1. Kuvalayananda-Eng Trans.djvu
Kuvalayananda-Eng Trans.djvu (Part 1)
-- Translation (English) -- KUVALAYĀNANDA KĀRIKĀS
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-- Translation (English) -- OR
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-- Translation (English) -- THE MEMORIAL VERSES OF
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-- Translation (English) -- APPAYA DĪKSHITA'S KUVALAYĀNANDA.
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-- Translation (English) -- EDITED AND EXPLAINED
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-- Translation (English) -- WITH AN
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-- Translation (English) -- ENGLISH TĪKA COMMENTARY AND TRANSLATION,
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-- Translation (English) -- FOR THE USE OF ENGLISH STUDENTS OF SANSKRIT,
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-- Translation (English) -- BY
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-- Translation (English) -- P. R. SUBRAHMANYA SARMA.
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-- Translation (English) -- Calcutta:
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-- Translation (English) -- PRINTED AND PUBLISHED BY
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-- Translation (English) -- J. N. BANERJEE & SON, BANERJEE PRESS,
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-- Translation (English) -- 119, OLD BOYTAKHANA BAZAR ROAD.
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-- Translation (English) -- 1903.
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-- Translation (English) -- All rights reserved by the Editor.
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-- Translation (English) -- Univ Calit - Digitized by Microsoft
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-- Translation (English) -- In the following, I have attempted to place within the easy
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-- Translation (English) -- reach of modern students of Sanskrit literature, that element-
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-- Translation (English) -- ary and classic, but nevertheless difficult treatise on Alankāras,
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-- Translation (English) -- the Kuvalayānanda Kārikās of Appaya Dīkshita, with an
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-- Translation (English) -- English translation, Tīkā commentary, and explanatory notes,
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-- Translation (English) -- so as to enable them to sufficiently understand and digest the
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-- Translation (English) -- subject even in the absence of better teachers.
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-- Translation (English) -- Among the numerous treatises on the Science of poetry,
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-- Translation (English) -- the KĀVYAPRAKĀSA—the “Illustration of Poetry,”—the
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-- Translation (English) -- SĀHITYĀ DARPANA—the “Mirror of Composition,”—and
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-- Translation (English) -- the KUVALAYĀNANDA—the “Delight of the moon-
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-- Translation (English) -- lotus,”—are considered the best. Of these, the first-named is
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-- Translation (English) -- by far the most difficult and erudite work, notwithstanding
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-- Translation (English) -- innumerable commentaries thereon by able hands. The
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-- Translation (English) -- second is less difficult, and it is a complete treatise—ne plus
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-- Translation (English) -- ultra—on the whole subject of Sanskrit composition, includ-
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-- Translation (English) -- ing Dramaturgy. The last-named treatise, which is the most
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-- Translation (English) -- elementary as well as the most elegant of all, confines itself
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-- Translation (English) -- only to Alankāras or ‘ornaments’ of the language, the
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-- Translation (English) -- portion that forms the subject matter of the tenth chapter of
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-- Translation (English) -- the first two treatises. There already exist excellent English
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-- Translation (English) -- translations of the Kāvyaprakāsa and the Sāhitya-Darpana ;
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-- Translation (English) -- yet, they, being higher treatises, are intelligible only to advanced
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-- Translation (English) -- students under the guidance of able teachers. And the
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-- Translation (English) -- Kuvalayānanda, with its elementary definitions of the principal
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-- Translation (English) -- Alankāras and its apt examples, is the work that every
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-- Translation (English) -- student of this branch of Sanskrit Literature usually com-
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-- Translation (English) -- mences with. The Kuvalayānanda is a sort of commentary,
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-- Translation (English) -- in the form of notes, and an expansion of the fifth chapter of
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-- Translation (English) -- an ancient work on the Science of poetry, known as the
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-- Translation (English) -- CHANDRĀLOKA by Jayadeva Kavi, who is reputed to have
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-- Translation (English) -- May this Chandraloka, the cause of its commentary entitled Saradagama, from the contact of both of which this charming Kuvalayananda originated, be supreme (in this world).
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-- Translation (English) -- The other meaning of the verse is :-
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-- Translation (English) -- May the sight of the autumnal moon from the contact of which the delight of the moon-lotus sprang be supreme.
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-- Translation (English) -- The verses, alone as modified and finally adopted by Appaya Dīkshita in his treatise, often go by the name of Kuvalayānanda-Kārikās or the 'memorial verses of Kuvalayānanda,' and these have been separately compiled and edited under the title of KUVALAYĀNANDA KĀRIKĀH by the poet Āśādhara, with a lucid commentary of his own. The verses themselves are, as already mentioned, simple and in elegant style, in the Anushtubh metre, the first half of each verse defining the Alankāra and the second half exemplifying the same.
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-- Translation (English) -- Before proceeding to explain the arrangement that I have followed in this work, it may not be out of place to say a word or two as to the necessity of this production and as to the aim and object which I have had in placing the same before the public. For the acquisition of a sound knowledge of any language, a knowledge of the rules of its Grammar, including Rhetoric and Composition, will be admitted to be essential. This is especially the case when the language in question happens to be not a spoken vernacular, but an unspoken classical language like the Sanskrit. All the works in the Sanskrit Literature are found to have been composed upon fixed principles of Grammar and Rhetoric; and formerly, at any rate, no work that was not in complete accordance with the immutable rules of Sāhitya was ever allowed to be published. And in those days, the authors also, whatever their social position or poetical fame may be, never ventured out
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-- Translation (English) -- with any composition that did not gain the approval of the learned. One remarkable instance of this which occurred in connection with the publication of the Champū Rāmāyaṇa by king Bhoja might here be given in illustration of the above:-
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-- Translation (English) -- Bhoja Vikramāditya wrote his Champū—a poem composed in prose and verse—during the absence of his favourite poet Kālidāsa whom the king in one of his angry moods had banished from his court. That great learned king did not dare to publish his poem without first obtaining the approval of the greatest poet of India! Then the whereabouts of Kālidāsa was not known. He therefore proposed to the public the following Samasyā—a part of the stanza or an incomplete stanza—to be completed :-
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-- Translation (English) -- 'The production of another flower upon a flower has been heard but not actually seen (anywhere).'
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-- Translation (English) -- The king expected the appropriate fulfilment of this most difficult Samasyā from Kālidāsa alone. He declared publicly that he would bestow upon whoever completed the Samasya half of his kingdom. Kālidāsa's lady wrote this Samasya upon one of the walls of her bed-chamber where Kālidāsa was living secretly. When he saw the stanza on the wall, he wrote under it addressing the lady whom he thought to be the writer of the same, thus :-
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-- Translation (English) -- 'Young dame! There is a couple of eye-lotuses in thy face-lotus.'
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-- Translation (English) -- The lady then threw Kālidāsa into a pit specially prepared and let fall a big stone upon him; but she, in her hurry to go to the king to get half of his kingdom, did not stop there to see whether Kālidāsa was completely killed or not. The lady went to the king; and the ready-witted king, seeing the
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-- Translation (English) -- fulfilment of the stanza addressed to a female and not to a
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-- Translation (English) -- male as it ought to be, if filled up by her, and, thinking that
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-- Translation (English) -- Kālidāsa was living in her house, asked her whether she
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-- Translation (English) -- had spared the life of Kālidāsa. She replied that she had
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-- Translation (English) -- thrown him into a pit and did not know if he had completely
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-- Translation (English) -- expired. The king hurried to the scene of action with his
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-- Translation (English) -- poem in hand. Kālidāsa, only half dead then, said to
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-- Translation (English) -- his weeping king that the human life is unstable, that to
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-- Translation (English) -- learned people this world is nothing but its proper nothingness,
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-- Translation (English) -- and that he should therefore be allowed to pass the remaining
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-- Translation (English) -- few minutes of his life to meditate upon the Supreme Spirit.
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-- Translation (English) -- The king wanted his poem on divine Rāma to be read over to
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-- Translation (English) -- him so that he may correct all the blemishes contained in it.
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-- Translation (English) -- The king read his poem and a running criticism was made by
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-- Translation (English) -- the Greatest Poet of India, and, when the last stanza of the
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-- Translation (English) -- Sundarakāṇḍa was read, Kālidāsa expired. The king offered to
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-- Translation (English) -- the public his Champū, one of the best poems of the language,
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-- Translation (English) -- up to Sundarakāṇḍa only, the remaining two kāṇḍas, Yuddha-
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-- Translation (English) -- kaṇḍa and Uttara-kaṇḍa, having been torn away by the king
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-- Translation (English) -- on the spot as they were not perused by Kālidāsa.
