनिर्देशादित्यलंकारान्तरमेवोत्तरं साधीयः। XLI-Uttara-Answer. (a) When from the hearing of only the answer, the presumption of the question is made,-(b) or when the question being there, an inconceivable answer is given, and this more than once,-it is Ansmer. (a) It is one kind of Ansmer, where the statement embodying the question is presumed from the hearing of the answer. Example- ' O trader, whence could we have ivory or tiger-skinse so long as my daughter-in-law with lovely locks lives in my house ?' [ Here the implication is that my son does not go out for hunting. ] The assertion here made leads to the presumption that it is in answer to the request of a likely purchaser to the following effect-'I am seeking for ivory and tiger- skins, give them to me and receive their price'

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प्रश्नादनन्तरं लोकातिकरान्तगोचरतया यत् असंभाव्यरूपं प्रतिवचनं स्यात् तत् अपरमुत्तरम् । अनयोश्च सकृदुपादाने न चारुताप्रतीतिरित्यसकृदित्युक्तम् । उदाहरणम्- का विसभा देव्वगई किं लब्भं जं जणो गुणग्गाही। किं सोक्खं सुकलत्तं किं दुक्खं जं खलो लोओ ॥५२९॥ प्रश्नपरिसंख्यायामन्यव्यपोहे एव तात्पर्यम्। इह तु वाच्ये एव विश्रान्तिरित्यनयोर्विवेक: ।

This figure is not the same as 'Poetical Reason'; because the nature of the figure ' Answer' is not the same as that of Poetical Reason, as the Ansmer 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 answer 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.

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कुतोपि लक्षितः सूक्ष्मोप्यर्थोन्यस्मै प्रकाश्यते ॥ १२२॥ धर्मेण केनचिद् यत्र तत् सूक्ष्मं परिचक्षते।। कुतोपि आकारादिङ्गिताद्वा सूक्ष्मस्तीक्ष्णमतिसंवेद्यः॥ उदाहरणम्- वक्त्रस्यन्दिस्वेदबिन्दुप्रबन्धैर्दृ ष्टवा भिन्नं कुङकुमं कापि कण्ठे। पुंस्त्वं तन्व्या व्यञ्जयन्ती वयस्या स्मित्वा पाणौ खङ्गलेखां लिलेख ।५३०।। अत्र आकृतिमवलोक्य कयापि वितर्कितं पुरुषायितम् असिलतालेखनेन वैदग्ध्यादभिव्यक्तिमुपनीतम् पुंसामेव कृपाणपाणिता योग्यत्वात्॥ यथा वा संकेतकालमनसं विटं ज्ञात्वा विदग्धया। ईषन्नेत्रार्पिताकूतं लीलापद्मं निमीलितम् ॥५३१॥

LXII .- Sūkşma-Subtle. Where a subtle fact somehow noticed, is expressed to another person, by means of some property,-it is the Subtle. ' Somehow'-Through appearance of gestures and so forth. ' Subtle'-Cognisable only by persons with keen intelligence. Example- ' A certain friend, noticing the kunkuma paint on her neck blurred by perspiration from the gitl'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 appearance of the girl, her friend understood that she had behaved like a male ; and this idea she very cleverly expressed to her by the painting of the sword,-the proper place for the sword being in the hand of a male only.

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अत्र जिज्ञासितः संकेतकाल: कयाचिदिङ्गितमात्रेण विदितो निशासमयशंसिना कमलनिमीलनेन लीलया प्रतिपादितः ॥ उत्तरोत्तरमुत्कर्षो भवेत्सार: परावधिः ॥१२३॥ परः पर्यन्तभाग: अवधिर्यस्य धाराधिरोहितया तत्रैवोत्क- र्षस्य विश्रान्तेः । उदाहरणम्- राज्ये सारं वसुधा वसुधायां पुरं पुरे सौधम्। सौधे तल्पं तल्पे वराङ्गनानङ्गसर्वस्वम् ॥५३२॥१२३॥ भिन्नदेशतयात्यन्तं कार्यकारण भूतयोः । युगपद्धर्मयोयंत्र ख्यातिः सा स्यादसंगतिः ॥ १२४॥

Another example- 'The clever girl, noticing from the meaning glances of her lover that he was desirous of knowing the time of assignation, closed up the lotus with which she was play- ing '. Having noticed, from a mere gesture, that the time for assignation was what was sought after, the girl very grace- fully gave him the information by the closing of the lotus, which pointed to the night as the time. XLIII .- Sara-Climax. Climax is the successive rising in the excellence of things to the highest pitch. 121-23. 'Paravadhi',-that of which the ' para' highest pitch, is the ' avadhi', ' limit ; 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. 123.

438 KĀVYAPRAKĀŚA

इह यद्देशं करणं तद्देशमेव कार्यमुत्पद्यमानं दृष्टम् यथा धूमादि। यत्र तु हेतुफलरूपयोरपि धर्मयोः केनाप्यतिशयेन नानादेशतया युगपदवभासनं सा तयोः स्वभावोत्पन्नपरस्पर- संगतित्यागात् असंगतिः । उदाहरणम् -- जस्सेअ वणो तस्सेअ वेअणा भणइ तं जणो अलिअं। दन्तक्खअं कवोले बहुए वेअणा सवत्तीणं ॥५३३॥ एषा च विरोधबाधिनी न विरोध: भिन्नाधारतयैव द्वयोरिह विरोधितायाः प्रतिभासात्। विरोधे तु विरोधित्वम् एकाश्रय- निष्ठमनुक्तमपि पर्यवसितम् अपवादविषयपरिहारेणोत्सर्गस्य व्यवस्थितेः । तथा चैवं निदशितम् ॥१२४॥

XLIV .- Asamgati-Disconnection. 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. 124. 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 circumstances 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, ' Asamgati',-so called because it involves the abandoning of the natural connection, ' sari- gati', between the cause and its effect. 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.'

CHAPTER X 439

समाधिः सुकरं कार्य कारणान्तरयोगतः ।। साधनान्तरोपकृतेन कर्त्रा यत् अक्लेशेन कार्यमारब्धं समाधीयते स समाधिर्नाम। उदाहरणम्- मानमस्या निराकर्त पादयोर्मे पतिष्यतः । उपकाराय दिष्टयेदमुदीर्ण घनगजितम् ॥५३४॥ Though it does imply an inconsistency (which is a form · of Contradiction), yet the figure is not the same as ' Con- tradiction), 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 'Contradic- tion' given before), -that it is so is clear from the fact that what is of wider application (in the present case, ' contradiction') 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 substrata, it is only right that the scope of ' contradiction' should be restricted to cases where they are described as subsisting in the same substratum.] And it is under this understanding that examples have been cited above (of the figure of ' Contradiction.") 124.11 XLV .- Samadhi-Convenience. When, through the help of other causes, the fulfilment of an effect is described as becoming easier,-it is Comvenience. When a certain work, commenced by an agent (with one set of accessories), becomes accomplished without much trouble, with the help of other accessories,-it is the figure named ' Convenience'.

440 KĀVYAPRAKĀŚA

समं योग्यतया योगो यदि संभावितः क्वचित् ॥१२५॥ इदमनयोः श्लाध्यमिति योग्यतया संबन्धस्य नियतविषय- मध्यवसानं चेत्तदा समम् तत् सद्योगेसद्योगे च।। उदाहरणम् -- धातु: शिल्पातिशयनिकषस्थानमेषा मृगाक्षी रूपे देवोप्ययमनुपमो दत्तपत्रः स्मरस्य । जातं दैवात्सदृशमनयोः संगतं यत् तदेत- च्छृङ्गारस्योपनतमधुना राज्यमेकातपत्रम् ।५३५॥ चित्रं चित्रं बत बत महच्चित्रमेतद्विचित्रं जातो दैवादुचितरचनासंविधाता विधाता। 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. When the connection (between two things) is considered to be right and proper,-it is the Compatible. 125. When the connection between any two definite. things is regarded as right and proper,-the idea being that ' this is commendable '-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 beauty, 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'.

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यन्निम्बानां परिणतफलस्फीतिरास्वादनीया यच्चैतस्याः कवलनकलाकोविदः काकलोक: ॥५३६॥ ववचिद्यदतिवैधर्म्यान्न इ्लेषो घटनामियात्। कर्तुः क्रियाफलावाप्तिर्नैवानर्थश्च यद्भवेत् ॥ १२६॥ गुणक्रियाभ्यां कार्यस्य कारणस्य गुणक्रिये। क्रमेण च विरुद्धे यत् स एष विषमो मतः॥१२७॥ द्वयोरत्यन्तविलक्षणतया यत् अनुपपद्यमानतयैव योगः प्रतीयते (१) यच्च किंचिदारभमाण: कर्ता क्रियायाः प्रणाशात् न केवलमभीष्टं यत् फलं न लभेत यावदप्रार्थितमप्यनर्थ विषय- मासादयेत् (२) तथा सत्यपि कार्यस्य कारणरूपानुकारे तत्

(b) 'Strange, strange, extremely strange is this that the Creator has, by chance, been the ordainer of one compatible phenomenon that when the large quantities of Nimba-berries had to be eaten, the beings selected as expert in eating them were the crows '. 125. XLVII .- Visama-Incongruous. Where-(a) between two things no compatibility can come about, by reason of extreme dissimilitude,- (b) where the agent does not obtain the fruit of his action, but comes by an adverse effect, (c) (d) where the quality and action of the cause are incompatible respectively, with the quality and action of the effect,- it is beld to be the Incongruous. 126-7. (a) In a case where the two things are so entirely incompatible, that any connection between them is conceived of as purely impossible ;- (b) where, the Agent, commencing an act, does not only fail, by reason of the failure of his operations, to obtain the fruit that he sought to obtain from that act, but, on the contrary, ob-

442 KĀVYAPRAKĀŚA

तयोर्गुणौ क्रिये च परस्परं विरुद्धतां व्रजतः (३।४) स समविपर्य- र्यात्मा चतूरूपो विषमः ॥ कमेणोदाहरणम्- शिरीषादपि मृद्ङ्गी कवेयमायतलोचना। अयं क्व च कुकूलाग्निकर्कशो मदनानल: ।५३७॥। सिंहिकासुतसंत्रस्तः शशः शीतांशुमाश्रितः । जग्रसे साश्रयं तत्र तमन्यः सिंहिकासुतः ॥५३८॥ सद: करस्पर्शमवाप्य चित्रं रणे रणे यस्य कृपाणलेखा। तमालनीला शरदिन्दुपाण्डु यशस्त्रिलोक्याभरणं प्रसूते ॥५३९॥ आनन्दममन्दमिमं कुवलयदललोचने ददासि त्वम् । विरहस्त्वयैव जनितस्तापयतितरां शरीरं मे ॥५४०॥ tains an adverse effect, which he never desired ;- and (c) (d), where, even though the effect resembles the cause, yet their qualities and actions are mutually con- tradictory ;- this is the four-fold Incongruous, ' Visama', so called because it is the reverse of ' congruity ' (Sama). Examples in order- (a) 'Where on one side is the large-eyed one, with body more tender than the Shirisa 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 Simhika (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',

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अत्रानन्ददानं शरीरतापेन विरुध्यते। एवम् विपुलेन सागरशयस्य कुक्षिणा भुवनानि यस्य पपिरे युगक्षये । मदविभ्रमासकलया पपे पुनः स पुरस्त्रियैकतमयैकया दृशा।५४१॥ इत्यादावपि विषमत्वं यथायोगभवगन्तव्यम् ॥१२७॥ महतोर्यन्महीयांसावाश्रिताश्रययोः कमात्। आश्रयाश्रयिणौ स्यातां तनुत्वेप्यधिकं तु तत् ॥ १२८।। आश्रितम् आधेयम् आश्रयस्तदाधारः। तयोर्महतोरपि विषये तदपेक्षया तनू अप्याश्रयाश्रयिणौ प्रस्तुतवस्तुप्रकर्षविवक्षया यथाक्रमं यत् अधिकतरतां व्रजतः। तदिदं द्विविधम् अधिकं नाम।

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 pro- duced 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 of dissolution, was swallowed (so to say) by a certain citizen, with her eye only partially opened through the intoxication of love'. 126-27. XLVIII-Adbika-the Exceeding. When of the Container and the Contained, both of which are large, the respective Contained and Container, thongh really smaller, are described as larger,-it is the Exceeding. 128. ' Ashta' 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 TT_10

444 KĀVYAPRAKĀŚA

क्रमेणोदाहरणम्- अहो विशालं भूपाल भुवनत्रितयोदरम् । माति मातुमशक्योपि यशोराशिर्यदत्र ते ।५४२।। युगान्तकालप्रतिसंहृतात्मनो जगन्ति यस्यां सविकाशमासत । तनौ ममुस्तत्र न कैटभद्विषस्तपोधनाभ्यागमसंभवा मुदः ॥५४३॥

प्रतिपक्षमशक्तेन प्रतिकतु तिरस्त्रिया। ।।१२८॥।

या तदीयस्य तत्स्तुत्यै प्रत्यनीकं तदुच्यते॥ १२९॥ न्यक्कृतिपरमपि विपक्षं साक्षान्निरसितुमशक्तेन केनापि यत् तमेव प्रतिपक्षमुत्कर्षयितुं तदाश्रितस्य तिरस्करणम् तत् अनीकप्रतिनिधितुल्यत्वात् प्रत्यनीकमभिधीयते। यथा अनीके

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'. (b) 'Visnu,-in whom, when he had withdrawn him- self 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 '. 128. XLIX-Pratyanīka-Hostile. It is the Hostile, when a person, unable to injure his enemy, is described as offering an insult to a relative of that enemy,-such description tending to eulogise this latter. 129. A man has an enemy who is ever insulting him, and whom he himself is unable to injure; under the circumstances, if he offers an insult to some one else de -.

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अभियोज्ये तत्प्रतिनिधीभूतमपरं मूढतया केनचिदभियुज्यते तथेह प्रतियोगिनि विजेये तदीयोन्यो विजीयते इत्यर्थः । उदाहरणम् -- त्वं विनिजितमनोभवरूपः सा च सुन्दर भवत्यनुरक्ता । पञ्चभिर्युगपदेव शरैस्तां तापयत्यनुशयादिव कामः ॥५४४॥ यथा वा यस्य किंचिदपकर्तु मक्षमः कायनिग्रहगृहीतविग्रहः। कान्तवक्त्रसदृशाकृतिं कृती राहुरिन्दुमधुनापि बाधते ॥५४५॥ इन्दोरत्र तदीयता संबन्धिसंबन्धात् ॥१२९॥

pendant upon that enemy,-which action of his tends to add to the prestige of this latter,-it is called the figure ' Hostile ', ' Pratyanīka'; so called because it is ana- logical to the case of the ' substitute of an army (anīka) .-* Just as, having to fight with an army, one, through ignorance, fights with something else that appears in it- self,-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 of the head,-Rāhu even now, continues to attack the Moon, who resembles the beautiful face of Visnu '. The moon in this case, though not related directly to Vișņu, is represented as related to him indirectly-i. e., being related to the face which is directly related to Vișņu. 129.

446 KĀVYAPRAKĀŚA

समेन लक्ष्मणा वस्तु वस्तुना यन्निगूह्यते। निजेनागन्तुना वापि तन्मीलितमिति स्मृतम् ॥ १३०॥ सहजम् आगन्तुकं वा किमपि साधारणंयत् लक्षणम् तद्द्वारेण यत् किंचित् केनचिद्वस्तु वस्तुस्थित्यैव वलीयस्तया तिरोधीयते तत् मीलितमिति द्विधा स्मरन्ति॥ करमेणोदाहरणम्- अपाङ्गतरले दृशौ मधुरवक्र्वर्णागिरो विलासभरमन्थरा गतिरतीव कान्तं मुखम्। इति स्फुरितमङ्गके मृगदृशःस्वतो लीलया तदत्र न मदोदयः कृतपदोपि संलक्ष्यते ॥५४६॥ अत्र दृक्तरलतादिकमङ्गस्य लिङ्गं स्वाभाविकं साधारणं च महोदयेन तत्राप्येतस्य दर्शनात्। L. Milita-The Obscured When one thing is obscured by another, through a common characteristic, innate or adventitious,-it is the Obscured. 130. Between two things there is a certain common characteristic, which may be either (a) innate or (b) ad- ventitious ;- 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, which 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 languid, the face extremely light ;- all this has appeared naturally in the tender body of the fawn-cyed one through lasciviousness ; so that no sign of intoxication is perceptible in her body '.

CHAPTER X 447

ये कन्दरासु निवसन्ति सदा हिमाद्रेस् त्वत्पातशङ्ङितधियो विवशा द्विषस्तें । अप्य ङ्गमुत्पुलकमुद्वहतां सकम्पं तेषामहो बत भियां न बुधोप्यभिज्ञः ॥५४७॥ अत्र तु सामर्थ्यादवसितस्य शैत्यस्य आगन्तुकत्वात्तत्प्रभव- योरपि कम्पपुलकयोस्ताद्रूप्यं समानता च भयेष्वपि तयोरुप- लक्षितत्वात् ॥१३०॥ स्थाप्यतेपोह्यते वापि यथापूर्व परं परम्। विशेषणतया यत्र वस्तु सैकावली द्विधा॥ १३१॥

The tremulousness of the eyes and the other signs are natural characteristics, common to lasciviousness and intoxication,-all of them being found in the latter also. [And through these, the more powerful, i. e., better known, lasciviousness, serves to obscure, hide from view, the intoxication.] (b) [Where the obscuring is done through adventi- tious chatacteristics.]- 'When, with minds full of fear of being attacked by you, your helpless enemies are living in the caves of the Himālaya,-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 effects 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 Himālaya, serves to obscure the other thing, fear.] 130

448 KĀVYAPRAKĀŚA

पूर्व पूर्व प्रति यथोत्तरस्य वस्तुनो वीप्सया विशेषणभावेन यत् स्थापनं निषेधो वा संभवति सा द्विधा बुधैरेकावली भण्यते। कमेणोदाहरणम्- पुराणि यस्यां सवराङ्गनानि वराङ्गना रूपपुरस्कृताङ्गयः । रूपं समुन्मीलितसद्विलासमस्त्रं विलास: कुसुमायुधस्य।५४८॥ न तज्जलं यन्न सुचारुपङ्कज नपङ्कजं तद् यंदलीनषट्पदम् । च षट्पदोसौ कलगुञ्जितो न यो न गुञ्जितं तन्न जहार यन्मनः ॥५४९॥

LI-Ekāvalī-Necklace. 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. 131 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 preceding,- it is the figure which the learned call 'Necklace'; and this is of two kinds, of which the following are the res- pective examples. (a) [Where there is affirmation.]- 'The city there contained excellent women ; the excellent women were adorned with beauty ; their beauty was teeming with lasciviousness : and lasciviousness 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 ;

CHAPTER X 449

पूर्वत्र पुराणां वराङ्गनाः तासामङ्गविशेषणमुखेन रूपम् तस्य विलासाः तेषामप्यस्त्रमित्यमुना क्रमेण विशेषणं विधीयते। उत्तरत्र प्रतिषेधेप्येवं योज्यम् ॥१३१॥ यथानुभवमर्थस्य दृष्टे तत्सदृशे स्मृतिः । स्मरणम्। यः पदार्थः केनचिदाकारेण नियतः यदा कदाचित् अनु- भूतोभूत् स कालान्तरे स्मृतिप्रतिबोधाधायिनि तत्समाने वस्तुनि दृष्टे सति यत् तथैव स्मर्यते तत् भवेत् स्मरणम्।

and it is no humming which does not captivate the heart '.

In the former example (a) we have the affirmation 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 of a series of qualifications, which can be similarly explained. 131.

LII .- Smarana-Reminiscence. When on the perception of a thing similar to it, there is remembrance of an object as previously per- ceived,-it is Reminiscence. 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 just as it had been perceived before,-this would con- stitute Reminiscence.

450 KĀVYAPRAKĀŚA

उदाहरणम्- निम्ननाभिकुहरेषु यदम्भ: प्लावितं चलदृशां लहरीभिः । तद्भवैःकुहरुतैः सुरनार्यः स्मारिताः सुरतकण्ठरुतानाम् ॥५५०॥ यथा वा करजुअगहिअजसोआत्थणमुहविणिवेसिआहरपुडस्स। समरिअपञ्चजण्णस्स णमह कण्हस्स रोमाञ्चं ।५५१।।

तदिति अन्यत् अप्राकरणिकं निर्दिश्यते । तेन समानम् अर्थादिह प्राकरणिकम् आश्रीयते। तस्य तथाविधस्य दृष्टौ सत्यां यत् अप्राकरणिकतया संवेदनं स भ्रान्तिमान् ।

Example- 'When the ripples of water flowed into the decp 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 Pañchajanya Conch, at the time when he held with his hands Yashoda's breasts with his lips at the nipples '. LIII .- Bbrantiman-Illusion. When there is cognition of another thing, at the sight of a thing similar to it,-it is Illusion. 132. 'It' and the term 'anotber thing', refet to some- thing 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 ' sight', or perception of this latter, there appears

CHAPTER X 451

न चैष रूपकं प्रथमातिशयोक्तिर्वा तत्र वस्तुतो भ्रमस्या- भावात् इह च, अर्थानुगमनेन संज्ञायाः प्रवृत्तेः तस्य स्पष्टमेव प्रतिपन्नत्वात्। उदाहरणम्- कपाले मार्जार: पय इति करान् लेढि शशिनस् तरुच्छिद्रप्रोतान् बिसमिति करी संकलयति । रतान्ते तल्पस्थान् हरति वनिताप्यंशुकमिति प्रभामत्तशचन्द्रो जगदिदमहो विप्लवयति ॥५५२॥ आक्षेप उपमानस्य प्रतीपमुपमेयता तस्यैव यदि वा कल्प्या तिरस्कारनिबन्धनम् ॥ १३३॥

a cognition (idea) of it as the ' other',-i. 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 illusion, while in the present instance, the illusion 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 in the bowl, it mistakes them fot 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, madden- ed with his resplendence, deludes the whole world '. 132. LIV. Pratipa-The Converse. (a) Where there is discarding of the object com- pared to, or (b) where that object itself is treated, with a view to its being condemned, as the object compared,- it is the Converse. 133.

452 KĀVYAPRAKĀŚA

अस्य धुरं सुतरामुपमेयमेव वोढुं प्रौढमिति कैमर्थ्येन यत् उपमानमाक्षिप्यते यदपि तस्यैवोपमानतया प्रसिद्धस्य उपमा- नान्तरविवक्षयानादरार्थमुपमेयभावः कल्प्यते तत् उपमेयस्योप- मानप्रतिकूलवर्तित्वात् उभयरूपं प्रतीपम्। क्रमेणोदाहरणम्- लावण्यौकसि सप्रतापगरिमण्यग्रेसरे त्यागिनां देव त्वय्यवनीभरक्षमभुजे निष्पादिते वेधसा। इन्दुः किं घटितः किमेष विहितः पूषा किमुत्पादितं चिन्तारत्नमदो मुधैव किममी सृष्टाः कुलक्ष्माभृतः ॥५५३॥ ए एहि दाव सुन्दरि कण्णं दाऊण सुणसु वअणिज्जं। तुज्भ मुहेण किसोअरि चंदो उअमिज्जइ जणेण ।५५४।

(a) When the object compared is 'discarded ' as being superfluous, the idea being that its functions can. be easily served by the object compared itself ;- or (b), when what is known as the object compared to is treated as: the object compared, with a view to its being condemned in favour of anothet object compared to ;- these two conditions. constitute the two kinds of Converse, ' Pratīpa' ;- so called because the object compared stands here as inimical (pratikūla) to the object compared to. Examples in order- (a) 'O King, after the Creator had created you, the receptacle of beauty, endowed with supreme glory, fore- most 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

CHAPTER X 453

अत्र मुखेनोपमीयमानस्य शशिनः स्वल्पतरगुणत्वात् उपमित्यनिष्पत्त्या 'वअणिज्जं' इति वचनीयपदाभिव्यङ्गय- स्तिरस्कारः । वकचित्तु निष्पन्नैवोपमितिक्रिया अनादरनिबन्धनम्। यथा गर्वमसंवाह्यमिमं लोचनयुगलेन किं वहसि मुग्धे। सन्तीदृशानि दिशि दिशि सरस्सु ननु नीलनलिनानि।५५५॥ इहोपमेयीकरणमेवोत्पलानामनादरः। अनयैव रीत्या यत् असामान्यगुणयोगात् नोपमानभावमपि अनुभूतपूर्वि तस्य तत्कल्पनायामपि भवत प्रतीपमिति प्रत्ये- तव्यम्। यथा

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 com- parison 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 com- parison that is correctly accomplished. For instance, in the following- ' O deluded one, wherefore do you entertain bound- less 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 their being made the objects compared. 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 anything,-is represented as an object to which someth- ing is compared,-this also is to be regarded as an instance of the figure, Converse. For instance, in the following .-

454 KĀVYAPRAKĀŚA

अहमेव गुरु: सुदारुणानाम् इति हालाहल तात मा स्म दृप्यः । ननु सन्ति भवादृशानि भूयो भुवनेस्मिन् वचनानि दुर्जनानाम् ।५५६॥ अत्र हालाहलस्योपमानत्वमसंभाव्यमेवोपनिबद्धम् ।। प्रस्तुतस्य यदन्येन गुणसाम्यविवक्षया ऐकात्म्यं बध्यते योगात्तत्सामान्यमिति स्मृतम् ॥१३४॥ अतादृशमपि तादृशतया विवक्षितुं यत् अप्रस्तुतार्थेन संपृक्तमपरित्यक्तनिजगुणमेव तदेकात्मतया निबध्यते तत् समानगुणनिबन्धनात् सामान्यम् । 'O Poison, don't you, my friend, be puffed up at the idea that you are tne greatest of terrible things : verily there abound in this world the words of the wicked, which are just as tertible as yourself'. Here the Poison is represented as the object compared to, and this character of it is something entirely inconceivable. 133. LV. Samanya-Identification. Where, with a view to delineate the presence of common properties, the object described is represented as identical with another, through its connection with this latter,-it is held to be Identification. 134. When the speaket 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 quali- ties,-it is Identification, ' Sāmanya' ;- so called because it is based upon the presence of identical (samāna) properties. Example- 'The women repining for their lovers,-having

CHAPTER X 455

उदाहरणम्- मलयजरसविलिप्तनवो नवहारलताविभूषिताः सिततरदन्तपत्र कृतवक्त्ररुचो रुचिरामलांशुकाः। शशभृति विततधाम्नि धवलयति धरामविभाव्यतां गताः। प्रियवसतिं प्रयान्ति सुखमेव निरस्तभियोभिसारिकाः ॥५५७॥ अत्र प्रस्तुततदन्ययोरन्यूनानतिरिक्ततया निबद्धं धवलत्वमे- कात्मताहेतुः। अत एव पृथग्भावेन न तयोरुपलक्षणम्। यथा वा वेत्रत्वचा तुल्यरुचां वधूनां कर्णाग्रतो गण्डतलागतानि। भृङ्गा सहेलं यदि नापतिष्यन् कोवेदयिष्यन्नवचम्पकानि ॥५५८॥ अत्र निमित्तान्तरजनितापि नानात्वप्रतीतिः प्रथमप्रतिपन्नम- भेदं न व्युदसितुमुत्सहते प्रतीतत्वात्तस्य प्रतीतेश्च बाधायोगात्।

their body smeared with sandal-paint, adorned with new pearl-necklaces, their faces shining through white paint, and clothed in clean white clothes,-become un- distinguishable 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

456 KĀVYAPRAKĀŚA

विना प्रसिद्धमाधारमाधेयस्य व्यवस्थितिः । एकात्मा युगपद्ृत्तिरेकस्यानेकगोचरा ।। १३५।। अन्यत् प्रकुर्वतः कार्यमशक्यस्यान्यवस्तुनः । तथैव करणं चेति विशेषस्त्रिविधः स्मृतः ॥१३६॥ प्रसिद्धाधारपरिहारेण यत् आधेयस्य विशिष्टा स्थितिर- भिधीयते स प्रथमो विशेषः । उदाहरणम्- दिवमप्युपयातानामाकल्पमनल्पगुणगणा येषाम्। रमयन्ति जगन्ति गिरः कथमिह कवयो न ते वन्द्ाः ॥५५९॥

shake off the identity perceived before (the mention of the distinguishing bees) ; for the simple reason that this identity has been recognised, and what has been recog- nised once cannot be completely set aside. 134. LVI-Vishesa-Extraordinary.

