1. Prataparudriya Vidyanatha Matha S.R., Ramamurthi K.S. Venkateswar Unversity

S.V. University Oriental Series-24

AN ENGLISH TRANSLATION OF

VIDYĀNĀTHA'S

PRATĀPARUDRĪYA

विद्यानाथप्रणीतम्

प्रतापरुद्रीयम्

आङगलानुवाद:

ORIENTAL RESEARCH INSTITUTE SRI VENKATESWARA UNIVERSITY

TIRUPATI - 517 502 1993

S.V. University Oriental Series- 24

General Editor: DIRECTOR, S.V.U.O.R.I.

An English Translation of

VIDYĀNĀTHA'S

PRATĀPARUDRĪYA

BY Dr. K.S. RAMAMURTHI Dr. S.R. MATHA

ORIENTAL RESEARCH INSTITUTE

SRI VENKATESWARA UNIVERSITY

TIRUPATI - 517 502

1993

An English Translations of VIDYANĀTHA'S PRATAPARUDRĪYA by K.S. Ramamurthi & S.R. Matha

Published by M. Srimannarayana Murti Professor & Director Oriental Research Institute S.V. University, Tirupati-517 502

Sri Venkateswara. University, Tirupati.

First Edition, 1993. 500 Copies

Copies can be had of THE LIBRARIAN S.V. UNIVERSITY LIBRARY . TIRUPATI - 517 502.

Printed at S.V. University Press, Tirupati,

FOREWORD

Under the programme to propagate correct ideas about language, literature, philosophy and culture, translation of different works is being taken up by the Oriental Research Institute since its inception. The English translations of some upanisads rendered by late Dr. K.C. Varadachari were well received by the scholars. In pursuance of the same programme the English translation of the Prataparudriya was taken up by Dr. K.S. Ramamurthi in collaboration with Dr. S.R. Matha. The Prataparudriya needs no introduction to the scholarly world as it has occupied in the South the same status as that of the Sahityadarpana in the North in the Sanskrit curriculum. 'An ' English translation was a desideratum ever since this book was brought also into the University curriculum; now the demand is fulfilled. Even though it is undoubtedly desirable to include the Sanskrit text also in this translation for the best convenience of the readers, it is avoided lest it becomes too bulky and un- manageable within the limited finances at disposal. The con- solation is that Dr. Raghavan's edition of the Pratāparudriya is made freely available by the Sanskrit Education Society, Madra i

Dr. K.S. Ramamurti, my senior colleague, started this work in 1981 when he was a Lecturer in the Oriental Research Institute. He retired as Reader and Head of the Department of Indian Culture in 1986. Dr. S R. Matha is the Curator-cum- Librarian in the Oriental Research Institute since 1978 and has been actively engaged in academic pursuits besides the normal duties. The printing of this book has taken a longer time than expected. It is regretable that due to the sudden demise of Dr. Ramamurthi on 24-1-1993, he could not read the proofs of the last few pages. However, it is a pleasure to place this volume into the hands of the scholars and students for apprecia- tion and assimilation respectively. The University authorities are always eager to promote the academic activities in the Institute and thus we are eternally obliged to them.

TIRUPATI M. SRIMANNARAYANA MURTI 8-4-1993 Professor & Director

PREFACE

The Prataparudriya of Vidyanatha composed in the court of the king Prataparudra II (A D. 1294-1325) of the Kākati family, is a work on Sanskrit rhetoric of encyclopaedic nature on the model of the Kavyaprakaia of Mammata. Some more works of this type seemed to have been written in the thirteenth century, and a number of works imitating the Kāvyoprakasa followed Vidyanatha. There is a considerable difference in the spirit of these works though they are identical in nature and plan. While Mammata cites the verses of poets as examples Vidyanatha gives his own verses as examples. Even in this attempt he takes tbe king Pratäparudra as the person in whom every aspect of life is seen for which he is commended in multiple ways. This means that there is no verse given as an example in the text which does not contain Pratdparudra. From this we feel that Vidyanatha is the pioneer in this method of composition which was followed later by Vidyadhara in his Ekavali. Thus it will not be an exaggeration if we say that the Kavyaprakasa is the first one (of the genre) in the field of poetics and the Prataparudriya occupies the second place.

Though the present work under consideration is very important and studied through out our India by Sanskritists it did not attract the attention of scholars for an English render- ing in spite of the fact that works like Dhvanyaloka, Kavyaprakasa, etc. have been translated. Because of this reason I entertained the idea of translating it into English on behalf of Sri Venkateswara University Oriental Research Institute so that students in the Universities may be benefited by it. As the work is voluminous my junior colleague Dr. S.R. Matha has undertaken the transla- tion of Kavya, Guna and Doşa Prakaranas. The Englisb transla- tion of the Udaharaņanātaka, namely Pratāparudra-kalyāņa will be published separately.

I thank all the University authorities for permitting us to undertake this work. I am thankful to the University Press for printing the same. I take this opportunity to pay my respects

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to my revered teacher late Mahopādhyāya J. Madhavarama Sarma with whom I studied Sanskrit Poetics. I am thankful to Dr.S.R. Matha for shouldering the entire responsibility of the work in the press. We feel happy and consider our endeavour fruitful if the students are benefited as expected.

TIRUPATI 6-10-1992 K,S. RAMAMURTHI

INTRODUCTION

Vidyanatha, the author of the present work the Pratapa- rudrayasobhusana, was the court poet of Prataparudra II of the Kakati family who ruled over the Kakatiya kingdom with Warangal as his capital during A.D. 1294-1325. This king was not only famous for his valour and administration but also reputed for his patronage of men of letters and arts. It is said that there were about one hundred poets in his court. Narasimha, Sākalyamallana, Acintyendrakavì, Rāvipāți Tripu- rantaka Narasimhadāsa and Jayapasenani 1 are noteworthy. Prataparudra himself was a scholar and said to have produced two plays in Sanskrit, namely the Usaparinaya and the Yayati- caritra. I

During the same period flourished Agastya, the author of the Balabharata. He was reputed to have written some seventyfour works, but unfortunately only three works from his pen are extant and even among these three it is only the Balabharata that is complete.2 In the Pratdparudriya Vidya- natha mentions Agastya in the verse II. 60. This expression is usually taken by the scholars to support that Vidyanatha and Agastyapandita are one and the same person. But we do not know whether the word vidyanatha was a title of Agastya. In the colophons of the available works of Agastya and Vidyanātha nothing of this type is mentioned.3 Even in the Pratāparudriya no colophon gives the term agastya. 1. Kādambarīkalyāņa, Udārarāghava, Anumakondašāsanam, Siddhodvaha and Nrttaratnavalt are the well known works respectively. 2. It is edited by K.S. Ramamurthi and brought out by this Institute as S.V.U. Oriental Series 10, 1983. '3. All this has been dealt with in detail by my friend Prof. T. Venkta -. carya of the University of Toronto, Canada in the introduction to his edition of the Krsnacarita of Agastya Pandita. He finally comes to the conclusion that these two poets are different persons. Cf. Krsnacarita, Tanjore Saraswati Mahal Series 155, 1975, Intro. pp. 38 ff.

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II The Prataparudriya is a work on rhetoric written in Sanskrit eulogizing the king Pratäparudra II at every stage in the illustrations, This is compendious in its nature, in the sense that all the elements like rasa, guna, dosa, alankara including the types of nāyakas and nayikas have been codified into one work. In his Kavyaprakarana he gave the classification of kavya (poem) with illustrations. We originally come across all these elements in the Natyasastra of Bharata, where natya is the main subject and all other elements become subsidiary to it. Though the rhetoricians like Bhamaha, Dandin, . Vamana, Anandavardhana, Kuntaka and Ksemendra tried their hands at rhetoric they were only interested in propounding the soul of poetry. As such their works do not treat other items like guna and doşa. But in the Kavyaprakasa of Mammata we come across this compendious nature for the first time. Then comes Vidyadhara, the author of the Ekavali, following Mammata. He belongs to Orissa and contemporary of Vidyanātha, It is opined that Vidyadhara wrote the work by about the end of the thirteenth century or the beginning of the fourteenth century. The Kavyaprakasa and the Prataparudrīya differ mainly in two respects: I) while Mammata draws his illustrations from the works of his predecessors, Vidyanatha gives his own verses and 2) while Mammata does not give a separate dynamic com- position in continuation of the chapter on Drama, Vidyanttha produces a separate drama illustrating the dramatic rules. Besides, Vidyanatha composes every verse eulogizing Pratăpa- rudra whereas Mammata does not find scope to do this as his illustrative verses belong to others. As in the Prataparudriya we find in the Ekavali all verses written in praise of Narasimha, the patron of Vidyädhara. Other works of this genre though embrac- ing many topics do not completely belong to the pattern of the Pratāparudrīya. Dr. V. Raghavan in the introduction to his edition of the Prataparudriya has given the sources of all the items found in the work.4 But it does not mean that Vidyanatha is lacking in 4. The Prataparudrlya of Vidyanatha - Sanskrit Education Society, Madras, 1970, pp. 8 ff.

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originality. The way in which Vidyanatha planned this work itself exhibits his originality. The definitions he has given are not only free from flaws but also simple and striking. He exa. mines his predecessors' statements in the contexts required and tries to strike a compromise.

For example, following Bhoja, Vidyanatha also accepts twentyfour gunas. In the case of difference between gunas and alankaras he does not sail with Vamana who says that the ten sabdagunas like ślesa and prasada are connected with artha also. If this were a better case we cannot draw any difference between alankaras because gunas and alankaras both embrace sabda and artha. Vidyānātha also feels that a probe into this goes against the definition of Vamana regarding the poetie soul: ritir atma kavyasya.5 As such there must be difference between gunas and alankaras, For this we have to consider the opinions of ancient writers, like Rudrabhatta, who say that gunas are sanghatana-dharmas whereas alankaras are sabdartha-dharmas. A section of the ancients says that the ten gunas do not go with madhurya, etc. as they are sabda-dharmas. Udbhata belongs to this category. Bhamaha and others merge slesa, etc. in madhurya, etc. (As such according to them the gunas are sabda-dharmas and alankaras are sabdartha-dharmas.) Again those who accept vyangya accept only three gunas - madhurya, ojas and prasada. Though Vidyanatha is a vyangyavadin he accepts the ten gunas like śleşa, etc. In addition to this he also mentions the twenty- four gunas as given by Bhoja indicating his aceeptance. In the chapter on arthalankaras, dealing with upama Vidyanatha says that according to Mammata sabdasamya is enough to constitute the figure upama. But Ruyyaka opines that upama should possess guņakriyasamya but not śabdamātra- sämya. In this respect Vidyanatha follows Ruyyaka. Regarding luptopama Vidyānātha accepts nineteen varie. ties whereas others accept some more varieties also. The variety samāsagata-dharma-vacakalupta is not illustrated by Vidyānātha. Similar is the case with rūpaka also. The paramparitarūpaka is not illustrated.

5. Kāvyālankārasūtra, I. 2.6.

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In the chapter on Alankāras Vidyānātha gives 66 alankaras. Wherever required he gives the views of his predecessors. Anci- ents like Mammata, etc. do not accept ubhayasleșa whereas it is acceptable to Vidyanatha. Similarly differing with some of the scholars he says that vaidarbhi, gaudi and pancali are only ritis but not vrttis. The nature of the kaisiki, etc. is different from that of ritis because the kaisiki, etc. work in bringing out the rasa directly, whereas the vaidarbhi, etc. are not directly connected. As such there is a gulf of difference between vrttis and ritis. III Kumarasvamin (15th century), the son of the renowned commentator Mallinatha and the commentator of Vidyanatha's Prataparudriya, has enhanced the value of the text by producing ingenious interpretations in addition to the spirit of com- promise of Vidyanatha. For example, while commenting on the tatparyartha (intended meaning) as a fourth category Kumara- svämin makes an elaborate investigation into the stand taken by the Mimamsakas. The Mimamsakas of the Abhihitanvaya- vada school accepts the tatparyartha. According to them the words in a sentonce recede back after expressing their meanings. Then the meaning connected with the entire sentence is indica- ted. This is not the meaning of the words but only the meaning of the sentence This is also not the collective meaning of the words therein but only the mutual relationship present there. As such the meaning of the entire sentence is different from the meanings of the individual words that make up the sentence. This sentence meaning, known as visisthartha, is accepted by the Abhihitanvayavadins as tātparyartha. The MImamsakas of the Anvi- tabhidhanavada school do not accept this, as the meaning of the sentence is understood from the action. For example, when the sentence ghatam anaya is heard the meaning comes to the mind without any importance to the linguistic elements of the words in it and the pot is brought. Hence the meaning is only vacya. Kumarasvāmin deduces this sense from the interpretation of the word tat in the word tatparya. For him tat in tātparya is indicative of the most important element viz. rasa, as the poet is interested only in rasa.6 6. ata evoktam kāvyaprakāše ...... kāvye rasālamkriyādivāk yārtho bhavatt. Ratnapana on Pratāparudrlya, Kāvyaprakarana, p. 33, Balamąnorama edn.

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The word tat in tatparya means rasa because the mean- ings of the words in the sentence procced in the direction of rasa and the words are to indicate that. Thus that capacity of the words which give srise to rasa is tatparya. This is neither vacya nor laksya but only vyangya. Therefore this tatparyartha is nothing but vyangyartha. Hence there are only three types of meanings and there is no room for a fourth type called tat- paryartha. Thus according to Kumarasvāmin Vidyanātha sup- ported the Anvitabhidhanavada.

Similar ingenuity of Kumarasvämin is found in the interpretation of the theory of Anandavardbana. According to nandavardhana the suggestion in a poetry constitutes the soul of poetry and this is received well by the scholars. But Ananda- vardhana does not mean that the pleasure pioduced by this charming suggestion is itself the Brahman. Vidyanatha for the first time advocates that a connoisseur (sahrdaya) is a complete personality like a yogin and the pleasure attained by constant touch with literature and the delight in the pursuit of Brahman are one and the same .?

Jagannatha Pandita who comes next to him in the field of rhetoric strengthens this concept by focussing a flood of light on this aspect. So we can prondly say that the Andbra genius worked well in the field. In the case of rasa Kumarasvāmin firmly says that it should not be verbally expressed. It should always be experienced through vibhava, etc. Thus while dealing with the rasabhasa he says that the sragara of the paravatas (pigeons) becomes rasa bhasa because there is no play of vibhavas etc. But according to others the srngāra of paravatas also attains the status of rasa as the existence of vibhava, etc. are essential irrespective of their knowledge by the characters depicted. In other words they hold that the rasa is permitted to be expressed verbally. But Vidyanatha does not accept this.

A close examination may disclose many more refined ideas on rhetoric and aesthetics. Thus Vidyanatha's Pratāparudriya

7. ibid. Rasaprakarana, p. 212 (given by Kumarasvämin in the commen- tary at the end of the last three verses, ending with bhāve sthayIni). 8. Pratāparudriya, Rasaprakarana, verse 96.

vith its commentary Ratnāpana of Kumārasvämin is replete with all aspects of Sābityasästra,

The present translation is based upon the Prataparudriya edited by Sri C. Sankara Rama Sastri and published by Sri Bala- maoorama Press, Madras, 1950 (Sri Ralamanorama series 3). As far as possible the translation is faithful to the original. Care has been taken to save the Englisb idiom where necessary. Translation of the text is givea first and the explanation follows as in the Saiskrit text. In order to help the students to under stand the work thorougaly the explanations of the commentator Kamirasvi nin is also provided in square brackets,

CONTENTS

PAGE

Foreword

Preface

Introduction y

I. CHAPTER ON HEROES (नायकप्रकरणम्)

Benediction

Introduction 1

Purpose of poetry (kavyaprayojana) Qualities of the hero (nāyakaguņa) 4

[1. High descent (mahakullnatā) (4); 2. Splendidness (aujjvalya) (4); 3. Great fortune (mahābhägya) (5); 4. Loftyness (audārya) (5); 5. Brillianee (tejasvira) (6); 6. Craftyness (vaidagdhya) (6): 7. Virtuousness (dhārmikatva) (7); 8 Supernatural power (maha- mahimatva) (7); 9. Erudition (pāndit ya) (7) ] Nature of the hero (nayakasvarūpa) 8

Types of heroes (nayakabheda) 10

[1. Dhtrodātta (10); 2. Dhiroddhata (12); 3. Dhiralalita (12); 4. Dhtraśanta (12)]

Types of erotic heroes (srgāranāyakabheda) 13

[1. Faithful (anukūla) (13); 2. Polygamist (daksiņa) (14); 3. Impu- dent (dhrsta) (16); 4. Dishonest (satha) (16)1 Companions of the heroes (nayaka-sahaya) 17

Types of erotic heroines (srågaranayikabheda) 18

[1. Husband caressed (svādhlnapatika) (18); 2. Self decorating (vasakasajjika) (18); 3. Mentally agitated (virahotkanthitā) (19); 4. Deceived (vipralabdha) (19); 5. Dejected (khandita) (20): 6. Regretting after rejection (kalahantaritā) (20) : 7. Husband uncaressed (prositabhartțkā) (21); 8. Forth-moving (abhi- sārikā) (21)]

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Companions :, the heroines (nayika-sahaya) 22

Types of heroines in a nutshell (samksepa) 22

[1. Mugdha 23); 2. Madhya (23); 3. Praudha (24)] Importance of rasa, alankāra, vastu, etc. 25

II. CHAPTER ON COMPOSITION (काव्यप्रकरणम्)

Forms of composition (kāvyasvarupa) 31

Types of words (sabdabheda) 33 [1. Explanatory (vācaka) (35); 2. Secondary (lakşaka) (35); .. 3. Suggestive (vyanjaka) (35) ] Types of word functioning (sabdavrttibheda) 36 [1. Primary (verbal) (abhidhā); 2, Secondary (laksana); 3. Sug- gestive (vyānjana) ] Verbal function ( abhidhavrtti) 42

Secoodary fanction (lakşanavrtti) 43 [Jahallakşaņā (44); Ajahallaksaņā (45); Sāropa (46); Sādhya- vasā ya (47)] Suggestive function (vyanjanavrtti) 47 [ Śabdašaktimūlavyanjanā (48); Arthašaktimūla-vyanjanā (50); Śabdārthobhayamūla-vyanjanā (53)] Typss of styles like kaisiki (kaisikyadivrttibheda) 53 [1. Kaišikī (54); 2. Arabhațī (55); 3. Bhāratī (55); 4. Śattvat! (55); 5. Madhyamakaiśiki (56); 6. Madhyamārabhatī (57)] Types of diction (ritibheda) 58 [1. Vaidarbht (58); 2. Gaudt (59), 3. Pancall (60)1 Beđ (sayyā) 60 Types of cooking (pākabheda) [1. Cooking of grapes (drāksāpāka). (61); 2. Cooking of 61

coconut (nārikelapāka) (62)] Varieties of composition (kāvyabheda) [1. Suggestive compositions (dhvanikāvya) (63); 2. Composi- 62

tions of subordinated suggestions (guntbhūtavyang yakāv ya) (64); 3. Portrait. compositions (citrakavya) (64); sabdacitra (64); arthacitra (65); ubhayacitra (65)1

Varieties of suggestion (dhvantbheda) 66

Types of subordinated suggestion (gunibhutavyangyabhera) 81 [1. Unconcealed (agüdha) (82); 2. Subordinated to some other (aparanga) (82); 3. Subordinated to the expressed (vacya- siddhyanga) (83); 4. Not distinct (asphuta) (84); 5. Unintel- ligble (sandigdha) (85); 6. Equal importance (tulyapradhānya (85); 7. Not beautiful (asundara) (86); 8. Irony (kāku) (86)]

Characteristics of major compositions (mahākāvyalakșana) 87 [ Characteristics of 1. Prose (gadya) (87); 2. Poetry (padya) (87); 3. Subcomposition (upakāvya) (87); 4. Campū (88); 5. Akhyā- yikā (88) 1

Characteristics of minor compositions (ksudraprabandha- lakşaņa) 88 [1. Udāharaņa (88); 2. Cakrąvālaka (89); 4. BirudāvalI (89); 5. Taravall (89) ] 3. Bhogavall (89):

III. CHAPTER ON DRAMA (नाटकप्करणम्)

The form of dance (natyasvarülpa) 91

Types of dramas (rūpakabheda) 92

Junctures (sandhi) 94

Avasthas 95 [ 1. Arambha (95); 2. Prayatna (96); 3. Prāptyāsa (96); 4. Niya- sa pti (96); 5. Phalagama (96) ]

Arthaprakrtis 96 [1. Btja (96); 2. Bindu (96); 3. Patāka (96); 4. Prakar! (96); 5. Karya (97) ]

Juncture of Introduction (mukhasandhi) 98

[ Limbs of mukhasandhi (98) : 1. Hint (upaksepa) (98); 2. Expan- sion (parikara) (98); 3. Consumation (parinyasa) (98); 4. Temp- tation (vilobhana) (98) ;. 5. Skill (yukti) (99); 6. Attainment (prapti) (99); 7. Conclusion (samadhana) (99); 8. Explanation (vidhana) (99); 9. Conversation (paribhavanā) (99); 10. Rising (udbheda) .. (99); 11. Encouragement (bheda) (99); 12. Action (karana) (99) 1.

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Juncture of exposition (pratimukhasandhi) 99 [Limbs of pratimukhasandhi (99): 1, Dalliance (vilasa) (100); 2. Inquisition (parisarpa) (100); 3. Refusal (vidhūta) (100); 4. Subsiding (śama) (100); 5. Sport (narma) (100); 6. Pleasure of affection (narmadyuti) (100); 7. Exhibition of love (pra gamana) (100); 8. Hindrance (virodha) (100); 9. Entreaty (paryupāsana) (100); 10. Harsh (vajra) (1"0); 11. Flower (puspa) (100); 12. Lec-

(100)] ture (upanyāsa) (100); 13. Description of castes (varnasamhara)

Juncture of Investigation (Garbhasandhi) 101 [Limbs of garbhasandhi (101); 1. Deceptive action (abhūta- harana) (101); 2. Truth (marga) (101); 3. Argument (rūpa) (101); 4. Glorification (udahrti) (101); 5. Attainment (krama) (102); 6. Conciliation (samgraha) (102); 7. Inference (anumāna) (102); 8. Angry speech (totaka) (102); 9. Deception (adhibala) (102); 10. Fear (udvega) (I02); 11. Agitation (sambhrama) (102); 12. Following (āksepa) (102) ] Juncture of Reasoning (vimarsasandhi) 102 [ Limbs of vimarsasandhi (103): 1. Rumour (aparāda) (107); 2. Angry exchange (sampheta) (103); 3. Punishment (vidrava) (103); 4. Insult (drava) (103); 5. Disappearance (śakti) (103); 6, Excitement (dyuti) (103); 7. Extolling (prasanga) (103); 8. De- gradation (calana) (103); 9. Boast (vyavasā ya) (103); 10. Abusing (nirodhana) (103); 11. Forecast (prarocana) (103); 12, Mani- festation (vilocana) (103); 13. Seize (adhāna) (103) ] Juncture of Denovement (nirvahanasandhi) 104 [ Limbs of nirvahanasandhi (104): 1. Peace (sandhi) (104); 2. Search (virodha) (104); 3. Mentioning (grathana) (104); 4. In- forming (nirnaya) (104); 5. Conversation (paribhasana) (104); 6. Quietening (prasada); 7. Pleasure (ananda) (104); 8. Removal of misery (samaya) (105); 9. Firmness (krti) (105); 10. Attain- ment (abhasa) (105); 11. Achieving wonders (upagūhana) (105); . 12. Observation (pūrvabhava) (105); 13. Completion (upasam- hāra) (105); 14. Benediction (praśasti) (105)] Advantages of junctures (sandhiprayojana) 105

Types of plots (itivrttabheda) 106 [1. Indicated (sūcya) (106); 2. Exposed (asūcya) (106) ] Indicated plot (sūcyavastu) 106 [Vişkambha (interlude (106): Šuddha and mišra) (107); Cūlikā (107); Ankāsya (107); Pravešaka (107); Ankāvatāra (107) ] Exposed plot (asūcyavastu) 106

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Form of Act (ankasvarūpa) Âmukha 107 [ Kathodghāta (110); Prāvartaka (110); Prayogātišayā (110) ]

Limbs of viths (vithyanga) 110 [1. Udghātyaka (111); 2. Avalagita (111); 3. Prapanca (111); 4. Trigata (111); 5. Chala (111); 6. Vakkeli (111); 7, Adhi- bala (112); 8. Ganda (112); 9. Avasyandita (112); 10. Nālika (112); 11. Asatpratāpa (113); 12, Vyavahāra (113); 13. Mrdava (113)]

Ten types of plays (dasarūpaka) 113 [ Nāțaka (113); Nānđı (115); Prakaraņa (116); Bhầna (116); Prahāsana (šuddha-vaikrta-samkīrna) (117); Dima (117); Vyayoga

(120) ] (118); Samavakāra (118), Vitht (119); Anka (120); Ihamrga

IV. CHAPTER ON SENTIMENT (रसप्रकरणम्)

Nature of Sentimet (rasasvarūpa) 121 [Types of rasa (127) - śrgāra, hāsya, karuņa, raudra, vira, bhayanaka, blbhatsa, adbhuta, śanta; sthāyibhāvas (128); Vibhavas (stimulus) (129); Auubhavas (emotional reaction) (129); Vyabhi- cāribhavas (130) ]

Types of Sthāytbhāva (sthā yibhāvabheda) 133 [1. Desire (rati) (133); 2. Laughter (hasa) (133); 3. Grièf (śoka) (134); 4. Anger (krodha) (135); 5. Perseverance (utsaha) (135); 6. Fear (bhaya) (136); 7. Disgust (jugupsa) (136); 8, Wonder (vismaya) (137); 9. Tranquility (ama) (137) 1

Types of vibhavas (vibhavabheda) 138 [1. Alambana (139); 2. Uddipana (139)]

Anubhavas 139

Types of sattvikabhava (sattvikabhavabheda) 140 [1. Possessing (stambha) (140); 2. Stuper (pralaya) (140); 3. Hor- ripilation (ro manca) (140); 4. Shiver (kampa) (140); 5. Swetting (sveda) (141); 6. Change of colour (vaivarnya) 141; 7. Tears 3. (aśru) (141); 8. Shivering voice (vaisvarya) (142) ]

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Types of vyabhicaribhavas (vyabhicaribhavabheda) 142 [1. Futility (nirveda) (142); 2. Fatigue (glani) (143); 3. Appre- hensin (śanka) (143); 4. Intolerance (asū ya) (144); 5. Intoxica- tion (moda) (144); 6. Lassitude (śrama) (144); 7. Sluggishness (alasya) (145); 8. Meekness (dalnya) (145); 9. Anxiety (cintā) (145); 10. Fainting (moha) (146); 11. Recollection (smrti) (146); 12. Indifference (dhrti) (146); 13. Modesty (vrīđa) (147); 14. Fickle mindedness (capalata) (147); 15. Complecency (harsa) (148); 16. Alarm (avega) (148); 17. Frigidity (jadata) (148); 18. Pride (garva) (149); 19. Depression (visāda) (149); 20. Intolerance of delay (autsukya) (150); 21. Close of consciousness (nidra) (150); 22. Confusion (apasmara) (150); 23. Sound sleep (supti) (151); 24. Regaining consciousness (vibodha) (151); 25, Ablazing of mind (amarsa) (152); 26. Concealment of joy (avahittha) (152): 27. Ferociousness (ugrata) (152); 28. Determination (mati) (153); 29. Fever (vyâdhi) (153); 30. Insane (unmāda) (154); 31. Attempt to die (marana) (154); 32. Agitation (trāsa) (155); 33. Thinking of alternative (vitarka) (155)]

Gestures of love (srngaracesta) 156 [1. Emotion (bhava) (156); 2. Coquettish gesture (hāya) (156); 3. Wanton sport (hela) (157); 4. Loveliness (madhurya) (157); 5. Courage (dhairya) (157); 6. Imitation (IIla) (158); 7. Change (vilasa) (158); 8. Irregularity in decoration (vicchitti) (158): 9. Misplacement of ornaments (vibhrama) (159); 10. Admixture of sentiments (kilikincita) (159); 11. Showing interest (motta- yita) (159); 12. Excessive pleasure (kuttamita) (160); 13. Exhi- bition of indifference (bibboka) (160); 14. Languid gesture (lalita) (161); 15. Impetuousity (kutūhala) (161); 16, Alarm by fear (cakita! (161); 17. Bashful silence (vihrta) (162); 18. Youthful laughter without cause (hasita) (162) ]

Stages of love (manmathāvastha) 163 [1. Respectful look (caksuhprlti) (163); 2. Reposing of mind (manahsanga) (163); 3. Longing for beloved (samkalpa) (164); 4. Narration (pralapa) (164); 5. Sleeplessness (jagara) (164); 6. Emaciation (kārš ya) (165); 7. Dislike (arati) (165); 8. Giving up of modestry (lajjat yāga) (165); 9. Excessive pain (jvara) (166); 10. Absentmindedness (mūrccha) (166) ]

Sentiment of love (irngararasa) 166 [1. in union (sambhoga) (167); 2. in separation (vipralambha) (167) ]

Semblance of sentiment (rasabhasa) 169

xix

Rising of emotion (bhavodaya) 169 Cessation of emotion (bhavasama) 169 Co-existence of emotion (bhavasandhi) 170 Mixture of emotion (bhavasabalata) 170 Admixture of sentiment (rasasamkara) 171 Figures of speech connected with rasa 175

V. CHAPTER ON BLEMISHES (दोषप्रकरणम्)

Definition of dosa (donalakșana) 181 Blemishes connected with words (padadosa) 181 [1. Not employed (aprayukta) (182); 2. Irrelevent (apustārtha) (182); 3. Improper (asamartha) (182); 4. Meaningless (nirar- thaka) (182); 5. Particular meaning (neyartha) (182); 6. Un- grammatical (eyutasamskara) (182); 7. Dubious (samdigdha) (183), 8. Inefficient (aprayojaka) (183); 9. Troublesome (klista) (183); 10. Concealed meaning (gūdhartha) (185); 11. Rustic (grāmya) (183); 12, Unconventional meaning (anyartha) (183); 13. Not renowned (apratttika) (184); 14. Unimportant (avimrstavidhe- yamša) (184); 15. Opposed sense (viruddhamatikrt) (184); 16. Vul- gar (aślīla) (184); 17. Harsh (parusa) (184)] Blemishes connected with sentence (vakyadoşa) 189 [1. Defective grammar (śabdahIna) (189); 2. Disorder (krama- bhrasta) (190); 3. Detached (visandhi) (191); 4, Tautology (puna- rukti) (191); 5. Misconstruing (vyākIrņa) (192); 6. Admixture of words of other sentences (vakyasamkIrna) (192); 7. Incomplete (apūrņa) (192); 8. Interlocked (vākyagarbhita) (193); 9. Diffe- rence in gender (bhinnalinga) (193); 10. Difference in number (bhinnavacana) (193); 11. Greater simile (adhikopamā) (194); 12. Inferior simile (nyunopama) (194); 13. Broken metre (bha gnacchandas) (194); 14. Fallen caesura (yatibhrasta) (194); 15. Predicatelessness (asarIra) (195); 16. Unstylish (arltika) (195); 17. Abundant aspiration (visargalupta) (195); 18. Com- pound in an improper place (asthānasamāsa) (196); 19. Absence of saying (vacyavarjita) (196): 20, Starting after completion (sama ptapunarātta) (196); 21. Loss of eminence (patatprakar,a) (197): 22. Devoid of relationship (sambandhavarjita) (197); 23. Word-excess (adhikapada) (197); 24. Orderless (bhagnapra- krama) (198)1

xX

Blemishes connected with meaning (arthadosa) 198

[1. Absence of collective meaning (apartha) (198); 2. Purpose -. less (vyartha) (199); 3. Sinlge sence (ekārtha) (199); 4. Doubt- ful (samsaya) (200); 5. Transgression (apakrama) (200); 6. Con- nectionless (bhinna) (201); 7. Impossible (atimātra) (201); 8. Harsh (parusa) (201); 9. Improper to sentiment (virasa) (202); 10. Simile degraded (hInopama) (202); 11. Simile upgraded (adhikopamā) (202); 12 Simile unjust (asadršopamā) (2-2); 13. Simile uncommon (aprasiddhopama) (203); 14. Causeless (hetuśūnya) (203); 15. Figureless (niralankrti) (203); 16. Vulgar (aślila) (204); 17. Opposed (viruddha) (204); 18. Unequal com- bination (sahacarabhrasta) (204)]

VI. CHAPTER ON QUALITIES

(गुणप्रकरणम्)

Enumeration of qualities (gunoddesa) 206

[1. Adherenee (śteșa) (207); 2. Perspicuity (prasāda) (207); 3. Evenness (samata) (208); 4. Separateness (mādhurya) (208); 5. Delicateness (saukumarya) (209); 6. Completeness ot sense (arthavyakti) (209); 7. Splendour (kanti) (209); 8. Proportionate 9 (audārya) (210); 9. Beftting (udattara) (210); 10. Strength (oja) (210); 11. Elegancy of words (sausabdya) (211); 12. Sweetness (preyas) (211); 13. Well-knitted (aurjitya) (212); 14. Transfe- -rence of qualities (samadhi) (212); 15. Expansion (vistara) (213); 16. Sufficiency (sammitattva) (213); 17. Deep (gāmbhir ya) (213); 18. Brevity (samksepa) (214): 19. Circuity (sauksmya) (214); 20. Variety in expression (praudhi) (215); 21. Adroit speech (ukti) (215); 22. Maintenance of order (rlti) (215); 23. Affec- tionate expression (bhavika) (216); 24. Sonority (gati) (216) 1

VII. CHAPTER ON FIGURES OF SPEECH

Form of figures of speech (alamkarasvarūpa) 219

Division of figures of speech (alamkaravibhāga) 220

Differences among the figures (alamkaraparasparavailakşanya) 223

FIGURES CONNECTED WITH WORDS

(शब्दालक्ाराः)

1. Alliteration of the learned (chekdnuprasa) 225

2. Alliteration of the consonants (vrttyanuprāsa) 225

3. Alliteration of the syllables (yamaka) 227

4. Appearance of repitition (punaruktavadabhāse) 227

5. Alliteration of latās (lātanuprasa) 228

6. Variegated (citralamkāra) 228

FIGURES CONNECTED WITH MEANINGS

1. Simile (upama) 231

2. Self-comparison (ananvaya) 253

3. Reciprocal comparison (upameyopama) 254

4. Reminiscence (smarana) 255

5. Motaphor (rūpaka) 25€

6. Commutation (parināma) 265

7. Doubt (samdeha) 267

8. Error (bhrantimat) 269

9. Concealment (apahnuti) 269

10. Representation (ullekha) 270

11. Poetical fancy (utpreksa) 271

12. Hyperbole (atiśa yokti) 286

13. Connected description (sahokt) 290

14. Speech of absence (vinokti) 291

15. Speech of brevity (samaskt!) 292

16. Crafty speech (vakrokti) 297

17. Natural description (svabhavoktt) 298

xxii

18. Dissembler (vyājokti) 29 19. Lost (mllana) 19

19. Sameness (sāmānya) 30 :. 21. Borrower (tadguna) 30

20. Non-borrower (atadguņa) 30 23. Contradiction (virodha) 30

-24. Extraordinary (višesa) 30 - 25. Exceeding (adhika) 30 26. Peculiar causation (vibhavana) 30 27. Peculiar allegation (visesokti) 30 28. Disconnectión (asamgati) 30!

29. Strange (vicitra) 314 30. Reciprocal (anyonya) 31 !:: 31. Incongruity (visama) 31: 32. Equal (sama) 31: 33. Equal pairing (tulyayogitā) 31: : :: 34. Illuminator (dipaka) 314

: .. 35. Typical comparison (prativastūpamā) 31! 36. Exemplification (drstanta) 31€ . 37. Illustration (nidartand) 317

4 , .38. Contrast (vyatireka) 318 39. Paronomasia (ślesa) 319 40. Insinuation (parikara) 323 41. Paralepsis (aksepa) 323 : 42. Artful praise (vyājastuti) 326 43. Indirect description (aprastutaprašamsa) 326

, .. 44. Periphrases (paryāyokti) . 329 · - 45. Converse (pratIpa) 330 ..: 46. Inference (anumāna) : 331 :. 47. Poetical cause (kāvyalinga) .. , 332

xxili

48. Corroboration (arthantaranyasa) 332

49. Relative order (yathāsmkhya) 334

50. Presumption (arthapatti) 334

51. Special mention (parisamkhya) 336

52. Reply (uttara) 337

53. Alternative (vikalpa) 338

54. Conjunction (samuccaya) 339

55. Facilitation (samadhi) 341

56. Vision (bhāvika) 342

57. Rivalry (pratyantka) 343

58. Frustration (vyd ghata) 344

59. Sequence (paryā ya) 344

60. Subtle (sūkşma) 345

61. Exalted (udātta) 346

62. Barter (parivrtti) 346

63. Garland of causes (kāranamāla) 347

64. Necklacs (ekāvali) 348

65. Serial illuminator (māladipika) 348

66. Climax (sara) 349

MIXED FIGURES

(मिश्रालश्काराः)

1. Combination (samsrsti) 351

2. Commixture (samkara) 352

PRATĀPARUDRĪYAM -

English Translation -

I salute the goddess of speech, the mother of the three worlds, (universe) the wife of Brahman, the diamond in the path (of the hair) of Upanisads, and the moon light of the white lotuses of knowledge. The saluations to whose lotus-like feet, become the ground for sowing the seeds of literature and the elixer to the dance of poesy to the fortunate. (1)

Having made respectful salutation with anjali1 to Bhamaha and other ancients, I narrate clearly the epitome of the entire rhetoric. (2)

This work on figures and poesy, through which the fame of Pratäparudradeva is made to shine becames blessed for a long time. (3)

The established method in compiling this science deals with the words and meanings where sentiment (followed by) the gunas, alankaras, vrttis, and ritis is important. (4)

Even though this (method) is well exhibited in the works of the ancients, nothing is equally honoured with this, with the example of the hero. (5)

The behaviour of a virtuous person is fit to become an example. None of that type is made to adorn a work by the ancients previously. (6)

The subject which exemplifies the qualities of the hero becomes the source of fame and name for the works as well as the authors. (7)

As the description of the qualities of Rama becomes the cause of the pre-eminence of Valmiki and the Ramayana. (the existence of) a composition becomes auspicious with the descrip- tion of a great man. Just like the attainment of the desired

1. Open palms placed side by side slighty hallowed. This shows respect to the other person.

661-1

2 Pratāparudrīyam

and cessasion of the undesired from Veda, Puranas etc., so also (the desired effect accrue) from (a study of) a good work (i.e. works in which holy people are described.) This is the difference (between Veda etc., and Kāvya) : The duty mindedness (arising) from a Kāvya (Poetic com- position) is delicate and not so in the case of other works. For example : We long for that what is known for long from Veda which is important for its words and equal to a king and what is desired from the works of the Purana which possesses the depth of mean- ing and equal to a friend and by which lustre of poesy which is equal to a wife, wherein the intelligent becomes anxious. (8)

KĀVYA 2 Hence a composition is useful in many ways as it gene- rates fruits seen and unseen. This is said in the Kavyapra- kāśa - A composition is for fame, wealth, (understanding of) behaviour, dispelling of inauspiciousness, immediate emancipa- tion and advising like a wife This is well known in great compositions - (or works) The recital of a Kavya develops critical acumen, reflects on fame, expands qualities, and the biography of the great is heard; what is there, a Kāvya does not captivate ! Again that composition wherein the biography of the great is not depicted, is to be abandoned. The basis for this is the Smrti3. The reading of Kavya is to be given up. The path is not only for a composition. The universal honour for the Sästras (science) also is because of their attachment to the good. For example: The universal reverence for the Vaisesika* is because of the establishment of Isvara (God). Likewise the increasing universal popularity for the Mahabharata etc. is on account of their leaning towards the description of the great.

2. The act of a poet or a Kavi is Kavya. 3. The Smrtis are those compositions that explained the vedic rites. 4. Kanada is the profounder of this system of philosophy.

Nāyaka Prakaranam 3

Why speak of much? Even the Vedantas are glorified high because of their substantiation of Brahman. The curiosity for piety, the highest quality (pertaining) to a person is made the opening sentence by the sage (Jaimini) in his composition of aphorisms (sutras) starting with the statement 'after (the comple- tion of the vedic studies and) because of that (knowledge) (there is) the curiosity for piety'. So it is proved by him that the depiction (description) of the qualities of the great itself is the life of a Sastra. Though the bulk of the Mimamsa composi- tions is set for proving those laws, the description of the great is like fragrance to gold. Therefore - Friends! This work on rhetoric is composed taking re- course to the qualities of Prataparudradeva. Let this be a jubilee for your ears. (9) This work of Vidyanätha composed to adorn the fame of the king of the Kakati family is, itself, being adorned by him. (10) It is said by Dandin5 - The image of the fame of the ancient kings having reached the mirror of literature does not perish (itself) though they are not near by. The greatness of a work is by the greatness of the person depicted. This is said by the ancient Bhamaha.6 "The wealth of poetic compositions becomes splendid by the greatness of the percon sung therein." Udbhata7 also (laid) said - 'A poetic composition shines more on account of its subject matter, though beset with the charm of qualities and figures like the Kalpa tree by Meru" - It is said even by Rudrabhațța8 ... ... "The greatness of a composition is interwoven (connected) with the biography of the great. It is also observed in the Sahitya- mimamsa9 as.

5. Dandin is the author of the Kavyadarsa. 6. The author of the Kāv yalankara sūtra. 7. The Author of the Alankara Samgraha. 8. The author of the Srngaratilaka. 9. It is the work of Rājānaka Ruyyaka.

4 PratāparudrĪyam

"The garlands of good speech beset with the qualities of the hero of the compositions last till the end of the world". This is also proved by Bhoja 10 "Even though the style of speech of the poet is inferior, if he describes a hero who possesses extraordinary qualities, it adorns the ears of scholars (like an ornament i.e. it pleases the scholars).

The Qualities of a Hero of High descent Etc.,

These are the qualities of a hero - High descent, splendidness, great fortune, loftiness, bril- liance; craftiness, virtuousness are the qualities. (11)

These few have been said (enumerated) in accordance with the science of the ancients. The qualities of Prataparudra are beyond speech. (12)

Now the definitions and examples of these (qualities) i) Birth in a great family is (known as) high descent as: It is because of the fortune of the earth, the Brabma having been long implored by the gods like Indra who wished to play on earth, created the Käkatiya family (race) which excells in greatness the race of the sun and moon. At present Vişnu (the husband of Laksmi) is now awaken in that (family) in the form of Virarudra. (13) [Here the extreme prosperity of the earth, the likeness of the Käkati kings to Indra etc., and the greater excellance of the Kakati family than that of the sun and moon are suggested As such the high descent of Virarudra is established.]

ii) Then splendidness To possess attractive body is (called) splendidness. [The special striking feature of the body shining as if decorated with ornaments even in the absence of the four kinds

10. Bhoja is the author of the Srngāraprakāsa and the Sarasvatlkantha- bharana.

Nāyaka Prakaranam 5

of jewelry on it is said to be the form or rūpa.10A] He who was born previously to Lakshmi and Visnu is again born to the princess and Mahädeva. The deer-eyed women feel that this cupid in body himself as Prataparudra becomes victorious because of the fortune of this world. (14) [Here while the word mahadeva refers to Lord Siva, the word avanibhrdduhita refers to Parvati. Hence it suggests the child born to Siva and Parvati, with whom Prataparudradeva can be compared. The Madana metaphor proves the attractive form of Prataparudra.] iii) Then great fortune : Over lordship of the earth is (known as) great fortune The king Sri Virarudra, the treasure of virtues, having ascended the throne, which is the first descending path of king- ship (the wealth of Kingship) and which is glorified by the rays of the gems shining on the heads of the kings bent down in obedience (in service), is protecting the earth with unequalled strides and which have the calves (calf muscle) that cross the commendation of the enemy kings. (15) iv) Then loftiness : The quality of liberality is pronounced loftiness : (The quality of a munificient is loftiness or audarya.) There is no other munificient person equal to the king Rudra in the three worlds, who concealed the fame of the lords of the quarters with the praise of the cluster (rows) of qualities, because the court-yards of the gem-set bouses of the scholars are made fragrant by the odours of the rut of the elephants, that arose all around. (16). 10 A. आवेध्यारोप्यनिक्षेप्यबन्धनीयरभूषितम्। यद्भूषितमिवाभाति तद्रप्यमिति कथ्यते॥ - Bhavaprakāsa, p. 73 ls. 6 and 7 Gaekward's Oriental Series, i) āvedhya - earrings Baroda 1930. ii) āropya - necklaces etc. iii) niksepyas - anklets etc. and iv) bandhaniyas - bracelets etc.

6 Pratāparudriyam

v) Then brilliance : Illuminating the world is known as brilliance (Brilliance is nothing but valour). There arises the knowledge of visibility (manifestation) to the rocks lying (situated) on the other side (of setting- mount). The western mountain (behind which the sun sets) which does not see the sun and which possesses the solidified darkness when the lustre (in the shape) of the sun which steals away the arrogance of darkness of the hair of the ladies of the enemies, of the sovereign of the kakati family who wishes to conquer, is always shining. (17) [Here it is described that Prataparudra is illuminating even the rocks that are beyond the mountains on which the sun sets, by his valour which looks like the sun. Hence we note that his brilliance is illuminating the entire universe. When his enemies were killed in the battle their women having been separated from their husbands did not apply oil to their hair which became pale. So they are said to have lost their pride.]

vi) Then Craftiness : Dexterity in performance is (Considered) craftiness. How to describe the dexterity of the king Virarudra who is the abode of qualities wherein is the acquisition of Vani and Śri who are opposed to each other. Further the king who wishes to.conquer the quarters bears the earth which is freed from the condition of a rival wife with the acts that created pleasure11 and which is pleased with those matching courtesy (shown) along with them (Vani and Sri). (18) . [Here it is described that Virarudra is skilful in achieving amity first between Sarasvati and Laksmi who are by nature opposed to each other12 and then attending on the Earth (which

11. उत्सूते हर्षमित्येष उत्सवः परिकीर्त्यते। P.R. p.11. Bal. Ed. 1931. 12. निसर्गभिनास्पदमेकसंस्थं etc; The Raghuvamsa - VI-29 and cf. the nyaya. यत्र विद्या न तत्र श्री यत्र श्री ने सरखती।।

Nāyaka Prakaranam 7

is usually said to be the wife of a king) Which is also amicable with the other two. From this we note that Virarudra is capable of handling objects of opposite nature, creating friendly atmos- phere with his dexterity. So his craftiness is known.]

vii) Then virtuousness : Attachment of mind to the prescribed conduct is virtuous- ness.

(One who (strictly) observes dharma or the code of conduct prescribed in the scriptures is called dharmika and his nature is dhārmikatvam.)

The Kakati-lord does not endure improprity even in a jest; the story of an other girl even in a dream and the attribution of a blemish even to an enemy. (19)

[Coveting others property and speaking lies etc., are con- sidered improper. When it is said that he does not tolerate unbecoming affairs it shows his firm attachment to the virtuous conduct.]

From the word adi used in the word dhārmikatvadaye (verse 11) two more qualities also can be considered.

viii) Then super natural power : mahāmahimatvam

Possession of godly nature is supernatural power as :

Kausalya become the first mother and Devaki the second to Vişnu. Then the great Mummadamba, the third mother. He who was Raghupati in the treta and Souri (Krsna) in the dvapara becomes victorious in the form of Virarudra in the Kali for protecting the earth. (20)

[As it is said here that Virarudra is the incarnation of Lord Visnu there is godliness in him and hence possesses supernatural powers.]

Erudition : Excelling scholarship in the entire field of knowledge is erudition.

8 Pratāparudriyam

The great käkati strolls in the assembly pleasing the multi tude of intelligentia (intellectuals) with discussions in all th six systems of philosophy; satisfying the poets with the pith: sayings that are capable of indicating the path of good literature and gratifying the lute players with all kinds of musical instru ments that can reveal the secrets of the Upanisads (science of music. (21 [The Nyāya, Vaiseşika, Sānkhya, Yoga, Pūrvamimāmsā1 and Uttaramimamsa are the six systems of philosophy.] The musical instruments are of four kinds. After the enumeration of the qualities of the hero, th nature of the hero is defined. The hero is described as (one who is) pretty with fame an valour; interested in piety, passion and wealth; preeminen (leader) and abounding in qualities. (22 [Appropriate praise is known as fame, which is acquirec by the acquisition of wealth and by wielding a fitting septre. The qualities are of two types-(i) ordinary and (ii) extra ordinary. Birth in a decent family etc., are ordinary wherea manliness and lustre etc., are extraordinary. One who is having these ordinary and extraordinary qualities is said to be abound ing in qualities which phenominon is considered the usua characterstic of a hero. One who pervades throughout the play and attaint the fruit is known as the hero or nāyaka.14

From the conjunction and i.e. ca in the word gunadhyaśce it is to be understood that the heroes are of three types-the excellent; the average; and the lowest. Any one who possesses the qualities enumarated like pervading the entire play and obtain ing the fruit etc., belongs to the first type i.e. excellent class. If a few qualities are absent he belongs to the second type i.e .; average and who does not possess many of the above qualities belongs to the third type i.e., lowest.

13. PurvamImamsa. Some treat Mīmamsa as one whole and include Vyākaraņa to make up six. 14. नयति प्राप्नोति वृत्तं फलं चेति नायकः ।

Nāyaka Prakaraņam 9

Though the qualities like fame, valour etc; can be inferred from the usage-abounding in qualities i.e. gunadhyapada, the reiteration is only to emphasise their importance.]

The fortune of fame and Valour : as - The great disc of fame of king Virarudra of the Kakati family holds up the splendour of a single umbrella for the three worlds, which was raised by the support of piety. The sky which is dark like the colour of the (blue) waterlihes looks like its (disc of fame of the king) shadow. Hence I presume that the sun Pratapa (or Pratäparudra in the form of the sun) shines always over and above that disc. (23) [When it is said that his valour shines over and above the sky, it suggests the surpassing splendour of his fame and valour over the sun and moon as they shine like diamonds in his umbrella only].

Interest in piety, passion and wealth etc., as - In the king Rudra, piety is abundant like wealth and wealth stands like piety, passion is like both (piety and wealth) and they both are like passion. (24) [This means that piety, passion and wealth are in equal proportions in Prataparudra.]

Pre-eminance as - While the king Kakati Virarudra is bearing (the burden of) the earth on his shoulders, Sesa (the celebrated thousand hooded serpent) indicates his acceptance (or pleasure) of the music of his wives by nodding his heads. By showing his chest the great tortoise is satisfying Laksmi and by following, the elephants at the quarters are removing the grief of the female elephants. (25) [Adisesa the thousand hooded serpent who is said to have been bearing the burden of the earth could not keep company with his wives who were as a result striken with grief. Now that the king Prataparudra bears the burden of the earth, Adisesa was freed from his duty and his wives expressing a sigh of relief began to sing eulogising Prataparudra, the reliever,

10 Prataparudrīyam

in extesy of joy. At that time Ādiseșa indicated his pleasure at their music by nodding his heads.

The great tortoise or Adikurma is said to be the incarna- tion of Lord Visnu, and is supposed to have been bearing the earth on its back. Now that Prataparudra took up the task of bearing the earth the Adikurma found time to please his wife, Laksmi who could not enjoy his embraces for a long time.

The elephants which are said to have been bearing the earth in all the eight quarters did not find time to enjoy their wives. Now that Prataparudra is bearing the burden, the elephants enjoyed leisure in the company of their wives who were agreived for not getting an opportunity to seek the pleasure of their husbands.

When it is said that this great earth which is being borne by Ādiśesa, Ādikacchapa and Dirngnāga is now being borne by Prataparudra single handed his pre-eminence can be noticed.]

Abounding in qualities : as - It would be appropriate if Adisesa narrates with his thousand mouths; the sun writes with his thousand hands and Hari (Indra) sees with his thousand eyes the qualities of the king Kakati-VIra. (26)

Types of Heroes : Four kinds of heroes with the prefix dhira (brave or deep) are spoken of by ancients as udatta (generous) uddhata (haughty) lalita (voluptuous) and Santa (composed). (27)

The four heroes - dhirodatta (brave and generous or noble minded) dhiroddhata (brave and haughty and boastful also), dhiralalita (brave but sportive and reckless) and dhirasanta (brave and composed) are common to all the sentiments -

[They are again divided into four kinds like anukula (faithful) etc., in connection with the erotic sentiment, when we get sixteen types (4X4) of heroes. They as usual possess the

Nāyaka Prakaranam 11

differences as excellent, average and lowest. With these three divisions the total types of heroes are 48 (16X3).

The four qualities may exist in one and the same hero depending on the situation, as in the case of the play the Maha- viracarita. Hence these terms dhirodatta etc., are not connected with genus, (Jati). They only indicate the difference in situa- tions as in the case of vatsatva, vrsabhatva, and mahoksatva of a cow].

Their nature and examples : 1. A hero like Prataparudra who is highly self commended, very deep, compassionate and not boastful is accepted as dhirodatta. (28)

[Self commendedness consists in not getting perturbed with anger etc. Some take him to be dhira. Here the words dhira and mahasattva are not tautological. But it is understood that he who does not deter from his effort is known as dhira.

One who is resolute inspite of the perturbing atmosphere is said to be a deep person (gabhiraḥ).

He who wishes to ward off the grief of others is compas- sionate, Krpavān. Avikattha : (Not boastful) one who does not blow his own trumpet.

Eg. - The king Sri Virarudra who is charming with the fame that is superior in all the three worlds, wielding the sword to kill the enemies in front, hesitates for a while becoming soft with pity. When the bards extoll his valour, wealth and affection he fights shy with his eye-brows bent down and never bears even a slight indication of happiness, melody, wrath and delight on his face. (29)

[Here, the common qualities like firmness, virtuousness, and loveliness with fame and the exceptional qualities like com- passion etc. are indicated.]