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-- Translation (English) -- Such was the criticism going on in India before the public-
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-- Translation (English) -- ation of any work. It was the look-out of every critic to see
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-- Translation (English) -- whether the particular work has been composed in strict accord-
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-- Translation (English) -- ance with the fixed rules of Grammar, Rhetoric etc. Hence, it
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-- Translation (English) -- is necessary that a student should know something of the
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-- Translation (English) -- Grammar, Figures of Speech of the language etc., to enable him
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-- Translation (English) -- to understand a poem. In other words, a student can very
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-- Translation (English) -- easily master a poem if he has known something of the Gram-
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-- Translation (English) -- mar and Alankāras. For the acquirement of the elements of
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-- Translation (English) -- the Sanskrit Grammar in its connection with the Language,
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-- Translation (English) -- the First and Second Books of Sanskrit were placed before the
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-- Translation (English) -- public over 35 years ago by that great oriental scholar, Mr.
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-- Translation (English) -- Rāmakrishṇa; Gopāla Bhaṇḍarkara; and they still remain as
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-- Translation (English) -- model Text Books of the kind. Let me quote here his own
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-- Translation (English) -- words from the prefaces to his Second Book :-
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-- Translation (English) -- Univ Calif - Digitized by Microsoft ®
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-- Translation (English) -- VII
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-- Translation (English) -- aware, no such book has till now been placed within the reach of the Sanskrit students on the subject of Alankāras. And I have therefore ventured to offer this to the public in the sincere hope that it may supply to some extent the long-felt want of the students of this branch of Sanskrit Literature.
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-- Translation (English) -- The Alankāras in Sanskrit are generally classed under three heads, viz.:-
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-- Translation (English) -- Of these, the 2nd class, viz., Ornaments of Sense alone are now treated in the present work. The other two, not being of so much importance, except to very advanced scholars, are not dwelt upon here.
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-- Translation (English) -- In the present volume, each and every word in the verse containing the definition and the example is given in its prose order (anvaya) in an intelligible way with its English equivalent and a literal English translation of the verse has been given under the same together with all the necessary explanations that are sufficient to help the student in understanding the Figure and its example himself without the assistance of a teacher. In the Appendix, almost all the conventions of poets are given; UPAMĀ in its 32 varieties and the APRAS-TUTAPRASAMSĀ in its 5 varieties are treated with their appropriate examples taken from the standard works. Additional examples of certain Figures that require such are also given. The three Figures-ANUMĀNA—'Inference,' SAMS-RISHTI—'Conjunction,' and SANKARA—'Commixture,'—which are not found in the body of the book are also defined and exemplified. To it are also appended a more or less scientific classification of the Alankāras treated in the book, and an explanatory note, showing the mutual distinguishing peculiarities of many of the Alankāras.
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-- Translation (English) -- Univ Calif - Digitized by Microsoft ®
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-- Translation (English) -- Now I must mention here the works I have consulted in
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-- Translation (English) -- the course of the publication of the present volume. The first
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-- Translation (English) -- and foremost of these is the Sāhitya-Darpana of Vishvanātha
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-- Translation (English) -- Kavirāja with its English translation by that distinguished
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-- Translation (English) -- scholar, Rai Bahadur Pramada-Dasa Mitra of Benares. Many
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-- Translation (English) -- of the English renderings of the Figures of Speech are adopted
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-- Translation (English) -- from the work of that able orientalist who borrowed the same
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-- Translation (English) -- from Mr. R. T. H. Griffith's paper on Indian Figures of Speech
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-- Translation (English) -- appended to his Specimens of Old Indian Poetry. The
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-- Translation (English) -- Chandrikā and the Rasikaranjinī, the two famous commenta-
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-- Translation (English) -- ries on Kuvalayānanda, were also my chief guides. The Kāvya-
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-- Translation (English) -- prakasa and its English translation, the Pratāpa-Rudrīya of
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-- Translation (English) -- Vidyānātha Bhaṭṭa and the Sāhitya-Ratnākara of Srī Dharma
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-- Translation (English) -- Sūrī were also consulted. My heart-felt thanks are also due to
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-- Translation (English) -- Messrs. J. N. Banerjee and Son of Calcutta for their neat exe-
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-- Translation (English) -- cution of the work and for their extreme kindness shown to me
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-- Translation (English) -- in the course of its publication.
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-- Translation (English) -- In conclusion, I only hope that the work now offered to the
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-- Translation (English) -- public may serve the purpose for which it is intended—namely,
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-- Translation (English) -- to enable the student to thoroughly understand this difficult
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-- Translation (English) -- branch of Sanskrit Literature without much difficulty and with
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-- Translation (English) -- very little of extraneous help. I am fully aware that, in a
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-- Translation (English) -- work of this kind, there must be several defects and errors, and
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-- Translation (English) -- I most humbly crave the favour of the public, who will have
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-- Translation (English) -- occasion to do me the honour of perusing this little book, to be
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-- Translation (English) -- so good as to point out to me the portions which require
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-- Translation (English) -- amendments or corrections; and I shall be only very willing
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-- Translation (English) -- to give my best consideration to those suggestions in any future
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-- Translation (English) -- edition of the work.
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-- Translation (English) -- MADURA,
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-- Translation (English) -- 21st February, 1903.
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-- Translation (English) -- P. R. SUBRAHMANYA ŚARMĀ.
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-- Translation (English) -- Simile
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-- Translation (English) -- Similes Elliptical
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-- Translation (English) -- Comparison Absolute
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-- Translation (English) -- Reciprocal Comparison
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-- Translation (English) -- Converse
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-- Translation (English) -- 2nd kind
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-- Translation (English) -- 3rd and 4th kinds
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-- Translation (English) -- 5th kind
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-- Translation (English) -- Metaphor
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-- Translation (English) -- Commulation
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-- Translation (English) -- Representation
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-- Translation (English) -- Reminiscence
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-- Translation (English) -- Mistaker
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-- Translation (English) -- Doubt
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-- Translation (English) -- Concealment
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-- Translation (English) -- Pure
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-- Translation (English) -- with a Reason
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-- Translation (English) -- transferred
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-- Translation (English) -- under a mistake
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-- Translation (English) -- of the skilful
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-- Translation (English) -- of the deceitful
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-- Translation (English) -- Poetical fancy
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-- Translation (English) -- Hyperbole
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-- Translation (English) -- Hyperbole Metaphorical
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-- Translation (English) -- Hyperbole founded upon Concealment
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-- Translation (English) -- Hyperbole asserting a difference
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-- Translation (English) -- a connection
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-- Translation (English) -- a disconnection
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-- Translation (English) -- a want of order
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-- Translation (English) -- fickleness
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-- Translation (English) -- of the highest degree
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-- Translation (English) -- Equal Pairing
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-- Translation (English) -- The Illuminator
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-- Translation (English) -- The Illuminator by repetition
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-- Translation (English) -- Typical Comparison
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-- Translation (English) -- Exemplification
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-- Translation (English) -- Illustration
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-- Translation (English) -- Dissimilitude or Contrast
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-- Translation (English) -- Connected description
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-- Translation (English) -- Speech of Absence
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-- Translation (English) -- Modal Metaphor
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-- Translation (English) -- Insinuator
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-- Translation (English) -- Sprout of an Insinuator
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-- Translation (English) -- Paronomasia
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-- Translation (English) -- Indirect Description
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-- Translation (English) -- The Sprout of Direct Description
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-- Translation (English) -- Periphrasis
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-- Translation (English) -- Artful Praise or Irony
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-- Translation (English) -- Artful Censure
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-- Translation (English) -- Hint
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-- Translation (English) -- Contradiction
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-- Translation (English) -- Peculiar Causation
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-- Translation (English) -- Peculiar Allegation
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-- Translation (English) -- Improbability
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-- Translation (English) -- Disconnection
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-- Translation (English) -- Incongruity
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-- Translation (English) -- 2nd and 3rd kinds
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-- Translation (English) -- The Equal
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-- Translation (English) -- Strange
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-- Translation (English) -- Exceeding
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-- Translation (English) -- Smallness
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-- Translation (English) -- The Reciprocal
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-- Translation (English) -- The Extraordinary
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-- Translation (English) -- Frustration
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-- Translation (English) -- Garland of Causes
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-- Translation (English) -- The Necklace
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-- Translation (English) -- The Serial Illuminator
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-- Translation (English) -- The Climax
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-- Translation (English) -- The Relative order
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-- Translation (English) -- The Sequence
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-- Translation (English) -- The Return
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-- Translation (English) -- The Special Mention
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-- Translation (English) -- The Alternative
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-- Translation (English) -- The Conjunction
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-- Translation (English) -- The Case-Illuminator
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-- Translation (English) -- The Convenience
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-- Translation (English) -- The Rivalry
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-- Translation (English) -- The Necessary Conclusion
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-- Translation (English) -- The Poetical Reason
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-- Translation (English) -- The Transition
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-- Translation (English) -- The Expansion
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-- Translation (English) -- The Bold Speech
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-- Translation (English) -- The Supposition
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-- Translation (English) -- The False Determination
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-- Translation (English) -- The Artful Indication
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-- Translation (English) -- The Enrapturing
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-- Translation (English) -- The Cause
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-- Translation (English) -- By the omission of one, two or three (of the four requisites of simile complete, i. e., the object compared, the object compared to, the common attribute and the word implying comparison) the simile becomes elliptical and is eightfold, which are :-
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-- Translation (English) --
- वाचकलुप्ता—Simile in the omission of the word implying comparison.