(a) When the contained is represented as existing without its recognised container,-(b) when one thing is represented 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 described as accomplishing, in the same manner, a different thing, which (in reality) is not capable of being accomplished (by that same effort) ;- it constitutes what has been described as the figure Extraordinary with its three varieties. 135-36. (a) When the recognised container 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 Extraordinary.

CHAPTER X 457

एकमपि वस्तु यत् एकेनैव स्वभावेन युगपदनेकत्र वर्तते स द्वितीयः । उदाहरणम्- सा वसइ तुज्भ हिअए सा च्चिअ अच्छीसु सा अ वअणेस। अह्मारिसाण सुन्दर ओसासो कत्थ पावाणं ।५६०।। यदपि किंचिद्रभसेन आरभमाणस्तेनैव यत्नेनाशक्यमपि कार्यान्तरमारभते सोपरो विशेषः । उदाहरणम्- स्फुरदद्भुतरूपमुत्प्रतापज्वलनं त्वां सृजतानवद्यविद्यम्। विधिना ससृजे नवो मनोभूर्भुवि सत्यं सविता बृहस्पतिश्च।।५६१।। यथा वा

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 after the poets themselves have departed to heaven ? (b) When a single thing is described as subsisting in the same form, in several things simultaneously,-it is the second kind of the Extraordinary. Example- 'She resides in your heart, in your eyes and in your words ; where can there be any room for wretched beings like myself ?' (a) It is another kind of the Extraordinary where a person, proceeding in a hurry to do something, is des- cribed as accomplishing another thing, which is not capable of being accomplished by the same effort. Ex- . ample- 'When the Creator was creating you, with your res- plendent form, dazzling glory and flawless learning,- he actually created a new Love-god, a new Sun and a new Brhaspati on the Earth '.

458 KĀVYAPRAKĀŚA

गृहिणी सचिवः सखी मिथः प्रियशिष्या ललिते कलाविधौ। करुणाविमुखेन मृत्युना हरता त्वां बत कि न मे हृतम् ॥५६२॥ सर्वत्र एवंविधविषयेतिशयोक्तिरेव प्राणत्वेनावतिष्ठते तां विना प्रायेणालंकारत्वायोगात्। अत एवोक्तम् "सैषा सर्वत्र वक्रोक्तिरनयार्थो विभाव्यते। यत्नोस्यां कविना कार्य: कोलंकारोनया विना॥ इति॥ स्वमुत्सृज्य गुणं योगादत्युज्ज्वलगुणस्य यत्। वस्तु तद्गुणतामेति भण्यते स तु तद्गुणः ॥ १३७॥ वस्तु तिरस्कृतनिजरूपं केनापि समीपगतेन प्रगुणया स्वगुण- संपदोपरक्तं तत्प्रतिभासमेव यत्समासादयति स तद्गुणः । तस्या- प्रकृतस्य गुणोत्रास्तीति। Another example of the same- 'When cruel Death deprived me of you-who were my wife, counsellor, confidante and beloved pupil in the graceful arts,-oh ! what is there that he did not deprive me of ?' In all these cases (of the Extraordinary), artistic ex- pression 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 Bhämaha and others)-' Artistic expression is present everywhere ; 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 without this ?' 136. LVII-Tadguna,-Quality borrowing. When a thing, through contact with another possessed of extremely brilliant qualities, renounces its own quality and takes up the qualities of that other thing,-it is Quality-borrowing. 137.

CHAPTER X 459

उदाहरणम्- विभिन्नवर्णा गरुडाग्रजेन सूर्यस्य रथ्याः परितः स्फुरन्त्या । रत्नैः पुनर्यत्र रुचा रुचं स्वामानिन्यिरे वंशकरीरनीलै: ॥५६३॥ अत्र रवितुरगापेक्षया गरुडाग्रजस्य तदपेक्षया च हरिन्म- णीनां प्रगुणवर्णता।।१३७। तद्रूपाननुहारश्चदस्य तत् स्यादतद्गुणः । यदि तु तदीयं वर्णं संभवन्त्यामपि योग्यतायाम् इदं न्यूनगुणं न गृह्णीयात् तदा भवेदतद्गुणो नाम।

When a thing, on contact with another 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 because there is borrowing of the quality ('guna') of that, (' tat'), the thing other than the one described. Example- ' The sun's horses, having 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. If, however, there is no absorbing by the one from the other, it is the Non-borrowing of qualities. In a case, where the thing with inferior qualities does not absorb the form of the other thing,-even when such absorption is possible,-then it is the figur named 'Non-borrowing of Qualities '. II-11

460 KĀVYAPRAKĀŚA

उदाहरणम्- धवलोसि जहवि सुन्दर तह वि तुए मज्झ रज्जिअं हिअअं। राअभरिएवि हिअए सुहअ णिहित्तो ण रत्तोसि ॥५६४॥ अत्रातिरक्तेनापि मनसा संयुक्तो न रक्ततामुपगत इत्यतद्गुणः । किंच तदिति अप्रकृतम् अस्येति च प्रकृतमत्र निर्दिश्यते। तेन यत् अप्रकृतस्य रूपं प्रकृतेन कुतोपि निमित्तात् नानु विधीयते सोतद्गुण इत्यपि प्रतिपत्तव्यम्। यथा गाङ्गमम्बु सितमम्बु यामुनं कज्जलाभमुभयत्र मज्जतः । राजहंस तव सैव शुभ्रता चीयते न च न चापचीयते ॥५६५॥ Example- 'Though you are yourself white (fair), yet you have made my heart red (affected by love) ; but though enshrined in my heart which is full of redness (love), you have not been reddened (made to love)'. Here the expression of 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 cther than the one described, and ' asya', (the other ') for the object described ; so that the defini- tion may also be taken to mean that when, for some reason. the character of the other object is not absorbed by the bbject 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 dé- creased '.

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यद्यथा साधितं केनाप्यपरेण तदत्यथा॥१३८॥ तथैव यद्विधीयेत स व्याघात इति स्मृतः । येनोपायेन यत् एकेनोपकल्पितम् तस्यान्येन जिगीषुतया तदुपायकमेव यत् अन्यथाकरणम् स साधितवस्तुव्याहतिहेतुत्वात् च्याघातः । उदाहरणम्- दृशा दग्धं मनसिजं जीवयन्ति दृशैव याः । विरूपाक्षस्य जयिनीस्ताः स्तुवे वामलोचना: ॥५६६॥ सेष्टा संसृष्टिरेतेषां भेदेन यदिह स्थितिः ॥१३९॥ एतेषां समनन्तरमेवोक्तस्वरूपाणां यथासंभवमन्योन्यनिर-

LIX .- Vyāghāta-Frustration. When one thing, which has been accomplished, in one way, by one person, is turned otherwise in that same way, by another,-that is called ' Frustration '. One man having accomplished a certain object by a certain means,-if that same object is made, by that same means, to become otherwise, by another person,-it is the figure 'Frustration', ' Vyaghāta' ;- so called because it is based upon the frustration (vyāhati) of something that has been accomplished. Example- ' We eulogise the women who revivify, by their glances, the Love-god, who was burnt by Shiva, by his glance,-and who are thus superior to' this latter god'. LX .- Samsrsti-Collocation of Figures. When these (figures) are present, distinctly from one another, it is Collocation. 138-39. When the figures of speech described above are present,-as far as possible independently of one ano- ther,-in one substratum,-either (a) in the word or (b)

462 KĀVYAPRAKĀŚA

पेक्षतया यत् एकत्र शब्दभागे एव अर्थविषये एव उभयत्रापि वा अवस्थानम् सा एकार्थसमवायस्वभावा संसृष्टिः । तत्र शब्दालंकारसंसृष्टिर्यथा वंदनसौरभलोभपरिभ्रमद्भ्रमरसंभ्रमसंभृतशोभया। चलितया विदधे कलमेखलाकलकलोलकलोलदृशान्यया ।५६७। अर्थालंकारसंसृष्टिस्तु लिम्पतीव तमोङ्गानि वर्षतीवाञ्जनं नभः। असत्पुरुषसेवेव दृष्टिर्विफलतां गता ॥५६८।। पूर्वत्र परस्परनिरपेक्षौ यमकानुप्रासौ संसृष्टि प्रयोजयतः उत्तरत्र तु तथाविधे उपमोत्प्रेक्षे।

in the meaning or (c) in both,-it is called ' Gollocation', because it consists in the co-existence of several in one thing. (a) In the following we have the Collocation of two verbal figures of speech- ' Vadanasaurabhalobhaparibhramad- hhramarasam bhramasambhrtasbobhayā. Chalitayā vidadhe kalamekhalā kalakalo lakaloladrshānyayā." 'The sweet sound of the girdle-zone was produced by another woman, with her eyes tremulous by reason 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 sweet fragrance of her mouth'. (b) The Collocation of an Ideal and a Verbal Figure of Speech, we have in the verse- 'Limpatīva tamongāni etc.' (see above, stanza No. 417). In the former verse (a) we have the Collocation brought about by the verbal figures Alliteration and Chime, which

CHAPTER X 463

शब्दार्थालंकारयोस्तु संसृष्टिः। सो णत्थि एत्थ गामे जो एअं महमहन्तलाअण्णं। तरुणाण हिअअलूडिं परिसक्कन्तीं णिवारेइ ॥५६९॥ अत्रानुप्रासो रूपकं चान्योन्यानपेक्षे। संसर्गश्च तयोरेकत्र वाक्ये छन्दसि वा समवेतत्वात् ॥१३९। अविश्रान्तिजुषामात्मन्यङ्गाङ्गित्वं तु संकरः । एते एव यत्रात्मनि अनासादितस्वतन्त्रभावाः परस्परम् अनुग्राह्यानुग्राहकतां दधति स एषां संकीर्यमाणस्वरूपत्वात् संकरः ।

stand independent of each other ; and in the latter (b), by the two ideal figures, Simple and Poetic Fancy, stand- ing independently of each other. (c) As an example of the Collocation of a Verbal and Ideal figure of speech, we have the following- ' So natthi ettha gāme jo eam mahamahantalāaņnam. Taruņāņa hiaalu dim parisakkantīm nivārei.' ' 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 Alliteration 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. 139. LXI .- Sankara .- Commixture. (a) When, however, there is a relation of subserviency among the said figures of speech, which are incapable of independent existence by themselves,-then it is Commixture.

464 KĀVYAPRAKĀŚA

उदाहरणम्- आत्ते सीमन्तरत्ने मरकतिनि हते हेमताटङ्कपत्रे लुप्तायां मेखलायां झटिति मणितुलाकोटियुग्मे गृहीते। शोणं बिम्बोष्ठकान्त्या त्वदरिमृगदृशामित्वरीणामरण्ये राजन् गुञ्जाफलानां स्रज इति शबरा नैव हारं हरन्ति ।५७०।। अत्र तद्गुणमपेक्ष्य भ्रान्तिमता प्रादुर्भुतम् तदाश्रयेण च तृद्गुणः सचेतसां प्रभूतचमत्कृतिनिमित्तमित्यनयोरङ्गाङ्गिभावः। यथा वा

When these same figures, incapable of attaining inde- pendent existence by themselves, bear to one another the relation of helper and helped (i. e., when one helps to sustain the other), it is Commixture, '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 forest, the foresters wrest from them emerald crown-jewel, take away the golden ear-ornament, snap away the girdle-zone and quickly 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 versa ; and this comming- ling of the two figures is felt by persons possessed of poetic sensibility to be extremely charming ; and hence it is found that there is 'mutual subserviency' between the two.

CHAPTER X 465

जटाभाभिर्भाभि: करधृतकलङ्काक्षवलयो वियोगिव्यापत्तेरिव कलितवैराग्यविशदः ।

शशी भस्मापाण्डः पितृवन इव व्योम्नि चरति ॥५७१॥। उपमा रूपकम् उत्प्रेक्षा श्लेषश्चेति चत्वारोत्र पूर्ववत् अङ्गाङ्गितया प्रतीयन्ते। कलङ्क एवाक्षवलयमिति रूपकपरिग्रहे करधृतत्वमेव साधक- प्रमाणतां प्रतिपद्यते। अस्य हि रूपकत्वे तिरोहितकलङ्करूपम्

Another example of the same- ' Jatābhābhirbhābhiķ karadbrtakalańkāksabalayo Viyirāpalitriva kalitavairāgyavishadaļ Pariprenkhattārāparikarakapālānkitatale Shashī hhasmāpānduh pitrvana iva vyomni charati'. '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 dis- passion (freedom 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 four Figures, Simile, Metaphor, Poetical Fancy, and Pun appear, as in the foregoing verse, to be 'mutually subservient'. When we expound the expression ' Kalankāksabalaya' as 'Kalanka eva akşabalayam', (the black mark itself being 'the bracelet of rosary-beads "), and as such involving the figure of Metaphor,-the n the fact of ' being held in the hand (rays)' is to be regarded as the basis justifying that

466 KĀVYAPRAKĀŚA

अक्षवलयमेव मुख्यतयावगम्यते तस्यैव च करग्रहणयोग्यतायां सार्वत्रिकी प्रसिद्धिः। श्लेषच्छायया तु कलङ्कस्य करधारणम् असदेव प्रत्यासत्त्या उपचर्य योज्यते शशाङकेन केवलं कलडकस्य मूर्त्यैव उद्वहनात्। कलङकोक्षवलयमिवेति तु, उपमायां कलङ्कस्य, उत्कटतया प्रतिपत्तिः। न चास्य करधृतत्वं तत्त्वतोस्तीति मुख्येप्युपचार एव शरणं स्यात्। एवंरूपश्च संकर: शब्दालंकारयोरपि परिदृश्यते। यथा

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 'Karadhrta', '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) aided by the proximity (of the lunar disc),-since it is only on his disc that the Moon wears the black mark. If, on the other hand, the expression ' Kalankāksabalaya' is expounded as 'Kalankah askşabalayam 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). Commixture of this kind is met with between verbal figures also. As for example, in the following-

CHAPTER X 467

राजति तटीयमभिहतदानवरासातिपातिसारावनदा। गजता च यूथमविरतदानवरा सातिपाति सारा वनदा ॥५७२॥ अत्र यमकामनुलोमप्रतिलोमश्च चित्रभेदः पादद्वयगते परस्परापेक्षे। एकस्य च ग्रहे न्यायदोषाभावादनिश्चयः ॥१४०॥ द्वयोबहूनां वा अलंकाराणामेकत्र समावेशेपि विरोधात् न यत्र युगपदवस्थानम् न चैकतरस्य परिग्रहे साधकम् तदितरस्य वा परिहारे बाधकमस्ति येनकतर एव परिगृह्येत स निश्चया- भावारूपो द्वितीयः संकरः समुच्चयेन संकरस्यैवाक्षेपात् ।

' Rājati tațīyamabhihatadānavarāsātipātisārāvanada Gajatā cha yūthamaviratadānavarā sātipātì sārā vanadā.' 'This place is glorious, where the roaring of 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 thé forest '. Here Chime and the Fanciful with convertible parts, are contained in the two feet, and are dependent upon each other. (b) When there is no reason in support of, nor any objection against, the recognition of any one (to the exclusion of the likely figures), there is Uncertainty (which forms the second variety of Commisture). 140. When two or more figures of speech are found toge- ther, and by reason of incompatibility, all of them cannot be admitted simultaneously,-nor is there any reason for accepting any one of them, nor is there any objection against the exclusion of others, by virtue of which any one only could be admitted,-then there is

468 KĀVYAPRAKĀŚA

उदाहरणम्- जह गहिरो जह रअणणिब्भरो जह अ णिम्मलच्छाओ। तह किं विहिणा एसो सरसवाणीओ जलणिही ण किओ ॥५७३॥ अत्र समुद्रे प्रस्तुते विशेषणसाम्यादप्रस्तुतार्थप्रतीते: किमसौ समासोक्तिः किम् अब्धेरप्रस्तुतस्य मुखेन कस्यापि तत्सभगुणतया प्रस्तुतस्य प्रतीतेः इयमप्रस्तुतप्रशंसा इति सदेहः। यथा वा नयनानन्ददायीन्दोबिम्बमेतत्प्रसीदति। अधुनापि निरुद्धाशमविशीर्णमिदं तमः ॥५७४॥ अत्र किं कामस्योद्दीपकः कालो वर्तते इति भङ्गयन्तरेणा- भिधानात् पर्यायोक्तम्। उत वदनस्येन्दुबिम्बतया अध्यवसानात्

Uncertainty ; and this is to be regarded as the second variety of Commixture ;- 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-'Hot 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 described (the King), when what is actually described is the Ocean,-or (b) Indirect Descrip- tion, involving the recognition of the object to be described (the King), through the mention of an object not meant t be described (the Ocean), which the former resembles. :. Or, another example (of Uncertainty), in the following verse .- *4.' This disc of the moon, which is a source of joy to the eye, is shining ; and yet even now this darkness, pervading all quarters, stands unpierced '.

CHAPTER X 469

अतिशयोक्तिः किं वा। एतदिति वक्त्रं निर्दिश्य तद्रूपारोपवशात् रूपकम्। अथवा तयोः समुच्चयविवक्षायां दीपकम्। अथवा तुल्य- योगिता। किमु प्रदोषसमये विशेषणसाम्यादाननस्यावगतौ समा- सोक्तिः। आहोस्वित् मुखनैर्मल्यप्रस्तावात् अप्रस्तुतप्रशंसा इति बहूनां संदेहादयमेव संकरः। यत्र तु न्यायदोषयोरन्यरस्यावतारः तत्र एकतरस्य निश्चयात् न संशयः ॥ न्यायश्च साधकत्वम् अनुकूलता दोषोपि बाधकत्वं प्रति- कलता। तत्र Here it is Uncertain, whether what is meant is-(a) the indirect assertion of the fact that ' the time favourable fof 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 imposition of the character of the Moon upon the Face, referred to by the pronoun 'this,- thus involving the figure of Metaphor ;- or (d) the com- bination of both (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 quali- fications and the mention of the evening-time,-thus involving the figure of Modal Metaphor ;- or (g) the in- troduction of the description of the face,-thus involving the figure of Indirect Description. Thus, there being an uncertainty pertaining to several figures, this is an instance of the Uncertain Commixture. In cases where there are reasons for or against the admission of any one of the figures involved, there is certainty with regard to that one ; so that in that case there is no uncertainty.

470 KĀVYAPRAKĀŚA

सौभाग्यं वितनोति वक्त्रशशिनो ज्योत्स्नेव हासद्युतिः ।।५७५।। इत्यत्र मुख्यतया अवगम्यमाना हासद्युतिर्वक्त्रे एवानुकूल्यं भजते इत्युपमायाः साधकम्। शशिना तुन तथा प्रतिकूलेति रूपकं प्रति तस्या अबाधकता। वक्त्रेन्दौ तव सत्ययं यदपरः शीतांशुरभ्युद्यतः ॥५७६॥ इत्यत्रापरत्वमिन्दोरनुगुणं न तु वक्त्स्य प्रतिकूलमिति रूपकस्य साधकतां प्रतिपद्यते न तूपमाया बाधकताम्। राजनारायणं लक्ष्मीस्त्वामालिङ्गति निर्भरम् ॥५७७॥

The term ' nyaya' (in the text) stands for reasons for, that is, favourable to, something ; and ' dosa' for reasons against, opposed to, something. (a) In the following passage-' the brightness of the smile like moonlight, lends gracefulness to the face-moon', -what is recognised as the predominant factor is the ' brightness of smile.', and this is favourable to the des- cription 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 application of the description to the moon, also, the said circumstance (of the brightness of Simile 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

CHAPTER X 471

इत्यत्र पुनरालिङ्गनमुपमां निरस्यति सदृशं प्रति परप्रेयसी- प्रयुक्तस्यालिङ्गनस्यासंभवात् 1 पादाम्बुजं भवतु नो विजयाय मञ्जु- मञ्जीरशिज्जितमनोहरमम्बिकायाः ॥५७८॥ इत्यत्र मञ्जीरशिन्जितम् अम्बुजे प्रतिकूलम् असंभवादिति रूपकस्यबाधकम् न तु पादेनुकूलमित्युपमायाःसाधकममिधयते विध्युपमर्दिनो बाधकस्य तदपेक्षयोत्कटत्वेन प्रतिपत्तेः॥ एवमन्यत्रापि सुधीभिः परीक्ष्यम् ॥१४०॥

face being so taken ; and hence it becomes a reason for the admission of Metaphor, but not a reason against that " of Simile. (c) In the passage-' The Goddess of Wealth firmly embraces you, the King-Visnu',-the mention of 'em- bracing' excludes the Simile, as it is not possible (right) for the wife of one person to' embrace ' another who may be similar to him. (d) In the passage-' may the lotus-feet of Ambika, lovely on account. of the jingling of the anklets, ordain your victory',-the 'jingling' is unfavourable to the description applying to the lotus whose jingling 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 being favourable to its apply- ing to the feet,-because the fact of its being a negative reason against (Metaphor) is more obtrusively recognised than that of its being an affirmative reason for Simile. Similar deductions may be made by the learned in other cases also.

472 KĀVYAPRAKĀŚA

स्फुटमेकत्र विषये शब्दार्थालंकृतिद्वयम् । व्यवस्थितं च अभिन्ने एव पदे स्फुटतया. यत् उभावपि शब्दार्थालंकारौ व्यवस्थां समासादयतः सोप्यपरः संकरः। उदाहरणम् -- स्पष्टोल्लसत्किरणकेसरसूर्यबिम्ब- विस्तीर्णर्काणकमथो दिवसारविन्दम् । श्लिष्टाष्टदिग्दलकलापमुखावतार- बद्धान्धकारमधुपावलि संचुकोच ।५७९।। अत्र एकापदानुप्रविष्टौ रूपकानुप्रासौ।। तेनासौ त्रिरूपः परिकीरतितः ॥ १४१॥

(c) Also, when, in a single word, both the Verbal and the Ideal Figures of Speech are clearly manifest. 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 Commixture. Example- ' Spastollasatkiranakesarasūryabimba- Vistīrņakarņikamatho divasāravindam Shlistāst adigdalakalāpamukhāvatāra- Baddhāndhakāramadhupāvali sañchukocha'. 'The Day-lotus, with the Sun for its pericarp of which the shooting rays are the filaments,-enveloping the Night-bee embracing the eight quarters, has become con- tracted '. Here we have the Commixture of Alliteration and Metaphor in single words (in the shape of the two long compounds). Thus this (Commixture) bas been described as baving three forms. 141.

CHAPTER X 473

तदयमनुग्रा ह्यानुग्राहकतया संदेहेन एकपदप्रतिपाद्यतया च व्यवस्थितत्वात्त्रिप्रकार एव संकरो व्याकृतः । प्रकारान्तरेण तु न शक्यो व्याकर्तुम् आनन्त्यात्तत्प्रभेदानामिति प्रतिपादिताः शब्दार्थोभयगतत्वेन त्रैविध्यजुषोलंकाराः । कुतः पुनरेष नियमो यदेतेषां तुल्येपि काव्यशोभातिशय- हेतुत्वे कश्चिदलंकार: शब्दस्य कश्चिदर्थस्य कश्चिच्चोभयस्य इति चेत्। उक्तमत्र यथा काव्ये दोषगुणालंकाराणां शब्दार्थो- भयगतत्वेन व्यवस्थायामन्वयव्यतिरेकावेव प्रभवतः निमित्तान्त- रस्याभावात्। ततश्च योलंकारो यदीयान्वयव्यतिरेकावनुविधत्ते स तदलंकारो व्यवस्थाप्यते इति।

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 doubtful, and (3) where both figures manifest 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 of positive and negative concomitance ; as

474 KĀVYAPRAKĀŚA

एवं च यथा पुनरुक्तवदाभास: परंपरितरूपकं चोभयोर्भावा- भावानुविधायितया, उभयालंकारौ तथा शब्दहेतुकार्थान्तरन्यास- प्रभृतयोपि द्रष्टव्याः । अर्थस्य तु तत्र वैचित्र्यम् उत्कटतया प्रतिभासते, इति वाच्यालंकारमध्ये वस्तुस्थितिमनपेक्ष्यव लक्षिता: ॥ . योलंकारो यदाश्रितः स तदलंकार इत्यपि कल्पनायाम् - अन्वयव्यतिरेकावेव समाश्रयितव्यौ। तदाश्रयणमन्तरेण विशिष्ट- स्याश्रयाश्रयिभावस्याभावादित्यलंकाराणां यथोक्तनिमित्त एव परस्परव्यतिरेको ज्यायान् ॥१४१।

there can be no other determining basis ; consequently a Figure of Speech is attributed to one or the other accord- ing as it is concomitant, positively as well as negatively, with that. So the Semblance of Repetition and the Conse- quential 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', especially 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 of Speech entirely on the basis of the said ' concomitance'. 141.

CHAPTER X 475

एषां दोषा यथायोगं संभवन्तोपि केचन। उक्तेष्वन्तर्भवन्तीति न पृथक् प्रतिपादिताः ॥१४२॥ तथाहि-अनुप्रासस्य प्रसिद्धयभावो वैफल्यं वृत्तिविरोध इति ये त्रयो दोषाः। ते प्रसिद्धिविरुद्धताम् अपुष्टार्थत्वम् प्रति- कलवर्णतां च यथाक्रमं न व्यतिक्ामन्ति तत्स्वभावत्वात्। क्रमेणोदाहरणम्- चक्री चक्ारपङक्ति हरिरपि च हरीन् धूर्जटिधूर्ध्वजाग्रान् अक्षं नक्षत्रनाथोरुणमपि वरुणः कूबराग्रं कुबेरः । रंहः संघः सुराणां जगदुपकृतये नित्ययुक्तस्य यस्य स्तौति प्रीतिप्रसन्नोन्वहमहिमरुचेः सोवतात्स्यन्दनो वः ॥५८०॥

Defects are possible in connection mith these (Figures) also ; but they are such as are likely to be included among these already described ; hecnce they are not dealt with separately. 142. For instance, in connection with Alliteration, three defects have been cited ( by the older writers) as specially noticeable ; these are-(1) absence of general recognition, (2) uselessness and (3) incompatibility of diction ; and these do not differ in character respectively from (1) being opposed to accepted notions, (2) Irrele- vancy and (3) Discordance of letters ; as they have the same character as these. Examples in order- (1) [Absence of General Recognition]- ' Chakrī chakrārapanktim harirapi cha barīn, dhūrjatirdhūrdhvajāgrān Akşami nakşatranāthoruņamapi varunab, kūbarāgramı kuberab Rambab sarirghab surāņām jagadupakrtaye nityayuktasya yasya Stauti pritiprasannonvahamabimarucheb sovatātsyandano vah.' II-12

476 KĀVYAPRAKĀŚA

अत्र कर्तृ कर्मप्रतिनियमेन स्तुतिः अनुप्रासानुरोधेनैव कृता न पुराणेतिहासादिषु तथा प्रतीतेति प्रसिद्धिविरोधः ॥ भण तरुणि रमणमन्दिरमानन्दस्यन्दिसुन्दरेन्दुमुखि। यदि सल्लीलोल्लापिनि गच्छसि तत् किं त्वदीयं मे ॥५८१॥ अनणुरणन्मणिमेखलमविरतशिञ्जानमञ्जुमञ्जीरम् । परिसरणमरुणचरणे रणरणकमकारणं कुरुते ॥५८२॥

'May that chariot of the Sun bent upon benefitting the world,protect you, whose line of spokes is daily recognised with pleasure by Visnu, the horses by Indra, the banners by Shiva, the wheel by the Moon, the driver Aruna by Varuna, the poles by Kubera and the speed by the hosts of gods !' The series of Agents and the Acts attributed to them here are all such as have been assumed for 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 taruņi ramanamandiramānandasyandi- · sundarendumukhi Yadi sallīlollapini gachchasi tat kim tvadīyam me Ananurananmanimekhalamaviratashiñjānamañju- mañjīram Parisaranamarunacharane raņaraņakamakā- ranam kurute.' 'O young girl, with face as bright as the joyous moon, who converse sweetly and whose feet are red ! at the time that you are going to your husband, your movement, accompanied by the tingling girdlezone and jingling anklets, produce without reason, a peculiar anxiety in my heart ;- tell me why this is so'.