12 Pratāparudriyam

He who is exceedingly proud, jealous, impetuous boastful, magical and short tempered is called dhiroddhata (brave and baughty). (30)

The soldiers of the king of Andhra are insulting others saying - 'We are the warriors, Oh Ghurjara! You are torn to pieces : Lampaka, Why do you shiver in the battle? Vanga ! You are trembling unnecessarily: Konkanal, You are blinded by the dust of the valour; Huna! Be keen on protecting your life; Maharāștra ! You lost your province." (31) Here is the boasting of the soldiers. [Here in addition to the self-boasting. pride and envy of the soldiers are clear ] He is dhiralalita (voluptuous) who is free from anxiety, devoted to arts, comfortable and tender. The heat of the valour is without any impediment. All the enemy kings are bent down subjugated) This earth has attained devotion to her husband. This Lord is himself Svayambhu Siva. This Prince Virarudra is brave. He is bearing all this burden; Thus enjoys always the king who is the first (eldest) of the Kakati family. (32) [Here the bravery and voluptuousness of the king Vira- rudra is shown.] Dhirasanta (Brave and composed) is he who is brave, composed and propitious - (He is) a brahmin etc. [The brave endures pain; possesses discretion and content- ment; Either a brahmin or a vaisya may belong to this type; as others cannot become dhirasantas15] as (i) This assembly of scholars is rejoicing at the alround prosperity of the valourous and the gem of a king Rudra, like the lotus pond at the newly risen sun. Multiplying the pleasures ›f the universe with its own blossoming and becoming a pleasure- round for the growing Laksmi it is eager in the correction of mistakes. (33)

15. सामान्यगुणयुक्तस्तु धीरशान्तो द्विजादिक: ॥। - Daśarūpaka II-4 and cf. Sāhityadarpaņa III-34.

Nāyaka Prakaranam 13

[From the simile 'like the lotus pond at the sun' i.e. Pūșaņamiva abjakarali it becomes possible to construe the verse with reference to the lotus pond also as -

The sun has nearly arisen and his existence is felt every- where. At the rise of the sun the pond becomes (a play-ground) a pleasure-ground for the lotuses that are blossoming. The pond with its blowing is able to supply its perfume to the world and is eager to do so as the night has passed out.]

Here the bravery and composedness of the brahmins can be noticed.

EROTIC HEROES

Next the erotic heroes are being pointed out : These are the four heroes16 pertaining to the erotic senti- ment. They are faithful (anukula), a polygamist17 (daksina), an impudent18 (dhrsta) and a dishcnest (satha). (34)

The heroes connected with the erotic sentiment are of four types. They are anukula; daksina; dhrstz and satha.

Their nature and Examples : He who is attached to one only is anukula (faithful).

If the hero is extremely attached to one heroine only he is said to be a faithful hero, anukūla nāyaka.

We have already noticed four kinds of heroes like dhiro- datta, dhiroddhata etc. These are all common types. From the examples cited we notice that each one of the four is connected

16. We have already noticed four kinds of heroes like dhIrodatta, dhlrod- dhata etc. These are all common types. From the examples cited we notice that each one of the four is connected with a particular sentiment. As - dhIrodatta for vIra (volour) dhitoddhata for raudra (violent wrath), dhiralalita for Śrngāra (erotic) and dhirasanta for śanta (composer): 17. A lover who is equally courteous to several mistresses. 18. A faithful husband or lover not ashamed of his fault.

14 Pratāparudriyam

with a particular sentiment only. As : dhiroda ta for vira (valour) dhiroddhata for violent wrath dhiralalita for srngāra and dhirasānta for śānta.

Friend! what type of penance was practised by the earth, as the heroic king Virarudra is sung as her husband. How fortunate it is? How can I become his beloved? Respectable girl! Do not be distressed. First declaring your name as Sthira who possesses the gem-studed girdle I will make the king atta- ched to you always. (35)

Here the special feature in the love of Prataparudra for the earth is suggested Because of this the girl is given the name the Sthira (earth) and ratnakaramekhala by which love can be reveted.

In this verse the first half is uttered by a girl who is deeply in love with Pratäparudra to know the method of attracting him and the second half is an answer by her friend who thought of a beautiful device to make the king attached to her friend.

[Sthirä means fixed or firm. As the earth is immovable she is called sthira. Any person whose love is firm and fixed is also called sthira for which the feminine gendre is sthira. So this girl (who is in love with Prataparudra) also can acquire the name sthira. Ratnakaramekhala also is one of the names of the earth. As the earth is encircled by the ocean (ratnakara) like a girdle (mekhala) on waist, it is called ranakaramekhala. In the present instance this girl can also be called by the name ratnā- karamekhala. Here it means a gem-studed girdle i.e. one who is having a gem-studed girdle. Hence the epithets sthira and ratnäkaramekhala apply to both the earth as well as this girl. So it is easy to get the love of Prataparudra reveted in this girl.]

Though the king has got many wives here it is described that this love is fixed in the earth only. As such he is an anukūla:

Daksiņa: is one who treats all his wives equally :

A hero who moves equally with all his wives without any difference is called a dakşiņanāyaka.

Nayaka Prakaraņam 15

One was summoned with a humourous speech (narmokti) for amorous sports, the (intension of the) heart was made mani- fest or visible to another with purposeful glances and through a servant the material for decoration was sent for some other, (But) during contemplation as to which place he should go the night became a day to the king. (36)

Honouring Vani (goddess of speach) with the mouth, Lakşmī (goddess of wealth) with eyes and earth (kingdom) with shoulders (i e. bearing the earth on his sholders) the king Rudra is equally poised (1.e equally disposed to them without any difference) (37)

The hero is described here as cqually disposed towards all his wives. Hence he is said a daksiņanāyaka1.

[Here it is to be noted that in the second verse above Vani etc, are made verbal where as in the first verse they are sugge- sted. The feminine gender in Vani etc., is suggestive of the heroines with those names ]

1. From the definition of the daksinanāyaka given above it is under- stood that he is equally well with all his wives. Here there is a scope for a doubt whether this does not become a rasabhasa as in the case of a woman who dallies with many a man as there won't be the full play of the Vibhava etc. If this is accepted the hero, is only considered a rasābhasanayaka but not a rasanayaka. In such a case it would be a mistake to enumerate daksiņanāyaka among the rasanāyakas.

To this the answer is as follows: Even for a daksinana yaka the love is more in the case of only one person slightly less in the case of other and still more less in the case of another. This difference in love is considered inevitable. But the defnition tulyo 'nekatra daksinah does not speak of equal love but only emphasies his behaviour. Because of this behaviour every girl feels that the hero is attached to her only. As such he who behaves in a manner as to make every woman feel that he is attached to her only becomes a daksinanāyaka. He does not become a satha (dishonest) as there is no dishonesty in his love. As his behaviour is beet with love, there will be the full play of the vibhavas etc., giving rise to the sentiment. In the

be rasābhāsa. case of a woman this behaviour is considered not possible. Hence there will

16 Pratāparudriyam

Dhrsta : He who is not afraid though his guilt is evident is impu- dent i.e. dhrstanāyaka.

[Though the guilt of enjoying another lady is established by the marks on his body made during sex, the Dhrsta does not fight shy in the presence of his beloved.]

as - All your limbs indicate your enjoyment with Rājyaśri (the name of the heroine) where is indecorum in it? Her name is given to me -this is audocious! I know you having many wives, what else is to be said? We are small and your love is greater for Vasumati "What is the use of our prattlings ? (38)

[Here the guilt of the hero which is indicated by the marks on his body made during his enjoyment with some other girl is established beyond doubt. To give the name of another girl to a girl with whom he was at that time is another mistake called gotraskhalana. From these two mistakes his crime is evident but at the same time his boldness or fearlessness also is clear ]

Šatha : He who acts secretly in an unpleasant manner is dishonest i e. śathanāyaka.

Satha19 is one whose offence is known only to the heroine.

[He commits the offence of not keeping company with his wife. At the same time he joins other girls secretly i.e. keeping others in dark. This is known only to his wife. He behaves in a manner that she becomes helpless before his audacity ]

You simply stare with your (sight) eyes, hut not heartily .. You speak sweetly i.e. your speech is sweet but not with attach-

19. The exemple in this case does not relate to Pratāparudra. एकायत्तोऽनुकूल: स्यातुल्योऽनेकत्र दक्षिणः । व्यक्तागा गतभीर्धृष्टः गूढविप्रियकृच्छटः॥

Näyaka Prakaranam 17

ment. You exhibit the chest outside but not inside. Oh, Kakati lord! it is understood that the earth is your better- half and you are concentrating on her. In our case there is only the mortification. Enough of this useless and outward flurry. (39) Here the empty looks and the polished speech of the hero are known only to the heroine. His offence is secretive.

[The Käkatlyas are here described in connection with different heroines. Even then, as Virarudra comes of that family it is to be understood that there is his reference in all the cases]

'COMPANIONS

There are four companions to the hero who help him in procuring the heroine, by name pithamarda, vita, ceta and vidūşaka. Their nature is -

It is thought that pithamarda is a little less, vita is the possessor of only one branch of knowledge; ceta is an adept in uniting and vidusaka is he who is fond of humour. (40)

[Pithamarda is a little less in qualifications than the hero. He is the hero of a related episode. He is known as Patāka nāyaka20 i.e. a hero of an episodical intimation of a subordinate incident e.g. SugrIva and Makaranda etc.

Among the branches of knowledge like music etc., vita knows only one branch e.g. Kalahamsa etc. Ceta is an adept in deviceing the methods of bringing about a union between the hero and his love and vidusaka creats humour by means of his makeup, speech and actions. These four in one way or other become useful to the hero.]

Their examples are clear.

20. e.g. Sugriva in the Rāmāyana. पताकनायकस्त्वन्यः पीठमर्दोविचक्षणः । तस्यैवानुचरो भक्त: किश्विदूनस्तुतद्रुणैः ॥ Daśarūpaka - II-8.

661-2

18 Pratāparudrīyam

EIGHT KINDS OF EROTIC HEROINES

1. svādhīnapatikā, 2) vāsakasajjika, 3) virahotkanthitā 4) vipralabdhā, 5) khandīta, 6) kalahāntaritā, 7) Proșita- bhartraka and 8) abhisarika are (the eight) and they are defined : (41-42)

(i) A women who is always caressed by her husband is known as Svādhinapatikā.

[This woman has got control over her husband. If the husband is too fond of sex this situation arises.]

as

The king Prataparudra is awaiting every minute the arrival of his beloved sarvamsaha (the earth) fondling her with those desired objects. (43)

[Here the actions of Prataparudra reveal the control of his beloved over him. Her attraction commands his constant attention].

(ii) She, who decorates the bed-room and self again and again at the time of the arrival of her lover, is Vasakasajjikā. (44)

She gets ready in her chamber with the objects of enjoy- ment i.e. she decorates herself with all her ornaments and prepares the bed-room with all attraction, in expectation of her lover. [It is usually thought that the word Vasaka means vara20A ì.e. the day of the week. From this it can be understood that she who decorates herself and the bed-room in her turn with plea- sure, awaiting the arrival of her lover is Vasakasajjikā i.e. a woman completely prepared to meet her lover as her chance comes.

as - Virarudra was awaited at the time of coronation by Śrl (Laksmi) who is longing for him after decorating the main abode with her lustre. (45)

20A. स्त्रीणां वारस्तु वासक: । : is the usual saying.

Nāyaka Prakaraņam 19

(iii) Virahotkanthita is one who becomes anxious when her lover delays inordinately.

[She knows full well that her lover is not guilty of any crime. He is open minded, stright forward and affable. When she is awaiting the arrival of such a lover some how their is intemporate delay on his part. She gets agitated and disturbed as it becomes difficult for her to endure his absence. Such a woman is known as Virahotkanthita.]

as-

When king Rudra is fragrant with such qualities, there is no room for any suspicion (of his attachment with another girl). With which assembly he is delaying (we do not know). He is not accessable to (my) girl friends. Oh cupid! Here I fold my hands (a mark of respect) go, fetch my lover. Because your dear friend Moon is spreading his rays all over. (46) [Here assembly may mean a sastraic debate or a music concert or a dance recital. This shows that the heroine is not able to bear the separation from her lover and her thoughts about him indicate her eagerness to meet him. So she is vira- hotkanthita.

(iv) A woman who is love lorn when deceived by her beloved after fixing the meeting place is said to be vipralabdha by the artists. (47) [The word vipralambha means a deceit. So one who is deceived is a vipralabdha i e. She is disappointed by her lover by breaking his appointment.]

Friend! go first, where is the news of the beloved's arrival? We reached the dead of night; Oh ! appointed building, you are abandond. You are unnecessarily made clay by my tears. All of us who advanced towards him, are usually deceived (in him) as the king Rudra happens to be the most beloved of Rajyaśri, the fortunate of Bharati and lover of Bhū (devi). (48)

From this it is understood that her lover did not turn up to that appointed building, that it is past dead of night and that she had to leave the place with a heavy heart. The expression that

20 Pratāparudrīyam

it became muddy with tears suggests that it ought to have been wet by the swet caused by sex-sport but it is not so unfortuna- tely. When it is said that he is loved by Rajyasri, Bharati and Bhu, it means that he is having so many wives and so it is not his mistake in breaking the appointment, but it is the mistake of this girl only in loving a person who has many loves by that time. Her dejection and self reproach show her love lorn condition and the deceit of her lover. So she is vipralabdha.

(v) When the lover arrives in the morning after spending the whole night with some other woman she who is enraged at the sight of the marks of coition (on him) is considered a Khanditā. (49)

As - The night is restricted to three yamas (yama is of three hours duration) and beloveds to you are in thousands. On your way you came to my house also in the early hours. Say, what is to be done? True, all are to be looked after by the kings. What is your mistake in it? I am only again exerting you much. (50) These are the words uttered by a woman on looking at her lover who spent the night with some other girls and came to her house in the small hours of the day, in dejection.

[The word margasaktya means that he entered her house simply because it is on his way but not with an intention of meeting her. The word Pratareva means that the morning time when he came is not fit for daliance and so his presence is of no use. As such she feels that he came there in his official capacity as he is duty bound to take care of his subjects.]

From her speech it can be understood that she is angry with her lover for his infidility.

(vi) She who rejects the lover in anger and then feels miser- able is described by scholars as Kalahantarita. (51)

[A woman first rejects the approaches of her lover who tries to appease her by way of entrities etc. But after he leaves the place she feels distressed. Such a woman who is separated

Nāyaka Prakaraņam 21

from her lover in consequence of a quarrel is known as Kala- hāntaritā ] Oh ! heart ! agitated with wrath ! you insulted the beloved who was entreating in that manner. It was not known that he was a king. Endure the agony of separation. (52) Here the hero is an adept in erotic science. He knows to appease the anger of bis love. But as he was insulted he left the place, of course temporarily. In his absence, feeling the pangs of love the heroine uttered these words addressing her heart which is responsible for her miserable state.]

(vii) If the husband is abroad she who is afflicted, becomes proşitabhartrka.

Prosita means out of station.

While the (other) kings are delaying in the Kakaticity (i.e. the capital of Pratäparudra) for serving the king Virarudra whose fame spread over the three worlds, their ladies being struck with the arrows of cupid in the form of extreme horripila- tion caused by their meditation (upon their husbands) are spend- ing day time fixing their sights at the gates and nights with the hope of dawn. (53) [Here the husbands of the heroines are away from them in a distant place. So they are feeling the pangs of separation. Their awaiting the arrival of their husbands, sleeplessness and constant reflections reveal their agony etc. So they are said to be prosītabhartrkās.]

(viii) A woman who starts out to meet her lover having been overpowered by cupid is Abhisarika.21

[A woman in cupid's agony if starts out to meet her lover by assignation is called abhisarika. She, who makes her lover come for her is also called abhisarika. The act of pro- ceeding towards each other is known as abhisarana. She who possess this is abhisārikā.]

21. स्मरातािभिसरेत् कान्तं सारयेद्वाभिसारिका। Dasarupaka 2-27.

22 Pratāparudrīyam

As- You shallow one! Enough of your confusion, let the king be to your liking. I never observed or heard of an abhi- sarana (going) on an elephant. (54) [These words are uttered by the friend of a heroine who asked her to keep ready an elephant for her journey to meet her lover. In this verse there is the idea of abhisarana.]

Their Helpers (to fetch them their heroes).

Dāsi (a slave) sakhi (friend) kāru (female agent) dhātreyi (the daughter of a foster mother) prativesini (neighbour) lingin1 (female ascetic) silpini (female artist) and (their) own are consi- dered the female messangers as well as helpers. (55)

[A woman who works in a place of appointment is a dāsi (servant), who helps because of friendship is a sakhi (friend), who acts on behalf of the heroine is a karu (agent), the daughter of a woman who fed the heroine with her breast is dhatreyi, who lives in her next door is praivesin (neighbour), who renounced all and took to asceticism is lingini (female ascetic) and who possesses the knowledge of fine arts like painting etc; is silpini (female artisan)].

The word svaca may mean self i.e. there is the practice of the heroine herself acting as a go between in disguise.

Svaca may also mean relatives.22 They are sisters, hus- band's sisters and the daughters of maternal uncle etc. Their nature and functions can be grasped from the above.]

The categories like padmini, citrini etc. mainly enumerated in the science of erotics are to be understood.

( Padmini, citrini, sankhinī and hastini are the four kinds according to the Kama sastra).

Briefly the heroines are of three kinds namely, Mugdha (Ignorent), madhya (a woman in the middle of her youth)

22. लिङ्विनी शिल्पिनी स्वा च सहायाः परिकीर्तिताः

24 Prataparudriyam

In the above example the behaviour of the heroine lies between bashfulness and amorous thoughts. Hence she is a madhyã.]

Praudhā :- Because of the experience of sentiment in the fawn-eyed Jady who is looking at the king, Rudra, who is by nature hand- some amorously and pleasantly with the majestic and delicate thoughts existed at that time, there arose in her sattvika emo- tions all of a sudden. What a wonder ! The skill of the arrows of cupid is victorious in her youthfulness. (59) [When the thoughts of love dominate the bashfulness she becomes a praudha. In this verse we note the expression of her coquettish play more than her bashfulness. So she is considered a praudha.] The other varieties can be found as and when occur.

[This is a short account of the classification of the differ- ent types of heroines. Many other varieties have been enume- rated in other works. A birds eye view of these varieties is as follows :-

There are three types of heroines : (i) svīya (own) (ii) parakīyā (belonging to another) (iii) sāmānyā (common). The sviya (i.e. No. i) is again classified into three types (i) Mugdha (ignorant) (ii) Madhya (in the middle of the youth) and (iii) pragalbha (same as praudha an adept). There is no sub-division again in Mugdha. The Madhya and pragalbha are divided into three types (i) Dhira (supresses all outwaord expressions of her recentment in the presence of her lover or husband though jealous of him) (ii) adhira (capricious) and (iii) dhiradhira (alternately expresses and conceals her jealousy). These again are marked by a subdivision (i) jyestha (eldest or nief) and (ii) kanistha (youngest). The parakiya is of two types (i) kanyā (virgin) and li) vivahita (married). The samanya (common) is vesya (prostitute) and there are no other divisions in this class.

Nāyaka Prakaraņam 25

[The sviya is of thirteen types, parakiya 2 types and vesya one type only. All told there are 16 types. Again if the eight fold division of the svadhinapatika etc. is considered individually here the total number comes to 128. By considering these 128 kinds with respect to the divisions (uttama, madyamā, adhama) we get three hundred and eighty four types. Now by counting Padmini etc. there will be 1536 divisions. At this stage if we take into account the kinds divyā, adivyā, divyadivyā, there are 4608 kinds. These can be once again multiplied by the three varia- tions coming under vata, pitta, and slesma. Then we get 13,824 types. From the difference in caste like brahmin etc. the number becomes 55,296. Again when the gunas like sattva etc. are accounted it becomes 1,65,888. Like this the types go on multi- plying endlessly. We can also note the same thing with respect to heroes.]

Having thus completed what is required advocating the importance of the description of the qualities of a famous person he closes with the following grasping verse. The appearance of qualities and figures in a composition (which is) replete with sentiment becomes delightful to the heart through the glorious word and meaning. Their blossoming which is lovely with the sweetness of the nector (that is) flowing glori- fies if beset with a famous history throughout. (60) [Therefore a great qualified hero is essential. By setting him in the composition the word and meaning get awakening and become pleasant with their flowing nector. They also become blessed. On account of the presence of this type of words and meanings the qualities and figures of speech shine well through which the work flows with sentiment. The above verse is the epitome of all that is said in this chapter on heroes.] (The following text though does not seem to be the conti- nuation of the first chapter is being translated as it appears in the printed text of the Prataparudrīyam). The qualities and figures of speech which cause beauty become blessed only when there are suitable objects to be

26 PratāparudrĪyam

adorned.23 According to the practice of the world, the object which becomes the ground for decoration is considered (as) alamkārya. As such the composition itself becomes alamkarya on the ground that it becomes the resort for the qualities and figures. The saying that rasa (sentiment) etc. are adorned is with reference to their importance like the atma (soul) as in the case of the ornaments like chains, anklets etc. Rasa etc. becomes the soul of poetry as they enliven life. Rasa becomes important in some places; Alamkara (figures) some times and vastu on other occassions.

The Importance of rasa - as In the youth of a pretty girl which is charming with the amorous gestures that sprouted up slightly, shining with the foliage in the body and possesses only the budded breasts the cupid is flowered and fruited. (61)

These are the words of Prataparudra who possessed a desire on looking at a girl. Here there is the suggestion of the sentiment śrngāra.

[Here the girl becomes the alambanavibhava. Her emerg- ing youth is uddipanavibhava. Her slow gait etc. becomes anubhavas and the desire and uneasiness etc. become sancari- bhavas. In the combination of these things the passion of Prataparudra takes the form of sentiment or rasa.

In the case of a tree we usually observe the four stages. 1 The sprouting, 2 leafing, 3 flowering and 4 fruting. In the same manner even in the present case connected with the girl we can notice these four stages.]

The importance of alamkāra as - When the fame of Pratäparudra is recreating at the ends of the quarters the borders of the visible and invisible worlds are marked with the melting moon-gems (stars) always. (62) Here it is understood that the moon-gems or moon-slabs that are in slopes of the mountain which divides the visible and

23. yrarar means the instrument for causing beauty. Here the figures of speech and the qualities are the instruments.

Nāyaka Prakaraņam 27

the invisible worlds are melting by a mistaken notion of the moon light in the fame of Rudradeva. Hence this suggests the figure bhrantiman. There is importance even to a figure of speech in the state of suggestion.

The importance of vastu : as - When Virarudra who is illustrious in the three worlds descended in the Kakati family the serpant - reposer (Lord Visnu), having left the milk ocean entered his mansion. (63)

Here by saying that the serpant-reposer leaving the milk ocean entered his mansions, it is suggested that the Lord Visnu is not in the milk ocean. By this the vastu (bhava) that Lord Vişnu (the highest among men - Purusottama) has descanded into the family of Kakatiyas in the form of Prataparudra is suggested.

Thus there are three important types of suggestion. The qualities (gunas) and figures (alamkaras) shine only in connec- tion with a composition. A composition becomes the delight of a connoissure through the flash of a word or meaning and both word and meaning.

(i) The word-flash means that renoun of a perfect cons- truction.

The celebrity of construction which will be substantiated in the arabhati (vrtti) is known as word-flash.

As - The impetuous sport of the mighty arms of the king Rudra who is raising greatly, are capable of protecting the earth, destroyer of the universal agitation: possesses unpercei- vable courses; unsheathed swords in the case of punishing the mean ksatriyas and the thunderbolts in cutting off the mountaing of the pirde of the roaring wicked. (64(

[Here the allitaration caused due to the syllabic setting (in skt.) produces the word-flash (sabdasphurana) ].

28 Pratāparudrīyam

(ii) The wealth of meaning that is not touched previously by any one is knows as meaning flash (arthasphurana).

As - The scholars who have observed the folding (of hands) of the enemy kings reflected in the swords sporting in the battle field (of Pratäparudra) are of the opinion that it is the lotus which is the abode of Victory-wealth (Jaya laksmi). But I pre- sume that it is the lotus-sea of Vidhi (Brahman) which has come down to gather the lives of the enemies of the king Prataparudra for re-creation. (65) Here the wealth of meaning is not previously touched upon by any other poet. Hence this is meaning-flash (arthaspurana).

(iii) Word-flash and meaning-flash (ubhaya sphurana). The efforts of the expeditions of the calamariiganda24 king, creating a cloudy day with the well-up tears of woman of the ene- mies; which possesses the lightening quarters then itself with the multitude of elephants in the form of mass of clouds, which are efficient in surrounding the tent of the (enemy) kings (that cover the slopes of mountains) and which possess the increasing roar- ings of the elephants, indicate the fear of a rainy season. (66) [If both the word-flash and meaning-flash are present combined in one then there appears this third variety. In the present verse both these flashes can be understood.]

The beauty of a composition is because of these flashes of word and meaning only. The delight of the hearts of the connoi- sseurs is due to the description of the biography of a famous person, even in the case of these words and meanings. Hence the importance in a composition is only to the hero.

The descriptions of the family, customs, fame, valour, learning and character etc; of the hero, if given are acceptable to a majority: (67)

24. The king Prataparudra had the title Calamartiganda. Ganda is a Kanarese word meaning husband. Calamarti may be a Vernacularised form of Calamartya ganda which means that he acts as a husband to the deceitful persons.

Nāyaka Prakaraņam 29

If not, having described all the qualities of the rival hero and to describe the greatness of the hero as conquering his rival is also accepted at times. (68)

The following are the examples respectively :- (i) This pre-eminent king Sri Virarudra whose reality is Paramapurușa (supreme spirit) whose descent is in the family of the kakati-kings, whose behaviour has the method of doing good to the world and whose praise has belitteled the kalpavrksa, kāmadhenu and cintamani, surpasses. (69)

Here the hero's family and other qualities are directly described :- (ii) That Sevana king, whose valour became the umbrella for the darkness of pride in the ramblings of the enemy kings and whose strength of the bar-like-arms became the door keeper of the mansion of the three worlds, too, having heard the sounds of the drum of the king Vlrarudra in the battle field, flying away got agitated (being struck) with great fear. (70) This is the second method of describing the greatness of the hero. Here in the first half of the verse the greatness of the king Sevana is described and in the second half it is said that he was greatly agitated and fled away from the battle field on hear- ing the sounds of the battle drum of Rudradeva. As such great- ness of Rudradeva is established in conquering a powerful foe.

This type of description does not fit in the case of a hero who is utpädya. It is better to enumerate the customs and quali- ties of his family in many a way to establish his popularity in the world. These two are possible in the case of a natural hero. As his lineage and customs are well known in the world, the description of his subjugating the fearful foes by the poets is apt. In this way the heroes are of two types :- 1. Svatahsiddha (natural) and 2. utpādya (created).

In this (it is to be noted) - As the sentiment raudra (wrath) which has external alarm is described in the case of a dhiroddhata, and the sentiment

30 Pratāparudrīyam

srngara (erotic) which has many feelings in the case of a dhira- lalita. (71) Such a description is not possible in the case of a dhiro- datta but it is proper to describe the sentiment only in accord- ance with his acts. (72) If the hero is a dhirodatta the description of the sentiment hasya (humour) and the like etc; thwarts the effort and subs- equent feelings. (73)

The description of a dhirodatta hero enhances the prestige of compositions, as he excells all other heroes.

The chapter on heroes, in the Prataparudra Yasobhusana, the science of rhetoric and a work of Sri Vidyanatha is com- plete.

CHAPTER II

KĀVYA PRAKARAŅAM

The chapter on 'a composition'

The Illustration of the form of a Kāvya Words and meanings beset with qualities and figures and rid of defects (make up for poetry), those who are well versed in poetry know that poetry is of three types : 1) Prose, 2) Poetry (verses) and 3) A mixture i.e. a combination of both prose and poetry. (1)

Words and meanings which are rid of defects, which possess qualities and figures of speech constitute poetry. This is the general definition.1

[Having explained the characteristics and types of heroes related (to the subject) now he proceeds to illustrate the form of Kavya. The above verse gives the general definition of poetry.

Here though the statement regarding the avoidence of defects is not spoken of first in the definition, it is treated first in the explanation. This shows that not even an iota of defect though crept in unconsiously, can be tolerated. Dandin also opines that however minor a defect may be, it should not be neglected as it spoils the composion like a patch of leucoderma on the body.2

It is also to be understood that one single defect gets merged in the multitude of qualities, like the black spot of the moon in its mass of qualities,3 is not applicable in the case of poetic composition. 1. This definition is accepted by Mammata but refuted by Viśvanātha and Jagannatha etc. 2. Kāvyādarśa I 7. 3. Kumārasambhava I 3.

32 PratāparudrĪyam

Here it is to be noted - A composition is to be first devoided of defects and then beset with qualities, But some feel that the qualities are nothing but the absence of defects and not independent entities. This view is not correct. The qualities have their individual characterstics and hence to be dealt with separately.

It is the qualities that bring about charm in a composition. A poet who is indulged in exploring the qualities has to neces- sarily take interest in the matter of figures also, as the figures are capable of enhancing the charm or beauty. From this it is to be understood that the words and meanings debarred from defects and admitted of qualities and figures become poetry.

It is not possible to separate word and its meaning. As such even, if it is said that 'word is poetry' it means that both word and its meaning become poetry and vice versa. Such being the case what is the implication in saying that both word and .meaning together constitute poetry ?

It is true that sabdas (words or sounds) are not free from meanings. But in music there is only sound but no meaning. So that type of sabda cannot become poetry. There are instances where meaning exists even in the absence of sabda. For example the meaning understood from signs (made by a dumb fellow) is not from sabdas. So this also cannot become poetry. Therefore it is to be understood that in a kāvya (composition) there must be the meaning derived from a sabda only and a sabda that can express a meaning only.

From this it is clear that there must be both sabda and artha for a kāvya.

Again if it is said that those compositions in which sabda is made important become kavya, it means that those in which artha (meaning) is made important do not become kavya. The vice versa also is true. Hence what is already said that both sabda and artha together constitute poetry is the correct defini- tion.

Kāvya Prakaraņam 33

(Material for poetry) The word and meaning are the form; the splendour of suggestion is the soul. The simile etc., are the embelishments there, like chains and others. (2)

There, the double-entendre etc., are the qualities that stand like qualities of valour and others and the diction (riti) brings beauty to the soul like the nature. (3)

The styles (vrttayah) like behaviour effect lustrous ornamentation and the tying (sayya) which gives rest in accor- dance with the words, is agreeable like a bed which gives repose in accordance with the steps. (4)

The development which possesses different kinds of relish- ment of sentiments stands like the pudding which has several kinds of enjoyments of tastes. Thus the wealth of the composi- tion is prominent like the material of the world: (5)

[The wealth of material required for a composition is the same as that of the one required by a beautiful lady in this world. For a person the form is her own body, the ornaments like chains, neeklace etc. are the embelishments, courage etc., are the qualities, that are natural. Here we notice the bed and pudding also as essential.

Like wise in the case of a composition we notice that the word and meaning are the form or body; the suggestion is the soul; alliteration, simile etc, are the ornaments, the diction like vaidarbhi are the natural qualities for the beautification of the soul. Styles like the kaisiki are the well employed metres; Śayya (bed) is nothing but the correct pausing and the dräksa- pāka etc., are the pakās (developments) ]

These pakas are always connected with the relishment of the sentiments like erotic etc.]

Words and Meanings : The entire world of words (sabdajatam) is of three types - 1) Explanatory (vācaka), 2) Secondary (lakşaka) and 3) sugges-

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34 Pratāparudriyam

tive (vyanjaka). The world of meanings also is of three types 1) Explicit (racya), 2) Denoted (laksva) and 3) suggested (vyangya). The intended meaning (tatparyartha) is only the suggested meaning but not different from it. The connotative power of the words is also of three types 1) The verbal or literal (abhidha), 2) Secondary (laksana indirect or secondary applica- tion) and 3) Suggested (Vyangya). Even the non essential or secondary power (gaunavrtti) is only a division of secondary application; because it also arises from the incongruity of rela- tionship like the secondary meaning (laksana) as in the case of 'Manavaka is fire' (agnirmanavakah) where the knowledge of Manavaka who is distinguished with a similarity with fire is inten- ded. In the same manner, the knowledge of the bank distingui- shed with the relationship of the Ganges is intended in the case . of the siatement 'a hamlet in the Ganges' (gangayam ghosah) because if it were to be a mark of mere relationship with the Gan- ges, the sanctity attached to the hamlet becomes futile. Therefore the laksana (secondary) is mainly of two types 1) Confined to similarity (śadrśyanibandhonā) and z) confined to relationship (Sambandhanibandhana). The sambandhanibandhana is again divided iato two kinds 1) Jahadvacya (abandoning verbal) and 2) Ajahadvācya (non-abandoning verbal). The sadrśyaniban- dhana also is of two types 1) Saropa (imposed) and 2) Sadhyava- saya (identified) - Thus the laksana (secondary meaning) is of four tvpes. The four types of vrttis (styles) kaisiki, arabhati, sättvati and bharati bring dependent on the arrangement (of syllables) are the indicators of the condition of the sentiment (rasa). The same is said in the Dasarūpaka: ·The kaisiki, arabhatī and likewise Sāttvatī and bhāratī are tne four styls (vrttis) to be known as the indicators of the condition of the sentiment '

It is well known that the arrangement also gives rise to the sentiment. An arrangement of syllables not in consonance w'th sentiment is considered a defect. The vaidarbhi etc. are the specialities of diction (ritayah) and not included in styles (vrtris). [It is understood that the words are of three kinds 1) vācaka, 2) lakşaka and 3) vyanjaka. By the expression 'word'

Kāvya Prakaraņam 35

we have ro consider only those words that are having meaning. Every word is possesstd with a force which reveals its meaning i.e. a force is required to make known or disclose the meaning. These forces of words are known as the functions of the words (Śabdavyāpāras). These functions are styled 1) abhidhā (verbal) 2) lakşanā (secondary) and 3) vyanjana (suggestive). The word which shows its meaning through abhidha is called vācaka (expla- natory). The word which establishes its meaning through laksana is known as laksaka (secondary) and the word which divulges the meaning through vyanjana (suggestive) is said to be vyanjaka (suggestive). The meanings that are made known by these three are of three kinds 1) vacya, 2) laksya and 3) vyangya.

Vācaka : Vacaka is that word by listening to which the meaning attached to it is comprehended i.e., that word beomes vācaka to that meaning. Eg :- On listening to the word 'pot' (ghatah) we comprehened a pot So the word pot becomes the vācaka for the meaning pot. Lakşaka :

When the immediately comprehended meaning does not fit in, we resort to a secondary meaning which fits in the context. That word which gives rise to this meaning that fits in is called lakşaka.

Eg :- Take the sentence 'A hamlet in the Ganges' (gan- gayam ghosah). Here the word gangayam in the locative case means that the hamlet is situated in the current of the Ganges. As this is impossible i.e, to have a village in the waters, we have to resort to some other meaning for this word which can make the meaning fit in the context. In this process we abandon the first meaning ie, in the waters; and resort to the meaning on the bank of the Ganges i.e, a hamlet on the banks of the Ganges* This meaning does not become invalidated So the word gan- gayam which finally gives meaning 'on the banks of the Ganges' is a lakşaka.

Vyañjaka : A word which gives rise to so many beautiful meanings in

36 Pratāparudriyam

accordance with the context, inspite of the fact that its primary meaning fits in the context is known as vyanjaka. Eg :- Consider the sentence 'the sun has set' (gatostam arkah). Here the meaning is quite obvious and there is no question of any incongruity in the meaning. Even then when the sentence is heard, different people take its meaning in diffe- rent ways as suited to their situations i.e., with respect to a boy it is a warning to him not to go to a distant place; with respect to a bachelor it is an indication that he should start studying and with respect to a harlot it is time for her to get prepared for receiving paramours etc. So it should be understood that those words which give rise to these meanings are vyanjakas. In addition to the above three - vācya, laksya, and vyangya - the well known meanings, some others are of the opinion that there is a fourth variety of meaning called tatparyartha. This is not correct, as this tatparya is not different from the vyangyartha. The Mimamsakas advocate the tatparyartha. There are two divisions among the Mimamsakas - 1) Abhihitanvayavadins4 and 2) Anvitabhidhanavadins5. The Abhihitanvayavadins accept the tātparyārtha. Those who declare the purport as connected with the words spoken are Abhihitanvayavadins. According to them the function of the words ceases after expressing their meaning. Afterwords a consolidated meaning in a sentence is understood. This is not the meaning of any word but on the other hand it is the meaning of the sentence, arising out of the mutual connec- tion of the words. As such it is not the sum total of the mean- ing of the words. The meaning of the sentence is different from the meaning of the individual words. This meaning of the sentence is the particular meaning which is known as the fatparyartha of the Abhihitanvayavadins. As they feel that there 4. According to them the purport of the sentence arises out of logical connection between the words and not out of sense of the words themselves. 5. This section feels that sense in a sentence is svarupasati and then the words convey their own sense not in isolation but in a syntactical relation.

Kāvya Prakaranam 37

is a different consolidated meaning in the light of the mutua connection of the words, they are called Abhihitanvayavadins, (Abhihita : what is spoken of; anvaya: meaning).

Eg: Let us examine the sentence ghatamanaya (bring the pot). Here we notice five entities such as the word ghata; the accusitive affix am; the prefix ang the root ning and then the suffix ling. The word ghata means the article ghata (a pot); the accusitive affix am means the objectivity (karmatva) the prefix ang means 'spreading over'. The root ning means the 'act of bringing' and the ling suffix gives the 'causitive meaning' (pre- ranarthaka). These are the meanings that are separately com- prehended. These meanings are got by means of abhidha. After disclosing these meanings the abhidha rests and it is not capable of giving out the next meaning. Hence when it is summed up what all the meaning we get is the pot, the accusitiveness, the spreading all around, the act of bringing and the causitive sense. As it is these meanings are neither useful for further promotion nor for regression and hence they (the meanings) are of no use.

A meaning different from the above strikes to a listener of the sentence ghatamanaya. Its meaning results in activising a person in the act of bringing the object pot. This is the special meaning which cannot be expressed by abhidha. This is neither lakşanā nor vyangya and is different from vācya, laksya and vyangya. This is called the tatparyartha6 which is understood by means of the tatparyavrtti (sakti).

Thus when a fourth meaning can be established what is the fun of saying that there are only three meanings as vācya laksya and vyangya? This is the objection that can be raised.

Answer :- This argument has no meaning. This is only according to Abhihitanvayavādins a section of the Mimamsakas. But the Anvita- bhidhana section of the Mimamsakas view this in a different way. To understand the purport of a sentence there is no necessity to accept tatparya a different vyapara. This can be understood

6. तस्मिन् परा तत्पराः । तत्पराणां भावः तात्पर्यम्।

38 Pratāparudriyam

from the strength of the sentence itself. A sentence is difined as 'one which has purposeful and capable words'. As such the sentence certainly possesses the capacity to reveal the sense in the light of the mutual relationship of the words. Those who argue that the words in a sentence express their meanings not generally but as connected with each other in that particular sentence are known as Anvitabhidhanavadins. So according to these people the meaning of a sentence is nothing but the vācyārtha.

Eg: Generally children understand through the actions of elders. If an old man asks a middle aged man to bring a pot (i.e. whon he says bring a pot) he brings the pot. A child who is observing all this understands that the meaning of the sentence 'bring a pot' is the process or action of bringing the pot. So when ever the child hears this sentence he rerollects that mean- ing. Therefore this meaning is only vacya. This meaning is got by mears of abhidhasakti). When we are thus able to get at the meaning why should we resort to some other 'vyapara or sakti?

To fit in the definition of tatparya (fn. 6) in the meaning of a sentence, is also not proper. because the word tat in that definition does not embrace (as) the meaning of the entire sen- tence comprising of the words in their mutual relationship in that context. On the other hand the main purport which leads to a sentiment only is to be taken as the effort of the poet lies in the production of a sentiment only, but not in the collective meaning. So the words indulge in that effort of producing senti- ment only (tatparah), tat : (sentiment) and that 'being' (bhava) is tatparva. The force of the words which leads to the realisa- tion of sentiment is tatparya. This is neither abhidha nor lakşana, but only vyanjana. Hence this tatparyartha is no other than vyangyartha

From the above we note that there is no other fourth variety excepting the three, vācya, laksana, and vyangya already enumarated and the so called tatparya can be included in the vyangya only.

Kāvya Prakaranam 39

It is to be understood that the werds disclose their mean- ings through a force called vrtti, which is otherwise known as vyāpāra or sakti. The vācakasabda reveals vācya through abdhidhavrtti; the laksakasabda reveals the laksyartha through lakśanavrtti and the vyanjakasabda reveals the vyangyartha through vyanjanavrttì. These abhidhā, lakșaņā and vyanjanā are the three well known sabdavrttis.

Gauna and laksaņa : Gauna vrtti also is only a variety of lakșana. But some scholars are of the opinion that this is a different one. Accord- ing to them the vrtti that is connected with the gunas or qualities is known as gaunavriti. For example, lct us consider the sen- tences, agnirmanavakah (Māņavaka is fire) and mukham candraḥ (Face is Moon). In these instances, the qualities of fire are superimposed on Manavaka, and the qualities of moon on the face. Manavaka is a student who possesses colour and piety. Because of these qualities, the qualities of fire (which are not different from this) are super-imposed on him. Therefore the word 'fire' (agni) reminds us of Mänavaka. Though the word fire (agni) is not capable of reminding us the form of Mānavaka, it is the qualities that are capable of reminding us of Manavaka. Similar is the case with regard to the sentence 'face is moon'. So it is evident that in these cases the words like fire (agni) are acting in the sence of Manavaka etc. on the basis of gunavrtti only. This process is not to be observed in the case of the examples belonging to abhidha, laksanā and vyanjana. As such this gaunavrtti is to be reckond as a separate entity.

Reply :- In fact gaunavrtti need not be considered separate as different from laksanavrtti. This is only a variety of laksaņā. Laksana results from the failure of the conventional meaning. Gaunavrtti, also is of the same nature. Hence it is not different from lakşaņā.

Let us now examine the two carefully. The statement (hamlet in the Ganges) gangayam ghosah is one instance of laksana. The situation of the village in the streams of the Ganges is not feasible. Hence the secondary or implied meaning that the hamlet is on

40 Pratāparudrīyam

the banks is to be accepted. There is the relationship of proxi- mity between the stream - a conventional meaning (vaycartha) - and the bank a secondary meaning (laksyartha). As such it is to be understood that there is the failure of relationship in them.

In the sentence agnir manavakah (Mānavaka is fire) the word 'fire' (agni) does not fit in the words other than 'fire'. Here there is the failure of this type in their relationship but because the qualities of 'fire' are observed in Manavaka the similarity with fire is to be considered there. So there exists the relationship of similarity. From this it is to be noted that there are - relationship of proximity in the case of 'hamlet in the Ganges' and similarity in the case of Manavaka is fire' and the failure of the conventional meaning. As such gauna need not be considered separately.

At this juncture there may arise a doubt with regard to the difference between these two sentences i.e. the sentence agnir manavakah means that Mānavaka is having the distinctive pro- perties similar to that of agni or fire. The secondary meaning of the word agni is the distinctiveness of similarity of agni. So the relationship of similarity is to be construed as an attribute with the secondary meaning (laksyartha). But in the case of the sentence gangayam ghosah (a hamlet on the Ganges) an instance of laksana the relationship of proximity does not go as an attri- bute with the bank a laksya, as it is explained as a hamlet on the banks of the Ganges. So how can there be similarity between these two instances in respect of relationship ?

This is not a proper doubt. Even in laksana the relation- ship can be construed as an attribute. In the example given for gauna it is noted that the similarity of agni is in Mānavaka. Hence in the sentence agnir manavakah, the knowledge of Māna- vaka distinguished by similarity with agni is comprehended. In the same manner in the sentence gangayam ghosah the knowledge of the bank distinguished by relationship with the Ganges is considered. The relationship of the Ganges must be with the bank, and the bank is comprehended by the (word) ganga only. The stream is the meaning of the word ganga. As both the bank and the stream are disclosed by the single word (ganga) only

Kāvya Prakaraņam 41

the qualities of stream must be in the bank, which itself is the attribute of relationship of Ganga, when the identity of the stream and bank is to be discerened. Because of this only the qualities like the sacredness and the coolness of the stream are to be observed in the case of the bank, when the meaning fits in.

Here the word ganga should not be taken as upalaksana. If it were to be it simply means the bank of the river Ganges, like a sea-shore without indicating the sacredness and the coolness connected with it. Then how does it differ from the statement gangatire ghosah? So the difference between these two usages must be properly explained, by stating that there must be scope for this implied usage also as against the usual conventional usage. As such it is to be noted that the relation- ship is to be construed as an attribute even in this case. There- fore the gaunavrtti also is a variety of laksanā.

The types of laksana : Lakșana is mainly divided into two types 1) sādrsyaniban- dhana (based on simlarity) and 2) sambandhanibandhana (based on relationship). The sambandhanibandhana (i.e. No. 2) is again of two types 1) Jahadvacya (abandons the verbal meaning) 2) ajahdvācya (does not abandon the verbal meaing). The sadrsyanibandhana (based on similarity i.e. No. 1) is also of two types 1) Saropa (imposition) and 2) sadhyavasana (identification) these four types are as follows :

1. Sambandhanibandhana jahadvācyā lakşaņa 2. Sambandhanibandhana jahadvacyā laksaņa 3. Sādrsyanibandhanā saropā laksaņa 4. Sadrsyanibandhana sadhyavasāyā lakaņa

The Vrttis (Styles). Kaisikivrtti, ārabhați vrtti; sattvati vrttī, and bhāratī vrtti are the four kinds of styles. They do not belong to the words but only connected with the contexts of the words (sabda san- darbhasritah) i.e. depending on the composition (i.e. arrange- ment of syllables) they indicate the sentiment. Aceording. to Anandavardhana, the kaisiki etc. being congenial with senti-

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42 Pratāparudrīyam

ment reveal the befitting sense and the dictions like vaidarbhi etc; being congenial with the sentiment become the functions of the words. From this it is clear that the kaisiki etc. are connected with meaning while the vaidarbhi etc. are connected with words; and kaisiki etc. may contain a reference to vaidarbhi etc. Hence it is better to think that kaisiki etc. are connected with the com- position i.e. arrangement of syllables.

Arrangement of Syllables : [It is also well known that the arrangement of words mani- fests the sentiment. The manifestation of the sentiment of the kaisiki etc., depends on the arrangement of words. But it is better to say that they manifest sentiment like vibhavas etc. as the arrangement of words help the vibhavas. If the arrangement of words do not go with sentiment then it becomes a blemish; it is our experience that suitable arrangement of syllables manifests sentiment and unsuitable arrangement does not manifest senti- ment. From this it is understood that the manifestation of sentiment in kaisiki etc. is dependent on the arrangement of syllables.]

Abhidha is the power of a word which expresses the sense that a word has by convention i e. the power that expresses the conventional meaning of a word. It is of two kinds - 1) Rudhi- purvika7 (in accordance with the custom) and 2) Yogapurvika (in accordance with the union or contact) i.e. etymological.

[Sanketita means that which has the sanketa. The establi- shed relationship of the word and meaning is called sanketa. The meaning connected with the sanketa is sanketitab. This sanketitartha is usually of four types8 depending on jati (genus) guna (property) dravya (substance) and kriya (action).

7. Rudhi. eg. Asvakarna. This is the name of a tree. nothing to do with either Aśva a horse or karna or ear of a horse.] This has

असत्सवयवार्थेषु योऽन्यत्रार्थो प्रयुज्यते। तत्रानन्यगतित्वेन समुदायः प्रसिद्धयति ॥ 8. गोत्व etc. is Jati; शुक्क etc. is Guna; चैत्र, मैत्र etc. is dravya and पाक is kriya.

Kāvya Prakaraņam 43

This definition is exact and fitting. Neither the laksana (Secondary meaning) nor the vyanjana can come under this though the signs also reveal the conventional meaning. They are not the functions of the words. Hence this definition cannot embrace these things.

According to the Anvitabhidhanavadins there is this conventional meaning even in the laksana. But as laksana is not the function of a word it should not be treated that the definition is too wide and embraces this.]

(Example of) Rudhipurvika (backed by convention) - as - The excellant Virarudra is bearing the kingdom, along with the famous and chosen penances of the people, the auspi- cious histories of the earth and with the good fortune of this world. (6)

[Candrayana etc. are the difficult penances. Gaurivrata etc. are auspicious histories.]

All the words here are rudhis9 (conventional). Yogapūr- vika - (based on etymology) as -

When the king Rudra (naradhipa) is pleasing all the people, the earth possesses the meaningful names as - Vasumati, Ratnagarbha and Sthira. (7) Here words like Vasumati, Ratnagarbhā ete, are etymolo- gical. 10 The etymological meaning wonderfully fits in here.

Laksaņā : Laksna is that function of the word which is superimposed as related to it when the expressed meaning (does not fit in) fails to fit in or fails in applicability.

9. प्रकृष्टेन जायन्ते इति प्रजा: । Though this is the etymological meaning the word HoT: is conventional in the sence of people. 10. रञ्जयतीति राजा; वसु धनमस्यामस्तीति वसुमती। (in which there is the fortune). रत्नानि गर्भे यस्यास्सा रत्नगर्भा (who has gems in her womb) तिष्ठतीति स्थिरा (one who stands firm).

44 Pratāparudriyam

When the expressed meaning becomes incongruous and some other meaning related to it, is superimposed; this imposed function of the words is called laksanā. For instance in the sentence 'A hamlet in the Ganges' (gangāyam ghoșah) the expressed meaning does not properly fit in, as it is not possible to have villages in the stream. So the meaning 'bank' (hamlet on the bank of Ganges) which has got connection with the stream has to be superimposed. This becomes laksana, The function of a word ceases after expressing a meaning So it cannot be active in some other function in establishing a meaning i.e. for instance, the word ganga ceases after giving out the meaning as stream and again it cannot give out the meaning 'bank'. But it is not proper to consider another function in it Hence that meaning itself is laksaka and laksana becomes the function of the meaning. But because of the dictum that the expressed prosperity serves the significant (expressed) word only, the laksana which is the property of the meaning serves only the word which is a vacakal1 Hence laksana can be considered the function of a word sabdavyāpāra.

There are three causes for accepting the laksana. They are also known as laksanabījas. They are 1) Absurdity in the expressed primary sense, 2) Relationship with the expressed sense and 3) The purpose or advantage. If these three are absent the question of laksana does not arise. For example let us take the same old sentence gangayamghosah. Here the primary meaning 'stream' becomes absurd. When the meaning 'bank' is considered there is the relationship of proximity between the stream and the bank and finally there is the advantage of coolness and sanctity. As such this is a case of laksana.]

Here Jahallaksana1 (Sambandha-nibandhana-jahadvācya-lakșaņā): Having heard the sounds of the war-drums of the Kākati king who is of conquring nature, the towns of the tributary princes are crying aloud all around. (8)

11. वाच्यधर्मो वाचके उपचर्यते। Ratnapava, p. 36. 12. Where the expressed meaning is completely abandoned it is called jahadvācya. This itself is called jahallaksana. As the primary meaning is not applicable it is to be abandoned.

Kāvya Prakaranam 45

Here the primary meaning in the statement that the towns are crying aloud does not fit in. As it is not possible for an inanimate object like a town to cry, it indicates the people living in it.

[In this case to achieve the act of crying, the word 'nagara' (town) abandons its (expressed) primary meaning and indicates, at the same time, the people living in it]. So the secondary mean- ing that the people inhabiting the town are crying is to be consi- dered. From this it is noted that the word 'nagara' gave up its usual meaning by which it is called Jagatsvartha.

A jahallakşanā :- as : The heads are ornamenting always the foot-rest of the Kakati lord with the mass of lustre of the shining gems. (9)

By the word maulibhih (with heads) the persons to whom they belong are indicated, to achieve ornamentation.

The word mauli, here, is a laksana word. The heads by themselves cannot achieve ornamentation. But it is said that they are decorating. Hence to achieve ornamentation the per- sons to whom the heads belong are made laksyas. The kings are with heads. So the primary meaning is mixed with the secondary meaning (persons or other kings); from this we note that the primary meaning is not abandoned, but it is considered along with the secondary meaning.

[In this case i.e. ajahallaksanā the vācyārtha (primary meaning) is not abandoned completely as in the case of jahal- laksanā, but exists along with the secondary meaning.

Here the primary meaning is not said by the abhidha. If it were to be the case it is to be accepted that abhidha in another case becomes laksana when there will be simultanity of the two functions for one and the same word, which is not acceptable The svartha (primary meaning) should be separated from abhidha by treating this as laksya. Then only the name ajahallaksand becomes fitting.]

46 Pratāparudriyam

Sāropalaksaņā :- as : The darkness that resulted from the friction of the black (bottom) rocks of the Manthara mountain (at the time of churn- ing the ocean) in the moon is said to be a spotted deer by some. But I feel that the Moon who is vanquished by the lustre of the fame of the king Virarudra, bearing his (Prataparudra's) boar- seal on the chest is rising. (10)

Here, the boarness is superimposed on the deer which is in the form of a stain in the moon. Hence it is saropa. There arises aropa when there is the knowledge of non-difference between the subject (visaya) and object (visayi) expressed. Adhyavasaya is there when there is the knowledge of non-diffe- rence by absorbtion of the subject (vişaya).

[In the säropa there are two things. 1) visaya (subject) and visayin (the object connected with the subject) and the knowledge of non-difference between these two. For example in the sentence agnir maņavakaķ (Māņavaka is fire) Māņavaka who is on hand is the subject and agni (fire) which is not on hand is vişayi : These two are treated as colocus. Then there is the knowledge of non-difference between these two i.e. that Māna- vaka is not different from agni-agnyabhinno mānavakah. There- fore this becomes saropa. In the present instance the deer in the form of a stain in the moon is the subject visaya and the boar-seal is the object connected with the subject, visayi and there is the knowledge of non-difference between these two. As such this is saropa.

If the subject (visaya - a thing on hand) is absorbed by the object (visayi - a thing not on hand) and when there is the knowledge of non-difference, it is known as adhyavasana. For instance, it is simply said as 'agnih' (fire) without expressing both the visaya and vtsiyi as in the case of the sentence agnir mānavakah. Here it is only the vișayi (agni) that is mentioned and visaya which is Manavaka is absorbed when there exists the knowledge of non-difference of agni (fire) in Manavaka. This is called adhayavasāna. This is also known as āropavişaya (vişaya) and āropyamāna (vişayi).]

Kāvya Prakaraņam 47

Definition of Sādhyavasāya :- as : This moon rises from the ocean of the Kakitlya family and from him who is rising there, comes the happiness to the lilies.

Here Prataparudra is absorbed by the moon. (11)

There is aropa in the compound kakatīyakulambodhe -from the ocean of the Kakatiya family.

[There is double entendre in the ward kākatīyālaya. It means both the lilies as well as the earth. This means that Prataparudra who is not different from the moon is bringing happiness both to the lilies and the earth. Prataparudra is completely absorbed by the moon. Here Pratāparudra is vișaya the subject on hand and moon is visayi (object not on hand) and Prataparudra is not mentioned here separately but only expressed by the word moon. This means that he becomes adhyavasita as moon when there is the knowledge of non-diffe- rence from the moon. Therefore this is called sadhyavasaya.