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-- Translation (English) -- 2. धर्मलुप्ता— Do. Do. of the common attribute.
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-- Translation (English) -- 3. धर्मवाचकलुप्ता— Do. Do. of the common attribute and of the word implying comparison.
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-- Translation (English) -- 4. वाचकोपमेयलुप्ता— Do. Do. of the word implying comparison and of the object compared.
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-- Translation (English) -- 5. उपमानवाचकलुप्ता—Do. Do. of the object compared to and the word implying comparison.
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-- Translation (English) -- 6. उपमानलुप्ता— Do. Do. of the object compared to.
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-- Translation (English) -- Def. That, i.e., the position of Upamāna and Upameya, when alternated is declared the Reciprocal Comparison.
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-- Translation (English) -- Ex. In you, O King! thy virtue is as full as (thy) riches ; and thy riches as full as thy vertue.
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-- Translation (English) -- Here, the object of comparing the king's virtue with his riches and again his riches with his virtue excluding the other similar objects is to show that there is nothing else equal to the virtue &c., of the king.
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-- Translation (English) -- Observe :—This figure is possible only in two sentences as the interchange of comparisons is impossible in one sentence. The Upamāna in the first sentence becomes Upameya in the second and the Upameya in the first becomes Upamāna in the second in the total absence of a third thing to be compared to. But the figure अनन्वय: No. II. is possible in one sentence, the object compared to and that compared being the same in the total absence of a second thing to be compared to.
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-- Translation (English) -- Definition.
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-- Translation (English) -- Example.
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-- Translation (English) -- 2nd kind of Converse.
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-- Translation (English) -- The futility of the simile is also considered as Pratīpa. If the face of the slender lady is seen, what is the use of the lotus or the moon?
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-- Translation (English) -- of the object compared
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-- Translation (English) -- the sense of 'what is the use of'
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-- Translation (English) -- also
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-- Translation (English) -- is considered
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-- Translation (English) -- of that slender lady
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-- Translation (English) -- the face
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-- Translation (English) -- if seen
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-- Translation (English) -- what with the lotus
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-- Translation (English) -- what with the moon
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-- Translation (English) -- the Converse
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-- Translation (English) -- The knowledge that the two subjects are different is metaphor, when there is no distinction between the two due to their being identified with each other.
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-- Translation (English) -- Def. The gratifying representation of the object compared (1) as non-different from, and (2) as identical with, the object compared to is termed Rūpaka. And each (of the said two kinds) is again three-fold in point of (1) superiority, (2) inferiority and (3) the absence of both.
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-- Translation (English) -- The Metaphor is first held two-fold :-(1) वस्तुभेदरूपकं and (2) तादृश्यरूपकं. Each of these is again three-fold in point of superiority &c., of the object compared over the object compared to.
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-- Translation (English) -- Hence the Metaphor is six-fold which are :- 1. आधिक्यभेदरूपकं। 4. आधिक्यतादृश्यरूपकं । 2. न्यूनाभेदरूपकं । 5. न्यूनतादृश्यरूपकं। 3. ऽनुभयाभेदरूपकं । 6. ऽनुभयतादृश्यरूपकं ।
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-- Translation (English) -- Examples of these in their reverse order.
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-- Translation (English) -- अयम् (राजा) this (king) साचात् in person, in bodily form भर्ज्जीट: the God Siva हि indeed येन by whom चक्षात् in a moment पुरः the cities (of his foes) दग्धः were burnt
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-- Translation (English) -- Here stands (before us) this (king), the God Sambhu himself without his third eye.
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-- Translation (English) -- No. 6. Ananvayādrūpakam.
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-- Translation (English) -- Arasyā mukhendunā labdhe netrānande kimindunā.
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-- Translation (English) -- No. 5. Nyūnanatādrūpakam.
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-- Translation (English) -- Sādhvīyamaparā lakṣmīrasudhāsāgaroditā.
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-- Translation (English) -- Ex. This virtuous woman is a second Lakshmī (Goddess of fortune) not born of the Milky Sea.
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-- Translation (English) -- Here, two different objects, the virtuous woman and the Goddess of fortune, are represented as identical with an inferiority in as much as the former is not born of the Milky Sea and we have therefore here the example of Rūpaka No. 5.
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-- Translation (English) -- Ex. This face-moon (of this lovely woman) is superior to the spotted moon.
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-- Translation (English) -- Def. When the upamāna (i.e., the lotus &c., the object superimposed) is identified with the upameya
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-- Translation (English) -- Ex. He (God Krishna) was regarded as the God of love by the women, as the tree of paradise by the mendicants, and as the God of death by (his) foes.
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-- Translation (English) -- Here, the one and the same object is represented as distinct by different beholders on different occasions according to their liking or taste.
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-- Translation (English) -- 2nd kind of Representation.
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-- Translation (English) -- Def. When an object is delineated by one person, i.e., by one perciever, under various characters through difference of peculiarities, it is also termed Representation.
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-- Translation (English) -- Ex. He (the king) is grave (Brihaspati) in speech, white (Arjuna) in fame, and terrible (BhIshma) in bow.
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-- Translation (English) -- Here, one and the same king is represented as distinct by one and the same beholder but through difference of peculiarities belonging to the object delineated.
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-- Translation (English) -- Univ Calif - Digitized by Microsoft ®
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-- Translation (English) -- of another person
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-- Translation (English) -- in doubt
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-- Translation (English) -- in the removal of the mistake
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-- Translation (English) -- it is Concealment under a mistake
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-- Translation (English) -- accompanied by trembling
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-- Translation (English) -- heat
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-- Translation (English) -- produces
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-- Translation (English) -- is it fever ?
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-- Translation (English) -- friend !
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-- Translation (English) -- no
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-- Translation (English) -- the God of love.
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-- Translation (English) -- Def. When (the denial of the real character of an object on hand) is clearly expressed by the words of denial व्याज etc., it is the Concealment of the deceitful.
· · ·
-- Translation (English) -- Ex. The arrows of the God of love issue forth under the semblence of the glances of a damsel.
· · ·
-- Translation (English) -- Def. The Poetical fancy is the imagining of an object on hand under the character of another object not on hand under three heads, viz., (1) nature, (2) cause and (3) effect. (And thus the figure is first three-fold). Of these, the first वस्तूप्रेचा or as it is generally called श्रत्प्रोत्प्रेचा is two-fold according as the occasion of the fancy is mentioned or not mentioned. The other two, i.e., हेतूप्रेचा and फलोत्प्रेचा are each
· · ·
-- Translation (English) -- Ex. The darkness anoints, as it were, the bodies, (lit. limbs). Sky rains, as it were, the collyrium.
· · ·
-- Translation (English) -- Ex.
· · ·
-- Translation (English) -- Ex.
· · ·
-- Translation (English) -- standing in the water, which is no doubt the work of his imagination ; and this being an unaccomplished one, it is an instance of अत्यन्ताविषया फलोत्पत्तिः ।
· · ·
-- Translation (English) -- Do. asserting a difference.
· · ·
-- Translation (English) -- Do. asserting a connection.
· · ·
-- Translation (English) -- Do. asserting a disconnection.
· · ·
-- Translation (English) -- Do. asserting a want of order.