CHAPTER X 477

अत्र वाच्यस्य विचिन्त्यमानं न किंचिदपि चारुत्वं प्रतीयते, इत्यपुष्टार्थतवानुप्रासस्य वैफल्यम् ॥ अकुण्ठोत्कण्ठया इति अत्र शृङ्गारे परुषवर्णाडम्बरः पूर्वोक्तरीत्या विरुध्यते इति परुषानुप्रासोत्र प्रतिकूलवर्णतव वृत्तिविरोधः ॥ यमकस्य पादत्रयगतत्वेन यमनमप्रयुक्तत्वं दोषः ॥ यथा भुजङ्गमस्येव मणिः सदम्भा ग्राहावकीर्णेव नदी सदम्भाः । दुरन्ततां निर्णयतोपि जन्तोः कर्षन्ति चेतः प्रसभं सदम्भाः ॥५८३॥

The idea expressed here is one in which, however much we ponder over it, we perceive no charm; hence the ' uselessness ' of the Alliteration is only what has been described above as 'Irrelevancy '. (3) [ Incompatibility of Diction ]- 'Akunthotkan thayac.,c.,(see above, stanza No. 207). Here, the bombast of harsh words is incompatible with the delineation of the Erotic Passion, in accordance with what has been said before (in Chapter VII) ; so that the defect of ' incompatibility of diction ' in this Allitera- tion is nothing more than the presence of 'discordant letters '. The presence of chiming in three feet of a verse, which has been mentioned as a defect in connection with Chime, is only 'opposition to usage'; e. g., in the following verse- ' Bhujang masyeva maniļ sadambhā Grāhāvakīrņeva nadī sadambhāķ Durantatānnirņayatopi jantoļ Karşanti chetaļ prasabham sadambhāļ.'

478 KĀVYAPRAKĀŚA

उपमायाम् उपमानस्य जातिप्रमाणगतन्यूनत्वम् अधिकता वा तादृशी अनुचितार्थत्वं दोषः । धर्माश्रये तु न्यूनाधिकत्वे यथा- क्मं हीनपदत्वमधिकपदत्वं च न व्यभिचरतः॥ क्रमेणोदाहरणम्- चण्डालैरिव युष्माभि: साहसं परमं कृतम् ।५८४॥ वह्निस्फुलिङ्ग इव भानुरयं चकास्ति ॥५८५॥ अयं पद्मासनासीनश्चक्र्वाको विराजते। युगादौ भगवान् वेधा विनिर्मित्सुरिव प्रजाः ॥५८६॥

' Deceitful people, though 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 object 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 Chandālas' (2) [ Inferiority in degree ]- 'The Sun is shining like a spark of fire'. (3) [ Superiority in kind]- 'This Chakravāka bird, seated on the lotus-seat, looks beautiful,-just like the revered Creator going to , create the people at the beginning of the cycle'.

CHAPTER X 479

पातालमिव ते नाभि: स्तनौ क्षितिधरोपमौ। वेणीदण्डः पुनरयं कालिन्दीपातसंनिभः ॥५८७॥ अत्र चण्डालादिभिरुपमान: प्रस्तुतोर्थोत्यर्थमेव क्दर्थत इत्यनुचिताथंता।। स मुनिर्ला्छितो मौञ्ज्या कृष्णाजिनपटं वहन्। व्यराजन्नीलजीमूतभागाश्लिष्ट इवांशुमान् ।५८८।। अत्रोपमानस्य मौञ्जीस्थानीयस्तडिल्लक्षणो धर्मः केनापि पदेन न प्रतिपादित इति हीनपदत्वम् ॥ स पीतवासाः प्रगृहीतशार्ङ्गो मनोज्ञभीमं वपुराप कृष्णः। शत ह्रदेन्द्रायुधवान्निशायां संसृज्यमानः शशिनेव मेघः ॥५८९॥ अत्रोपमेयस्य शङ्ादेरनिर्देशे शशिनो ग्रहणमतिरिच्यते इत्यधिकपदत्वम् ।।

(4) [ Superiority in degree ]- ' Thy navel is like the nether regions, thy breasts are like mountains and thy looks like the stream of the Yamunā '. In all these instances, the objects described, by being compared to the things mentioned, have been very much depreciated ; and this involves the defect of ' impropriety of meaning' (already described in Chap. VII.) In 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 connec- tion with the object compared to (the Sun), nothing (like the lightning, for instance) has been mentioned as correspond- ing 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

480 KĀVYAPRAKĀŚA

लिङ्गवचनभेदोपि उपमानोपमेययोः साधारणं चेत् धर्ममन्यरूपं कुर्यात्। तदा एकतरस्यैव तद्धर्मसमन्वयावगतेः सविशेषणस्यैव तस्योपमानत्वमुपमेयत्वं वा प्रतीयमानेन धर्मेण प्रतीयते इति प्रकान्तस्यार्थस्य स्फुटमनिर्वाहादस्य भग्नप्रक्रम- रूपत्वम्। यथा-

चिन्तारत्नमिव च्युतोसि करतो धिङमन्दभाग्यस्य मे ॥५९०॥

of any mention of the conch and other things in connec- tion 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 des- cribed as a defect of Simile),-if it bring about some di- versity 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 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- (a) 'Chintāratnamiva chyutosi karato dhin mandabhāgyasya

'You are fallen from my hands, like the Chintāmapi,- unlucky that I am !' [ where the past-participle ' chyutab' being in the masculine gender, can be construed only with the man described, and not with ' ratnam', which is in the neuter gender,[ ;- and also in the passage-(b) ' Saktavo

-CHAPTER X 481

सक्तवो भक्षिता देव शुद्धाः कुलवधूरिव ॥५९१॥ यत्र तु नानात्वेपि लिङ्गवचनयोः सामान्याभिधायि पदं स्वरूपभेदं नापद्यते न तत्रैतद्दूषणावतारः उभयथापि अस्य अनुगमक्षमस्वभावत्वात्। यथा

गुणैरनध्यैः प्रथितो रत्नैरिव महार्णवः ॥५९२। तद्वेषोसदृशोन्याभिः स्त्रीभिर्मधुरताभृतः । दधते स्म परां शोभां तदीया विभ्रमा इव ॥५९३॥

bhakşitā deva shuddhāh kulavadhūriva,-' The clean batley- meal was eaten, like pure women ',-[ where the past- participle 'bhaksitab' in the plural number cannot be construed with ' kulavadhub' in the singular.] In those cases however where, even when thete 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 pro- perty remains capable of being connected with both the objects concerned. For example, in the following pass- ages-(a) ' Gunairanarghyaib prathito ratnairiva mahārnavab' [ He is famous fot his valuable qualities, as the ocean for his gems ] [ where though the genders of the nouns 'ratnaih' and ' gunaib' are different, yet that does not make any difference in the form of the connected word 'prathitab'] ;- or in the passage-(b) 'Tadveso' sadrshonya- bhib strībhirmadhuratābbrtab dadhate sma parām shobhār iadīyā vibhramā iva'-Her apparel was lovely as her graces, sweet and unequalled by other women' ; [ where the compounds, ending with 'sadrshab' and 'bhrtah' are such as can be made applicable to both nouns ' vesah', singular and ' vibhramab', plural.]

482 KĀVYAPRAKĀŚA

कालपुरुषविध्यादिभेदेपि न तथा प्रतीतिरस्खलितरूपतया विश्रान्तिमासादयतीत्यसावपि भग्नप्रक्रमतयैव व्याप्तः। यथा अतिथिं नाम काकुत्स्थात् पुत्रमाप कुमुद्वती। पश्चिमाद् यामिनीयामात् प्रसादमिव चेतना ।५९४।। अत्र चेतना प्रसादमाप्नोति न पुनरापेति कालभेदः । प्रत्यग्रमज्जनविशेषविविक्तमूर्तिः कौसुम्भरागरुचिरस्फुरदंशुकान्ताः । विभ्राजसे मकरकेतनमर्चयन्ती बालप्रबालविटपप्रभवा लतेव ।५९५।। Diversity in Tense, Person, and the Imperative and other endings interferes with the clear comprehension of the idea ; so that this also would be included under 'Broken Uniformity'. For example, in the passage- ' Atithim nāma kākutsthāt putramapa kumudvatī, pashchimad yāminīyāmāt prasādamiva chetanā'-' Kumudvatī obtained from Kakutstha, the son named ' Atithi'-just as Intellect obtains enlightenment 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- ' Pratycgramien ses"ir ktomErtib kausumbharāgaruchirasphuradamshukāntā vibhrājase makaraketanamarchu yantī bālaprabālavitapaprabbuvā lateva', 'Having the body brightened by a fresh bath and clothed in a dress coloured red with Kusumbba, while . thou art worshipping the Love-god, thou shinest like a creeper growing out of the branch of a tree with fresh leaves',-the proper verb with 'lata' would have been ' vibhrajate', in the third person ; and as this would

CHAPTER X 483

अत्र लता विभ्राजते न तु विभ्राजसे इति संबोध्यमाननिष्ठस्य परभागस्य असंबोध्यमानविषयतया व्यत्यासात् पुरुषभेदः । गङ्गेव प्रवहतु ते सदैव कीर्ति: ॥५९६॥ इत्यादौ च गङ्गा प्रवहति न तु प्रवहतु इति अप्रवृत्तप्रवर्त- नात्मनो विधेः। एवंजातीयकस्य चान्यस्यार्थस्य उपमानगतस्या- संभवाद्विध्यादिभेदः ॥ ननु समानम् उच्चारितं प्रतीयमानं वा धर्मान्तरमुपादाय पर्यवसितायाम् उपमायाम् उपमेयस्य प्रकृतधर्मामिसंबन्धान्न कश्चित्कालादिभेदोस्ति। यत्राप्युपात्तेनैव सामान्यधर्मेण उपमा अवगम्यते यथा "युधिष्ठिर इवायं सत्यंवदति" इतितत्र युधिष्ठिर

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 ' Gangevā pravahatu te sadaiva kīrtih'- 'May your reputation flow on for ever like the Ganga'- the form of the verb applicable to 'Ganga' would be ' pravahati' and not ' provahatu' ; 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 of them are not applicable to the object compared to. An objection is raised-" As a matter of fact, the con- ditions of the Simile are fulfilled when a property common to the two objects has been comprehended, either as ex- pressed by the words uttered or implied ; and when the

484 KĀVYAPRAKĀŚA

इव सत्यवाद्ययं सत्यं वदतीति प्रतिपत्स्यामहे। सत्यवादी सत्यं वदतीति च न पौनरुक्त्यम् आशङ्कनीयम् रैपोषं पुष्णातीतिवत् युधिष्ठिर इव सत्यवदनेन सत्यवाद्ययमित्यर्थावगमात्। सत्यमेतत् किं तु स्थितेषु प्रयोगेषु समर्थनमिदं न तु सर्वथा निरवद्यम् प्रस्तुतवस्तुप्रतीतिव्याघातादिति सचेतस एवात्र प्रमाणम् । असादृश्यासंभवावप्युपमायाम् अनुचितार्थतायामेव पर्यवस्यतः ।

object compared is found to be possessed of this propetty, there is nothing objectionable in any diversity that there may be as regards the tense and other details. Even in cases 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 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 ' raipoşam pusnāti', 'he develops with the development of wealth ". All this is quite true. But this can be a justification only for such expressions as are actually found in standard works ; but such usage cannot be règarded as entirely unobjectionable ; for in reality it does mar the due com- prehension 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

CHAPTER X 485

यथा ग्रथ्नामि काव्यशशिनं विततार्थरश्मिम् ॥५९७॥ अत्र काव्यस्य शशिना अर्थानां च रश्मिभिः साधर्म्यं कुत्रापि न प्रतीतमित्यनुचितार्थत्वम्। निपेतुरास्यादिव तस्य दीप्ता: शरा धनुमेण्डलमध्यभाजः । जाज्वल्यमाना इव वारिधारा दिनार्धभाज: परिवेषिणोर्कात् ॥५९८।। अत्रापि ज्वलन्त्योम्बुधाराः सूर्यमण्डलात् निष्पतन्त्यो न संभवन्तीत्युपनिबध्यमानोर्थोनौचित्यमेव पुष्णाति ।। उत्प्रेक्षायामपि संभावनं ध्रुवेवादय एव शब्दा वक्तुं सहन्ते न यथाशब्दोपि केवलस्यास्य साधर्म्यमेव प्रतिपादयितुं पर्याप्त- त्वात् तस्य चास्यामविवक्षितत्वादिति तत्राशक्तिरस्यावाचकत्वं दोष: । यथा 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 solar disc' 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

486 KĀVYAPRAKĀŚA

उदयौ दीर्घिकागर्भान्मुकुलं मेचकोत्पलम् । नारीलोचनचातुर्यशङ्कासंकुचितंय था ।५९९।। उत्प्रेक्षितमपि तातत्विकेन रूपेण परिवर्जितत्वात् निरुपाख्य- प्रख्यम्। तत्समर्थनाय यत् अर्थान्तरन्यासोपादानम् तत् आलेख्य- मिव गगनतलेत्यन्तमसमीचीनमिति निर्विषयत्वमेतस्य। अनुचि- तार्थतव दोषः । यथा

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 in- tended to be expressed in Poetical Fancy. Hence when- ever the assumption involved in this latter figure is ex- pressed by 'yatha' or some such word, it involves the defect of 'In-expressiveness'. For example, in the following verse,- . ' The tender lotus-bud rose from amidst the tank,- shut up as being afraid of the superior elegance of the girl's eyes' ;- [where the term ' yatha', 'as', is not ex- pressive of the idea of 'as it were', which is what the Poetic Fancy requires ]. Another defect attributed to the Figure of Poetic 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-

:CHAPTER X 487

दिवाकराद्रक्षति यो गुहासु लीनं दिवा भीतमिवान्धकारम् । क्षुद्रेपि नूनं शरणं प्रपन्ने ममत्वमुच्चैः शिरसामतीव ॥६००॥ अत्राचेतनस्य तमसो दिवाकरात्त्रास एव न संभवतीति कुत एव तत्प्रयोजितमद्रिणा परित्राणम्। संभावितेन तु रूपेण प्रतिभासमानस्यास्य न काचिदनुपपत्तिरवतरतीति व्यर्थ एव तत्समर्थनायां यत्नः । साधारणविशेषणवशादेव समासोक्तिरनुक्तमपि उपमान- विशेषं प्रकाशयतीति तस्यात्र पुनरुपादाने प्रयोजनाभावात् अनु- पादेयत्वं यत् तत् अपुष्टार्थत्वं पुनरुक्तं वा दोषः । यथा

'Who, during the day, protects, from the sun, Dark- ness, which, is as it were, afraid and hidden among the caves : Persons with magnanimity (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 imaginary 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 state- ment (by means of 'Transition ") is entirely unnecessary. Another defect attributed to the figure of Modal Metaphor is 'anupādeyatva', '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,

488 KĀVYAPRAKĀŚA

स्पृशति तिग्मरुचौ ककुभः करैर्दयितयेव विजृम्भिततापया । अतनुमानपरिग्रहया स्थितं रुचिरया चिरयापि दिनश्रिया ॥६०१॥ अत्र तिग्मरुचे: ककुभां च यथा, सदृशविशेषणवशेन व्यक्ति- विशेषपरिग्रहेण च नायकतया नायिकात्वेन च व्यक्तिः, तथा ग्रीष्मदिवसश्रियोपि प्रतिनायिकात्वेन भविष्यतीति कि दयित- येति स्वशब्दोपादानेन ॥। श्लेषोपमायास्तु स विषयः यत्रोपमानस्योपादानमन्तरेंण साधारणेष्वपि विशेषणेषु न तथा प्रतीतिः। यथा

is the same as the defect of either ' Irrelevancy 'or ' Tauto- logy' (already described under chapter VII). For example, in the following verse,- ' Sprshati tigmaruchau kakubhab karair Dayitayeva vijrmbhitatāpayā Atanumānaparigrahayā sthitam Ruchirayā chirayāpi dinashriyā'. 'On the sun touching the quarters with his hands (rays), day-light oppressed with grief (heat), continued to be indignant 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 ' dayitaya" 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

CHAPTER X 489

स्वयं च पल्लवानर भास्वत्करविराजिता । प्रभातसंध्येवास्वापफललुब्धेहितप्रदा ॥।६०२।। इति॥। अप्रस्तुतप्रशंसायामपि उपमेयम् अनयैव रीत्या प्रतीतं न पुनः प्रयोगेण कदर्थतां नेयम्। यथा आहूतेषु विहंगमेषु मशको नायान् पुरो वार्यते मध्येवारिधि वावसंस्तृणमणिर्धत्ते मणीनां रुचम् । खद्योतोपि न कम्पते प्रचलितुं मध्येपि तेजस्विनां धिक् सामान्यमचेतनं प्रभुमिवानामृष्टतत्त्वान्तरम् ॥६०३।। अत्र अचेतनस्य प्रभोरप्रस्तुतविशिष्टसामान्यद्वारेणाभि- व्यक्तौ न युक्तमेव पुनः कथनम्॥

common properties, the Simile is not comprehended, unless the object compared to is also mentioned. For example, in the verse,-' Svayañcha pallavātāmra etc. etc.' (See above, stanza No 377), [ 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 comprehended in the same manner (i. 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 unintelligent and indiscriminate classificaticn, 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 des- cribed,-it was not right to mention him by name.

49€ KĀVYAPRAKĀŚA

तदेतलंकारदोषा: यथासंभाविनोन्येप्येवंजातीयकाः पूर्वोक्तयैव दोषजात्या अन्तर्भाविताः न पृथक् प्रतिपादनमर्ह- न्तीति संपूर्णमिदं काव्यलक्षणम् ॥१४२॥ इत्येष मार्गो विदुषां विभिन्नोप्यभिन्नरूपः प्रतिभासते यत्। न तद्विचित्रं यदमुत्र सम्यग्विनिर्मिता संघटनैव हेतुः ।१॥

इति काव्यप्रकाशेर्थालंकारनिर्णयो नाम दशम उल्लासः। । समाप्तश्चायं काव्यप्रकाशः ।' । समाप्तोयं ग्रन्थः ।

Thus it is found that the defects that have been attri- buted (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 142. Thus is the Exposition of Poetry concluded. That this high-way (of Rhetoric), though divergent, through the agency of learred writers, yet appears to be one, is nothing strange ; as the reason for this lies in a propeily 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.]

Thus ends Chapter X of the Kāvyaprakāsha dealing with Ideal Figures of Speech

END

Alphabetical Index of Sanskrit Terms

Pages अकाण्डे छेद: (दोष) (Untimely Interruption) 284 अकाण्डे प्रथनं (दो०) (Untimely Introduction) 284 . अकमता (दो०) (Absence of Uniformity) 239 अगढव्यङ्गम् (Explicit Suggestion) 28, 120 अङ्गस्यातिविस्तृतिः (दो०) (Profuse Description of the Subordinate Element) 285 अङ्गाङ्गिभावः संकरः (अलंकार) (Commixture) 463 अङ्गिनोऽननुसंधानं (दो०) (Neglect of the Principal Element) 285 अतद्गुण: (अ०) (Non-borrowing of Qualities) 459 अतिशयोक्ति: (अ०) (Hyperbole) 390 अत्यन्ततिरस्कृतवाच्यध्वनि: (Suggestion wherein the .. Expressed Meaning is altogether neglected) .. 48 अधमकाव्यम् (Third Class Poetry) 7 अधिकम् अ० (The Exceeding) 443 अधिकपदता (दो०) (Redundant Word) 216 अधिकपदता क्वचिद्गुणः 275 अनङ्गस्याभिधानं (दो०) (Celebration of an Unim- portant Object) 288 अनन्वयः (अ०) (Comparison Absolute) 365 अनभिहितवाच्यता (दो०) (Omission of a Neces- sary Statement) 225 अनवीकृतत्वं (दो०) (Monotony) .. 250 अनियमे सनियम: (दो०) (Specification of the Un- specifiable) 250 अनुकरणे सर्वेषामदोषता (No Defect in Imitation) 263 अनुचितार्थता (दो०) (Improper Significance) 169 अनुप्रासः (अ०) (Alliteration) 219

492 KĀVYAPRAKĀŚA

Pages अनुप्रासशोषा: तेषामुक्तेष्वन्तर्भावश्च (Defects in Al- literation) 477 अनुभावस्य कष्टकल्पना (दो०) (Far-fetched Significa- tion of the Ensuant) 282 अनुमानं (अ०) (Inference) 421 अनुवादायुक्तता (दो०) (Improper Adjunct) 433 अन्योन्यम् (अ०) (Reciprocal) 216 अपदयुक्तता (दो०) (Misplaced) .. 254 अपराङ्गव्यङ्गयम (Subservient to something else) .. 121 अपह्नति (Concealment) 377 अपुष्टार्थता (Irrelevancy) 242 अप्रतीतत्वं (दो०) (Unintelligibility) 175 अप्रतीतत्वं क्वचिद्गुणः 271 अप्रयुक्तता (दो०) (Non-usage) .. 168 अप्रयुक्तता क्वचित् न दोषः 268 अप्रयुक्ततादीनां पृथगुक्तिबीजम् 207 अप्रस्तुतप्रशंसा (अ०) (Indirect Description) 383 अप्रस्तुतप्रशंसाभेदाः .. 383 अप्रस्तुतप्रशंसाया: दोषः, तस्योक्तेऽन्तर्भावश्च .. 489 अभवन्मतयोग: (दो०) (Want of Intended Con- nection) 219 : अभिधाविचार: (Denotation) 17 अमतपरार्थता (दो०) (Undesirable Second Inten- tion) 241 अर्थगुणास्वीकार: (Non-acceptance of Excellences of Meaning) 311 अर्थचित्रस्वरूपम् (Fanciful Meaning) 161 अर्थचित्रस्य बहुभेदता (Many Forms of Fanciful Meaning) .164 अर्थचित्रोदाहरणम (Example of Fanciful Meaning) .. 163 अर्थदोषा: (Defects of Sense) 241 अर्थभेदा: (Kinds of Meaning) 9

INDEX 493

Pages अर्थव्यक्तिः (अर्थगुण:) (Expression of Meaning as belonging to Meaning) .. 310 अर्थव्यक्ति: (शब्दगुणः) (Expression of Meaning as belonging to Words) 311 अर्थव्यञ्जकता (Suggestion belonging to Meanings) 10 अर्थव्यञ्जकतायां शब्दस्य साहाय्यम् (Help of Words in the Suggestiveness of Meanings) .. 39 अर्थशक्त्चुत्थध्वनिविभाग: (Divisions of Sugges- tion based on power of Meaning) 82 अर्थशक्त्युत्थध्वनिप्रभेदानामुदाहरणानि (Examples of Suggestion based on the power of Mean- ings) .. 82 अर्थशकत्युत्थध्वनिप्रभेदानां प्रबन्धगतत्वम् (Do. occut- ring in context) 103 अर्थान्तरन्यासः (अ०) (Transition) 406 अर्थान्तरसंक्रमितवाच्यध्वनिः (Suggestion where the Expressed Meaning is transferred to an- other) 48 अर्थान्तरँकवाचकता (दो०) (Isolation of an Expres- sive Word) 219 अलक्ष्यक्रमव्यङ्गय्ध्वनिः (Process of Suggestion where the order of sequence is imper- ceptible) 50 अलङ्कारदोषाणामुक्तेष्वन्तर्भावः 475 अलङ्कारलक्षणम् (Definition of Figure of Speech, 301 अलड्काराणां शब्दार्थगतत्वे नियामकम् (Grounds of dis- tinguishing Figures into Verbal and Ideal) .. 336, 473 अवाचकता (दो०) (Inexpressiveness) 170 अविमृष्टविधेयांशत्वं (दो०) (Suppression of the - .Predicate) 177

494 KĀVYAPRAKĀŚA

Pages अविवक्षितवाच्यध्वनिः (Suggestion where the Ex- pressed Meaning is incompatible .. 48 अविशेषे विशेषः (दो०) (Restriction of the Un- restrictable) 252 अश्लीलता (दो०) (Indecorousness of Word) 173 अश्लीलता क्वचिद्गुण: 269 अश्लीलार्थता (दो०) (Indecorousness of Mean- ing) 270 सङ्गतिः (अ०) (Disconnection) 437 असङ्गतेविरोधादभेद: (Difference between Discon- nection and Contradiction) 438 असमर्थता (दो०) (Incapability of giving Sense) 168 असुन्दरव्यङ्गयम् (Non-beautiful Suggestion) 132 अस्थानस्थपदता (दो०) (Misplaced Word) 227 अस्थानस्थसमासता (दो०) (Misplaced Compound) 228 अस्थानसमासता क्वचिद्गुण: 278 अस्फुटव्यङ्गयम् (Abstruse Suggestion) 129 आक्षेपः (अ०) (Hint) 402 आर्थी उपमा (अ०) (Indirect Simile) 351 आर्थो व्यञ्जना (Suggestiveness of Meanings) 40 उत्तमकाव्यम् (First Class Poetry) 5 उत्तरम् (अ०) (Reply) 434 उत्तरस्य नान्यस्मिन्नन्तर्भावः . . 434 उत्प्रेक्षा (अ०) (Poetic Fancy) 366 उत्प्रेक्षादोष:, तस्योक्तेऽन्तर्भावश्च 366 उदात्तम् (अ०) (The Exalted) .. .. .. 419 उदारता (अर्थगुणः) (Fanciful Grouping-of Meanings) 311 उदारता (शब्दगुणः) (Fanciful Grouping-of Words) 311 उद्देश्यप्रतिनिर्द्देश्यस्थले कथितपदस्यादुष्टता 233

INDEX 495

Pages उपनागरिका (रीतिः) 321 उपमा (अ०) (Simile) 349 उपमादोषा:, तेषामुक्तेष्वन्तर्भावश्च 478 उपमानस्य आधिक्ये न व्यतिरेक: 396 उपमायां कालादिभेददोषः 482 उपमायां कालादिभेदस्य क्वचित् अदोषत्वम् 483 उपमायां लिङ्गवचनभेददोषः 482 उपमायां लिङ्गवचनभेदस्य अदोषता 483

उपमाया : पञ्चविशतिविधित्वम् (Iwenty-five Forms of Simile) 363 उपमेयोपमा (अ०) (Reciprocal Comparison) 365 उपहतविसर्गता (दो०) (Bluntedness of Visarga) 210 उपादानलक्षणा (Inclusive Indication) 19

एकावली (अ०) (Necklace) 447 ओजोगुणलक्षणम् (Floridity defined) 306

ओजोगुणस्य व्यञ्जका: (Letters Suggestive of Floridity) 312 कथितपदत्वम् (दो०) (Repetition of Words) 217 कथितपदत्वस्य गुणता 233, 276 कर्णावतंसादिपदे न पौनरुक्त्यदोषः 258 कष्टार्थता (दो०) (Obscurity of Sense) 243

काक्वाक्षिप्तव्यङ्गयम् (Suggestion manifested by Emphasis) 131 कान्ति: (Brilliancy) 308 कारणमाला (अ०) (String of Causes) 431 का्व्यलिङ्गम् (अ०) (Poetical Reason) 416 काव्यस्य कारणम् (Cause of Poetry) 3 काव्यस्य प्रयोजनम् (Effects of Poetry) 2

काव्यस्य स्वरूपम (Definition of Poetry) 4 कोमला (रीतिः) (Softness of Diction) 321 क्लिष्टता (दो०) (Obscurity of Word) 177

496 KĀVYAPRAKĀŚA

Pages खङ्गबन्धः (अ०) .. 344 गर्भितत्वम् (दो०) (Parenthetical) .. 230 गभितत्वं क्वचिद्गुणः 278 . . .. गुणलक्षणम् (Definition of Excellence or Dic- tion) 299 गुणविभाग: (Forms of Excellence) 305

गुणानां रसधर्मत्वम् (Excellences belong to the Rasa) 299 गुणालङ्गारयोरभेदः (Difference between Excellence and Figure) 303 गुणीभूतव्यङ्गयकाव्यम् (Poetry of Subordinate Suggestion) 7,119 गुणोभूतव्यङ्गयकाव्यप्रभेदाः 119 गूढ़व्यङ्गयम् (Abstruse Suggestion) 27

गौडी (रीतिः) 322 गौणीलक्षणा (Qualitative Indication) 23 गौर्वाहीक इत्यत्र लक्ष्यार्थनिर्णयः 23 ग्राम्यत्वं (दो०) (Vulgarity of Word) 175 ग्राम्यत्वं क्वचिद्गुण: 273 ग्राम्या (रीतिः) 321 ग्राम्यार्थता (दो०) (Vulgarity of Sense) 246 चित्रम् (अ०) (The Pictorial) .. 344 चित्रकाव्यम् (Fanciful Poetry) .. 7,344 चित्रकाव्यस्य बहुभेदता 164 च्युतसंस्कार: (दो०) (Lacking Correctness) .. 166 छेकानुप्रासः (अ०) (Isolated Alliteration) .. 320 तद्गुणः (अ०) (Borrower) 458 तात्पर्यार्थ: (Import, the fourth kind of meaning) .. 9 तुल्यप्राधान्यव्यङ्गयम् (Suggestion of equal Pro- 'minence) 131 तुल्ययोगिता (अ०) (Equal Pairing) 396