In the expression esa candramah the word esa does not refer to Prataparudra. If it were to be so it becomes sāropa but not sadhyavasaya Hence it is to be construed with the moon before us, (as pointing out) who is aropyamana. As this does not indicate a vișaya it becomes adhyavasāya only.

There is the saropa also in this verse. There are two words kakatīyakula (family of the kākatiyas) and ambodhi (ocean) i.e. there is vișaya and visayi and there is non-difference between these two]

Vyan janāvrtti : The function of the words which becomes the subject of some other meaning for the beautification of the meaning of the sentence, after the words and meanings are construed, is vyanja- nāvrtti.

This is of three kinds 1) śabdasaktimula (based on the word) 2) arthasaktimula (based on the meaning), 3) ubhayaśakti mula (based on these two).

48 Pratāparudriyam

[The words and their expressed meanings are unable to spell out the sense of the sentence by means of akānksa etc. This is sufficient to note the meaning of the context. But after this there manifests a function of the words which is different from vacya and laksya and which is capable of illuminating the sense of the sentence. This function is known as vyanjana. This comes up only after the abhidha. Here those who say that there is another entity called tatparya also have to accept that this vyanjana is after tatparya only. The vyanjana comes after lakșanā also. Lakșana is hostile to the meaning derived by the tatparyasakti. Hence it cannot be the final one. After all the functions of the words are over vyanjana comes into being to establish a beautiful or charming sense. As such vyanjana is the highest. Vyangya is different from vacya and lakşya and it is established by this vyanjana.

Any work rid of suggestion (vyangya) is not beautiful like a soul less body. The sense arising from vyanjana beautifies the sense of the sentence which is considered the body of the work. It is upalaksana if it is said that vyanjana is the function of the words. Even the meaning is vyanjaka. The sounds produced in music in which no meaning can be comprehanded are also vyanjakas i.e. the words, the meaning wbich is not known also can become vyanjakas. Therefore it is to be accepted that there is the function of words as well as meanings in vyanjana.]

)Śabdaśaktimūla vyan jana :- as:

The armies of the Kakati-king alarming all around, are making the ocean of the armies of the opponents, filled with the shining trunks (head less). (12)

[Some words generally have many meanings. They are capable of expressing the meanings of both of the context and non-context. But because of the strength of the context their capacity to express the non-contextual meaning is suppressed, when they will be expressing only the contextual meaning. Even then the non-context-meaning will become indicative. For this vyanjanā is required. In these places vyanjanā is śabdašakti- mūlas]

Kāvya Prakaraņam 49

In this verse though the words like vahini, sarvatomukha and kabandha are employed in their verbal senses of army, all pervasiveness and whose heads were chapped off from their bodies (respectively) the knowledge by which the river-water exists, (That is called sabdasaktimūla vyan janā) that vyan janāvrtti is sabda saktimula. The abhidha which culminates in the con- textual meaning is not capable of creating the knowledge of non- contextual meaning. Because of the desire of the speaker to beautify the non-contextual sense of the sentence and because it cannot be got by any other means, some other function of the words known as vyanjana is to be invented (or resorted to). Here there cannot be laksanavrtti as there is no incongruity in the expressed sense. There is also no split of the sentence by means of two functions (by abhidha and vyanjana) in establishing the meaning. As it depends on the intensions of the speaker this (getting two meanings) is not a defect in the case of ordinary sentences.

[It is not a defect if a sentence gives rise to so many mean- ings. All the ordinary sentences depend on the desire of the speaker. Hence multiplicity of meanings is not a defect here and almost all the sentences in our day to day life are of such only. One meaning is by abhidha and the other meaning is by vyan jana.

Supposing there are two meanings for a single sentence by means of two vyaparas or functions, then it causes damage to the single unitary sense (ekartha) when there arises a doubt with regard to the acceptance of the meaning i.e. which sense is to be accepted as a single sence; If one single meaning is accepted the second one automatically will be abandoned. Thus when there is a doubt with regard to the meaning there will be a doubt with regard to the authority also. All this is con- nected only with the Veda and not in other places.

If any other meaning, different from the one on hand is suggested along with the one not on hand, a relationship between these two is to be established. If not it goes agains the poet, as it becomes only an unwanted babling.

50 Pratäparudriyam

As such in the present case it is to be noted that the word sena means 'army' as the sense on hand and suggests the mean- ing river as the sense not on hand. Between these two a relation- ship of similarity is to be understood. Hence the figure simile is suggested where the armies are considered similar to the rivers.

Again in the case of pratipaksabalarnavam in the verse, the oceanness is superimposed on the armies of the foes. So the figure Rupaka is expressed. Here the suggested sense becomes subsidiary to the figure expressed. Whatever it is unless there is similarity it is not possible to super impose any- thing. The meaning suggested by the words vāhini, sarvatomukha and kabandha establishes the qualities of an ocean. So these words promote the similar qualities. Unless a suggested sense of this type exists it is not possible to superimpose oceanness on the armies of the foes. Therefore the sense that is suggested becomes subordinate to the expressed meaning (as it depends on the figure Rupaka). In these cases where the suggestion depends on the expressed meaning it becomes only a secondary suggestion gunibhutavyangya but not the vyangya supreme. Then it cannot be called dhvani. All these doubts and discussions have no place here It is enough if the vyangva samagri-material for suggestion is observed to comprehend that there is a vyangyartha.

Here it is also to be kept in mind that the sabdasakti muladhavani explained here is from the stand point of Mammata etc 13

Artha šaktimūla vyan janāvrtti :- as : The kings (i.e. tributory princess) having heard (the news of) the marriage of the Käkati king with earth have rubbed the foot-rest with toes, with their heads bent down. (13)

Here by means of arthasakti (the force of meaning) it is suggested that the (other) kings became dejected. In this type

13. Śabdaaśktimuiladhvani arises only when both the visesanas and viśe- syas give rise to double entender. But here in the visesya the prati- paksa balārnava there is no double entender. So Vidyānātha may not accept Mammata in this regard.

Kävya Prakaraņam 51

of arthasaktimula there is no scope for anumana (inference) as there is no (relationship) avinabhava (inherent connection or non-separation) between vyangya and vyanjakas. There may be so many reasons for the effect of bending down the heads. The knowledge of a definite cause is (got) only by means of the words that help context desired (by the poet). Further, the knowledge of different suggested senses from a single suggestion depends on the intentions of the speaker. This method of getting many suggested senses is against the connon of anumana. This is not abhidhavrtti as its acquaintance is with the conventional meaning only.

[The expressed meaning (vacyartha) because if its extra- ordinary beauty gives rise to a different meaning. In this process the intentions of the speaker, the characteristics of the listener and the subject communicated and the differences of time and place, help the cognisence of different meanings. This different meaning is by means of the function vyanjana only, which arises by the prop of Vacyartha alone. Hence this can be styled artha- śaktimūla. In sabdasaktimula, vācyārtha co-operates where as in arthasaktimula the word becomes an instrument. Therefore there is mutual co-operation between them.

In the above verse the dejection of other kings is suggested by arthaśakti. The word visanna here means 'Those who are possessed of dejection. Visada is an evanescent feeling Accord- ing to the rhetoricions the feelings (bhavas) are asamlaksya- kramavyangya (of undiscerned sequentiality). In fact the rasas and bhāvas are samlakşya kramavyangya only. In this present case the bending of the heads is an emotional reaction (anubhava). This bending of the heads may be due to so many reasons and so the particular case cannot be understood immediately. To know this the context etc., are required. Here it is noted that the marriage of Virarudra with earth is said to be the cause for the other kings to bent down their heads. This visada or dejec- tion is cognized late. Hence, this is of marked sequentiality samlakşyakrama.

This suggestion (vyangya) is on the strength of the mean- ing (arthasaktimulaka). According to a section this can F explained through inference (anumana).

52 PratäparudrIyam

What cannot be discerned by eye ean be inferred by anumana. The cause of the anumana is known as hetu (reason) or instrument (sadhana) or gamanika. Fire (agni) can be infer- red from smoke (dhuma) i.e. when smoke is visible on the mountain fire is inferred there. Wherever there is smoke there is fire. Hence smoke becomes sadhana and the fire a sādhya. What is locus to a sadhya (here fire) is called paksa. In the present case the dejection (visannattva) can be inferred by means of the cause of bending down of heads (natananatva) and the tributary princes who become the locus of the dejection are the pakșas When the meaning that the kings become dejected is obvious by means of this inference only why should it be taken as a suggestion based on arthasakti ?

From the stand point of the rhetoricians the argument of the logicians is not sound. In inference (anumana) there must be the invariable concomitance (vyapti) which is nothing but the inevitable relationship existing between sadhya and sadhana. Only when this invariability is present there is scope for infe- rence. In the absence of vyapti there cannot be anumana. But in the present casc this invariable relationship between visannatva a vyangya and natānanatva a vyanjaka does not exist as in the case of yatra yatra dhumah tatra tatra agnih, as the natāna- natva can be due to many reasons. For example the student who salutes his preceptor may bend his head; a lady who is bashful can bend her head; the servant who carries burden also can bend his head; as such it is not possible to speak of the vyāpti as yatra yatra natănanatvam tatra tatra vişannatvam. Even if there is natananatva in a bashful lady there is no visannatva. Therefore the visannatva cannot be invariably present in natāna- natva. As such this cannot be treated as a case of inference.

Further, the cause can be understood by means of a suggestion with the help of the intention of the poet only. There can be many suggestions through a single suggester which depends on the intentions of the speaker as in the case of the sentence 'the sun has set'. To have many suggestions is against the nature of anumana, as vyangya and anumana are quite oppo- site to each other. As such vyangya cannot be anumana.

Kāvya Prakaranam 53

The opinion of the Mimamsakas that abhidha enters the suggested context (pratiyamanartha) is not correct, as the abhi- dhavrtti is connected only with the conventional meaning. As such even the Mimamskas have to accept vyanjana.]

Ubhayaśaktimula : Rudradeva the Lord of the universe who conquered the towns of the enemies, who possesses all the glittering fortunes in the form and who is the head of all the kings is shining. (14)

[This is the meaning on hand. But there is another mean- ing which is not on hand :- as

Lord Siva, the lord of the universe, the conquerer of the Aripura the posseser of Parvati in his form, and moon on his head is shining.]

In this verse the word vijitāripura is arthasaktimula and vilasatsarvamangala and ra jamouliņ are sabdasaktimūlas. So this is ubhayasaktimula. There is the suggestion of the figure Upama between Prataparudra and Sankara.

[The words which possess different meanings are found in sabdasaktimula and they are incapable of being substituted by another without injury to the sense, whereas in arthasaktimula the words that give rise to different meanings are capable of being substituted without injury to the sense. There is the co-operation of arthasaktimūla in śabdaśaktimūla. Wben these two words which are incapable and capable of being substituted are employed there is the ubhayasaktimūla.]

Then the nature of styles like the Kaisiki etc. is described.

KAIŚIKYĀDI VRTTIS When the composition is with an exceedingly delicate style it is called the kaisiki. If it is with excessively elevated style it is known as arabhati. When the composition is with a little softness it is said to be bharati and it is called sattvati when the style is a little pompous. (15 & 16)

54 Prataparudrīyam

There -

Both the (sentiments) erotic and pathos are considered extremely delicate. The wrath and ferocious are said to be extremely haughty. The humourous, quietism and marvellous are acclaimed as little soft and the heroic and terror are said to be little elevated. (17 & 18)

Where the erotic and pathos (sragara and karuna) are described with extremely delicate style there exists the style Kasiki. Arabati style is there where the wrath and ferocious (raudra and bhibhatsa) are established with excessive elevation. The humourous (hasya) marvellous (adbhuta) and quietism (santa) are beset with not too much of delicacy where the style bharati is, and where the heroic and terror (vira and bhayanaka) which are not excessively haughty are composed in a style that is not extremely pompous, there exists satvati.

Examples :

The Kaisiki:

The splendour of an arch which is blue like that of the colour of the petals of the blue lilies, is formed in the sky, by the side glances of the ladies desirous of observing the king the moon of the Kakati family and the vanquisher of cupid in charm, without a wink of an eye. (19)

[Here the love of women for the king is well developed by means of all emotions where it is enjoyed as sentiment. This erotic sentiment is depicted without conjuncts and soft syllabic composition. Hence it is called the style kaisiki.

The intelligent hero of a high family etc. is the alambana- vibhava (a person with reference to whom a sentiment arises). The extraordinary charm of the form etc. are the uddipana vibhavas (excitants). The casting of side glances etc; are anu- bhavas (emotional reactions) and the longing etc. are vyabhi- caribhavas (Passing moods or evaniscent moods). By the com- bination of these apparatus there arises the sentiment.]

Kāvya Prakaranam 55

The Arabhati : The fire of anger of the king (who bears the title) the calamartiganda in the battle is terrible with the moss of the blood streaming forth from the heads of the enemies cut off by a stroke of the swoard, with the sparks of fire generated from the friction of the weapons and with the broken bones, flesh and solidified blood looking like the charcoal that is thick and glowing horri- bly. (20)

[Here because of the usage of the hard letters there is the elevated style and the sentiments wrath (raudra) and ferocious (bhibhatsa) are depicted. Raudra is indicated by the play of the swords and bhibhatsa by the presence of blood and flesh etc].

The Bharati Vrtti: That great height is different; this esteemed depth is some other; the type of valour and fame is something else; the cele- brity of the arms is distinct; everything belonging to the king Rudra is simply new. I do not know how much material was used by the four faced one (Brahman) in creating him and in what style ! (21) [In this verse there are the conjunct letters and at the same time softness in style. This is indicative of the sentiment marvellous (abdhuta). The wonder experienced at the sight of VIrarudra becomes the sentiment abdhuta with the help of vibhāvas etc.]

The Sattvati Vrtti : The enemy kings having heard the sound of the kettledrum at the outset of the journey of victory of Virarudra who posses- sed the lustre that spreads through out the universe from a distance, suffered from full fever of the ears. After climbing the mountains, when about to enter the forests, being dragged by hair by thick throns, they were entreating the trees to pro- tect and leave them considering them (the trees) to be the opposite (enemy) kings. (22) [Here the arrangement of the syllables is a bit formidable and the context also is in consonance with it, resulting in the

56 Pratāparudrīyam

sentiment terror (bhayanaka). The listening to the sound of the kettle drum is the alambanavibhava for the fear generated in the enemy kings, climbing the mountains and entering the forests are the emotional reactions (anubhava). The fever fetigue etc ) are the passing moods (sancaris). Because of the combination of these bhavas there arises the sentiment terror (bhayanaka). Hence this is sattvati vrtti.]

There is another called madhyama arabhati and in the same manner there is the madhyama kaisiki. These two styles are common to all the sentiments. (23)

Madhyamakaisiki exists where the composition is not too pompus though with soft sense (or the sense is soft). The madhyama arabhațī appears where the order is not too soft though the sense is pompous. (24)

[In the case of erotic and pathos (śrngara and karuna) which are delicate, a little pomp is not a defect. But too much of pomp is not agreeable, because there will be the presence of the syllables by which there will be the opposite nature which is a defect.]

Again in the case of wrath and ferocious (raudra and bhabhatsa) though they are too pompous, a some what delicate composition is not a defect. But too much delicacy goes against.

The madhyamakaišikī : When the great festival is approaching, leaving me how can you go abroad? Fie on the adventure ! which fate desires our separation? Oh, Kakati-king, the ladies of your enemies, possess- ing a mind to obstruct the journey of their beloveds in their dreams thus faint on awakening. (25)

[These words belong to the ladies of the enemies who are in separation. Here we notice a little bit of pomp in the com- position. There is the erotic sentiment in connection with the dream and pathos in connection with the awakening state.]

Kāvya Prakaranam 57

vi) The madhyama arabhați: In war the earth is made, by the Andhra soldiers, crowded with bones and flesh, flowing with the rivers of blood, and possessed of the mud of the brain. (26)

Like this it can be noticed with regard to other sentiments also.

[Here is the sentiment ferocious with disgust. 'The com- position is a bit delicate. As such this is a case of the madhyama ārabhațī.]

In the same manner examples can be sought in the case of other sentiments also.

The vaidarbhi14 riti etc. are different from kaisiki etc. in that the former depends on the quality of the word (sabda guna) without concerning with the sense, because they are con- nected with the styles beset with the delicacy, (saukumārya) and pomp (praudha). The style-composition will be soft or delicate when there are soft letters or syllables without conjunct letters. It is said pompous when there are conjunct letters and with hardened or harsh letters. Again it is also said a little soft when it is beset with conjunct letters that are delicate or soft and it is called a little pompous when the composition is not with too much of hard syllables but mixed with soft ones.15

14. Some are of the opinion that the pancall, gaudi etc. are the styles (vrttis). Simply because they are also called vrtti's they cannot be treated as identical with kaiśiki etc. The vaidarbht etc. are depen- dent on the qualities of words like madhurya, and they are not con- nected with the shades of meaning. Hence the question of sentiments like love etc. does not aries in their case. They are only connected with the delicacy and pomp of the words used in the composition. Though madhurya etc. are the qualities of rasa, ritis are not connected with rasa. The vaidharbhl etc. are only connected with the words that are cornected with madhurya etc. that are dependant on rasa. But on the other hand the kaisiki etc. suggest rasa directly. That the difference between kaisiki and vaidharbhi etc. 15. tavarga varjitāh sparšah · - ... ... parusastaganah sașau // commentary on Pratāparudrīyam, p. 46.

661-5

58 Pratăparudriyam

(Next is) Nature and illustration of the dictions :

DICTIONS (Ritis)

The association of words beset with qualiites is called the riti or diction.

[The qualities like madhurya etc. are to be considered ] It is of three kinds - as 1) vaidarbhi, 2) gaudi and 3. pancali.

[It is called vaidarbhi because it is more honoured in the country Vidarbha; gaudi because it is more practised in the country Gauda and pancali as it is connected with the country Pancāla.]

1. Vaidarbhi : The diction is said vaidarbhi when the composition is rid of harshness (i.e. there will be harshness in a composition if there are defective euphonic (combinations), hard letters and lengthy compounds. (27) as -

The quarters in the form of ladies who made his (Rudra) qualities the ear-ornaments are besmearing the sandle of the fame of the king of the Kakati family. or The lady-quarters who made the qualities of the king of the Kakati family as ear-ornaments, are besmearing his fame as sandle paste (all over their body). (28) and also :

When the king, the moon of the Käkati-family who glade- end the entire universe with the past-time of his charitable qua- lity is shining, the people of the earth lost interest in estimat- ing the svarataru (the wish-fulfilling tree that is supposed to be in heaven) and in referring to the kämadhenu (the wish-fulfilling cow supposed to be in heaven). (29) [i.e. the people on earth thought that they no longer need to request either kalpavrksa or kamadhenu for getting their desires

Kāvya Prakaraņam 59

fulfilled as the king Prataparudra of charitable disposition fulfil- led all the desires of the public.

In the above two verses (in original) there are soft sylla- bles, short compounds, and delicate texture. Therefore they are of vaidarbhi diction. The presence of conjunct liquids like rti and rca as in kirticandana carcanam and the fricatives like, s and șa in toșitāseșaloke are not frequent and hence do not mar the vaidarbhi diction.]

2. Gaudīrīti : Tbat diction which possesses the qualities ojas (energy) and kanti (brightness is called the gaudiya.

[The presence of lengthy compounds is known as the quality ojas and exaltedness is called the quality kanti. If these two are present in a composition it is said to be of gaudi.] as - The Andhra king (Pratäparudra) after killing the army arrayed in a circle of the enemies with the rod-like arms which are highly impetuous, and emerging out, is bearing the increas- ing burden of the earth. (30)

[In this, the long compound i.e. the entire first half of the verse is a single compound and the exaltedness achieved by the conjunct consonants can be observed.] One more : The dust of the advancing army increased became an assu- rance of protection to the sun who is bolting away under the delusion of Rähu, (which was) generated by the spreading of the heads of the enemies cut off by the swords in the pillars like arms of the king of Andhras; The moons of the faces of the celestial damsels were surrounded by the multitude of the stars of the clusters of the pearls that are shining (after emerging out) from the abdomens of the rut-shedding elephants broken in the burden of the war. (31)

[In the above two verses there are hard syllables and long compounds which indicate the gaudi diction ]

60 Pratāparudriyam

The Pancala riti: The admixture of the dictions of vaidarbhi and gaudi is pancāla rīti.

as- When the dust of the earth is raised at the time of the conquests of the victorious Rudra king who is the Kakati-hero, the sky is being treated as earth; The Ganges in the sky known as the well in the sky, having got long banks because of the dust, became the river of the men and the Godävari which is extremely deep became the (Patalaganga) Ganges of the netherlands (32)

another example :

Oh king! who possesses the title 'calamartiganda' it is really befitting, that the serpant of your sword is getting satisfied always with the lives of your enemies (Life is air and the serpant lives on air). But it is really wonderful that it is increasing the nector of the wealth of your fame, which is spread through out the three worlds and which possesses the white colour by drink ing the milk of the glory of the enemy kings. (33) [Here it is amazing to note that the milk which is drunk bas become nector, because the milk drunk by serpants usually becomes poison. In these two examples there is the admixture of both the dictions vaidarbhi and gaudi.]

Next SAYYĀ16 (BED)

The highest mutual affinity of the words is said to be sayya or bed.

[The mutual contact of the words that cannot tolerate any exchange becomes sayya. The vaidarbhi and other dictions can tolerate exchange of words whereas in sayya it is not the case. That is the difference between ritis and śayya.]

16. In the line रीतयश्चेयती शास्त्रप्रमेयं काव्यपद्धति: from the cakara the sayya and pāka are considered. As the sayya pertains to the qualities of words, in this context it is to be explained,

Kāvya Prakaraņam 61

as --

The reputation of the gem that adorns the Kākati family who is a mendicant, who possessed the elevasion of qualities that outwit the Kalpa-tree by the praise of boundless charity and whose valour is deep is usually possessing the burden of the whiteness that is grown on the cheeks of the ladies of the enemies which has the fragrance of the moonlight of the Sarat season. (34)

Here because of the intolerance of the exchange of the words of the composition the sayya is in accordance with the words.

Next the PAKA like the DRĀKȘĀ etc.

The depth of the meaning that touches the heart is called pāka (cooking). It is of two kinds - drāksāpāka and nārikela paka which are very clear. (35)

Defnitions and illustrations respectively : Wherever there is the flashing sentiment both externally and internally there exists the draksapāka:

as -

The beautiful eyed lady is sprinkling the side glances al- round the king Rudra which are blooming with cupid; (which are) emiable with fragrance17 and sweet with gentle smiles, (which are) frigid with a little shyness;18 (which) bear the happiness of the sentiment of love (which) branched numerously and (which) generated thousands of cupids (the mind born) (36)

[In this drakșāpāka the sentiment must be externally evident and it must be enjoyed internally also in its depths as thought over. The grapes (draksa) are usually sweet, full of juice and liked by all. 17. She belongs to the category of Padmini and hence the fragrance. 18. The heroine here is a praudha. So there is the frigidity in her glances.

62 Pratâparudriyam

In the above verse the qualities of the side glances are mean. ingful to the core. Sentiment love is capable of revealing itself more and more as the reader contemplates further and further. It is clear even at the outset. There is also clarity and depth in its meaning. So this is drāksāpaka.]

Wherever the sentiment is concealed there arises the nārikelapāka.

as -

Observe friends! the course of her lovely dance is excellent beyond expression. Her libidinous brows are glittering in accor- dance with the attachment of emotion in Kakati king. The grace of her dance-werld of the cupid-art attained the reflection behind the curtain of bashfullness. It has the freshness of the first scene with graceful movements. (37)

[Unless the coconut (nārikela) is broken it cannot be enjoyed. Similar is the case with this paka also; as the sentiment lies concealed.]

Here the meaning cannot be got at immediately. In the same manner this is to be considered with regard to the know- ledge of vastu and alankāra also. Other pākas like madhu, kșīra, etc. are to be understood as and when occurred.

[The two examples given so far are connected with the sentiment. Like wise vastu (bhava) and alankara (figure of speech) are to be judged. In the case of drāksapaka we instantaneou- sly arrive at the meaning. But in the case of nārikelapāka there is sufficient delay. In between there are other stages also.

These stages of the pākas may be termed madhu, ksira, kadali, rasāla etc.

Next. VARIETIES OF COMPOSITIONS

A composition is of three types depending on 1) the importance of suggestion, 2) its unimportance and 3) indistinct or non existance of suggestion Where the suggestion (vyangya)

Kāvya Prakaraņam 63

is important it is the best composition or work and is known as dhvanikāvya; (When suggestion is) not important it is a second grade work and is called gunibhutavyangya i.e the suggestion is subordinated, and when there is no suggestion or it is indistinet it is said to be lowest or citra kavya i.e. The three var:eties are uttama, madhyama and adhama kāvyas:

[A great poet always tries his hand at the suggested meaning or vyangyartha. The suggested meanining does not stop in the middle; it reaches the end when the connoisseurs will be able to enjoy it. That type of work is called uttamakavya i.e in this uttamakavya there is the highest importance for suggestion or vyangya. Quite opposite is the case with regard to madhyama- kavyaie. In this variety the vyangya is not important. This means suggested meaning or the vvangyartha is not attractive. This is then called gunibhutavyangya where vyangya is unimpor- tant. The third variety is adhamakavya where there is no vyangya. It depends on the variety of vacya and vācaka expressed and expressor. Hence this is called citra. This is also known as alekhyaprakhya. This is again of three types - sabdaritra; artha- citra and ubhayacitra.]

Dhvani (Suggestion) as :- Sir, "How is it, the principle mountains19 are being lowered (in status) ? The oceans are made fordable? and the Lords of quarters small?". Though the followers are uttering this time and agaiu the creator who has the righteous mind, having bru- shed all this aside has created the king Virarudra, the single abode of qualities. (38)

Here the higher loftiness over the principle mountains the greater depth than that of the oceans, and richer wealth more than that of the lords of quarters, of Prataparudra is suggested. Further it also suggested that the splendour or the greatness of the Kakati family is far superior than that of the creation of the principal mountains, the oceans, and the lords of the quarters. 19. They are Mahendra, Malaya, Satya, Suktimān, Rksaparvata, Vindhya and Pāriyatra.

64 Pratāparudriyam

Guņibhutavyangya :- Subordinated suggestion : When the king Virarudra, the protector of the universe, who possessed all the quarters that are filled with the greatness of the valour spread afresh, is occupying the throne, acts of that type were performed by the important kings who congrigated in his assembly by which the sight of this lord of the Kakati is made wet with pity. (39)

In this verse the suggestion that the kings who attended the coronation of Pratäparudra the Kakati lord, seeking his pro- tection spoke pitiably, taking oaths again and again by which Prataparudra becomes compasionate, is revealed. But this does not excell the primary meaning which says that "such kinds of acts were exhibited by which the lord became compasionate." Hence thi, is gunibhutavyangya20 i.e. subordinated suggestion.

iil) Citra - Portrait : Citra is of three types :- a) sabdacitra, b) arthacitra, c) ubhayacitra.

a) Śabdacitra31 as :- The sports of the ferocious and mace like arms of the king Rudra whose valour is raising are capable of protecting the earth and putting an end to the agitation of the universe. They possess the ways that cannot be perceived and have the swords raised in the act of chapping off the wings of the wretched ksatri- yas; they are the thunderbolts to cut off the mountains of pride of the roaring wicked. (40)

20. When it is said that they 'acted in such a manner' - the emotional feelings of the actions are more pleasing than the suggested sense. As such it does not excell the primary meaning. The vyangya is not concealed here and does not possess any charm. So this is known as gunibhuta. Guna means not important and that which is not important is gunībhuta. When vyangya is guntbhuta it is gunībhutavyangya. 21. This type of citrakavya is the last category where the charming poetic element is considered to be at its lowest. If the poet shows more and more inclination towards the portrayal of words it is called śabdacitra. If it is towards meaning then it becomes Arthacitra and if attention is paid towards both, it becomes ubhayacitra. As the attention is only on the portrait it is called citra.

Kävya Prakaranam 65

Here there is the alliteration called vrttyaruprāsa in abun- dance. As the mountainness is superimposed on the pride the figure is rupaka. On the whole the syllabic alliteration is pom- pous and hence this is an instance of sabdacitra

b) Arthacitra: as :- The wise who observed the image of the folded palms of the enemy kings in the sword sporting in the baitle of the king Viraprataparudra opined that it was the lotus abode of the victorious Laksmi (wealth). But I feel that it is the lotus seat of vidhi (Brahman) who came there to receive the lives of the enemies killed in the battle (of Viraprataparudra) for recrea- tion. (41)

[Here the intention of the poet is to portray the figure apahnuti-concealment. In the first instance he has concealed the image of the folded palms by superimposing the lotus seat of the wealth. Again through this process he is establishing the lotus seat of the Brahman there itself. So it can be noted that the poet takes more care in the portrayal of the figure conceal- ment than in the alliteration shown in the previous instance. As this figure is an arthalankara which is more predominent this is an instance of arthacitra.]

c) Ubhayacitra: as :- The earth is sporting like a beloved in the virtuous Prata- parudra who is the ocean of learning, singularly auspicious in the universe, conqueror of elephant like enemies, foregoer of sleep in (offering) protection and the bearer of the seal of valour. (42)

[In this verse the repitition of the letter 'dra' can be clearly felt. This is a case of the alliteration called vrttyanuprāsa. There is als o the figure simile (upama) as noted in the expression 'like a beloved'. These two i e. vrttyanuprāsa and the figure upama are equally important. Hence this is a case of ubhayacitra where sabda and artha are painted in almost equal proportions.

In all the three instances of citrakavya enumarated above it is possible to note a sentiment either srngara or vira. On the

66 Pratäparudriyam

basis of this, at this stage if there is a doubt why this also should not be taken as uttamakavya the answer is that the intention of the poet does not lie in the deliniation of sentiment. On the other hand he simply wishes to exhibit his erudition in word play" etc As such this is to be treated as citrakavya only].

THE VARIETIES OF DHVANI

Then the varieties of suggestion are shown :- In the beginning there are two varieties of suggestion called avivakşitavācya (unintended literal import) and vivakșitā- nyaparavacya23 (an expressed meaning with extended significa- tion) based on laksana (secondary meaning) and abhidhā (con- ventional meaning) respectively.

Avivaşitavacyadhvam .- unintended literal import. This is divided at first into two varnies 1) arthantarasamkra. mitavacya2 (a literal meaning retained in the suggested) and 2) atyantatiraskrtavācya (an expressed sense completely lost or concealed lost in the suggested) Again this is divided into two

22. In this context the Kavyāloka says रसभावादिविषयविवक्षविरहे सति। अलंकारनिबन्धो यः स चित्रविषयो मतः ॥

23. Vivakşitānyaparavacya is based on abhidha. Here vācyartha i.c. the verbal meaning or the primary meaning does not become incon- greous but gets extended further. It is a common experience that people meet an agent of a king when they wish to meet a king. In the same manner though the suggestion is to be sought the primary meaning is to be considered. Therefore the appalation given to anyaparavacya is appropriate. That which is based on laksana is known as avivaksitavacya. Here the primary meaning is repelled by the suggestive sense and is not intended. So this name is also appropriate. 24. In this variety of arthantarasamkramitavacya though the literal mean- ing is considered to some extent it is not enough. It is retained in the suggested sense. Hence it is based on the ajahallaksana. When the literal sense (vacyartha) is completely repelled it becomes at yantatiraskrtavacya. Here there is no consideration at all for the literal meaning. Hence this is based on jahallaksana.

Kāvya Prakaraņam 67

based on vakya (sentence) and pada (word) where by this aviraksita vacya becomes four fold (4).

Vivakşitānyaparavācyadhvani : This is divided into two as 1) samlaksyakramavyangya25 (suggestion of marked sequentiality) and asamlakşyakrama vyairgya26 suggestion of undiscered sequentiality).

In the sabdusaktimula (based on the force of the word) of the samlaksyakramavyangya there are two types 1) vastudhvani (Idea, subject or theme) and 2) alankaradhvani (figure of speech). Again each is separately divided into two as based on vākya

(Contd. F N. 24) In arthäntarasamkramita the reasons for the retension of the sense in the suggested is because of vyan jana and its associates. The follow- ing are the varieties of dhvani which thus becomes four fold :- 1. Padagatārthāntara samkramitāvivaksitavāc yadhvani. 2. Vakya gatārthāntara samkramitāvivaksitavācyadhvani. 3. Padagatātyanta tiraskṛtāvivaksita vācyadhvani and 4. Vākyagatātyanta tiraskrtāvivaksita vācyadhvani

25. If the sequence between the suggestion and the suggestor is discerna- ble it becomes samlaksyakrama i.e. there is an order in the denoted sense and suggested sense. But the denotation is first met with, then only follows the suggested sense. The time taken for the comprehen- sion of one from the other is clearly visible. Hence it is called samlakşyakramavyangya.

26. Asamlaks yakramavyangya is also known as rasadhvani. Here the vibhavas (stimuli) are the suggestors and the rasa or sentiment is the suggestion. There is certainly a sequence of these two. But it is so thin and negligible. In this connection the oft quoted example is the needle and the lotus petals. Supposing there are hundred lotus petals placed one on the other and a needle is passed through, from one end to the other of the bundle, though there is some time taken for pass- ing through from one to the other, it (the time) is not perceivable. Such is the case with regard to this asamlaks yakramvyangya. Hence it is called so and there is propriety in its nomenclature. There can- not be the knowledge of the vibhavas and the knowledge of rasa in one and the same moment and no body says that they are one and the same. It is after the knowledge of the vibhavas only there will be the knowledge of rasa i.e. the later is emanated from the former. Even though this order exists this is not perceivable to the naked eye as it is very minute.

Pratāparudrīyam

'sentence, and pada (word). This is thus four fold27 (4). In arthasaktimula (based on the force of the meaning) of the samlakşyakramavyangya with regard to artha there are three 3: varities28 (1) svatahsambhavi (naturally existing (1i) kaviprau- dhoktisiddha (Existing in the ornate expression of the poet (iii) kavinibaddhoktisiddha existing in the ornate expression put into the mouth of the character created by the poet). This again in connection with vastu (idea) and alankāra (figtre) becomes six varieties which again based on vyangya and vyan jaka become twelve (12)2 varieties. Again these twelve when viewed as 1) Praban- dhagata (narration) 2) vākyagata (sentence) and 3) padagata 'word) become thirty six (36) varieties. Thus this arthasaktimūla anuranana dhrani is of 36 varieties. In ubhavasaktimula (force of word and meaning), there is only one variety as rākyagata (this is ubhayasaktimula samlakşya- krama vivakşitanyapara vācyadhvani). Thus this samlaksyakrama vyangyadhvani (suggestion of the marked sequentiality is of forty one varieties;

27. They are as follows . 1. Padugataśabdaśaktimūla samlaks yakrama vivakşitānyaparavācya vastudhvani. 2. Vākyagata šabdasaktimūla samlaksyakrama vivakşitānyapara- rācya vastudhvani. 3. Padagata šabdašaktimūla vivakşitānyaparavācyālankāra dhvani. 4 Vakyagata sabdasaktimūla vivaksitān ya paravācy alankāra dhvani 28. 1. Svatahsambhavi .- A sense that can exist even in the ordinary world apart from the poetic world depending on the propriety is known as svatahsambhavi. 2. Kavipraudhoktisiddha :- This arises from the power of the imgi- nation or genious of the poet. It need not necessarily be in the ordinary world. 3. Kavinibaddhoktisiddha :- This sense which arises from the genious of the poet is made to come from the mouth of the characters created by him in his composition. Hence this is called so. 29. A rastu (idea) can become a vyañjaka and vyangya. In the same manner an alankara (figure) also can become a vyānjaka and vyangya. So the vastu and alankāra become vyanjaka, and vyangyas i.e. for a vyangya in the form of a vastu (idea) vastu becomes vyan jaka (suggestor and an alankāra (figure) also becomes a vyanjaka and vyangya. In

Kāvya Prakaranam 69

Asamlakşyakrama vyangya (suggestion of the undiscerned sequentiality).

Asamlaksyakramavyangya is the suggestion of Rasa etc. i.e: rasadidhani. It is of six (6) varieties30 1) prabandha 2) vākya 3) pada 4) padaikadesa 5) racanā and 6) varna Thus the vivaksitānyaparavācyadhvani is of forty seven (47) varieties. Including the four varieties of the avivaksitavacya already shown

(Contd. F.N. 29) this process the six fold division becomes twelve fold. They are as follows : 1. Svatassiddhārthaśaktimūla samlks yakrama vivaksitānyapara- vācya vastunā vastudhvani. 2. Svatassiddharthasaktimūla samlaks yakrama ...... alankāradhvani. 3. Svatassiddhārthasaktimūla samlakyakrama ... . alankāreņa vastudhvani. 4. Svatassiddharthaśaktimūla samlaks yakrama .. alankārena alankāradhvani. 5. Kavipraudhoktisiddharthasaktimūlasamlaks yakrama vivaksitānya paravācya vastuna vastudhvani. 6. Kavipraudhokti siddhārtha šakti ...... vastunā alankāradhvani. 7. Kavi praudhoktisiddhartha śakti ...... alankārena vastudhvani. 8. Kavipraudhoktisiddhārtha śakti ..... alankārena alankāradhvani. 9. Kavinibaddha vaktr praudhoktisiddhārthaśakti ...... vācyena vastu- dhvani. 10. Kavinibaddha vaktrpraudhoktisiddhārtha akti vācyena alankāra- dhvani. 11. Kavinībaddha vaktṛ praudhoktisiddhārtha vācyatālankāreņa vastu- dhvani. 12. Kavinibaddha vaktrpraudhoktisiddhārtha alankāradhvani. Each one again becomes three fold as prabandhagata, vāk yagata and padagata when the total number comes to thirty six (36). This arthaśaktimula dhvani is otherwise know as anuranana- dhvani. As it goes on ringing following the previous one it is called so 1.e. there is alankaradhvani emerging from the vastu and vastudhvani emerging from the alankara. So one follows the other. 30. They are: 1. Prahandhagata vivakşitānyaparavācya samlaksyakrama vyangya rasadidhvani. 2. Vāk yagata vivakşitānyaparavācya samlakşyakrama vyañgya rasādidhvani

70 Pratäparudriyam

in the beginning they are of fifty one (51) varieties and they are suddhas.

Among these varieties when individually they are mixed with one another the first variety gets fifty one (51)31 kinds; the second gets fifty (50) and the third gets fortynine (49) kinds. Likewise if we go on deducting one variety at the rate of one from each in the remaining they become one thousand three hun- dred and twenty six (1326) varieties of miśrabhedas.32

(Contd. F.N. 30) 3. Padagata vivaksitānya paravācya samlaksyakrama vyangya rasadidhvani. 4. Padaikadešagata vivakşitānyaparavācya samlaks yakrama vyan- gya rasadidhvani. 5. Racanāgata vivakşitānyaparavācya samlaks yakrama vyañgya rasadidhvani 6. Varnagata vivakşitānya paravācya samlak s yakrama vyangya rasādidhvani. 31. If padagatārthāntara samkramita vivaksitavācyadhvani is mixed with vākyagatārthantara sankramitavacyadhvani it is an admixture. Broadly we have to note also that the admixture is a combination of laksana- muladhvam and abhidha muladhvani and vice versa. 32. The ancients seem to have enumarated the varieties in a different manner. They do not seem to have accepted the view that one variety is to be gradually reduced at the following step in the case of the varieties of the śuddhadhvani. So according to them there will be fifty one (51) varieties in the second case (of admixture) also (as against 50) as in the case of the first variety. Similarly for the third variety also. The connection of the padagatārthāntarasankramita vivaksita vāc yadhvani with vakyagatarthantara sankramita vivaksita vācyadhvani forms a variety of the miśrabedha. The vice versa again forms another variety. Likewise Is the variety arising out of the admixture of the laksanamuladhvani and abhidhāmuladhvani and the vice versa. So for every 51 varieties there will be another 5t varieties. When all these summed up we get two thousand six hundred and one (2601) varieties in suddha variety itself. As against this method the reduction-method shown above if adopted there will be a reduc- tion of one thousand two hundred and seventy five (1275) types and there will be 1326 varieties only. According to Vidyanatha this view of the ancients is not tenable. There is no difference between the connection of avivaksitavacya with

Kavya Prakaraņam 71

The variety existed in the association of a vivaksitavācya with vivaksitanyaparavacya is not different from that of the vivak- şitānyaparavācya with avivakșitavācya. Similarly the variety exis- ted in the association of vastudhvani with alankaradhvani is not different from that of the alankaradhvani with vustudhvani. Thus when the former is mixed with the latter there will be a reduction of one (variety).

If this admixture (misrana) is again considered in the light of the three types of sankara33 and on: type of Samsrsti, altold with these four, the total varieties that would result are 5,304.

The suddhas are fifty one (51), the misras are one thousand three hundred and twenty six (1326) and those are resulting from samsrsti and samkara are five thousand three hundred and four only (5304).34

Now the names of the 51 varieties belonging to suddha are as follows:

1. Padagata arthāntara-samkramita avivakşita vācyadhvani. 2. Vākyagata -do- -do-

2. Padagata atyanta tiraskṛta -do-

3. Vākyagata -do- -do- 5. Padagata śabdasaktimūlasamlaksyakrama vastudhvani : 6. Padagata -do - alankāradhvani

(Contd. F.N. 32) vivakşitānyaparavācya and vivaksitānya paravācya with avivaksita- vacya. They are only one. Similar is the case between the connection of alankäradhavani with vastudhvani and vastudhvani with alankara- dhvani. Hence in these connections we have to go on reducing one variety. In the difference accepted by the ancients the difference is only in permiations but not in anything else. 33 (i) Sandeha sankara (ii) angāngibhāva sankara and (iii) ekavācakānu- praveša sankara. Samsrsti is only one and no divisions in it. 34. According to Mammata (the author of the Kavyaprakāsa) suddha is 51 types; The miśras are 2601 types and other resulting from samsrsti and śankara are 10,404 types.

72 Pratāparudriyam

7. Vākyagata -do- vastudhvani

8. Vākyagata -do- alankaradhvani

9. Padagatah svatah siddhārtha šaktimūlo vastunā vastudhvani 10. -do - -do - alankaradhıvani

10. • do- -do- alankārena alankāradhvani

11. Padagatah svata siddhārthasaktimūlo alankāreņa vastu- dhani

12. Vakvagatah siddhārtha saktimūlo vāstunā vastudhavnì 14. -do- svatasiddharthasaktimula vastunā alankāra- dhvani 15. -do- siddhartha saktimūla alankāreņa alankāra- dhvani 16. -do- -do- vastudhani 17. Prabandha gatah svatassiddhārthārthaśaktimūlo vastunā vastudhvani 18. -do- -do- vastuna alamkaradhvaniḥ 19. - do- -do- alankāreņa ulankāradhvani 20. -do - - do- vastudhvani 21. Padagata kaviprauahokti siddha arthaśaktimūlo vastunā vastudhvani 22 - do- -do - alankaradhvani 23. -do- -do- alankārena alan- karadhvanì 24. -do- -do- alankārena vastu- dhvani 25. Vākyagatķ kavipraudhokti siddha artha śaktimūlo vastunā vastudhvani 26. -do - -do- vastunā alankāradhvani 27. -do - -do - alamkarena vastudhvani 28. -do - -do - -do- alankaradhvani 29. Prabandha gata kavi praudhoktisiddha arthasaktimulo vastunā vastudhvani 30. - do- -do- vastunā alankāradhvanį

Kāvya Prakaranam 73 45. Prabandhagata asamlakşyakrama vyangyo rasadidiien 46. Vākyagata asamlaksyakramavyangyo rasadidhsuni 47. Padagata -do- -do - 48 Padaikadeśagata -do- -do- 49. Racanāgata -do - -do- 50. Varnagata -do- -do- 51. Vakyagata ubhayasaktimūla rasādidhvani These are illustrated only in limited manner.

Arthantarasankramita avivokşitavācyadhvani : as :- "Oh! Heads belonging to us! why do you wish to be high?" Thus (saying) the enemy kings howed down to Pratapa- rudra. (43)

Here the word asmakah indicates the sense that "we have become the ground for all types of miserable conditions and you (the heads) belong to us who are thus reduced to such pitiable state." So this is an instance of arthantarasankarmitāvivaksita- vācya.

[The word asmakah which is an avivaksitavacya becomes a 'suggestor and suggests the sense' you belong to the poor and pitiable persons like us. So oh! heads to desire to be high is not proper on your part].

2. Atyantatiraskrta (avivakșita) vācyadhvani : as :- The great streams of glory of the Kakati-lord are strolling; besmearing the sky with clarity (purity) and filling all the quar- ters with whiteness. (44)

Here the expression visadima vilipta viyatah is atyanta tiras- krta vācya. In the same manner vākyagata etc. are to be instanced.

[Here the act of besmearing is connected with an object having form, but not with one that does not possess any form. So this word vilepana discards its primary sense and takes the

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74 Pratāparudriyam

sense of ranjana by which great lustre is suggested. So the expres- sion visadima vilipta viyatah is atyantatiraskṛtavācya.]

3. Arthasaktimūla vastunā vastudhvani : as - The women of the enemies of the Käkatiya are wishing for the years rid of seasons, minths rid of white balf (suklapaksas) and the nights rid of tithis (the lunar days) (45)

It is here under:tood that the ladies of the enemies of Prataparudra always wish for the absence of seasons etc. as they enhance their passion. By this the idea that they are separated from their husbands is suggested which in turn indicates that the enemies of Prataparudra were killed, a sense that excells the vacya. Thus the women of the enemies who are afflicted by the separation of their beloveds with a desire to live for some years, first wish the absence of the seasons. Then being unable to spend even those years with a desire to live for months, wish the absence of the suklapaksa. Again being incapable of leading lives even in that state, entertaining the idea of living at least even in lunar days (tithis) they pray for the non-existance of the nights. Thus one idea gives rise to so many other ideas. 4. Vastunā alankāradhvaniḥ : as - Having observed the glory of the king kākati Virarudra, that spread through out the Universe, Siva wishes to dwell there; the husband of Laksmi (Vișnu) desires to sleep, the multitude of the holy sages is running to bathe, the oceans are moving to swell up; and even Abhramu, the lady Iravata wants to touch slowly ! (her husband) exhibiting coquetry. (46) The illusion of Kailaśa (in the white glory) of Śiva, and milk-ocean of Visnu is seen here. This is a figure called bhranti- man which is suggested.

[The desire of Siva to dwell etc. is the vastu (idea) that is a vyanjaka (suggester). When they observed this white fame of the king Rudra Siva mistaking it to be Kailasa wanted to stay there and Visou mistaking it to be milk-ocean wanted to take his bed there. The sages under illusion conceived it as celestial Ganges and the ocean took it as the moon. Finally the Abhramu mistook

Kāvya Prakaraņam 75

it for her husbind Iravata. Then the figure bhrantiman is sugres- ted.]

5. Alankārena vastudhvaniļ: as - The sword of Pratäparudra, having attained the ruddy lustre on account of the swollen blood in that movement in the battle is proping the excessive sports of the glances of the Kali. which are ruddy with anger. (47)

Here by the word alambate there is the figure35 nidarsana by which the vastu (idea) that the destruction of all the foes in a minute is done is suggested. [By saving that the sword is having the sports of the glances there exists the figure nidarsana. The glances of Kāli destroys the foes in a minute. Likewise the sword of Pratāpa- rudra, in a single minute, destroys all the foes. This is the vastu (idea) suggested.]

6. Alunkārena alankaradhvaniķ : as - When the fame of lotus of the Kakati-lord is full-blown the sky which is black like the tamalas (trees by that name) is bearing the sport of the bees. (48)

Here when it is said that the sky is bearing the sports of bees in the form of lotus, it becomes the figure nidarsana. By this the figure adhika in which there is incompatability between aśraya and asrayin is suggested. The largness of the fame of lotus which is an asraya and the smallness of the sky by the establishment of similarity with bees is indicated. [Here fame is adhara and the sky is adheya, the lotus is adhara and the bees are adheya. The bees that are on the lotus are naturally must be small in size when compared with that of the lotus. This means that the lotus is bigger in size. So the sky which bears the sports of bees is considered smaller 35. There appears bimba pratibimba between upamana and upameya when the relationship of dharma does not exist and it is the figure nidar- śana. (P R. Arthālankāra No. 37).

76 Pratāparudiīyam

and the lotus becomes larger with a wide fame. Therefore the largenes of the fame of lotus whlch is asraya, and the smallness of the sky which is similar to the bees is suggested "which hap- pens to be the figure adhikal.

In these examples there is the svatassiddarthasakti (as the suggested sense is natural in the world).

7. Next is the Kavipraudhoktisiddhārthasaktimūladhvani-vastunā vastudhvaniḥ : as - Having heard, time and again, the fame of the Kakati-lord that is sung by the multitudes of passers by always, that wauders through the path of ear which is in the form of a hole made by the arrows of Kartikeya engaged himself in a gymnasium; and which is honoured in the universe, the mountain krauuca36 becomes stupified with great wonder. (49)

Here the vastu (idea) that the fame of Prataparudra is creating wonder even in the inanimate objects, is suggested.

[The idea that the kraunca heard the fame is itself the vyanjakavastu. When it is said that the mountain became stupi- fied with wonder, it becomes the figure hetūtpreksa. But inspite of the existance of this figure, the idea that the fame is capable of creating wonder even in inanimate objects is more charming. Hence it is vastuna vastudhvanih. The faculty of hearing is un- natural to an inanimate object. This is done by the poet with his genious only. So this is kavipraudhoktisiddha.]

8. (Kavipraudhokti siddhārtha) vastuna alankaradhvaniķ : as - Having seen the soldiers of Virarudra who are embraced by Jayalakşmi (the wealth of victory) in the battle the thorney trees are dragging the hairs of women of enemies in the forest. (50) Here it is fancied that the trees are drawing the ladies of the enemies of Prataparudra, by their hairs with their thorns, as

9. It is well known that Kartikeya (Kumaraswamy) made a hole in the mountain kraunca with his arrows, vieing with Parasurama.

Kavya Prakaraņam 77

if they are experieneing love whea they ob-erved .he soldiers ef Prataparudia who are embraced by Jayalk m :. This is the figure utpreksa which is suggested.

9. ( Kavipraudhoktì siddhartha) alenkaren vastudhvaniķ : as - When the hushand who captivated the heart has crme near, the modesty of the bride who e loves-anger (was Inserd) vanished has slipped out along with her frie: ds, as if it is afraid of being caught. ( 1)

Here by the figure utpreksa the rastu (idea) that she is embraced is suggested. The figure is utpreksa arising from the expression as if afraid of being caryout.

10. (Kavipraudhokti siddhārtha) alankārena alankāradhvaniķ : as - It looks by its noddings (of the tops) of the branches, as though the forest is not agreeable to give protection to the ere- mies of the lord of the Kakati's who are imploring protecticn. Here the expression as if it were not agreeable is the figure utpreksa. By this the figure utpreksa that forest also looks as if it were afraid of Pratäparudra is suggested i.e. the fear of the forest is suggested. 11. The arthasaktimula of the kavinibaddha vaktrpraudhoktisiddha variety - vastuna vastudhvanih : as - Oh! king whatever may be the (condition of the) respect- able lady! please protect the moon because the nector of her glances were ordered to blacken the moon. (53)

Here the lady who is tormented by separation culd not endure the moon light. So she is blackening the moon with the nector of her glances which are bright with anger. So he is to be protected. By this vastu (idea) another vastu (idea) that "She cannot sustain her life hereafter and so you (the hero) have to meet her immediately" is suggested. [This is uttered by her friend to the hero. This friend is the character created by the poet. The suggestion which is got,

78 Prataparudriyam

is from her utterences So this is kavi nibaddhavakt praudhokti sıddha.]

12. (K.N.V.P.S.) Kavi nibaddhavaktr praudhokti siddha vastunā alankar dhvanih. as - Who ar: you, loitering here with a clean (white) body? Surely, I am the glory of Virarudra: who is he, living in the neighbour hood with a lustrous body? My friend Pratapa (i.e. the valour of Prataparudra). Oh! enough of concealment of your nature of sun and moon that is revealed to us by the acts of kumuda (lilies) sarasijas (lotuses) welcome to you: I am the Avadhigiri who is freed from darkness. (54)

Here the figure upama is suggested by the knowledge of similarity between the glory and valour of Prataparudra and sun and moon.

(This type of conversation which is a vastu between Avadhi- giri and the glory of Prataparudra is not natural. This is a crea- tion of the poet ]

13. Alankāreņa alankāradhvaniķ : as - See friends! the intolerable loveanger of this bride (daughter-in-law) is slipping out as if in fear generated by agita- tion in the meeting of the king. (55)

Here by the figure utpreksa the figure vibhavana that her anger is subsided without the entrities of the lover is suggested.

14. Alankārena Vastudhvaniḥ : as - Oh! Lord! This syama (girl in youth or in black colour) being unable to get an occasion to serve you who are always surrounded by ladies, has become white all over the body, as if it were by serving your fame. (56)

Here by the figure utpreksa known by the expression seva- maneva the vastu that she is to be accepted by the king always is suggested.

[Here serving fame is fancied as the case for the whitness generated in separation from the beloved.]

Kāvya Prakaranam 79

Likewise examples in the case of prabandhagata etc. also are to be understood. They are not eaumerated here for fear of elaboration.

Next Śabdaśaktimūladhvani : This is of two types: 1. vastu and 2. alankara. Hence it is said :

Where either alankara or vastu strikingly appear by sabda, there is the sabdasaktyudbhavadhvani which is of two types: (KP. IV. 15; 16).

[Here it is noted that alankara also is a vastu. This is understood by the word eva in the verse. As it is a special kind of vustu it is known as alankara. This vastu is of two types 1 citra vastu (peculior vastu) and 2. acitravastu or suddhavastu is known as vastu where as citra is known as alankāra.]

(i) Śabdasaktimula alankaradhvaniķ : as - He is really a king; and you are syama (lady in youth); your union is befitting; there is no disorder here This looks really wonderful. (57)

Here by the words syama and raia the love story of a lady and the king is understood. From this the episode of night and moon is also known which knowledge suggests the figure upama.

[The above meaning is quite ordinary. This is the utte- rence of a friend of a girl. She says - "Oh: lady, in youth ! you have loved the king. Your union is quite befitting: But how is it in your case rumours have not yet been spread? This is really wonderful - This is the contextual meaning. The other meaning which is beyond the context is - Oh girl! He is moon and you are night. Your union is befitting and natural. But as a resuit of your union there must be pradosa (night fall). This has not bappened. This looks wonderful !

Here the words syama and raja are the vacakas of kant. and the king respectively on the strength of the context. The knowledge of night and moon arises because of these onlywrods.