· · ·
-- Translation (English) -- Do. asserting fickleness.
· · ·
-- Translation (English) -- Do. of the highest degree.
· · ·
-- Translation (English) -- नौलोत्पलहृद्यान्त् from a pair of blue lotuses
· · ·
-- Translation (English) -- शिताः sharpened
· · ·
-- Translation (English) -- शरा: shafts
· · ·
-- Translation (English) -- निःसरन्ति issue forth
· · ·
-- Translation (English) -- निगीर्य is indeclinable past participle in य of the root गृ् with नि 'to devour'.
· · ·
-- Translation (English) -- ग्रध्यवसान is the abstract noun formed by adding the affix ग्रन to the root सो with prepositions ग्राधि and ग्रव, and तस् is a termination of the ablative case.
· · ·
-- Translation (English) -- ग्रध्यवसान means the identification of two objects of which the one is the object on hand and the other not on hand in such a manner that the former is completely absorbed into the latter.
· · ·
-- Translation (English) -- When a man comprehends the face of a damsel as moon itself and calls it by the word 'moon' without mentioning the proper word 'face', then the face 'upameya' is said to have been swallowed up by the moon 'upamāna'.
· · ·
-- Translation (English) -- Ex. Behold ! There issue forth sharpened shafts from a pair of blue lotuses.
· · ·
-- Translation (English) -- Here, the speaker, instead of saying 'पश्य कान्ताच्च-युग्मात् कटाक्षा नि:सरन्यहो' there issue forth ogles or side-glances from a pair of eyes of this lovely woman who was before him, says thus by using the upamāna words नीलोत्पल 'blue lotus' and शरा: 'shafts' for their corresponding upameya words the ग्रक्षि 'eye' and कटाक्षा: 'ogles'.
· · ·
-- Translation (English) -- Thus, we have the introsusception of the eyes and the ogles of a beloved lady in
· · ·
-- Translation (English) -- अन्यलवर्णनम् description as another
· · ·
-- Translation (English) -- महोपत: courage
· · ·
-- Translation (English) -- योगकल्पनम् assertion of a connection
· · ·
-- Translation (English) -- विधुमण्डलम् the disc of the moon
· · ·
-- Translation (English) -- the effect when the cause was under discussion Hyperbole asserting fickleness when said (by the lover) ‘I go’ of the slender lady ring bracelet became.
· · ·
-- Translation (English) -- When the lover simply said ‘I shall go’ but did not actually go, his beloved became so very thin at the very thought of her lover's future separation that the ring of her finger served as bracelet for her hand. Here, the cause was only expressed but did not actually take place and we see the effect is produced without the cause.
· · ·
-- Translation (English) -- when there is a violation of the priority and posteriority of those (i.e., of the cause and effect)
· · ·
-- Translation (English) -- Hyperbole of the highest degree
· · ·
-- Translation (English) -- in the begining, i.e., previously anger subsided she by her lover afterwards was concilliated.
· · ·
-- Translation (English) -- of objects on hand
· · ·
-- Translation (English) -- or of those not on hand
· · ·
-- Translation (English) -- sameness of attribute
· · ·
-- Translation (English) -- Equal Pairing
· · ·
-- Translation (English) -- lotuses
· · ·
-- Translation (English) -- and the faces of the adulterous women
· · ·
-- Translation (English) -- become contracted.
· · ·
-- Translation (English) -- of those, i.e., of the cause and effect.
· · ·
-- Translation (English) -- Example of objects on hand.
· · ·
-- Translation (English) -- Example of objects that are not on hand.
· · ·
-- Translation (English) -- with those possessed of superior qualities having placed on the same footing description another Equal Pairing God of death | Varuna Kubera Indra as well as thyself a regent of the quarter (and the ruler of the earth),
· · ·
-- Translation (English) -- of objects on hand and those not on hand
· · ·
-- Translation (English) -- the common attribute
· · ·
-- Translation (English) -- the learned
· · ·
-- Translation (English) -- Illuminator
· · ·
-- Translation (English) -- call
· · ·
-- Translation (English) -- young elephant
· · ·
-- Translation (English) -- by ichor
· · ·
-- Translation (English) -- shines
· · ·
-- Translation (English) -- Lord of earth
· · ·
-- Translation (English) -- by valour.
· · ·
-- Translation (English) -- Def. When objects on hand and those not on hand are associated with a common attribute (mentioned only once), the learned call it the Illuminator.
· · ·
-- Translation (English) -- Ex. The young elephant shines by its ichor and this lord of earth by his valour.
· · ·
-- Translation (English) -- Here, the elephant, the object not on hand, and the king, the object on hand, are together associated with one and the same attribute, the action of shining. Just as a lamp standing in one place illumines the several objects round it, so in the present figure one finite verb serves as predicate to two or more nominatives. Compare the maxim of the lamp placed over a threshold दैलौदोपन्यासः . It takes its origin from a lamp hanging over the threshold of a house which, by its peculiar position, serves to light the rooms on both sides, and is used to denote something which serves a two-fold purpose at the same time. Apte.
· · ·
-- Translation (English) -- In the Equal Pairing No. 1 (Fig. XIV); the objects on hand if associated with one and the same attribute formed one kind of the figure ; and the objects not on hand if associated with one and the same attribute formed another kind of the same figure (observe the word वा in the Definition). In the Illuminator, the objects on hand and those not on hand are together
· · ·
-- Translation (English) -- The satiated chātaka birds rejoice and the peacocks also rejoice (at the sight of the clouds).
· · ·
-- Translation (English) -- Ex. The sun shines with intense heat and this warrior looks brilliant with his bow.
· · ·
-- Translation (English) -- Here, the actions of shining and looking brilliant, though mean the same thing, are expressed by different words to avoid the fault of repetition.
· · ·
-- Translation (English) -- If in (the sense of) two sentences relation of type and proto-type then Exemplification
· · ·
-- Translation (English) -- O king ! thou only possessed of fame moon only radiant.
· · ·
-- Translation (English) -- Def. If two sentences, one of which contains the object compared and the other the object compared to, stand in relation of type and proto-type, or, in other words, contain similar attributes reflectively expressed, it is called Exemplification.
· · ·
-- Translation (English) -- Ex. O king ! Thou art the only being possessed of fame and the moon is the only object having radiance.
· · ·
-- Translation (English) -- Here, possessing fame and having radiance are similar attributes and the two sentences stand in relation of type and proto-type. The first sentence is exemplified by the second in which a renowned object, the moon, whose radiance has been experienced
· · ·
-- Translation (English) -- Illustration (First kind.)
· · ·
-- Translation (English) -- Def. A description, resulting in the identity of the significations, of two sentences, which are similar, i.e., which terminate in a comparison or similarity, is called Illustration.
· · ·
-- Translation (English) -- Ex. That mild nature if possessed by a donor answers to the stainlessness of the full moon.
· · ·
-- Translation (English) -- Certain writers on Rhetoric define another kind of Illustration.
· · ·
-- Translation (English) -- Ex. (Lady !) Thy two eyes bear the charmingness of the two blue lotuses.
· · ·
-- Translation (English) -- Def. They call it Illustration when there is a close connection between the action and its meaning.
· · ·
-- Translation (English) -- Ex. At the rise of the moon, the darkness disappears as if in enmity to the king.
· · ·
-- Translation (English) -- Def. A description of simultaneity or conjuration which will excite a pleasing (poetical) delight in the people's (mind) is called the Connected Description.
· · ·
-- Translation (English) -- Ex. The fame of that king has reached the end of the quarters together with his foes.
· · ·
-- Translation (English) -- Here, the reaching of the fame to the end of the quarters is directly expressed and that of the foes is indirectly expressed by the word सह । सह denotes simultaneity of two actions that are of one and the same kind. The idea conveyed in the present example is that both the king's fame and the enemies reached the end of the quarters at the same time. Thus we see that this figure consists in the description of simultaneous action connected with सह ।
· · ·
-- Translation (English) -- if the epithet signifying the import Insinuator figure whose crest has been adorned by the moon the God ‘Siva’ your misery remove.
· · ·
-- Translation (English) -- when the noun itself signifying the import Sprout of an Insinuator is the four-armed God Vishnu of the four objects of human life giver
· · ·
-- Translation (English) -- XXVI. श्लेषः—Paronomasia.
· · ·
-- Translation (English) -- The all-giver Mādhava who held up the mountain (Govardhana on his head) and the earth may protect (you).