INDEX 497

Pages त्यक्तपुनःस्वीकृतता (दो० ) (Resuming the Con- cluded) 257 दीपकम् (Illuminator) 394 दुष्कमत्वम् (दो०) (Irregularity). 245 दृष्टान्त: (अ०) (Exemplification) 393 दोषगुणालङ्काराणां शब्दार्थगतत्वे नियामकम् (Grounds of distinguishing Defects, Excellences and Figures into Verbal and Ideal) .. 336 दोषलक्षणम् (Definition of Defect) 165 दोषाणां क्वचित् अदोषता गुणता वा. 263 ध्वनिकाव्यम् (Suggestive Poetry) 6 ध्वनिगुणीभूतव्यङ्गययोः संकर: (Combination of Sugges- tion Poetry and Poetry of Subordinate Suggestion) 133 ध्वनर्भेदसमष्टिः (10455 Forms of Suggestive Poetry) 116 ध्वने: शुद्ध भेदस ङ्कलनम् (51 Pure Forms of Suggestive Poetry) 115 ध्वन: संसृष्टसङ्करौ 116 ध्वने: संस्सृष्टिसङ्गरादीनां संख्या (Number of Combina- tions, etc., of Suggestion : 10404) 116 ध्वनेस्त्रविध्यम् 134 निदर्शना (अ०) (Illustration) 381 निदर्शना अन्यविधा (अ०) (Another Form of Illustration) 382 निरर्थकत्वम् (दो०) (Useless or Redundant) 170 निर्हेतुता (दो०) (Inconsequentality) 246 निर्हेतुता क्वचित् न दोषः 263 निहतार्थता (दो०) (Suppression of Meaning) .. 169 निहतार्थता क्वचित न दोषः .. 268 नयार्थता (दो०) (Presence of such meaning as has to be guessed out) .. .. 176 न्यूनपदत्वं (दो०) (Deficiency of Word) 215

498 KĀVYAPRAKĀŚA

Pages न्यूनपदत्वं क्वचिद्गुणः 273 न्यूनपदत्वं क्वचित् न गुणो नापि दोषः 274 पतत्प्रकर्ष: (दो०) (Receding of Excellence) 217 पतत्प्रकर्ष: क्वचिद्गुण: 277 पददोषविभाग: (Defects of Word Enumerated) 163 पददोषाणां केचित् वाक्यपदांशगता: (Some of the above applying to the Sentence) 184 पदांशगतदोषाणामुदाहरणानि (Defects in Particles of Words) 201 पद्मबन्धः (अ०) 345 परिकर: (अ०) (Insinuator) 427 परिवृत्ति: (अ०) (Exchange) .. 414 परिसङ ख्या (अ०) (Special Mention) 429 परुषा (रोतिः)-' 321 पर्यायः (अ०) (Sequence) 424 पर्यायोक्तम् (Periphrasis) 418 पाञचाली (रीतिः) 322 पुनःपुनर्दीप्तिः (दो०) (Repeated Heightening) 284 पुनरुक्तवदाभास: (अ०) (Semblance of Repetition) .. 346 पौनरुकत्यम् (दो०) (Tautophonous) 245 प्रकाशितविरुद्धता (दो०) (Disagreeable Second Entendre) 255 प्रकृतिविपर्ययः (दो०) (Perversion of Characters) .. 287 प्रतिकूलवर्णता (दो०) (Discord of Letters) .. 207

प्रतिकूलविभावादिपरिग्रहः (दो०) (Admission of Conflicting Excitants and Ensuants, etc.) .. 284 प्रतिपक्ष: (अ०) (The Hostile) .. 444 प्रतिवस्तूपमा (अ०) (Typical Comparison) 392 प्रतीपम् (अ०) (The Converse) .. 451 प्रत्यनीकम् (अ०) (Hostile) 444 प्रसादगुणलक्षणम् (Definition of Lucidity) .. .. 305-306

INDEX 499

Pages प्रसिद्धिविरोध: (दो०) (Opposed to Popular Notions) 247 प्रसिद्धिविरोधस्य क्वचित् अदोषता 247 प्रसिद्धिहतत्वम् (दो०) (Disregard of usage) 231 भग्नप्रक्रमता (दो०) (Violation of the Uniformity of Expression) 232 भाव: (Emotion Defined) 70 भावस्य उदय: (Manifestation of Emotion) 73 भावस्य शवलता (Variegation of Emotions) 73-74 भावस्य शान्ति: (Allayment of Emotion) .. 73 भावस्य शान्त्यादीनां क्वचित् प्राधान्यम् (Allayment, etc. of Emotion sometimes the Predomina- ting Element) 74 भावस्य सन्धि: (Mixture of Emotions) 73 भावाभास: (Semblance of Emotion) 73 भाविकम् (अ०) (Vision) 415 भ्रान्तिमान् (अ०) (Mistaker) 450 मङ्गलाचरणम् (Invocation) 1 मध्यमकाव्यम (Middling Poetry) 7 माधुर्यगुणस्य लक्षणम् (Sweetness of Diction Defined) 305 माधुर्यगुणस्य व्यञ्जकम् (Letters Suggestive of Sweetness) 311 मालादीपकम् (अ०) (Stringed Illuminator) 395 मालानिदर्शना (अ०) (Stringed Illustration) 382 मालारूपकम् (अ०) (Stringed Metaphor) .. 372 मालोपमा (अ०) (Stringed Simile) 363 मीलितेम् (अ०) (The Lost) 446 मुरजबन्धः (अ०) 345 यत्तत्पदयो: साकाङ़ क्षनिराकाङ क्षताविचार: 194-95 यथासङ्ख्यम् (अ०) (The Symmetrical) 405 यमकम् (अ०) (Chime) .. 324

500 KĀVYAPRAKĀŚA

Pages यमकदोषः तस्योक्तेऽन्तर्भवश्च 417 रचनाया: क्वचित् वैपरीत्यम् (Occasional Perversion of Diction, etc.) 314 रशनारूपकम् (अ०) (Girdle-Metaphor) .. 372 रशनोपमा (अ०) (Girdle-Simile) 364 रसस्वरूपम् (Definition of Rasa) 52 रसदोषविभाग: (Defects of Rasa Enumerated) 279 रसविभाग: (Rasas Enumerated) 62 रसस्य स्वशब्दवाच्यता (दो०) (Mention of the Rasa by Name) 280 रसादेः पदैकदेशरचनावर्णगतत्वम् 105 रसाभास: (Aberrations of Rasa) 72 रसोदाहरणानि (Examples of Rasas) .. 62 रूपकम् (अ०) (Metaphor) .. 369 लक्षितलक्षणा (Indicative Indication) .. .. 19 लक्षणालक्षणम् (Indication Defined) .. 17 लक्षणामूलव्यञ्जनाव्यवस्थापनम् 29 लक्षणायां प्रयोजनप्रतीति: (Comprehension of the Motive of Indication) 30 लक्षणाया: षड्विधत्वम् (Six forms of Indication) 27 लक्षणायास्त्रैविध्यम् (Three-foldness of Indication) .. 29 लाक्षणिकशब्द: (Indicative Word) 29 लक्ष्यकरमव्यङ्गयध्वनिः (Suggestion, whose Order of Sequence is Perceptible) 50 [लाटानुप्रासः (अ० ) 322 लुप्तोपमा (अ०) (Elliptical Simile) 349 लुप्तोपमाभेदा: (Different Forms of Elliptical Simile) 355 वक्तादीनां वशिष्टये व्यञ्जनोदाहरणम् (Suggestion based on speciality of Speaker etc.) 40 वकोक्ति: (अ०) (Equivoque) .. 317 वस्तुव्यङ्गचालङ्कारस्य न गुणीभूतव्यङ्गयता 119

INDEX .50

Pages वाक्यदोषा: Defects of Sentence Enumerated) .. 207 वाक्यनिष्ठपददोषाणामुंदाहरणानि (Defects of Words occurring in a Sentence) 184 .. वाचकशब्दः (The Expressive Word) 12 ..

वाच्यसिद्धयव्यङ्गयम् (The Suggested Meaning being a part of the accomplishment of the Expressed Meaning) 119 वाच्यार्थनिर्णयः (What is the Denoted Meaning?) .. 12

वामनाद्युक्तगुणालंकारलक्षणखण्डनम्- 104 वामनाद्युक्तदशविधशब्दगुणास्वीकार: 307 वामनाद्युक्तदशविदयार्थगुणास्वीकारः .. . . 307 विद्याविरोध: (दो०) (Unscientific) .. .. 248 विधेयाविमर्षः (दो०) Non-discrimination of the Predicate) 177 विध्ययुक्तता (दो०) (Improper Predication) 255 विनोकितिः (अ०) (Privative Description) 413 विप्रलम्भविभाग: (Erotic in Privation) 64 विभाव: (Excitant) 52 विभावना (अ०) (Peculiar Causation) 404 विभावस्य कष्टकल्पना (दो०) (Far-fetched Signification of the Excitant) 282 विरुद्धमतिकारिता (दो०) (Repugnant Implication in Words) 181

विरुद्धयोरपि रसयो: क्वचित् अविरोध :.. 294

विरुद्धयोरपि रसयोरेकत्र समावेशप्रकार: 293 विरुद्धरससञ्चारिभावादीनां बाध्यत्वेनोवितिर्गुणः 289 विरोध: [विरोधाभास:] (अ०) (Contradiction) 407 विरोधविभाग: (Forms of contradiction) 408 विरोधादसङ्गत्योर्भेद: (Difference between Contradiction and Disconnection) 439 विवक्षितान्यपरवाच्यध्वनिः 50 विशेष: (अ०) (Extraordinary) 456

502 KĀVYAPRAKĀŚA

Pages विशेषे अविशेष:,(दो०) (Non-specification of the Specifiable) 251 विशेषोक्ति: (अ०) (Peculiar Allegation) .. 404 विषम: (The Incongruous) 441 विसन्धि: (दो०) (Cacophony) 210 वृत्त्यनुप्रासः (अ०) 320 वैदर्भीरीतिः 322 व्यञ्जकः शब्द: (The Suggestive Word) .. 39

व्यञ्जनावृत्तिसंस्थापनम् (Arguments in favour of accepting Suggestion as a process apart from Indication and Denotation) 121 व्यतिरेक: (अ०) (Dissimilitude) 396 व्यतिरेकविभाग: (Twenty four kinds of Dissimi- litude) 397 व्यभिचारिणः स्वशब्दवाच्यत्वम् (दो०) 279 व्यभिचारिणः स्वशब्दवाच्यत्वं क्वचिन्न दोषः 288 व्यभिचारिभावा: (Accessory Emotions) 69 व्याघातः (अ०) (Frustration) 461 व्याजस्तुतिः (अ०) (Disscmbling Eulogy) 411 व्याजोक्ति: (अ०) (Artful Assertion) 428 व्याहतार्थता (दो०) (Inconsistency) 244 शब्दचित्रस्य बहवो भेदा: (Forms of Fanciful Word) 164 शब्दचित्रस्वरूपम् (Definition of Fanciful Word) 161

शब्दचित्रोदाहरणम् (Example of Fanciful Word) 162

शब्दभेदा: (Three kinds of Word) 9 शब्दशक्त्युत्थध्वनि: (Suggestion arising from the power of Word) .. 76 शब्दार्थोभयशक्त्युत्थध्वनि: (Suggestion arising from the power of both Word and Meaning) शान्तरस: (The Quietistic) 70

INDEX 503

Pages शुद्धा लक्षणा (Pure Indication) .. 19

श्रुतिकहुत्वम् (दो०) (Unmelodiousness) 166 श्लेष: (अर्थगतः) (अ०) (Ideal Paronomasia) 379 श्लेष: (शब्दगतः) (अ०) (Verbal Paronomasia) 330 श्लेषगण: (अर्थगतः) 310

11 (शब्दगतः) 309

श्लेषविचार: (Consideration of the character of Ślesha) 335

सङ्कर: (अ०) (Commixture) 463 सङ्कीर्णता (दो०) (Confusion) 229 सन्दिग्धत्वम् (दो०) (Ambiguousness) 174 क्वचिद्गुणः 271 सन्दिग्धप्राधान्यव्यङ्गयम् (Suggestion of Doubtful Predominance) 117 सन्दिग्धार्थता (दो०) (Dubiousness) 246 सन्देहसङ्कर: (अ०) (Second form of Commixture) 467 सन्धावश्लीलता (दो०) (Indecorousness in Euphony) 210 सम्भोग: (Erotic in Enjoyment) 63 संयोगादिनैकार्थनियमनम् (Causes of Suggestion) 57

संलक्ष्यत्रमव्यङ्गय्ध्वनिः (Suggestion where the order of Sequence is Perceptible) 76 संसृष्टि (अ०) (Collocation) 461

सनियमेऽनियम: (दो०) (Non-restriction of the Restrictable) 251 समता (अर्थगुण:) 308

समता (शब्दगुणः) 308 समम् (अ०) (Equal) 440 समाघि: (अ०) (Convenience) 439 (अर्थगुणः) 310 (शब्दगुण:) 308

504 KĀVYAPRAKĀŚA

Pages समाप्तपुनरात्तता (दो०) ( Resuming the Con- cluded) 218 * क्वचिन्न दोषो न गुणः 278 समासोक्ति: (अ०) (Model Metaphor) 380 सभासोक्तिदोषः तस्योक्तेष्वन्तर्भावश्च 487 समुच्चय: (अ०) (Conjunction) .. 420 सर्वतोभद्रम् .. '345 सन्देहः (अ०) (Dubious) 367 सहचरभिन्नता (दो०) (Mismatched Associates) 255 सहोक्ति: (अ०) (Connected Description) 412 साकाङक्षता (दो०) (Incompleteness) 253 साध्यवसानालक्षणा (Intto-susceptive Indication) 22 सामान्यम् (अ०) (Sameness) 454 सार: (अ०) (Climax) 437 सारोपालक्षणा (Superimponent Indication) 22 सूक्ष्मम् (अ०) (Subtle) 436 सौकुमार्यम् (अर्थगुण:) .. 309 (शब्दगुण:) 308 स्थायिन: स्वशब्दवाच्यत्वम् (दो०) (Mention by name of Permanent Emotions) 281 स्थायिभावा: (Permanent Emotions) 68 स्मरणम् (अ०) (Reminiscence) 449 स्वभावोक्ति: (अ०) (Natural Description) 411 हतवृत्तता (दो०) (Marred metre) .. 412

Appendices Prepared under the direction of Prof. S. M. Mukhopadhyaya.

APPENDIX A

Sanskrit Versions of Prakrit Verses

P. 10, L. 3 मातगृ होपकरणमद्य खलु नास्तीति साधितं त्वया। तद्भण किं करणीयमेवमेव न वासरः स्थायी॥ ६॥ P. 10, L. 7. साधयन्ती सखि सुभगं क्षणे क्षणे दूनाडसि मत्कृते। सद्भावस्नेहकरणीयसदृशकं तावद्विरचितं त्वया॥७॥ P. 11, L. 4. पश्य निश्चलनिष्पन्दा विसिनीपत्रे राजते बलाका। निर्मलमरकतभाजनपरिस्थिता शंखशुक्तिरिव ॥। ८॥। P. 38, L. 2. एतावन्मात्रस्तनिका एतावन्मात्राभ्यामक्षिपत्राभ्याम् । एतावन्मात्रावस्था एतावन्मात्रैदिवसैः ॥११।। P. 41, L. 3. अतिपृथुलं जलकुम्भं गृहीत्वा समागतास्मि सखि्र त्वरितम् । श्रमस्वेदसलिलनिः्वासनिःसहा विश्राम्यामि क्षणम् ॥१३॥ P. 41, L. 6. औन्निद्रयं दौर्बल्यं चिन्तालसत्वं सनिःश्वसितम् । मम मन्दभागिन्या: कृते सखि त्वामप्यहह परिभवति ॥१४॥ P. 43, L. 1. तदा मम गण्डस्थलनिमग्नां दृष्टिं नानैषीरत्यत्र । इदानीं सैवाहं तौ च कपोलौ न च सा दृष्टिः ॥१६।। P. 44, L. 2. नुदत्यनाद्रमना: इवश्रूर्मां गृहभरे सकले। क्षणमात्रं यदि संध्यायां भवति न वा भवत विश्रामः ॥।१८।। P. 44, L. 5. श्रयते समागमिष्यति तव प्रियोऽद्य प्रहरमात्रेण । एवमेव किमिति तिष्ठसि तत् सखि सज्जव करणीयम् ॥१९॥ P. 45. L. 6. गुरुजनपर वश प्रिय किं भणामि तव मन्दभागिनी अहकम्। अद्य प्रवासं व्रजसि व्रज स्वयमेव श्रोष्यसि करणीयम् ॥२१॥ P. 80, L. 3. पथिक नात्र स्रस्तरमस्ति मनाक् प्रस्तरस्थले ग्रामे। उन्नतपयोधरं प्रेक्ष्य यदि वससि तदा वस ॥५८॥ P. 82, L. 4. अलसशिरोमणिर्धूर्तानामग्रिमः पुत्रि धनसमृद्धिमयः । इति भणितेननताङ्गी प्रफुल्लविलोचना जाता।६०।। P. 84, L. 9. केशेषु बलात्कारेण तेन च समरे जयश्रीगृ हीता। यथा कन्दराभिविधुरास्तस्य दृढं कण्ठे संस्थापिता ।६५॥ P. 85, L. 6. गाढालिङ्गनरभसोद्यते दयिते लघु समपसरति। मनस्विन्याः मानः पीडनभीत इव हृदयात् ॥६६।।

iv KĀVYAPRAKĀSA

P. 86. L. 1. या स्थविरमिव हसन्ती कविवदनाम्बुरुहबद्धविनिवेशा। दर्शयति भुवनमण्डलमन्यदिव जयति सा वाणी।६७।। P. 86. L. 6. ये लड्गागिरिमेखलासु स्लिताः संभोगखिन्नोरगी- स्फारोत्फुल्लफणावलीकवलने प्राप्ता दरिद्रत्वम् । त इदानीं मलयानिला विरहिणीनिः्वाससंपर्किणो जाता झटिति शिशुत्वेऽपि बहलास्तारुण्यपूर्णा इव ।६८।। P. 87, L. 3. सखि विरचय्य मानस्य मम धीरत्वेनाश्वासम् । सहसेति तेनापसृतम् ॥६९। P. 87, L.7.' आर्द्रार्द्रकरजरदनक्षतैस्तव लोचनयोर्मम दत्तम् । रक्तांशुकं प्रसादः कोपेन पुनरिमे नाकान्ते॥७०॥। P. 88, L. 4. महिलासहस्त्रभरिते तव हृदये सुभग सा अमान्ती। अनुदिनमनन्यकर्मा अङ्गं तनुकमपि तनयति॥७१॥ P. 92, L. 5. खलव्यवहारा दृश्यन्ते दारुणा यद्यषि तथापि धीराणाम् । हृदयवयस्यबहुमता न खलु व्यवसाया विमुह्यन्ति ॥७४॥ P. 97, L.1. तव वल्लभस्य प्रभात आसीदधरो म्लानकमलदलम् । इति नववधू: श्रुत्वा करोति वदनं महीसंमुखम्।।८३।। P. 97, L. 6. रात्रीषु चन्द्रधवलासु ललितिमास्फाल्य यश्चापम् । एकच्छत्रमिव करोति भुवनराज्यं विजुम्भमाण:।।८४।। P. 98, L. 8. वार्यमाणोऽपि पुनः संतापकदर्थतेन हृदयेन। स्तनभरवयस्येन विशुद्धजातिर्न चलत्यस्या हारः।८६।। P. 99, L. 2. स मुग्धश्यामलाङ्गो धम्मिल्ल: कलितललितनिजदेहः। तस्या: स्कन्धाद्वलं गृहीत्वा स्मर: सुरतसंगरे जयति॥८७॥ P. 99, L. 8. नवपूर्णिमामृगा डस्य सुभग कस्त्वमसि भण मम सत्यम् । का सौभाग्यसमग्रा प्रदोषरजनीव तवाद्य ॥८८॥। P. 100, L. 3. सखि नवनिधुवनसमरेऽङ्कपालीसख्या निबिडया। हारो निवारित एवोच्छ्रियमाणस्ततः कथं रमितम्॥८९॥ P. 101, L. 1. प्रविशन्ती गृहद्वारं विवलितवदना विलोक्य पन्थानम्। स्कन्धे गृहीत्वा घटं हा हा नष्ट इति रोदिषि सखि किमिति॥९०॥ P. 101, L. 6. विशुङखलां त्वां सखि दृष्टवा कुटेन तरलतरदृष्टिम् । द्वारस्पशमिषेण चात्मा गुरुक इति पातयित्वा विभिन्नः॥९१।। P. 102, L. 3. ज्योत्स्नया मधुरसेन च वितीर्णतारुण्योत्सुकमनाः सा। वृद्धापि नवोढेव परवधूरहह हरति तव हृदयम् ॥९२।

APPENDIX A

P. 105, L. 6. रतिकेलिहृतनिवसनकर किसलयरुद्धनयनयुगलस्य । रुद्रस्य तृतीयनयनं पार्वतीपरिचुम्बितं जयति॥९७॥ P. 108, L. 6. ग्रामर्हास्मि ग्रामे वसामि नगरस्थिति न जानामि । नागरिकाणां पतीन् हरामि या भवामि सा भवामि ॥१०१॥ P. 109, L. 5. तेषां गुणग्रहणानां तासामुत्कण्ठानां तस्य प्रेम्नः । तासां भणितीनां सुन्दर ईदृशं जातमवसानम्॥१०२॥ P. 117, L.2. क्षणप्राघुणिका देवर जायया सुभग किमपि ते भणिता । रोदिति गृहपश्चाद्भागवलभीगृहेऽनुनीयतां वराकी॥१११॥ P. 132, L. 2. वानीर कुञ्जोड्डीनशकुनिकोलाहलं श्रृण्वन्त्या: । गृहकर्मव्यापृताया वध्वा: सीदन्त्यङ्गानि ॥१३२॥ P. 151, L. 4. कस्य वा न भवति रोषो दृष्टवा प्रियाया सव्रणमधरम्। सभ्रमरपद्माघ्रायिणि वारितवामे सहस्वेदानीम् ॥१३५॥ P. 154, L. 6. श्वश्रूरत्र निमज्जति अत्राहं दिवसके प्रलोकय। मा पथिक रात्र्यन्धक शय्यायामावयोर्निमङक्ष्यसि ॥१३६॥ P. 156, L. 3. विपरीतरते लक्ष्मीर्ब्रह्माणं दृष्टवा नाभिकमलस्थम्। हरेर्दक्षिणनयनं रसाकुला झटिति स्थगयति॥१३७॥ P. 158, L. 4. भ्रम धार्मिक विश्रब्धः स शूनकोऽ्द्य मारितस्तेन । गोदानदीकच्छकुञ्जवासिना दृप्तसिंहेन ॥१३८। P.213, L. 6. यत् परिहर्तु तीर्यते मनागपि न सुन्दरत्वगुणेन । अथ केवलं यस्य दोषः प्रतिपक्षैरपि प्रतिपन्नः॥२१६।। P.273,L.2. पुष्पोत्करं कलमभक्तनिभं वहन्ति ये सिन्धुवारविटया मम वल्लभास्ते । ये गालितस्य महिषीदघ्नः सदृक्षा स्तेकि च मुग्धविचकिलप्रसूनपुञ्जाः॥ ३०९ ॥ P.277,L.1. तदा जायन्ते गुणाः यदा ते सहृदयैगृ ह्यन्ते। रविकिरणानुगृहीतानि भवन्ति कमलानि कमलानि ॥३१५॥ P. 278, L. 7. भवाम्यपहस्तितरेखो निरङकुशोऽथ विवेकरहितोऽपि। स्वप्नेऽ्रपि त्वयि पुनः प्रतीहि भविति न प्रस्मरामि ॥३२०॥ P. 283, L. 9. निभृतरमणे लोचनपथे पतिते गुरुजनमध्ये। सकलपरिहारहृदया वनगमनमेवेच्छति वधू:॥३२८॥ चित्ते विघटते ... ३४४ मम देहि रसं धर्मे तमोवशाम् आशां गमागमात् हर नः । हरवधुः शरणं त्वं चित्तमोहोऽपसरतु मे सहसा॥३७२॥

vi KĀVYAPRAKĀŚA

P.302, L. 7. चित्ते विघटते न त्रुट्यति सा गुणेषु शय्यासु लुठति विसर्पति दिङमुखेषु। वचने वर्तते प्रवर्तते काव्यबन्धे ध्यानेन त्रुट्यति चिरं तरुणी प्रगल्भा॥ ३४३ ॥। P. 357, L. 2. सकलकरणपरविश्रामश्रीवितरणं न सरसकाव्यस्य । दृश्यतेऽथ वा निशम्यते सदृशमंशांशमात्रेण ।।४००। P. 361, L. 2. टुण्टुणायमानो मरिष्यसि कण्टककलितानि केतकीवनानि। मालतीकुसुमसदृक्षं भ्रमर भ्रमन् न प्राप्स्यसि॥४०७॥ P. 371, L. 1. यस्य रणान्तःपुरे करे कुर्वतो मण्डलाग्रलताम् । रससंमुख्यपि सहसा पराञमुखी भवति रिपुसेना॥४२२॥ P. 380, L. 5. लब्ध्वा तव बाहुस्पशं यस्याः स कोऽप्युल्लासः । जयलक्ष्मीस्तव विरहे न खलूज्जवला दुर्बला ननु सा ।४३४॥ P. 391, L. 2. अन्यत्सौकुमार्यम् अन्यैव च कापि वर्तनच्छाया। श्यामा सामान्यप्रजापतेः रेखेव च न भवति ॥४५०॥ P. 395, L. 1. कृपणानां धनं नागानां फणमणि: केसरा सिंहानाम्। कुलबालिकानां स्तना: कुतः स्पृश्यन्तेऽमृतानाम्॥४५७॥ P. 403, L. 2. ए एहि किमपि कस्या अपि कृते निष्कृप भणामि अलमथ वा। अविचारितकार्यारम्भकारिगी म्रियतां न भणिष्यामि॥४७१॥ P. 413, L. 3. सह दिवसनिशाभिर्दीर्घाः श्वासदण्डाः सह मणिबलयैर्वाष्पधारा गलन्ति। तव सुभग वियोगे तस्या उद्विग्नायाः सह च तनुलतया दुरबला जीविताशा॥४९५॥ P. 425, L. 5. तत्तेषां श्रीसहोदररत्नाभरणे हृदयमेकरसम् । विम्बाधरे प्रियाणां निवेशितं कुसुमबाणेन ॥५१५॥ P. 433, L. 8. हंसानां सरोभि: श्रीः सार्यते अथ सरसां हंसैः । अन्योन्यमेव एते आत्मानं केवलं गरयन्ति ॥५२७॥ P.434, L. 5. वाणिजक हस्तिदन्ताः कुतोऽस्माकं व्याघ्रकृत्तयश्च । यावत् लुलितालकमुखी गृहे परिष्वक्कते स्नुषा ॥५२८॥ P.435, L. 4. का विषमा दैवगतिः कि लब्धव्यं यत् जनो गुणग्राही। कि सौख्यं सुकलत्रं किं दुःखं यत् खलो लोक: ॥५२९॥ P. 438, L. 5. यस्यैव व्रणस्तस्यैव वेदना भणति तज्जनोऽलीकम् । दन्तक्षतं कपोले वध्वाः वेदना सपत्ीनाम् ॥५३३॥

APPENDIX A vii

P. 452, L. 9, अयि एहि तावत् सुन्दरि कर्ण दत्त्वा श्रृणुष्व वचनीयम् । तव मुखेन कृशोदरि चन्द्र उपमीयते जनेन ॥५५४॥ P. 457, L. 3. सा वसति तव हृदये सैवाक्षिषु सा च वचनेषु। अस्मादृशीनां सुन्दर अवकाशः कुत्र पापानाम् ॥५६०॥ P. 460, L. 2. धवलोऽसि यद्यपि सुन्दर तथापि त्वया मम रज्जितं हृदयम्। रागभरितेऽरपि हृदये सुभग निहितो न रक्तोऽसि ॥५६४॥ P. 463, L. 2. स नास्त्यत्र ग्रामे य एनां महमहायमानलावण्याम् । तरुणानां हृदयलुष्ठाकीं परिष्वक्कमाणां निवारयति ॥५६९। EP. 468, L. 2. यथा गभीरो यथा रत्ननिर्भरो यथा च निर्मलच्छायः । तथा किं विधिना एष सरसपानीयो जलनिधिर्न कृतः ॥५७३॥

APPENDIX B

Index of the illustrative verses occurring in

the Kavyaprakasa

Verse Verse No. References. १३ अइपिहुलं जलकुंभं हा० गा० स० 989; श्री० का० प० 3; गो० का० प्र० P. 49. २५१ अकलिततपस्तेजोवीर्य भ० म० वी० च० II. 30; गो० का० प्र० P. 230. २०७ अकुण्ठोत्कण्ठया पूर्ण श्री० का० प० 107, 325; गो० का० प्र० P. 204.