80 Pratāparudrĺyam

The poet used the words that give rice to so many meanings. F.om this it is noted that the other meaninge also are intended by him. But the other meaning should have connection with the meaning of the context on hand and a comparison has to be thought of to connect both the meanings, when the figure simile is suggested. This figure upama is usually caused by those words which possess double entender. Hence this is called śabdasaktimula.]

(i1) Śabdasaktimula vastudhvani: as - Oh ! kings! (you) who are distressed by living in forests listen to our advices in your interest. Now perfom the service of the feet of raja. (58) Here on the strength of the force of the word rajapadaseva (service of the feet of raja) the knowledge of Prataparudra arises out of the context. From this it is sugge ted that the service of Prataparudra is to be undertaken abandoning undergoirg trou- bles of the forest life. This is the vastu that is suggested vastu. (The word rajapadaseva gives rise to two meanings 1) the service of the feet of king Prataparudra and 2) enjoyment in the rays of moon. On the strength of the context it is usually understood that those enemy kings who are driven to forests should take to the service of the feet of Prataparudra (i.e. they should accept the sovereignity of Prataparudra) as no useful purpose is served by tormenting themselves in forests. This is the suggestion that arises. Generally for those who are tormented by heat santa- patah (by the son) the moon rays give solace and delight. Here though this meaning also is to be considered it can be understood that it is not useful for the context as for those who are distressed by Prataparudra the moon rays are of no use and they have to necessirily accept the authority of Pratäparudra if they wish to be bappy. So it is better to accept the service of Prataparudra. This is the vastu that is suggested finally.) Ubhayasaktimuladhvaniḥ : as - Oh kings ! He is by nature a conqueror whose pillar like arms display the wonderful weapons. Leave off the display of your array. (59)

Kāvya Prakaraņam 81

Here there is the sabdasaktimuladhvani in words like kşma- bhartah and nijapaksavijrmbhitam; muncantu and jișnureva. There is the arthasaktimuladhvani in bhujastambhairmbhamānādbhutā- yudha. Hence this is ubhayasaktimula.

[There is the second sense also in this verse which is - Oh ! mountains! (ksmabhrtah). He is Indra (Jisnu) who possesses the display of wonderful arms on his pillar like arms. You all give up the fluttering of your wings.

The words ksmäbhrtah etc., shown above cannot tolerate re- placement. Hence it is śabdasaktimula. The compound bhuja- stambha Jrmbhamanadbhut ayudha can tolerate replacement. As such this is arthasaktimula. As both the sabdasakti and arthasakti are present it is ubhayasakti. This is vakyagata as it is a single sentence.]

Asamlakşyakramadhvani ; Rasadhvani etc. is asamlakşyakramavyangya i.e. suggestion of undiscerned sequentiality. It is said in the Śrngāratilaka : 37

'Sentiment, emotion, the semblance of sentiment, or emotion and the cessation of emotion38 etc. are of undiscerned sequentiality, which stands as the one that is adorned (alankarya) apart from rasadi figures (rasādyalankāras).

The instances of rasabhava etc. and their nature will be dealt with in the chapter on rasa.

Gunībhutavyangya: Subordinated Suggestion :

The eight kinds of the subordinated suggestion : The subordinated suggestion of a second grade composition is of eight kinds. This is said thus in the kāvyaprakāsa : 39

1. Agūdha, 2. Aparasyānga, 3. Vacyasiddhyanga, 4. Asphuța, 5. Sandigdha, 6. Tulyaprādhanya, 7. Kakvāșipta and 8. Asun- dara :

2. Śrngāratilaka of Rudrabhatta. 38. Bhavasanti etc. means, bhavodaya bhavasandhi and bhavasabalata. 39. The kāvyaprakāša: 5.1

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82 Pratāparudriyam

i) Agudha (unconcealed) As the concealed meaning only is strikingly charming like the bereasts of a damsal the unconcealed suggestion constitutes the second grade composition. as -

[Suggestion at times reveals itself instantaneously when it is called agudha. On other occasions it reveals itself in an intending manner which is called gudha, and sometimes it reveals itself delayed which is known as asphuta. If the first and last are present in a composition they are concernd with he second grade (madhyama) compositions where as the first grade (uttama) composion contains the second feature i.e. güdhatvam.]

Oh, Lord Virarudra! If your greatness is described the mountains, being slightend get angry. If your depth is sung the oceans being limited in depth get agitated. Hence I am afraid of praising you. Why so? Oh! Rohana mountain, the abode of quality gems! Being Agastya I stand by your side. (60)

Here by the expression Yadi va jatosmyagastyasstiraḥ (why so? being Agastya I stand by your side) the unconcealed sugges- tion that he is not afraid of the mountains and oceans is reve- aled.

[The sage Agastya is famous for stopping the vartical growth of the mountain Vindhya and for drinking the water of all the oceans as water in the palms, in a gulp. As this suggestion is not beyond vacya this is a case of agudha.]

(ii) aparasyanga: (Subordinated to some other) If rasa etc. become subordinate to rasa etc. it is apara- syanga and that also is an instance of subordinated suggestion. Sentiment is subordinated to sentiment: as :-

Oh! Käkati Lord! your tributory kings, who are rid of shame, bereft of dignity possessing strickening voice, sweating sweet, the unendurable trembling of the body experiencing epi- lepsy, flowing tears and the coming calamity having been enraged

Kāvya Prakaraņam 83

by passion (love) on being embraced by bhiti (fear) are moving to solitary places in the mountain caves. Here the sentiment love is subordinated to sentiment fear. (61)

[In this verse the symptoms of the tributory kings are contexual and reveal the sentiment bhayanaka for which fear is the abiding emotion (sthayibhava). It is natural for the subor. dinate kings to possess all the symptoms that are described lo the verse. At this stage by the expression 'embraced by bhiti' there arises the knowledge of a hero and heroine. (The word bhiti' is feminine in gender) The above symptoms are almost akin to the symptoms of love specially when embraced by the heroine for the first time. So here the sentiment love is noticed though it is not important and beyond context. As it is not important it becomes a subordinate to the main sentiment bhaya- naka. From this we notice that one sentiment is made a subor- dinate to another sentiment. i.e. aparasyanga. Hence though the sentiment fear is the main one it is not as charming as the subor- dinate sentiment love. So this is not called suggestion.]

iiì) Vācyasiddhyanga: as- [If the suggested sense becomes a subordinate to the expressed sense it is called vacyasiddhyanga. The question of väcyasiddhi does not arise in the case of aparasyanga. So the sug- gestion becomes a subordinate to the meaning that is indicated by the expression.] The new cloud (in the form) of the sword of the Kakati lord which is dreadful subsides the flame of valour of the enemies that is fearful with a stream of water (edge of the sword). (62) Here the stream of water is suggested. This becomes a subordinated suggestion on the ground that it happens to be the cause for the rupaka in the compound karavalanavambuda (i.e. cloud in the form of sword) which is expressed verbally. [The word dhara has two meanings 1) The edge of a sword and 2) the stream or current of water Because of the context the expressed sense culminates in the meaning of the edge of the

84 Pratāparudriyam

sword. Again there is a rupaka in the compound karavālanavam- buda where a cloud is superimposed on the sword. Similar is the case in pratapajvalanam. This rupaka or super inposition is verbal or vacya. A stream of water which is the suggested meaning of the word dhara supports this rūpaka i.e. in its own support the rupaka demands the presence of jaladhara, in the absence of which suggestion the rūpaka in karavalanavambudah cannot be justified. This superimposition of stream of water in the sword is vyangya. So the rūpaka in karavalanavambudah also is vyangya. Unless the first is justified the second cannot be justified. This vyangya acts as a support to the rūpaka expressed. So this is a subordinated suggestion known as vacya siddhyanga.

(There is a question here whether karavālanavambudha is a rupaka-compound (rūpakasamasa) or simile-compound (upamita- samāsa). According to grammarians in the absence of common qualities (samanya dharma) it becomes upamitasamasa and in the presence of the common qualities, it becomes rupakasamāsa. In the present instance the word karala expresses the common quality of both the sword and the new cloud. Therefore it is a rūpakasamāsa but not an upamitasamāsa].

iv) Asphuta (Not distinct) If the suggestion is revealed after a considerable delay it is the asphuta (indistinct) type of the subordinated suggestion. as -

The greatness of the sword of Virarudra is some thing unhampered. Having drunk the river of blood of the enemies it delivers the fame of Ganges. (63)

Here the vyatireka (figure) which has resulted from the description of the superiority of the sword over the sage Jahnu40 is an indistinct suggestion.

40. The sage Jahnu drank the Ganges that was flowing in the vicinity of his hermitage completely. He afterwards on the request of Bhagiratha released it through his ear. Jahnu drank Ganges only and released Ganges only but no other thing. But the sword drank blood and

Kāvya Prakaraņam 85

v) Sandhigdha (Unintelligible) If there is a doubt as to the intention of the poet whether it is vacya or vyangya it is sandigdha. as :-

The glances of the Kakati-king, which possess the waves of longing were riveted to the lofty breasts of the new bride, like a garland of kalhāras. (64)

Here the doubt is whether the purport lies in his wish to embrace or simply to gaze at the breasts.

vi) Tulyaprādhānyam: (equal importance)

If there is equal importance to both vacya and vyangya it becomes an instance of tulyaprādhānyam.

[Usually one meaning must be made important and all other meanings must become subordinated. Unlike this prac- tice, in this case there is equal importance to both the meanings. But when there is equal importance there will be two sentences and this is not acceptable as it is known as the defect vakyabheda. At this stage it has to be borne in mind that this defect does not apply to the laukika sentences but only to the Vedas.] as :-

Oh kings! serve the feet of Prataparudra otherwise his mind which is so gracious gets poluted. (65)

['If his service is left, it becomes impossible to dwell in the towns' is the suggested meaning of the verse. Here there is the equal importance for both the expressed sense and the sug- gested sense One is not subordinated to the other. So this is called equal importance.]

(Contd. F.N. 40) released Ganges in the form of fame. This is quite different from the above and also miraculous. He drank one and released another. So the sword is greater than Jahnu. Unless this mythology is known it is not possible to comprehend this suggestion. So this is considered extremely concealed and hence become indistinct.

86 Pratāparudriyam

vii) Asundaram (not beautiful) The suggestion does not become beautiful in the wake of the expressed sense. This is asundaram. as :-

Having listened to the pleasure, caused by the sight of the king, of the women of the Ekasila the face of the bride ordained by the elders became black. (66)

Here the vacya that the face of the bride who was thinking of the pleasure arising out of the sight of the king became black is more charming and there is no charm in the vyangyartha that she who was ordained by the elders could not go to see the king. So the vacya is more charming than the vyangya. I his is asundaram.

viii) Kaku (Ironic tone) If some other meaning is arrived at by means of ironic tone, even that is subordinated suggestion only. as :-

Dear friend ! Tell me, whether Earth, Laksmi or Sarasvati whom the king the discriminator of the qualities, revers much. (67)

Here by the ironic tone in asking whether the Earth is greater than I, the vastu that the Earth is not greater is sug- gested.

[Käku is connected with the word. It is a peculiarity in intonation. The suggested meaning that is the outcome of this intonation is only superficial.

Hence it should not be called vyangya. But as the pre- sence of vyangya is there (of course only in some cases) it is con- sidered only a subordinated suggestion

In the above example to say that the Earth is not greater than this charming girl, there is nothing in the words employed In the question, It is simply to be got by the strength of the väcya only. Even then on account of the ironic tone it is not

Kāvya Prakaraņam 87 concealed. The vyangya lost its excellance and became super- ficial. Therefore this is a case of gunibhutavyangya. The Citra The citrakavya (belonging to the third variety) is of many types depending on the figures of sabda (word) and artha (mean- ing). This will be clarified in the chapter on the Figures of speech.

MAHAKĀVYAS AND UPAKĀVYAS [The major and minor compositions]

The features of a Mahākāvya: It is called a mahakavya where there are the descriptions of 1) towns, 2) oceans, 3) mountains, 4) seasons, 5) the rise of moon, 6) the rise of sun, 7) gardens (parks), 8) sports in waters, 9) drinking of liquor, 10) sexual pleasures, 11) separa- tion, 12) marriage, 13) the birth of a son, 14) political sagacity (mantra), 15) dice play, 16) military march (jaitrayatra), 17) war and 18) prosperity of the hero.

Even something less than these eighteen is also agree- able. (68, 69, 70)

This is of three kinds - 1) Prose, 2) Verse and 3) a com- bination of both (a mixture of prose and verse),

A group of words not in the form of a pada (foot quarter) is prose ( gadya) and where there are four feet (padas) it is called verse (padya), the Kadambari etc. are prose works while the Raghuvamsa are the works in verse.

Upakāvya (minor composition) It is called a minor composition where there is no division * of chapters or cantos (asargabandha). :(71)

This means that in a major composition there must be necessarily the division of cantos.

88 Pratāparudrīyam

The Suryasataka is (an instance of) a minor composition.

Campuḥ : A composition which is beset with prose and verse is called campuh.

Writers opine that it is called akhyayika where there are divisions like vaktra, aparavaktra, and ucchvasa different from katha. (72)

Vaktra41 and aparavaktra42 are the kinds of metres: These metres must be present in an akhyayika which is divided in chapters called ucchvasa. The Harsacarita (of Bana) is an exam- ple of this.

[If it is simply a prose work it is called katha. The Kadambars is an example of this. The difference between these two is as shown above, though they both belong to the prose type in their broader division.

Ksudraprabandha (simple composition) It should possess prose and verse rhythemically in tune with any one of the beats. (73)

There must be the word 'jayati' (hail) in the beginning varigated with metres like malini etc. and possess all the eight cases. This is called udāharana, (74)

Where there is the word 'jayati' in the beginning, (where) beautiful metres like malini etc. are empolyed, (where) in every case there are eight sentences possessing prasa and beat (tāla), started after that word 'apica' are composed; and next (where there are) the semblances of cases,43 this is known as udaharana.

41. This is one of the kinds of the matracchandas. It has four feet as usual and eight syllables in a feet. 42. This is a variety of arthasamavrttas. For further details see the Vrtta- ratnākara. 43. Words like vihāya, vihasya, katham, ciraya, cirat cirasya etc. are not cases but they look like cases.

Kāvya Prakaranam 89

Cakravāla : It is cakravalaka which is abundant with the vocative case and in verses. The words which are left (at the end of a quarter of a verse) must be taken (in the beginning of the next quarter verse) again. (75)

Bhogāvali : It should have verses at the beginning and at the end. There should be Samskrt and Prakrt in it and there must be skandhas either with eight or four sentences. Every skandha should possess sentences in different styles. There must be the words deva and nrpa. There must be the word deva in the beginn- ing through out. This is called Bhogavali. (76, 77)

[It is also thought that there must be the description of the gardens which produce pleasure frequently.]

Birudāvali: It is called birudavali where the characteristic marks and the titles described are narrated in abundance, and should have show of sentences. (78)

[This birudāvali is almost similar to bhogāvali in all other aspects enumarated above. What is said in verse No. 78 is a special feature in addition to the other.]

Tarāvali : A composition strung together with a number of verses as that of the number of stars (i.e. 27) is called tāravali. Likewise the simple composition that came under the category of kaviprau- dhoktisiddha are to be inferred. Their examples are not given here for fear of over elaboration. [There are also other varieties like caturuttara and catur- bhadra etc.] The kavyaprakarana or the chapter on kävya in the Prataparudrayasobhūșana, a science on rhetoric written by Sri Vidyanātha is complete.

CHAPTER III

NĀȚAKA PRAKARAŅAM

Compositions, in which action (dance) is predominent, are enumerated

The form of NĀTYA (dance) To imitate a hero called dhirodatta i.e brave and noble with four kinds of actions like sattvika (of feelings) and angika (bodily actions) etc. is (called) natya which depends on senti- ment. (1)

[The abhinaya (action) is defined as that which reveals the objects - abhinayati padarthān ityabhinayah1. This action is of four types :- 1) sattvika, 2) angika, 3) vacika and 4) āhārya. That which arises from sattva2 a quality is known as sāttvika. They are stambha (rigidity) pralaya (loss of conscious- ness) and romanca (horripilation) etc. This is to be shown with eyes wide open. Hands and feet etc. are angas - patakahasta etc., which are the setting of hands in action are said to be angikas i.e. con- nected with angas. Compositions that are read are vacikas and any thing that is sung with sentiment also becomes vācika. The required decoration connected with the dress and ornaments is known as aharya. To imitate the conditions of the brave and noble with these four types of action is abhinaya. Here it is to be undere 1. अभिपूर्वस्तु नीन्धातुराभिमुख्यार्थ निर्णये यस्मात्पदार्थान्नयति तस्मादभिनयः स्मृतः Ratnāpaņa p. 72 2. परगतसुखदुःखभावनया भावितान्तःकरणत्वं सत्त्वम्।।

92 Pratāparudriyam

stood that the natya3 or the action is in accordance with the sense of the depiction as it is said that it depends on sentiment].

The nrtya is in consonance with emotion while nrtta is associated with beat and time. (1a)

[The vibhavas i.e. the stimilus and stimulai provided by characters and exitents are considered as padarthas and they figure as objects in a nrtya. Here the nrtya is connected with the action of padarthas. The word nrtya is derived from the root nrti meaning gatraviksepa the setting of the body. Therefore it is to be expected that there is the angikabhinaya in this nrtya to a greater degree. Those who represent this are called nartakas. This is also called marga.

The tala (beat) and laya (time) are the technical terms in music. This (nrtta) is called desi.]

This is the method given in the Dasarupaka. The form of nrtta and nrtya is given here as they are the limbs of a drama. It is said in the Dasarūpaka. :

'These two (nrtya and nrtta) are again divided into two - 1) Pleasant (madhura) and 2) excited (uddhata). They help the dramatist4 in the form of lasya and tāndava'. Thus -

[The divisions are - 1) Madhura nrtya, 2) madhura nrtta, uddhata nrtya and udhhata nrtta. The two varieties belonging to the pleasant type are the forms of lasya and the other two are the forms of tandava. The nrtta and nrtya performed by Parvati are considered lasya (type) whereas those that are performed by Parameśvara are said to be tāndava (types)].

There are ten types of dramas depending on this natya :- 1. nāțaka 2. prakaraņa 3. bhāņa 4. prahasana 5. dīma 6. vyāyoga 7. samavakara 8. vithi 9. anka and 10. shamrga are the ten. (2)

3. Natya is from the root nata meaning slight movement. We notice sattvikabhinaya to a greater degree in this. Those who represent this are called natas and their property is nātya. 4. अन्यद्ावाश्रयं तृत्यम्, नृत्तं ताललयाश्रयम्। The Dasarūpaka: 1.5

Nāțaka Prakaranam 93

The doubt that they are not different (from each other) as they depend on natya is not genuine. They are really different in matters of subject (story or plot) hero and sentiment. (3)

The plot is of three kinds - 1. prakhyata (renowned) 2. utpadya (invented or produced) and 3. miśra (an admixture of the first two). This is said in the Dasarupaka.5

'It is said to be of three types depending on the difference as prakhyata, utpadye and miśra.'

The story or plot that is found in the epics is prakhyata or renowned, the one created by the poet is utpadya or invented or produced and the one in which there is the admixture of the first two is miśra or mixed.

On account of these differences in plots and differences in the heroes, the dramas differ from one another.

It is like this : 1. nataka :- Here the plot is renowned or prakhyata. The hero is dhirodatta, brave and noble, the sentiment either love or heroic is predominent and other sentiments are there as subordinates :

2. prakarana :- The plot is utpadya or invented; the hero is dhirasanta brave and calm and the importance is only for the sentiment love. 3. bhana :- the plot is utpadya; the hero is dhurtavita frau- dulent paramour. The sentiments of love and heroic become fertile with indication itself: 4. prahasana :- The plot is invented; A heritic etc., are the heroes; the sentiment humour is, important. 5. dima :- The plot is renowned; there are sixteen heroes belonging to the class of deva (gods) gandharva and piśaca etc., who are brave and haughty dhiroddhatas. The prominent sentiment is wrath raudra and the heroic and love follow.

3. The Daśarūpaka: 1.15

94 Pratāparudriyam

6. vyayoga :- The plot is renowned, the hero is dhiroddhata brave and haughty and the sentiment heroic is impor- tant.

7. samavakara :- The heroes are twelve in number belong- ing to devas and asuras (gods and demons); the heroic is the important sentiment; the plot is either invented or renowned. 8. vithi :- The plot is invented; the hero is dhiroddhata brave and haughty; the sentiment love becomes fertile with the indication itself. 9. anka :- The plot is renowned; the hero is (from the class of prakrts) Prakrtic, the sentiment pathos is important. 10. thamrga :- The plot is mixed; the hero is dhiroddhata brave and haughty; the semblance of love is the senti- ment.

Now their apparatus is considered There are five junctus res. It is said in the Dasarūpaka.

mukha, pratimukha, garbha, avamarsa and upasamhrti :- (These are the five junctures)

[avamarsa is also called vimarsa and upasamhrti as the nirvahaņa sandhi.]

SANDHI The connection of plots which has a single purpose with the intermediary purposses is called sandhi The connection of arambha and bija results in mukhasandhi; prayatna and bindu in pratimukhasandhi; pratyāsa and patāka in garbhasandhi; niyatāpti and prakara in avamarsa sandhi; and phalāgama and kārya in nirvahanasandhi. The same is said in the Dasarūpaka:

bīia, bindu, patāka, prakari and kārya; arambha, yatna, pratyāsā, niyatāpti and phalagama.

The (first) five are the arthaprakrtis and the other five are the avasthas. When these are joined in order the five junctures like mukhasandhi will result.

Nāțaka Prakaraņam 95

[Generally the dharma (piety) artha (wealth) and kama (love) are the purposes for the stories depicted in the dramas. Any one of the three may be the main purpose which is known as suddha or a combination also may be a purpose. These pur- poses are usually considered to be of twelve types. They are :

dharma - dharmārthas - dharmakāmas - dharmārthakāmas - artha - arthadharma - arthakāmas - arthadharmakāmas - kāma - kamadharmas - kamarthas - kamadharmarthas. Any one of the above may be important. There will be so many other side plots connected with the main theme. All these have connection with the purpose of the main theme itself. So the connection with the intermediary purpose is known as sandhi.

Because of the combination of avasthas and arthaprakrtis the sandhis like mukha would result. The manifestation of the forms of the cause which runs through out from the beginning to the end are known as arthaprakrtis. They are five in number - bīja bindu; patāka prakarī and karya. There will be a plan to achieve the purpose which is the action of the hero. This plan becomes five types from beginning to the end. They are called avasthas. They are arambha, prayatna, pratyāsa, niyatāpti and phalāgama.]

AVASTHAS The desire to attain the fruit in a greater degree is called arambha (starting) and the quickness of activity to achieve the fruit is prayatna (trial). (4)

The existance of the affair, concluded in the light of the means and their hurdles is pratyasa and the embalishment of the affair in the absence of the burdles is niyatapti. (5)

To attain the entire fruit is phalāgama.

[A higher desire which results from the nontolerance of the affairs of the times is autsukya. In a drama the fruit in the form of either dharma or artha or kama is desired; but not the basic results. So to achieve that important result the possession of desire is called arambha (start). To act in a quick manner

96 Pratāparudriyam

i.e. without any postponement is called prayatna. Yatna is trial and prayatna is a vehement trial.

When we wish to achieve something, we have to plan our means. We have also at the same time, to think of the hurdles that are to be encountered in our course of action To think of these two-the means and hurdles and to think of achieving the desire, crossing over the hurdles is known as pratyasa i.e. to have the hope of achieving an object overcoming the hurdles that impair us is pratyāśa.

To conclude that it is certain to achieve the end as there are no dangers obstructing the course, is niyatapti. Niyata means definetely and apti means achievement. This means a definite achievement.

When there are no obsticles the course of desire is smooth and hence it is easy to attain the fruits of our actions i.e. the attainment of the desired object. This is called phalāgama.]

BĪJĀDIPAŃCAKA - ARTHA PRAKRTIS

i) bīja (Seed) bija (seed) is that which is slighty sown, which spreads in different ways and which becomes the cause of the effect i.e. the fruit. (6)

ii) bindu (Point) bindu is a point which becomes the cause to remove the hinderence caused by the intermediary actions (in the course of the attainment of the main purpose).

iii) patāka (Episode or Subordinate incident) pataka is that which spreads in the story or plot and which is an anga subordinate to the main plot.

iv) prakari (Interlude) prakari or prakarika is that which does not spread.

and

Nāțaka Prakaraņam 97

v) Karya (denouement) Karya is the last stage of the episode which is essential to go through the final achievement of the fruit.

[A seed though small in the beginning when sown in the ground grows to a big tree with many branches and spreads all round the quarters. In the same manner the cause that is thrown in the plot of a drama also grows abnormally spreading through out the play. The play first starts mainly with a hero and goes on with the additions of a side hero, a villain (i.e. the opponent of the hero) etc. Whether this bija acts or grows in the direction of a minister (creating activity in him) or in the hero or in both it acts in the direction of the fulfilment of the desired end of the hero only.

This bija is capable of giving intermediary results also (like by-products in an enterprise). Some times these results hinder the main growth. At that stage another incident is usually introduced which becomes the cause to remove that hindrance. This is technically known as bindu in dramaturgy i.e. the point which becomes the cause of the removal of the hindrance caused by the intermediary results in the healthy growth of the main object.

Pataka spreads to some extent only in the plot. It cannot spread throughout like the bija. This is a subordinate to the main theme. For example the story of Sugriva in the Ramayana is a patāka.

Prakari or prakarika also does not spread throughout the plot like patāka - This is too small an episode which enhances the glory of the main theme. The story of Jatayu and Sabari are examples of this prakari.

Karya is not connected with the intermediary results. This is directly connected with the main results.

The avastha pañcaka and the bija pancaka are thus enume- rated. The combination of these two gives rise to the sandhi- pañcaka.]

661-7

98 Pratāparudriyam

SANDHIS (Junctures) i) Mukhasandhi (Introduction) The rising of the bija (seed) which is the cause of the sentiment that has multiple advantages, becomes the juncture mukha. (8)

There are twelve limbs to this, because of the combination of bija and arambha.

The limbs of mukhasanahi : 1. upakşepa 2. parikara 3 parinyāsa 4. vilobhana 5. yukt! 6. prāpti 7. samādhāna 8. vidhāna 9. paribhāvana 10. udbheda 11. bheda and 12 karana. All these names are befitting. They are in order (explained). (9, 10)

[The experience of rasa is the highest-achievement in a composition through out. The bija or the seed which becomes responsible for this rasa must be present in the mukhasandhi, the introduction. So many intermediary advantages are usually said to follow rasa and these advantages are other than the trivarga (dharma, artha and kama), because there is no fruit or advantage belonging to this trivarga in prakarana etc. but some thing other than this becomes the cause of this rasa. So where there is the rising of the bija which is the cause of multiple advantages of rasa there exists the mukhasandhi ]

Their (the limbs) enumeration in order : 1. upaksepa: (A hint) sowing the seed. (A hint in a nut. shell of the plot of the drama is called upaksepa). 2. parikara (expansion): The expansion of the seed (There is the growth of the seed i.e. there is the deve lopment of the seed that was sown in a nutshell in upak sepa). 3. parinyasa (consumation) : The consumation of the seed (There is the definite announcement of the object to b described in this). 4. vilobhana (temptation) : The description of the quali ties of the seed. (There are the description of the objec to be established with a view to create interest.

Nāțaka Prakaranam 99

5. yukti (skill) : To discuss the incidents that are useful to the purpose of the bija i e. to come to a conclusion skilfully. 6. prapti (attainment): The achievement of happiness connected with the bija. 7. samadhana (conclusion): To exhibit the purpose of the bi ja so as to be beneficial to the intentions of both the hero and heroine. 8. vidhana (Explanation): To delineate the cause that is responsible for pleasure and pain of the bija. 9. paribhavana (conversation): To converse with eagerness at the sight of wonderful incidents. 10. udbheda (Rising): To expose what is hidden in a bija. 11. bheda (Encouragement): To encourage in consonance with the bija. 12. kārana (Action): To start the required action in agree- ment, with bija.

[These twelve limbs indicate the intended taste of the composition. It is impossible to exhibit all these twelve in a work. Of the twleve six-upaksepa, parikara, parinyāsa, yukti, udbheda and samadhana are important. So they have to be delineated. The rest may be left, as even without them the pur- pose of the mukhasandhi is achieved.]

ii) Pratimukha Sandhi (Exposition) The exposition of the seed that lies seen and unseen is known as pratimukha. This follows the combination of bindu and prayatna. There are thirteen limbs for this. (11)

[The seed sown in the mukhasandhi or introduction is seen and unseen at times i.e. the main aspect of the episode in the plot is at times hidden and on other occasions exposed. The prati- mukhasandhi is always within the limits of bindu and prayatna. It is well known that in the state of prayatna there is the quick action for attaining the fruit, and in bindu the episode spreads unhampered. The main fruit which is indicated in the mukha-

100 Pratāparudriyam

sandhi gets exposed to certain extent in the Pratimukhasandh! i.e. there will be the rising of some of the advantages connected with main fruit and some do not. The limbs of this pratimukha- sandhi must be in accordance with the combination of bindu and prayatna.]

They are :- 1. vilasa 2. parisarpa 3. vidhūta 4. sama 5. narma 6. narma- dyuti 7. pragamana 8. virodha 9. paryupāsana 10. vajra 11. puspa 12. upanyāsa and 13. varņasamhāra. (12)

Their features :- 1. vilāsa (Dalliance): Longing for sex (is vilasa) (This may be a wish for objects that give pleasure). 2. parisarpa (Inquisition): : Following an object that appeared and disappeared (is parisarpa). 3. vidhuta (Refusal): Refusing the objects that are not to the taste (is vidhuta). 4. sama (Subsiding): Subsiding the unpleasant (is sama). 5. narma (Sport): A sportive word (is narma). 6. narmadyuti (Pleasure of affection). 7. pragamana (Exhibition of love): The exhibition of the seed of love which is the result of questions and answers (is pragamana). 8. virodha (Hindrance): Obstructing the attainment of the desired object under one pretext or the other (is virodha). 9. paryupasana (Entreaty): Entreating the interested people (is paryupasana) i.e. to passify those that are angry. 10. vajra (Harsh): Speaking harsh in the beginning itself (is vajra). 11. puspa (Flower): A significant speech that is pregnant with love (is puspa). 12. upanyasa (Lecture): Lecturing in a manner that creates love (is upanyasa) and

Nāțaka Prakaraņam 101

13. varnasamharaSA (Description of the four castes): Des- cribing all the four castes (is varnasamhara). Out of these thirteen, parisarpa, pragamana, vajra, upanyāsa and pușpa are important. They must be delineated.

iii) Garbha Sandhi (Investigation) To investigate the seed which appears and disappears (in the previous sandhi) again and again is garbhasandhi. Here the limbs are in accordance with the combination of the praptyaśa and patākā. (13)

[In the pratimukhasandhi the bija is exposed to certain extent. This means it appears and disappears in which state there arises a doubt as to its complete disappearance. So in this garbhasandhi, the bija is sought after time and again. There is here the combination of praptyasa and the pataka. The limbs depend on the combination of these two In the praptyasa there is always the doubt regarding the success and in the patāka an arthaprakrti there will be an incidental episode which helps the attainment of the main fruit.

The pataka here is optional and in the absence of patāka there will be the praptyasa. The limbs are twelve in number and

they are :- 1. abhūtāharaņa 2. mārga 3. rūpa 4. udaharaņa 5. krama 6. sangraha 7. anumana 8. totaka 9. adhibala 10. udvega 11. sam- bhrama and 12. aksepa are the twelve limbs. (14 & 15)

Their features :- 1. abhūtaharana (Deceptive action) : A deceptive action that helps the situation on hand (is abhutaharana). 2. marga (Truth): To speak truth (is marga). 3. rupa (Argument) : The sentence that presents the argu- ment (is rūpa). 4. udāharana (Glorification): To speak in a manner to glo- rify the present (is udahrti).

5A. According to a section varna here means the characters in the play.

102 Pratāparudrİyam

5. krama (Attainment): Attainment of desired object (is krama). 6. sangraha (Conciliation): To speak in a way of effecting negotiation in a situation6 (is sangraha). 7. anumana (Inference) : To infer one thing from other (is anumāna). 8. toțaka (Agitation): To speak in an agitated manner because of anger (is totaka). 9. adhibala (Deception): To deceive the interested people (is adhibala). 10. udvega (Fear): To experience fear from enemies (is udvega). 11. sambhrama (Agitation) : To experience doubt and fear (is sambhrama) and 12. aksepa (Following): To follow the required object (is aksepa) i.e. to expose the seed clearly in the garbha- sandhi.

Among these the abhūtaharana, marga, totaka, adhibala and aksepa are important.

iv) Vimarsasandhi7 (Reasoning or Examination) : To reason the purpose of the bija which becomes definite in garbhasandhi by one or the other cause or reason is called the vimarśasandhi. (16)

Here the limbs are thirteen resulting in the combination of niyatāpti and prakari.

[In this sandhi the examination of the purpose of the bija arises out of anger and vices. This gets determined in the con- text of the fulfilment of fruit and connected with the purpose of the bija exposed in the garbhasandhi. This bija becomes more clear in this sandhi than in garbhasandhi. At this stage there is

6. According to a section a reply that is suitable to the context is sangraha. 7. This is also known as avamarsasandhi.

Nāțaka Prakaranam 103

every likelihood of its being hurdled by a curse, wrath, calamity or temptation and with the help of these the bija is clearly examined. Hence this is called vimarsasandhi.]

In accordance with the niyatapti and prakari the limbs are to be noted.

1. apavāda 2. sampheța 3. vidrava 4. drava 5. šakti 6, dyuti 7. prasanga 8. chala 9. vyavasāya 10. nirodha 11. prarocana 12. vicalana and 13. adana are the thirteen. (18)

Their features :-

1. apavada (Rumour): To spread a defect (is apavada).

2. sampheta (Angry exchanges): Angry conversation bet- ween two (is sampheta) 3. vidrava (Punishment): To kill or fetter (is vidrava).

3. drava (Insult) : To insult elders (is drava). 5. sakti (Disappearance): The disappearance of enemity (is śakti.) 6. dyuti (Excitement): To make a person fear or agitate (is dyuti). 7. prasanga (Extolling): To extoll elders (is prasanga). chalana (Degradation) : To degrade people (is chalana). 9. vyavasāya (Boast): To boast of his own abilities (is vyavasāya). 10. nirodhana (Abusing): Abusing each other by finding fault with one another in anger (is nirodhana). 11. pravocana (Forecast): To forecast the coming good as if it were ready (is pravocana) i.e. to predict the future on the basis of the good events occurring. 12. vicalana (Manifestation): To manifest one's own quali- ties (is vicalana) and 13. adana (Seize) : To seize the opportunity (is adāna).

104 Prataparudriyam

v) Nirvahanasandhi (Denovement) : If the purpose of mukhasandhi etc. which possess bija and are scattered throughout are made to act in the direction of a single purpose that is called nirvahana. They are fourteen in accordance with the combination of phalapti and karya. (19) (The purposes given out in mukhasandhi etc. lie scattered all over the composition. They do not appear to have been connected with each other and as such the final fruit also does not appear clearly. So to connect all these purposes with one another and to determine the final fruit is known as the nirva- haņasandhi.)

The limbs of this juncture are fourteen and result out of the combination of phalāpti and kārya.

They are :- 1. sandhi 2 virodha 3. grathana 4. nirņaya 5. paribhașaņa 6 prasada 7. ananda 8. samaya 9. krti 10. abhāşana 11. upagū- hana 12. pūrvabhāva 13. upasamhāra and 14. prasasti: are the fourteen. (20 and 21)

Their features :- 1. sandhi (Peace): To calmdown the purpose of the bija that is sown in the mukhasandhi (is sandhi). 2. virodha (Search): To search the fruit of action that is sown in the mukhasandhi (is virodha). 3. grathana (Mentioning): To mention the purpose of the action (is grathana). 4. nirnaya (Informing): To inform the action that follows the bija (is nirņaya). 5. paribhāsa (Conversation): To speak to each other (is paribhāşa). 6. prasāda or paryupāsana (Quitening): To become quite after performing an act (is paryupasana). 7. ananda (Pleasure): To attain the desired objects (is ānanda).

Nāțaka Prakaraņam 10s

8. samaya (Removal of misery): To root out the misery caused on certain occasions unexpectedly (is samaya). 9. krti (Firmness) : To achieve firmness (is krti) (after the removal of misery). 10. abhașana (Attainment) : To attain the pleasure of the fruit of the action (is abhasana) fame etc. are the fruits. 11. upaguhana (Achieving wonders): To achieve wonderful objects (is upagūhana). 12. pūrvabhāva (Observation): To cite the intended object (is purvabhāva). 13. samhara (Completion): To complete the action (is samhāra). 14. prasasti (Benediction): To utter benediction (is prasasti).

Thus are explained the sixty four limbs connected with the five junctures. They have six advantages.

They are :- 1. vivakșitartha pratipādana · To delineate what is intended. By this the intention of the poet becomes clear as the plot spreads. 2. gopyartha gopana: To conceal what is to be hidden or what should not be exposed. By this kissing, embracing, and sex etc. are concealed i.e. they are not to be exhibi- ted on the stage for the maintenance of discipline. 3. prakāsārtha prakāsana: To exhibit what is to be exhi- bited i.e. certain things which are useful for the develop- ment of the plot are to be exhibited. 4. abhinayaragasamrddhi : To please with action i.e. there are four types of action vacaka etc., through which the audience are to be pleased. 5. camatkāritva : To produce charm. Spectacular incidents are required to produce this charm and these limbs afford opportunity to produce this; and 6. Itivrtta vistāra: To develop the plot. These limbs become useful to develop the plot without any hurdle : from the beginning to the end.

106 Pratäparudriyam

The itivrtta (Plot) is of two types 1. sūcya and 2. asūcya. Again the asucya is divided into two 1. drsya and śravya. Here there are five methods to employ the sucya It is said in Dasa- rūpaka.8

By means of I. viskambha 2. cūlika 3 ankasya 4. praveśaka and 5. ankāvataraņa.

[sucya (Indication): Incidents that do not have propriety should not be represented on the stage. At times they may create exc:tements So it is always better to indicate them by any other means. This is called sucya or indication.

asucya (Exposed) : There are certain incidents which are very pleasant and lofty. Their sentiments do enlighten the audi- ence. As such these incidents are fit to be represented on the stage without simply indicating them. They are called asūcyas or exposed i.e. fit to be exposed.

śravya (Fit to be heard): There are many divisions in this. At first it is divided into two as - a) sarvaśrāvya and b) niyatasrāvya. Sarvašrāvya is that which can be heard by all on the stage, whereas niyatasravya is that which can be heard by a restricted few only. The third variety asravya also is to be taken note of. This is usually known as svagata i.e. a loud thinking of a character.

The niyataśrāvya is again divided into two a) janāntika and b) apavarita. To carry on conversation with another hold- ing a tripataka hand indicatlng that this conversation is not intended for others is called janantika. To impart secrets to his fellow people on the other corner of the stage is known as apavarita.]

The features of viskambha etc .: i) Vişkambha (Interlude) : To explain the incidents of the plot that happened already and would happen in future in brief is known as viskambha which is enacted by middle class character. (22) 8. The Daśarūpaka. I. 58

Națaka Prakaranam 107

This is of two types: 1. suddha and 2. samkirna.

If it is conducted completely in Sanskrit it is śuddha- viskambha9 and when in Prakrt and Sanskrit it is samkirna10.

ii) cūļika: To indicate from behind the screens without appearing on the stage is called culika i.e. to indicate a secret probably.

'ii) ankāsya : If the coming incidents of the next act are indicated by the characters of the previous Act, it becomes ankasya. (23)

iv) praveśaka: pravesaka which cannot be in the First Act, and presented by the inferior characters, informs the incidents of the plot which happened already and which will happen in future. (24)

[With regard to the information given this is like viskam- bha. The difference between these two is that in the viskambha, we notice middle class characters whereas in pravesaka we notice inferior characters only. Because this is presented by inferior characters the language used is colloquial.]

v) ankavatāra : If the incidents of the previous acts are followed by the next act and the characters are not separately indicated it is known as ankāvatāraņa.

Indicating what is to be indicated by the arthopaksepakas (vikambha etc.), what is to be witnessed must be presented in an act. (25)

anka (Act) : An Act should possess the biography of the hero and should come forward to expose what'is in the form of bindu. It 9. If one or more middle class characters are there it becomes śuddha. 10. If it is represented by middle class and inferior characters it becomes samkīrņa.

108 Prataparudriyam should be an abode of sentiments (rasa) by the congrigation of all sorts of purposes. (26)

The poet with a view to delineate the sentiment should not caute impediments to the progress of the plot and at the time, he. in his extasy to portray the plot with embellishments should not sacrifice the sentiments. Both the plot and senti- ments should not be impaded.

A long journey, murder, war, mufing, seizure by the ene- mies, eating, bathing coition, anointment, dressing etc. should not be openly shown on the stage. The murder of a hero who is important in the drama should not be represented on the stage but an impression can be created as if it were there at times. Bringing him back to life somehow is essential and what is essen- tial should not be overlooked.

An Act should possess the incidents of a single day belong- ing to the hero, i.e. incidents spread over many days should not be portrayed in one Act. The plot must be proned without damaging its beauty. The incidents that are portrayed in the Act must be connected with each other i.e. the principle of cause and effect should exist there. The incidents that are exhi- bited in an Act must have bearing on the finality of the plot.

The interval between two Acts should not be more than one year. If the interval between the incidents of one Act and the otaer is more than one year according to the story of the work, then it is better to cut them so as to suit the principle of one year.

The arthopaksepaka (bija etc ) are intended to explain the differenres ia these Acts. There should be only one purpose for one Act and the hero must be present there. An Act is to be composed with a few characters like Vidusaka etc. The end of an Act is indicated by the exit of all the characters figured therein.

The viskambha etc. establish the sucyavastu whereas the Acts establish the asūcyavastu.

Nāțaka Prakaraņam 109

The bharativrtti is indicative of all purposess. The speech where Sanskrit is in abundance is bharativrtti. People of high rank should use this i e. the important characters should carry on their conversation in Sanskrit to the highest extent. It depends on nata in the beginning of the drama, while in other places this is used by certain important people only.

There are four limbs for these bharatīvrtti - i) amukha ii) prarocana iii) vithi and iv) prahasana Usually the vīthi and prahasana are not represented in the beginuing of the play but on the other hand they are considered as varieties of the ten types

PRAROCANA : To create interest in the audience by praising the subject on hand is prarocana. This praise is of two kinds: 1) Praising the animate and 2) Praising the inanimate. Praise of the poet, audience actors and the hero etc. is animate.

The poet is of four kinds depending on his nature and the prarocana is accordingly becomes four kinds. He is said as udatta (noble) uddhata (hauty) prauddha (matured) and vinita (modest).

The udatta writes, keeping in mind his self respect. The uddhata speaks of his greatness by degrading others The praudha shows his greatness with his peculiar style and the vinita speaks of his greatness in a modest manner.

The audience also are mainly of two kinds :- 1. prarthaniyas and 2. prarthakas. Prarthanīyas are 'those by whese presence the poet feels himself blessed and prar- thakas are those who feel themselves blessed This prarocana is divided into two - (i) samksipts and vistrta.

ÄMUKHA (Prologue or prelude) : It becomes amukha where the sūtradhāra (the stage mana- ger) speaks to either nati or marisa or vidūsaka in artistic langu- age,. and which indicates the action on hand. (27)

110 Pratāparudriyam

The commencement of this introductory dialogue has gc three limbs i.e. it is of three kinds 1 kathodghata 2. pravartak and 3. prayogatisaya. (28

Their features : ) kathodghata is one where a character enters (the stage) i accordance with line uttered by the sutradhara (or the stag manager) or the sense of it which is in tune with the plo1 This is thus of two kinds. (29

[I.e. the first type is connected with the sentence uttere by the sutradhara and the second type is connected with the sens of the sentence uttered by the sutradhāra.]

ii) pravartaka: pravartaka exists where the character enters (the stage) a indicated by the description of the qualities of the seasons sun therein - and (30

iii) prayogātiśaya: If the character enters (the stage) in accordance with th utterences "This is he" of the sutradhara it becomes the prayo gātišaya. (31

[I.e. the sutradhara points out to the character that i going to enter the stage.]

VĪTHĪ : As the limbs of the vithi are similar to that of Amukh by nature they are being enumerated here.

1. udghātyaka 2. avalagita 3. prapanca 4. trigata 5. chal 6. vākkeli 7. adhibala 8. ganda 9 avasyandita 10. nālika 11. asat pratapa 12. vyahara and 13. mrdava - are thirteen. (32 & 33

[Though the limbs of both the' vithi and the amukha lool similar they two are not similar. The kathodghata-trio that ar present in amukha are not in vithi. The sutradhara is not to b seen in vithi. All the above enumarated limbs like udghatyak.

Nāțaka Prakaraņa m 111

are essential in vithi while they are not so in amukha. In these respects they both differ from each other.]

Their features :- i) udghatyaka :- Two types: If the utterances (of the characters on the stage) are with concealed sense or garland like in the form of a question and answer it is one kind of udghatyaka.

If the questions and answers are for the sake of a parti- cular knowledge of an object it becomes the second type.

[Many things are known through these questions and answers.]

li) avalagita: When an effect intended at a particular place or occasion results in another place or occasion (because of the similarity of reasons) or the object on hand is achieved when the effect is intended elsewhere, it is the two fold avalagita.

To perform some other act under the pretext of one act is the first type of avalagita and to achieve the object intended when some other object is though of is the second type of avala- gita.

[Here in the first case the achievement of the objeet is with effort and in the second it is effortless.]

iii) prapanca : Mutual eulogy which is objectionable (is prapañca).

Encouraging connections with another's wife is objection- able.

iv) trigata: This is divided into two 1) Belonging to the purvaranga and 2) belonging to the prastavana. The conversation of the nata11 etc. belong to the pūrvaranga. 11. सूत्रधारो नटश्जैव तथो वे परिपर्श्वकः सेलापं यत्र कुर्वन्ति तदेव त्रिगतं स्मृतम्।

112 Pratāparudrīyam

To think of many meanings in a word because of the simi- larity12 of sound is prasthavanangatrigata which is the second.

v) chala : To tempt with speeches that look agreeable though they are in fact not desirable (is chala).13

vi) vakkeli :- Two kinds: To stop a significant sentence in the middle. (is vakkeli) This is the first kind.

Questioning and answering14 is another kind of vakkeli.

vii) adhibala : If two persons lose their tongues vieing with each other it is adhibala.

viii) ganda: A hasty remark that goes against the context on hand (is ganda).

ix) avaśyandita: To construe a sentence uttered in accordance with the sentiment in a definite manner (is avośyandita).

x) naļika: To speak ironically in a humourous manner (is nāļika). [Here the speaker hides the real intended sense but only exposes some other different meaning; appearing light because of the humour created.]

12. ऋतिसाम्यादनेकार्थ योजने त्रिगतम् ... - The Dašarūpaka 13. According to some critics the humour of a person who tempts with a definite purpose is called chala or the speech that irritates a person is chala. 14. To give a single answer to a no. of questions is also known as väkkeli according to a section.

Nāțaka Prakaraņam 113

xi) asatpralāpa To prattle in an incompatible manner (is asatpralapa).

[This may be due to excitement, in a dream; madness also may be a reason for this and childhood may produce this. So this is not a defect called asangati in a sentence.]

xii) vyāhāra: A humourous and avaricious speech intended to achieve some other object (is vyahara).

xiii) mrdava: To attribute good qualities to defects (or the vice versa) Is mrdava). Some among these as required should be presented in prasthāvana.

(So far is the amukha which serves the purpose of intro- duction to the play).

The Ten Types of Plays

1. NĀȚAKA: nätaka is the type which is (considered) a prakriti (base) for others with all the (five) junctures like mukha, pratimukha, garbha, amarsa, and upasamhrti and with all their limbs which possess the story of an authority, contains a famous hero and where one of the two heroic and love sentiments is mainly deli- neated. (35 & 36)

[prakrti is that where all the angas connected with the act exist. nataka the foremost of the ten types of dramas is consi- dered the prakrti for the other types, as it contains the junctures like mukha, pratimukha etc , along with the other angas. All types (nine) other than the nataka are said to be vikrtis. In the vikrtis all the angas are not present. The angas are drawn from prakṛti to vikrti by atideśa. For example the sacrifice Darsapurnamasa is a prakrti. All the angas required for a sacrifice (of that type) are enumerated

661 -8

114 Pratāparudriyam

there. As such it is complete. The sacrifies like Aindryagni et are vikrtis Here we do not find the enumeration of all the anga So tne angas required for this are to be drawn from the Dars pūrnamāsa 1 prakrti sacrifice by atideśa.

The applications of angas from one place to the other known as atideśa.

Coming to the present the prakarana are the vikrti in whic all the angas are not enumerated. As such the angas required for i should be drawn from the list of the nātaka. Hence nataka happen to be a prakrti for all the other types. There in the nātaka ther will ba a story of authority. Either vira (heroic) or srngara (love will be the predominent sentiment here. This means that al other sentiments exist in the form of angas or subordinates.

Though it is verbally expressed that either vira or srngarc should be the principal sentiment in a nātaka, it does not mean that other centiments are prohibited to be the principal senti- ments. The poet is at liberty to delineate any sentiment, he likes that suited to the plot, as in the case of the Uttararamacarita of Bhavabhūti where the sentiment pathos karuna is made predomi- nent. Likewise it is noticed that the sentiment santa is made important in the Prabodhacandrodaya of Krsnamisra and the senti- ment adbhuta (wonder) as main in the Mudraraksasa of Viśākha- datta. So from this it is understood that sentiment vira and śrngara are liked by the majority and as such they are verbally expressed and those that are not expressed are prohibited. The sentiment suited to the plot can be made predominent.

The story of the nataka is historically famous. An enti- rely invented story is not suitable for a nātaka. Here in a nāțaka there will be four or five more people who follow the hero as helpers to achieve the final end and these people may be the heroes of incidental episodes.

A națaka contains five or more Acts. There should not be less than five Acts and should not be more than ten Aets. If the nātaka exceeds five Acts it is called a mahanātaka.]

Nāțaka Prakaraņam 115

NĀNDI : [We have to propitiate gods to ward off evils before we start any important work. This is the general custom in our country. Similar is the case with regard to a play also. Before the play is introduced to the audience the actors perform an act for warding off the evil. This is nandi which preceeds the play and this portion is called purvaranga.]

The features of nandi :

To indicate the theme of the composition a little, either through the sense or through the word is known as nandi. This should possess either eight or twelve or eighteen or twenty two words.15 (37)

The verse that is found in the beginning of a play is known as nandi. In the Venisamhara there is the nandi of eight words; there are twelve words in the Anargharaghava of Murari and there are twenty two words in the Balaramayana of Rajasekhara. This limit is not observed by some in the nändi.

The purpose of the composition is to be indicated by the sutradhära (the stage manager) who enters the stage, in verses, in accordance with the rangaprasadhana16 by means of the bharati vrtti after the nandi. This is said in the Dasarupaka. (3.4)

Having performed rangaprasadhana by sweet verses which indicate the purpose of the composition considering a season one has to resort to bharativrtti thus. This procedure is important only for a nātaka.

15, With regard to the word pada (word) used in the definition there are different opinions. According to a section padas mean nouns and verbs; others feel that the line in a verse, is called pada; some others opine that pada means a sentence.

16. The actress who maintains the tradition of dancing dances before the president or the chief guest of the day in the presence of the audience with all musical accomplishments in his haram after the nandi. This is technically known as rangaprasādhana.

116 Pratāparudrīyam

2. The PRAKARANA : The prukarana is that in which the plot is invented and the hero is dhirasanta. All the angas or limbs are similar to that of a nāțaka. (38)

[Here all the angas have to be drawn from the nātaka as it is the prakrti (base) and other types of dramas are vikrtis by atidesa as explained already. This procedure is common to all other types as they are all vikruis.

The Dasarupaka17 gives all the features of this type in detail as :-

'The plot in a prakarana which is invented and natural i.e. naturil in the sense that the incidents portrayed must look pro- bable in the world. Either a minister or Brahmin or a Vaisya (belong to the marchant community) may be the hero of the paly. He must be a dhiraprasanta i.e. brave and composed who is inte rested in dharma (piety) kama (love) and artha (wealth). He should also be depicted as beset with dangers i.e. He attains his final fruit only through these dangerous situations.

The heroine is of three varieties 1) a family woman 2) a harlot and 3) both. In a prakarana we usually find either a harlot or a family lady as the heroine. This type is also of three kinds depending on the nature of the heroine. The harlot speaks only prakrt while the family lady speaks Sanskrit. Here in the prakarana the junctures (sandhis) and their limbs (angas) are more distinct than in other types. So this is called prakarana ]

3. The BHĀŅA: It is said bhana where there is the bharativrtti in abundance; vira theroia) and śrngara (love) sentiments are exhibited by extolling valour and fortune by a vita with his intelligent speech, and the description of the story of a gay-deceiver through an invented plot. There must be only one Act; mukha and nirvahana junctures (39 & 40)

4. The Dasarūpaka - Cf. अथ प्रकरणे वृक्षयुत्पाद्य ... ...

... ... कुलस्त्री गणिका तथा।

Nāțaka Prakaraņam 117

[By the word dhürtacarita it is understood that the gay- experiences depicted therein may either belong to self or to some other person, There is only one character i.e. there is akasa- bhasita which means that the character on the stage speaks in air and repeats the supposed answer. or speech of the other person. The ten angas18 of the lasya must be present here.1

4. The PRAHASANA : As in bhana there is the exposition of sandhyangas and vrtyangas in prahasana. Here the sentiment humour is made pre- dominent. (41)

The prahasana is of three kinds - 1) suddha 2) vaikrta and 3) sankirņa.

i). The suddha prahasana : This is composed of Pasanda19 and Vipra20 etc., along with ceti and ceta; in their attire and language. This suddha is with full of humourous speeches. (42)

ii) The vaikrta prahasana : It is called vaikrta (prahasana) in which appear the eunuchs kancukins21 and hermits in the dress and language of libidinous persons with humourous actions. (43)

iii) The sankirna Prahasana : The sankirna is that which is crowded with the angas of vithi (like udghatyaka etc.,) and with cunning persous (like the thieves, gamblers etc.)

5. The DIMA: It is called dima22 where the plot is a popular one; where all other vrttis excepting the kaisiki exist; where there are sixteen

6. Bhavaprakaśa, p. 245. 19. Pasandas are against Vedas. 20. Orthodox Brahmins. 21. A chamberlin who is old and has free access to the ladies apartments. 22. The root dima means collection. As there is collective action in this type it is called dima. See the Dasarūpaka.