· · ·
-- Translation (English) -- or
· · ·
-- Translation (English) -- The husband of Umā (Siva) who bore (on his head) the river Ganges may protect (you).
· · ·
-- Translation (English) -- may be split into (1) सर्वदः माधवः and (2) सर्वदा उमाधवः ।
· · ·
-- Translation (English) -- may be split into (1) यः ऋग् गाम् and (2) यः गंगाम् ।
· · ·
-- Translation (English) -- Here, both Mādhava and Umādhava are objects on hand and this is therefore the Example of No. 1.
· · ·
-- Translation (English) -- thy face
· · ·
-- Translation (English) -- = हरिणा by the deer आहृत effected सक्निना by the spot
· · ·
-- Translation (English) -- by the moon
· · ·
-- Translation (English) -- is equal
· · ·
-- Translation (English) -- (Lady !)
· · ·
-- Translation (English) -- ment effected by the deer in the form of the spot
· · ·
-- Translation (English) -- thy face
· · ·
-- Translation (English) -- by the sun
· · ·
-- Translation (English) -- having an attachment placed
· · ·
-- Translation (English) -- by the lotus
· · ·
-- Translation (English) -- is equal.
· ·
Kuvalayananda-Eng Trans.djvu (Part 2)
·
-- Translation (English) -- (Lady !) thy face resembles the moon having an attachment effected by the deer (in the form of the spot).
· · ·
-- Translation (English) -- or
· · ·
-- Translation (English) -- (Lady !) thy face resembles the lotus having an attachment effected by the sun (in the act of blooming at the dawn).
· · ·
-- Translation (English) -- Here, शश ‘moon’ and अज्ञ ‘lotus’ which are upamānas are both objects not on hand.
· · ·
-- Translation (English) -- The commander of the army, Bhīshma, shone by the profuse effusion of blood
· · ·
-- Translation (English) -- The Lord of the rivers, the ocean, shone by the vast expanse of water.
· · ·
-- Translation (English) -- Def. When the description of an object not on hand conveys a reference to an object on hand, it is called Indirect Description.
· · ·
-- Translation (English) -- Ex. (The chātaka bird) is the only fortunate one, among the birds, which never begs of any other than Indra.
· · ·
-- Translation (English) -- It is a known fact that chātaka bird lives on rain drops and that Indra is the bestower of rain.
· · ·
-- Translation (English) -- Here, the object in question is a noble man who never begs of any man except the Indra-like king and this is conveyed through the description of a chātaka bird which is not the object on hand.
· · ·
-- Translation (English) -- This is not समासोक्ति where a description of an object on hand conveys a reference to an object not on hand ; whilst, in this figure, it is quite contrary.
· · ·
-- Translation (English) -- The Sprout of Direct Description.
· · ·
-- Translation (English) -- When the description of an object on hand conveys a reference to another object on hand, it is called Prastutāṅkura.
· · ·
-- Translation (English) -- O bee! What (is the use of thy amusement) with the (unblown) Ketakī full of thorns while thou hast here the Mālatī (Jasmine) flower.
· · ·
-- Translation (English) -- Periphrasis.
· · ·
-- Translation (English) -- of the fact intended to be expressed
· · ·
-- Translation (English) -- the description
· · ·
-- Translation (English) -- referring to another by a turn of speech
· · ·
-- Translation (English) -- Periphrasis
· · ·
-- Translation (English) -- to him
· · ·
-- Translation (English) -- homage
· · ·
-- Translation (English) -- by whom
· · ·
-- Translation (English) -- the breasts of Rāhu's spouse
· · ·
-- Translation (English) -- useless
· · ·
-- Translation (English) -- were made.
· · ·
-- Translation (English) -- Periphrasis—A second kind.
· · ·
-- Translation (English) -- by (apparent) censure and praise
· · ·
-- Translation (English) -- of the praise and censure
· · ·
-- Translation (English) -- speech
· · ·
-- Translation (English) -- Artful Praise
· · ·
-- Translation (English) -- celestial Ganges !
· · ·
-- Translation (English) -- O celestial river Gangā ! Thou art devoid of judgment in that thou conveyest the sinners to the heaven.
· · ·
-- Translation (English) -- Def. A denial, after some deliberation, of what has been expressed, is called Hint.
· · ·
-- Translation (English) -- Ex. O moon ! Discover thy self (to me). Why ?
· · ·
-- Translation (English) -- Here is the face of (my) beloved.
· · ·
-- Translation (English) -- Here, we see only a semblance of denial. This figure is distinct from the Concealment (XI) where the property of an object on hand is denied and that of another not on hand is superimposed upon it.
· · ·
-- Translation (English) -- A second kind of Hint.
· · ·
-- Translation (English) -- some poets
· · ·
-- Translation (English) -- learned people
· · ·
-- Translation (English) -- semblance of a denial
· · ·
-- Translation (English) -- Hint
· · ·
-- Translation (English) -- regard
· · ·
-- Translation (English) -- not
· · ·
-- Translation (English) -- of her
· · ·
-- Translation (English) -- I
· · ·
-- Translation (English) -- go-between
· · ·
-- Translation (English) -- of the body
· · ·
-- Translation (English) -- fever of separation.
· · ·
-- Translation (English) -- resembling the destructive fire at the end of the world
· · ·
-- Translation (English) -- Def. Some learned people regard the semblance of a denial as the figure Hint.
· · ·
-- Translation (English) -- Ex. I am no go-between but the love-fever ( residing in ) her (mistress') body, resembling the destructive fire at the end of the world.
· · ·
-- Translation (English) -- Here, the character of a person—that of the go-between, is denied. The fact of excessive hardship, experienced by the lady under the pangs of separation, which was intended to be conveyed by the go-between, the speaker, is suppressed in order to suggest more strikingly that the lady is sure to die if her lover delays even for a moment in meeting her.
· · ·
-- Translation (English) -- Univ Calif - Digitized by Microsoft ®
· · ·
-- Translation (English) -- When the production of an effect is represented as being without cause,
· · ·
-- Translation (English) -- it is Peculiar Causation. Ex. Lady ! thy two feet are red though they were not dyed with red lac.
· · ·
-- Translation (English) -- When the production of an effect is said to have taken place though there was an impediment (to such an effect), it is the third kind of Peculiar Causation.
· · ·
-- Translation (English) -- O king ! thy sword-serpent bites only Narendrān, i.e., curers of poisons only (lit. kings). नरेंद्र = king = dealer in antidotes. Here, serpent biting the curers of poison implies an impediment to the effect.
· · ·
-- Translation (English) -- From a different cause production of an effect fourth kind Peculiar Causation is.
· · ·
-- Translation (English) -- from a conch-shell this sound of a lute proceeds great wonder.
· · ·
-- Translation (English) -- from an incongruous
· · ·
-- Translation (English) -- production of an effect
· · ·
-- Translation (English) -- a certain kind
· · ·
-- Translation (English) -- Peculiar Causation
· · ·
-- Translation (English) -- is seen
· · ·
-- Translation (English) -- alas!
· · ·
-- Translation (English) -- the moon's (cool-rayed) rays
· · ·
-- Translation (English) -- that
· · ·
-- Translation (English) -- the slender lady
· · ·
-- Translation (English) -- inflame.
· · ·
-- Translation (English) -- Sixth kind of Peculiar Causation.
· · ·
-- Translation (English) -- Def. Improbability is the description of the accomplishment of a truly impossible act.
· · ·
-- Translation (English) -- The shepherd boy is the Lord Krishna who held up the Mountain Govardhana for seven days as a large umbrella to shelter his beloved Gopīs and their cattle from the heavy and incessant rain caused by Indra to deluge the Gokūla, the land of the shepherds.
· · ·
-- Translation (English) -- Def. The description of the effect and the cause as inconsistent and as occupying different locations, is termed Disconnection.
· · ·
-- Translation (English) -- in another place
· · ·
-- Translation (English) -- of a thing to be done
· · ·
-- Translation (English) -- other than
· · ·
-- Translation (English) -- another place
· · ·
-- Translation (English) -- accomplishment too
· · ·
-- Translation (English) -- that, i.e., Disconnection
· · ·
-- Translation (English) -- to do
· · ·
-- Translation (English) -- of a person engaged
· · ·
-- Translation (English) -- the accomplishment quite contrary to the above
· · ·
-- Translation (English) -- so, i.e., the figure Disconnection.