४६७ अखण्डमण्डल: श्रीमान् गो० का० प्र० P. 348; भो० स० कं० श, I. 12; सु० र० भा० 103/62. ४५० अण्णं लडहत्तणअं हा० गा० स०969; रु० अ० स० P.39. ज० व० ल० 315; कु० व० जी० I.66. ७२ अतन्द्रचन्द्राभरणा श्री० का० प०49; गो० का० प्र० P. 109 सु० र० भा० 253/5. ५९४ अतिथि नाम काकुत्स्थात् श्री० का० प० 337; गो० का० प्र० 399; का० र० व० XVII. 1. २०२ अतिपेलवमतिपरिमित श्री० का० प० 102; गो० का० प्र० P. 202; सु० र० भा० 57/134 .. २५५ अतिविततगगनसरणि श्री० का० प० 126; गो० का० प्र० P. 232; सु० न० भा० 27/3. १३६ अत्ता एत्थ णिमज्जइ हा० गा० स० VII. 67.P. 339; आ्ररा० ध्व० आ० P.24; गो० का० प्र० P. 55. ३९४ अत्यायतैरनियमकारिभि शि० क० अ० 1.39; गो० का० प्र० P. 311; सु० र० भा० 110/143.

APPENDIX B IX

११८ अत्युच्चा: परितः स्फुरन्ति पञ्चाक्षरी; भो० स० क० आ्रर० III.37; गो० का० प्र० P. 136; श्र० कु० का० 102; सु० र० भा० 110/232. ११५ अत्रासीत्फणिपाश रा० बा० रा० X. 20; गो० का० प्र० P. 181. १५८ अत्रिलोचनसंभूत गो० का० प्र० P. 181; श्री० का० प०. 88; सु० र० भा० 188/41. १२८ अदृष्टे दर्शनोत्कण्ठा गो० का० प्र० P. 143; श्री० का० प० 69; सु० र० भा० 291/1. २३८ अद्यापि स्तनशैलदुर्ग वे० प० वे० 5; ह० ना II, 41; वसुकल्पस्य; भो०स०कं०आ०; श्री०का० प० 118; गो० का० प्र० P. 223. ३४५ अद्रावत्र प्रज्ज्वलत्यग्निरुच्चैः २२३ अधिकरतलतल्पं श्री० का० प० 114; कु० व० जी० I. 109; गो० का० प्र० P. 212; सु० र० भा० 286/12. १४१ अनङ्गमङ्गलगृहा श्री० का० प० 73, 94; गो० का० प्र० P.171; सु० र० भा० 259/72. ३४७ अनङरङ्गप्रतिमं तदङ्ग श्री० का० प० 179; गो० का० प्र० P. 284. ५८२ अनणृर्णन्मणि र० का० अ० II. 23; कु० व० जी० I. 10;गो० का० प्र० P. 396. ३६४ अनन्तमहिमव्याप्त आ्र० दे० श० I; गो० का० प्र० P. 293.

२६८ अनन्यसदृशं यस्य गो० का० प्र० P. 240. ४१० अनयनेव राज्यश्री: श्री० का० प० 222; गो० का० प्र० P. 319.

४१२ अनवरतकनकवितरण गो० का० प्र० P. 319. ३८२ अनुरागवती सन्ध्या आ०ध्व०आ०1.9;गो० का प्र० P. 302. सु० र० भा० 91/35. २९८ अन्त्रप्रोतबृहत्कपाल भ० म० वी० च० 1.35; गो० का० प्र० P. 253; सु० र० भा० 366/5.

x KĀVYAPRAKĀŚA

२० अन्यत्र यूयं कुसुमावचायं गो० का० प्र० P. 53; सु० र० भा० 334/106. ३३ अन्यत्र व्रजतीति का गो० का० प्र० P.80; सु० र० भा० 358/77. २१८ अन्यास्ता गुणरत्नरोहण गो० का० प्र० P. 210; सु० र० भा० 111/250. ३४१ अपसारय घनसारं दा० कु० मं० 102; गो० का० प्र० P. 275; सु० र० भा० 275/7; व० सु० शर० 1071. ३५६ अपसारय घनसारं दा० कु० म० 102; गो० का० प्र० P. 275; सु० र० भा० 275/7; व० सु० शा० 1071. ५४६ अपाङ्गतरले दृशौ गो० का० प्र० P. 380; रु० अ० स० P. 94; सु० र० भा० 253/27. १८४ अपाङ्गसंसरगितरङङ्गितं गो० का० प्र० P. 193; सु० र० भा० 304/3. २८७ अपूर्वमधुरामोद गो० का० प्र० P. 250. २३३ अप्राकृतस्य चरितातिशयैः भ० म० वी० च० II. 39; गो० का० प्र० P. 121; सु० र० भा० 360/28. ४४६ अब्धेरम्भ: स्थगित गो० का० प्र० P. 340; सु० र० भा० 248/95. ४८२ अभिनवनलिनीकिसलय श्री० का० प० 267; गो० का० प्र० P. 353. ५६ अमितः समितः प्राप्तैः गो० का० प्र० P. 99; सु० र० भा० 102/36; वि० सा० द० IV.7. ४३२ अमुष्मिल्लावण्यामृत गो० का० प्र० P. 333; सु० र० भा० 268/362; व० सु०आ० 1558. ९६ अमुं कनकवर्णाभं म० भा० शा०प० Ch. 153, S1. 65(?) श्री० का० प० 54; गो० का० प्र० P. 121. २१५ अमृतममृतं क: सन्देहः वा० का० अ० सू० वृ० III. 2. 10; श्री० का० प० 110; गो० का प्र०

APPENDIX B XI

P. 209; सु० र० भा० 252/50.

५११ अयमेकपदे तया वियोग: का० वि० उ० IV. 10; अ० ध्व० आ० P. 156; कु० व० जी० II. 109; श्री० का० प० 101; गो० का० प्र० P. 365.

५८६ अयं पम्मासनासीनः भा० का० II. 25; वा० को० अ० सू० वृ० IV.2.11; भो० स० क० आरर० I.61; श्री० का० प० 329; गो० का० प्र० P.397. ४१८ अयं मार्तण्ड: किं स खलु रु० अ० स० P.30; गो० का० प्र० P. 325.

४९० अयं वारामेको निलय भ० श० 108; रु० अ० स० P. 72; गो० का० प्र० P. 356; सु० र० भा० 216/33.

११६ अयं स रशनोत्कर्षो म० भा०, स्त्री०, Ch. 24. Sl. 19; गो० का० प्र० PP. 135, 271. ३३६ अयं स रशनोत्कर्षी 11 ३७३ अयं सर्वाणि शास्त्राणि गो० का० प्र० P. 296. ४०८ अरातिविक्रमालीक गो० का० प्र० P. 317. ३८९ अरिवधदेहशरीर: उ० की० अ० सा० सं० I; गो० का० प्र० P. 306.

४९६ अरुचिर्निशया विना गो० का० प्र० P. 358; सु० र० भा० 175/931.

२८३ अरे रामाहस्ताभरण का० वि० उ० ?; श्री० का० प० 143; गो० का० प्र० P. 248. २७७ अर्थित्वे प्रकटीकृतेऽपि म० वी० च० II. 9; श्री० का० प० 138; गो० का० प्र० P. 244.

३६९ अलड्कारः शङ्काकर सु० र० को० No. 1344; गो० का० प्र० P. 295; सु० र० भा० 93/94; धर्मकीतिः; कवस; बिका 58.

XII KĀVYAPRAKĀŚA

१९७ अलमतिचपलत्वात् धर्मकीत्ति :; क० व० स० ; बि० का० 58; गो० का० प्र० P. 280; शा० प० No. 566; सु० र० भा० 252/44. ५० अलसशिरोमणि धुत्ताणं हा० गा० स० 970; श्री० का० प० 41; गो० का० प्र० P.102; गो० का० प्र० P. 102. ९३ अलं स्थित्वा स्मशाने म०भा० शा० आप० Ch. 153, S1.11; गो० का० प्र० P. 121. ४२७ अलौकिकमहालोक: गो० का० प्र० P. 331. १४८ अवन्ध्यकोपस्य भा० कि० अ० I. 33; गो० का० प्र० P. 175; सु० र० भा० 152/40. ४३० अवाप्तः प्रागल्भ्यं गो० का० प्र० P. 332; सु० र० भा० 304/158. ३९५ अवितथमनोरथपथ गो० का० प्र० P. 312. ५२६ अविरलकमलविलास: रु० का० अ० VII. 83; श्री० का० प० P. 293; गो० का० प्र० P. 372; सु० र० भा० 331/13. १२० अविरलकरवाल गो० का० प्र० P. 127; वि० सा० द० X. 94; सु० र० भा० 104/94. २७० अष्टाङ्गयोगपरिशीलन गो० का० प्र० P. 240. ४०२ असितभुजगभीषणा गो० का० प्र० P. 347. ४६३ असिमात्रसहायस्य गो० का० प्र० P. 347. ४६४ असिमात्रसहायोऽपि गो० का० प्र० P. 347. १२२ असोढ़ा तत्कालोल्लसद गो० का० प्र० P. 137; सु० र० भा० 5/50; अ०कु० का० 60. १९० असौ मरुच्चुम्बित म० व्य० वि० P. 206; ह० ना० VI. 4 ;. वे० प० वे० 5; गो० का० प्र० P. 196; सु० र० भा० 331/51 ३५९ अस्त्रज्वालावलीढप्रति भ० वे० सं० III. 7; गो० का० प्र० P. 236; सु० र० भा० 361/50. २८६ अस्या: कर्णावतंसेन वा० का० अ०सू० वृ० II.2. 14; गो० का० प्र० P. 249.

APPENDIX B XIII

४२० अस्या: सर्गविधौ का० वि० उ० 1. 8; व० सु० आ० 1467; शा० प० No 3268; कु० व० जी० III. P. 140; रु० अ० स० P. 40; गो० का० प्र० P. 326; भा० स० क० आ० 175; ध० द० रू० IV.2; वि० सा० द० P. 156; सु० र० भा० 254/42. ५५६ अहमेव गुरु: सुदारुणाना गो० का० प्र० P. 384; सु० र० भा० 59/204. ३५३ अहो केनेदृशी बुद्धि: रु० अ० स० P. 99; गो० का० प्र० P. 287; सु० र० भा० 205/3. ५४२ अहो विशालं भूपाल द० का० आ० IJ. 297; श्री० का० प० 304; गो० का० प्र० P. 378; सु० र० भा० 134/6. ४८१ अहो हि मे बह वपराद्ध रु० अ० स० P.65; गो० का० प्र० P. 353. ४४ अहौ वा हारे वा उत्पलराजः; गो० का० प्र० P. 90; क्षे० औ० वि० च० 16; सु० र० भा० 368/40 ३७ आकुञ्च्य पाणिमशुचि गो० का० प्र० P. 80; सु० र० भा० 364/43. ३९८ आकृष्टकरवालोऽसौ गो० का० प्र० P. 313. १२५ आगत्य सम्प्रति वियोग श्री० का० प० 67; गो० का० प्र० P. 140; सु० र० भा० 327/7. २७८ आज्ञा शकशिखामणि रा० बा० रा० I. 36; श्री० का० प० 139;गो० का० प्र० P. 245. ५७० आत्ते सीमन्तरत्ने हनुमत्कविकृत-खण्डप्रशस्ति: ; गो० का० प्र० P.390; सु० र० भा० 133/43. ३०७ आत्मारामा विहितरतयो भ० वे० सं० I. 23; गो०, का० प्र० P. 257. ३८३ आदाय चापमचलं गो० का० प्र० P. 302; सु० र० भा० 4/24.

XIV KĀVYAPRAKĀŚA

४४५ आदाय वारि परितः Cited by Ksemendra in his शचित्यविचारचर्चा as belong- ing to भट्टेन्दुराज; गो० का० प्र० P. 339; सु० र० भा० 216/17. २०० आदावञजनपुञजलप्त गो० का० प्र० P. 201; सु० र० भा० 291/93. ९५ आदित्योऽयं स्थितो म०भा०, शा० प० ch. S 19; गो० का० प्र० P. 121. ५४० आनन्दममन्दमिमं रु० का० अ० IX. 47; गो० का० प्र० P.378; सु० र० भा० 278/23. १६२ आनन्दसिन्धुरति गो० का० प्र० P. 183. ४२६ आलानं जयकुञ्जरस्य भट्टश्यामलः; म० व्य० वि० P. 350; श्री० का० प० 234; गो० का० प्र० P. 330; सु० र० भा० 109/211. श्री० का० प० 84; गो० का० प्र० P. 179.

३२३ आलोक्य कोमलकपोल गो० का० प्र० P. 263. ५०० आसीदञ्जनमत्रेति श्री० का० प० 277; गो० का० प्र० P. 360.

६७३ आहृतेषु विहङ्गमेषु भ० श० 69; गो०का० प्र० P. 402; भ० श० 69; सु० र० भा० 180/1053. २२२ इदमनुचितमकरमश्च गो० का० प्र० P. 212; भ० शृं० श० 27; सु० र०भा० 205/7 २६४ इदं ते केनोक्तं कथय गो० का० प्र० P. 238. ४१९ इन्दुः किं क्व कलंक: रु० अ० स० P.30; गो० का० प्र० P. 326; सु० र० भा० 312/22. ४६५ इयं सुनयना दासीकृत उ० का० अ० सा०सं०; श्री० का० प० 255;गो० का० प्र० P. 347; सु० र० भा० 262/168. ८ उअ णिच्चल निप्पन्दा हा० गा० स० I.4; श्री० का० प० 9; गो० का० प्र० P. 19.

APPENDIX B XV

१८७ उत्कम्पिनी भयपरि मा०ता० व० II. 16; गो० का० प्र० P. 104; ह० र० आ० ?; आध्वश्रा P. 131; ४२ उत्कृत्योत्कृत्य कृति भ० मा० मा० V.16; श्री० का० प०28; गो० का० प्र० P. 83; सु० र० भा० 366/7 ३०४ उत्तानोच्छनमण्डक श्री० का० प० 155; गो० का० प्र० P. 256; सु० र० भा० 371/119. १४७ उत्फुल्लकमलकेसर ह० ना० आ० I. 14; गो० का० प्र० P. 175. ५२ उत्सिक्तस्य तपः परा भ० म० वी० च० II. 16; गो० का प्र० P. 95. ४३६ उदयति विततोर्ध्वरश्मि मा० शि० व० IV. 20; गो० का० प्र० P. 336; सु० र० भा० 327/5. ४३३ उदयमयते दिङमालिन्यं "श्री० का० प० 237; गो० का० प्र० P. 334; सु० र० भा० 327/18. २४४ उदेति सविता ताम्र श्री० का० प० 123; गो० का० प्र० P. 227.

१७ उद्देशोडयं सरसकदली कु० व० जी० I. 93; गो० का० प्र० P. 52 ५९९ उदयौ दीघिकागर्भात् श्री० का० प० 340; गो० का० प्र० P. 401. ४३८ उन्नतं पदमवाप्य यो लघुः श्री० का० प० 242; गो० का० प्र० P. 336; सु० र० भा० 59/214. ११४ उन्निद्रकोकनदरेणु कु० व० जी० II. 3; शा० प० 3736; गो० का० प्र० P. 134; सु० र० भा० 327/8 ४१६ उन्मेषं यो मम न सहते गो० का० प्र० P. 323; सु० र० भा० 313/60 २४ उपकृतं बहु तत्र अ्र० ध्व० आ०लो० P. 56; श्री०का० प०8; गो० का० प्र० P. 58. २६५ उपपरिसरं गोदावर्याः गो० का० प्र० P. 239.

XVI KĀVYAPRAKĀŚA

२१४ उव्यसावत्र तर्वाली रु० का० अ० II. 10; श्री० का० प० 324; गो० का० प्र० P. 208. ५४ उल्लास्य कालकरवाल शि० क० अ० I. 24; गो० का० त्र P. 98; सु० र० भा० 133/10. ४७१ ए एहि किपि कीएवि हा० गा० स० VII. 2; श्री० का० प० 260;गो० का० प्र० P. 349. ५५४ ए एहि दाव सुन्दरि हा०गा०स० 972; गो०का०प्र० P. 383. ४७७ एकस्त्रिधा बससि चेतसि सु० र० को No. 1438; श्रीं० का० प० 264; गो० का प्र० P. 352; सु० र० भा० 105/136. ५१ एकस्मिन् शयने अ० श० 22; गो० का० प्र० P. 95. ४४१ एतत्तस्य मुखात्कियत् गो० का० प्र० P. 338; सु० र० भा० 358/65; भ० श० 94;रु० अ० स० P. 61. १४२ एतन्मन्दविपवव वल्लनस्य; श्रीधर० स० क० II. 376; गो० का० प्र० P. 172. ११ एद्दहमेत्तत्थणिआ हा० गा० स० 973; भो० स० क० आ० P.166; गो० का० प्र० P. 46. २३४ एषोऽहमद्रितनयामुख उषाहरणम्; गो० का० प्र० P. 121. ३३९ एहि गच्छ पतोत्तिष्ठ अ०ध्व० आ०लो० III. 44; गो० का० प्र० P. 272; सु० र० भा० 65/5. १४ ओण्णिद्दं दोब्बलं हा० गा० स० 956; गो० का०प्र० P.49 ७० ओल्लोल्लकरअरअण हा० गा० स० 971;गो०का०प्र०P.108. ३३० औत्सुक्येन कृतत्वरा ह०र०आ० I.2; गो० का०प्र० P.263; सु० र० भा० 12/26. २२४ क: क: कुत्र न घुर्घरायित गो० का० प्र० P. 213; सु० र० भा० 231/48. ४५ कण्ठकोणविनिविष्टमीश उत्पलः; गो० का० प्र० P.91; श्री० का० प० 31. १३४ कथमवनिप दर्पो गो० का० प्र० P. 160; सु० र० भा० 136/36.

APPENDIX B XVII

५५२ कपाले मार्जार: पय भासकविः; गो० का० प्र० P. 382; व०सु०आ०; भो० स० क० आ० III. 38; सु० र० को० 905; शा० प०; सु० र० भा० 301/79. ४४९ कमलमनम्भसि शङ्करगण :; रु० अरप्र० सं० P. 39; म० व्य० वि० P. 387; गो० का० प्र० P. 341; सु० र० भा० 363/10. ४१५ कमलेव मतिरमतिरिव श्री० का० प० 225; गो० का० प्र० P. 323; वि० सा० द० X. 27; सु० र० भा० 104/83. ५५१ करजुअगहिअजसोआ हा० गा० स० 974; गो० का० प्र० P. 382.

३९९ करवाल इवाचारस्तस्य गो० का० प्र० P. 314. १९१ करवालकरालदो सहायो गो० का० प्र० P. 197.

३०३ करिहस्तेन संबाधे श्री० का० प०154; गो० का० प्र० P.256.

४७५ कर्मूर इव दग्धोऽपि रु० अ० स० P. 74; रा० बा० रा० III. 11; गो० का० प्र० P.351; सु० र० भा० 250/5. ३२५ कर्पूरधूलिवल गो० का० प्र० P. 264; सु० र० भा० 273/10.

५१२ कलुषं च तवाहितेष्व वि० सा० द० X. 85; सु० र० भा० 104/90. १९४ कल्याणानां त्वमसि महसां भ० मा० भा० I. 4. २७६ कल्लोलवेल्लितदृषत् भागवतत्रिविक्रम :; कु० व० जी०. I. 25, P. 16; भ० श० 62; व० सु० आ्र० 866;सु० र०भा० 216।19;श्री०का० प० 137; गो० का० प्र० P. 244. ४४७ कस्त्वं भो: कथयामि अर०ध्व० आ०लो० III. 51; रु० अ० स० P.64; गो० का० प्र० P. 340; शा० प० No. 1046; सु० र० भा० 242/171.

XVIII KĀVYAPRAKĀŚA

२०५ कस्मिन्कर्मणि सामर्थ्यं श्री० का० प० 106; गो० का० प्र० P. 203. २२४ क: कः कुत्र न घुर्घुरायित श्री० का० प० 115; सु० र० भा० 231/48; गो० का० प्र० P. 213. १३५ कस्स व ण होइ रोसो अ०ध्व० आ०लो० I.P. 23; हा० गा० स० 886; गो० का० प्र० P. 160. २४९ काचित्कीर्णा रजोभि: मा० शि० व० XV. 96; गो० का० प्र० P. 229; सु० र० भा० 126/22. १८५ कातरयं केवला नीति: क० र० वं० XVII. 47; गो० का० प्र० P. 194. ५२९ का विसमा देव्वगई हाo गा० स० 975; श्री० का० प० 296; गो० का० प्र० P. 373. ५२१ किमासेव्यं पुंसां रु० अ० स० P. 87; गो० का० प्र० P. 371; सु० र० भा० 17/1985. २३९ किमिति न पश्यसि कोपं रु० का० अ० VI. 42; गो० का० प्र० P. 224.

२०६ किमुच्यतेऽस्य भूपाल गो० का० प्र० P. 203; श्री० का० प० 106. ४५७ किवणाणँ धर्णं णाआणं हा० गा० स० 976; श्री० का प० 262; गो० का० प्र० P. 344. ४२९ किसलयकरैर्लतानां रु० का० अ० VIII. 50; गो० का० प्र० P. 331.

५२२ कि भूषणं सुदृढ़मत्र गो० का० प्र० P. 371; वि० सा० द० X.82; सु० र० भा० 176/948. १९५ किं लोभेन विलंघिंत: म० व्य० वि० P. 253; ध० द० रू० III. 29; भ० उ० रा० च० ?; गो० का० प्र० P. 199. ४६१ कुमुदकमलनीलनीर: गो० का० प्र० P. 346. ४२३ कुरङ्गीवाङ्गानि स्तिमितयति अ० ध्व० आ० लो० P. 211; अ० अ० भा० III. P. 150; गो० का० प्र० P. 328; सु० र० भा० 310/3; सू० मृ० 51.15.

APPENDIX B XIX

५०८ कुलममलिनं भद्रा मूर्ति: भा० स० क० आ० V. 368; गो० का० प्र० P. 364.

१७३ कुविन्दस्त्वं तावत्पटयसि गो० का० प्र० P. 188; सु० र० भा० 135/30. ४७३ कुसुमितलताभिरहता श्री० का० प० 262; ो० का० प्र० P. 350; सु० र० भा० 275/13. ३९ कृतमनुमतं दृष्टं वा यैः भ० वे० सं०, III. 24; श्री० का० प० 22; गो० का० प्र० P. 81; सु० र० भा० 366/4. २५८ कृतमनुमतं दृष्टं वा यैः १०८ कृतं च गर्वाभिसुखं रु० अ० स० P. 45; गो० का० प्र० P. 128; सु० र० भा० 105/118. ६५ केसेसु बलामोडिव हा० गा० स० 971; श्री० का० प० 46; गो० का० प्र० P. 105. ६४ कलासस्य प्रथमशिखरे श्री० का० प० 45; गो० का० प्र० P. 64; सु० र० भा० 136/34. ११७ केलासालयभाल गो० का० प्र० P. 135; सु० र० भा० 12/39. ५२३ कौटिल्यं कचनिचये रु० का० अर० VII. 81; श्री० का० प० 291; गो० का० प्र० P. 371; सु० र० भा० 312/24. ३३८ कामन्त्य: क्षतकोमला आ०ध्व० आ० III. 20, P.169; अ० ध्व० आ०लो० III. 20; गो० का० प्र० P. 272; सु० र० भा० 132/29. २२५ क्रेङ्कारः स्मरकार्मुकस्य श्री० का० प० 116; गो० का० प्र० P. 214. सु० र० भा० 26/202. ३२९ क्ोधं प्रभो संहर का० कु० स० III, 32; गो० का० ० P. 266. गो० का० प्र० P. 355. ४३५ क्व सूर्यप्रंभवो वंशः का० रं० वं० I.2; श्री० का० प० 239; गो० का० प्र० P. 335. 34

XX KĀVYAPRAKĀŚA

५३ क्वाकार्य शशलक्ष्मणः का० वि० उ० IV.4; रु० अप्र० स० P. 106; श्री० का० प० 39; गो० का० प्र० P. 96; सु०र० भा० 281/113. ३३१ क्वाकार्य शशलक्ष्मण: ८२ क्षणदासावक्षणदा सु० र० भा० 103/74. ३४० क्षिप्तो हस्तावलग्नः अ०श०, 2; श्री० का० प० 172; गो० का० प्र० P.273; सु०र०भा० 8/109. ४६२ क्षीण: क्षीणोऽपि शशी रु० का० अ० VII, 90; अ० स० P.48; गो० का० प्र० P. 347 ; व० सु० आ०161; सु० र० भा० 305/11. ४० क्षुद्राः संत्रासमेते ह० ना० XI.2; श्री० का० प० 26; गो० का० प्र० P.82; व० सु० श० 2283; सु० र० भा० 361/49. १११ खणपाहुणिआ देअर हा० गा० स० 963; अ० ध्व० आ० लो० III; श्री० का० प० 60. ७४ खलववहारा दीसन्ति गो० का० प्र० P. 111; हा० गा० स० 978.

४५८ खिद्यति कणति वेल्लति सु० र० भा० 317/3. ५९६ गङ्गव प्रवहतु ते श्री० का० प० 339. १२७ गच्छाम्यच्युत दर्शनेन गो० का० प्र० P. 142; अ० कु० का० 155; सु० र० भा० 24/154. ५५५ गर्वमसवाह्यमिमं रु० का० अर० VIII. 78; गो० का० प्र० P. 384. ५६५ गाङ्गमम्बु सितमम्बु रु० अ० स० P. 96; सुरभिः; श्री० का० प० 317; गो० का० प्र० P.388; सु० र० भा० 221/12.

६३ गाढकान्तदशनक्षत श्री० का० प० 44; गो० का० प्र० P. 104; वि० सा० द० IV. 9; सु० र० भा० 104/85.

APPENDIX B XXI.

६६ गाढालिङ्गण रहसुज्जुअम्मि हा० गा० स० 934; गो० का० प्र० P. 106.

१०१ गाहारुहम्मि गामे हा गा० स० 705. ३९६ गाम्भीर्यगरिमा तस्य गो० का० प्र० P. 312. २५० गाहन्तां महिषा निपान का० अ० श० II. 6; मं० व्य० वि० ; गो० का० प्र० P. 229; सु० र० भा० 141/1. ४८३ गिरयोऽप्यनुन्नतियुजो गो० का० प्र० P. 354; सु० र० भा० 103/76. ४८० गुणानामेव दौरात्म्यात् भो० स० क० आ० IV. 125; श्री० का० प० 266; गो० का० प्र० P. 352; सु० २० भा० 234/140. ५९२ गुणैरनध्यैः प्रथितो श्री० का० प० 335. -२१ गुरुअणपरवस पिअ हा० गा० स० 851; गो० का० प्र० P. 79.

३५४ गुरुजनपरतन्त्रतया श्री० का० प० 191; गो० का० प० P. 283. ५६२ गृहिणी सचिवः सखी का० र० व० VIII. 67; श्री० का० प० 21; गो० का० प्र० P. 386; सु० र० भा० 362/15. २६६ गृहीतं येनासी: परिभव भ० वे० सं०, III. 19; श्री० क० प० 131; गो० का० प्र० P. 237. १६८ गोरपि यद्वाहनतां गो० का० प्र० P. 186. ५९७ ग्रथ्नामि काव्यशशिनं वा० का० अ० सू० वृ० lI. 4. 16. ३ ग्रामतरुणं तरुण्या: रु० का० अ०, VII. 39; श्री० का० प० 11; गो० का० प्र० P. 14; सु० र० भा० 352/20.