118 Pratāparudriyam

heroes who are haughty and belong to the clan of devas, gandhar- vas, yaksa, rakșasas, mahoragas, bhutas, pretas, pisacas etc., where the sentiment raudra is made important and hasya and śrngara etc., are avoided. (45-46)

Where there are four acts, four junctures excepting ava- marsa and where, maya (artifice), indrajala (jugglery), sangrama (war) Surya (sun), candra (moon) and others (like meteors etc.) are exhibited and where the rest is as in a nataka. (47)

6 The VYÂYOGA: It is vyayaga23 in which the plot is a popular one, the hero is haughty; all other junctures excepting garbha and vimarsa exist; the sentiment is developed as in dima; the action pertains only to a day and where there is a war (not eonnected with a woman). (48)

7. The SAMAVAKĀRA : It is samavakara24 in which the mukha (prologue) must be as in a nataka; there are the (other four) junctures excepting vimarsa; there are twelve heroes belonging to the devas, asuras etc., who receive fruits individually; the sentiments, like vira (heroic) are made important; and there are three Acts in which in order there are three kinds of deceit in the form of a) the nature of objects b) fate and c) foes; there is the vidrava (running away) caused by these three in three types like a) the seizure of a territory in a war b) fire and c) fate; there are three types of śrngara (love) connected with a) dharma b) artha and c) kama (in which) the action in the first Act should be of the duration of three yamas only, the second Act should contain the action of duration of single yama and the action in the third act should be of the duration of a half a yama. This also should have some angas like vith etc. (49 to 52) 23. As many people assemble here it is called vyāyoga. व्यायुज्यन्ते बहवः पुरुषाः इति व्यायोगः । समवकीर्यन्ते अर्था अस्मिन्निति समवकारः । 24. समवकीर्यम्ते अर्था: अस्मिन्निति समवकारः ।

Nāțaka Prakaraņam 119

[Though all the twelve heroes proceed toward cus "ur- pose only, they attain fruits individually. The centi :. t. neroic predominates and all other sentiments like love st .. , arsr ly secondary; in the first Act there are the junctures nakhe and pratimukha; in the second Act garbha and in the fin .: thnrd Act the nirvahana; kapata is nothing but moha a delu .. r. Tnis is divided into three kinds in accordance with its nature a kapata belonging to the nature of the objeet b) belouging to the fate and c) belonging to the foes. The one tn i, caused by the cruel animals is the first kind, the one caused by fre. rain etc., is the second kind and the one caused by war etc., is the third one. The vidrava running away, is also of three types. The seizure of the towns by enemies and declaring war :c., is the first one which is caused by the foes; the one thaf is chu.rd by fire etc., is the second which is attributed to fate; and fint dy the one that is caused by tigers, lions and serpents etc., is the third which is connected wtih the nature of objects: The three kinds of śrngara, dharma artha and kama also is to be d. navtec in order in these three Acts. So it is to be noted that trere are the three kapatas, three vidravas and three srngaras in these Acts respectively. i e. each Act should possess a kapata a vidrava and a śrngāra.]

8. The VITHI 25 : It is known as vithi in which the angas are as in bhāna; the kaisiki vrtti is present, the sentiment love is to be cebneated in entirety and the angas like udghatyaka are present. :53-54)

[Here as in bhana there is only one Act. There : re only two junctures mukha and nirvahana. The sentimerts other than love are subordinates : There may be one or two charecters in this and there may or may not be the ten lasyangas. A family woman should not be a heroine in this, as she has to exhibii her love to many.]

25. In this type the angas exhibited are in a line as a street. So this is called vithl.

120 Pratäparudrlyam

9. The ANKA : It goes by the name uesrsthanka26 in which the plot is a popular one; the sentiment karuna or pathos is predominent; the coquetry of a woman is present; there is the wordy warfare; the heroes are villagers; and the junctures and v?ttis exist as in bhãna. (55)

[According to some the plot may be either a popular one or an invented one.]

10. The IHÂMRGA: In Thamrga27 the plot is a mixed one; there are four Acts and three junctures; the hero and the counter hero or adversary are mortals and immortals by arrangement; and they both are brave and haughty; They being lustful wish to kidnap a celes- tial heroine. There is a war between them without killing and there is only a semblance of sentiment, in the two.

[Hence the junctures garbha and vimarsa do not exist: The heroes may be mortals or immortals. The nature of the adversa- ries also is similar. If the hero is immortal his adversary is a mortal and vice versa. They both are brave and haughty. They both try to kidnap a celestial heroine who does not possess love for any one of the two. Hence the love here is only one sided and becomes only a semblance of sentiment abhasarasa ]

All this is in accordance with the Dasarpaka

26. This may be different from the anka connected with amukha probably to maintain this difference it is called utsrsthanka by Dhanika etc. 27. As the hero wishes to have a heroine who is not accessible like a deer this is called thamrga:

CHAPTER IV

RASA PRAKARAŅA

The Chapter on Sentiment

The nature of sentiment (rasa) which is the soul of all composition is being defined :-

Rasa is that abiding emotion [sthayībhava] which is made splendid by the material or apparatus called vibhava (stimulus and stimulai provided by characters and excitents) anubhava (emotional reaction) sattvika (natural emotion) and vyabhicāris (passing moods).

[This is the general definition of rasa. This means that the sthayibhava the abiding emotion becomes rasa when it is lighted by the apparatus called vibhāvas etc., i.e. vibhāva, anubhāva, sāttvi- kabhava and vyabhicaribhava are the apparatus of rasa, or the collection of material for the lighting up of rasa.

The vibhavas well portrayed by the poet in a composition are well represented by the good actors on the stage. The spectators who happen to be sympathetic critics or men of taste conceive them well when the sthayibhava in them is made splen- did or tasty which results in rasa. This means that the specta- tor is made to enter into a state of bliss.

From this it is understood that the sthayibhäva in the form of rati etc., which exists in the spectators or audience attains the state of rasa when made palatable by means of the apparatus vibhāvas etc.]

The same is said in the Dasarūpaka1 : "The sthayibhava which is made enjoyable by vibhavas, anubhāvas, sattvikabhavas and vyabhicārins becomes rasa."

1. The Dasarūpaka : 4.1

122 Prataparudriyam

[Bharata in his Natyasastra says that rasa is produced by the combination of vibhava, anubhava and vyabhicari bhavas2. On the basis of this difference critics interpreted this in different ways. But amongest them four theories advanced by Bhatta lollața, Sri sankuka, Bhattanāyaka and Abhinavagupta are consi- dered important. Bhattalollata is a mīmāmsaka, Sri sankuru is a tārkiku (logician) Bhatțanāyaha is a Sankhyan and A bhinava- gupta is a Sāhityacarya. As such they interpreted the sutra of Bharata in accordance with the subject of their choice. Or tnese four the theory advanced by Abhinavagupta is accepted by most of the retoricians. Vidyanatha also follows Abhinavagupta only.

BHATTALOLLATA

His theory which is known as utpattivada is based on the words samyogat and nispattih found in the sutra vibhavanubhava vyabhicari samyogat rasa nispattih of Bharata. According to him the vibhavas etc., in the sutra are the causes (hetu) and the rasa is effect. (karya) i e. because of the combination of the vibhavas, anubhavas and vyabhicaribhavas rasa is generated. This means the relationship of utpadya and utpadakabhava exists between the rasa and vibhavas i.e. the vibhavas are utpadakas (generators) and the rasa is utpadhya generated. Between anubhavas ard rasa there exists the relationship of janya janakabhava i.c. anubha- vās are janakas (indicators) and rasa is janya (indlicated) and between the vyabhicarins and rasa there exists the relation- ship of posya posakabhāva i.e. vyabhicarins are poşakas (suppor- ters) and rasa is posya (supported).

From the above analysis it can be understood that the rasa which is generated by the vibhavas is indicated by the anubhavas and supported by the vyabhicarins For instance in the sentiment love. the ladies etc, become the alambana vibhavas by which the sthayibhava (abiding emotion) of rati (love) is generated. The pa.ks and the gentle breeze etc. are uddipana vibhavas by which the abiding emotion is excited. The glances etc., are the anubhavas by which the rati (love) becomes knowledgea ble and 2. Nātyasastra, VI, under verse no 31.

Rasa Prakaranam 123

finally the utkantha (longing) etc. are the vyabhicarins by which the rati is supported. In this manner the rati or love which is generated by vibhavas indicated by anubhavas and suppcrted by vyabhicarins becomes the sentiment love or srngararasa.

For this rasa or sentiment the heroes like Rama etc. are the base (asrayy). It is their experience of love that is depicted in the works through the power of words. As this is expressed by the power of words it is understood that this rasa or sentiment belongs to these heroes only. Because of the fact that the actor is imitating the hero like Rama etc , the spectators are superim- posing the existance of this rasa or sentiment on the actor and this becomes the cause of charm in the spectator.

SRI ŚAŃKUKA

He argues that there is the relationship of anumāpya anumapakabhava between the vibhavas and ratibhava i e. The vibhavas are anumapakas (the ground of inference) and rati is anumapya (inferred). The abiding emotions of rati (ratisthayi) or love which is thus resulted is itself the rasa or the sentiment. Because of the connection of the vibhavas which are the ground of inference or anumapakas, there is the conclusion or result of the knowledge of rasa or sentiment.

Usually, when we see a painting of a horse our experience is quite different from the four types of accepted experiences. Same is the case when we witness an actor also. Though the trio-vibhava, anubhava and vyabhicarins - is not in him, the actor because of his skill makes it appear in him. The horipilation etc., exhibited by him are really artificial; but they are not thought so. Because of these vibhavas, it is generally supposed that there is the abiding emotion of love etc. (ratyadi stha yibhava) in him. This inference it self becomes the charm in the form of a relishing. This abiding emotion which is the object of this enjoy- ment in the charming state is rasa. As the spectators are already immersed in this charm it is thought that the rasa or sentiment exists in them. The inference of sthayi here is not like the usual inferences. The other inferences may not produce charm but

124 Pratäparudrīyam

this inference invariably produccs charm on the strength of the beauty of the idea becoming relishable.

This is known as the anumitivada.

BHAȚȚANĀYAKA

In the opinion of Bhattanäyaka there is the relationship of bhojya bhojaka bhava between vibhavas etc., and rati etc., i.e. vibhavas etc., are bhojakas and the rasa is bhojya. On account of the connection between these two there is the enjoyment (bhukti).

In a composition which is in the nature of words there are- three functions -1. abhidhāyakatva 2. bhāvakatva and bhojakrti which are also called abhidha, bhavana, and bhojakrti. The abhidha is concerned with the verbal expression, while the function of bhavana is connected with rasa and the function of bhojakatva or bhogikrti is connected with the men of taste.

Bhavakatva is otherwise known as sādhāraņīkaraņa. Because of this function, the vibhavas etc .. and the sthayi are universalized i.e. These features do not belong to a particular person but become common to one and all. This, for instance means that Rama and Sita etc., giving up their particular proper- ties belonging to them, become common, and appear as ordinary man and wife. This process is known as sadharanikarana.3 By means of the function of abhidha Rama and Sita appear before us and on account of the function of bhavakatva the vibhavas etc. become common. At this stage the function of bhojakatva interferes when the ratyadisthāyibhava becomes enjoya- ble or relishable.

In this stage of enjoyment of the sthayibhava, the qualities rajas and tamas disappear; while the quality sattva is intensified; by means of which there is the bliss and the spectator forgets himself. Men of taste relish this ratyadisthays in this manner and this enjoyment of rati itself is known as rasanispatti.

3. For a detailed study see. K. Krishnamoorthy : The idea of Sadhārani- karana, S.V.U.O. Journal, Vol. XVIII, 1975, pp. 33 ff.

Rasa Prakaranam 125

ABHINAVAGUPTA

The theory advocated by Abhinavagupta, has been accepted on all hands as convincing. According to him there is the rela- tionship of vyangya vyanjakabhava between rasa and vibhavas. Vibhāvas are vyanjakas (suggestors) and rasas are vyangyās (sug- gested) and due to vibhavas there is the manifestation of rasa.

For instance a lady becomes the cause alambana. The moon light etc., are the causes of excitement. Tears etc., are effects and anxiety etc., are the subordinate feelings (sahakaras). The spectators who are adepts in minute observation to under- stand the nature are well versed in contemplating ratibhāva, through these vibhavas etc., the ratyadibhava lies imbeded in the minds of this type of spectators in the form of impressions.

When he listens to a work or witnesses a play the causes etc., enumarnted above lose their nature of cause etc., because of this excitement. They then get the appellasion vibhavas and no longer exist as causes Same is the case with regard to effect also When anubhava is associated with the effect the effectness is lost and the anubhava only remains. In the same manner the helpers (sahakarins) come to be called sancarins. In this state no relationship is comprehended by the spectator. Sita etc., appear to him as ordinary women when the ratyadisthayi, being imbeded in him, manifests, and this manifested rati etc., alone becomes rasa.

At first there is the understanding by means of the words used in the composition, next follws the understanding of the play of the vibhavas etc., when there will be the sadhāranikarana or commonization which brings about the manifestation of the rati etc. As this srhayi which is suggested in this manner is made clear by the vibhavas etc., it becomes rasa.

Summing up we can look upon these four theories as - Bhatțalollata feels that there is the relationship of utpadyotpa- dakabhava between vibhavas and rasas. Sri Sankuka opines that there is anumāpyā nuumāpakabhāva. Bhatțanayaka thinks that there is bhojyabhojakabhava and according to Abhinavagupta there is Vyangyavyanjakabhāva.]

126 Pratāparudriyam

The bhava or emotion that stands unshaken either by similar or dissimilar emotions till transformed into rasa is known as stha yibhava or abiding emotion.

This is said in the Dasarūpaka as :-

"Sthayibhava is that the form of which does not undergo any change either by similar or dissimilar emotions until such time that it is transformed into rasa."

[Sofar it is understood that the sthayibhāva developed by vibhava etc., becomes rasa. Before we think of the nature of sthayi, the nature of bhava is to be understood. The mental attitude connected with the society or the surroundings which go by the name eulture is known as bhava.4

This bhava is of two varieties 1. The sannihita and 2. The vyavahita. The former is like a thread in a cloth i.e. the difference between the thread and cloth is only in the shape. Similarly the difference between sthayibhava and rasa is only in shape but similar in all other aspects. As such it is said that the sthayi is closed to rasa. The elders also accept that the bhava which when well developed transforms itself into rasa is sthayi. This means that sthayi is very close to rasa. In the later case i e. the vyavahitabhava there is always the interval between rasa and vibhavas. These vibhavas always add splender to the rasa through the sthayibhava This means that the sthayibhava is that stage of the mental attitude of the spectator which is very close to rasa and occupies a position jusr below the stage of rasa. This is unshaken by similar or dissimilar5 emo- tions till it becomes rasa. 4. In a composition the pleasure and pain experienced by Rama and Sīta are depicted. The spectator or a reader who is a man of taste who thinks of these states of pleasure and pain understands them in terms of his self experience. Through these experiences there arises in them a culture, which lies imbeded in the from of impressions. This itself is a bhava. 5. Similar and dissimilar emotions :- The emotion of rati belonging to the other heroines, and the emo- tion of rati of the hero is similar, i.e. the co-planer emotions ere

Rasa Prakaraņam 127

The water from the rivers flows into the ocean. After it enters the ocean the water of the river also become saltish i.e. the property of the ocean is given to the water of the rivers. In the same manner the sthayibhava also takes all other similar or dissimilar bhavas or emotions into it and imparts its own property to them. This becomes sthayi only when it remains till the end.]

RASA

The varieties of rasa : Śrngāra, hāsya. karuņa, raudra, vīra, bhayanaka, bhībhatsa, adbhuta and santa are the rasas enumerated by the ancients (1) The sthayins of these are :

Rati, hāsa, šoka, krodha, utsaha, bhaya, jugupsa, viśmaya and sama are the nine sthayibhavas respectively. (2)

[Rhetoricians differ with regard to the number of rasas. Bhoja6 feels the srngara (love) alone is the rasa and to call others like vira etc , rasas is only a myth. According to others7 adbhuta alone is the rasa. In the view of some other bhakti alone is rasa. More than this some others opine that there are only four rasas and they are srngara; vira raudra and bhībharsa. Sānta is the only rasa from the stand point of some others and it is to be included as the nineth rasa though according to the Natyasastra

(Contd. F.N. 5) known as similar emotions, and if not they are dissimilar. For example the emotions connected with bhibhatsa rasa and rati are dissimilar i.e. they do not go hand in hand.

Naravahanadatta is in deep love with madanamanjusā. He is also in love with other girls. Even then his love for Madanamanjūsa is not deterred. Here the emotion of love is similar in all the cases. So they are similar emotions.

Madhava perambulats in a burial ground under the impression that he cannot attain Malati whom he loved so intensely. There he encounters scenes connected with bhibhatsa rasa. Inspite of it his love for her is not deterred. This is a case of dissimilar emotions.

6. The author of the srngāraprakāsa.

7. Narāyaņa Pandita.

128 PratāparudrĪyam

the rasas are only eight,8 Some other critics inelude vatsalya and bhakti also in the list of rasas to make it eleven If sneha also is included it becomes twelve Instead of enumerating the rasas like this it is better to say, according to some, that all those which are capable of giving pleasure may be called rasas and as such it can be said that rasas are nurerous ananta vai rasah.

Some observe an order in the enumeration of the rasas. But others feel that in the state of bliss there is no difference and all are same as such there need not be any order.

The differences are nine in accordance with the differences among the qualities sattva, rajas and tamas. In the same manner the differences are nine in the states of jagrat, svapna and susupta. There is connection between the states, sāttvika sattvika, sāttvikarā jasa and sārtivika tāmasa etc .; and rasas as such there is justification in enumerating them in a particular order. So santa* srngara, karuņa, hāsya, adbhuta, bhajānaka, vīra bhibhatsa and raudra is the order suitable to those who advocate the thecry of the qualities of sattva, rajas and tamas.

There is a particular order given in the present text. Among dharma, artha, kāma and moksa, srngāra is pleasant and easily sttainable by all living beings. As such it is proper to mention srngara first and hasya which emanates from śrngara comes next. Then follows its enemy karuna and raudra its cause. Then comes vira in which dharma is important and the bhayanaka which is connected with vira. Then enters bhibhatsa and adbhuta which are the results of vira. Finally comes in moksa for which santa is essential. So santa comes at the end. This is mcant by Abhinavagupta and others who enumerated them in the order given in the present text, and based on this order only the stbayins also are enumerated 1) Vibhava: (Stimulus and stimulai provided by character and excitents). It is said that vibhava is the cause of generating rasa and is spoken of as two kinds.

8. Nātyašāstra: VI, 15

Rasa Prakaraņam 129

1. Alambana and 2. Uddipana : (3) The alambana vibhava is the samavayikarana for rasa and all others become uddipana vibhavas. This (uddīpana vibhāva) is of four types. It is said in the Srngaratilaka :-

"Vibhāva, anubhāva, sattvikabhāva and samcarabhāva are the four that are considered as accessories to rasa."

[Vibhāva is explained in two ways i.e. viseşeņa bhāvyate iti vibhavah i e. that which is considered prominently and visesena bhavyati iti vibhavah, i.e. that which makes us consider (the sthayin) prominently. This vibhava is usually the cause of gene- rating the rasa in its ordinary sense9 and is of two types as alambana and uddipana. The alambana vibhāva is the samavāyi- kārana10 for rasa i.e. there exists intimate union between these two and as such in the absence of one, the other cannot exist. It becomes alambana on which rasa depends. For example the hero and heroine become alambanas mutually. The remaining causes become uddipana vibhavas.]

"Alambana guna, taccestas (gestures connected with it) tadalankrti (its decoration) and tatastha (neutral) are the four types in the order of Uddipana."'

"Form, youth etc., are said to be alambanagunas, the coquettish gestures arising from youth are said to be taccestas (gestures connected with form and youth)".

"The anklets, bracelets (worn on the body) and the neck- laces are said to be its decoration and the Malaya breeze, moon etc., are considered tatasthas (neutrals) taccestas.

2. Anubhāva :- (emotional reaction) : The gestures like the glances etc., generated in the body as effects become anubhavas.

3. Because there is no genesis and destruction for the rasa in its final stage. 10. Mud becomes samavāyi karana for the pot and the thread for the cloth.

661-9

130 Pratāparudriyam

[The term anubhāva is also explained in two ways as 'anubhavyate iti anubhavah i.e., that which follows the abiding emotion and as anubhavayatiti anubhavah i.e. that which maker the sthayi enjoyable. The bodily gestures like the glances, throb- ing of the shoulders, and slow gait etc , are the examples].

3. Sattvikas :- (outward indications of feelings or emotions) : To tune the mind in a line with the pain and pleasure pertaining to others is sattva. That which generates from it are known as sattvikas.

[Sattvikas also are like the glances etr., which indicate the emotion. So it can be understood that there is love etc., in the persons if these emotions are noticed. These feelings are anubhavas only i.e the feelings that follow the vibhavas. But the reason in enumerating them separately is that they arise from sattva. The mind must be co-operative in thinking of the pain and pleasure of others which is known as sattva. Because thi: sattva is the cause for these feelings they are called sattvikas. Though they are anubhavas as they belong to sattva they are to be separately enumerated.]

1. stambha (Immobility) 2. pralaya (loss of consciousness 3. romanca (Haripilation) 4 sveda (Perspiration) 5. vaivarnye (Change of complexion) 6. vepathu (Tremor) 7. asru (Tears), and 8. vaisvarya (Choeked voice) - are the eight sattvikas enume. rated.11 (4) The Vyabhicārins : 1. nirveda (dispondency or self-humilaition), 2. glan (fatigue of debility), 3 sanka (doubt), 4. asūya (jealousy) 5. mada (lasciviousnes), 6. śrama (exertion), 7. alasya (want of energy), 8. dainya (miserable state), 9. cinta (anxiety) 10. moh‹ (swoon), 11. smrti (recollection), 12. dhrti (satisfaction) 13. vrīda (bashfulness), 14. capalata (unsteadyness), 15. harse (delight), 16. avega (agitation), 17. jadata (dumbness), 18. garv (pride), 19. visada (affliction), 20. autsukya (desire or zeal) 11. These eight feelings though generate in the mind are physically indi. ated on the body.

Rasa Prakaraņam 131

21 nidra (sleep), 22. apasmāra (epilepsy), 23. supti (drowziness), 24. vibodha (becoming conscious), 25. amarsa (anger), 26. avahittha (concealment of inward feeling), 27. ugrata (ferociousness), 28. mati (sense), 29. vyadhi (sickness). 30. unmada (madness) 31. marana (death), 32. trasa (fear) and 33. vitarka (guest) are the 33 vyabhicaribhavas (which are) the helpers of rasa. (5 to 8)

[These vyabhicarins12 are also called sancarins They help realization of rasa. They are like billows in a ocean which shoot up and fall down creating charm in the ocean. They finally merge in the ocean itself. In the same manner these vyabhicarins create charm to the sthayi, help realization of the rasa develop- ing sthayi and finally merge in rasa.]

This is aiso said in the Kāvyaprakasa : "The feelings which become the causes, effects and helpers, to the feeling rati etc; which is fit to become sthayin in our experience, are said as vibhāvas, anubhāvas and vyabhicāribhāvas in a drama and poetry.".

In our experience it is noticed (in the sentiment love) that the hero and heroine are the causes; the glances and throbing of shoulders etc; are effects, and the despondency (nirveda) etc., are the helpers. They are technically called vibhava, anubhava and vyabhicarins in dramas and poetry.

[Those which are considered vibhavas in a particular case may become anubhavas in another case and sancarins in some other case and vice-verse. But in a particular given case they act as vibhava, anubhava and sancarins only without deviating from their positions.] In the case of the sentiments like love, heroic, terrific and marvellous etc., there will be the full development (of sentiment or rasa) as they are connected with the heroes (heroines also) of exceptional merit. That is (the reason) why in the case of the sentiment love it is called semblance (abhasa) if love is depicted with regard to an outcaste. This is said. 12. Mammata, kāvya prakaśa, 4.27.

132 Prataparudriyam

"The rasabhasa is said to be of three types 1) if love is only one sided, 2) if it is depicted in connection with animals and lowcaste people and 3) if a woman loves many men.

[The episode of Ravana can be instanced as an example of the first type. It is only Ravana that was having love for Sita but Sita did not love Ravana. So this is only one sided love i.e. partial but not mutual.

It does not mean that love must arise simultaneously in both the hero and heroine. There may be some interval as in the case of Ratnavall and Vatsaraja. Ratnavali loved Vatsarāja in the beginning but he loved after some time; and their love was developed by the vibhavas etc.

As sensitiveness is not observed in the animals, birds etc., the love depicted there becomes only a semblance. Same is the case with regard to low-caste people.

As it is not possible for a woman to love may men equally the love depicted in this manner also becomes only a semblance as it cannot be developed well with the help of the vibhavadis etc., What all is found there is only a superimposition of love and nothing more.

Bhavašānti :

The vyabhicaribhavas depending on their rising, cessation, co-existance; and supression are of four kinds. This is said in the Dasarupaka :-

"The cessation, rising, co-existanee and likewise suppres- sion" - Thus.

[If the rising of the vyabhicarins is depicted it is called bhavodaya. If cessation is described it is bhavasanti. If the enemi- cal ideas connected with two enemical sentiments are described as existing in one place it is bhavasandhi; if the succeeding bhava suppressess the preceeding bhāva it is bhavasabalata.]

Rasa Prakaraņam 133

STHĀYI BHAVAS The definitions and examples of the sthayibhavas like rati etc.,

The following is in order: 1. Rati: The desire parexcellance for a union in man and woman is rati.

(The natural desire for men or women who are in youth to enjoy pleasure by coming into contact with one another is known as rati).

as -

Let there be the cupid who is the embodiment of the only sentiment love : let there be the moon who is the (sprinkling base) seat of the pleasure of the world and let there be Vasanta the main abode of the coquetish gestures. There may be many others (great people) who possess propitiated sights. What speciality is derived from them? The lord of the Kakatis, the cupid is my husband. (9)

[Here the love of a woman for Prataparudra is clear. She desperises even the cupid moon and Vasanta and her satisfaction in connection with her desire or rati also is observed.]

2. Hāsa : The feeling (of the mind) that arises from the sight of the deformed objects etc; is hāsa.

[On looking at a deformed person or misplaced ornaments on the body or a person in an unexpected dress, or listening to incoherant speech or jokelar conversation, the mental state undergoes a certain change and this is called hasa. Here tears etc., are anubhavas and sleep, figure etc. are helpers; This is of three types depending on the nature of people as uttama, madhyama and adhama. Each of these three is again divided into two - smita and hasita are for uttamas, vihasita and vuddhasita

134 Pratäparudriyam

are for madhyamas and apahasita and atihasita are for adhamas. There are other divisions also like svagata and parāgata ]

The mischievous paramours having observed the kings roaming about in the city of the Kakati lord in the nights, in disguise in the dress of ladies, wearing wigs with collyrium in the eyes and artificial breasts, (and after) removing their white garments, handling their breasts and touching the knots of the sarees (then) (they) are leaving them stating that it is difficult (useless), with the sounds hi, hi. (10)

[The enemy kings who were conqured by the king Pratapa- rudra were imprisoned in the capital. These kings having escaped from the prisons are roaming about the city in the nights in the guise of ladies, to bolt away to their own capitals. But as they were in the make up of ladies mischievous paramours who generally wait in the streets at nights caught hold of them and began removing their sarees handle breasts and trying the knot of the saree. At this stage they found out that they are all artificial and they were not women and hence leaving them, laughing in mockery. Here the unusual make-up of the kings is the cause of the length of the paramours].

3. Śoka: (Grief) The sorrow generated in ones own self on account of the separation of beloved ones etc , is grief.

[Here by the word adi the separation from the beloved people; attainment of undesired objects; loss of wealth and house etc., are to be considered.]

a8-

Oh Creator ! You are cruel; Why are you training us this body-state fit for wild woods? What happened to those houses having all sorts of aminities? This desert (Where there is no water) is made (for us) Ah lords! you in the fire of anger of the king Prataparudra. While the women of enemies were weeping thus, the entire area was filled with water (by their tears). (11)

Rasa Prakaranam 135

[In this verse the loss of the beloved is instanced. When the enemy kings were killed in the battle their women ran into the forests. They being unable to adopt themselves to the forest life, were censuring the fate who made them savages.

Here the women of the enemy kings are the alambana vibha- vas for the soka or grief, which is caused by the death of their husbands and loss of kingdom. They are crying beating the breasts etc., in this state are anubhavas. The dainya, moha, cinta and vișāda etc , are sancarins.]

4. Krodha: (Anger) The inflammation of mind on account of the insults heaped up by enemies is krodha or anger.

[The insult may be by enemies, servants or opponents. This krodha is of three types 1. krodha, 2 kopa and 3. roşa;

Krodha is connected with the cruel animals. As soon as these animals are killed this vanishes. Kopa is connected with valour. This disappears with the requests of others etc., and rosa is usually connected with men and women. This remains until mutual belief is established.]

as-

Oh, Sevana! whence do you get this great and unprece dented pride? Probably because of this (pride) this river Gau- tami (godavari) is crossed; you have fallen in the mouth of death. Did you not hear this seven syllabled (chant) mantra the Kakati- vira rudra which drives away the devils in the form of rising enemy kings. (12) [Here the harsh intonation and the sounds of teeth etc; are the anubhavas].

5. Utsaha: (perseverance) A determind effort in extraordinary aets is perseverance.

[Proceeding with a firm determination and self confidence to achieve the desired ends is known as utsaha. This may be natural or imposed.]

136 Pratāparudriyam

as- "Let the oceans get agitated all around as in delusion, with the idea of conquering all the three words and let the moun- tains get ready to rain the huge rocks everywhere. We are capable of obstructing it. What credit is there for us in vanqui- shing the mean kings? Thus the soldiers of the Kakati lord are roaring in the battle. (13)

[In this verse the utsäha of the soldiers is only in connec- tion with the conquering of the enemy kings. Their self confi- dence is observed in their utterences that they can obstruct even acts of delusion and these enemies are too small for them ]

6. Bhaya : (fear) To doubt untoward results on noticing ferocious objects Is fear.

[When a ferocious object is noticed or a sound is heard, there is agitation created in mind. This is called bhaya or fear.] as - The enemy kings having heard the sounds of the war drums beaten at the starting of the machinary for the battle to conquer (others) of Virarudra whose valour is well known in the universe, at a distance, became terribly sick. When they were entering the thick forests, after climbing the mountains being pulled by the thorns caught in their hair are imploring the trees under the impression that they are the rival kings as "please protect and release" (14)

[Here the agitated condition of the enemy is observed in their requests to the trees which are mistaken to be the rival kings. The pulling by the throns is uddipana for the fear of the kings. Their pitiable requests are anubhavas and the bhayanaka is the sthayin.]

7. Jugupsa: (Disgust) To be sorry on noticing the noxious qualities of objects is jugupsa (disgust) : [This may happen even when they are listened]

Rasa Prakaraņam 137

as

The battle fields created by Virarudra are causing fear in the kings, with the easy wanderings obtained (by jackals) on the rows of the bodies of elephants that swelled up after falling down in the great mud of the brains scattered all around where there are the streams of flowing fat, the marrow of the bones and blood in abundance; where the side land is made uneven by the heaps of bones and where there is the emittance of the foul smell. (15)

[In this situation spiting etc, are the anubhavas and fear ete., are helpers. This is of two kinds depending on the nature of vibhāvas 1) ksobha and 2) udvega: There will be ksobha on looking at blood marrow etc., and udvega on seeing insects, marrow of the bones etc.,]

8. Vismaya: (wonder or admiration) The diffuseness of the mind caused by the sight of the extraordinary objects is vismaya or admiration.

[Wonder is generated because of the idea that the objects perceived could not be immediately comprehended as belonging to our experiepces in routine. This wonder is the cause of the sentiment adbhuta.]

as -

That great height (physical and moral) is different. This great depth also is different. The paths of glory and valour are extraordinary. The fame of arms is distinct or some thing other. Every thing belonging to the king Rudra is new, I don't under- stand how much and what type of material was used by the four faced one (Brahma) in creating him. (16)

[Here the admiration for the qualities of Prataparudra is evident.]

9. Śama: (Tranquility) The state of mind free from excitement resulted from the absence of worldly desires is sama or tranquility.

138 Prataparudriyam

[This happens in the company of the wise or by the grace of God. In this state there won't be any desire for any worldly pleasure.] as - When the best of the Andhra Kings (Virarudra) is bearing the earth (burden of the Universe) what is it that is obtained by the four faced one (Brahma) by acquiring long life? and what is it that is performed by Indra after accruing riches that are not within the reach of others? Thus the fortunate people are not knowing either the inward or outward calamities. (17) [Brahman, the creater is famous for longivity while Indra is famous for his wealth and pleasures. These two are not at all cared for or considered by these fortunate people living under the rule of Prataparuda, as there is no speciality about them. They were always to be on their guard. But those fortunate people enjoying the reign of Prataparudra were not having cares and anxieties. They had nothing to aspire for. As such they enjoyed peace and tranquility when they never had internal calamities. In this state of tranquility they did not have any exteinal calamities also. So this is sama or tranquility. Santa can be treated as an independent sentiment like love etc. This is accepted by Bharata and it has got all other paraphernalia required for its development as in the case of others. This is natural and sama is said to be its sthayins. Bharata while enumerating the sancaribhavas placed nirveda at its top. From this it is to be deduced that santa, as indipendent rasa, is acceptable to Bharata. He also enumerated its bhāvas and vibhavas and all the important writers on rhetoric follow Bharata in this regard. This is the exclusive property of those who do not aspire for anything in this world and who are not affected by pain and pleasure. Santa exists where all types of ego disappear. This is accepted by ancients as essential for the attainment of moksa which is the fourth purusartha. The sama can be obtained through mudita maitri karuna and upeksa. THE BHĀVAS [The vibhava, anubhava, and sancaribhāvas are common to all the sentiments. They have to be shown individually. As

Rasa Prakaranam 139

such at first the author enumerates them in connection with the sentiment love.]

1. Vibhāva (Stimulus) i) The alambana vibhava of love: The highest-limit of the artistic skill of the creator; A surity of love; the market for the coquetic spcrts; the high way of cupid and the highest deity of the women. Why enumerate other qualities? The kind Virarudra the cupid of cupid is her beloved. (18) [Here the youthful girl is the alambana vibhava.]

ii) Uddīpana vibhāva: (Excitant) The youthfulness of that faun-eyed girl with its simple elevation on the chest, is agitating these three worlds with fresh coquetry. What would happen if it (youthfulness becomes full with the development of the breast? What to say next? Every- thing is conquered by the flower arrowed one (cupid). (19)

[Her fresh youth itself is so attractive. If it were to be the case, how much attractive would she be when all her limbs are fully developed. In this verse the slightly elevated chest is the uddipanavibāva.]

2. Anubhava: (Emotional reaction)

as - The beautiful eyed girl is showering her glances all around the king Rudra, which are blooming with cupid; which are lovely with their agreeableness on account of pleasant and gentle smiles; which are slightly frigid with modesty; which are nouri- shed by the billows of the sentiment of love; which have many branches and which create thousands of cupids. (20)

[Here the speciality of the glances have their secret impact and they are the results or the reactions of emotion.]

SĀTTVIKAS Their definitions and examples: (external only)

140 Pratāparudriyam

1. Stambha: Possessing inactive limbs as a result of fear, love, etc.,

[This may happen due to sorrow and wonder also].

as - The women of the Kakati-city (Warangal) observing the king cupid, stood with their motionless or steady limbs as if chiseled by the arrows of cupid. (21)

[It is here described as if they do not possess conscious- ness, though they are fully conscious, as there is no action in their limbs.

2. Pralaya: The stuper produced deeply on the limbs on account of emotions like pleasure and sorrow etc., is pralaya.

as - Friend ! this moon, the king Virarudra has conquered the essence of the form of cupid, on seeing whom the entire limbs are over powered by stupor. (22)

[This shows that there is no activity of the limbs when Pratāparudra was beheld. This is pralaya.]

3. Romanca: 4. Kampa: (horipilation and shiver)

The change of state in hair caused by the excess of pleasure etc., (fear, wonder etc.) is (horipilation) romanca. (hence the hair stands erect on the body) and

The trembling of the body on account of love, wrath (anger) fear etc., is vepadhu or kampa.

as - The bride whose limbs are emacited in separation quivered on being embraced by the husband. She is pushing out the arrows of cupid laying inside under the pretext of horipila- tion. (23) [Here the kampa and romanca are clear].

Rasa Prakaranam 141

4. Sveda :

The oozing of water from the body because of sex-heat and fetigue etc., is sveda.

as -

The beautiful-eyed girl, listening to the pleasant message of the beloved, the Käkati-lord perspired all over the body as if she were invested (coronated) in the kingdom of cupid. (24)

[The perspiration here is due to love.]

5. Vaivarnya : The change in colour (of the face etc.,) due to despair or languor, passion and anger etc., is vivarnata or vaivarņya.

as - Oh king! the limbs of that youthful girl (black girl) who is constantly receiving (mentally) your qualities which are white like the moon have now become white. (25)

[Here the word syama used in the verse means both the youthful girl and the black girl. She is ceaselessly chanting in her mind the white qualities of the king. As such there is change in the colour of her body i e. though she is black in colour originally she became white. Again this can be inter- preted in another way also. She is in her youth and is in deep love with the king. But she is in separation. Due to this languid condition she became pale all over the body. So there is change in the colour of her body. This is vaivarnya.]

7. Aśru : The water generated in the eyes due to sorrow, anger and rapture is aśru.

as -

The tears of the wife of Pandya are flowing like a river as it were (going) in search of the pandya who fell in ocean due to fear of the king Virarudra. (26)

142 PratāparudrĪyam

[This means that when the king Pandya died in ocean } wife was heavily weeping. Aśru is clear here.]

8. Vaiśvarya: The shivering in voice caused by excessive passion is call vaiśvarya.

[This may be due to joy, sorrow, fear and fever etc.,]

as -

It is only the cupid that knows the meaning of the utte ances of the bride murmured in broken syllables, with tl beloved in solitude. (2

[She is enjoying sex with her husband in a lonely place. ] her excitement she was incoherntly uttering something to h husband. As those utterences were merged in the sounds pr duced at the time of sex they were not audible. This is becau of the vaisvarya caused by excessive passion.

VYABHICĀRI BHĀVAS

Next the definitions of vyabhicari bhavas like nirveda etc and their illustractions :

1. Nirveda :

The idea of futility arising from sarrow jealousy, and th teachings of philosophy, is nirveda; and there are anxiety, teal sighs and melancholy.

[The above are the anubhavas of nirveda. This nirveda ca be considered as a limb or accessary emotion bhavanga or a anubhavanga an accessory of emotional reaction, or rasanga - a accessory of rasa or sentiment; or even as an independent. Th ordinary form of it is as -

Oh friend! Enough of campher; what use is of musk Let sandle be there. Get me Prataparudra also who is cool wit qualities and fragrant with fame. (28

Rasa Prakaranam 143

[Here the pangs of separation from the beloved are clear. because of that separation. She is not interested in camphor, sandle and musk, which are said to be cool by nature. This indifference in those articles is nirveda.

2. Glāni: The deterioration in strength (is glanì) is the cause of change of complexion and dislike.

Because of hunger, thirst and sex there may be loss of strength and the effect of this loss is change in complexion dis- like or distaste; emaciation and not in a position to speak distinctly.]

as -.

The Earth bears all the three worlds. The arm of Pratapa- rudra bears that Earth; Bearing him in (with) my heart (or on my chest) as an adventurous one, I become week limbed. (29)

[This is the uttterance of a lady who completed coition with Prataparudra. She is completely exhausted and became weak. So it is to be noticed here that the cause of her weak- ness is sex and this is an instance of glani.]

3. Śanka: To thinking of an unwanted result for which anger is the cause is śanka.

as -

I made friends with the beloved in my heart so that others may not know it what? Am I exhibiting it to the public with my horipilations all over the body? (30)

[Here though the girl wanted to keep her friendship with her beloved as secret, it is being made public through her hori- pilation, As such she is afraid that others may come to know of her secret love and suspect some untowardness This is śanka].

144 Pratāparudrīyam

4. Asūya : Intolerance in the prosperity of others is said as asuya.

[This is caused by pride etc.,]

as -

Is the Earth greater than I by birth and form? If Pratāpa- rudra is honouring her much it is her fortune. (31)

[This is uttered by the beloved of Pratäparudra with her friend. In this verse the jealousy of this lady in Earth is evident. She is not able to tolerate the prosperity of Earth in the form of love of Prataparudra. So this is asuya.]

5. Mada : The admixture of infactuation and delight or happiness caused by liquor etc., is mada.

as -

Behold this youthful lady lost herself in the intoxication of the thought of her beloved. She with her reddish eyes, speaks incoherently and laughs aloud. (32)

[The eyes of the intoxicated become reddish and they speak in an in-coherent manner. This is mada.

In the present instance it can be noticed that she became intoxicated with the thoughts of her beloved i.e. her love itself became an intoxicant. As such her eyes became red i.e. they indicate her passion for him.]

6. Śrama: Lassitude resulted from journey (walking) or sex etc., is śrama and by this there will be profuse perspiration.

as-

Oh Beauty ! Why do you experience fetigue of going and coming while your beloved himself is arriving. You are troubling yourself. Your talcum disappeared due to sweat (33)

Rasa Prakaraņam 145

[Here the fatigue of the heroine who is desirous of sex is made evident by her impatient waiting. This is śrama.]

7. Ālasya :

Sluggishness in the expected duties is alasya or indolence.

[This happens when the mind is fixed on some other object.]

as -

Brush aside the question of house-hold duties of this fawn-eyed girl; there is slothfulness even in her services related to her body. What remains to be performed in the presence of her lover will be surely compelled (to be performed) by cupid (himself). (34)

[Here her laziness is clear.]

8. Dainya :

Meekness resulted from forsaking spirits (sanra) is dainya. There will be niggardliness due to this (in behaviour and speech etc.)

The friends who went to fetch the king are delaying. Cupid ! 1 salute thee; Instruct moon to delay a little more. (35)

[The moon light is tormenting her. So she is imploring cupid to see that the moon does not appear for some more time. This shows that she gave up her pride and submitted herself to the events, So her request in a meek manner is an instance of dainya.]

9. Cinta :

The anxiety due to non arrival of a desirable person on nthe appointed time is cinta, which creates absent mindedness and misery.

661-10

146 Pratāparudrīyam

Though the elders are close at hand she does not see them, nor does she sneak even when questioned. She is only searching a way for her heart which is attached to her lover. (36) [This verse reveals her anxiety when her lover did not turn up at the appointed time. Absent mindedness etc., in the first half and her contemplation on the lover in the second half can be noticed in the verse].

10. Mohah : The fainting caused by the flurry of fear, sorrow, and con- tinuous contemplation is Moha.

That delicate limbed girl having some how spent the leng- thy day, decorating herself in a new fashion, (after evening) and having sent messengers swoond, with her body tormented all over by the lengthy moon rays when the lord of her heart dela- yed. (37) 11. Smrtih : The knowledge connected with the affairs experienced on previous occasions is smrti. as - What amount of penance should have been earned by Barth that is dwelling in the arm of Prataparudra ? Because my body is experiencing all pervasive happiness of hard cement though touched once by him. (38) [This means that the Earth which is experiencing his con- stant touch is enjoying more and more happiness. Again it is noticed here that the heroine is recollecting her happiness of the touch of Prataparudra experienced on a previous occasion. This is smrti ]

12. Dhrtih : The freedom of the mind from attachment because of knowledge (spiritual) and attainn ent of the desired object is dhrti or indifference,

Rasa Prakaranam 147

Oh heart ! when the king Virarudra the ablest (to bear) in the three worlds happens to be your husband you are fulfilled in your efforts and you feel that this entire universe is worthless. It is doubly correct. (39)

[After she attained her desired object Pratäparudra as her husband, she feels the worthlessness of every thing in this world i.c. she has no taste for the world. This shows the freedom of her mind from attachment to objects. So this is dhrti or indiffe- rence.]

13. Vrida : The humbleness in the mind caused by love etc, is modesty.

[This may also happen when any one extold or due to the extinction of customs and prestige of the family etc.,]

The eyes of the women of the Andhra city (Warrangal) who were very cager to see him, were encompassed by their lashes because of their desires when the king Rudra observed them. (40) [Though Virarudra observed them with compassion they became modest on account of their love for him. This is vrida.]

14. Capalata : The ficklemindedness caused by love, hatred etc. is capa- lata.

as -

The girl, on looking at the king Rudra possessed the eyes that became unsteady. She possessed amorous smile, was hold. ing the pearl necklace in her hand and was touching the lotus in the ear.

[In this verse there are few actions performed by the girl. She was completely unsteady and could not concentrate on any thing. Hence this is ficklemindedness.]

148 Pratāparudrīyam

15. Harsa : Complacency of the mind due to joy is harsa which causes sweat, tears and tremor.

[The joy may be dne to the arrival of the husband or the birth of a child etc.]

Oh breasts! what penance was performed by you pree viously in the ponds under the pretext of lotus buds? Ail that bore fruit now. You are blessed. Because. this lotus garland given to you by the lord of the Kakati-family possessed the redoubled fragrance due to the musk of his chest. (42)

[The happiness of the women who reccived a lotus garland from Prataparudra is noticeble here.]

16. Avega : The alaram of the mind caused by obtaining the desired or undesired objects is avega.

This riay be due to loss of kingdom etc.]

as - Having heard the drum-beat made at the starting of the pleasure walk, the women of city suddenly possessing fresh enthusiasm to see the king Kakativirarudra, are climbing up to peaks on the roofs of the golden mansions, with half finished decoration and misplaced ornaments at every step. (43)

[The alaram of the women caused by the anxiety to see Pratāparudra is clear in this verse.]

17. Jadata : The frigidity caused by obtaining either the desired or undesired objects is jadara i e. the dullness of intellect.

[The mind gets stupified by unexpected events. Nothing strikes to the mind in this state. This is the dullness of intellect or jadata.]

Rasa Prakaraņam 149

When the magnanimous king Rudra, who possessed the fame of freely conquering the cupid with the lustre of his hand- some body, arrived at the house, the bride (girl) in the presence of her friends, was neither able to serve him nor abstain from it, due to intermixture of joy and modesty. (44)

[The bride though eager to serve her husband who comes to her, could not do so, as she was overpowered by modesty in the presence of her friends, When these two feelings i.e. feeling of serving him and the feeling of bashfulness mixed together, being unable to decide as to what to do she became non-plused. This state is known as jadata.]

18. Garvah : Self boasting, caused by strength etc., resulting in dis- regarding others, is garva or pride. [This may be due to strength (Physical or mental), afflu- ence, noble birth, beauty, or knowledge etc.]

What? even for us a stipulation to take up arms? What type of enemity is there for us with wretched worm-like rival kings? Thus (saying) the soldiers who possessed the unchecked strength of the ferocious arms in arrogance, of the Kakati-lord, a conquer, are sporting in the battle field. (45)

[Here the pride of the soldiers is noticeable.]

19. Vişādah : The depression of the mind due to the absence of solu. tions (for a problem) is visâda. [This depression sets in when an effort is spoiled or the guilt is understood, or hurdles are placed on the way or due to advent of calamities. When no solution is found to get over these situations there will be depression of the mind.]

150 Pratāparudriyam

Friend ! My mind, giving me an assurance to fetch my lover, having unnecesserily left me got attached to my lover. The cupid, leaving me does not go any where. What is to be done ? (46)

[Here her depressed mood in the non-arrival of her lover is evident.]

20. Autsukyam : Intolerance of delay (time) is autsukya which causes agony, hastiness etc.

[Sighs and sleep also may be included in this.]

The women of the Andhra city who are in haste having decorated their bodies, are tolerating the delay in the arrival of the king Rudra with difficulty. (47) [The expression prcchrena sahate shows that they are unable to tolerate the delay. This is autsukya.]

21. Nidra: The closing of consciousness is nidra;

[The mind is not in contact with the objects of the world outside.]

See! The bride, trying to embrace her husband seen in a dream, is stretching her hands in air (void) with eyes closed due to modesty. (48) [Here her attempt to embrace her husband who is not real is noticed. This indicates her everlasting contemplation on him. As this is not in tae conscious state this is nidra.] 22. Apasmāraķ : The agitation due to delusion and sorrow etc., which causes the torture of the body is apasmara.

Rasa Prakaraņam 151

as -- Tbe enemies, having seen the Kakati-lord with enraged face in a dream, and having got up in agitation are running with incomplete utterences for protection (instead of the word raksata, they are uttering raksa, raksa only). They are rolling on the ground in the forests and are also calling their relatives though near at hand, as if they are far away by (disjointed names or) confusing names. (49)

[Here the agitation of the foes, is noticed as caused by fear and delusion.]

23. Suptih: The undisturbed or abundance in sleep is supti.

as - When the Kakati-lord has taken up the protection of the universe, the milk-ocean though prospered by the moon light of his (Prataparudra's) fame, is not disturbing the slumber of Murari (Vișnu) who became unconcerned. (50)

[The billows of the ocean increase in the moon-light, which appears rough. Even in this stage Vișnu was unperturbed i.e. he had full confidence in the capacities of Pratäparudra who can put down any rough atmosphere.]

24. Vibodhah : The regaining of consciousness is vibodha, which causes yawning and rubbing of the eyes.

When Prataparudra the crown-gem of the kings, and the punisher of the foes is protecting the earth, the prosperity of the people started shooting up vigorously all around. (51)

[The words vijrmbhamanāh and unmișanti are suggestive of the idea that the prosperity of the people was not clearly visible before the advent of Prataparudra and it began rising in his period just as the lotuses which are usually closed during nights

152 Pratāparudriyam

open themselves at the advent of sun when the lake looks prose perous. This is vibodha.]

25. Amarsah :

Ablazing of the mind towards those who wronged is known as amarsa.

[This may be an insult caused.]

as-

"Oh Kings ! Bend down your bows, rise up your heads; start selecting the celestial ladies (with enthusiasm) asserting your superiority. Our swords are eager in the sport of killing" Thus are roaring the soldiers of the king Rudra in the battle field. (52)

[It is generally believed that those who die in a battle field will enjoy the celestial ladies. Hence in this verse the enemies are asked to be ready to select the ladies they want in heaven i.c. they are sure to die. This shows the retaliating spirit of the soldiers. So this is amarsa.]

26. Avahittha:

The concealment of joy etc., is avahittha.

as -

The pretty girl on listening to the biographical incidents (history) of Prataparudra in the assemblage of ladies, is scrach- ing the earth with her foot with her face bent down. (53)

[The girl really felt happy at the stories of Prataparudra narrated in the congrigation. She became boastful, with an idea to conceal her joy and modesty she bent down her head and began drawing line on the earth with her foot. This is avahittha.]

27. Ugrata:

Ferociousness in the wake of transgression is ugrata which causes threatening etc.

Rasa Prakaranam 153

Having fetched the beloved let the pangs of separation of this respectable lady be kept off; because the moon is being reduced to shoot with the meteors of her glances. (54) [This girl in the absence of her lover is not able to endure the passion. So she began cursing the moon. From this her ferocious nature is evident.]

28. Matih : The determination of the cause of the effect by means of investigation of truth is mati.

[This investigation is through sastras, circumstansial evidences, logical diductions etc.]

The king Virarudra by whose touch of the band the limbs are becoming moon-slabs is the moon on earth. What doubt is there? (55)

[The moon-slabs usually ooze out liquids at the touch of the rays of the moon. Here also when Prataparudra touches the girl with his hand, she began forgetting herself. From this effect the cause that the king is moon is inferred. This is logical. 'Hence this is mati.]

29. Vyadhıh: The fever a resultant of the anguish caused by humiliation is called vyādhi.

as - The temperature in the cupid-fever (love-fever) generated in the bodies of the women of enemis of Prataparudra the con- queror of the quarters is making the people forget the stories of the snow in the regions of Himälayas. [The cool-breeze in the Himalayas delight the people usually. But they become useless when there is love-fever in the people because of the high temperature in their bodies. As there is fever this is an instance of vyadhi.]

154 Prataparudriyam

30. Unmadah : Equality in behaviour towards animate and inanimate objects is unmāda

[Due to great fear, typhoid fever, loss of kith and kin, and loss of property etc., the mind goes off the track. This is known as unmäda.]

As the sound of the kettle-draum at the victory-march of Prataparudra, diffuses in the quarters the enemy-kings who are agitated with fear are asking the trees in delusion, the way (for their future). (57)

[Here it is said that the enemy kings are requesting the treas to show them a way as they are terribly afraid of Pratäpa. rudra. The trees are considered inanimate, but the kings are requesting them without noting the difference between animate and inanimate objects. As such this is unmada.]

31. Maranam : An attempt to die is known as death.

[The symptoms crop up at the time of death are being Usually described here. But according to a section of scholars, it is felt that there need not be any description, as there won't be any action in death.

as

The bride being uneble to endure the separation from her beloved and disregarding her life is waiting upon moon-light and delivering the body to the south-wind. (58)

[The lovers in separation, cannot endure the moon-light and south breeze. These two torture them. Here the lady disregarding her life is placing herself into the hands of these two enemies, preparing herself to die. So this is marana.]

As real death is inauspicious no illustration befits (tbe occassion here).

Rasa Prakaraņam 155

32. Trāsaķ : The agitation in mind due to unexpected fear, is said to be trasa.

The bride (girl) though in the state of loves-anger since a longtime, on hearing the roaring of the thick clouds, turning instantaniously embraces the husband, with shivering limbs. (59) [The fear due to the sounds of clouds is clear here.]

33. Vitarkah : Thinking of alternatives because of a doubt is considered vitarka.39

as- My heart is attached to him (Pratāparudra) because of (his) qualities. Nothing else is considered. It is not discussed with the friends that this king is unattainable. What means is there to approach him? My mind faints; what type of distress it is, how long does it persist and where it ends? ... ... (nobody knows). (60) As the sattvikabhavas and vyabhicaribhavas are common to all the sentiments or rasas, no illustration is given here as con- nected with any parlicular sentiment. Usually, all these sancaribhavas have scope in the sentiment love. In the senti- ment humour or hasaya there exist glani, srama, capalatva, harsa, and avahittha. In pathos or karuna there won't be mada, dhrti, vrīda, harşa, garva, autsukya, and ugraia: The remaining vyabhi- carins appear. In raudra (wrath) there won't be glani, sanka, alasya, dainya, cinta, āvega, jadata, vișāda, supti, nidra, apasmara, avahittha, vyadhi, unmada, srama and trasa: But the remaining can appear. In heroic (valour) nirveda is to be added to the list of those sancarins which do not exist, in the sentiment raudra given above, and all other exist as in raudra. In the sentiment bhayanaka there won't be asuya, mada, dhrti, vrida, harsa, garva, nidra, supti, amarsa, avahittha, ugrata, and cinta and trāsa exist respectively. In the sentiment santa, nirveda and dhrti only exist- - 39. Many alternatives may be thought of even by vimarsa. That also becomes vitarka.