· · ·
-- Translation (English) -- another (thing)
· · ·
-- Translation (English) -- Lord Kṛishṇa who wished to make the earth Apārijātā devoid of the multitude of foes† made the celestial world so i.e. अपारिजाता devoid of Pārijāta tree.
· · ·
-- Translation (English) -- where of two incongruous (things) this (lady) where that love-fever or torments of God of love
· · ·
-- Translation (English) -- combination is described Incongruity having the body soft as the Sirīsha flower
· · ·
-- Translation (English) -- They also know the similarity in the effect with the cause as a kind of समम्.
· · ·
-- Translation (English) -- O Goddess of riches ! Thy resorting to the low (people) is worthy of thyself born of water.
· · ·
-- Translation (English) -- And the effort to achieve that without being dependent on it.
· · ·
-- Translation (English) -- This annual gain is proper for you, not for those who seek annual (gain).
· · ·
-- Translation (English) -- Lord ! The waters which contain these mundane worlds could not contain (within themselves all) thy good qualities.
· · ·
-- Translation (English) -- यत्र परस्परम् उपकारः स्वात् (तत्र) अन्योन्यम् नाम
· · ·
-- Translation (English) -- तियामा शशिना भाति शशौ तियामया भाति
· · ·
-- Translation (English) -- If one object is described in many places, that too is termed the Extraordinary.
· · ·
-- Translation (English) -- In my mind, in the outside, in the front, behind, in all the directions too, only she.
· · ·
-- Translation (English) -- Ex. By seeing you, ( O king !) I got the sight of the wish-yielding tree of the paradise.
· · ·
-- Translation (English) -- Ex. By the (same) flowers by which the people of the world become pleased, Cupid (lit. flower-shafted God of love) torments the world.
· · ·
-- Translation (English) -- Ex. O King ! If thou hast compassion on me, then I, being a boy, should not be abandoned here (now by thee going to battle-field).
· · ·
-- Translation (English) -- Def.
· · ·
-- Translation (English) -- Ex.
· · ·
-- Translation (English) -- Def. Excellence (rising) successively is termed the Climax.
· · ·
-- Translation (English) -- Ex. The honey is sweet ; the nectar is sweeter than that ; and, than that, poet's speech.
· · ·
-- Translation (English) -- Here, each succeding thing, nectar etc., rises gradually in excellence.
· · ·
-- Translation (English) -- Def. The Relative Order is a mutual connection of a series of objects mentioned in their due order.
· · ·
-- Translation (English) -- Ex. O king ! Conquer, gratify, destroy (thy) foe, friend and the calamity respectively.
· · ·
-- Translation (English) -- Here, a series of objects शत्रुम्, मित्रम् and विपत्तिम् is respectively connected with जय, रंजय, and भंजय in their due order.
· · ·
-- Translation (English) -- When one object is described as residing in many places in succession, it is termed the Sequence.
· · ·
-- Translation (English) -- Having left the lotus, the lustre of this lovely woman's face now resorted to the moon.
· · ·
-- Translation (English) -- Or, if many objects are said to reside in one and the same place in succession, that too is regarded as the Sequence.
· · ·
-- Translation (English) -- Now there sand bank, where formerly water was.
· · ·
-- Translation (English) -- Ex. Sand bank is now seen in the place where there was water formerly.
· · ·
-- Translation (English) -- Here, the water and the sand bank are said to be successively residing in the same place.
· · ·
-- Translation (English) -- 13
· · ·
-- Translation (English) -- of actions of simultaneity
· · ·
-- Translation (English) -- of many
· · ·
-- Translation (English) -- combination
· · ·
-- Translation (English) -- the Conjunction
· · ·
-- Translation (English) -- thy foes
· · ·
-- Translation (English) -- take flight
· · ·
-- Translation (English) -- on back
· · ·
-- Translation (English) -- see
· · ·
-- Translation (English) -- and fall down.
· · ·
-- Translation (English) -- When any act of injury or mortification is attempted on a partisan of one's powerful enemy (by somebody who is unable to avenge himself directly on his enemy), it is called the Rivalry.
· · ·
-- Translation (English) -- The ears, the servants (lit. neighbours) of the victorious eyes, have been made to bow down by the lilies. Woman's eyes and lilies are often compared to each other, the one excelling the other in beauty. Here, the lilies unable to conquer the eyes avenge themselves on their neighbours, the ears, by making them bend down.
· · ·
-- Translation (English) -- The Necessary Conclusion.
· · ·
-- Translation (English) -- The accomplishment of an act founded upon the popular maxim कैमुतिकन्याय; 'argument with a stronger reason', is termed the Necessary Conclusion. कैमुत्य is the abstract noun of किमुत 'how much more'. कैमुतिकन्याय; is usually called दण्डापूपन्याय: the maxim of the stick and the cakes. When a stick and some cakes are tied together and, when the stick has been eaten away by a rat, we are naturally led to believe that the cakes also have been eaten by the rat, the two things being so closely connected. Thus, when we say something of the one of two such things, the same naturally applies to the other thing also.
· · ·
-- Translation (English) -- Ex. ( Lady ! ) That moon has been conquered by thy face. What necessity is there to speak of (or why we speak of) lotuses. It is an acknowledged fact that lotuses begin to shrink and become faded on the rise of the moon. When that moon, the subduer of the lotuses, has been conquered, the fact that lotuses too have been conquered much more becomes a necessary conclusion.
· · ·
-- Translation (English) -- DEF. समर्थनीयस्यार्थस्य काव्यलिंगं समर्थनम् ।
· · ·
-- Translation (English) -- The Poetical Reason is a reason justifying a statement which requires to be established.
· · ·
-- Translation (English) -- O foolish God of love ! Thou hast been conquered (by me). For, in my mind, there resides the three-eyed God Siva.
· · ·
-- Translation (English) -- the monkey-God Hanūmān crossed the ocean what impossible of great men
· · ·
-- Translation (English) -- Ex. Hanūmān crossed the ocean ; what is impossible for great men ?
· · ·
-- Translation (English) -- Example of a universal proposition supported by a particular instance.
· · ·
-- Translation (English) -- Even the meanest creature, by the association of the meritorious, attains to the greatness. A thread united with a wreath of flowers is worn on the head.
· · ·
-- Translation (English) -- When a particular is supported by a general which again is supported by a particular, it is called the Expansion.
· · ·
-- Translation (English) -- The Bold Speech is when a cause of excellence is attributed to something without being able to form a clear reason for it.
· · ·
-- Translation (English) -- for the purpose of establishing a false assertion
· · ·
-- Translation (English) -- a statement of another absolute false thing
· · ·
-- Translation (English) -- the False Determination
· · ·
-- Translation (English) -- the prostitute
· · ·
-- Translation (English) -- can win over.
· · ·
-- Translation (English) -- garland of sky-flowers
· · ·
-- Translation (English) -- wearing
· · ·
-- Translation (English) -- in the object on hand
· · ·
-- Translation (English) -- this (maiden) when water had gone out bund wishes.
· · ·
-- Translation (English) -- When, by an effort made for the attainment of a means to get the object desired, the desired object itself is obtained, it is the third kind of the Enrapturing.
· · ·
-- Translation (English) -- By him who dug the root of the magic plant for the purpose of discovering the treasure hidden under the earth, the treasure itself was obtained.
· · ·
-- Translation (English) -- The women of (thy) foes censured the Creator.
· · ·
-- Translation (English) -- If the servants of the king are not killed, then it itself is a boon (to them).
· · ·
-- Translation (English) -- If those two do not occur, that is Non-Abandonment.
· · ·
-- Translation (English) -- if
· · ·
-- Translation (English) -- lotuses
· · ·
-- Translation (English) -- contract
· · ·
-- Translation (English) -- to the moon what detriment
· · ·
-- Translation (English) -- Def. The praying for an undesired object on the ground of the acquirement of virtuous qualities resulting from it, is called the Permission.
· · ·
-- Translation (English) -- Ex. Lord Krishna ! Let calamities always occur to us—the calamities in which the God Hari is glorified.
· · ·
-- Translation (English) -- This is a request made to Krishna by Kuntī, the mother of the Pāndavas.
· · ·
-- Translation (English) -- Def.
· · ·
-- Translation (English) -- Ex.
· · ·
-- Translation (English) -- Def.
· · ·
-- Translation (English) -- The Sealing.
· · ·
-- Translation (English) -- the Hindu Triad, in their order—Brahmā, Vishnu and Siva, the objects not on hand to which the king is identified in succession.