४१ ग्रीवाभङ्गाभिरामं का० अ०श० I.7; कु० व० जी० III.31; गो० का० प्र० P.83; श्री० का० प० 27. ३९० चकासत्यडनारामा श्री० का० प० 207; गो० का० प्र० P. 306.

XXII KĀVYAPRAKĀŚA

३९३ चकितहरिणलोललोचनायाः श्री० का० प० 211; गो० का० प्र० P. 311. ५८० चक्री चकारपंक्ति म० सू० श० 71; गो० का० प्र० P.395; सु० र० भा० 27/14. ५८४ चण्डालैरिवि युष्माभि: वा० का० अ० सू० वृ०, IV. 2.9. १३१ चत्वारो बयमृत्विजः भ० वे० सं०, I. 25; गो० का० प्र० P. 220.

२९४ चन्द्रं गता पद्मगुणान्न का० कु० स० I. 43; म० व्य० वि० ? ; गो० का० प्र० P. 252. २९३ चरणत्रपरित्राण गो० का० प्र० P. 251. २०१ चापाचार्यस्त्रिपुर रा० बा० रा० II. 37,P. 42; कु० व० जी० I. 66; म० व्य० वि० P. 234; गो० का० प्र० PP. 202, 296. २३० चापाचार्यस्त्रिपुर रा० बा० रा० II.37,P.42; कु० व० जी० I. 66; म० व्य. वि० P. 234; गो० का० प्र० PP. 202, 296. ३४३ चित्ते विहद्टदि ण ठुद्टदि रा० क० म० II4; श्री० का० प० 175; गो० का० प्र० P. 276. ५३६ चित्रं चित्रं बत बत रु० अ० स० P.77; गो० का० प्र० P. 377. ४३ चित्रं महानेष बतावतार: श्री० का० प० 29; गो; का० प्र० P. 84. ८१ चिन्तयन्ती जगत्सृति वि० पु० V. 13-21, 22; गो० का० प्र० P. 114.

५९० चिन्तारत्नमिव च्युतोऽसि न० सा० टीका on रु० का० अ०XI.20. १६६ चिरकालपरिप्राप्त गो० का० प्र० P. 184. २५७ जगति जयिनस्ते ते भ० मा० मा० I. 36; श्री० का० प० 128;गो० का० प्र० P. 235. २९२ जगाद मधुरां वाचं वा० का० अ० सू० वृ० II. 2.18. १५० जंघाकाण्डोरुनालोनख म०व्य० वि० P.385; श्री० का० प० 125;गो० का० प्र० PP. 176, 220. म० व्य० वि० P.385; श्री० का० प० 125; गो० का० प्र० PP. 176, 220.

APPENDIX B XXIII

५७० जटाभाभिर्भाभि: करवृत गो० का० प्र० P. 390. १२४ जनस्थाने भ्रान्तं भट्टवाचस्पतिः; श्री० का० प० 66; गो० का० प्र० P. 139. ४२२ जस्स रणन्तेउरए करे हा० गा० स०, 980; गो० का० प्र० P. 328.

५३३ जस्सेअ वणो तस्से अ हा० गा० स० 981; श्री० का० प० 168; गो० का० प्र० P. 375.

५७३ जह गहिरो जह रअण· हा० गा० स० 976; ग़ो० का० प्र० P. 392.

२१६ जं परिहरिउं तीरइ आ०वि० बा० ली० ?; हा० गा० स० 979; गो० का० प्र० P. 209. ६७ जा ढेरं व हसन्ती हा० गा० स० 982; गो० का० प्र० P. 106.

४७ जाने कोपपराङमुखी व० सु० आ०; शा० प०; गो० का० प्र० P.92; श्री० का० प० 33. ४६६ जितेन्द्रियतया सम्यक् गो० का० प्र० P. 348. ३१६ जितेन्द्रियत्वं विनयस्य व० सु० आ०; श्री० का० प० 162; गो० का० प्र० P. 261; गो० का प्र० P. 372.

५२५ जितेन्द्रियत्वं विनयस्य १६४ जुगोपात्मानमत्रस्तः का० र० व० I. 21; गो० का० प्र० P. 184.

६८ जे लंकागिरिमेहलासु रा० क० म०, I. 19; गो० का० प्र० P. 107.

९२ जोह्वाइ महुरसेन हा० गा० स० 984; गो० का० प्र० P. 120.

२८९ ज्याबन्धनिष्पन्दभुजेन का० र० व०, VI. 40; कु० व० जी०, I.80; गो० का० प्र० P. 250. ४२१ ज्योत्स्नाभस्मच्छुरणधवला रु० अ० स० P. 33 ?; गो० का० प्र० P. 327. ४७२ ज्योत्स्ना मौक्तिकदाम गो० का० प्र० P. 349.

XXIV KĀVYAPRAKĀŚA.

४११ ज्योत्स्न्येव नयनानन्दः गो० का० प्र० P. 319 ४०७ टुण्टुण्णन्तो मरिहसि हा० गा० स० 979; अ० ध्व० आ० लो० P. 116; श्री० का० प० 220; गो० का० प्र० P. 316.

८८ गवपुण्णिमामिअंकस्स हा० गा० स० 986; गो० का० प्र० P. 118.

३२८ णिहुअरमणम्मि लोअण हा० गा० स० 987; गो० का० प्र० P. 265.

१८ णोल्लेइ अणोल्लमणा हा० गा० स० 875; गो० का० प्र० P. 52.

१६ तइआ मह गंडत्थल हा० गा० स० 939; गो० का० प्र० P. 51.

२१२ तत उदित उदाहारहारि गो० का० प्र० P. 207

४०१ ततः कुमुदना्थन म० भा० द्रो० Ch. 184;S1. 46; श्री० का० प० 216; गो० का० प्र० P. 315, ३५५ ततोऽरुणपरिस्पन्द कु० व० जी० I. 19; रा० का० मी० P. 67; वाल्मीकि :; व० सु० त० 2153; श्री० का० प० 193; गो० का० प्र० P. 289. ५१५ तं ताण सिरिसहोअर आर०वि० बा० ली०; गो० का० प्र० P. 367.

१५ तथाभूतां दृष्ट्वा भ० वे० सं० I.11; श्री० का० प० 5; गो० का० प्र० P. 50.

२२० तथाभूतां दृष्टवा भ०वे० सं० I. 11; श्री० का० प० 5; गो० का० प्र० P. 50; गो० का० प्र० P. 250.

८० तदप्राप्तिमहादुःख ? वि० पु०; गो० का० प्र० P. 114. ५०६ तदिदमरण्यं यस्मिन् रु० का० अ० VII. 104; गो० का० प्र० P. 363.

१९८ तद्गच्छ सिध्द्यै कुरु का० कु० सं० III. 18; श्री० का० प० 152; गो0 का० प्र० P. 200.

APPENDIX B XXV

५१७ तद्गेहं नतभित्ति आ०ध्व० आ० P. 158; अ० ध्व० श० लो० III. 16; गो० का० प्र० P. 367. श्री० का० प० 336; गो० क० प्र० P. 398.

३९१ तनुवपुरजधन्योऽसौ गो० का० प्र० P. 307. १४६ तपस्विभिर्या सुचिरेण म० व्य० वि० P. 203 (P. 251 Chowkhamba); श्री० का० प० 78; गो० का० प्र० P. 174. ११० तरुणिमनि कलयति म० व्य० वि० ? ; श्री का० प० 59; गो० का० प्र० P. 129. ४०९ तरुणिमनि कृतावलोकना गो० का० प्र० P. 317. ४५६ तवाहवे साहसकर्म गो० का० प्र० P. 344. १७९ तस्याधिमात्रोपायस्य गो० का० प्र० P. 190. ५० तस्या: सान्द्रविलेपन अ० श० 26; गो० का० प्र० P. 94. १०२ ताणँ गुणग्गहणाणं हा० गा० स० 940; गो० का० प्र० P. 125. ३२२ तामनङ्गजयमङ्गलश्रियं श्री० का० प० 166; गो० का० प्र० P. 263.

१८० ताम्बूलभृतगल्लोऽयं गो० का० प्र० P. 191. ३१५ ताला जाअंति गुणा कु० व० जी० II. 26; म० व्य० वि० ; हा० गा० स० 989; अ० ध्व० शर० लो० P. 62; आ० वि० बा० ली० ; गो० का० प्र० P. 58. ५५ तिग्मरुचिरप्रतापः गो० का० प्र० P. 99. ३११ तिष्ठेत्कोपवशात्प्रभाव का० वि० उ० IV.9; श्री० का० प० 159; गो० का० प्र० P. 259. १४५ तीर्थान्तरेषु स्नानेन रु० अ० स० P. 76; श्री० का० प० 76; गो० का० प्र० P. 174. . ८३ तुह वल्लहस्स गोसम्मि हा० गा० स० 998; गो० का० प्र० P. 116. १४० ते दृष्टिमात्रपतिताः गो० का० प्र० P. 167. १७६ तेऽन्यैर्वान्तं समश्नन्ति गो० का० प्र० P. 189.

XXVI KĀVYAPRAKĀŚA

२४६ ते हिमालयमामन्त्र्य का० कु० सं० VI. 94; गो० का० प्र० P. 227. २२८ त्वमेवंसौन्दर्या स च भ० मा० मा०; म० व्य० वि० ; वा० का० अ० सृ० वृ० III. 2.12; गो० का० प्र० P. 216. ४५५ त्वयि दृष्ट एव तस्या: २३५ त्वयि निबद्धरतेः प्रिय का० वि० उ० IV. 55; श्री० का० प० 112.

३१ त्वं मुग्धाक्षि विनैव अ० श० 23; गो० का० प्र० P. 76. ५४४ त्वं विनिजितमनोभव श्री० का० प० 306; गो० का० प्र० P. 379.

२३ त्वामस्मि वच्मि विदुषाँ रु० का० अ० VI. 15; गो० का० प्र० P. 58. ३६ त्वामालिख्य प्रणयकुपितां का० मे० दू० उ० 44; श्री० का० प० 19;गो० का० प्र० P. 79; सु०र०मा० 292/54.

३३७ दन्तक्षतानि करजैश्च अ० ध्व० आ०लो० III. 43; गो० का० प्र० P. 271. ६२ दर्पान्धगन्धगज शि० क० अ० 1. 37; श्री० का० प० 43; गो० का० प्र० P. 103. ५५९ दिवमप्युपयातानां रु० का० अ० IX. 6; गो० का० प्र० P. 385. ६०० दिवाकराद्रक्षति यो का० कु० सं० I. 12; गो० का० प्र० P. 401. २९६ दीधीडवेवीङसम: कश्चित् श्री० का० प०43; गो० का० प्र० P. 253. ५०७ दुर्वारा: स्मरमार्गणा: भट्टशंकुक :; शा० प०; सु० र० भा०. 285/34. २९ दूरादुत्सुकमागते अ०श०, 44; गो० का० प्र० P. 72. ५६६ दृशा दग्धं मनसिजं रु० अ० स० P.80; रा० वि०भ० I. 4; श्री० का० प० 271; गो० का० प्र० P. 388. ३७९ देव त्वमेव पाताल

APPENDIX B XXVII

४५३ देवीभावं गमिता .वा० का० अ०सू० वृ०, IV. 2.4; ह० र० आ०;श्री० का० प० 250; गो० का० प्र० P. 343. २०८ देशः सोऽयमरातिशोणित भ० वे० सं०, III. 33; म० व्य० वि० ; गो० का० प्र० P. 205. २६ दैवादहमद्य तया रु० का० अ० VII.29; गो० का० प्र० P. 64.

४३७ दोर्भ्यां तितीर्षति तरङ्ग श्री० का० प० 241; गो० का० प्र० P.336. १८६ द्वयं गतं संप्रति का० कु० सं० V. 71; कु० व० जी० I. 23; म०व्य० वि०, P.40; श्री० का० प० 117; गो० का० प्र० P. 230. २५२ द्वयं गतं संप्रति 11 11 11 २२ द्वारोपान्तनिरन्तरे गो० का० प्र० P. 54; सुरभा 304/6. ३९७ धन्यस्यानन्यसामान्य गो० का० प्र० P. 313. ६१ धन्यासि या कथयसि शा० प०; विज्जिका; श्री० का० प० 42; गो० का० प्र० P. 102.

१८२ घम्मिल्लस्य न कस्य वा० का० अ० सू०वृ० II. 1.22; श्री० का० प०95; गो० का० प्र० P. 192. ५६४ धवलोसि जह वि हा० गा० स० 665, VII. 64; रु० अर० स० P. 96; गो० का० प्र० P. 383. ५३५ धातु: शिल्पातिशय गो० का० प्र० P. 376. २१० धीरो विनीतो निपुणो गो० का० प्र० P. 206. ४१४ न केवलं भाति नितान्त गो० का० प्र० P. 322. ९४ न चेह जीवितः कश्चित् श्री० का०प०52; गो० का० प्र० P. 121. ५४९ न तज्जलं यन्न सुचारु भ० का०, ॥.19; श्री० का० प० 309; गो० का० प्र० P. 381. १६७ न त्रस्तं यदि नाम भ० म० वी० च० II. 28; गो० का० प्र० P. 185. ५१३ नन्वाश्रयस्थितिरियं भ० श० 4; रु० अ० स० P. 85; गो० का० प्र० P. 366. ५७४ नयनानन्ददायोन्दोः क्षे० औ० वि० च०, P. 46; श्री० का० प० 320; गो० का० प्र० P. 392.

XXVIII KĀVYAPRAKĀŚA

१६३ नवजलधर: सन्नद्धोऽयं गो० का० प्र० P. 184; का० वि० उ० IV. 7; म० व्य० वि० २४३ नाथे निशाया नियते: श्री० का० प० 122; गो० का० प्र० P. 226. ४९९ नानाविधप्रहर णैरनृप गो० का० प्र० P. 359. ३५२ नारीणामनुकूलमाचरसि गो० का० प्र० P. 283. ६८१ नाल्प: कविरिव स्वल्प ४७८ निजदोषावृतमनसां श्री० का० प० 265; गो० का० प्र० P. 352.

४६९ नित्योदितप्रतापेन गो० का० प्र० P. 348. ४७४ निद्रानिवृत्ताबुदिते गो० का० प्र० P. 350. ५९८ निपेतुरास्यादिव तस्य गो० का० प्र० P. 400. ५५० निम्ननाभिकुहरेषु यदम्भ: श्री० का० प० 310; गो० का० प्र० P. 382. ४२८ निरवघि च निराश्रयं च वा का० अ० सू० वृ०; III. 4. 32. गो० का० प्र० P. 311.

५७ निरुपादानसंभार नारायणभट्टः०; स्तवचिन्तामणिः; गो० का० प्र० P. 99. ३०५ निर्वाणवैरदहनाः भ० वे० सं० I.7; श्री० का० प० 156; गो० का० प्र० P. 257. ८५ निशितशरधिया गो० का० प्र० P. 117. २ निःशेषच्युतचन्दनं अ०श०,105; श्री० का० प० 10; गो० का०प्र०P.12;ज० सू० मु० ; व० सु० आ०; शा० प०. १८३ न्यक्कारो ह्ययमेव मे ह० ना० IX. 55; अ० ध्व० आ०लो० P.153; श्री० का० प० 96; गो० का० प्र० P. 192. ९९ पथि पथि शुकचञचु सु० र० भा० 333/85 .; रु० अ० स० P. 75; गो० का० प्र० P. 123. ५८ पंथिअ ण एत्थ ज० व० ल० 494; हा० गा० स० 879; गो० का० प्र० P. 100. २४० परापकारनिरतैः गो० का० प्र० P. 224.

APPENDIX B XXIX

१०७ परिच्छेदातीतः भ० मा० मा० 1. 30; गो० का० प्र० P. 123. ४८९ परिच्छेदातीतः भ० मा० मा० 1.30; गो० का० प्र० P. 356.

४०६ परिपन्थिमनोराज्य गो० का० प्र० P. 316. २८ परिमृदितमृणालीम्लान भ० मा० मा० I. 22; गो० का० प्र० P. 72. ३४९ परिम्लानं पीनस्तनजवन का० र० व० II.12; गो० का० प्र० P. 284. ३२६ परिहरति रति म्ति गो० का० प्र० P. 264. ९० पविसंती घरवारं हा० गा० स० 880; गो० का० प्र० P. 119. ४९२ पश्चादङ््घी प्रसार्य बा०ह. च०, III. 5; गो० का० प्र० P. 356.

१२३ पश्यत्कश्चिच्चलचपल गो० का० प्र० P. 138

३३२ पाण्डु क्षामं वदनं अ०ध्व० आ० लो० P. 166; श्री० का० प० 254; गो०का०प्र० P. 238.

४६० पाण्डु क्षामं वदनं अ० ध्व०आ०लो० P.166; श्री० का० प० 254; गो० का० प्र० P. 238; गो० का० प्र० P. 346. ५८७ पातालमिव ते नाभि: वा० का० अ० सू० वृ० IV.2.11; श्री० का० प० 330; गो०का०प्र. P. 397.

५७८ पादाम्बुजं भवतु नो पञ्चस्तवी III. 1. १७७ पितृवसतिमहं व्रजामि श्री० का० प० 83; गो० का० प्र० P. 140. ५४८ पुराणि यस्यां सवराङ्गनानि प० न० सा० च० I.22; रु० अ० स० P.81; श्री० का० प०308; गो० का० प्र. P.381. ४४३ पुंस्त्वादपि प्रविचलेत् भ० श० 79; गो० का० प्र० P. 339. ३०६ पृथुकार्तस्वरपात्रं सु० र० को० No. 1644; गो० का० प्र० P. 257.

३७० गो० का० प्र० P. 294. 13

XXX KĀVYAPRAKĀŚA

४८७ पेशलमपि खलवचनं गो० का० प्र० P. 355. ४०३ पौरं सुतीयति जनं श्री० का० प० 217; गो० का० प्र० P. 315. ५०२ प्रणयिसखीसलील भ० मा० मा० V.31; गो० का० प्र० P. 361. ५९५ प्रत्यग्रमञ्जनविशेष ह० र० आ० . 20; गो० का० प्र० P. 399.

१३९ प्रथममरुणच्छाय: कु० व० जी० P. 30; भो० स० क० आ०I.27; गो० का० प्र० P. 167. १०५ प्रधनाध्वतिः धीरधनुर्ध्वनि गो० का० प्र० P. 126.

२८१ प्रयत्नपरिबोधित: भ० वे० सं० III. 34; गो० का० प्र० P. 247. ३२७ प्रसादे वर्तस्व प्रकटय अ०ध्व० आ० लो० P.162; चन्द्रक :; शा० प०; गो० का० प्र० P. 265. ३५ प्रस्थानं वलयैः कृतं अ० श० 35; गो० का० प्र० P. 78; सुरभा 329/21. २०९. प्रागप्राप्तनिशुम्भ भ० म० वी० च० II.33; श्री० का० प० 163; गो० का० प्र० P. 205. ३१७ प्रागप्राप्तनिशुम्भ भ०म० वी० च० II. 33; श्री० का० प० 163; गो० का० प्र० P. 205. ३१८ प्रागप्राप्तनिशुम्भ भ० म० वी० च० II. 33; श्री० का० प० 163; गो० का० प्र० P. 205. २९० प्राणेश्वरपरिष्वङ्ग वा० का० अ० सू० वृ० II.2.15; गो० का० प्र० P. 250. २७१ प्राप्ता: श्रियः सकलकाम भ० वै० श० 67; श्री. का० प० 133 ;· गो० का० प्र० P. 141. १७४ प्राभ्रभ्राड्विष्णुधामा गो० का० प्र० P. 289. २३६ प्रियेण संग्रथ्य विवक्ष भा० कि० अर०, VIII. 37; गो० का० प्र० P. 222.

३२ प्रमार्द्रा: प्रणयस्पृशः भ० मा० मा०, V.7; गो० का० प्र० P. 77.

APPENDIX B XXXI

१८ प्रेयान् सोऽप्यमप्राकृत वा० का० अ० सू० व० III. 2. 15; श्री० का० प० 56; गो० का० प्र० P. 122. ३५१ प्रौढ़च्छेदानुरूपोच्छलन छलितरामम; गो० का० प्र० P. 285. ३०९ फुल्लुक्करं कलमकूरणिहं रा० क० म०, I. 19; गो० का० प्र० P. 258. ४३१ बत सखि कियदेतत् गो० का० प्र० P. 333. ११९ बन्दीकृत्य नृप द्विषां सुरभा 112/268. ५१४ बिम्बोष्ठ एव रागस्ते प० न० सा० च० VI. 60; गो० का० प्र० P. 367. १३० ब्राह्मणातिकमत्यागो गो० का० प्र० P.143; भ० म० वी० च० II.8; श्री० का० प० 71. ३७१ भक्तिप्रह्वविलोकन भागवतामृतवर्घनः; व० सु० आ्रर०; म० व्य० वि० II. 92. p. 362 (P. 421 Chow-); गो० का० प्र० P. 295. ५२४ भक्तिर्भवे न विभवे रु० अ० स० P. 87; गो० का० प्र० P. 271.

५८१ भण तरुणि रमण कु० व०जी० 1.9; II.20; रु० का० अ०II.22; गो० का० प्र० P. 396. १२ भद्रात्मनो दुरधिरोह शि० क० अ० I.38; श्री० का० प० 1; गो० का० प्र० P.46.

१३८ भम धम्मिअ वीसद्धो हा० गा० स० 175 (1I.75.) म० व्य० वि० P.400; श्री० का० प० 2; गो० का० प्र० P. 164. ५०३ भस्मोडूलन भद्रमस्तु गो० का० प्र० P. 361.

३८७ भासते प्रतिभासार रु० अ०स० P. 20; श्री० का० प० 205; गो० का० प्र० P. 305. ७८ भुवितमुक्तिकृदेकान्त गो० का० प्र० P. 113. ५८३ भुजंङ्गमस्येव मणिः गो० का० प्र० P. 397. १७५ भूपतेरुपसर्पन्ती. गो० का० प्र० P. 189. २६० भूपालरत्न निर्देन्य श्री० का० प० 126; गो० का० प्र० P. 236.

XXXII KĀVYAPRAKĀŚA

१०६ भूयो भूय: सविध भ० मा० मा०, I. 30; गो० का० प्र० P. 126.

३३४ भूरेणुदिग्धान्नवपारि आ०ध्व० आ० III. P.178; अ० ध्व० आ०लो० JII P. 178; गो० का० प्र० P.270. १२६ भ्रमिमरतिमलस आ०ध्व० आ० II. 3; अ० ध्व० आ०लो० PP.237, 368; रु० अ० स० P,27; श्री० का० प० 68; गो० का० प्र० P. 141. ४१३ मतिरिव मूर्तिर्मधुरा श्री० का० प० 223; गो० का० प्र० P. 320. १३१ मथ्नामि कौरवशतं भ० वे० सं० I. 15; अ्० ध्व० त्र्प्रा० लो० P.213; श्री० का० प० 72; गो० का० प्र० P. 144. ३६८ मधुपराजिपराजित र० ह० वि० III. 57; गो० का० प्र० P. 294. ५१६ मधुरिमरुचिरं वचः श्री० का० प० 286; गो० का० प्र० P. 367. ३४२ मनोरागस्तीव्रं विषमिव भ० मा० मा० II. 1; श्री० का० प० 174; गो० का० प्र० P. 276. ३५० मन्थायस्तार्णवाम्भ: प्लुत भ० वे० सं० I. 22; गो० का० प्र० P. 285.

५५७ मलयजरसविलिप्त रु० अ० स० P. 95; वा० का० अ० सू० वृ० IV.3.10; गो० का० प्र० P. 385. २२६ मसृणचरणपातं रा० बा० रा० VI. 36; गो० का० प्र० P. 214. ३७२ महदेसुरसंघम्मे हा० गा० स० 991; आ० दे० श०; गो० का० प्र० P. 296. २४२ महाप्रलयमारंत भ० वे० सं० III. 4; श्री० का० प० 120; गो० का० प्र० P. 225.

APPENDIX B XXXIII

७१ महिलासहस्सभरिए हा० गा० स० II. 82; रु० अर० स० P. 36; गो० का० प्र० P. 108. २४७ महीभृतः पुत्रवतोऽपि का० कु० सं०, I. 27; गो० का० प्र० P. 227. ५१९ महौजसो मानधना: भा० कि० अ० I. 19; श्री० का० प० 288; गो० का० प्र० P. 369. ६ माए घरोवअरणं हा० गा० स० 889; गो० का० प्र० P. 18.

२९९ मातङ्गा: किमु वल्गितैः गो० का० प्र० P. 254. ३८५ माता नतानां संघट्टः रु० का० अ०, V. 7; गो० का० प्र० P. 304. १३३ मात्सर्यमुत्सार्य भ० शृ० श० 36; गो० का० प्र० P. 159.

२६२ मात्सर्यमुत्सार्य भ०शृ० श० 36; गो० का० प्र० P. 237. ५३४ मानमस्या निराकर्तृ द० का० आ० 1I.299; रु० अ० स० P. 92; श्री० का० प० 299; गो० का० प्र० P. 376. ३८४ मारारिशकरामेभ रु० का० अ्र० V.6,7; गो० का० प्र० P. 303. ३४४ मित्रे क्वापि गते सरोरुह प्रवरसेन :; श्री० का० प० 176; गो० का० प्र० P. 277. ५०५ मुक्ता: केलिविसूत्रहार रु० अ० स० P.103; श्री० का० प० 281; गो० का० प्र० P. 363. ९ मुखं विकसितस्मितं प्र० ध्व० आ० लो० P.63; गो० का० प्र० P. 36; शाप 3277; सुरभा 256/35.

७६ मुग्धे मुग्धतयैव अर०श० 70; गो० का० प्र० P. 112. १५९ मूर्ध्नामुद्वृत्तकृत्ता ह० ना० VIII; श्री० का० प० 89; गो० का प्र० P. 182. ३४८ मूर्ध्नामुद्वृत्तकृत्ता २९५ मृगचक्षुषमद्राक्षम् श्री० का० प० 147; गो० का० प्र० 11

P. 252.

XXXIV KĀVYAPRAKĀŚA

४९७ मृगलोचनया विना रु० अ० स० 50; गो० का० प्र० P. 358. १५३ मृदुपवनविभिन्नो का० वि० उ० IV.22; गो० का० प्र० P. 178. ४०४ मृधे निदाघघर्मांशु श्री० का० प० 218; गो० का० प्र० P. 315. ५०४ यं प्रेक्ष्य चिररूढ़ापि गो० का० प्र० P. 362; उ० का० अ० सा० स० उ० वि० P. 44; मेण्ठकृतं हयग्रीववधम्। १ य: कौमारहर: शीलाभट्टारिका; क० व० स० 508; रुअ्रस P. 74; विसाद I, line 5, P. 14. शा० प०; गो० का० प्र० P. 9. I.2; सु० र० भा०; 353/42. गो० २०३ यः पूयते सुरसरिन्मुख का० प्र० P. 203. १९३ यत्तदूर्जितमत्युग्रं भ० वे० सं० I. 13; म० व्य० वि० ; गो० का० प्र० P. 198 २७३ यत्रानुल्लिखिंतार्थमेव कु० व० जी०, I. 29, P.18; श्री० का० प० 134; गो० का० प्र० P. 242. ५१८ यत्रता लहरीचलाचलदृशः रु० अ० स० P. 83; श्री० का० प० 287; गो० का० प्र० P. 368. १४३ यथायं दारुणाचार: श्री० का० प० 75; गो० का० प्र० P. 173. २९७ यदा त्वामहमद्राक्षम् श्री० का० प० 149; गो० का० प्र० P. 253. ३६५ यदानतोऽयदानतो आ०दे० श० 49; श्री० का० प० 197; गो० का० प्र० P. 293. २७२ यदि दहत्यनलोऽन्र आ० दे० श०; श्री० का० प० 185; गो० का० प्र० P. 241. ४५४ यदि दहत्यनलोऽत गो० का० प्र० P. 343 ३१२ यद्वञ्चनाहितमतिर्बहु प०ध्व० आ०लो०: III. 16; गो० का० प्र० P. 260.