156 Prataparudrīyam

THE GESTURES OF LOVE

The gestures of love are being pointed out : 1. Bhāva, 2. hava, 3 hela, 4. mādhurya, 5. dhatrya, 6. lila, 7. vilāsa, 8. vicchitti, 9. vibhrama, 10. kilakincita, 11. moļļāyita, 12. kuttamita, 13. bibboka, 14. Ialita, 15. kurūhala, 16. cakita, 17. vihrta and 18. hasa - These eighteen varieties are said to be the gestures of love. (61 & 62)

[Among these the first five are connected with mind or inteliect and the remaining thirteen belong to the body. All these may be treated as anubhavas Some of these bhavas are connected with youth and hence those that are connected with the ladies may become even uddipana vibhavas.]

Their definitions and examples : 1. Bhavah : (Emotion) Elgibility to relish rasa or sentiment is bhava. [People experience emotion of love in adolescence and the understanding of love slowly starts. This is bhava.] aS- The woinen folk, in childhood freely sing the qualities of the king Rudra, but in youth with slight horipilation become bashful to sing. (63)

[As children they do not know anything about love. But at the advent of youth, automatically, the mind experiences peculiar state with love and hence they become bashful and experience horipilation etc., This is because of the beginning stages of their understanding of love, As this stage is described here, this is bhāva.]

2. Havah : (Coquettish gesture tending to excite (sensation). If any change or perturbasion is noticed in emotion on bhava it is called hāva. The above verse alone serves an example here also. The word darapulukira (in the verse) slight horipilation indicate hava in the adolescent girls.

Rasa Prakaraņam 157

3. Hela: (wanton sport)

hela. The bhava which has a clear cut exposition is said to be

Oh pretty girl ! you kept your husband in your heart without being known by any one else. (But) your bhava or emo- tion is being trumpeted with the (presence of) horipilations all over the body. (64)

[Here the bhava is distinct with the horipilation all over the body. As such this is hela.] .

4. Madhuryam : (Loveliness) Gracefulness even in the absence of ornaments is said to be madhuryam.

This faun eyed girl, by nature, possesses the loveliness that conquered all the three worlds. Bur, I feel, that she is wear- ing ornaments only to adorn them. (65)

[She is by nature exquisitely beautiful and so need not make any effort to conquer the worlds. But even then she is wearing ornaments. This is only to adorn them, as I feel i.e. the orna- ments get more value when adorned by her. Here it is shown that she is more beautiful even without ornaments. Hence this is madhurya.]

5. Dhairyam: (courage) Net to transgress character etc., is called dhatryam.

[Customs, morals and ethics belonging to ones own self are included here. Not to transgress or violate them even in difficulties is dhairyam ] as -. It is not proper, on the part of family ladies to violate customs .even in adversities. : (But) the qualities of the king Rudra are heartening what is to be done? (66)

158 Pratāparudriyam

[It is deseribed here that a family lady, though much attracted by the qualities of Prataparudra is taking a firm resolu- tion not to violate her customs. So this is dhairya ]

6. Lila : (Imitation) Imitating the husband or lover in speech, gait and acts etc., is lala.

as =

Oh friends ! Behold, the Lakshmi, imitating the behaviour of the king Prataparudra has become the devoted wife among the queens. (67)

[It is described here that his wife Lakshmi is imitating him in all aspects of life and became a devoted wife, so this is lila.]

8. Viläsah : (Change)

Change of mental state when seen by (or at the time of observing) the beloved is vilasa.

[This is an involuntary emotion caused in the presence of the beloved.]

as

The art of the flower-arrowed one in the youth of the fawn-eyed girl who is looking at the king Rudra who is naturally handsome; in a sweet manner, an account of the delicate thoughts that swelled up at that time with hela (wanton sports) and experiencing the sattvikas that cropped up instantaneously becomes victorious. (68)

9. Vicchitti :

To be more attractive even with less ornamentation is vicchittį.

[This is because of the exact ornaments in their befitting places ]

Rasa Prakaranam 159

Oh friend ! For whom and by whom is created this beauty of the ladies of the kakati-city? Because it (beauty) is charm- ing in the three worlds even with the usual ornaments. (69)

[As the ladies in the capital of King Rudra, look more and more charming with less ornamentation itself. they do not require a heap of ornaments which looks gady: Here it is des- cribed that they look pretty even with less ornaments and their beauty exceils all the others in the three worlds So this is vicchitti.]

10. Vibhramah: Misplacement of the ornaments, at the arrival of the beloved, in a hurry is vibhrama.

The pretty girl, having heard from her friend that the day came to a close, is putting on the anklets on the hands and bracelets on the feet in a hurry. (70)

[Here the misplacement of the ornments on the body is described. So this is vibhrama.]

11. Kilikincitam : The admixture of anger, tears, joy, and fear etc., Is kilikincita.

as = When the Käkati-Lord catches hold of the hem of the garment of that fawn-eyed girl in a lonely place, her body trem- bles, the eye-brows dance and even the voice stutters. (71)

12. Mottayitam : To show interest in the stories of those who are liked is mottāyita. a8 = The displaying of the horipilation of the girl who is listen- ing to the sweet stories of the king Rudra, by hiding her body is not as clear as the exhibition of her emotion. (72)

160 PratāparudrĪyam

[Here the extreme interest of the girl in listening to the stories of Rudra is described. As such this is mottāyita.]

13. Kutțamitam: The excessive pleasure even in the pressure of pain is known as kuttamita.

There may be pain on account of biting the lowerlip catch- ing the brests, imprinting nails and teeth etc., at the time of sex. But the pleasure derived is much more than this inflicted pain. This is called kuttamita.

as -

The moon-faced girl being filled with modesty on looking at her dear friend whose mind was struck with amagement, at the limbs (of the girl) which become the tale-bearers of the episodes of the amorous quarrels in the sport of the cupid, when decency is disregarded, and having understood her own bold- ness, and the blindness of passion caused by her husband bend- ing down her moon-face immediately, is standing scratching the ground, (73)

[The description given here, reveals the fact that her husband behaved in sex in a manner that it pained her extremely and the marks of which became clearly visible on her body even on the next day. But because of the excessive pleasure she experienced at that time inspite of the pain inflicted on her on account of his blindess of passion she did not mind it at all. As such this is kutfamita.]

14. Bibbokah: To exhibit slight indifference in the news of the beloved is bibboka.

[To be indifferent not only towards his behaviour etc., but also towards him is known as bibboka.]

as - Let Laksmi stroll with ease in his palace let not Earth give up the supporting sport of his arms. Let Vani still reside

Rasa Prakaranam 161

in his mouth. Enough of the sweet utterances of the king Rudra, which are well known previously itself. All is known: Oh friend ! let cupid prepare his bow. (74)

[Here the indifference of the girl towards the message sent by Pratāparudra is clear. So this is bibboka ]

15. Lalita : The movements of the limbs (cxhibited) in a delicate manner (graceful manner) is called lalita.

as The sportive tending of the King Rudra in a secret place on the women possessive of the girdle and the gemset anklets which are sounding at the time of the sport of the foot-steps, (dancing); pleasant, with the sounds of the bracelets of the hands in graceful movements (When the hands are gracefully moved) and possessive of the utterances unsteady like billows in the moon light of smiles. (75)

[The movements of the ladies described here are graceful. So this is lalita.]

16. Kutūhala: The anxiety for a beautiful sight is called kutuhala.

The women in the city of Andhras, are climbing up the peaks of the high mansions in haste, to have a glimpse of Vira- rudra who ascended the elephant. (76)

[The anxiety of the ladies to steal a glance at Virarudra is deseribed here. So this is kutuhala.]

17. Cakita: The alarm caused by fear is cakita.

as - The king wishes to come back again in the same manner, to look at the beautiful bodied girl, who possessed the extremely

661-11

162 Pratāparudrīyam

agitated eyes on suddenly beholding him, who came without intimatior tor unknowingly) and not even reported by the friend with a view to make fun of her, and having observed her overflowing amorous gestures. (77)

[Here the nlarm of the girl who unexpectedly beheld the king is clear. So this is cakita.]

18. Vihrta : Abstaining from uttering what is to be uttered, because of modesty at the proper time is vihrta.

85-

The bride is affectionately looking at her friend who is painting (Makarikapatras) on the breast asking her to touch the garland of kalhara flowers that is on the chest of Prataparudra with that (breast decorated with that painting). (78)

[Here it is noticed that the bride is silent at the joke of her friend She ought to have replied her friend. But beeause of modesty she did not do so. So this is vihrta.]

19. Hasita : Hasita springs from youth all of a sudden.

[This is only the effect of youth but not because of the modified dress or speech as in the case of humour.]

88-

As and when this fawn-eyed girl smiles pleasantly being trained by (yauvana Laksmi) the wealth of youth, then and there the arrews of cupid and the hope of the beloved are flowing. (79)

[The smile of the girl is instilling passion There is in her the youth suddenly dawned Hence this is hasita ]

All types of amorous gestures are thus enumerated. So far the material required for rasa also is explained.

Rasa Prakaranam 163

STAGES OF LOVE

They are twelve40 : Next the twelve stages like the usual stages of a seed ankurita, pallavita, kusumita and phalita, of the sentiment love are being enumerated.

[After seeding comes in, leafing followed by ffowering and fruiting. In the same manner love also has to pass through all the stages till it attains the final stage of fruting, etc.,]

1. Cakşuhpriti (Pleasure of the eyes), 2. Manahsanga (mental union), 3. Sankalpa (Thought), 4. Pralapita (speaking) 5. Jagarah (waking up), 6. Karsya (emaciation), 7. Arati (dislike), 8. Lajja- tyaga (giving up bashfulness), 9. Samjvanah (fever), 10. Unmada (insanity), 11. Murchana (swooning) and 12. Marana (death) (79 & 80) - are twelve in accordance with the science of erotics. But according to some there are only ten stages in this love.

Their definitions and illustrations : 1. Caksuhpriti: To look at with respect is said as Caksuhpriti.

[This may be either before the eyes or in a painting or in a dream.]

as- Oh friend: This king Rudra becomes the undisputed pleasure of the eyes. He is like cupid in flesh and blood and like the full moon rid of his insignia. (81)

[Here there is respect shown in the sight of the king.]

2. Manaḥsanga: The reposing of mind in the beloved always is manah- saigama

3. These stages are twelve according to some and according to some other section they are ten only.

164 PratāparudrĪyam

as - Oh, My mind is always attached to the king Rudra. Why are you angry? Iam also forsaken by that mind. Friends! what is to be said in your case?

[Here her attachment to Prataparudra is clear.] (82)

3. Sankalpa : Desire connected with the beloved is known as sankalpa.

as-

When will the glances of the king Rudra that are pregnant with sweet smiles, glossy with friendship and bear love, fall on me? (83)

[Here the desire for the looks of the beloved is evident. So this is saakalpa.]

4. Pralāpa : To narrate the qualities that are imbedded in the beloved is Pralapa.

"Thus skilled; thus beautiful, thus fortunate; thus the agreeable natured is the king Rudra alone" so goes the chat of the middle aged ladies. (84)

[Here the conversation of the middle aged women regard- ing Pratāparudra is depicted, So this is Pralāpa ]

5. Jagara : Sleeplessness is calted Jagara.

[This is due to anxiety caused by love.]

The day is somehow spent. The night which is intoler- able with the moonlight is lengthy. Cupid also is ready with his arrows equipped; neither sleep nor the king comes. (85)

[Here the sleeplessness is clear. So this is jagara.]

Rasa Prakaraņam 165

6. Karśya : Emaciation of the body is kārsya. as- Moon faced girl! How is it this ring has become your armlet (an ornament worn on the upper part of the arm? Friend ! due to the greatness of love. Who is he? By which (act) I can be a co-wife of the earth. Pretty girl! It is under- stood; you became attached to the lord of Käkatis. Oh, auspi- cious one! He will really sport with you as well as with the earth, who possess of black41 body (black in the case of earth and mid-youth in the case of the girl) and mountain-like breast (mountains in the shape of breasts in the case of the earth and lofty breasts in the case of the girl.) (86)

[Here the expression that the ring which is to be worn on the finger has become armlet, indicates her emaciation. So this is kāršya.]

7. Arati: Dislike in things other than the beloved is arati.

She is eursing the creation of moon; abusing the greatness of the malaya-breeze; She (thus) became averse to festivity. Fortunate one ! What is it you still think of ? (87)

[Here it is said that the girl does not think of anything else. She is suffering heavily in his separation. As such she is not able to tolerate moon light and south breeze, which are con- sidered to be excitents of love. As her aversion to everything else is thus described this is arati.]

8. Lajjātyāga : Giving up modesty is lajjatyaga.

She in her extreme passion, spoke transgressing the decency of the women, on hearing which the elders are going afar in modesty. (88)

41. Śyama means both black and mid-youth.

166 Prataparudriyam

[Here as it is said that the lady spcke giving up her modesty this is a case of lajjātyāga ]

9. Jvara: Excess in pain is called jvara.

[This happens only in the case of the torment due to love.] as - Oh king Rudra ! that girl, in whom all palliatives became in vain, suffering from heavy fever due to separation, wishes the ambrosia of your sight. (89)

[The description of a high fever here is a clear case of jvara.]

10. Mürcchã : Absent-mindedness caused by the de-functioning of the external senses is mūrccha.

as - The external senses of that fawn-eyed girl who is vacant and (who is) contemplating to see the king who is in the beart, are entering the internal senses. (90)

[Here the description of the vacant senses i.e. the absent- mindedness makes clear the stage of murccha. Moha a sancarin is akin to this stage.]

[Unmada and marana are already illustrated when sancarins are dealt with. They are called sancaribhavas if they happen to be the helpers to the sthayibhavas; but if they take part in the relishing of rasa, exhibiting the stages of development of rasa, they become the stages of love.]

ŚRŃGĀRA

This is of two types 1) sambhoga (enjoyment) and 2) vipra- lambha (separation). According to the Śrngaratilaka42 sambhoga is in the case of those who are united and Vipralambha is in the 42. The Śrngāratilaka of Rudrabhatta.

Rasa Prakaraņam 167

case of those who are separated. "Though the sambhoga type is of multiple divisions in accordance with its operation like mutual aspecting, conversation, embracing and kisses etc., it is consi- dered as one as :-

I. Sambhoga : When the king Rudra, the beloved of my heart, arrived at the secret place, the order of the anger disappeared, the appea- rance of modesty became thin. Dear friend! what is there to be concealed from you? Some pleasant and soft excitement of cupid both in and out, is uniting me with the king. (91)

[At the time of coitus, free indulgence becomes an orna- ment but not modesty. In this verse the beloved is the alambana; the secret place is uddipana the harsa etc., are the vyabhica ins, and stambha etc., are anubhavas. The sthayi usually developed when these culminate in Sragararasa.

The expression bahirabahiränandamasrnah also gives rise to the suggestion of embraces, kisses etc.]

2. Vipralambha : This is of four kinds as i) caused by desire, ii) caused by jealousy, iii) caused by absence and iv) caused by being abroad.

i) Desire: (Abhilasa) The love of the hero and heroine hefore coitus is desire (abhilaşa). as- Mutual conversation, a chat connected with the sports of cupid; and a bed in (his) company, have become places to my desires. Can the sight of the king Rudra which possesses the connection of love, and rising attachment in abundance be obtained ? (92) [Here desire before sex is evident.]

ii) Jealousy : (Irşya) Perturbation in mind caused by the idea that the (her) hero is attached to some other lady is jealousy or irsya.

168 Pratāparudriyam

as - Laksmi (wealth) who is residing in the lotus of his eyes is feeling jealous of you when you are beheld. Sarasvati who is in his mouth does not tolerate conversation with you, and Mahi (earth) which is on his shoulders, (arms) is causing obsticles in your attractious; (excepting this) There is no fraud in the lord of the Kakatis. Oh, fortunate girl! why do you get tormented with anger (like this) ? (93) [lt is clear here that the girl is feeling the separation of her lover, with the idea that it is due to his attachment towards Lakșmi, Sarasvati, and Mahī out of jealousy.]

iii) Viraha: (Absence of the beloved). The absence of the union of the hero and heroine who once enjoyed their mutual company, due to any reason is viraha.

[His attachment to other girls is not the reason here. This is providential and happens without any reason.] as -

Even the misplacement of ornaments shines a while when the limbs are emaciated. Friends ! stop this decoration. Let the king Rudra be fetched. What else is there? (94) [The acts of decoration cause delay. So the heroine being unable to endure his absence any more asks her friends to stop that and get the hero to her. This is viraha.]

iv) Pravasa: (Being abroad) Dwelling (of the hero and heroine) in different towns (countries) is pravasa.

as :-

"Let the king Rudra be served by all other kings. Our beloveds are not accessable to us even on festive days." Thus (thinking) the limbs of the Kalinga-women are getting emacia- ted due to torture of separation and (to them) the days are becoming yugas or ages. (95)

Rasa Prakaranam 169

[Here the story of the kings abroad which is causing the pangs of separation in the women of Kalinga is clear So this is pravāsa.]

Rasabhasa : (Semblance of sentiment) [The three kinds of rasabhasa was already mentioned. The following is an example of one of the kinds - connected with animals ]

as -

The lord of the Kakati, having noticed the female pigeon whose beak was kissed by its beloved and who possessed a pleasent throat due to warblings of the rising dalliances, is smiling. (96)

[In the present case the love of the birds is described. They do not have any skill and hence there cannot be any deve- lopment of vibhavas etc., Here a section of the critics consider this as rasabhasa or semblance of sentiment.]

Bhavodaya : (Rising emotion) as - "Pretty girl, who is dwelling in your heart? It is cupid: None else. I promise what business has he there? Why should there be some other thing! It is his love for the birth-place. Who is the other person? Oh ! skilled one! You know it is his reflection Oh ! the king Rudra who excells cupid is more to you". Having been thus said, the bride bent down her face. (97)

[Modesty is rising here. When it is said that the heroine bent down her head on listening to the name of Prataparudra, it means that she. is experiencing modesty. This is known as bhavodaya or rising emotion ]

Bhavasama or Sānti : (Cessation of emotion) [Usually there will be two emotions at a time. When one emotion rises another emotion ceases. But if the rising emotion is charming it is called bhävodaya and when the emotion that is ceasing is charming it is called bhāva-santi.]

170 PratäparudrĪyam

as- "You are Laksmi and your husband the king Virarudra is Purușottama (Vișņu). A suitable combination, for a long time, was brought about in the creation of Brahman. As such not even a small and artificial difference of opinion is there in you both". Then, having seen the friend who saluted her thus prais- ing, the pretty girl possessed the lotus-like face blown. (98)

Here there is the cessation of anger.

[From the above description it is understood that the heroine became calm which means that her anger disappeared. So there are two emotions here. i.e. 1) calmness and 2) dis- appearence of anger. Out of these two the disappearance of anger is more charming as it is frst essential to get at the second. So this is bhavasanti".]

Bhavasandhi : (Co-existence of emotions) [In this case two emotions which shoot up vie with cach other for supremacy.]

as- The bodies of the soldiers were covered with armours of horipilation with the sounds of wardrums (kettle drums) raised during the victory-march upto the end of quarters, of Pratäpa- rudra and with the requests of their beloveds. (99)

Here there is the co-existence of harsa connected with vira and śrngara.

[In this verse it is noticed that the soldiers become enthu- siastic for war on hearing the sounds of the kettle drum. But at the same time they were also experiencing love on hearing the repeated requests of their beloveds. i.e. they experienced harsa in both the cases of vira and srngara. As these two sentiments vie with each other it is called bhavasandhi.]

Bhavasabalata : (Mixture of emotions). Let family-ladies censure me. By which fortune, the beloved can easily be attained? Is this course not accepted by

Rasa Prakaraņam 171

the elders? Which friend is to be despatched? Will this attain universal publicity ? How can I shortly ascend his lap? When can there be steadyness in my heart? The beloved should defi- nitely be approached. (100)

Here there is the mixture of autsukya etc.

[Here, from the statement that the family ladies would censure, lajja or modesty is suggested. By the expression that by which fortune etc., (the bhava) vitarka is indicateo. By saying that her act does not meet with the approval of elders, doinya is made clear and the very idea that she should not act so is an off-shoot which suggests visada. To think of a wide publicity gives rise to sanka. The desire to ascend his lap in no time expressess her intolerance of delay, which hints at autsukya. The wish to possess a steady mind shows dhrti and finally her resolu- tion to approach the beloved, as she could rot endure delay any more suggests mati. Thus there is the admixure of these eight vyabhicarins. So this is bhāvasabalatā ]

ADMIXTURE OF SENTIMENTS

The admixture of love and pathos - śrngāra and karuņa.

85- "How can you start on your journey, leaving me behind when the festival is approaching. Fie on your adventure! Which is that fate that is desirous of our disunion (separation)", Oh, Kakati king ! The women of your enemies, thus waking up with the idea that they obstructed the ensuing journey of their belo- veds in the dream, are swooning. (101)

[In this verse there is the admixture of love and pathos.] Then the admixture of raudra and bhibhatsa: (wrath and disgust).

as- The sword of Virarudra made the Kalingas the oblations to the battle field, drinking the blood of liquor which is flowing from the necks of the elephants, using flesh as side dish; becom-

172 Pratāparudriyam

ing fat; looking as it were possessing the teeth at its tip with the bones of the heads that stuck to it at the time of cutting of the bodies of enemy kings; wearing the garland of intestines and becoming fearful to the people and assuring the terrible form of Bhairava. (102)

Other types also may be known as and when occasion arises.

In these two examples given the sentiments pathos (karuna) and wrath (raudra) appear as main sentiments as they only remain in the contemplating stage. The love (srngara) and . disgust (bibhatsa) become the subordinate sentiments only, as pronounced by the Bhavaprakasa.43

At this stage arises doubt whether these sertiments said as subordinates are developed or not. If they are developed they also should become ornamented or beautified and cannot become subordinates. If they are not developed they cannot attain the stage of being relished. As such it should not be said that the admixture of sentiments is not proper. It is also accep- ted that any sentiment can become a subordinate at any time to any (other) sentiment although it is developed. A sentiment though developed through vibhavas etc., and becomes charming, its charm follows another without resting at that place only.44 Hence there can be the relationship of anga and angi i.e. limbs and body.

The subordination of the sentiments some times is natural and on other occasions becomes imposed.]

Laukikarasa: Natural or Mundane sentiment : [The sentiment is of two kinds - 1) laukika (mundane) and 2) alaukika (supernatural). The laukika is akin to the taste of plantain and mango and this can be a karya also. The second type i.e. the alaukika is equal to the supreme bliss or Brahma- nanda and is eternal.] 43. Bhāvaprakāšana, ch. 8, p. 235. 44. Cf. sambhūtāny api rasāntarāņi ......... camatkarāntaram anudhāvati, Abhinavagupta quoted in Ratnapana, p. 204.

Rasa Prakaraņam 173

This (laukika) sentiment is dependent on the heroes like Rama etc. If this were to be exhibited through the actions of the skilled actors although, it belongs to Räma (a third person) the spectators are sure to experience this bliss by means of deep concentration. Similar is the case in listening to a composition. This is not unnatural or con.rodictory i e. to experience bliss due to deep contemplation is not controdictery.

[It does not look convincing if it is said that a sentiment residing in one place is capable of creating bliss in another place. Because where there is bliss there must be sentiment. As such this (Sentiment) can reside even in spectators. With this idea in mind the author takes up the next alternative.]

Alaukika Rasa: Suprnatural sentiments : As such, to say that it (the sentiment) rests even in spec- tators in their knowledge of ladies and enemies struck to their minds on hearing the names such as Malati etc., and Ravana etc., due to their specialities is also not controdictory. The eligibility for resting (sheltering) a sentiment is not due to his concentration or imitation. If he were to be a contemplater he becomes a spectator. The exhibition of experiences is because of the skill obtained by learning and practice.

To delineate the sentiments mutually opposed to each other, in one place with the help of the pompous speech of the poet (kavipraudhokti) is not controdictory. This manner of enimity is explained in the Śrngāratilakā45 as :-

"Love and disgust; similarly, valour and terror; wrath and wonder; in the same manner humour and pathos are mutually enimical or opposed".

Thus a sentiment from a sentiment also is thought of. This is also said in the Sragāratilaka: as :-

"From love there is humour; from wrath the pathos; from valour the wonder and similarsy from disgust the error."

45. Śrngāratilaka, 3.21.

174 Pratāparudriyam

"Generally the vibhavas connected with these pairs are of the same kind. The mind which possesses the three qualities - sattva, rajas and tamas, when comes into contact with any object outside experiences a certain type of emotion. These types of emotions only are said to re the love etc. Depending on the differences in these emotion there arises the sentiments like humour etc.]

The suitability of the vyabhicarins with the sentiments connected are enumerated in the Sragaratilaka.

as =

"Śanka; asūyā; bhaya; glani; vyādhi; cinta; smrti; dhrti; autsukya; vismaya; āvēga; vrīdā; unmāda; mada; vişāda; jadatā; nidrā; avahitta; capalatā and mrti these vyabhicaribhavas are to be delineated in the sentiment love".

"Śrama; capalatā; nidrā; svapna; glani; śakā; asūya and avahitta are to be Jelineated in the sentiment humour".

"Trasa; marana; dainya and glani are in the sentiment terror (bhayānaka).

"Apasmāra; vişāda; bhaya; roga; mrti; mada and utsāha are in the sentiment disgust."

"Âvega; jadatā; moha; harsa; vismaya; smrti; are to be delineated in the sentiment wonder by men of taste".

"Dainya; cinta; glani; nirveda; jadata; smrti and vyādhi are to be set in the sentiment pathos by those who know the emotions well".

"Harşa; asūyā; garva; utsāha; mada; cāpalya and ugrata are said to be the bhavas in the sentiment wrath". (raudra)

"Amarşa; prattbodha (vibodha); vitarka; mati; dhṛti; krodha; asūya; sammoha; avega; harsa; garva; mada and ugrata are the bhavas that exist in the sentiment valour. (vira)". Thus

Rasa Prakaranam 175

According to the statement of Bharata that 'A complete' and fully developed sentiment dispells any other sentiment;46 there is only one sentiment (in a composition). Even then based on the strength of the great poets the admixture of sentiments (rasa-sankara) is admitted.

FIGURES LIKE RASAVAD, Etc.

Figures like rasavad, etc., are to be noticed when rasa and bhava are subordinated. If rasa is delineated as subordinated to some other it becomes the figuie rasavad i.e, rasavadalankāra. If the bhava is made subordinate to some other it becomes the figure preyan i e. preyolankara. If the semblance of sentiment i e. rasabhasa and the semblance of emotion i e. bhavabhasa are delineated as subordinated to some other it becomes the figure urjasvi i.e ūrjasvyalankāra If bhavasanti is made a subordinate it becomes the figure somahita i.e. samahitalankara. Similar is the case with regard to bhavodaya etc.

This is explained in a detailed manner in the Alankara- sarvasva.47 He says - 'In the case of delineation of rasa, bhava, their semblance and their suppression there will be the figures like rasavat, preyan, urjasvi and samāhita, bhavodaya, bhavasandhi and bhavasabalata are separate figures48' Thus

Their examples are in the chapter on figures of speech.

[Rasavadalankāra: as :- 'This is the hand that used to draw out our girdles; press (our) lofty breasts; touch (our) novels, thighs and pubes and untie the waist knots of the sarees.49

This is uttered by the wife of Bhurisravas whose hands were cut off in the Mahabharata battle. Here it is clearly noticed that the sentiment love is subordinated to the sentiment pathos which is main in the composition. Although it is secondary it creates charm, As such this is called rasavadalankara.

46. Natyasastra of Bharata. 47. Alamkārasarvasva of Ruyyaka. 48. Alamkārasarvasva, H- 82, 83. 49. Mahabharata.

176 PratāparudrĪyam

Even when rasa is subordinated to a bhāva it becomes rasavadalankara only.

Preyolankāra: as :- "Beautiful eyed girl! Even without a blouse you possess fascinating lustre". Thus uttering when the beloved touched the knot of the blouse, her friends who were happy on observing the festivity of the eyes of the bride who smiled sitting near the bed, left (the place) slowly under false pretext.

Here the affection of the friends for the heroine is subor. dinated to the love of hero and heroine. Hence this is the figure preyas. Similarly if a bhava becomes secondary to another bhava it is called the figure preyas.

Ūrjasvi-alankāra : 'Oh king! your soldiers, having brought the women of your enemies as captives, under the very nose of their husbands are embracing them, prostrating at their feet; entreating them and kissing them forcebly. Oh, the ocean of propriety, you came into our sight due to our fortune and all those calamities are warded off. Thus you are praised by your enemies".

Here in the first half of the verse there is the semblance of love srngarabhasa as the passion of the soldiers is only one sided, i.e. the women of the enemies do not accept the courtship of the soldiers. This srngarabhasa is subordinated to the rati- bhäva delight attained at the sight of the king. Again the praise given to the king by the enemies is only a bhavabhäsa which also is subordinated to the ratibhava for the king. Thus as rasabhasa and bhavabhasa became secondary this becomes the figure ürjasvi.

Samahltālankara : as :- The well noticed rut of your enemies has gone to an unknown place in a minute at your sight with the incessant shaking of the sword the knot of the eye-brows threatenings and roarings always :

Rasa Prakaraņam 177

[Here the disappearance of mada or rut of the enemies, has become subordinate to the idea of praising the king So this is the figure samahita].

Bhāvodayalakara: as :- Oh king ! when your enemy started on his wet-party (madhupana) with his wife and friends by some one who wanted to call some one else, was uttered your name. There ensued a critical situation.

Here the fear shot up in the enemy has become secondary in the light of the praise of the king.

Bhavasandhi-Alankara : as :- Let the destroyer of cupid (Siva) who was impatient at the rising penance of the daughter of the mountain (Parvati) at that time, interested in an affectionate enquiry of her stories; and who is overpowered simultaneously with tvara and saithilya in discording his pseudo bachelor guise give you the highest delight.

Here the two ideas such as tvara i e. eagerness and saithi- lya i.e. loss of courage are noticed in Siva who appeared before Parvatī who was in deep penance. These two are subordinated to the idea of praising the Lord Siva. So this is bhavasandhi.

Bhavasabalatā : as :- Oh girl! some one may see. Oh ! fool ! why are you in a hurry? I am a maid. Then give your hand. Oh! Oh! what is this inverted order? Where are you going?" Thus (says) 'Oh king'! A girl who went to collect sprouts and fruits of your enemy who is inhabiting a forest.

[Here there is the sabalata (varigatedness of emotions) of the bhavas like sanka, asūya, smrti, śrama, dainya and autsuka. But this is subordinated to the desire of praising the king. So this is bhavasabalata.

In fact all these figures can be noticed in the verses illus. trated by Vidyanätha.1

661-12

178 Pratāparudrīyam

Conclusion : The full fledged rasa which possesses the wealth of emo- tions that is followed by a train of qualities (gunas) and figures (alankaras) which arises shiningly and sheds all other knowledge may instill either pleasure or pain in the minds of the youth (characters) but in the case of men of taste persons of the same heart it transforms itself into highest bliss. (103)

[In a composition like Ramayana the emotions connected with Sita and Rama are portrayed. They become manifested with gunas, alankaras etc. Then rising slowly in the form of rasa it dispells all other knowledge and becomes the highest bliss. If this happens to be love it may give pleasure to (Sita and Rāma) the characters, but if it happens to be pathos it may give pain to the characters. But to the spectators of taste quite irrespective ofits nature love or pathos it creates only the highest bliss not connected with pain or pleasure.]

The rasa shines in the form of a meaning of the sentence. All these vibhavas etc., are the meaning of the words in which (vibhavas) (the meaning of the words) they freely repose. So all these emotions (bhavas) mutually getting blown gradually are attaining the state of bliss like the threads in a cloth. (104)

[Here it can he observed that rasa, vakyartha and pata are the three objects standing on the same ground. Bhavas, padar- thas (meaning of the words) and threads are also on the same ground related to the above three. The meanings of the words may combindly give rise to the meaning of the sentence just like the thread being interwoven may give rise to a cloth. Similarly the bhavas mutually glorifying manifests themselves as rasa i.e. The bhavas are rasas.]

When the sthayibhavas like rati etc. is being enriched by vibhavas the vyabhicarins like nirveda etc. coming up like the billows in an ocean and get dissolved there itself. Being thus experienced by nirveda etc., and deeply contemplated what becomes relishable is rasa itself. This belongs to the character (Rama) in the natural course. But in a play (when put on boards) it rests in a spectator. (105)

Rasa Prakaraņam 179

[This rasa when viewed from a naturalstand point belongs to the characters like Rama and Sita. But viewed from the stand point of a play this belongs to a spectator or a man of taste only. When there is the ratibhava in connection with the hero like Räma, all other bhavas may rise and vanish i.e. they do not stick on, Even then because of their subtle influence on the sthayibhava the relish that lie imbeded is being enhanced. This itself is rasa. This in its natural state belongs to Rāma etc., and in its supernatural state belongs to spectators.]

The following is the summary of the above three verses as given by Kumaraswamin, the commentator. A composition is adorned with guņas, alankāras, vrttis, and ritis, when the ideas or emotions are well delineated. The sthayi is made manifest threugh these well portrayed emotions; The spectator, who is an adept in the analysis of these composi- tions and plays, gets the impression of Rama etc., in the actor at the time of the genisis of the rasa. Then the mind of the spectator will be on a par with the mind of the character Rama and he gets immersed in the melodies of music, dance etc. At this stage, he will not have any thing else in his mind and the rasa as a supernatural one, on contemplation, becomes equal to the supreme bliss enjoyed by the sages. The man of taste getting into this state either through the text or through the melodies of accompaniments he withdraws into himself for a moment and enjoys the bliss i.e. he attains the state of nirvisaya when the consciousness of bliss reflects. In the case of Brahmananda nothing further that is to be understood shines but in the case of rasasvada nothing more than vibhavas etc., shines, and these vibhavas mixed with rasa become experienceable. Though there is the knowledge of vibhavas etc., there won't be any hindrance for the enjoyment of the rasa even if number of rasas exist; this will become relishi- ble like a drink pānaka.50

50. Panaka :- This is prepared with water, jaggary, pepper and other ingredients. This will be sweet, hot, pungent etc., But even then the sweetness in it makes the drinker enjoy it to the utmost.

180 Pratāparudriyam

Love always gives bliss. One need not doubt, that whether karuna (pathos) gives pain as love gives pleasure If this were to be vie ved with commonsense it is understood that this is on the mundane plane only. But to a man of taste or con- noisseur because of his capacity to identify hin self with the situation due to his constant probe into literature, the rati etc. in him gets developed to such an extent when it becomes the supreme bliss which is nothing but pleasure. So the question of pain does not arise in him. The spectator in this state may shed tears. This is not because of pain but because of pleasure only. No one likes to enter into that state where he is pained! Though the supreme bliss is only one whole, it appears in many, depending on the locus, like the reflection of the moon in the stairs of the moon- slabes. These different appearances of this supreme bliss are due to the different types of vibhāvas. The vibhavas etc., do not end in themselves but they end in rasa which is considered as the essence of the composition. Just as the meaning of the words has no purpose unless it serves the aggregate the vibhavas also do not have any purpose unless they serve the rasa which is the essence. Whatever it is, even the smallest emotion portrayed should end itself in the rasa. These bhavas portrayed in the composition do well to bring about agreement in the mind of a spectator. Then these bhavas which are brought into the path of relishment due to the strength of contemplation, remove the veil of nescience that covers the bliss aspect of the Atman, when he realizes the bliss. From this it can be noticed that the attainment of this bliss is only connec- ted with a spectator or a reader only.

CHAPTER V

DOŞA PRAKARAŅAM

The Chapter on Blemiskes

After explaining rasa which is the soul of poetry with a view to give a vivid insight into the gunas and alankaras that are useful for the realization of the soul dosas are enumerated.

[Unless dosas are clearly known it is not possible to understand the gunas for the realization cf rasa. So the dosas are first enumerated.]

Common definition of dosas : Dosa is that which becomes the cause of the degradation seen in the word and meaning of a composition. As a composition is made up of words and (their) mean- ings the blemishes that become the cause of degradations also are of two types - i) connccted with word and ii) connected with meaning. Again even in those that are connected with sabda or word are of two types - i) connected with word and ii) connected with sentence. Here the blemishes connected with the words are being explained :- [The meaning is important to realize rasa. But if there is any blemish in a composition the meaning will not be clear and the realization of rasa is hampered. As this hampers the sentiment which belongs to a composition it is said as a blemish in a composition. The knowledge of rasa is based on the mean- ing of vibhavas etc., which in turn are dependent on sentences. The sentence is made up of words. Hence the words are to be considered first, i.e. the blemishes or defects connected with words are to be considered first.] Blemishes connected with words are : 1. Aprayukta, 2. apustārtha, 3. asamartha, 4 nirarthaka, 5. neyārtha, 6. cyutasamskāra, 7. sandigdha, 8. aprayojaka,

182 Pratāparudriyam

9. klista, 10. gūdhārtha, 11. grāmya, 12. anyārtha, 13. apratītika, 14. avimrstavidheyāmśa, 15. viruddhamatikrt, 16. aslila and 17. parusa are the seventeen blemishes. (1 & 2) Their definitions : 1. Aprayukta: Not employed : What is not usually employed by poets (though the word is found in dictionaries) is said to be aprayukta. 2. Apustartha: Irrelevant: What is irrelavant in the context is said as apustartha. 3. Asamartha : Improper : What is common in science only is said to be asamartha. [i.e. A word which is usually used in sastras i.e. sciences only and is not fit to be used in classical literature, if used it is called asamartha as it cannot convey the meaning as required in the context of the composition.] 4. Nirarthaka : Meaningless : What is used only to complete the foot is called nirar- thaka. [i.e. Any word which has no meaning but only used to complete the foot is known as nirarthaka.] (4) 5. Neyartha : Particular meaning : What is established in a particular pada is said as neyartha. [i.e. A word which is established in a particular meaning and is not understood in any other meaning is called neyartha ] 6. Cyutasamskara: Ungrammatical: What is against the principles of grammar it is said as cyutasamskara. A word not in keeping with the rules of grammar is known as cyutasamskāra i.e. one that lost its samaskāra.

Doşa Prakaranam 183

7. Sandigdha: Dubious: What creates a doubt with regard to the meaning is known as sundigdha.

[A word the meaning of which becomes doubtful in con strueing is known as sandigdha.]

8. Aprayojaka: Inefficient : What is inefficient to clarify the distinguished meaning is aprayojaka.

[i.e. A word which does not possess the strength enough to clarify the distinguished meaning is known as aprayo- jaka.] (6)

9. Klista: Troublesome or difficult :

klişta. What is understood in a roundabout manner is called

[If the meaning of a word is understood with difficulty in a roundabout manner it is called klista.]

10. Gudhārtha: Concealed meaning : What is used in a meaning not celebrated is called gudhar- tha. [A word which is not used in its usual known meaning but used in a meaning not famously known is gūdhartha.] (7)

11. Grāmya: Rustie: What is famous only in the parlance of the rustic is called gramya. [A word which is wellknown among the rustic circles and not commonly understood in the civilized society is known as grāmya.] 12. Anyartha: Unconventional meaning: What is dropped down from its conventional meaning is said to be anyartha.

184 Pratāparudriyam

[If a word is used in some other meaning leaving aside its conventional meaning it is known as anyartha i e. to use a word in sense that is not commonly attributed.] (8)

13. Apratitika: Not renowned : What is renowned only in sciences is called apratitika.

[A technical word which is connected with sastras or sciences and not current in literature if used in literature it is a blemish called apratītika.]

14. Avimrstavidheyāmsa: Unimportant : What is to be main, if made secondary, it becomes the blamish avimrstavidheyāmsa.

[If anything that is to be expressed as main is portrayed as secondary i.e. not so important it is called avimrstavidhes yāmśa.]

15. Viruddhamatikrt: Opposed sense : What gives rise to opposed sense or controdictory meaning is called viruddhamatikrt.

[If a word gives rise to a quite opposite meaning that is not intended then it is called viruddhamatikrt or if a word gives rise to a meaning quite opposite to that of the one intended it is called viruddhamatikrt.]

16. Aślila: Vulgar :

Aślila is that which produces 1) inauspiciousness, 2) dis- gust and 3) shame.

17. Paruşa: Harsh :

What is beset with hard consonents is known as parusa.

[If the usage is full of hard consonents or harsh syllebles not condusive to the idea depicted it is called the blemish or defect parusa. (10)

Doşa Prakaranam 185

Examples :

Blemishes or defects are being illustrated from the utte- rances of the women of the enemies who are inhabiting the forests.

. Aprayukta: as - All the gods liks duscyavana etc, are against us. Alas ! we are made the dwellers of forests by them. (11)

Here the word daivatah (gods) is used in masculine gender. The word duścyavana in the sense of Indra also is never used by the poets.

[Though the word daivata may be used in masculine gendre also according to the pronouncement brundaraka daivatāni pumsiva of Amarasimha, it is never used by the poets in that masculine gender. So this is aprayukta Again the word duścyavana also is never used in the sense of Indra by the poets. Hence it also is a defect called aprayukta.]

2. Apustartha : as - Fie on us! How can we the possessers of the arms that are half of the half-eight tolerate this plight. Ha! life became miserable. (12)

Here the expression 'vyartharstardha bāhunam used for vyartha bahudvayanam is useless. The same is also an illustration for avimrsta vidheyamsa when the word bahudvaya is useless, it looks as thought it is made secondary.

Instead of using the word bahudvaya i.e. two arms it is said in a round about manner, as half of half-eight. This does not serve any purpose in the present context. So this is apus- țārtha.]

3. Asamartha: as-

Where can we go leaving this earth which is encircled by the four oceans? Our being is not comfortable even in the forest. (13)

186 Pratāparudriyam

Here the word ambudhara used in the sense of ocean is not by itself capable of giving the sense of an ocean as jaladhi.

[This sense is to be grasped only in the sastras. So this is asamartha.]

4,5,6 & 7. Nirarthaka, Neyartha Cyutasamskāra and Sandigdha as - For us who left the houses, and possess the new reversed conditions, where can there be the dwelling in the metropolises of the kings. (14) [Here the word vai used in the Sanskrit verse is meaning- less.]

If the word is used in its own particular meaning it is called neyartha. In the above example (verse No. 14) the mean- ing of the compound 'vyatyasta nava vrttayah' means that the word nava is to be reversed i.e. the order of the syllables in the word nava is changed. Then it becomes vana? (nava) when it means they are taking to the professions of the foresters. This is not a common meaning but only a particular meaning i.e. a sanketartha. Hence this is an instance of neyartha.

Where the word goes against the rules of grammar it becomes cyutasamskara. As an instance of this, the form bhavisyate used in the above verse can be cited. The root bhu is parasmipadi and not atmanepada as used here. Therefore the form must be bhavisyati but not bhavisyate. As this goes against grammar this is a case of cyutasamskara.

The words mahibhrtām katakesu are not clear in their meanings. It is doubtful whether it means dwelling in a metro- polise or on the slopes of mountains. The word mahibhrt means both kings and mountains and the word nikata means metropolise as well as slopes of the mountain. So this is sandigdha.

8 & 9. Aprayojaka and klista: as - We are dwelling in the mountains, which were mobilo before receiving the strokes of the thunderbolt, and which are the enemies of Indra, the elder brother of, Visnu who possessed

Doşa Prakaraņam 187

the banner of Garuda, the enemy of serpants (which eat air). (15)

In the expression vajraghattanatprak calatmasu where calatmasu means 'mobile objects, does not serve any purpose. So this is an example of Aprayojaka.

Here to get at the meaning the enemies of Indra from the compound nabhasvadaśanārātidhvajāgrajavirodhisu is very difi- cult and far fetched. So this is an instance of the blemish klişta.

10, 11, & 12. Gudhartha; Grāmyartha and Anyartha : as -

The Princesses whose sights are like that of the red-lotuses and whose cheeks and waists are black are heavily tormented in hearts by the fire of anguish. (16)

The established meaning of the word sonita is blood. But here it is used in its usual sense of red-colour. So this is an instance of Gudhārtha.

The words galla and kati are usually found in the rustic parlance. So they belong to the blemish gramya.

The word Vidagdha found in the compound Vidagdha hrdayas has the established sense skillful (catura). But as it is used in the sense of 'burnt' it is an instance of anyartha.

13. Apratitika: as -

What happened to the prescriptions of mantras taught by the family preceptors.

Here the word manu in the sense of mantra is known only in the mantrasastra and nowhere else. So this is apratitika.

14. Avimrsta Vidheyamsa: Ref: Verse illustrated for apustartha and its explanation.

188 Pratäparudriyam

15. Viruddhamatikrt :

How can the service done to the feet of Ambikāramana goes in vain in the case of kings whose friendship does not expect any return and who suffer from the pangs of separa. tion. (17)

Here the word Ambikaramana used in the sense of Lord Siva, gives rise to a different sense that one who enjoys his mother. Similarly the word akaryamitra also indicates the meaning that they are friends only in evil acts but not in good acts and the word vinasa used in the sense of sorrow caused by separation from the beloved suggests the meaning distruction or ruin ! As these words are suggesting the meaning quite opposite to that of the intended sense this is a case of Viruddhamatikrt.

16. Aslila: as - When shall we have living in the places of our choice. Their means of accomplishment who live on the charity of others is low. (18)

Here the compound abhipretapadavasa used in the sense of living in a place of choice gives rise to the meaning living in the world of manes. This is an instance of inauspiciousness. The words nicam sadhanam used in the sense of low means indicates the meaning the genetal organ of a male! This is an instance of shame

The word utsarga in the compound parotsargaika jivanam meant as charity, suggests the meaning of anus-gas. This is an instance of disgust.

17. Parusa : as - How can we living in the forests be blessed. (19)

Here the word 'kartaryartittvam' is beset with harsh sylla- bles.

[The parusas are those that are combined with the second letters and repha].

Doşa Prakaranam 189

Blemishes connected with sentence :- (24 varieties) 1. Śabdahīna, 2. Kramabhrasta, 3. Visandhi, 4. Punarukti, 5. Vyakirņa, 6. Vākyasamkīrņa, 7. Apūrņa, 8. Vākyagarbhita, 9. Bhinnalinga, 10. Bhinnavacana, 11. Nyunopama, 12. Adhi- kopama, 13 Bhagnacchanda, 14. Yatibhrasta, 15. Asarira, 16. Ari- tika. 17. Visargalupta, 18. Asthānasamāsa, 19. Vācyavarjita, 20. Samaptapunarārtha, 21. Sambandhavarjita, 22. Patatprakarsa, 23. Adhikapada, 24. Prakramabhanga. These are the twenty four defects connected with the sentence. (20 to 23)

Their definitions and illustrations :- As seen in the utterances of enemies.

1. Śabdahina: Defective Grammar. If a sentence goes against grammar it is called sabdahina. - Alas! we did not pay head to the advices tendered by the well wishers because having left the service of the Kakati-king we become undone. (24)

Here as there is the defect in the usage hitam na samśrnu- mahe it is a defect of sentence only but not the defect of words; because there is the restriction of object (karma) with regard to the usage of the root śr with the prefix am in atmanepadi.

In the sentence hitam na samsrnu-mahe, samsrnu-mahe is the verb and hitam is the object (karma). The defect lies in using it as a transitive verb. Here sam is the prefix. According to the varttika artisrudrsibhyasceti vaktavyam51 there will be the affx tan to the roots arti, sru and drsir when followed by a prefix sam they become atma nepadam. As this is read in the context of the atmanepadas, under the adhikāra sutra 'akarmakat, this means that when prefixed with sam and the affix tan of the atmanepada is added this becomes intransitive (akarmaka) but not sakarmaka transtive. In the present case as this verb which satisfies all the conditions according to the varttika quoted above, it should have been used as an Intransitive verb. But its usage as transitive with hitam is a blemish connected with the sentence.

51. Murari also possesses the defect exp lained above as he used this verb as transitive.

190 Pratāparudrīyam

As it is, the form samsrnumahe is not incorrect. Only it should not be used as transitive. Considering that word alone it should not be mistaken for a padadosa.52

2. Kramabhrasta: Disorder: Where there is no proper order in word and meaning it is kramabhrasta.

[This is of twe kinds 1. connected with artha (meaning) and 2. connected with sabda (word).] as - a) We who did not present either horses or elephants to the king the Kakati-lord are deceived by the fate. (25) Here when it is to be said - either elephants or horses, the order is reversed. There is the supericrity of the elephants over horses. If not it is an instance of artha akramabhanga in saying or elephants !

[The usual social custom is to mention the superior objects first and then other objects. Here the elephants are superior to horses. But even then the horses are first mentioned. This is kramabhanga.

It should not be argued that this is not incorrect on the basis of the dictum the order of the meaning is more powerful than the order of the reading i e. whatever be the order of the words, it is to be construed in the light of its sense only. For example there is the vedic sentence, 'agnihotram juhoti : he lits the fire; yavagun pacati (and) cooks rice, Here the fire is first spoken of and the cooking came next. But in the actual practice there is the reversed order. Without the cooked rice, there cannot be the fire-oblation. So in these instances where the order is reversed it is accepted to take into consideration the order of the meaning only. As such even in the case of the topic on hand it is better to resort to the order of the meaning only. Though this is correct, it is to be kept in mind that all this is in connection with the Veda only but not in classical lite- rature.]

52. Raksāmsīti purāpi samsrunumahe-Anargharaghava.

Doșa Prakaraņam 191

b) Sabdakramabhanga : Disorder in words. as - What consideration is there for us for the king of the Kakatis. Even Sun and Moon were immersed in his glory and valour. (26)

Here when it is to be said that the Moon and Sun are immersed in glory and valour the order is reversed when it is said Sun and Moon : In construeing the pairs the respective order is to be followed. But in the case on hand this order is not followed when glory is to be construed with Moon and valour is to be construed with Sun. But if we resort to vyutkrama (inver- ted order) instead of yathakrama (respective order) the construe- ing may not effect the meaning. But Yathasankhya is generally accepted. This is to be taken as the sabdakramabhanga.

3. Visandhi : Detached. Where there is the absence of the proper euphonic combi- nation or there is the production of harsh sounds due to the euphonic combination, it is called Visandhi.

as -

This is the plight of the valour. What happened to that great - fortune ? (27)

Here there is visandhi between sauryani and idriani (There must be savarnadirghasandhi - but it is absent). In prudhvai- śvaryam there is the vairupya i.e. harsh sounding. In both these cases it is called Visandhi.

4. Punarukti: Tautology : When there is the repetition of either the word or mean- ing that sentence is called Punaruktimat. as - In the extensive decayed forests of the Vindhya mountain we are having forest-life. (28) Here the word kanana (forest) is repeated in kanana-sam- kirna and kanana vrttayah which does not serve any purpose either in word or in sense. So this is a case of punaruktimat.

192 Pratäparudriyam

5 Vyākirna: Misconstruing: When the words having similar case-endings are construe with some other word it is vyakirna. as Oh kings! who wish to be happy? please, move oi bearing the authority of the Kakati-lord on your heads and th boar-seal on (your) chests. (2'

Here it is to be construed as boar-seal on the chest ar the authority on the heads. [While the proper construction of meaning is as show above unfortunately there is a chance in the verse to construe i some other manner as the boar-seal on the heads and the authori on the chests because of the changed order of the similar casc ending words urasi and sirasi. This is called vyakirana.]

6. Vakyasamkirņa : When there is the admission of other words into the pr sent sentence it is called vakyasamkīrņa.

[i.e. the words which ought to have been in another sei tence if they are in the sentence on hand it is called vaky. samkīrņa.] as- The straw which could not be kept in our mouths by 1 due to great self-respect has now become the basis of our livir in the forest of the Vindhya. (3(

Here the words in the two sentences mahata manena y ırnam vaktre nakrtam and adya vindhyasya vane tisthatam no jiv tam jaram are intermingled. Here this is vakyasamkirnata.

7. Apurna: Incomplete : Where there is no predicated action completed there exis the defect apūrna. as - Our dwelling is in the mountains. We breath with th forest-objects (roots etc.). We make relations with the animal Seeing us let the creator rejoice. (3

Doşa Prakaranam 193

construed as sailavasan vanyavrttin; mrgabandhavān pašyan the predicated action is not complete. So this is the defect called apürna.]

8. Vakyagarbhita: Interlocked : Where a sentence is interlocked in another sentence it is called vākyagarbhita.

as - Although fully aware that the fire of anger of the Lord of the Ändhra town is irresistable, we fell in it. None can escape fate. (32)

Here the sentence 'none can escape fate' is intertwined with the sentence 'having understood the fire of his anger we fell in it'. So this is a defect called vakyagarbhita.

9 & 10. Bhinnalinga and Bhinnavacana: Difference in gender and difference in number. Where the object of comparison and object compared are in differeut genders it is called bhinnalinga.

Where they are in different number it is called bhinna- vacana.

as- The mind of the Yadava lord is deep like the oceans. It is sullied by the army of the Andhra king as by a mountain, (33) Here in the case of samudra iva gambhiram there is the defect of bhinnavacana, and in the case of girineva dhvajinya there is the defect of bhinnalinga.

[Here the ocean is upamana and the mind is upameya. They are expected to be in one and the same gender and number. But here the word samudrah is plural where as manah is singu- lar. So this is a defect. In the case of girineva dhvajinya, the word giri is in masculine gender whereas the word dhvajinyd is in feminin gender. So this is a case of bhinnalinga.]

661 -13

194 Pratāparudriyam

11 & 12. Adhikopama and Nyünopama : If the simile is greater in its adjectives, it is called adhi- kopama and less in adjectives it is nyūnopama.

i) Adhikopama: as- The ladies of the Mälava king are with their diminished faces in the forest, like the rivers with faded lotuses, lilies and young shoots in summer. (34)

Here it is enough if there is the mention of the faded lotuses only in the case of the rivers that became the simile to the ladies whose faces were deminished. The other items lilies and young shoots (mentioned there in connection with the upa- mana) are more in number

[ This is an instance of adhikopama.]

ii) Nyūnopama: as - The mountains which are extensive with rivers are shining like we, agrecable with neckiaces and talcums in towns. (35)

Here the rivers are mentioned to match with the necklaces but nothing is said to match with the scented unguents S So thìs is nyunopama.