· · ·
-- Translation (English) -- The difference between this figure and the figure मुद्रा (LXXIII) is that in this figure the sense of the words referring to objects not on hand—i. e. the sense to be hinted at—also serves to explain the sentence in another way under a pun, but it is not so in the Mudrā.
· · ·
-- Translation (English) -- Here, the colour of the lady's lower lip, being superior, makes the white pearl of her nose ornament appear like a padmarāga ruby.
· · ·
-- Translation (English) --
- The pearl has been eclipsed by the lady's lip.
· · ·
-- Translation (English) -- When an object regains its original quality, it is called the Original.
· · ·
-- Translation (English) -- O king! The lord of the serpents श्रेष्ठ;, though covered with the lustre of Siva's neck, is made white by thy fame.
· · ·
-- Translation (English) -- an object when disappeared continuity of the original state
· · ·
-- Translation (English) -- also lamp though extinguished by the jems inlaid in the girdle of a lady ample light was.
· · ·
-- Translation (English) -- Def. The continuity of the original condition, notwithstanding the disappearance of an object—the cause of such continuance, by the operation of another agency, is called the second kind of the Original.
· · ·
-- Translation (English) -- Ex. Although the lamp was put out (by a lady in the bed chamber), still there was ample light issuing from the jems of the girdle (of that lady).
· · ·
-- Translation (English) -- a pretty young maiden but an artless one
· · ·
-- Translation (English) -- Here, a pretty young maiden but an artless one ( सुग्धा ) put out the lamp of the bed chamber through bashfulness ; still the light continued as before by the lustre of the jems inlaid in the girdle of that maiden.
· · ·
-- Translation (English) -- for a long time red (affectionate) in my mind though seated lost not become red (affectionate).
· · ·
-- Translation (English) -- Def. The non-assuming, by an object, of the quality of another though connected with it (or in
· · ·
-- Translation (English) -- When the original quality of an object is enhanced by the proximity of another object, it is called the Conformity.
· · ·
-- Translation (English) -- Ex. The blue lotuses attain more blueness by the side-glances (of a lady falling on them).
· · ·
-- Translation (English) -- by the presence of another object the Conformity
· · ·
-- Translation (English) -- blue lotuses by the side-glances. extreme blueness bear.
· · ·
-- Translation (English) -- the pre-eminence of one's own previously settled quality.
· · ·
-- Translation (English) -- if on account of resemblance distinguishable peculiarity is not at all perceived The Sameness
· · ·
-- Translation (English) -- that entered the lotus-pool of women of beautiful eye-brows face was not perceived
· · ·
-- Translation (English) -- of any distinction and of any discriminating peculiarity in the manifestation The Un-Lost and The Un-Sameness
· · ·
-- Translation (English) -- the celestial beings eclipsed by thy fame the Himālaya mountain by chillness recognize.
· · ·
-- Translation (English) -- when the moon had risen lotuses and the faces
· · ·
-- Translation (English) -- Def. When a skilful reply is not different from the query, or in other words, when a reply made consists of the same words of the question asked, and when one reply made serves for two queries asked, then it is called also the Reply.
· · ·
-- Translation (English) -- Ex. Q. Who are those that are engaged in maintaining their wives ?—R. Those that are bent upon bringing the lands to perfection or husbandmen. Q. Who move in the air and which is transitory—R. वय: (1) birds (2) age.
· · ·
-- Translation (English) -- कैदार = a field. The first question के दारपोष्यरता: and its answer केदारपोष्यरता: consist of the same words (lit. letters). वय: is the one reply made to the two questions asked. वय: when it means, ‘birds’ is the nominative plural of the word वि m ; and when it means ‘the age’ it is the nominative singular of the neuter noun वयस्. Hence these are styled the skilful replies.
· · ·
-- Translation (English) -- Def. A significant act or an insinuation of a person that he or she knows the secret of another is called The Covering.
· · ·
-- Translation (English) -- Ex. Early in the morning, when the lover came to the house, his lady prepared bed (for him).
· · ·
-- Translation (English) -- Here, a lady when she saw her husband coming to her house in the morning with the marks of his having toyed with another lady, a rival one, at once prepared bed for his rest thus intimating to him that she has known his secrets.
· · ·
-- Translation (English) -- Def. The Dissembler is the dissimulation of one's appearance by attributing to a different cause.
· · ·
-- Translation (English) -- Ex. Friend ! See I am made greyish by the pollens of (my) house-garden.
· · ·
-- Translation (English) -- Here, a lady, the speaker, having her body made dirty by the dust in her toying with her lover, artfully
· · ·
-- Translation (English) -- LXXXVII. गूढोक्तिः—The Secrecy.
· · ·
-- Translation (English) -- Ex. वृषापेहि परचेष्टादार्यात् चेटवरचकः ॥
· · ·
-- Translation (English) -- Def. छेकोक्तिर्यदि लोकोक्तिः स्यादर्थान्तरगर्भिता । सखे ! ।।
· · ·
-- Translation (English) -- Ex. भुजङ्ग एव जानोते भुजङ्गपदवां सखे ! ।।
· · ·
-- Translation (English) -- of the Popular Saying containing another sense Skilful Speech friend !
· · ·
-- Translation (English) -- Def. वक्रोक्तिः श्लेषैककुब्यामपरार्थप्रकल्पनम् ।।
· · ·
-- Translation (English) -- Ex. मुष्य मानं दिनं प्राप्तं नेषु नन्दी हरान्तिके ।।
· · ·
-- Translation (English) -- by means of a pun or by an affected change of voice construing one's speech differently The Crooked Speech
· · ·
-- Translation (English) -- Def. Description of Nature is the delineation of a peculiar state of an object belonging to a genus etc., i.e., a quality, an action and a substance.
· · ·
-- Translation (English) -- Ex. These antelopes having tremulous eyes and pricking up their ears behold !
· · ·
-- Translation (English) -- Def. When something past or future is delineated by a poet in such a manner as can bring the subject of description vividly before the mind's eye, it is called the Vision.
· · ·
-- Translation (English) -- Ex. The gods and demons fight in this place—even now I seem to behold it !
· · ·
-- Translation (English) -- Def. A description of prosperity of an object is termed the Exalted.
· · ·
-- Translation (English) -- O king ! when thou art a donor Kalpa trees याचका: mendicants become.
· · ·
-- Translation (English) -- Def.
· · ·
-- Translation (English) -- Ex.
· · ·
-- Translation (English) -- of words by derivation construing in a sense different from what is intended
· · ·
-- Translation (English) -- Exposition
· · ·
-- Translation (English) -- O moon !
· · ·
-- Translation (English) -- by acts of thine
· · ·
-- Translation (English) -- thy honour * maker of night or faulty
· · ·
-- Translation (English) -- verily
· · ·
-- Translation (English) -- I know
· · ·
-- Translation (English) -- Def.
· · ·
-- Translation (English) -- Ex.
· · ·
-- Translation (English) -- of prevention announcement
· · ·
-- Translation (English) -- Prohibition
· · ·
-- Translation (English) -- gambler !
· · ·
-- Translation (English) -- this is not the play-
· · ·
-- Translation (English) -- ing at dice by sharpened arrows
· · ·
-- Translation (English) -- playing.
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-- Translation (English) -- XCIX. विधि:-Fitness.
· · ·
-- Translation (English) -- Words expressive of comparison:
· · ·
-- Translation (English) -- 142
· · ·
-- Translation (English) -- APPENDIX.
· · ·
-- Translation (English) -- Of these, वतु, कल्प, देश्य, देशीय are taddhita terminations. The last three express a slight incomplete comparison. See V. 3. 67 P. A.
· · ·
-- Translation (English) -- Other terminations expressive of comparison.
· · ·
-- Translation (English) -- a denominative termination—Parasmaipada.
· · ·
-- Translation (English) -- a denominative termination—Ātmanepada.
· · ·
-- Translation (English) -- a krit termination which is usually omitted.
· · ·
-- Translation (English) -- पूर्वार्ष—6 varieties.
· · ·
-- Translation (English) -- 1 शौती—तद्धितगता. 2 Do.—समासगता. 3 Do.—वाक्यगता. 4 शार्थी—तद्धितगता. 5 Do.—समासगता. 6 Do.—वाक्यगता.
· · ·
-- Translation (English) -- लुम्रा—26 varieties.