APPENDIX B XXXV

२४५ यशोऽधिगन्तुं सुख भा० किं० अ० III. 40; गो० का० प्र. P. 227. १९९ यश्चाप्सरोविभ्रम का० कु० सं० I.4; श्री० का० प० 99; गो० का० प्र० P. 200. ५४५ यस्य किंचिदपकर्तु रु० अ०सं० P. 93; मा० शि० व० XIV. 78; गो० का० प्र० P. 379. ३५७ यस्य न सविधे दयिता श्री० का० प० 161; गो० का० प्र० P.290 ७३ यस्य मित्राणि मित्राणि गो० का० प्र० P. 111. ११३ यस्यासुहृत्कृततिरस्कृति गो० का० प्र० P. 133. ४३९ याता: किंन मिलन्ति अ० श० 10; गो० का० प्र० P. 337. १४५ यावकरसाद्रपाद श्री० का० प० 77; गो० का० प्र० P. 174. ५४३ युगान्तकवलप्रतिसंहृता मा० शि० व० I. 23; श्री० का० प० 305;गो० का० प्र० P. 379. ५४७ ये कन्दरासु निवसन्ति रु० अ०स० P. 94; गो० का० प्र० P. 380. ३०२ येन ध्वस्तमनोभवेन चन्द्रक; व० सु० श०; अ० ध्व०आ० लो० II. 21,22; म० व्य० वि० P. 94; कु० व० जी०; श्री० का० प० 153; गो० का० प्र० P. 255. १८९ ये नाम केचिदिह भ० मा० मा० 1. 7; म० व्य० वि० P. 200; गो० का० प्र० P. 196. ४४४ येनास्यभ्युदितेन चन्द्र गो० का० प्र० P. 339. ४८४ येषां कण्ठपरिग्रह गो० का० प्र० P. 354. २२७ येषां तास्त्रिदशेभदान म० व्य० वि०; श्री० का० प० 124; गो० का० प्र० P. 215. १०४ येषां दोर्बलमेव दुर्बल गो० का० प्र० P. 126. १९२ योऽविकल्पमिदमर्थ म०व्य० वि० P. 208; गो० का० प्र० P. 197. ३७६ योऽसकृत्परगोत्राणां श्री० का० प० 201; गो० का० प्र० P. 297. 35

XXXVI KĀVYAPRAKĀŚA

९७ रइकेलिहिअणिअरुण हा० गा० स० V.53; कु० व० जी० I. 58; म० व्य० वि०; व० ल० 607; श्री० का० प० 55; गो० का० प्र० P. 122. ३०० रक्ताशोक कृशोदरी वव का० वि० उ० IV; श्री० का० प० 151; गो० का० प० P. 254. ३१९ रक्ताशोक कृशोदरी क्व का० वि० उ० IV; श्री० का०प०151; गो० का० प० P. 245. ३७४ रजनिरमणमाले: ३८८ रसासार रसा सार रु० का० अ० JII. 399; श्री० का० प० 206; गो० का० प्र० P. 303.

८४ राईसु चंदधवलासु हा० गा० स० 992; गो० का० प्र० P. 116.

४५१ राकायामकलङ्कं चेत् गो० का० प्र० P. 342. १५६ राकाविभावरीकान्त श्री० का० प० 86; गो० का० प्र० P. 180. ४९ राकासुधाकरमुखी श्री० का० प० 34; गो० का० प्र० P. 94. ५७२ राजति तटीयमभिहत र० ह० वि० V. 137; गो० का० प्र० P. 391.

५७७ राजनारायणं लक्ष्मी: उ० का० अ० सा० स० उ० वि० P. 46. ४४० राजन्राजसुता न पाठयति रु० अ० स० P. 63; गो० का० प्र० P. 338.

२११ राजन्विभान्ति भवतः श्री० का० प० 109; गो० का० प्र० P. 207. ५३२ राज्ये स्सारं वसुधा रु० का० अ० VII. 97; गो० का० प्र० P. 375. २५४ राममन्मथशरेण ताडिता का० र० व० XI.20; गो० का० प्र० P. 232. १०९ रामोऽसौ भुवनेषु विशाखदत्तः; कु० व० जी० I. 43; II.30; भो० स० क० आ० P. 341.

APPENDIX B XXXVII

श्री० का० प० 58; राघवानन्दम्; गो० का० प्र० P. 128. ७७ रुधिरविसरप्रसाधित , गो० का० प्र० P. 113. १०३ रेरे चञ्चललोचनाञ्चित गो० का० प्र० P. 125. २४१ लग्नं रागावृत्ताङ्गया वे० प० वे० II; गो० का० प्र० P. 224. २५३ लग्नं रागावृत्ताङ्गया वे० प० वे० II; गो० का० प्र० P.247. २८० लग्नं रागावृत्ताङ्या वे० प० वे० II; गो० का० प्र० P.247. २८४ लग्नं रागावृत्ताङ्गया वे० प० वे० II; गो० का० प्र० 247. २३७ लग्न: केलिकचग्रह गो० का० प्र० P. 223. ४९८ लतानामेतासामुदित गो० का० प्र० P. 359.

४३४ लहिऊण तुज्झ बाहुप्फंस हा० गा० स० 428; श्री० का० प० 238; गो० का० प्र० P. 334.

७५ लावण्यं तदसौ कान्ति: श्री० का० प०5; गो० का० प्र० P.112. ५५३ लावण्यौकसि सप्रताप खण्डप्रशस्तिः; गो० का० प्र० P. 383. : १०० लिखन्नास्ते भूरमि अ० श० 6; श्री० का० प० 57; गो० का० प्र० P. 124.

४१७ लिम्पतीव तमोङ्गानि शृ० मृ० श० I. 32; भा० चारुदत्त I. 19; भा० बालचरित I. 15;श्री० का० प० 318; गो०का० प्र०P. 324. ५६८ लिम्पतीव तमोङ्गानि श० मृ० श० I. 32; भा० चारुदत्त I. 19; भा० बाल चरित I. 15; श्री० का० प० 318; गो० का० प्र० P. 324; गो० काo प्र० P. 389. १५२ लीलातामरसाहतो अ०श० 70; गो० का० प्र० P. 178. ५३० वक्त्रस्यन्दिस्वेदबिन्दु रु० अ० स० P.97; श्री० का० प० 297; गो० का० प्र० P. 474. २७४ वक्त्राम्भोजं सरस्वत्यधि व० भो० प्र० 230, P, 51; श्री० का० प० 135; गो० का० प्र० P. 243. ५७६ वक्त्रेन्दौ तव सत्ययं ह० र० आ० III. 23 cd; ५६७ वदनसौरभलोभ मा० शि० व० VI. 14; गो० का० प्र० P. 389.

XXXVIIİ KĀVYAPRAKĀŚA

३५८ वदनं वरर्वणिन्यास्तस्याः श्री० का० 'प० 194; गो० का० प्र० P. 290. ३१३ वद वद जितः स शत्रुः रु० का० अ० VI. 30; श्री० का० प० 160; गो० का० प्र० P. 260.

५०१ वपुःप्रादुर्भावादनु मुञ्जः; सु० र०को० 36; गो० का० प्र० P. 360.

१६१ वपुरविरूपाक्षमलक्ष्य का० कु० सं० V. 12; गो० का० प्र० P. 183. १८१ वस्त्रवैदूर्यंचरणैः श्री० का० प० 37; गो० का० प्र० P. 191.

५८५ वह्निस्फुलिङ्ग इव भो० स० क०आ० I. 51; वा० का० अ० सू० वृ० IV. 2; श्री० का० प० 328.

५२८ वाणिअअ हत्थिदन्ता हा० गा० स० 951; अ० ध्व० श० लो० III. 17; गो० का० प्र० P. 373. १३२ वाणीरकुडंगुड्डीण हा० गा० स० 876; अ० ध्व० आर० लो० P. 116-120; गो० का० प्र० P. 144.

२८२ वाताहरतया जगत् भ० श० 87; श्री० का० प० 142; गो० का० प्र० P. 248. ८६ वारिज्जन्तो वि पुणो हा० गा० स० 994; गो० का० प्र० P. 117.

२१७ विकसितसहकारतार गो० का० प्र० P. 210. ५१० विदलितसकलारिकुलं रु० का० अ० VII. 28; गो० का० प्र०, P. 365. २८८ विदीर्णाभिमुखाराति वा० का० अ० सू० वृ० II. 2.13; गो० का० प्र० P. 250.

४२५ विद्वन्मानसहंस रु० अ० स० P. 27; श्री० का० प० 233; गो० का० प्र० P. 329. २६९ विधाय दूरे केयूर गो० का० प्र० P. 240. २०४ विनयप्रणयककेतनं श्री० का० प० 104; गो० का० प्र.० P. 203.

APPENDIX B XXXIX

३६१ विनायमेनो नयता रु० अ०का० अ० III. 5; गो० का० प्र० P. 292. ५ विनिर्गतं मानदमात्म मेण्ठ कृतं हयग्रीववधम; गो० का० प्र० P. 16. २४८ विपदोऽभिभवन्त्यविक्रमं भा० कि० अ० II. 14; म० व्य० वि० ; गो० का० प्र० P. 228. १३७ विपरीअरए लच्छी हा० गा० स० 816; ज० व० ल० 611. ५४१ विपुलेन सागरशयस्य मा० शि० व० XIII. 40; गो० का० प्र० P. 378.

५६३ वविभिन्नवर्णा गरुडा गो० का० प्र० P. 378; मा० शि० व० IV. 14; श्री० का० प० 316. ३३५ विमानपर्यङ्कतले आर०ध्व० आ० III P.178; अ० ध्व० आ०लो० III, P.178; गो० का० प्र० P. 271.

२७ वियदलिमलिनाम्बु गो० का० प्र० P. 71. ९१ विहलं खलं तुमं सहि हा०गा०स० 880; गो०का०प्र.P. 119. २१३ वेगादुड्डीय गगने गो० का० प्र० P. 203. ५५८ वेत्रत्वचा तुल्यरुचां श्री० का० प० 311; गो० का० प्र० P. 385; सुरभा 223/64. २५३ शक्तिर्निस्त्रिशजेयं तव गो० का० प्र० P. 231 ; वसुश्रा 2596; सुरभा 148/80. ५९ शनिरशनिश्च तमुच्चेः श्री० का० प० 40; गो० का० प्र० P. 101; सुरभा 103/73. १५७ शरत्कालसमुल्लासि गो० का० प्र० P. 180; सुरभा 262/165. ५०९ शशी दिवसधूसरो भ० नी० श० 45; गो० का० प्र० P. 364; सुरभा 177/993. .५३७ शिरीषादपि मृद्ङ्गी प० न० सा० च०, I.28; श्री० का० प० 302;गो० का० प्र० P. 377. म० सू० श० 6;गो० का० प्र० P. 255. ३० शून्यं वासगृहं प० श० 77; श्री० का० प० 15; गो० का० प्र० P. 75.

XL KĀVYAPRAKĀŚA

५२० शैलेन्द्रप्रतिपाद्यमान रु० अ० स० P. 98; श्री० का० प० 289; गो० का० प्र० P. 370. २७५ श्यामां श्यामलिमान रा० वि० शा० भ० III. 1; श्री० का० प० 136; गो० का० प्र० P. 243.

१९६ श्रितक्षमा रक्तभुव: श्री० का० प० 97; गो० का० प्र० P. 199.

१० श्रीपरिचयाज्जडा अपि रविगुप्तः; व०सु० आ०; गो० का० प्र० P. 38; सु० र० भा० P. 62/13. २७९ श्रुतेन बुद्धिव्यसनेन श्री० का० प० 140; गो० का० प्र० P. 249; सु० र० भा० P. 174/899.

३०८ षडधिकदशनाडीचक्र भ० मा० मा० V. 1; गो० का० प्र० P. 258. ४०० सअलकरणपरवीसाम हा० गा० स० 995; गो० का० प्र० P. 314.

४७६ स एकस्त्रीणि जयतति भा० का० अ० III. 24; रु० अ० स० P. 74; गो० का० प्र० P.351;वि० सा० द० X. 67; सु० र० भा० P. 250/4. ५९१ सक्तवो भक्षिता देव श्री० का० प० 334. ५३१ संकेतकालमनसं अ०ध्व० आ०लो. PP. 250, 431; आ०ध्व० आ०लो० II. 36; गो० का० प्र० P. 374.

२२९ संग्रामाङ्गणमागतेन रु० अ० स० P.81; भो० स० क० आ० P. 70; खण्डप्रशस्तिः; श्रीधर० स० क०; गो० का० प्र० P. 217.

४५९ संग्रामाङ्गणमागतेन रु० अर० स० P.81; भो० स० क० श्र० P. 70; खण्डप्रशस्तिः; श्रीधर० स० क०; गो० का० प्र० P. 217; गो० का० प्र० P. 345.

४८६ सततं मुसलासक्ताः गो० का० प्र. P. 355. ३३३ सत्यं मनोरमा रामा प्र० ध्व० आ०लो० III. 30; श्री० का० प० 170; गो० का० प्र० P. 269.

APPENDIX B XLI

३६२ स त्वारम्भरतोरडवश्य रु० का० अ० III. 18; गो० का० प्र० P. 293. ३६३ सत्त्वारम्भरतोऽवश्य रु० क० अ० III. 19. २५६ सदा मध्ये यासामियमभृत श्री० का० प० 127; गो० का० प्र० P. 234. २६७ सदा स्नात्वा निशीथिन्यां श्री० का० प० 132; गो० का० प्र० P. 239.

५३९ सद्यः करस्पशमवाप्य प० न० सा० च० I. 62; श्री० का० प0 269; गो० का० प्र० P. 378. ३८० सद्वंशमुक्तामणिः ३६० सन्नारीभरणोपाय रु०का० अ० X. 27; गो० का० प्र० P. 292.

५८९ स पीतवासा: प्रगृहीत भा० का० अ० II. 58; श्री० का० प० 332; गो० का० प्र० P. 397.

४९१ समदमतङ्गजमदजल गो० का० प्र० P. 356. ५८८ स मुनिर्लाञ्छितो वा० का० अ० सू० वृ० IV. 2.9; श्री० का० प० 331; गो० का० प्र० P. 397. ३२४ संप्रहारे प्रहरणैः श्री० का० प० 167. १५५ सम्यग्ज्ञानमहाज्योति: गो० का०प्र० P.179; श्री० का०प० 85. ३८६ सरला बहुलारम्भ रु० का० अ० V. 19; गो० का० प्र० P. 304; सु० र० भा० 205/9. ३६६ सरस्वति प्रसादं मे आर०दे० रा० 50;गो० का०प्र० P.293; सु० र० भा० 205/51. १८१ स रातु वो दुश्च्यवनो गो० का० प्र० P. 188. ३७५ सर्वस्वं हर सर्वस्य गो० का० प्र० P. 297. ४०५ सविता विधवति विधुरपि श्री० का० प० 219; गो० का० प्र० P. 316; सु० र० भा० 171/800. ३२१ सव्रीडा दयितानने श्री० का० प० 164; गो० का० प्र० P.262; सु० र० भा० 12/41 ३३५ सशोणितः ऋव्यभुजां गो० का० प्र० P. 271.

XLII KĀVYAPRAKĀŚA

३६७ ससार साकं दर्पेण रु० का० अ०III 35; गो० क० प्र० P. 294; सु० र० भा० 205/6. ४९५ सह दिअहणिसाहि रा० क० म० II. 9; गो० का० प्र० P. 358.

८९ सहि णवणिहुवणसमरम्भि हा० गा० स० 996; गो० का० प्र० P. 118.

६९ सहि विरइऊण माणस्स हा० गा० स० 936; गो० का० प्र० P. 108. १२१ साक कुरङ्गकदृशा गो० का० प्र० P. 137; सु० र० भा० 105/142. १६९ सा दूरे च सुधा श्री० का० प०93; गो० का० प्र० P. 186.

१५१ साधनं सुमहद्यस्य श्री० का० प० 81; गो० का० प्र० P. 177; सु० र० भा० 79/12. १८८ साधु चन्द्रमसि पुष्करैः अ० रा० च० II. 95; गो० का० प्र० P. 195; ज० सू० मृ० 53/34; सु० र० भा० 262/178.

३४ सा पत्युः प्रथमापराध अ्० श० 29; गो० का० प्र०. P. 78; सु० र० भा० 358/64.

७२ सायकसहायबाहा: गो० का० प्र० P. 188; सु०र० भा० 189/55. ७९ सायं स्नानमुपासितं गो० का० प्र० P. 114; सु० र० भा० 293/12. ५६० सा वसइ तुज्ज हिअए हा० गा० स० 947; श्री० का० प० 314; गो० का० प्र० P. 386. ७ साहेन्ती सहि सुहअं हा० गा० स० 840; गो० का० प्र० P.19. ३१४ सितकरकररुचिरविभा श्री० का० प० 195; गडे० का० प्र० P. 260; गो० का० प्र० P. 290. ३५९ सितकरकररुचिरविभा ५३८. सिहिकासुतसंत्रस्तः श्री० का० प० 303; गो० का० प्र०

APPENDIX B XLIII

१६५ सुधाकरकराकर श्री० का० प०90; गो० का० प्र० P. 185; शा० 1102; सु० र० भा० 218/67. १७८ सुरालयोल्लासपर: गो० का० प्र० P.190. १९ सुव्वइ समागसिस्सदि हा० गा० स० 962; गो० का० प्र० P.53.

२६६ सुसितवसनालंकारायां श्री० का० प० 121; गो० का० प्र० P. 239; सु० र० भा० 136/38. ४७९ सुसिवसनातलंकारायां "' 11 ४४२ सुहृद्दधूवाष्पजल उ० का० अ० सा० सं० उ० वि० P. 43 ;* गो० का० प्र० P. 338. ४८५ सृजति च जगदिदमवति गो० का० प्र० P. 355; सु० र० भा० 91/45. २५ सेयं ममाङ्गषु सुधारस शंकुक; गो० का० प्र० P. 64; सु० र० भा० 273/6.

५६९ सो णत्थि एत्थ गामे हा०गा० स० 997; गो० का० प्र० P. 389. १७० सोऽध्यैष्ट वेदान् भ० का० I.2; गो० का० प्र० P. 187. ४४८ सोऽपूर्वो रसनाविपर्यय भ० श० 18; गो० का० प्र० P. 341; सु. र० भा० 224/110. ८७ सो सुद्धसामलंगो हा०गा०स० 998;आ०वि० बा० ली० ; गो० का० प्र० P. 118. २९१ सौन्दर्यसंपत् तारुण्यं गो० का० प्र० P. 250. ४२४ सौन्दर्यस्य तर्राङ्गणी गो० का० प्र० P. 329. ५७५ सौभाग्यं वितनोति श्री० का० प० 321. ४८ स्तुम: कं वामाक्षि श्री० का० प० 33; गो० का० प्र० P.93; सु० र० भा० 313/64. ३७८ स्तोकेनोन्नतिमायाति श्री० का० प० 202; गो० का० प्र० P. 299. प० तं० I. 161; सु० र० भा० 54/23. ११२ स्निग्धश्यामलकान्ति आर०ध्व० आ० II; गो०का०प्र०P.131; ध्व० आ०लो० II. 1, PP. 61-62;

XLIV KĀVYAPRAKĀŚA

ह० ना० V. 7/, प्रतिहारेन्दुराज on उद्भट, P.86; कु० व० जी० I. 42; P. 30; अ० वृ० मा० P. 11. ५७९ स्पष्टोल्लसत्किरण र० ह० वि० XIX.1; म० व्य० वि०; गो० का० प्र० P. 394. ६०१ स्पृशति तिग्मरुचौ र०ह० वि० III. 37; गो० का० प्र० P. 401; सु० र० भा० 336/38. २२१ स्फटिकाकृतिनिर्मल: गो० का० प्र० P. 210. ५६१ स्फुरदद्भुतरूपमुत्प्रताप श्री० का० प० 315; गो० का० प्र० P. 386; सु० र० भा० 104/89. १६० स्रस्तां नितम्बादव का० कु० सं० III. 55; गो० का० प्र० P. 182; सु० र० भा० 268/381. ४ स्वच्छन्दोच्छलदच्छ गो० का० प्र० P. 15; सु० र० भा० 1 9/131.

४७० स्वच्छात्मतागुणसमु गो० का० प्र० P. 348. २६१ स्वपिति यावदयं निकटे श्री० का० प० 130; गो० का० प्र० P. 237. ३९२ स्वप्नेऽरपि समरेषु त्वां गो० का० प्र० P. 311. ३७७ स्वयं च पल्लवाताम्र उ० का० अ० सा० सं० IV. 15; गो० का० प्र० P. 298.

६०२ स्वयं च पल्लवाताम्र उ० का० अ० सा० सं० IV. 15; गो०

का० प्र० P. 402. ३४६ स्वर्गप्राप्तिरनेनैव २८५ हन्तुमेव प्रवृत्तस्य भा० का० अ० I.41. ४६ हरत्यघं संप्रति हेतु मा० शि० व०1. 26; गो० का० प्र० P. 91. ४६८ हरवन्न विषमदृष्टिः श्री० का० प० 256. ११९ हरस्तु किचित्परिवृत्त का० कु० सं० III. 67; श्री० का० प० 70. ५२७ हंसाणं सरेहिं सिरी हा० गा० स० 953; गो० का० प्र० P. 372. १४९ हा घिक् सा किल गो० का० प्र० P. 179. २१९ हा नृप हा बुध हा कवि गो० का० प्र० P.210.

APPENDIX B XLV

३८ हा मातस्त्वरितासि नारायणभट्टः; गो० का० प्र० P. 81; सु० र० भा० 362/37. ४९३ हित्वा त्वामुपरोध गो० का० प्र० P. 357. ३२० हुमि अवहत्थिअरेहो आ०वि०बा० ली०; अ०ध्व० आ०लो० P. 152.

४५२ हृदयमधिष्ठितमादौ कु० म० 96,P. 23; श्री० का० प० 248; गो० का० प्र० P. 342 ४९४ हे हेलाजितबोधिसत्त्व कु० व० जी० I. 90; वाक्यपदीयटीका पुञ्जराजकृता II. 249; रु० अ० स० P. 67; गो० का० प्र० P. 357.

APPENDIX C

Index of the first and second lines of the Karikas

of the Kavyaprakaśa

अकाण्डे प्रथनच्छेदावङ्गस्याप्यतिविस्तृतिः । 61b अगढ़मपरस्याङ्ग वाच्यसिद्ध्यङ्गमस्फुटम् । 45a अद्गिनोननुसंधानं प्रकृतीनां विपर्ययः । 62a अङ्गिन्यङ्गत्वमाप्तौ यौ तौ न दुष्टौ परस्परम्॥ 65b अतादृशि गुणीभूतव्यङ्गयं व्यङ्गये तु मध्यमम् । 5a अनङ्गस्याभिधानं च रसे दोषाः स्युरीदृशाः॥ 62b अनन्वयो विपर्यास उपमेयोपमा तयोः॥ 91b अनवीकृतः सनियमानियमविशेषा विशेषपरिवृत्ताः॥ 56b अनुमानं तदुक्तं यत् साध्यसाधनयोर्वचः॥ 117b अनुस्वा नाभसंलक्ष्यत्रमव्यङ्गयास्थितिस्तु य: ॥ 37b अनेकार्थस्य शब्दस्य वाचकत्वे नियन्त्रिते। 19a अन्यत् प्रकुर्वत: कार्यमशक्यस्यान्यवस्तुनः । 136a अन्ये भजन्ति दोषत्वं कुत्रचिन्न ततो दश। 72b अन्योन्ययोगादेवं स्याद्भेदसंख्यातिभूयसी॥ 47b अन्योर्थो लक्ष्यते यत्सा लक्षणारोपिता क्रिया॥ 9b अपदस्थपदसमासं संकीणं गभितं प्रसिद्धिहतम्॥। 54b अपास्य च्युतसंस्कारमसमर्थ निरर्थकम् । 52a अप्रस्तुतप्रशंसा या सा सैव प्रस्तुताश्रया। 98a अभवन्वस्तुसम्बन्ध उपमापरिकल्पकः ॥ 97b अर्थशक्त्युद्भवोप्यर्थो व्यञ्जकः संभवी स्वतः ॥ 39b अर्थस्य व्यञ्जकत्वे तच्छब्दस्य सहकारिता।। 23b अर्थान्तरे सङ्कमितमत्यन्तं वा तिरस्कृतम्॥ 24b अर्थाः प्रोक्ताः पुरा तेषामर्थव्यञ्जकतोच्यते। 21a अर्थे सत्यर्थभिन्नानां वर्णानां सा पुनः श्रुतिः। 83a अर्थोपि व्यञ्जकस्तत्र सहकारितया मतः ॥ 20b अर्थोपुष्टः कष्टो व्याहतपुनरुक्तदुष्कमगाम्याः॥ 55b

APPENDIX C XLvii

अर्धान्तरैकवाचकभवन्मतय प्रमनभिहितवाच्यम् 54a अलक्कारोथ वस्त्वेव शब्दाद्यत्रावभासते।। 38b अविमृष्टविधेयांशं विरुद्धमतिकृत्समासगतमेव॥। 51b

अविवक्षितवाच्यो यस्तत्र वाच्यं भवेद्ध्वनौ। 24a अविश्रान्तिजुषामात्मन्यङ्गाङ्गित्वं तु संकरः। 140a

असकृद् यदसंभाव्यमुत्तरं स्यात् तदुत्तरम् । 122a

आक्षेप उपमानस्य प्रतीपमुपमेयता। 133a आलस्यं चैव दैन्यं च चिन्ता मोहः स्मृतिधृतिः॥ 31b आवृत्तिर्मध्यवृत्तिर्वा माधुर्ये घटना तथा।। 74b- आश्रयाश्रयिणौ स्यातां तनुत्वेप्यधिकं तु तत्।। 128b आश्रयैक्ये विरुद्धो यः स कार्यो भिन्नसंश्रयः । 64a आह्हादकत्वं माधुरयं श्रृंगारे द्रतिकारणम्॥ 68b इदमुत्तममतिशयिनि व्यङ्गये वाच्यादुध्वनिबुधैःकथितः।। 4b उक्तेष्वन्तर्भवन्तीति न पृथक् प्रतिपादिता॥ 142b उत्कर्षहेतवस्ते स्युरचलस्थितयो गुणा: ॥ 66b उत्तरोत्तरमुत्कर्षो भवेत्सार: परावधि:।। 123b उदात्तं वस्तुनं सम्पत् महताँ चोपलक्षणम्।। 115b उपकुर्वन्ति तं सन्तं येङ्गद्वारेण जातुचित्। 67a उपमानाद्यदन्यस्य व्यतिरेक: स एव सः । 105a उपमानानुपादाने । वाक्यगाथ समासगा ।। 88b उपमानोप मेयत्वे एकस्येवैकवाक्यगे । 91a