13 & 14. Bhagnacchandas and Yatibhrasta. Broken metre and fallen caesura. Where there is the broken metre it is called bhagnacchandas, and in a place the caesura is fallen it is called yatibhrasta. as- Whose families are being maintained in the forest of Vindhya, what security can there be? (36)

Here in the third syllable of the word vindhyaranya there is the fallen caesura, and the last syllable in the first half of the verse, not being long breaks the metre.

[The metre of the above Sanskrit verse is Praharşini It has the ganas ma, na, ja, ra, and a long vowel and the caesura in

Doşa Prakaranam 195

the third and tenth places.53 But in the present instance the syllable sya at the end of the first line, unlike the sya in the second line, is not long but only short. So the metre is broken.]

Again the caesura must be after the third syllable But there is a break after vindhyaranya here. As such this becomes a case of fallen caesura.

15. Asarira: Predicatelessness: Where there is no predicate it is called asarira.

as- Alas! the creator who does not have compassion having driven the sons of the Pandya king who usually play on the paved floor beset with gems to the thorny forests (37)

Here there is no verb. This defect is also called anan- vaya.

16. Aritika : If the style (riti) is not in accordance with the sentiment it is called arsti

as- Oh, relatives! who possess matchless pride due to unhin- dered valour, with the boltless and bar like shoulders. . You are made the guests of Yama! (38)

Here the pompous syllabic arrangement is not condusive to the sentiment pathos.

17. Visargalupta: Abandoned aspiration marks : If there is otva or disappearance of aspiration mark frequ- ently it is luptavisarga. Visargalupta and luptavisarga are one and the same.

Our desire has gone useless. Dwelling in desert is fixed: We are faded, became poor, ruined and emaciated like this in the forest. (39€

196 Pratåparudrlyam

[In the above Sanskrit verse there is frequent otva in the first half and the aspiration mark is left many times in the second half. So this is an instance of visargalupta.

18. Asthanasamasa: Compound in an improper place : If there is a compound in an improper place it is called apadasthasamasa Apadastasamasa and asthanasamasa both mean one and the same. as - Why should Brahman who is hard-hearted be averse to us ! Thus they possessed the crooked faces, with the knot of the eye-brows that are shaking severely. (40)

Here there is no compound sentence in the utterances of the kings who are angry with the Brahman, but there is a com- pound in the statement of the poet. This is improper. So this is an instance of a compound in an improper place.

19. Vācyavarjita : If what is to be said is not said it is called vacyavarjita. as- We who are fallen on evil days like to live. (41)

Here the word api (thoughi which has to be used to say though we ate fallen on evil days is not used. So this is a case of vācyavarjita.

20. Samaptapunarātta: Starting after completion : To start (the same) again after completing is known as samāptapunarātta. as- We are living in the forests of Vindhya, in which there are running deers, agitated elephants, and superior hyena again there are disturbed bears. (42)

Here the sentence "there are disturbed bears" is taken again after completing the first sentence that they are living in the

Doşa Prakarapam 197

forests, etc. So this is an instance of the d. fect samptapuna- rātta.

21. Patatprakarşa: Where the eminence is lost it is said as patatprakarsa. Here [in the verse citeda bove] when it ought to have been said as agitated elephants, excellent hyena and running deers, it is not said so. So this is patatprakarsa.

[The order of the animals belonging to the forest, given in the verse does not give any excellence to the forest. Had the phrase running deers is brought to the end it would have been excellent. As it is not done so it is a defect of patatprc- karąa.]

22 Sambandhavarjita : Devoid of relationship : . When the intended construing receives a set back it becomes sambandhavarjita. as- The slabs are (our) thrones and the trees are the umbrellas. Ah! we are coronated again in the kingdom of evil days. (43)

Here the relationship between the kingdom and throne, etc., as the slabs became thrones in this kingdom is not said clearly.

[The word rājya has become subordinated or secondary in the compound durdasarajya. Hence, intended meaning that slabs, etc., have become thrones, etc., in this kingdom is not straight away done as the word durdasa obstructs it. So this is an instance of sambandhavarjita, i.e. devoid of relationship ]

23. Adhikapada: Word-excess: Where there are more words there it is called adhikapada.

[If the words are more than required it is called so.] as - These Ghurjara ladies who are extremely white like the forms in the disc of the moon are being left by their beloveds in the forests. (44)

198 Pratāparudrlyam

Here the expression sudhamsupandara itself is enough and the compound mandalakararupakrama is unnecessary, i.e. it is excess.

[So this is a case of the defect word-excess.]

24 Bhagnaprakrama : Orderless : If the starting order is discorded then it becomes bhagna- prakrama.

as- Alas! for us the caves became the mansions (homes), the Sabaras the relatives, the Vindhya land the town, the wells the rivers, and the forests the pleasure gardens. (45)

Starting the idea in plural number as in guhah, etc., it is completed with vindhyabhuh puri in singular.

[The order in which the expression began was given up in the middle. So this is bhagnakrama

DEFECTS CONNECTED WITH MEANING (SENSE)

The defects connected with sense are said to be eighteen as given below :

1. Apärtha, 2. Vyartha, 3. Ekartha, 4. Sasamsaya, 5. Apa- krama, 6. Bhinna, 7. Atimatra, 8. Parușa, 9. Virasa, 10. Hino- pama, 11. Adhikopama, 12. Asadrsopama, 13. Aprasiddhopama, 14. Hetusūnya, 15. Niralankrti, 16. Ailila, 17. Viruddha and 18. Sahacaracyuta.

Their definitions and examples :

1. Apartha: Meaningless: What is devoid of the collective sense it is spoken of as apārtha.

[i.e. the words expressed may give sense but if there is no proper collective sense, it is called apartha.]

Doşa Prakaranam 199

as- Why is it the rivers are dried up? What news is there in the Cola country? The thousand hoods became heavy to Ādisesa. How many are cordinal mountains ? (46)

Here the meaning is got at

[There are five sentences in this verse. They have indivi- dual meanings. But when all put together no collective meaning is conveyed. So this is a case of apartha.]

2. Vyartha : Purposeless : If it (word) does not serve any purpose it is called vyartha.

as- The family is pure: the valour went beyond boundaries and your glory also is well established. How is it, the foot-rest of the king of Ändhras is not served by the Pandyas? (47)

Here the eulogy that the 'family is pure' does not serve any purpose in the advice that the Andhra king is to be served.

[So the expression nirmalam kulam is purposeless ånd hence it is called vyartha.]

3 Ekartha: Single sense: If the sense subsequently said is not different from what is already said it is called ekartha.

as Having observed the children swooned, the heart broke in hundred ways. Having seen the children stupified, the heart is cut in hundreds. (48)

Here there is no difference in the sense expressed in both the sentences.

[i.e. the meaning of the first line is not different from the sense of the second line ]

200 Pratāparudriyam

This is punaruktartha.

4. Sasamsaya: Doubtful : If there is a doubt regarding the sense of the sentence then it is called sasamsaya

Let the emaciated temples of an elephant conquer the breasts. Let the faded creepers laugh at the lustre of the bodies of the women OR Let the emaciated breasts conquer the temples of an elephant. Let the faded lusture of the bodies of women laugh at the creepers. (49) Here there is a doubt as to the question of subject and object between temples of elephants and breasts, and creepers and lustre of the bodies.

[In this verse there are two sentences as karikumbhau stanau jayatam and latā vapuhsriyah hasantu. What is subject and what is object in these sentences is ambiguous, i.e whether the temples of an elephant is the subject and the breasts is the object or vice versa and whether the creepers is the subject and the lustre of the bodies is object or vice versa is doubtful. It is also . not possible to come to a conclusion. So this is a case of sasamdeha.]

5. Apakrama: Transgression: Violation of the regular custom in the usual order of the predicates is apakrama. as - Alas! In the interior of the forest the ladies are sleeping with their mouths opened with the grass that is falling in them they look as they were teaching us the same procedure. (50) Here 'the opening of the mouth' which act is to be spoken of after getting sleep is said to have been performed even hefore sleeping. So (as the usual order is violated) this is. apakrama.

Doșa Prakaraņam 201

6. Bhinna : Conneetionless : Sense devoid of connection is known as the defect bhinna.

[The meaning that is expressed in a verse should have logical sequence. If this is absent and no connection can be established between the expressions it is a defect called bhinna.]

as The creator has not surely written any script on the fore- heads of the Latas because our families are suffering in the deserts. (51)

Here there is no connection between their sufferings in the desert and the absence of a script on the foreheads So this is bhinna.

7. Atimatra : Impossible : If a sense which surpasses all the worlds it is called atimatra. OR What surpasses all the worlds is called atimatra. as - Numerous streams are created by the women of the Latas in the forest, who minimised their tears with the intention that the entire universe should not become one ocean. (52)

Here the statement that the universe becomes one ocean with the tears is a defect called atimatra (in view of its absur- dity).

[This cannot happen anywhere in the creation. Hence this is an instance of atimatra.]

8. Parusa: Harsh: Where the idea is harsh it is called paruşa. as- Let these children be made fire-wood in this forest- fire. (53)

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202 Pratāparudriyam

This is a harsh utterance with reference to the childr who are begging fruits.

9. Virasa: Improper sentiment : Delineation of a sentiment at an improper time is call virasa.

Moon faced ladies ! observe us with your sights that ra nector. Enough of your lamentations. Thus (with these utt rances) the Cola women are being tormented by the hunters. (5

Here to request the Cola women, who were suffering ( account of being separated from their husbands, for sex improper. So this is virasa.

10. Hinopama: Simile degraded : Where the simile is degraded there it is called hinopama. as - Enemies are killed by you like the deers by the dog What happened to your valour who live in the forest only? (5 Here the comparison with dogs is degradation. So this hinopama. [This is an instance of jati. It can be either by jāti ( pramāņa.]

11. Adhikopama: Simile upgraded: Where the simile is higher, it becomes adhikopama. as- These cranes which stand still in the vicinity of the pon are troubled by us as (in the case of) the great sages. (5t Here the comparison of cranes with great sages is adh kopamā. [The sages are higher in status by jati.] 12. Asadrsopama: Simile unjust : Where there is no point of comparison there it is ası drsopamā.

Doșa Prakaraņam 203 as - This Vindhya mountain which has the streams swelling up from the thick bowers is like isvara who is excellent with the flames of fire shining in the eye on the forehead. (57) Here there is no comparison between Vindhya mountain with its streams and Isvara with the flame of his third eye.

[So this is asadrśopama.]

13. Aprasiddhopama : Simile uncommon : If the simile is uncommon it is called aprasiddhopama.

[i.e. the simile used is usually not met with previously.] as - Boy! The faces of the fawn-eyed ladies who are without mirth, which possess the eyes wet with tears are like the lilies whose petals are corrupted by snow. (58)

[The comparison of the faces with lilies is not met with any where in the poetic world. So this is aprasiddhopama.]

14. Hetuśunya: Causeless: Narration devoid of cause is called hetusūnya. as - It is waste to run in this path strewn with pearls. I will go on a different road to search her. This is not the way of the lovely eyebrowed one ! (59)

Here no reason is given to confirm that it was not the path of that girl. So this is a cause of hetusunya.

15. Niralankrti: Figureless : Where there is no figure of speech there it is called nira- lankrti.

The oxen smelling the cows have created confusion in this forest.54 (60) 54. This is not the translation for the Sanskrit verse.

204 Pratāparudriyam

Here there is no figure of speech. This is not even svabha- vokti as there is no charm.

[So this is a case of niralankrti.]

16. Aślila: Vulgar:

Narration of vulgar is called aslila.

The previous (verse) is the illustration for this also.

17. Viruddha: Opposed: What is opposed to place and time is always called virud- dha.

[Opposed to place, time, education, nature, etc., are the varieties of this.] as - There is a salty ocean which is boundless near at hand in the north. The Ganges does not quench our thirst even in this desert (61)

Here to say that the ocean is in the north near at hand is opposed to the direction and to say Ganges in the desert is opposed to the place.

{Another example]: The women are decorating themselves with the ornaments, the pearis of which are obtained from the womb of the fearful horns of the forest buffalos, though costly. (62) Here the birth of the pearis from the horns of. buffalos is opposed to the nature. So this is also an instance of viruddha.

18. Sahacarabhrasta: Unequal combination: If there is a combination of unequals it is called saha- carabhrasta.

The Veda with an expiatory rite, a lady with modesty, the sex with cupid, the mind with knowledge and the enemies with avocation of the forest, (always) live." 1 (63)

Doşa Prakaraņam 205

Here 'the sex with cupid, etc.' does not go hand in hand with the other items enumerated. This is an instance of the defect sahaearabhrasta.

Like wise other blemishes or defects are to be considered as and when they occur. To indicate them verbally is a defect in the case of rasa and bhava, etc.

[ Defects of the sentiment : The rasas like srhgara, etc., the vyabhicarins like nirveda, etc., and the sthayins like rati, etc., should never be made verbal.

The rasa can be realised only in the presence of vibhavas and it is not possible in their absence. If the vibhavas are pro- perly delineated there will be the rise of the rasa even without being mentioned verbally. From this it is understood that the rasa is always suggested but not made verbal which means that if it is made verbal it becomes a blemish.

Some opine that rasa is beyond speech and mind and it is akin to Brahmananda. When the vibhavas, etc., are properly combined, there arises the rasa which should be enjoyed only by contemplation. Even then at times as Brahmananda is made verbal, this rasa also can be made verbal and it cannot be a blemish.]

The Chapter on Doșas ends

CHAPTER ON QUALITIES

The following are the twentyfour qualities : I. Ślesa, 2. Prasada, 3. Samatā, 4. Mādhurya, 5. Suku- mārata, 6. Arthavyakti, 7. Udāratā, 8. Kanti, 9. Udāttata, 10. Ojas, 11. Susabdatā, 12. Preyas, 13. Aurjitya, 14. Vistara, 15. Samādhi, 16. Saukşmya, 17. Gāmbhirya, 18. Samkșepa, 19. Bhāvika, 20. Samımitattva, 21. Praudhi, 22. Rīti, 23. Ukti, and 24. Gati. Among the above some are considered qualities as they ward off the blemishes and others become qualities as they become the cause of elevation by nature itself. Here those that elevate the charm by themselves they are considered most excellent. A section of the scholars does not accept those that ward off the blemishes as qualities. It is only in the opinion of those who accept that the absence of blemish is the quality, the saukumarya, etc., becomes the qualities. 1. Saukumarya is accepted as quality only to reject the defect like śrutikatu. 2. To reject the defect gramya, the quality kanti is accepted .. 3. Arthavyakti wards off the defect apustartha. 4. The quality sammitattva is to be accepted for rejecting the defects like nyūnapada and adhikapada. 5. Udattata is to be considered for cancelling the defect anucitārtha. 6. Aurjitya must be accepted to overcome the defect visandhi. 7. Riti is essential to undo the defect patatprakarsa. 8. Prasada is required for opposing the blemish klista. 9. The quality ukti is to be considered for warding off aślila. 10. Sausabda is required to negate cyutasamskrti. 11. Samata is essential to cross over the defect prakrama- bhanga. 12. Preyoguna is to be accepted for cancelling the defect parușa.

Doşa Prakaraņam 207

In the same manner it is to be noted that some others also become qualities as they cancell the defects

Their definitions and examples : 1. Ślesa: Adherence :

If the words naturally adhere to each other it is called ślea (adherence).

[i.e. all the words appear as one only] as-

We are not competent to eulogise Käkati-Virarudra whose feet were made to shine by the lustre of the diamonds that twinkle in the heads of all other kings; whose well established valour rises; who is always allert in the protection of the uni- verse; who covered the entire firmament with the canopy of his moon-light-like qualities that are eternal and who possessed abundant splendour. (1)

In the above Sanskrit verse the appearance of all the words as one unit is ślesa.

[As all the words are closely adhered to one another with- out any pause it is called slesa. This is from the root ślis 'to unite'. This quality can be better understood at the time of reading the original Sanskrit verse only.]

2: Prasada: Perspicuity. To possess words that express the established meaning is said prasāda.

as -

This iord Prataparudra shines by himself as Lakșmipati, because his eyes are captivating like the blossomed lotus. (2)

Here as all the words express the sense immediately it is known as prasadaguņa.

[Lakșmipati i.e. the husband of goddess Laksmi is known as pundarikaksa. In the present case Prataparudra's eyes also

208 Prataparudrīyam

resemble pundarika 'lotus'. On listening to the words used in the verse the intended meaning is flashed in the mind without any difficulty. As such this is prasadaguna.]

3. Samata : To narrate without unevenness is called samata [i.e. the style must be even throughout.] as - The qualities of the lord Virarudra, that are fragrant like the bouquet of the Kalpavrksa, that are capable of defying tho sweetness of the nector and that touch the vitals of the billows strolling in the celestial Ganges are satisfying the ears of the wise in this world. (3)

Here the evenness of narration in the four feet is samata.

[As the style is even here the defect prakramabhanga is overcome. As there is no unevenness anywhere in the verse it is called samata.]

4. Madhurya: Sweetness : If words in the sentence are separate it is called madhur ya.

[i.e. there won't be euphonic combination in the words so they appear clear and distinct.] as - The lustre of the glory of the Kakati-lord, is attaining the status of the silk garments on the buttocks of the quarters, achiev- ing the splendour of the sports of the pearl necklece on the bossom (of the quarters), and possessing the beauty of the garland of the jasmins on the heads (of the quarters). (4)

In these sentences the words are separated even at the time of reading. So this is mādhurya.

[i.e. the words are simple; they are not adhering to one another and look completely separated. There are no com- pounda.]

Guna Prakaranam 209

5. Saukumārya Delicateness : If there are delicate letters it is called saukumarya. Delio cateness is found in the letters accompanied by nasals.

as- There shines moon-light even during the day in the city of the Kakati-lord due to the moon-faced ladies who sprinkle boundless joy. (8)

[The delicacy of the letters employed in the verse can be experienced while reading the verse.]

6. Arthavyakti : If the sentence is complete (in all aspects) it is known as arthavyakti.

as - When the king Virarudra whose rising valour is boundless, is acting as the protector, the earth (middle world) is enjoying the entire fortune If not all the three worlds are attaining blessedness because a fraction of Hari, having descended into the Kakati-family is sporting at will. (9)

In giving out the meaning of the sentence, as there is no scope for any kind of enquiry, here it is complete and hence it is arthavyaktī.

[This cancelis the defect asarira.]

7. Kanti: Grandeur: The splendour in the composition is known as kanti.

as- When the sky, with the dust particles raised in the victory marches of the triumphant king Kakati-Virarudra spreading through it, bears a doubt as earth, the river (Ganges) known as the well in the sky possessing wider banks (because of the dust raised) has become the river of the human beings and the Godavari heavily deepening itself is becoming the Ganges of the nether lands. (10)

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210 Pratāparudriyam

[As the style is shining with splendour, bere, it is an instance of the quality kanti.]

8. Audarya: Excellence; If the letters in a composition stand like dancing it is then ealled audarya.

[i.e. the excellence of a dance is to be noticed in a composition for audarya.] as - The soldiers of the Ändhra are creating in other kings the fear of the battle fields where the goblins having eaten meat too much, vying with each other to drink blood stating 'I am first and I am first', (are) possessing frightful foreteeth with the sounds kat, kat produced at the time of crushing the big bones and drowning in the streams of marrow flowed from the (dead) elephants. (11) [In this verse the letters employed look like dancing; usually this is noticed in compounds. So this is a case of audārya.]

9. Udattata: Befitting. If the attributes employed are befitting there appears udāttata. as- The army of the king Rudra is filled with the roaring elephants scattered, the neighing horses agitated, the chariots sporting, and the roaring soldiers. (12)

[As the attributes used with respect to elephants, horses chariots and soldiers are befitting this is a case of udattata.]

10. Ojas: Strength or energy: Abundance in compounds is ojas. as - The colonies (of the horses) of the scholars of the king Virarudra are happy on earth, with their compounds possessing the pleasant talkativeness made up of the sounds of the swam

Guņa Prakaraņam 211

of bees hovering with greediness for fragrance of the stream of rut of the multitude of the magestic elephants and become lovely due to their boundless magnitude. (13)

[As this is beset with compounds it is a case of ojas.]

11. Sauśabdya: Elegently worded. The usage of the nouns and verbs in accordance with their derivations is known as sauśabdya. as Hari who is in the form of Virarudra protecting the people who have got good progeny, with that rub against the banks of the circle of quarters and that touch the sky, who has the method of doing good to the three worlds, and who is complete (in all respects) with matchless qualities to put an end to the wicked on this earth is now moving in the family of the Kākati. (14)

[Here, the words kūlamudvahakathā, abhraskasa, suprajas, kşemankara, and adhyambhavisnu are responsible to endow the verse with the quality sausabdya as they are in tune with the derivations.

Kūlam udvahantiti kūlamudvahāh; abhram kasantīti abhram- kaşāḥ, šobhanā prajā yasām tā suprajasah; kşemam karotīti kşemamkarah, adhyo bhavatiti adhyambhavisnuh are all in accor- dance with the rules of grammar and quite befitting in the con- text. So this is a case of sauśabdya.

It is not proper te say that this quality sausabdya, is to ward off the defect cyutasamskara wherein are found the words with ungrammatical forms. But this quality is not the opposite of it. Here the words are always used in keeping with the etymo- logical sense, which becomes befitting in the context. So this can be considered as a speciality which has nothing to do with the defect cyutasamskara. This is an independent quality.]

12. Preyas: Sweetness: To speak in a sweet manner is known as the quality preyas.

212 Pratāparudriyam

as -

Oh Kakati-lord! There is in you courtesy, competency, kindness, loftiness, audocity, heroism, the wealth of arts, wealth, magnanimity. fortitude and fitness to bear the universe you rule the earth for hundred brahmakalpas. (15)

[The utterances here are with full of love and affection. So this is a case of preyas, which is opposed to the defect parusa.]

13. Aurjitya :

A composition tightly drawn is know as possessing the quality aurjitya.

as-

The sports of the mace-like arms of the king Rudra whose valour is being elevated are capable of protecting the earth and warding off the agitation of the universe. They possess unper- ceivable arrows (i.e. the skill with which he discharges his weapons cannot be understood.) They have the raised swords to punish the sides of the wicked ksatriyas and they are the thunder-bolts for cutting off the pride of mountains of the wicked. (16)

14. Samadhi Transference of qualities : To attribute the qualities of one to the other is samadhi. as-

The great glory of Virarudra is becoming splendid in the three worlds, by enquiring the milk-ocean the welfare, follow- ing the Kailasa with respect, honouring frequently, the celestial river (Ganges) with sweet utterance; similarly at the moon before and extending a welcome compassionately to the swans of the chariot of Brahman. (17)

[Here the properties of the animate objects like enquiring, etc., is said to have been possessed by the formless fame and the activities are connected to the inanimate objects. So this is a case of samadhi.]

Guņa Prakaraņam 213 15. Vistara: Expansion : If there is further elaboratior. of what is already said it is known as the quality vistara as - It is only the leader of the serpants, i.e. Adisesa who is competent in three worlds to eulogise the qualities of the Kakati- lord to look at them again to listen and congratulate them. Because the mouths of this leader who is competent are one thousand. His eyes are two thousands, the same are the ears, and the hoods that are moding with wonder thousand. are one (18) [Here the second half of the verse contains expianation in support of the statements given in the first half. So this is an instance of vistara.]

16. Sammitattva: Sufficiency: The presence of sufficient vocabulary to the intended sense is called sammitattva.

The ladies in the form of quarters are converting the qualities of the Kakati-king into ear-ornaments, and basmearing the fame of sandal (on their bodies). (19)

[Here there are all the words that are required for the correct expression. So this is sammitattva.]

17. Gāmbhirya: Deep: If any thing is beset with suggestion it is gāmbhīrya.

In the sword of Käkati-rudra there is poison; in the fame there is the Ganges; in the enemies there is the garment of quar- ters and in the face there is the moon, (20) Here it suggests that for Sankara there is poison in throat, Ganges on the head, the garment of quarters on the loins and the moon on the head. [Hence this is a case of gāmbhīrya.]

214 Pratāparudriyam

18. Samksepa: Brevity : Brevity in expression is called samksepa.

as -

There is the family of the Kakatiyas; and many king were there in it. This lord Virarudra is the heap of the fortunes. (21

[The very brief statement found here that Virarudra i the heap of fortune of all other kings of the family speaks mucl of his greatness. As this is briefly said it is called samksepa.)

19. Saukşmya : If the intended meaning lies dorment in the words it i: called sauksmya.

as -

The roots stha, krn and bhu with the prefixes adhi, adhah and pari are (being) construed always with the Kakati-lord in the sense of an agent and in others (his enemies) in the sense of an object. (22)

Here as the forms adhitisthati, adhahkaroti and paribhavat are intended to be expressed; it is sauksmya.

[The forms in the sense of an agent are adhitisthati, adhahe karoti and paribhavati, and when they are used they mean that Virarudra is ascending the throne putting down the enemies, and insulting the foes. But in the sense of an object in the case of others the forms are adhisthiyate, adhahkriyate and pari- bhuyate. Here it is to be said that the enemy's teritory is being occupied by Prataparudra, the enemy is put down by him and the enemy is insulted by him.55 This method of expression is saukşmya.]

55. कर्तृवाचिन एव तिडादिप्रत्ययान् दधतीत्यर्थः । अन्यत्र कर्मणि कर्मवाचिनो यगादि- प्रत्ययान् दधतीत्यर्थः । - Ratnāpana on ibid.

Guna Prakaraņam 215

20. Praudhi: Variety in expression : The speciality in the manifoldness of expressicn is known as praudhi. as - The poets are speculating the king Virarudra as the repeti- tion of Brahman, the recurrence of Iśvara, the reiteration of Vişnu; the reflection of the Meru mountain, the rising of the moon, the rebi th of Karna, etc., the whole substance of the kaipa tree and the manifestation of the kamadhenu. (23)

[This means that the King Virarudra is as great as the objects enumerated above Instead of sayirg directly the poet has put it charmingly in an indirect manner. So this is a case of praudhi.]

21. Ukti : Poets know that an adroit speech is said as ukti. as - Eagerress in lotuses (kamala) for you, who are a king (rāja) posessing beautiful behaviour and fortune, is observable. Altnough you are a Bhasvin you will adorn that kuvalaya- lakşmi. (24)

[Here the word raja means king as well as moon. Kamalasakti means the anxiety or eagerness for lotuses and for- tune. So to say that the Moon is eager for lotuses is wonderful.

The word bhasvan means lotuses as well as the Sun and kuvalaya means lilies as well as the earth.

Because of the possession of the above nature his beha- viour is described as wonderful. So this is a case of ukti ]

22. Riti: Maintenance of order : If the beginning and end are alike it is called riti.

The king follows the six qualities, insults the six enemies, accepts the six darsanas (systems of philosophy) and maintains six (types of) forces. (25)

216 Pratäparudrīyam

[Sandhi, vigraha, yana, asana, dvaidha and asraya are th şadguņas. Kāma, krodha, lobha, mada, moha and mātsarya ar the sadripus.

Nyaya, Vaiseşika, Samkhya, Yoga, Purvamimāmsā an Uttaramimāmsā are the saddarśanas.

Mula, bhrtya, mitra, stri, ātavika and āmitrabala are the şadbalas.

In this verse as the word sat appears in equal importance the end becomes as good as the beginning. So this is an instance of the quality riti This is opposed to the defect patat- prakarsa as observed before.]

23. Bhavika: Affectionate expression : If there is the expression of love and affection it is called (the quality) bhavika.

as -

Oh master! son! the ornament of the family! Virarudra! the lord of the universe! I am placed at the top of those who have children by you my child ! (26)

The style of the sentence in which there are addresses like master! son!, etc. is because of the affection for the king.

[This is a case of bhavika. There lies affection certainly in the address of the father to a son.]

24. Gati :

If there is the ascendency and descendency of the svaras (syllable) in a pleasant manner it is known as gati.

Long letters cause ascendency while short ones cause descendency.]

as - Though the three worlds are illuminated always by the lustre which is sharp like the rays of the sun and boundless of the Kakati lord, thick darkness overflows the hearts of the

Guņa Prakaraņam 21/

enemy kings in spite of possessing the fire of inflated afflic- tion (27)

Here in the first half because of the presence of long let- ters, there is aroha and in the second half (on account of the short letters) there is avaroha.

Some56 opine that these qualities can be connected to the sense also. But according to the ancient scholars these qualities are connected with samghatara only. It is said in the Alankarasarvasva57 that the distinction between gunas and alankaras is connected with the samghatana-dharma and sab- dartha-dharma (i.e. gunas or qualities) are connected with samgha- tana whereas the alankāras or figures are connected with sabda and artha. Based on this method only the difference between gunas and alankaras is maintained. Otherwise it is impossible to maintain the difference. The nature of gunas and alankaros is only to beautify the composition. This is said by Rudrabhatta.

'What is responsible for the beauty of a composition is acclaimed as figures of speech. Even guna or quality is to be understood in the same way and contrary to this becomes a blemish.'

Hence to say that gunas are concected with samghatana is proper.

[The view of Vamana is not tenable here. According to him riti is the soul of poetry which is of three kinds - vaidarbhi, gaudi and pancali. The vaidarbhi possesses all the qualities whereas the other two possess some qualities only. If the view of Vamana were to be accepted all the quali- ties must become the beautifying factors. Then it is only the vaidarbhi-riti that becomes fit for being the soul of the poetry and not the remaning two as they do not possess all the 56. Vamana says that ten qualities like ślesa, prasada, etc., connected with word are also made applicable to the sense. 57. cf. संघटनाधर्मत्वेन शन्दार्थधर्मत्वेन चेष्टे। Alamkarasarvasva of Ruyyaka, p. 10 (ed. by S.S. Janaki).

218 Pratäparudrīyam

qualities. Hence it is not proper to say that there must be : the qualities present to beautify a composition If this were be the case the material that possesses the quality ojas on becomes a kavya which is not desirable. So it is not proper say that the qualities are the beautifying factors and alankar as the factors of enhancing the beauty.

Again the ancients accpeted that the slesa, etc; are tl qualities connected with sabda or word. This is only possible the view of Ubdhta, etc. Bhämaha and others, merge slesa, et in mädhurya, etc. According to them the gunas are the properti of rasa and alankaras are the properties of sabda and arth Because of this only on the previous occasion Vidyanatha sa that anuprasa, etc., are like necklece, etc., and sleșa, etc., a: like valour, etc.]

The Chapter on Gunas ends.

CHAPTER ON FIGURES OF SPEECH THE ŚABDALAŃKĀRAS

Determination of the characteristics of the figures of speech: After the determination of gunas, alankaras are being defined. Alankara is that by which it is emhellished or alankāra is the cause of loveliness. It is said in the Kavyaprakāsa:

"Like the necklace, etc. adorn the person through the limbs that are adorned by them the figures like anuprasa and upama adorn (the existing rasa through the word and meaning adorning them)".

Just as the celebrated bracelets. anklets, etc., adorning the limbs like hands and feet, adorn the person having the limbs (who wears them), the celebrated figures of speech anuprāsa, upama, etc., adorning the parts, the word and meaning, udorn the whole, namely the kavya itself.

As in this world the alankaryalankara-bhava (the relation of the decoration and the decorated) exists in the kāvya also as aśrayāsrayī-bhava (the relation of the container and the contained). Though the gunas (qualities) and alankāras (figures) cause loveliness their difference is because of their difference in substratum The gunas are connected with samghatana (texture) whereas the alankaras are connected with sabda and artha.

Difference between gunas and alankāras: Gunas: 1. They are the properties of rasa, 2. They do not have separate existence, i.e. they co-exist with rasa always, 3. They essentially adorn the rasa, and 4. They independently and directly work up in rasa.

Alankaras: 1. They are not the properties of rasa, 2. They can exist independently even in the absence of rasa, 3. There is no rule that they should essentially become the beautifying factors for rasa, and 4. They establish rasa through the other limbs only, i.e. word and sense.

220 Prataparudrīyam

Division of alankāras or figures :

At first the alankaras are of three types as : I. Śabdālankāras, 2. arthālānkaras and 3. ubhayalan. kāras 1

The arthalankāras are again of four kinds :

Those in which: 1. the sease in the form of an idea (vasturūpa) is implicit or becomes the suggested content.

. similarity is implied.

3. rasa and bhava are suggested, and

4. the implicit sense is not explicit, i.c. the rasa and bhava are subordinated.

5. Those in which the vastu is made implicit are : 1. Samāsokti, 2, paryāyokti, 3. ākșepa, 4. vyājastuti, 5. upa- meyopamã 6. ananvaya 7. atiśayokti, 8. parikara, 9. aprastuta- praśamsā, 10. anuktanimittaviseșokti.

In these cases the vastu that is implicit helps ornamenta- tion of the composition.

2. Those in which similarity is implicit: 1. Rūpaka, 2. pariņāma, 3. samdeha, 4. bhrāntimat, 5. ulle- kha, 6 apahnava, 7. utpreksā, 8. smaraņā, 9. tulyayogia, 10. dīpaka, 11. prativastūpamā, 12. drstānia, 13. sahokti, 14. vyatireka, 15. nidarsana and 16. śleşa.

In these cases there is the similarity that is implict. 3. Those in which rasa, etc. are implicit : 1. Rasavat, 2. preyas, 3. ürjasvi, 4. samāhita, 5. bhāvo- daya, 6. bhavasamdhi and 7. bhavasabalatā.

1. e.g. anuprāsa, upamā and lātānuprāsa respectively.

Alankāra Prakaraņam 221

In these cases rasa, bhava, etc. are suggested. (But they become implicit only in a secondary way. As such they are termed gunibhutavyangyas.)

4. Those in which the implicit sense is not explicit : (asphuta- pratiyamanas). 1. Upama, 2. vinokti, 3. arthantaranyasa, 5. vibhavana, 6. uktaguņanimittaviseşokti 4 virodha, 7. vişama, 8. sama, 9. citra, 10. adhika, 11. anyonya, 12. kāraņamala, 12. ekāvalī, 14. vyāghata, 15. malādīpaka, 16. kāvyalinga, 17. anumāna, 18. sara, 19. yathasamkhya, 20. arthapatti, 21. paryāya, 22. pari- vrtti, 23. parisamkhya, 24. vikalpa, 25. samuccaya, 26. samadhi, 27. pratyanika, 28. pratīpa, 29. viśeșa, 30, nimīlana. 31. sāmānya, 32. asangati, 33. tadguna, 34. atadguņa, 35. vyājokti, 36 vakrokti, 37. svabhāvokti, 38. bhāvika and 39. udatta.

In these figures nothing that creates charm in the minds of connoisseurs is implicit in a definite manner.

The division of figures based on similarity: The similarity is of three kinds : 1. Where the difference is important, 2. Where non-difference is important, and 3. Where the similarity is based on both difference and non difference.

As upamana and upameya are two different entities the case where non-difference is important, is not real; but it is only a śabda, i.e. pertaining to the śabda.

a) Abhedapradhanas: Where nonedifference is important: 1. Rūpaka, 2. pariņāma, 3. samdeha, 4. bhrāntimat, 5 ulle- kha and 6. apahnava.

b) Bhedapradhanas: Where the difference is important : 1. Dipaka, 2. tulyayogitā, 3. nidarsana, 4. drstanta, 5. prativastūpama, 6. sahoktt, 7. pratipa and 8. vyatireka. e) Bhedabhedapradhanas: Where the similarity is based both on difference and non-difference: 1. Upama, 2. ananvaya, 3. upameyopama and 4. smaraņa.

222 PratāparudrĪyam

2. Adhyavasāyamūlas : Based on adhyavasaya or identification: 1. Utpreksā and 2. atisayokti.

3. Virodhamulas: Based on contradiction or inconsistency : 1. Vibhavanā, 2. viśeşokti, 3. vișama, 4. citra, 5. asangati, 6. anyonya, 7. vyāghāta, 8. atadguņa, 9. bhāvika and 10. višeșa.

[Contradiction or inconsistency is the primary factor in these figures. The charm arises out of those controdictions only.]

4. Vākyanyayamulas: Based on the proverbial illustration of Mimāsmāsāstra. 1. Yathasaıkhya, 2. parisamkhya, 3. arthapatti, 4. vikalpa and 5 samuccaya.

[These alankaras produce charm with the help of maxims that occur in Mimamsasastra.]

5. Lokavyavaharamulas: Based on the practices or ways of the world: 1. Parivrtti, 2. pratyanīka, 3. tadguņa, 4. samadhi, 5. sama, 6. svabhāvokti, 7. udātta and 8. vinokti. [They contain the practices of the public.] 6. Tarkanyāyamulas: Based on the maxims of logic : 1 Kāvyalinga, 2. anumāna and 3. arthāntaranyāsa. 7. ŚrAkhalāvaicityamulas: Based on the charm of chains : 1. Karaņamālā, 2. ekāvali, 3. mālādīpaka and 4. śāra. [In these four figures the object seems to be interlinked as in a chain. The production of charm is due to this interlinking nature.]

6. Apahnavamulas: Based on concealment i 1. Vyājokti, 2. vakrokti and 3. mīlana.

Alankāra Prakaranam 223

[Here there is the concealment of one object by the other due to which there arises the charm.]

9. Viseşanavaicitryamulas: Based on the attributes : 1. Samāsokti and 2. parikara.

These two are based on the charm produced by the attri- butes of the objects used.]

The (mutual) difference among the figures : Although superimposition is the underlying principle, basing on utility and non-utility of the object upon which scme thing is superimposed there arises difference between parināma and rupaka (commutation and metaphor). The difference bet- ween ullekha (representation) and rūpaka (metaphor) depends on the existence and non-existence of the form of objects superimposed on the objects of imposition. The difference among samdeha (doubt), bhranti (error) and apahnuti (conceal- ment) is due to doubt, error and concealment of the object on hand respectively.

The upama (simile), ananvaya (self-composition) and upameyopama (reciprocal comparison), due to the expression of similarity, are different from tulyayogita (equal pairing), dipaka (illuminator), nidarsana (illustration), vyatireka (contrast) and drstanta (examplification), though they are based on similarity. Between upameyopama (reciprocal comparison) and prativastupama (typical comparison) the difference lies in the expression and implication of the similarity. The difference between prativastupam and drstanta is because of the vastu- prativastubhāva and bimbapratibimbabhava. The tulyayogitā and dipaka differ from each other by the combination (samasta) and seperation (vyasta) of the objects on hand and not on hand.

The difference between upamana and utpreksa lies in the nature of the upamana whether it is well known or not. Because of the similarity in meaning and word there is the difference between upama and ślesa. On account of the difference and non-difference between upamana and upameya there lies the difference between upama and ananvaya. Upamanopameya and

224 Pratāparudriyam

ananvaya differ because of the difference in expressing the upama nopameyabhava either alternatively or once. Aprastutaprasams and samasokti differ in respect of making the subject on han expressed or implied. In paryayokti both the expressed and th suggested serve the purpose on hand while in aprastutaprasamsi the expressed does not serve the object that is on hand. Kavya linga differs from anumana in the matter of non-existence of vyapt and paksadharmata. When the difference is not obtained becaust of the mentioned qualities present it becomes samanya. II milana there will be the disappearance of the less qualitier because of the higher qualities present. Uttaralankara differ: from parisamkhya in not having an intention to cut off one from others. Samadhi exists where the purpose is achieved unexpec. tedly by means of some other reason. The second variety of sam- uccaya exists where the causes come of their own accord vying with each other to produce the effect. The difference between apahnava and vyajastuti lies in making what is to be concealed as expressed or concealed. Differences among others is quite clear. Though there is similarity among vyājokti and samanya, as it is not considered they are not enumerated in the list of sadrsyamulas, i e. based on similarity.

FIGURES CONNECTED WITH WORDS Šabdālażkāras : After the categorization of the (features) of the figures of speech, as sabda happens to be internal between sabda and artha, the sabdalankaras are first being enumerated. [A composition is made up of sabda and artha. Similar is the case with figure also. Between the two, i e., sabda and artha, sabda is first comprehended. Then only the artha or meaning is comprehended. Unless there is the comprehension of fabda there cannot be the comprehension of meaning. Therefore in respect of comprehension sabda becomes internal. So the impor- tance is for sabda. If the word alone ean bring about the charm it is called sabdalankāra, i.e. the charm in expression lies in the usage of the words.]

Śabdālankāra Prakaraņam 225

1. Chekanuprasa: Alliteration of the learned. Where there is the repetition of the pairs of double con- sonants without any gap there, according to the learned, exists chekānuprāsa. (1)

Where there is repetition of the pairs of consonants cor. sequently there it is called chekanuprasa. as - The king (Prataparudra) who conquered the ksatriyas in war and who possesses shining qualities is holding the Earth in his hand which does good and which resembles adisesa. (2)

In this Sanskrit verse in all the four quarters there is the repitition of the pairs of consonants as mahi-mahi, kare-kare; janya-janya and rāja-rāja. Hence this is chekānuprāsa.

[As this repetition is usually adopted by chekas i.e., intele ligent people, it is called chekanuprasa. Birds that sefely dwell in their nests are also called chekas. They do not harm any one. As they are happy they sing sweetly. In the same manner the repitition here also is sweet. As such this is called chekānu- praso. Anuprasa means alliteration or repetition.

Repetition is of three types: 1. repetition of meaning, 2. repetition of word and 3. repetition of both word and meaning. Repetition of meaning is considered as a blemish. In the repetition of word, either the vowels or the consonants can be r.peated. In the matters of figures repetition of simple vowels does not create beauty. As such it need not be consi- dered. The repetition of consonants only or the repetition of vowels or consonants enhances the beauty of a composition. If there is a limit of the vowels and consonants in the case of repe- tition it is called chekanuprasa. Otherwise it becomes vrttyanu- prasa. So the author of the Alakarasarvasva feels that it is better to illustrate chekanuprasa first. As such it is illustrated in the beginning.]

2. Vrttyanuprasa : Alliteration of consonants. It is called vrttyanuprasa where there is the repetition of one, two, three, etc., of the consonants. (3)

661 -- 15

226 PratāparudrĪyam

Here as there is no limit for the consonants as in the case of chekanuprasa, the repetition of the consonants (vyanjanas) may be either one, two, threc or even four.

[If a single corsonant is repeated often times it becomes vrttyanuprasa. The repetition of pairs also can be brought abut at intervals. The repetition of three consonants also can be shown once or many times. This can be done either without intervals or with intervals. Same is the case with four syllables also. The varieties that can be brought about in accordance with the above procedure is shown below :

1. T> repeat a single consonant many times. 2. To repeat the pairs of consonants without interval once. 3. To repeat the psirs of consonants with interval once. 4. To repeat the pairs of con,onants with interval many times. 5. To repeat three consonants without interval once. 6. To repeat three consonants without interval may times. 7. To repeat the pairs of consonants with interval once. 8. To repeat the pairs of consonants with interval many times. 9. To repeat four consonants witbout interval once. 10. To repeat four consonants without interval many times. 11. To repeat the pairs of consonants with interval once. 12. To repeat the pairs of consonants with interval many times. These twelve varieties are to be considered again in the light of conjunt consonants or simple consonants. Then there will be twentyfour varieties. These two, i.e chekanuprasa and vrttyanuprasa are always connected with the repetition of con- sonants only. If by any chance the repetition of vowels is found it is not to be reckoned with.] as - Oh wretched kings ! for a movement look at the army of the Käkati-lord, which has the soldiers fearful to look at with their swords raised. If you war (with him) you attain. It is useless to resort to the forests How can there be safety for yourselves in the caves of the mountains where the hyenas are loitering.

Sabdālankāra Prakaraņam 227

[Here because of the repetition of the pair of consonants ks for many times it is a case of vrttyanuprāsa.]

3. Yamaka : Alliteration of syllables. The repetition or the alliteration of the vowels as well as the pairs of consonants is known as yamaka.

The repetition of vowels in chekanuprasa and vrttyanuprāsa is only secondary. But in yamaka the repetition of both the vowels as well as the pairs of consonants must be present. There are many types depending on, the beginning, middle and end. Here this is a mere illustration.

as -- The valour of the Kakati-lord which is wonderfully lustrous is possessing the splendour of the Sun who is the beloved of the lotuses.

Here there is the repetition of both vowels and consonants in the words mahi matejasah and mahamahimatejah. As such this is a case of yamaka.]

4. Punaruktavadabhāsa : Appearance of repitition. It is called the figure punaruktovadabkasa where the sense looks repeated in the beginning, by the scholars.

Where the meaning looks repeated at first but becomes otherwise at the time of construing there exists the figure called punaruktavadabhasa. Though it happens to be a figure connected with sense as there is the repetition of the word, this is spoken of in figures connected with words.

as- The Kakati-lord, who is victorious, lord of the kings (the husband of wealth), the affluent, the highest among men, the resplendent and bright like the lustre of the Sun, is shining. (4)

[Here the words in the verse appear as if they are synonyms, but differ in their mennings. So this is a case of punaruktavapa- bhāsa.]

228 PratāparudrĪyam

Now the figure connected with repetition of both the sabda and artha is illustrated :

5 Latanuprasa : Alliteration of Latas. The scholars of sähitya opine that the repetition of both word and meaning with a difference in purpose is (said to be) lāțānuprāsa. [As this is mostly used in the Lata country it is named lāțānuprāsa Here though there is the repetition of both word and meaning when the question of purport comes the mean- ing does not become a re, etition. As such it does not come under the blemish punarukti. The meaning of the first word becomes the expressed while the meaning of the second word becomes the implicit or suggested. Hence there will be the difference in purport in this latanuprasa.] as - The qualities that are observed in the king Rudra are cone sidered to be the qualities. His pohcy is the only policy and his wealth alone is said to be the wealth. (5) [Here the repeated words gunah, nitih and laksmih are to be explained as belonging to the highest order, i.e. the qualities belonging to the king Prataparudra only are to be considered as the highest qualities that can be expected of a person but not the qualities possessed by others The policies of Prataparudra are highly commendable but not those of others In the same manner the wealth of Prataparudra only is fit to be reckond as wealth but not that of others, as it is put to the best use. As such the first word culminates only in its verbal sense, whereas the second word that is repeated culminates in the suggested sense or in the sense other than the first So this is a case of lāțānuprāsa.]

6. Citra: Variegated. If the letters are in the shape of the petals of lotus, etc., it is called citra.

The word adi, etc. indicates cakrabandha, [nägabandha, murajabandha, musalabandha, gomūtrikābandha, mālābandha, etc.]

Śabdālankāra Prakaranam 229

Tllustration of eight petaled lotus (astadalapadmabandha), i.e. the illustration where the letters are written in the shape of the eight petals of a lotus in a particular order.

Let the completely subdued kamala (wealth), who obtained the throne that is in the golden pillared court ball, who is in the seas that are in the chariots yoked to the horses, etr., who possesses the peculiar says that are well understood by constant concentration, who understands well the worship, who has worthy participants, who is attached to the wise, who is sung, who is interested in sacrifice (by wealth), who understands the devotion and who possesses the auspeciousness due to the grains of a village made fruitful in the case of the fortunate, provide comfort to the best of the kings (i e. Virarudra). (6)

[If this Sanskrit verse is written in the figure of an eight petaled lotus, in a particular order, it can be very clear.

These verses are not generally meaningful. The meaning is to be sensed with great difficulty because the interest of the poet mainly lies in the painting of a figure with the letters but not in the meaning of the verse. Here also a few letters get repeated.]

Cakrubandha : The Earth, which is resting on the shoulder, which delights in the splendid rule of the king Rudra who is victorious, whose splendour is with the grace of Laksmi, who is the lord of the universe, who is auspecious and who is performing the duties of Sun, with his valour that spread thoughout the quarters, is con- stantly shining unshaken, as it resorted to a worthy place. (7)

Here in this wheel shaped picture, the expressions, vaija- nāthakrti and virarudrayasah can be noticed.

[The above indicated expressions can be observed only in the first three quarters of the verse. It the sixth letter in all the first three quarters is consecutively considered and then the fourteenth letter in all the first three quarters is consecutively considered, then the expression vaijanathakrti is obtained. Simi-

230 Pratāparudriyam

larly if the third letter in all the first three quarters and then the seventeenth letter in all the first three quarters are con- seoucively considered the expression virarudrayasah is got. This is the element of charm in this type of poetry.]

Nāgabandha : When the lord Rudra who is energetic who made others to discard their valour by his greatness, who is excellent in edu- cation, who follows the great behaviour of Hari and who became famous throughout the universe is leading the multitudes of enemies, who got extreme ill-fame and whose bodies were hurt, are dwelling in the forest along with the wild beasts in the deserted places without water in difficulties. (8)

[ The letters of this verse can be arranged in the form of a picture of the body of a serpent. Here also there will be the repetition of letters. This is a bit difficult for the poet to compose.

No meaning that can create charm in the minds of the readers can be expected of this type of poetry. This is a mere feat to exhibit the erudition of a scholar.

This type of bandhas are so many. Only a few are illus- trated here.]

ARTHALANKĀRAS FIGURES CONNECTED WITH MEANING At the outset simile (upama), as it happens to he the geni- sis for many other figures, is being illustrated :- UPAMĀ : SIMILE If resemblance of an object (upmeya or varnya) to be com- pared with another object (upama), which is accepted as diffe- rent and naturally existent, is expressed once in respect of properties it becomes (the figure) simile. Where the resemblance of the object to be compared (prakrta =upameya=varnya) is expressed once with an another object (aprakrta=upamana) which exists naturally, naturally dfferent and accepted by the men of equal taste there exists (tae figure) simile. By the expression svatah siddhena, 'which exists naturally', the (figure) utpreksa (poetical fancy) is warded off, because there is a possibility for a simile to exist even in an object that is not popular or natural in the case of an utpreksā. [Here the object of comparison must be natural and papular. It must also be different from the object to be com- pared and at the same time it must be acceptable to the men of taste. This is technically called aprakrta or upamāna or anya. A similarity of the object on hand (which is technically called piakrta or upameya or varnya) with the object not on hand, i.e. asya, must be verbally expressed in respect of similarity in guna and kriya, then this becomes the figure simile. By the word samya in the definition it is to be understood that the word anya means upamana and varnya means upameya. Samya is nothing but sadharmya. This exists only between upamana and upameya and does not figure in cause and effect. Hence all the words used in this definition are purposeful. The purport of this is that upamana must be natural and popular. By this the figure utpreksa is kept out. Because in utpreksa the upamana need not be natural. Even in the case of an unnatural object, resemblance can exist. But in the case of

232 Pratāparudriyam

a simile, the upamana must be natural only and should not be invented as in the case of an utpreksa. If there is the invention it cannot be called the figure simile. Only to emphasise this the expression svatah siddhena is used in the definition which wards off utpreksa.]

as- The glory of the Kakati Virarudra who ascended the throne enveloping the fame of the ancient kings is possessing the lustre of a crore of the Moons. It shines at the (end of the) quar- ters, like the lustre of a violent laughter of the three worlds that arose due to the extreme delight that is caused by obtaining a king who is competent to protect. (1)

Here the word prabha belongs to a class or genus. The prabha of the trailokyattahasa is only a fancy of the poet. So there is no scope for doubting a simile.

[Here the lustre of the laughter, i.e. the prabha of the attahasa, is upama and the glory or fame is upameya. The actof vidyotana, 'shining' is the common characteristic, i.e. sadharmya The lustre of the laughter spreading through the three worlds (trailokyattahasaprabha) is only a fancy of the poet but not a natural object. Hence it cannot be a simile, as a simile requires a natural or popular object. This becomes an utpreksa as fame is fancied as the lustre of the laughter.

By the expression svato bhinnena 'different form the self or naturally different' the figure ananvaya (self-comparison) is warded off, because in ananvaya both upamāna and upameya exist in one and the same object. It is so as :

Let there be in the world the Meru mountain (the moun. tain which is supposed to be full of gold), the ocean (supposed to contain gems) and the Moon (who gives nector). this Virarudra is like Virarudra himself. Even then (2)

[Here the intention of the poet is to say that neither the Meru nor the ocean nor the Moon (though they are great in their way) cannot be compared to the king Virarudra. As such Vira- rudra is to be compared with himself. This means that both

Arthalankara Prakaranam 233

upamana and upameya exist in one and the same object, i.e. upamana is not different from upameya. As such this is a case of ananvaya.]

The expression sammatena (accepted) wards off the nyuno- pama, etc. as-

The Kakati-lord (Pratāparudra) is deep like an ocean, lofty like the golden mountain (Meru) and capable of bearing the Earth like the elephants in quarters. (3)

Here as the similarity between the ocean, Meru and the elephants in the quarters and the king is befitting, this is a case of the figure upama only.

[Here the objects of comparison are all acceptal le to the men of taste. They are neither low nor high. The epithets qualifying the upamana are neither too many nor less, as in the case of an adhika or nyunopama. Hence this is an instance of perfect upamalankāra.]

The word dharmatah distinguishes this from ślesālankara (paronomasia) because in sleșa there is only the similarity in word but not in guņa and kriyā.

The women of the Andhra city who are moon-faced are performing lustration with the well-lit lamps to Virarudra, (who is) the lord of the family, like the nights who are moon- faced, to the Meru with the shining multitude of stars. (4)

Here the expression prataparudram purastriyah nīrajayanti merum rajanyah iva 'the women of the city are lustrating Pratapa- rudra like the nights the Meru' is not a simile; as there is no similarity connected with the adjective gotrapati. The word gotrapati is to be construed as the lord of the family in the case of the king, and as the lord of the mountains in the case of Meru. Similarly the adjective candrananah is to be explained as 'who possessed the faces like that of the Moon' in the case of w>men, and 'who possessed the Moon itself as the face' in the

234 Pratäparudriyam

case of nigats Here it is only the similarity in the word but there is difference in meaning (of the compounds). Hence simply because of similarity in words it cannot be a simile. On the other hand it is only the figure ślesa.

[Though the words gotrapati and candrananah are used as attributes to the king and Meru and the women and nights, as indicative of common properties they are incapable of express- ing the common properties as they differ in their meanings specially the word candrananah. Here the similanty based on guna and kriya is not found. The sense of these two words with respect to upamana is different from their sense with respect to upameya. So this is oaly the similarity of words but not their meanings. As such it is not the figure simile, but it is only the figure śleșa.]

The expression anyena varnyusya samyam, (i.e. re semblance of upameya with upamana), is excluding the figuie pratipa (the converse).

[In the figure pratipa it is found that the objects of upa- mana and upameya are reversed, i.e. the Moon and lotuses which are generally considerod as upamanas and faces which are consi- dered upameyas stand reversed in their o der, i.e. the Moon and the lotuses become upameyas and the faces become upamanas). as- This world does not possess the correct knowledge. What can we do? And to whom can we say? Because the Meru is being spoken of as similar to the Käkati king. (5)

Here on the ground that similarity is spoken of between the Meru which is not on hand (now becomes upameya and the king who is on hand (now becomes upamana) it becomes the figure pratipa but not upama.