· · ·
-- Translation (English) -- 7 वाचकलुम्रा—समासगता. 8 Do.—*कर्म—कच्-गता. 9 Do.—†श्राधार-कच्-गता. 10 Do.—कच्-गता. 11 वाचकलुम्रा—‡कर्म—ण्यसुल्-गता. 12 Do.—¶कर्तृ-do. 13 Do.—श्रनि-गता. 14 Do.—कन्-गता. 15 Do.—किप्-गता. 16 धर्मलुम्रा—शौती—वाक्यगता. 17 Do.—शार्थी—do. 18 Do.—शौती—समासगता. 19 Do.—शार्थी—do. 20 Do.—do.—|| तद्धितगता.
· · ·
-- Translation (English) -- O young maiden! the fragrance of thy mouth is as the lotus ; thy bosoms are large as jars; thy face exhilerates (my) heart as the autumnal moon.
· · ·
-- Translation (English) -- The lower-lip of that lady is sweet like nectar ; her hand is exceedingly tender like a young leaf ; and her eyes are tremulous like those of a frightened fawn.
· · ·
-- Translation (English) -- He (a king) whose eyes expanded on seeing (his) enemies' prowess and whose strong arm (lit., stick-like arm) is fearful with the sword behaves as if he is wielding thousand weapons.
· · ·
-- Translation (English) -- When the fame of thy honor has pervaded, all the oceans act the Milky-sea. Here, in चौरोदौयन्त = चौरोदमिव श्रातमानमाचरन्त, we have the omission of the upameya 'श्रातमानम्' and of the common attribute 'श्रुकता = whiteness'.
· · ·
-- Translation (English) -- When I began to start, through anger, for a distant country though I was obstrucied, by sweet words, (by my lady) bending on her knees, that young maiden immediately arrested my way by her sportive kitten acting obedient to her will pointed out by her fingers.
· · ·
-- Translation (English) -- Here, the cause, the lady's act, is described, when the effect, the prevention of her lover's departure is to be understood.
· · ·
-- Translation (English) -- (2) Cause is understood from the description of an effect.
· · ·
-- Translation (English) -- Here, from the supposed effects of the moon being besmeared with the lamp-black etc., their causes, the extraordinary beauty of the face etc. of Sītā, are understood.
· · ·
-- Translation (English) -- (3) The particular is understood from the description of a general.
· · ·
-- Translation (English) -- Here, the description of a wicked man in general conveys a reference to a particular person, before the speaker, the subject matter,
· · ·
-- Translation (English) -- 53. परिसंख्या—Special Mention.
· · ·
-- Translation (English) -- What is an imperishable (lit. very firm) ornament here (in this world) ?—fame, not a gem. What ought to be performed ?—a good deed practised by the venerable men, and not a crime. Which is called an unimpeded eye ?—the intellect, not the eye (itself). Who else than thee (O king !) knows the discrimination between good and evil.
· · ·
-- Translation (English) -- What is ever to be practised ?—virtue.* What is to be resorted to—the study of good science. Who is to be meditated upon—the God Vishṇu. Which is to be desired—the abode of Vishṇu or final beatitude.
· · ·
-- Translation (English) -- 58. प्रत्यनीकम्—Rivalry.
· · ·
-- Translation (English) -- 60. कार्यलिङ्गम्—Poetical Reason.
· · ·
-- Translation (English) -- Here, non-salutation becomes the reason for the faults committed and this fact is expressed by two sentences.
· · ·
-- Translation (English) -- N.B.—This figure occuring in a sentence should not be confounded with the figures श्रर्थान्तरन्यास ‘Transition’ (59) nor with श्रनुमानम् ‘Inference’; * on this, S. D. says as follows :—‘In the province of poetry the reason is three-fold, as being Informative, Completive and Justificative (or Confirmative). Of these three sorts, the Informative Reason is the subject of the figure Inference,* the Completive of the Poetical Reason and the Justificative of the Transition. Thus the Transition founded upon a causation is evidently distinct from the Poetical Reason.’
· · ·
-- Translation (English) --
- This figure is not treated in this book.
· · ·
-- Translation (English) -- 92. वक्रोक्ति:—Crooked Speech.
· · ·
-- Translation (English) -- Ex.
· · ·
-- Translation (English) -- 95. उदात्तम्—The Exalted.
· · ·
-- Translation (English) -- May that God (Krishna) of the blooming lotus-like eyes—the Slayer of Kamsa—the Sun in annihilating the darkness of this worldly life protect us from calamity.
· · ·
-- Translation (English) -- This lunar orb dispelling the thick darkness and causing excessive delight to the eyes shines in the sky.
· · ·
-- Translation (English) -- 160
· · ·
-- Translation (English) -- to a beautiful dame standing on the top of a sky-kissing mansion, her circular face alone being visible above the parapet wall;
· · ·
-- Translation (English) -- as the moon's orb is superimposed upon a fair face intimated by the pronoun 'इदम्=this';
· · ·
-- Translation (English) -- through the introsusception of the circular face in the orb of the moon;
· · ·
-- Translation (English) -- as the advent of the night that excites delight in the minds of the united lovers—the fact to be intimated by the speaker—has been expressed by a turn of speech—the description of the moon;
· · ·
-- Translation (English) -- as the face intimated by 'इदम्—this'—the object not on hand, is understood by the description of the moon—the object on hand, from a sameness of action, i.e., the action of expelling the darkness of the night by their splendours;
· · ·
-- Translation (English) -- as the face and the lunar orb which can be taken as objects on hand are associated with a sameness of attributes—shining and expelling the darkness;
· · ·
-- Translation (English) -- as the face and the lunar orb the former of which is now taken as the object on hand and the latter as one not on hand are together associated with one and the same attribute—the verb स्राभाति; and so on.
· · ·
-- Translation (English) -- Univ Calif - Digitized by Microsoft
· · ·
-- Translation (English) -- II. Figures founded on Contrast.
· · ·
-- Translation (English) -- 13. अतिशयोक्ति 3rd and 4th kinds. 42. श्लेष ।
· · ·
-- Translation (English) -- 33. विरोधाभास । 54. विकल్ప ।
· · ·
-- Translation (English) -- 38. विषम । 77. श्रतद्गुणा ।
· · ·
-- Translation (English) -- 41. श्राभास । 94. भाविक ।
· · ·
-- Translation (English) -- 97. निरुक्ति ।
· · ·
-- Translation (English) -- III. Figures adhering to, or violating, the law of causation.
· · ·
-- Translation (English) -- 13. अतिशयोकि 5th, 6th and 7th kinds. 40. विचित्र ।
· · ·
-- Translation (English) -- 34. विभावना । 43. अन्योक्ति ।
· · ·
-- Translation (English) -- 35. विशेषोक्ति । 45. व्याजस्तुति ।
· · ·
-- Translation (English) -- 36. श्रसंभव । 55. समुच्चय ।
· · ·
-- Translation (English) -- 37. श्रसंगति । 63. प्रौढ़ोक्ति ।
· · ·
-- Translation (English) -- 100. हेतु ।
· · ·
-- Translation (English) -- IV. Figures relating to the Logical connection of words in a sentence.
· · ·
-- Translation (English) -- 50. यथासंख्य । 56. कारकदीपक ।
· · ·
-- Translation (English) -- 53. परिसंख्या । 59. काव्यार्थापत्ति ।
· · ·
-- Translation (English) -- 74. रत्नावली ।
· · ·
-- Translation (English) -- V. Figures relating to the Logical connection of senses of two sentences.
· · ·
-- Translation (English) -- 60. काव्यलिंग । 61. श्रर्थान्तरन्यास ।
· · ·
-- Translation (English) -- 62. विकस्वर ।
· · ·
-- Translation (English) -- SMRITIMAN 8 BHRANTIMAN 9 and SANDEHA 10
· · ·
-- Translation (English) -- APAHNUTI 11 VYAJOKTI 86 and AKSHEPA 32
· · ·
-- Translation (English) -- UTPREKSHA 12 and ATISAYOKTI No. 1 (13)
· · ·
-- Translation (English) -- In SAMASOKTI,
· · ·
-- Translation (English) -- 23
· · ·
-- Translation (English) -- In APRASTUTAPRASAMSA,
· · ·
-- Translation (English) -- 27
· · ·
-- Translation (English) -- In PARYAYOKTAM,
· · ·
-- Translation (English) -- 29
· · ·
-- Translation (English) -- and
· · ·
-- Translation (English) -- In VYAJASTUTI,
· · ·
-- Translation (English) -- 30
· · ·
-- Translation (English) -- In VIBHAVANA,
· · ·
-- Translation (English) -- 34