उपादानं लक्षणं चेत्युक्ता शुद्धैव सा द्विधा॥ 10b उभयोपयोगिनः स्युः शब्दाद्यास्तेन तेष्वपि सः ॥ 49b एकं क्रमेणानेकस्मिन् पर्यायोन्यस्ततोन्यथा। 117a एकस्य च ग्रहे न्यायदोषाभावादनिश्चयः।। 140b एकात्मा युगपद्दत्तिरेकस्यानेगोचरा। 135b एकार्थतेव शब्दस्य तथा शब्दार्थयोरयम्। 86b एवम्प्यनवस्था स्याद् या मूलक्षयकारिगी। 17a एषां दोषा यथायोगं संभवन्तोपि केचन। 142a एषां भेदा यथायोगं वेदितव्याश्च पूर्ववत्॥ 46b ऐकात्म्यं बध्यते योगात्तत्सामान्यमिति स्मृतम्॥ 134b ओज: प्रकाशकैस्तैस्तु परुषा कोमला परैः॥ 80b

xLviii KĀVYAPRAKĀŚA

करुणे विप्रलम्भे तच्छान्ते चातिशयान्वितम्। 69a कर्णावतंसादिपदे कर्णादिध्वनिनिर्मितिः । 58a कर्तुः क्रियाफलावाप्तिनै वानर्थश्च यद्भवेत्॥ 126b कर्मकत्रोर्णमुल्येतद्द्विलोपे क्विप्समासगा ॥ 89b कष्टकल्पनया व्यक्तिरनुभावविभावयो: ॥ 60b कारणान्यथ कार्याणि सहकारीणि यानि च । 27a कार्यकारणर्यश्च पौर्वापर्यविपर्ययः । 101a कार्ये निमित्ते सामान्ये विशेषे प्रस्तुते सति । 99a काव्यं यशसेर्थकृते व्यवहारविदे शिवेतरक्षतये। 2a काव्यज्ञशिक्षयाभ्यास इति हेतुस्तदुद्भवे।। 3b किंचित् पृष्टमपृष्टं वा कथितं यत् प्रकल्पते । 119a कुतोपि लक्षितः सूक्ष्मोप्यर्थोन्यस्मै प्रकाश्यते॥ 122b केचिदन्तर्भवन्त्येषु दोषत्यागात्परे श्रिताः । 72a केषांचिदेता वैदर्भीप्रमुखा रीतयो मताः । 81a लक्ष्यव्यङ्ग्यक्रमः परः॥ 25b क्यच वाद्युपमेयासे त्रिलोपे च समासगा। 90b ऋमेण च विरुद्धे यत् स एष विषमो मतः॥ 127b क्रिया द्वाभ्यामपि द्रव्यं द्रव्येणैवेति ते दश। 111a क्रियायाः प्रतिषेधेपि फलव्यक्तिर्विभावना॥ 107b क्वचिद्यदतिवैधम्यान्न इलेषो घटनामियात्। 126a ख्यातेर्थे निर्हेतोरदुष्टतानुकरणे तु सर्वेषाम्। 59a गर्वो विषाद औत्सुक्यं निद्रापस्मार एव च। 32b गुणक्रियाभ्यां कार्यस्य कारणस्य गुणत्रिये। 127a गुणप्राधान्यतस्तत्र स्थितिश्चित्रार्थशब्दयोः॥ 48b गुणवृत्या पुनस्तेषां वृत्तिः शब्दार्थयोर्मता।। 71b गौणौ शुद्धौ च विज्ञेयौ लक्षणा तेन षड्विधा॥. 12b जातिश्चतुर्भिर्जात्याद्यैविरुद्धा स्याद्गुणैस्त्रिभि:॥ 110b जुगुप्सा विस्मयश्चेति स्थायिभावाः प्रकीतिताः॥। 30b ज्ञानस्य विषयो ह्यन्यः फलमन्यदुदाहृतम्। 18a टादि: शषौ वृत्तिदैर्ध्य गुम्फ उद्धृत ओजसि॥ 75b तच्च गूढ़मगूढं वा तदेषा कथिता त्रिधा॥ 13b तच्चित्रं यत्र वर्णानां खड्गाद्याकृतिहेतुता।। 85b तत्परंपरितं श्लिष्टे वाचके भेदभाजि वा॥ 95b

APPENDEIX C XLİx

तत्सिद्धिहेतावेकस्मिन् यत्रान्यत्तत्करं भवेत्। 116a तथ करणं चेति विशेषस्त्रिविधः स्मृतः॥ 136b तथैक यद्विघीयेत स व्याघात इति स्मृतः । 139a तद्र्भाविकं काव्यलिङ्गं हेतोर्वाक्यपदार्थता।। 114b तद्भुर्लाक्षणिकस्तत्र व्यापारो व्यञ्जनात्मकः । 14a तददोषौ शब्दार्थौं सगुणावनलंकृती पुनः क्वापि। 4a तदन्यस्य वचस्तुल्ये तुल्यस्येति च पञ्चधा।। 99b तदा कारणमाला स्यात् क्रियया तु परस्परम्॥ 120b तद्युक्तो व्यञ्जकः शब्दो यत्सोर्थान्तरयुक तथा। 20a तद्रपकमभेदो य उपमानोपमेययोः । 93a तद्रूपाननुहारश्चेदस्य तत् स्यादतद्गुणः । 138a तद्वद् धर्मस्य लोपे स्यान्न श्रौती तद्धिते तथा। 88a तस्यैव यदि वा कल्प्या तिरस्कारनिबन्धनम्॥ 133b तादृगन्यव्यपोहाय परिसंख्या तु सा स्मृता॥ 119b तेन नार्थगुणा वाच्याः प्रोक्ताः शब्दगुणाश्च ये। 73a त्र्यस्त्रिशदमी भावाः समाख्यातास्तु नामतः। 34b त्रासश्चैव वितर्कश्च विज्ञेया व्यभिचारिणः। 34a दीपत्यात्मविस्तृतेरहेतुरोजो वीररसस्थितिः ।। 69b दुष्टं पदं श्रुतिकटु च्युतसंस्कृत्यप्रयुक्तमसमर्थम् । 50a दष्टान्त: पुनरेतेषां सर्वेषां प्रतिविम्बनम् ॥ 102b धर्मेण केनचिद् यत्र तत् सूक्ष्मं परिचक्षते। 123a धर्मोपमानयोलोंपे वृत्तौ वाक्ये च दृश्यते। 90a न दोषः स्वपदेनोक्तावपि संचारिण: क्वचित् । 63a न प्रयोजनमेतस्मिन् न च शब्द: स्खलद्गतिः॥ 16b नवरसरुचिराँ निर्मितिमादधती भारती कवेर्जयति॥ 1b नाभिधा समयाभावाद्धत्वभावान्न लक्षणा॥। 15b नाम्न: स वृत्त्यवृत्त्योश्च तदेवं पञ्चधा मतः॥ 82b निगीर्याध्यवसानं तु प्रकृतस्य परेण यत्। 100a निजेनागन्तुना वापि तन्मीलितमिति स्मृतम्॥ 130b नियतानां सकृद्धर्मः सा पुनस्तुल्ययोगिता। 104b नियतारोपणोपायः स्यादारोपः परस्य यः । 95a नियतिकृतनियमरहितां हलादैकमयीमनन्यपरतन्त्राम् । 1a निर्वेदग्लानिशङ्काख्यास्तथासूया मदश्रमा: । 31a

L KĀVYAPRAKĀŚA

निर्वेदस्थायिभावोस्ति शान्तोपि नवमो रसः । 35a निषेधो वस्तुमिष्टस्य यो विशेषाभिधित्सया।। 106b निहृतार्थमनुचितार्थं निरर्थकमवाचकं त्रिधाशलीलम्।। 50b न्यूनाधिककथितपदं पतत्प्रकर्ष समाप्तपुनरात्तम्।। 53b पदानां सः पदस्यापि वृत्तावन्यत्र तत्र वा । 82a पदैकदेशरचनावर्णेष्वपि रसादयः । 43a परिवत्तिविनिमयो योर्थानां स्यात् समासमैः ॥ 113b परोक्तिर्भेदकैः श्लिष्टैः समासोक्तिनिदर्शना। 97a पर्यायोक्तं विना वाच्यवाचकत्वेन यद्वचः । 115a पुनरुक्तवदाभासो विभिन्नाकारशब्दगा। 86a प्रकृतं यन्निषिध्यान्यत्साध्यते सा त्वपह्न तिः। 96a प्रतिकूलवर्णमुपहतलुप्तविसर्गं विसन्धि हतवृत्तम्। 53a प्रतिकूलविभावादिग्रहो दीप्तिः पुनः पुनः। 61a प्रतिपक्षमशक्तेन प्रतिकतुं तिरस्क्रिया । 129a प्रत्यक्षा इव यद्भावाः क्रियन्ते भूतभाविनः । 114a प्रधानत्वेन स ज्ञेय: शब्दशकत्युद्भवो द्विधा। 39a प्रयोजनेन सहितं लक्षणीयं न युज्यते।। 17b प्श्नस्योभ्नयनं यत्र क्रियते तत्र वा सति।। 121b प्रस्तावदेशकालादेवेशिष्ट्यात् प्रतिभाजुषाम् । 22a प्रस्तुतस्य यदन्यत्वं यद्यर्थोक्तौ च कल्पनम्।। 00b प्रस्तुतस्य यदन्येन गुणसाम्यविवक्षया । 134a प्रौढ़ोक्तिमात्रात्सिद्धो वा कवेस्तेनोम्भितस्य वा। 40a फले शब्दकगम्येत्र व्यञ्जनान्नापरा क्रिया। 15a बीभत्सरौद्ररसयोस्तस्याधिक्यं क्रमेण च। 70a बीभत्साद्भुतसंज्ञौ चेत्यष्टौ नाट्ये रसाः स्मृताः॥ 29b भग्नप्रकममक्नमममतपरार्थं च वाक्यमेव तथा। 55a भाव: प्रोक्तस्तदाभासा अनौचित्यप्रव्तिताः । 36a भावस्य शान्तिरुदय: सन्धिः शबलता तथा।। 36b भिन्नदेशतयात्यन्तं कार्यकारणभूतयोः । 124a भिन्नो रसाद्यलङ कारादलङकार्यतया स्थितः॥ 26% भेदाभावात्प्रकृत्यादेर्भेंदोपि नवमो भवेत्। 85a भेदाविमौ च सादृश्यात् सम्बन्धान्तरतस्तथा । 12a भेदास्तदेकपञचाशत्तेषां चान्योन्ययोजने।। 43b

APPENDIX C LI

मतिर्व्याधिस्तथोन्मादस्तथा मरणमेव च।। 33b

महतोर्यन्महीयांसादश्रिताश्रययोः कमात्। 128a

माधुर्यव्यञ्जकर्वणरुप नागरिकोच्यते 80a माधुयौं जःप्रसादाख्या त्रयस्ते न पुनदेश। 68a

मालादीपकमाद्यं चैद्यथोत्तरगुणावहम् । 104a

मुख्यार्थबाधे तद्योगे रूढ़ितोथ प्रयोजनात् । 9a

मुख्यार्थहतिर्दोषो रसश्च मुख्यस्तदाश्रयाद्वाच्यः। 49a

मुख्ये रसेपि तेङ्गित्वं प्राप्नुवन्ति कदाचन । 37a

सूध्नि वर्गान्त्यगाः स्पर्शा अटवर्गा रणौ लघू । 74a

यत्तु सोर्थान्तरन्यास: साधर्म्येणेतरेण वा। 109b

यथानुभवमर्थस्य दृष्टे तत्सदृशे स्मृतिः । 132a

यथासंख्यं क्रमेणैव ऋरमिकाणां समन्वयः ॥ 108b

यथोत्तरं चेत् पूर्वस्य पूर्वस्यार्थस्य हेतुता। 120a

यदुक्तमन्यथा वाक्यमन्यथान्यन योज्यते। 78a

यद्यथा साधितं केनाप्यपरेण तदन्यथा।। 138b

यमकं पादतद्भागवृत्ति तद्यात्यनेकताम्॥ 83b

यस्य प्रतीतिमाधातुं लक्षणा समुपास्यते॥। 14b

या तदीयस्य तत्स्तुत्यै प्रत्यनीकं, तदुच्यते॥। 129b

युगपद्धर्मयोयत्र व्यातिः सा स्यादरसंगति;॥ 124b

ये रसस्याङ्गिनो धर्मा शौर्यादय इवात्मनः। 66a योग आद्यतृतीयाभ्यामन्त्ययो रेण तुल्ययोंः । 75a योर्थस्यान्यार्थंधीहेतुर्व्यापारो व्यक्तिरेव सा॥ 22b रचनावृत्तिवर्णानामन्यथात्वमपीष्यते 11 77b रतिर्देवादिविषया व्यभिचारी तथाञ्जित: ॥। 35b रतिर्हासश्च शोकश्च क्रोधोत्साहौ भयं तथा। 30a रत्यादेः स्थायिनो लोके तानि चेन्नाट्यकाव्य्योः॥ 27b रसभावतदाभासभावशान्त्यादिरक्रमः 26a रसादीनामनन्तत्वाद् भेद एको हि गण्यते। 42a रसान्तरेणान्तरितो नैरन्तर्येण यो रसः॥। 64b लक्ष्यं च सुख्यं नाप्यत्र बाघो योग: फलेन नो। 16a वकत्राद्यौचित्यवशाद्दोषोपि गुणः क्वचित्क्वचित्नोभौ।। 59b वक्तृबोद्धव्यकाकूनां वाक्यवाच्यान्यसन्निधे:॥ 21b

LII KĀVYAPRAKĀŚA

वक्तृवाच्यप्रबन्धानामौचित्येन क्वचित्क्वचित् । 77a वक्ष्यमाणोक्तविषयः स आक्षेयो द्विधा मतः 107a वर्णसाम्यमनुप्रासश् छेकवृत्तिगतो द्विधा। 79a वर्णाः समासो रचना तेषां व्यञ्जकतांमिता॥। 73b वस्तु तद् गुणतामेति भण्यते स तु तद्गुणः ॥। 137b वस्तुनोर्जननेन्योन्यमुत्तरश्रुतिमात्रतः 121a वस्तु वालंकृतिर्वेति षड्भेदोसौ व्यनक्ति यत्।। 40b वस्त्वलंकारमथवा तेनायं द्वादशात्मक: । 41a वाक्ये द्वयत्थः पदेप्यन्ये प्रबन्धेप्यर्थशक्तिभूः॥ 42b वाक्येपि दोषाः सन्त्येते पदस्यांशेपि केचन।। 52b वाच्यभेदेन भिन्ना यद् युगपद् भाषणस्पृशः । 84a वाच्यादयस्तदर्था: स्युस्तात्पर्यार्थोपि केषुचित्॥ 6b वादेलोंपे समासे सा कर्माधारक्यच क्या। 89a विज्ञेयातिशयोक्तिः सा प्रतिवस्तूपमा तु सा।। 101b विध्यनुवादायुक्तत्यक्तपुनःस्वीकृतोश्लील: 11 57b विना प्रसिद्धमाधारमाधेयस्य व्यवस्थितिः 135a विनोक्तिः सा विनान्येन यत्रान्यः सन्न नेतरः । 113a विभावा अनुभावास्तत् कथ्यन्ते व्यभिचारिणः । 28a विरोध: सोविरोधेपि विरुद्धत्वेन यद्वचः 1 110a विवक्षितं चान्यपरं वाच्यं यत्रापरस्तु सः। 25a विषयय्यन्तःकृतेन्यस्मिन् सा स्यात्साध्यवसानिका॥ 11b विशिष्टे लक्षणा नैवं विशेषा: स्युस्तु लक्षिते।। 18b विशेषणतया यत्र वस्तु सैकावली द्विधा 11 131b विशेषणैर्यत्साकृतैरुक्ति: परिकरस्तु सः 118a विशेषोक्तिरखण्डेषु कारणेषु फलावचः । 108a वेदखाब्धिवियच्चन्द्रा: शरेषुयुगखेन्दवः॥ 44b व्यक्तः स तैविभावाद्यैः स्थायीभावो रसः स्मृतः॥ 28b व्यङ्गयमेवं गुणीभूतव्यङ्ग यस्याष्टौ भिदा: स्मृताः 46a व्यङ्गयेन रहिता रूढ़ौ सहिता तु प्रयोजने। 13a शब्दवाच्यता। 60a व्यवस्थितं च तेनासौ त्रिरूपः परिकीतितः ॥ 141b व्याजस्तुतिर्मुखे निन्दा स्तुतिर्वा रूढ़िरन्यथा। 112a

11 118b

APPENDIX C LIII

व्याप्नोत्यन्यत् प्रसादोसौ सर्वत्र विहितस्थितिः । 71a व्रीडा चपलता हर्ष आवेगो जड़ता तथा। 32a शक्तिर्नियुणता लोकशास्त्रकाव्याद्यवेक्षणात्। 3a शब्दचित्रं वाच्यचित्रमव्यद्यं त्ववरं स्मृतम्। 5b शब्दप्रमाणवेद्योर्थो यतः । 23a शब्दार्थचित्रं यत्पूर्व काव्यद्वयमुदाहृतम् । 48a शब्दार्थाभ्यामथाक्षिप्ते श्लिष्टे तद्वत्त्रिरष्ट तत्। 106a शब्दार्थोभयभूरेको भेदा अष्टादशास्य तत् । 41b शब्दार्थोभयशक्त्युत्थस्त्रिधा स कथितो ध्वनिः । 38a शाब्दस्तु लाटानुप्रासो भेदे तात्पर्यमात्रतः॥ 81b शुष्केन्धनाग्निवत् स्वच्छजलवत्सहसैव यः॥ 70b शृङगारहास्यकरुण रौद्रवीरभयानकाः 29a श्लिष्यन्ति शब्दाः इलेषोसावक्षरादिभिरष्टधा। 84b श्लेष: स वाक्य एकस्मिन् यत्रानेकार्थता भवेत्॥ 96b श्लेषेण काक्वा वा ज्ञेया सा वक्रोक्तिस्तथा द्विधा।। 78b श्रुतिमात्रेण शब्दातु येनार्थप्रत्ययो भवेत्। 76a शौता आर्थाश्च ते यस्मिन्नेकदेशविवर्ति तत् । 94a श्रौत्यार्थी च भवेद्ाक्ये समासे तद्धिते तथा। 87b संकरेण त्रिरूपेण संसृष्टया चैकरूपया। 44a संकेतितश्चतुर्भेदो जात्यादिर्जातिरेव वा। 8a संचार्यादेविरुद्धस्य बाध्यस्योक्तिर्गुणावहा। 63b संदिग्धो निहेतुः प्रसिद्धिविद्याविरुद्धश्च। 56a संनिधानादिबोधार्थं स्थितेष्वेतत् समर्थनम्॥ 58b संभावनमथोत्प्रेक्षा प्रकृतस्य समेन यत्। 92a संयोगा धैरवाच्यार्थधीकृद्व्यापृतिरञ्जनम् 19b = सकृद्वृत्तिस्तु धर्मस्य प्रकृताप्रकृतात्मनाम् । 103a सद्यः परनिर्वृतये कान्तासंमिततयोपदेशयुजे॥ 2b सन्दिग्धतुल्यप्राधान्ये काक्वाक्षिप्तमसुन्दरम्।। 45b सन्दिग्धमुप्रतीतं ग्राम्यं नेयार्थमथ भवेत् क्लिष्टम् । 51a समं योग्यतया योगो यदि संभावितः क्वचित्॥ 125b समस्तवस्तुविषयं श्रौता आरोपिता यदा॥ 93b समाधि: सूकरं कार्यं कारणान्तरयोगतः । 125a स मुख्योर्थस्तत्र मुख्यो व्यापारोभिधोच्यते॥ 8b

LIV KĀVYAPRAKĀŚA

समुच्ययोसौ स त्वन्यो युगपद् या गुणक्रकियाः।। 116b समेन लक्ष्मणा वस्तु वस्तुना यन्निग्द्यते । 130a सर्वेषां प्रायशोर्थानां व्यञ्जकत्वमणीष्यते। 7a ससंदेहस्तु भेदोक्तौ तदनुक्तौ च संशयः॥। 92b साकाङक्षोपदयुक्तः सहचरभिन्नः प्रकाशितविरुद्धः । 57a साक्षात्संकेतितं योर्थमभिधत्ते स वाचक:॥ 7b साङ्गमेतन् निरडनं तु शुद्धं माला तु पूर्ववत्॥ 94b साधर्म्यमुपमा भेदे पूर्णा लुप्ता च साग्रिमा। 87a साधारणः समग्राणां स प्रसादो गुणो मतः॥ 76b सामान्यं वा विशेषो वा तदन्येन समर्थ्यते । 109a सामान्यस्य द्विरेकस्य यत्र वाक्यद्वये स्थितिः । 102a सारोपान्या तु यत्रोक्तौ विषयी विषयस्तथा । 11a सालंकारैर्ध्वनेस्तेश्च योग: संसृष्टिसंकरैः। 47a सा सहोक्तिः सहार्थस्य बलादेकं द्विवाचकम्॥ 112b सुप्तं प्रबोधोमर्षश्चाप्यवहित्थमथोग्रता 33b सेष्टा संसृष्टिरेतेषां भेदेन यदिह स्थिति:॥ 139b सैव क्रियासु बहवीषु कारकस्येति दीपकम्।। 103b सोनेकस्य सकृत्पूर्व एकस्याप्यसकृत् पर: 79b स्थाप्यतेपोह्यते वापि यथापूर्व परं परम्। 131a स्फुट मेकत्र विषये शब्दार्थालंकृतिद्वयम् । 141a स्मरणं भ्रान्तिमानन्यसंवित्तत्तुल्यदर्शने॥ 132b स्मर्यमाणो विरुद्धोपि साम्येनाथ विवक्षितः । 65a स्याद्वाचको लाक्षणिक: शब्दोत्र व्यञ्जकस्त्रिधा । 6a स्वभावोक्तिस्तु डिम्भादेः स्वक्रियारूपवर्णनम् ।T 111b स्वमुत्सृज्य गुणं योगादत्युज्ज्वलगुणस्य यत्। 137a स्वसिद्धये पराक्षेपः परायं स्वसमर्पणम् । 10a स्वस्वहेत्वन्वयस्योक्ति: क्रिययैव च सापरा। 98a हारादिवदलंकारास्तेनुप्रासोपमादयः 67b = = हेत्वोरुक्तावनुक्तीनां त्रये साम्ये निवेदिते 105b

ABBREVIATIONS

अराच -Abhinanda's Ramacarita, Gaekwad's Oriental Series. 1929.

अअभा -Abhinavagupta's Abhinavabharati, Gaekwad's Oriental Series. 1926;1934. अध्वआलो -Abhinavagupta's Dhvanyalokalocana, Nirnaya- Sagar Press. 1928.

अकुका - Apparradīkşira's Kuvalayānandakārikā, Nirnaya Sagar Press. 1927. . अपु -Agnipurana. Published by Mansukhrai More, Calcutta.

अश -Amaruśataka, (also Srńgāraśataka ) Nirnaya Sagar Press. 1954. आदेश -Ānandavardhana's Deviśataka, Kāvyamālā IX. Nirnaya Sagar Press. आध्वआ -Änandavardhana's Dhvanyāloka, Nirnaya Sagar Press. 1928.

FTHTH -Udbhata's Kāvyālankārasārasangraha. Bombay Sanskrit and Prakrit Series. No. LXXIX. 1925.

कुवजी -Kuntaka's Vakroktijīvita, Ed. S. K. De. Pub. K. L. Mukhopadhyaya. Calcutta.

कारव -Kālidāsa's Raguvamśa, Nirnaya Sagar Press. 1948.

काकुसं -Kalidasa's Kumarasambhava, Nirnaya Sagar Press. 1927. कामेदूउ -Kālidāsa's Meghadūta, Uttaramegha. Nirnaya Sagar Press. 1935.

LVI KĀVYAPRAKĀŚA

काअश -Kālidāsa's Abhijñānaśakuntala, Nirnaya Sagar Press. 1922.

कामाअ -Kālidāsa's Mālavikāgnimatra. Nirnaya Sagar Press. 1924.

काविड -Kālidāsa's Vikramorvasīya. Nirnaya Sagar Press. 1922.

क्षेऔविच -Ksemendra's Aucityavicāracarcā, Kāvyamālā I. Nirnaya Sagar Press. गोकाप्र -Govindathakkura's Kāvyapradīpa, Nirnaya Sagar Press. 1912.

जरग -Jagannātha's Rasagangādhara, Nirnaya Sagar Press. 1930. जसूमु -Jalhaņa's Sūktimuktāvali, Gaekwad's Oriental Series. 1925. दकाआ -Dańdin's Kāvyādarśa, Jībānanda Vidyāsāgara. * 1925.

दाकुम -Damodaragupta's Kuttanīmata, Gujrati Printing Press. 1924. घदर -Dhanañjaya's Dasarupaka, Gujrati Printing Press. 1927. घदरूअ -Dhanika's Daśarūpakavaloka, Gujrati Printing Press. 1927. नापलम -Nāgeśabhatta's Paramalaghumañjūșā, Chow- khamba.

पमभा -Patañjali's Mahābhāsya, Chowkhamba. पनसाच -Padmagupta alias Parimala's Navasāhasānkaca- rita, Bombay Sanskrit and Prakrit. Series. पुवाप -Puņjarāja's commentary on the Vākyapadīya. बभोप्र -Ballala's Bhojaprabandha, Nirnaya Sagar Press. 1932. बाहच -Bāna's Harșacarita, Nirnaya Sagar Press. 1925.

ABBREVIATIONS LVII

भवेस -Bhattanałāyana's Venīsamhāra, Nirnaya Sagar Press. 1925

भउच -Bhavabhut's Uttararamacarita, Nirnaya Sagar Press. 1925.

भमवीच -Bhavabhuti's Mahavīracarita, Nirnaya Sagar Press. 1926.

भमामा -Bhavabhuti's Mālatīmaādhava, Nirnaya Sagar Press, 1926.

भनाशा -Bharata's Natyasastra, Kashi Sanskrit Series No. 60. 1929. aria-Bhattenduraja's commentary on Udbhata's Kāvyālankārasarasāngraha, Bombay Sans- krit and Prakrit Series. 1925.

भाकाअ -Bhamaha's Kāvyālankāra, Kashi Sanskrit Series. भाकिअ -Bharavi's Kiratarjuniya, Nirnaya Sagar Press. 1942.

भनीश -Bhartrhari's Nītisataka, Subhāșitatriśatī, Nirn- aya Sagar Press. 1957.

भश -Bhallataśataka, Kāvyamālā IV, Nirnaya Sagar Press.

भवेश -Bhartrhari's Vairāgyaśataka, Subhāșitatriśatī, Nirnaya Sagar Press. 1957. भश्ूश -Bhrtthari's Śringāraśataka, Subhāitatriśatī, Nirnaya Sagar Press. 1957. भोश्रप्र -Bhoja's Srngāraprakāśa. भका -Bhattikavya. Nirnaya Sagar Press. 1920 भोसकआ -Bhoja's Sarasvatīkanth abharaņa. Nirnaya Sagar Press. 1934. मशव्यावि -Mammața's Śabdavyāpāravicāra. Nirnaya Sagar Press. 1916

LVIII KĀVYAPRAKĀŚA

मसूश -Mayūra's Sūryaśataka, Nirnaya Sagar Press. 1927.

मव्यव -Mahimabhatta's Vyaktiviveka, Trivandrum Sanskrit Series. 1909.

माशिव -Māgha's Śiśupālavadha, Nirnaya Sagar Press. मुअवुमा -Mukulabhatta's Abhidhāvțttimātrkā, Nirnaya Sagar Press. 1916.

मभा -Mahabharata, Gita Press. रहवि -Ratnakara's Haravijaya, Nirnaya Sagar Press. 1914.

राकामी -Rājasekhara's Kavyamīmāmsā, Gaekwad's Oriental Series. 1934.

राकम -Rājaśekhara's Karpūramañjarī, Kāvyamālā, No. IV., Nirnaya Sagar Press. 1927.

राबारा -Rājaśekhara's Bālarāmāyana. Jībānanda Vidyā- sagara, Calcutta. 1884.

राविभ -Rājaśekhara's Viddhaśālabhañjikā, Jībānanda Vidyasagara, Calcutta. 1883.,

रुकाअ - Rudrața's Kāvyālankāra, Nirnaya Sagar Press. 1909.

रुअस -Ruyyaka's Alankārasarvasva. Ed. Gauīrnātha Pāthaka. Banaras. 1926. वसुआ -Vallabhadeva's Subhāșitāvali, Bombay Sans- krit and Prakrit Series.

वेपवे -Venidatta's Padyavenī, Calcutta. वाकाअसूवृ -Vāmana's Kāvyālankārasūtravrtti, Vani Vilas Press. 1909. . विमुरा -Visākhadatta's Mudrārāksasa. Ed. K. T. Telang, Nirnaya Sagar Press. 1935. विप्ररु -Vidyanatha's Prataparudrīya, Balamanorama Press. 1950.

ABBREVIATIONS LIX विसाद -Vivanātha's Sāhityadarpaņa, Nirnaya Sagar Press 1931. विपु -Vișņupurāņa, Gita Press, Gorakhpur. शमृश -Sūdraka's Mrcchakațika, Nirnaya Sagar Press. 1916. . शाप -Sārngadharapaddhati, Bombay Sanskrit and Prakrit Series. 1888. शिकअ -Sivasvamin's Kapphinabhyudaya, Lahore. 1937. श्रीकाप -Srivatsalāñchanācārya's Kāvyaparīkșā, Mithilā Institute, Darbhanga. सुरभा -Subhāşitaratnabhāndāgāra, Nirnaya Sagar Press. 1952. हनाआ -Harşa's Nāgānanda, Jībānanda Vidyāsāgara, Calcutta. हरआ -Harşa's Ratnāvali, Nirnaya Sagar Press. 1925 हमना -Hanumatkavi's Mahānāțaka. (Also Hanuma- nnāțaka). Jībānanda Vidyāsāgara. Calcutta, 1939. हागास -Hāla's Gāthāsaptaśatī, Nirnaya Sagar Press. हेकाअ -Kāvyānuśāsana of Hemacandra, Kāvyamālā, Nirnaya Sagar Press.