[The usual practice is to liken the king with Meru, i.e. the king is upameya and Meru upamana But in the present case the usual order is reversed. The Meru becomes upameya where the king becomes upamana. So this is a case of the figure pratipa but not simile.]

Arthālankāra Prakaraņam 235

Again the statement ekada sāmyam {i.c. similarity must be spoken of only once) keeps out the figure upameyopamana (reci- procal comparison) from the province of upamana. In the fiuie upameyopama the similarity is spoken of many times, instead of once, i.e. it is not ekada but anekada. as- In the king Rudra the virtue is like the abounding wealth and the wealth is like virtue. The desire is like the viriue and wealth, and they are like desire. (6)

This becomes the figure upameyopama as the similarity among virtue, wealth and desire is spoken of many times like dharmo artha iva, artho dharma iva using the word iva twice and again kāmas tāv iva and tau kāma iva. The word vacya (in the definition) distinguishes upama from the other like rūpaka, sandeha, bhrantimat, ullekha, apał nava, tulyayogitā, dīpaka, prativastūpamā, drstānta, sahokti, vyatireka and nidarsana in which similarity is simply suggested. as- The sword in the form of Rahu of the king Prataparudra possessing matchless valout is devouring the circle of the kings in the form of the Moon. (7)

Here there is the implication of the similarity between the sword and Rähu which cannot be obtained otherwise except- ing by the condition of relating to the same object or by being the same predicament (samanadhikaraņya= ekarthasrayatva). As such this is not a case of upama, but only rūpaka (metaphor). [Here there is the superimposition of Rahuness on the sword and the superimposition of Moonness on the circle of kings. fhis is possible only when there is some resemblance between the objects. But this similarity is not expressed but only implied. Rähu is devouring the Moon and the sword is devouring the other kings. The similarity between these two is not verbally expressed. It is only to be understood. As such this becomes an instance of the figure rupaka, but not the figure upama.]

236 Pratäparudriyam

Again : Is he, the abode of abundant wealth (or) the ninth lord of the quarters? Is he the cause of creation unknown previously, (or) the tenth creator of the beings? Is he the most competent in lifting up the Earth, (or) the eleventh Hari? Thus the Kākati- lord is being observed by the people t ince long. (8)

Here as there is the knowledge of (mutual) non-difference between the Käkati-lord and the lords of the quarters, etc., there is a scope for doubt based on the similarity which cannot otherwise be accomplished.

[Here the figure is sandeha or doubt. Possessing extreme wealth is the factor of resemblance between Virarudra and the lords of the quarters. This is not made explicit verbally, but left to be understood. So the upama here lies implicitly. As such this cannot be called the figure upama; but on the otuer hand it is only the figure sandeha.]

Again: When the rich glory of the Käkati-lord spread through Out the universe, the cakora birds are attaining satisfaction even during day, unde the impression that it is moon-light. (9)

Here unless there is similarity between the glory and moon light it is not possible for the cakoras to err. Because of this- implied similarity, it becomes the figure bhrantimat.

[As the similarity is not verbally expressed this cannot be called the figure upama, on the other hand it becomes the figure bhrāntimat (error).]

Again : All the kings, the mighty warriers of the enemies and the scholars always extole the city of the Kakativirarudra as the abode ot Laksmi (wealth), the mine of extreme valour, and the place for the pleasure-walks of knowledge respectively. (10)

The superimposition of those items on the city is not possible without resemblance. Because of this similarly the figure here is ullekha (representation).

Arthālankāia Prakaraņam 237

[If an object is conceived of by differert people ir diffe- rent ways it is called the figure ullekha. The similarity here is n ›t expressed verbally. But without similarity it is not possible to superimpose the qualities of an object on another. Herce the similarity is only implied and the figure is ullekha but not upamā.]

Again : This is the smoke that is spreading out from the altar of the sacrifice of the victory over the kirgs of Virarudra; but not the dust raised by the army. (11)

Here to say by concealment that it is the smoke on looking at the dust raised by the army is because of the similarity only. As such it is a case of the figure apahnuti (concealment).

[ The figure apahnuti exists where there is the concealment of truth expressed and an expressed assumption ef a ficticn. In the above examples it is noticed that there exist both the con- ccalment of truth and expression of fiction This is possible only when there is the similarity between the two ohjects that are under consideration. But it is also clear that the similarity is not expressed but only implied. As such the figure here is not upama but only apahnuti.]

In the same manner, even in the case of the figure tulya- yogita, etc, because of the implied similarity the questior of simile does not arise. Therefore the figure upama is quite dis- tinct from all other figures which have similarity at the base.

At the outset the figure upama is of two types 1. purna and 2. lupta. It becomes purna only when all the four items upamāna, upameya, sādhāraņadharma and sādrsyapratipādaka are there. If one, two or three of these items are absent it becomes lupta, i e. luptopama. The purna is of two kinds :- 1. srauti and 2. arthi. When the words like yatha, iva, etc., which directly establish the simi- larity, are used it becomes the srauti and when the worcs like sadrsa sankāśa, nīkāsa and pratikaśa, which establish sim ilarity are used by the interval of dharmin it becomes arthi

238 Pratāparudrīyam

Each one of the two again is of three types, namely 1. vakyagata, 2 samasagata and 3 taddhitagata. In this manner the pūrnopama is of six kinds.

The luptopama is of nineteen varieties. When the suffix vati that speaks of similarity by the iule tenatulyam kriyaced vatih (Pan, 5.1.115) is considered it becomes arthi. But if this suffix vati, ordained by the rule tatra tasyeva (Pan 5.1.116) in the sense of simiurity, operates it becomes srauti. As such when the suffix vati, which is ordained in the case of similarity is used, the convemience lies only in the expression of the dharma. Hence there is no luptopama in the case of śrauti in its variety connected with taddhita in which the dharma is not expressed (anuktadharmā taddhitagā śrauti lupta nasti). In the case of the usage of the suffixes like kalpap, it is arthi only.

[The words like yatha, iva and va are said to establish similarity directly. What is connected with the śruti (ear) is known as śrauti. The words like sadrsa, sankasa, nīkaśa and pratikasa also establish similarity. But the similarity with these words is understood with a little bit of interval in connection with the meaning only. As such these belong to arthi. What is depedent on meaning is arthi.

The six kinds of purnopama are : 1. Vākyagā śrautī pūrņopamā 2. Samāsagā śrautī pūrņopamā 3. Taddhitagā śrauti pūrņopamā 4. Vākyagā arthī pūrņopama 5. Samasagā ārthī pūrņopamā, and 6. Taddhitaga arthi pūrņopama.

The nineteen kinds of luptopama are: . Anuktadharmā vākvagā śrautī luptopamā 2. Anuktadharmā samāsagā śrautī luptopama 3. Anuktadharmā vākyaga ārthī luptopamā 4 Anuktadharmā samāsaga arthī luptopamā 5. Anuktadharma taddhitagā arthi luptopama

Arthalankāra Prakaraņam 239

6. Anuktadharmevadiņ karmakyacā luptopamā 7. . Anuktadharmevadiņ ādhārakyaca luptopamā 8. Anuktadharmevādiņ karmaņamula luptopamā 9. Anuktadharmevādių karirņamulā luptopamā 10. Anuktadharmevādiḥ kvipā luptopamā 11. Anuktadharmevādių kartrkyacā luptopamā 12. Anuktadharmevādiņ kartrkyanā luptopamā 13. Anuktadharmevadih samāsagā luptopan ā 1 14. Anuktopamānā vākyaga luptopamā 15. Anuktopamāna samāsagā luptopamā 16. Anuktadharmopamānā vākyagā luptopamā 17. Anuktadharmopamanā samāsagā luptopamā 18. Anuktevādiņ samāsagā luptopamā, and 19. Anuktadharmenādyupamāna samāsagā luptopamā. Again in accordance with ekalupta, dvilupta and trilupta (upamas), serial numbers 1, 2, 3. 4, 5, 14, 15 ard 18 (eight) are ekaluptas (i.e. those in which one factor is omitted out of the four factors required for a complete simile). Serial numbers 6, 7, 8, 9, 10, 12, 13, 16 and 17 (nine) are dviluptas and, 11 and 19 (two) triluptas. There are two sutras in Panini speaking of similarity; one is tena tulyam kriya ced vatiķ (Pān. 5.1.115) and the other is tatra tasyeva (Pan. 5.1 116) In both the cases the suffix vati is ordained. In the first case the vati is ordained in the sense of resemblance and in the second case it is ordained in the sense of iva. So from this it can be no ed that the first case belongs to the arthi type and the second case belongs to the śrauti type. In the case of the first type the samanyadharma, i.e common property must be essentially expressed. If not it becoms difficult to construe it. For example in the sentence kūrmavat bhuje medini bhati 1. Vidyanatha did not illustrate this in his text. The compounds like puruşavyāghra are the examples, Cf. purūsavyāghra ity atra sāmānyā- prayoga eva sāmanādhikaranyāt samāsah sambhavati .. ato 'tra dharmalopad ivāder abhavāc cānuktadharmevādih samāsagā luptety esa bhedo 'tratyapustakesv abhāvād unne yah, Ratnāpana, p. (Balamonorama edn.)

240 Prataparıdılyam

'verse 14). bhyja is upameya, kūrma in upamāna, the taddhita suffix vut is the upamaracaka and bhati common property or samanadharma. Here the vat is used in the sense of sadrsya: Hence this is arthi.

The taddhita suffixes like kalpa, deśya, and deśiya, (cf. isad asamaptau Pan.) also are used in similar circumstances. They are used in the . ame sense but in a less intensified circumstances. The suffix bahre also is of the same type. In the sentence can- drakalp, 'yam mukhah it 's understood that the face is a bit less thar the Moop in all respects. In these cases the sense of similarity is first understood. Hence thev belong to the arthi type ]

1. Vakyagā śrautī pūrņopamā as: The Earth in this kaliyuga is sporting on the shoulders of the lord of Andhra, as it did on the shoulders of Yayati which had the unrestrained rise of valour in krtayuga on the greatly renowned shoulders of the hero of Raghus (i.c Rama) in treta- yuga and on the shoulder, of Yudhisthira which possessed the shining valour in dvaparavuga with conhdence. (12)

[Here the meaning is that the earth is sporting on the shoulders of Kakati-rudra as it did on the shoulders of other great kings in the previous yugas. In the above illustration the shoulders of the Kakati-lord is upameya The shouiders of Yayati is upamana. Sporting is the common property (samana dharma) and the word yatha is upamavacaka (that speaks of the similarity). Because of the presence of these four factors, ie. upamāna, upameya, sadrsyadharma and upamāvacaka the figure is known as complete simile or purnopama. The word yatha is sadrsyapara. As such it becomes śrauti. Because yatha the upamavācaka and the upamana are separo'e it is to be taken as vākyagā.]

2. Samasagā śrautī pūrņopamā as: Virarudra who is seated on the throne is completely put- ting an end to the sluggishness of the lotuses of the eyes of the citizens of the Andhra city who are witnessing him, like the Sun who is on the rising mountain. (13)

Arthālankāra Prakaranam 241 Here bhasvaniva is a 'fixed compound' (nityasamāsa) with the word iva; i.e. a compound whose component parts cannot be used separately to convey its meaning.

[According to the varttika: ivena saha nityasamasah, this is a fixed compound. All the four factors are there in the verse. So it is complete Because of the usage iva this is srauti.] 3. Taddhitaga śrauti purņopamā as: The Earth is shining on the competent shoulders of Pratäpa- rudra as on the first tortoise, Adisesa, mountains of the quarters and the elepnants of the quarters. (14)

[Here the vat (vati) is a taddhita affix. The affix is ordai- ned in the sense of iva in locative case by the rule tatra tasyeva (Pan. 5.1.116). All the four factors like upama, etc. are existing. As the affix vat is a taddhita, this is taddhitaga.]

4. Vākyaga arthī pūrņopamā as : Kākatīyalaksmipati (Pratāparudra) having become equal to Daśarathi (Śrirāma) is now glittering with his policies of administration and with magnanimity that pleases the sub- jects. (15)

[This is pūrnopamā as there is the separate expression dasaratheḥ samanah it becomes vākyaga. Due to the usage of the word samana it is arthi. The word samana first expresses the dharmi and then gives out the similarity.]

4. Samasaga arthi pūrņopamā as: The Kakati-lord because of that wealth of competency in administration, becoming equal to the lord of the quarters is ruling the middle world. (16)

[Here the word samkasa, the upamāvācaka is compounded with haridisvara, a upamanavacaka. Hence this is a case of samasaga. The words like nibha, samkasa and nīkasa are to be used as second members in a compound. Due to the usage of the word samkasa this is a case of arthi,]

661-16

242 Pratāparudriyam

6. Taddhitaga arthi pūrņopama as: The king Virarudra is shining being equal to Meru in lof ness, to the milk ocean in depth and to the Sun in valour. (1

[The suffix vat here is by the rule tena tulyam kriya c vatih ("an. 5.1.115). This indicates the sense of similarity. : this is a case of arthi and as vat is a taddhita affix this becom taddhitagā.]

As all the four factors like upameya, upamana, sadharan dharma and upamavacaka are there in the above illustrations th come unaer purnopama 'complete simile'.

LUPTOPAMĀ - ELLIPTICAL SIMILE

Illustrations :

[In the first five examples going to be given there will ne be the common property samanadharma. Out of the five tw belong to the śrauti type and the other three to the arthi.]

1. Anuktadharmā vākyagā šrautī luptopamā as : The subjects are towards Kakati-virarudra, as the cakr. vaka birds towards the Sun, the cakora birds towards the Moor and the bees towards the bouquets. (18

[On account of the usage of the word yatha this become śrauti. As it is separate it is vākyaga. Because the commo property is not expressed, it is a case of dharmalupta. The ordi nary verb vartante that is to be supplied does not give ou sadharanadharma. The properties like valour, pleasure an agreeableness which fit in are not expressed. So this is a cas of dharma-lupta.]

2. Anuktadharmā samāsagā śrautī luptopamā as ! The tributory princes, having bent down are alway worshipping the foot-rest of the king Prataparudra as deity. (19

Artlalankara Prakaranam 243

[The word devatämiva is a compound like bhāsvaniva (cf. verse 13 above). Auspiciousness is the common property of both the foot-rest and the deity. But this is not expressed. Hence this is a case of dharmalupta.

In this srauti type there will not be dharmalupta connected with a taddhita, i.e. a taddhitaga dharmaluptā does not exist.]

3. Anuktadharma vākyagā ārthī luptopamā as: The enemy kings are hearing the sounds of the kettle drum during the victorious march of the Kakati kir.g as equal to the roarings of the thunderbolt. (20)

[Here the word tulyam is used separately. As such this is a case of vakyaga. The ferocious sound is the common pro- perty of the drum and thunderbolt. But this is not expressed. Hence this becomes dharmalupta. Because of the usage of the word tulya this is arthi.] 4. Anuktadharma samāsagā ārthi luptopamā as: The kings having observed the city by name which is equal to the city Alaka, honouring the celebrity of the Kakati kingdom on the Earth are always bowing down. (21)

[Here the vasvekasārasadrsim is a compound in which the simile lies. So this is samasaga. The glory which is the com- mon property of both Alaka and Ekasila is not expressed. So this is dharmalupta.] 5. Anuktadharmā taddhitagā ārthi luptopamā as: The women of the Andhra city are beholding the form of the king Prataparudra whose valour is praise worthy in the world as equal to that of the Cupid. (22) [The affix kalpa used here is in the sense of 'a bit less'. This is a taddhita affix. The lustre of the form which happens to be the common property is not expressed.] In all these examples the property (dharma) is not ex- pressed.

244 PratäparudrĪyam

In the following five examples the ellipsis of the dharma- vacaka is to be noticed.

6. Anuktadharmevadiņ karmakyacā luptopamā as : The purified glory of the magnificience of the lord Pratapa. rudra is converting the seas as milky oceans and the mountains as Kailāsas. (23)

[Here the seas are upameya and the milky ocean is upamāna. The word dugdharnaviyati is formed by the affix kyac by the rule upamanad acare (Pān. 3 1 10) ie. this affix kyac comes in the sense of acara to the word in its accusative case as in dugdharna. vam which is a karmapada.]

Here words like iva, the upamavacakas are not expressed: Hence this is a case of vacakalopa. Again the whiteness which is a common property also is not expressed. So this is a case of dharmalopa also.

The affix kyac cannot express simile, as this is an affix ordained in the sense of acara only.]

7. Anuktadharmevadir ādhārakyaca luptopamā as: The glorified rising valour of the king Prataparudra is behaving as if they were play mountains with regard to the peaks of the mountains of the quarters; as it it were a court hall in the case of different islands; as if it were a swimming pool in case of oceans; as if it were an inner apartment in the case of the quarters; as if it were a part in the case of the forests on the slopes of the mountains of the world borders and as if it were a palace in the case of the Meru mountain. (24) [Here the mountains of the quarters, etc are upameyas and the play-mountains, etc. are upamanas Here in the words like krīdādrīyati (which means kridādrișu iva vartate). There is the affix kyac by the varttika : adhikaranāc ceti vaktavyam (Paņ. 3.1.10).

Words like iva which speak of simile are absent. So this is vacakalopa. The common property like happiness also is not

Arthalankāra Prakaraņam 245

expressed but only implied. Acara cannot be the property of upama. Hence this is a case of dharmavacakalopā].

8. Anuktadharmevādiņ karmaņamulā luptopamā as : The fame which is world-wide of the king Virarudra is sporting by treating the Moon as the own son, the celestial Gan- ges as the female mate. the milk ocean as a dear friend, the Rajata mountain as a playful mirror and the pure stars as the necklace. (25)

[Here the Moon, etc. are upameyas and the son, etc. are upamanas. The affix namul comes here in the expression atma- iadarsam pasyanti by the rule upamāne karmaņi ca (Pāņ. 3.4.45) which states that when a term in the accusative case and a term in the nominative case stand as standard of comparison as a upapada to a root then such a root may take namul. So when the term atmajam which is a upamanavacaka and an object in the accusative case is an upapada to the root drsir, the root gets namul. But the same root is being used. Both the roots belong- ing to the action of seeing connected with the term ātmaja and indu in the accusative cases and these two become upamana and upameya. In fact the words like iva which establish resem- blance are not used. The common property purity also is not completely established. Namul is not used for similarity but used only in the case of bhavartha, which cannot become a com- mon property.]

9. Anuktadharmevadiņ kartrņamulā luptopama as: The sword of the king Rudra is tehaving like an instructing sceptor in the case of kings, like the bow of the Cupid in the case of women and like a supporting rod in the case of subjects: (26)

[In this verse the sceptor, bow and rod are the upamanas and the sword is upameya. There is also the affiix namul in the case like dandacaram carati which is got on the strength of the word ca in the sūtra upamāne karmani ca (Pāņ. 3.4.45) explained in the previous instance even with regard to the karta 'agent' when it stands as an upapada. The words iva, etc. are not spoken

246 Pratāparudriyam

of. The common property like ferociousness, ete. also is not spoken of.]

10. Anuktadharmevādiḥ kvipā luptopamā as : The blossoming of the moonlight of the qualities of the king Virarudra is like a stream of nector to the good and deadly poison to the wicked. (27)

Here the affix kvip in the sense of acara 'treatment' is by the varttika: sarvapratipadikebhyah kvib va vaktavyal read under the rule kartuh kyan salopaś ca (Pan. 3.1.11). The blossoming of the qualities is upameya and the stream of nector is upamana. There is no word like iva that soeaks of similarity, no common property is also spoken of as the affix kvip is ordained in the sense of acara or treatment it cannot establish similarity. So there is the omission of dharma and racaka in this case.]

In the above instances two factors are not expressed. In the case of the example dugdharnaviyaty ambhodin (23) which means that it is converting the sea like a milky ocean, there is karmakyac. In the case of krīdadrīyati gotraśailasikharesu (24), which means that its behaviour connected with the peaks of the mountains of the quarters is as in the ease of play mountains, there is adharakyac. In the expression indum atmajadarsam pasyati (25) 'treats the Moon as if it were a son', there is karmanamul and in the statement siksavidhidandacăram carati (26) meaning that it behaves like an instructing red therr is kartrnamul Here the word iva is expressly omitted, but hidden inside.

(In the following two instances three factors arc elided :)

11. Anuktadharmevādiņ karirkyacā luptopamā as : The pure billows of glory of the king Pratäparudra are making themselves every where, as moon-light, as nector and sandal. (28) Here the form of fame is the upameya. [In this verse the expressions jyotsniyanti, etc. mean jyots- nām iva atmanam acaranti 'making themselves as moonlight',

Arthalankāra Prakaraņam 247

etc. The upameya, i.e. the ferm of fame is not expressed. Words like iva that express similarity :. re not used. The com- mon property like purity, also is not made clear Hence there is the elision of the three facters in this.

Kirtimahormayah cannot become the upameya, as upamana and upameya should not be in different cases, 1.e the case of this word is different from that of the upamana. Again even to effect a compromise by explaining the word jyotsniyanti as jyotsna ivācaranti in nominative case, is absurd as it goes against grammar.] 12. Anuktadharmevādiņ kartrkyanā luptopamā as: The mace of arm of Prataparudra behaves like a Śeșa to bear the Earth; a kalpa tree to the mendicants and a staff of death to the enemies. (29)

[Here the forms seşayate, etc. are hecause of the affix kyan. This is by the rule kartuh kyan salopas ca (3.1.2) which states that the affx kyan that comes in the sense of acara or treatment is attached optionally to a subanta base which happens to be the subject (in a sentence) and also the standard of cumparison (upamana). But the sakara of the base elides optionally. In the above instance the dordanda is upameya and kalpa- śakha is upamana. The upamavācaka is absent and the common property like charitableness, also is not expressed. Herce this is a case of dharmavacakaluptā. Here it is to be noted that the common property is not elided in the statement sesayate mahim vodhum as 'the bearing of the Earth', a common property, is expressed. This may pro- bably be an example of väcakalupta.] 13. Anuktadharmevādiņ samāsaga luptopamā as : [This is not instanced by Vidyanatha. But the expression puruşavyāghrah can be taken as an example. This is to be explained as puruşah vyaghra iva. This is by the rule upamitam vyaghradibhih samanyaprayoge (2.1.56). So when the common

Prataparudriyam

property is expressed the compound purusavyaghrah cannot be got. As such there is dharmalopa here. Even words like iva expressive of similarity are not used. Hence this is an instance of dharmavacakaluptā.]

14. Anuktopamāna vākyagā luptopmā, as : There is no other munificient person equal to the king Rudra in these three worlds, who has eclipsed the fame of the lords of the quarters by his excellent qualities and the com- pounds of the gem-set houses of whose scholars, are made fragrant with the odour of the rut of the elephants, rose throughout. (30)

[Here the king Rudra is upameya and the word samah is upamāvācaka, vadanyatva 'charitableness' is common property. Though these three factors are present, as it is said that there is no equal to Rudra the upamana is not present. So this is a case of upamanalupta. As the factors are separately used, specially the word samah, it is said to be vakyagatā.]

15. Anuktopamānā samāsagā luptopamā, as: Not a single king is there on Earth who is equal to Vira- rudra because of whose adherence to righteousness the Kaliyuga is converted into Krtayuga. (31) [In this verse Virarudra is upameya, the word samah is upamavacaka, the word raja 'who delights' is to be considered as common property. As it is said 'there is no one' the upamand is absent. The word virarudrasamo is a compound with upama- vācaka. So this is samasagatā.]

16. Anuktadharmopamānā vakyagā luptopamā, as: There is nothing equal to the fame that is as white as the moon-light in (the month of) Kartika of the king Kākati Vira- rudra who possesses extreme splendour, in this world. Parvati (the daughter of the mountain) having observed the throat of Siva that is rid of the poison due to the rising of whose graceful fame, is embracing the throat unhesitatingly. (32)

Arthalankāra Prakaraņam 249

[Here in the first half there are nn upamand and dharma. But in the second halt even though there is the common property it is mergd in the sentence itself ano so .t is to be treated as absent As such this it a case of anuktadharmopamana.] 17. Anuktudharmopamānā samāsagā luptopamā, as: What is equal to the glorious valour of the Kakatı-lord who is victorious, in these three worlds, did not exist is not existing and will not exist. As, the sun-stones, having come into contact with the rising lustre in the valley of the mountains on the borders of the universe, are glittering day and night (33) [Tuis neans that the fame of Prataparudra is loitering without any consideration to time and space. In the expression pratapasritulyam there exist both the upameya and the vācaka. But theere is neither upamana nor common property. Pratapa- śritulyam is a com ound. As such this is a ease of anukta- dharmopamānā samāsagā luptā.]

In the previous examples 30 and 31 by saying vadānyo nanyo 'sti and raja the common property of being charitable and pleasing the people is spoken of. In the next two examples (32 and 33) even this common property is not mentioned. That much is the differenc .. In these four instances one need not entertain any doubt of the figure pratipa 'converse' as there is neither the condemnation of the upamana nor the extolling of the upameya. Where a comparison is brought about with the intention of extolling the upameya there exists the figure pratipa.

18. Anuktevādiņ samāsagā luptopamā, as: The universally auspicious behaviour of the Lord Pratäpa- rudra, is hot like the Sun to the wicked and cool like the Moon to the wise. (34)

[Here by the words usnabhānūşnam and śītāmsusitalam the upamana in the form of usnabhanu and sitamsu, the common property in the matter of heat and cold and the upameya in carita are understood. But it is only the upamavacaka that is absent. It is dropped in the compound. So this is a case of samāsagatavācaka-luptā.]

250 Pratāparudilyam

19. Anuktadharmevādyupamānā samāsagā luptopamā, asī The Kakati-lord possersing the valour of Bhima is shining in the battle, But all his enemy kings are not non- Duśsasa- nas. (35)

Here the compound bhimasenaparakramah is to be resol- ved as bhimasenasya parakrama iva parakramo yasya sah. Thus the dharma (iva) and upamana are elipsed. Thus the luptopamas are explained.

[Those who possess harsh ordinances are usually called Dussasanas. But the enemies of Pratap>rudra are not having these ordinances So they : re non-Duśsasanas.

When the compound bhimasenaparäkramah is resolved as shown above, the word parakrama is that happened to be upameya, but not the parakrama that can be an upamana. Again the upamavacaka and the common nroperty are absent: As such this is an instance where dharma, upamana and vacaka are elipsed and everything is included in a compound. These factors are omitted here.j

Sadharmya :

In the consideration of rommon property there are two methods; 1. specifying dharma 'property' once simultaneously connected with upamana and upameya, and 2. specifying it as connected with both upamana and upameya separately. The second method (i.e. specitying it separately) is again of two kinds : 1. to declare it through vastuprativastubhava, and 2. through bimba- pratibimbabhava. To expresy one and the same sense by means of different words is known as vastuprativastubhava and to cxpress two different senses by different words separately is called bimbapratibimbabhāva.

Specifying once (sakrnnirdesa) as : The kings with their heads bent down are serving the Kakati-lord, like pupils the preceptor who disciplines the wicked always. (36)

Arthalankāra Prakaraņam 251

Here bending down the heads is spoken of as the common property once only, both in the case of the kings as well as the students. Similarly enforcing discipline on the wicked also is a common property brought out once only, with regard to both the king (Rudra) ard the teacher.

Vastuprativastubhāva : The two types of specifications through vastuprativastubhava, [i.e. specifying dharma as connected with upaman as well as upameya.] as- The race of the Kakatiyas is adorned by Virarudra like the race of Kakutsas ornamented by Räma. (37)

Here it is only one sense that is expressed by the words bhuşita and pariskrta. As such it is vastuprativastubhāva.

[It can be noticed here that the same sense is expressed in conneetion with different factors, i.e. upamana and upameya.]

Bimbapratibimbabhāva, as : The Kakati-king who possesses the splendour of the white umbrella that is shining, is resplendent like the mountain Meru (Hatakadri) which has the disc of the Moon united with its peaks. (38) Here because of the resemblance between the white umbrella and the disc of the Moon, there will be the similarity between the Kakati-lord and the Meru mountain. As such there is bimbapratibimbabkava.

[There is bimbapratibimbabhava in this verse. In fact there is no similarity between the Käkati-lord and the Meru mountain who happened to be the upameya and upamana respeetively. In such a case the practice is to establish similarity in the light of the resemblance of their attributes as the resemblance of the objects at times depends on the resemblance of the attributes. Here the shining of the white umbrella is the attribute of the Kakati-lord and the disc of the Moon that is united with the poaks of the mountain is the attribute of the mountain. These

252 Pratāparudrīyam

two attributes possess the pr'perties of the upameya and upama na. The whiteness, a property, becomes non-differential with regard to these two. But these two attributes sphuracchvetatapatraśril and śrngasangindumandalah are separately expressed. Due to the similarity of these two, the similarity between the Kakati-lord and Meru mountain is to be inevitably thought of. Hence it is called bimbapratibimbabhava. The śvetatapatra is bimba and the indumandala is pratibimba.]

This upama, the figure simile, is divided into two types in another way as : 1. samastavastuvişaya and 2. ekadesavartinī.

Examples : 1. Samastavastuvişayā as: The Earth shines like the heaven. The city of the Kaka. tiyas glows like the Amaravad. The citizens are famous like the celestials. Virarudra is prosperous like Indra. (39)

[Here vastu means avayavas 'limbs' and avayavi that which possesses these limbs', when all these i.e. avayavas and avayavi become the objects in the figure simile the figure is known as sa nastavastuvisaya. But on the other hand if the simile is connected only with one object, i.e. either with the avayavas 'limbs' or with the avayavi 'that which possesses these limbs' the figure is known as ekadesavarti. In ekadesavarti the upamana becomes manifested in the case of other objects on the strength of the sense.]

[In the above example Virarudra is avayavi, the Earth, city and the people are avayavas. There is the upamana in all these objects. Therefore this is called samastavastuvisaya. These four similies are not separate. As they are interconnected with one another this is to be regarded as one unit only.]

2. Ekadeśavartini as : The army of the Trilinga lord, which is like the mountains with the roaring elephants, like the billows with the rows of horses and like the crocodiles with the various weapons, etc., is not accessible. (40)

Arthalankāra Prakaranam 253

Here as it suggests, on the strength of the sense, that the army of the Trilinga-lord is like a ocean this is known as ekadeśavartini.

[Here the army of the Trilinga-lord is avayavi. The upamana for this is not expressed. The elephants, horses and weapons are avayavas. But the mountains, billows and croco- diles, etc., are upamanas for the elephants, etc., which are expressed. On the strength of this it is to be understood that the army is like a ocean. But this is not expressed. As this upamāna is connected with avayavas only it is called ekadeta- vartinī.]

3. Malopama: This figure is seen even in the form of a garland, as : The purity of the glory of Virarudra behaves like a kunda (flower), kumuda (flower), swan, necklace (hara), Moon and Kailāsa. (41)

Here it is malopama as there are many upamas for one single upameya. (The upamas are connected here with the affix kvip.) In the fgure upama the common property known as bheda- bheda, i.e. a combination of difference and non-difference, becomes useful. Similarly the other varieties that can be obtained also can be thought of. [The sädharmya or the common property is of three kinds : 1. bhedapradhāna, 2 abhedapradhana and 3 bhedabhedapradhāna. Figures like vyatireka are to be treated as bhedapradhanas and figures like rupaka as abhedapradhanas, while the figures like upama are to be treated as bhedabhedapradhanas.] ANANVAYĀLANKĀRA : SELF-COMPARISON If the same object becomes upamana and upameya, i.c. object of comparison and object compared, it is called the figure ananvaya.

254 Prataparudrīyam

Here in order to avoid a second similar object the being of both upamana and upameya are made to exist in one and the same object.

[Generally to bring about a comparison there must be two objects, i.e one is the object of comparison and the other the object to which it is compared. When two objects are com- pared it can be noted that the factors of similarity of both the objeets exist in both of them, i.e. the characteri tic features of one object can be found in another object. This similarity itself is at the base of comparison. When it is said that there is the resemblance of Moon in the face or vice versa there exists tho idea of upamana and upameya. But on the other hand if it is said that the resemblance of Moon is in himself or the resem. blance of face is in itself the question of thinking of upamana and upameya separately does not arise. In such a state this is known as ananvaya and there will be only one sentence. The advantage of this ananvaya is that it suggests that there is no other object in this world to which the object on hand can be compared. This is to avoid a second equal object. Finally it is to be noted that the upameya itself is made to understand as upamana also in this figure ] as -

Let there be in this world, the Suvarņādri (mountain Meru the abode of gold), Ratnakara (ocean the abode of gems), and Sudhakara (Moon the abode of nector). But this Virarudra is like Virarudra himself. (42)

[In this verse it is said that Virarudra is like Virarudra himself. This means that Virarudra himself becomes the object with which he can be compared; i.e. the upameya 'the object on hand' has also become the upamana 'the object with which it can be compared'. This means that in ananvaya a thing is com- pared to itself only.]

UPAMEYOPAMĀ : RECIPROCAL COMPARISON

When two things are alternately spoken of as upamana and upameya it becomes the figure upameyopama.

Arthālankāra Prakaraņam 255

The word tasmin (in the definition) means in the case of upamana and upame ya.

In the king Rudra the righteousness is abundant like the wealth and the wealth is full like the righteousness desire (kama) is like those two and those two (dharma and artha) Again

are like desire (kāma). (43)

In this verse the piety, wealth and desire are alternately spoken of as upamana and upameya, i.e. the piety which is upameya at first became upamana on the second occasion and these two dharma and artha became upamana and upameyas on the third and forth occasions. So from this it is clear that they change their positions en reciprocal basis.

Here there are two sentences unlike the one of the pre- vious figure as dharmo 'rtha iva purnaśrīh and artho dharma iva sthitah. To have two separate sentences like this is one of the characteristic features of the this figur: which distinguishes it form the figure ananvaya. Here the intention of the poet is to ward off the possibility of a third object which resembles these two.]'

SMARAŅA: REMINISCENCE

When another object is recollected due to similar experi- ence it is called the figure smarana.

On perceiving an object a similar object that was once seen and lies in the subconscious state of the mind is brought to recollection. Here lies the figure smarana.

as- This Earth, being ruled by the king Pratāparudra is recollecting the ancient kings like Hariscandra and Nala. (44) It is here noticed that the Earth having attained a pro- tector in Prataparudra because of his capacities in ruling like Nala and Nahusa, etc., is recollecting the ancient kings.

256 Prataparudriyam

[In this figure a recollection of an object arises from the perception of a similar object Here it should be borne in mind that there must be resemblance between the object under the nose and the object recalled to the mind. Otherwise it cannot become the figure smarana.]

[In the above example as there is the recollection of the ancient kings Nala, etc. in the mind of the Earth, on experi- encing the just and able administration of Pratāparudra this becomes the figure smarana.]

So far the figures that come under bhedabhedasadharana- sadharmyas are enumerated. Now comes in the consideration of the figures of aropagarbhas. On account of this importance, in the beginning, the rupaka is being illustrated.

RUPAKALANKĀRA: METAPHOR

If an object superimposed, colours the subject on which there is the superimposition and not concealed, it is called the figure rūpaka.

The phrase aropavisayasya used in this definition wards off the figures like utpreka, etc. which are adhyavasa yagarbhas, i.e. based on complete identification and the figures like upama, etc. which are based on anaropa 'non-superimposition'.

The figures like samdeha, bhräntimat, apahnuti, etc. are eliminated by the usage atirohitarupinah 'not concealed'. In the figure samdeha there is the concealment of the object (upon which something is superimposed) on account of a doubt. In the case of bhrantimat the concealment of the object is due to an error and in the apahnuti the concealment of the object on which there is the superimposition by denial.

By the word uparanjaka the figure pariņāma is excluded. In parimama the object that is superimposed becomes useful for the context but not in pointing it. Hence the (figure) rapaka is different from those beloging to the sadriyamula type.

Arthalankāra Prakaraņam 257

In the first instance this rüpaka is of three types as 1. śāvayavarūpaka, 2. niravayavarūpaka and 3. paramparitarūpaka.

The savayavarupaka is divided into two as a) samasta- vastuvişaya and b) ekadeśavartī.

The niravayavarupaka also is of two kinds as a) kevala- niravayavarūpaka and b) malarupaka.

The paramparitarūpaka also is of two types as a) ślista- nibandhanaparamparita and b) aslistanibandhanaparamparita. Again these two become four aa they can be divided into two each as kevala and mala. Thus the figure rupaka is of eight kinds.

[After illustrating the figures that are based on sadharmya 'common property' at their base with the division bhedābheda, the author proceeds to the figures that are said to be aropa- garbhas or which are beset with superimpositions. They are both bheda and abheda pradhanas. The figure rūpaka is impor- tant among abhedapradhanas. Just as upama figures important among sadrsyamulas, the rupaka becomes important among aropamulas. To impose the qualities of one on the other is aropa. The subject of description for this aropa is aropavisaya which is prakrta. This is usually considered as upameya. That which is superimposed is aropyamāna. This is known as aropavişayī which is aprakrta. This may generally be taken as upamāna. For example in the instance mukham candrah 'the face is Moon' mukha (the face) becomes the aropavisaya and candra the aropyamana. Here because of the imposition of the Moon on the face, the face gets tinged or coloured, i.e. the Moon becomes the painter of the face. The word uparanjaka in this context means the knowledge of identification (tadrupyapratiti). This tadrupya is more or less abheda.

The eight kinds of rūpaka are : 1. Samastavastuvişaya-sāvayava-rūpaka 2. Ekadeśavivarti-savayava-rūpaka

661-17

258 PratāparudrĪyam

3. Kevalaniravayava-rupaka 4. Mālāniravayava-rūpaka 5. Śliştanibandhana-kevalaparamparita-rūpaka 6. Ślistanibandhana-mālaparamparita-rūpaka 7. Aslistanibandhana-kevalaparamparita-rūpaka 8 Aślistanibandhana-malaparamparita-rūpaka.]

Illustrations : 1. Samastavastuvişaya-sāvayava-rūpaka: When all the avayavas and avayavi are completely painted it becomes the samastavastuvişaya rūpaka.

as- During the marches in the form of rains of the king Vira- rudra when the drum in the form of cloud frequently roars fearfully breaking the mountains of pride of the enemy kings, it rained from the eyes of the women of the enemies many a time, by which the sprouts of fame (of Virarudra) that gladden the world are shooting up all around in the ends of the quar- ters. (45)

[In this verse the poet is imposing the qualities of the rainy season in the military marches of the king Virarudra.

In the rainy season it is common to note the clouds roar- ing fearfully that would seem to break the mountains accom- panied by rains. When there are rains naturally the seeds begin to sprout. This idea lies imbedded in the above verse. This is aprakrta.

This entire aprakrta is completely superimposed on the prakrta, i.e. on the military march of Virarudra. In the present instance the individual qualities of the separate factors of the rainy season are superimposed on separate factors of the military march

On the military march of the King Virarudra the qualities of the rainy season, on the war-drum the clouds, in pride the mountain, in the tears rain, and in fame the sprouts are superimposed,

Arthalankāra Prakaraņam 259

The rainy season, etc., create the impression of identity with the military march, ete Hence this became, the figure rupaka. As the aropavisayas like the military march, etc., and the aropyamanas like the rainy season, etc., are verbally expres- sed. This is a case of samastavastuvisaya. The march and rainy season (yatra and pravrt) are the avayavas and the sprouts of fame (yasah kandalah), are the avayavi. All the avayavas and avayavi are expressed. As such this is sāvayava.

Here if there is a doubt whether the compound yasahkan- dalāḥ is an upamita-samāsa as yasāmsi kandala iva or a rūpaka- samāsa as yasāmsyeva kandalah. This should be declared as a rupaka-samasa only on the ground that the common property jagadanandakara is expressed. If it were to be an upamita- samasa there is no scope for the presence of the common pro- perty.]

2. Ekadesavivarti-sāvayava-rūpaka: Where the form of avayavi is noticed frem the sight of the avayava there the ekadesavivarti-rūpaka exists. as- Virarudra of the Kakati family, who subdued the entire circle of the quarters, and who is a mine of valour with the fragrance of flowers in the form of qualities that are fully blown, is scenting the three worlds. (46)

Here as there is the superimposition of the flowers on the qualities that are avayavas, there arises the indication ot impo- sition of the kalpa tree on Prataparudra who is an avayavi. Therefore this is ekadesavivarti. [By the above definition it can also be noted that the form of avayava also can be noticed from the sight of avayavi. During this process of determination of avayava and avayavi -the sabda becomes the aropa at times, and on other occasions the artha becomes the aropa. As this usually acts in one place only this is called ekadesavivarti. In the verse cited above, the gunas 'qualities' are avayavas and there is the superimposition of the flowers on them. As

260 Pratāparudriyam

such the qualities of the kalpa tree are found in Prataparudra. The superimposition of the flowers on the qualities is verbally expressed Hence this is sabdam 'verbal'. But on the other hand the superimposition of the kalpa tree on the king is only indicated without being verbally expressed; this becomes arthi. Therefore this is ekadesavivarti-rūpaka.

This example belongs to the type where the avayavi-rupana is indicated through the avayava rūpana.] as :- The fame of Pratäparudra which is born out of churning the ocean in the form of enemies by the mountain Mandara in the form of arms, is gladdening these worlds. (47)

Here due to the imposition of ocean on the enemies and the Mandara on the arms, it is inferred by the sense that there is the imposition of nector on the fame which is born (in the process of churning) and also the immortality on the public. Thus this is ekadesavivarti-rupaka.

[In the previous example from the rūpana of avayava there is the indication of the avayavi-rupana. But in the present case there is the indication of the avayava also. The difference lies in the reversal of the order.]

3. Niravayava-rūpaka: It becomes the niravayava-rupaka, when the intention of the poet rests in avayavi-nirūpana only.

Same is the case even in avayava-nirūpaņa also.

[The poet intends to speak of superimposition on the avayavi only, but he does not think of avayavas. Similarly on other occasions the poet feels like narrating imposition on avayava only but does not think of avayavi. In both these cases it becomes the niravayava-rūpaka.

This niravayava-rupaka is divided into two kinds as i) kevala and ii) mālā.

Arthalankāra Prakaraņam 261

In kevala, there is only one aropavisaya and only one aropyamana. But if there is only one aropavisaya and there are many aropyamanas that becomes the malarupaka.]

i) Kevalaniravayava-rüpaka: as- The enemy kings of Kakati Virarudra being afraid are giving up lives (are falling dead) on simply hearing the sounds, when the oceans are agitated and the mountains rocked due to the redoubled roaring of the eminent soldiers, who are enthusia- stic at the commencement of the military march, and due to the sounds of the war drums, that are distinctly splitting the space between the Heaven and Earth in the form of a shallow boiler. (48)

Here there is the superimposition of katahatva on the rodas. [The poet's intention rests there only. He does not want any other rupana. As such this is an instance of niravayava- rūpaka.] t) Mālāniravayava-rūpaka : as - The manifestation of the glory of Kākati Virarudra acts (provides) as the pure garland that adorns the heads (crests) of the (other) kings; as an expanded ornament of camara in the ears of the elephants of the quarters; as the river Ganges on the peaks of the mountains (that bear the earth); as the extremely shining silken canopy of the skies; and as the enlarged pearl necklace to the earth. (49)

[Here the glory is the only one aropavisaya, but there are so many aropyamanas. The poet's intention is only to super- impose the garlands, etc. on the glory itself.] 4. Paramparita-rūpaka: If a rupaka is the cause of another rūpaka it becomes paramparita-rūpaka.

262 Pratāparudriyam

Simply because of the presence of two rupakas this should not be included in samastavastuvişaya-rūpaka.

[The paramparita-rupaka is connected with only two rūpakas whereas the samastavastuvisaya-rūpaka is connected with number of rupakas in it; i.e. in paramparita there is ekarūpaka- sāpekşā while there is anekarūpakasāpeksa in samastavastuvişaya-]

5. Śliştanibandhana-kevalaparamparita-rūpaka : as :- The sword of the lord Prataparudra in the form of Rahu which possesses unstalled power is devouring the circle of kings in the form of Moon. (50)

Here there is the superimposition of Rahu on the sword and Moon on the multitudes of kings. The word rajamandala in the verse gives two meanings: a) the disc of the Woon and b) the multitude of kings. As there is the double entendre here it is a case of slista. The devouring of Moon by Rahu and the kings by the sword is au established convention. Only when there is the superimposition of Rahu on the sword, the super- imposition of Moon on the kings fits in. Again the vice versa becomes equally suitable; i.e. only when there is the super- imposition of Moon on the kings the superimposition of Rahu on the sword gets justified. From this it can be noticed that one superimposition expects the other. Therefore this is known as paramparita-rupaka.

It is to be noted here that the two rupakas found in the verse are dependent on each other, but not on the common property of the kavisamaya-prasiddha.]

6. Slistanibandhana-malaparmaparita-rūpaka as : This king Virarudra is the Sun with thousand rays in blos- soming the lotuses in the form of enhancing wealth (i.e. Prataparudra is capable of inereasing the wealth with thousand hands and also is capable of blossoming the lotuses with thou- sand rays in the form of Sun). He is wise (budha) in the right path in the course of stars (i e. Prataparudra who is always in the righteous path is in the form of Budha in the path of stars

Arthālankāra Prakaraņam 263

on the sky). He is the thunder-boit to chap off the wings of mountains in the form of kings (i.e. Prataparudra who is capable of killing the enemies is in the form of a thunder-bolt which is capable of cutting off the wings of mountains). He is the full Moon in the matter of decorating the lilies in the form of Earth (i.e. Pratäparudra who is an adept in adorning the Earth is the Moon who adorns the lilies). He is the Vasanta in the act of gladdening the hearts in the form of blowing the flowers (i.e. Prataparudra who is skilled in the act of gladdening the scholars is the skilled Vasanta who is an expert in blowing the flowers). He is the mountain Meru in possessing gold in the form of the wealth of auspiciousness (i.e Prataparudra is the mountain Meru which brings the wealth of auspiciousness). He is the ocean to the water in the form of support to the Earth (i.e. Pratäparudra who is munificient to the people is the ocean that supports the water.2 (51) [In this verse Pratäparudra is the only visaya, and Sun, Budha, etc., are the vişayins. Because of the vişayins the nature of a garland is clearly visible here. Unless there is the superim- position of Sun on Prataparudra there cannot be the blossoming of the lotuses and the vice versa. As such this is a case of paramparita.] 7. Aśliştanibandhana-kevalaparamparīta-rūpaka, as : The charms of glory in the form of billows of the Kakati- king in the form of milk-ocean, is sporting puffing up the bor- ders of the quarters, and rubbing against the high skies. (52) 2. Double entenders in the verse: a) padmollasa: 'enhancement of wealth' and 'blossoming of lotuses' b) sanmarga: 'the path of the wise' and 'the course of the stars' c) ksmabhrtpaksa: 'the army of kings' and 'the wings of moun- tains' d) kuvalaya: 'the Earth' and "the lilies' e) sumanovikasa : 'pleasure of the scholars' and 'opening of the flowers' f) .kalyanasampat: 'wealth of auspiciousness' and 'ever in- creasing gold' g) bhuvanaśraya: 'support to the world' and 'support to the waters'.

264 PratäparudrĪyam

[Here the words do not possess double entendre. Both the superimpositions of billows as well as milk-ocean are inter- dependent. Hence it is paramparita.]

8. Aślistanibandhana-mālāparamparita-rūpaka, as : The King Rudra is sporting with the sword in the form of a creeper, which is the tongue of the serpents in the form of arms; the whirlwind to the line of forests in the form of enemies; the thick smoke to the wild fire in the form of valour; the coquetish eye-brow to the damsel in the form of Jayalaksmi (wealth of victory); the dwelling pole to the playful peacock in the form of the happy Earth and the bolt to the place in the form of the world. (53)

[In this verse a series of superimpositions on the sword in the form of a creeper are observed. As such this is a mala- rupaka. The superimposition of tongues on the creeper expects the superimposition of serpents on the arms and vice versa. Hence this is a case of paramparita. From this it is to be noted that there would be hetumatbhava in the figure paramparita- rūpaka.]

This aslistamalaparamparita can exist even in the case of the antogonistic properties; as :

The sports of Virarudra in the battle field, which are the noons to the darkness in the form of fear and nights to the sun- shine in the form of deceit are excelling. (54)

[Here the superimposition of noon on the sports expects the superimposition of darkness on fear. Similarly the super- imposition of night expects the superimposition of sunshine on deceit. Here it can be clearly noted that there is antogonism between darkness and moons and sunshine and nights. So this is an instance of aslistamälaparamparita in the light of anto- gonism.]

The eight kinds of rupaka become sixteen varieties again when considered as vākyagata and samāsagata.

Arthalankāra Prakaraņam 265

PARINAMALANKARA : COMMUTATION

If the superimposed serves the purpose on hand, being identified with the subject of superimposition it is said to be pariņāma. (55)

By stating that 'what is superimposed should serve the purpose on hand' it eleminates all other figures of speech. It is of two types, as 1. samanadhikaranya and 2. vaiyadhikaranya.

[For a clearer understanding of the definition it is better to consider the example -"The Moon in the form of face quenches the thirst". Here the Moon is aropyamana or aprakrta or upamana. This Moon becomes useful in the matter of quench- ing the thirst, the subject on hand. In fact 'quenching the thirst' is by the face but not by Moon. If it were to be the thirst generated by Sun then the Moon is capable of quenching it; but if it were to be caused by cupid it must be quenched only by the face but not by the Moon.

Such being the case what purpose does the Moon serve is the question. If the Moon who is superimposed were to serve the purpose on hand he is to be indentified with the subject of superimposition, i.e. the prakrta. Unless the Moon is identified with the face he cannot quench the thirst. That is the reason why the aropyamana or the aprakrta or the upamana is said to serve the purpose on hand being identified with the subject of superimposition.

From this it is to be noted that in the case of parindma the prakrta or upameya without losing its individuality (i.e. it stands as atirohitasvarupa only) commutes itself as what is super- Imposed. In the case of the figure rüpaka, as the aropa or prakrta or upameya completes its purpose with the identification itself, the prakrta being concealed gets the form of the aprakrta. Though it is said that the prakrta should be atirohita under rupaka the present statement that it gets concealed does not run counter. Because when the prakrta is identified with the aprakrta the prakrta cannot escape concealment.

266 Pratāparudrĺyam

Even then there is the difference between rupaka and samdeha, and it is only to distinguish it, it is said as atirohita- rūpinah in rūpaka. In rūpaka the visaya, i.e. the upameya, loses its identity being superimposed on the visayi or upamana, whereas in the case of parindma without losing itself the visaya makes use of the vişayi.

In simple words in rupaka the superimposed object can be distinguished from the subject of superimposition and it does not have any purpose to serve with the act on hand, whereas in parināma the object superimposed completely identifies itself with the subject of superimposition and serves the purpose on hand.]

1. Pariņāma with sāmānādhikaraņya, as : The kings who are desirous of decorating themselves frequently are adoring (honouring) the orders in the form of garland, which possesses exquisite lustre of the king Virarudra the conqueror of the quarters, with their crowns bent down. (56) [Here the order (ajna) is prakrta, i e. vișaya and the garland (srak) is aprakrta, i.e. visayi. The act of wearing it on the crowns (1.e. honouring it with the crowns bent down) is the predicate. As the garland which is dropyamana is identified completely with the order which is prakrta and becomes useful in the act of wearing it, the figure is pariņāma.

Here as the words ajnamayim (a vișaya) and srajam (a visuyi) are both in one and the same case and it is known as sāmanadhikaraņya.]

2. Parināma with vaiyadhikaranya, as: The enemy kings who desire his grace are worshipping the space on the foot-rest of the king Rudra, preparing a puspānjali (open hands placed side by side and slightly hollowed) with the multitude of rays of rubies of their crowns. (57) [Here the rays are vişaya, puspān jali is vișayi and worship- ping is the present useful act. The puspānjali an aropyamana identifying itself with the rays a prakrta, becomes useful in the act of worshipping. So this is a case of parināma,

Arthālankara Prakaraņam 267

The words mayukhajalaih and puspanjalim are in different cases. Hence this is vaiyadhikaranyapariņama.]

In the case of samasokti, though the superimposed serves the purpose on hand, as it is not verbally expressed it does not come under pariņāma.

SAMDEHĀLANKĀRA: DOUBT

If there is a doubt with regard to visaya and vișayi on account of the similarity accepted by the poets it becomes the figure samdeha.

It is of three kinds: 1. suddha, 2. niścayagarbha and 3. niścayāntā.

1. Śuddhasamdeha : If it ends in doubt only it is suddhasamdeha, as :

Virarudra is being looked at by the people in this world as if he were a ninth lord of the quarters in the matter of extreme riches; a tenth creator who has the process of extra- ordinary creation or an eleventh Hari who is capable of uplift- ing the Earth. (58)

[In this verse there is the doubt regarding the visaya and vişayi, i.e. Pratäparudra and the lords of the quarters, etc. Hence this is the figure samdeha. As the doubt here ends in itself it is a case of śuddhasamdeha.]

2. Niścayagarbhasamdeha, as : The sword of Rudra is being doubted by the enemy soldiers as: Is this a black snake? It possesses the body which is soft like lotus-fibre. Again is this the knitting of the eye-brow of Yama? It rises only in the face. Is this the order of the smoke of the ferocious fire of the delusion ? It disappears being expel- led by the wind. (59)

[In this verse the expression of a doubt regarding the form of the sword is noticed at first, but immediately the per- ceiver giving the doubt comes to a conclusion that it is not so

268 Pratāparudriyam

for the reasons known. Again he doubts it to be something else and again comes to the conclusion that it is not so. In this manner the process of a doubt and conclusion followed by another doubt is noticed in this verse, i.e the conclusion is seen in the middle. As such this becomes the figure niścayagarbha- samdeha.]

3. Niścayaparyavasanasamdeha, as: 'Are they the garlands of the flower-buds of the kalpa tree or the milk-ocean of the celestial cow? If not are they the extremely shining blossoming of the cintamani (a diamond with great powers)? or the billows of nector?' having doubted thus for a long time the wise are coming to the conclusion that they are the smiling glances of the lord Kakati Virarudra. (60)

[Here the conclusion comes after entertaining a series of doubts. So this is a case of niścayaparyavasanasamdeha.

In these three varieties the doubt is connected with the vişayi only.

It is said in the definitioo that the similarity betweem visaya and vişayi must be acceptable to the poets. Then only the figure becomes samdeha. Otherwise there is no scope for this figure. In the case of a doubt 'whether this is a rope or serpent" there is no figure samdeha as it does not create any charm, as the doubt created by the poetic fancy does.

This doubt is connected with both prakrta and aprakrta. At times the doubt is seen in the case of visayas and on other occasions in the case of visayins. The doubt may also pertain to both visaya and visayi on some other occassions.

In the first example, i.e. the example given for suddha- samdeha, because of the words navama, daśama and ekadaśa the idea of the lords of the quarters, etc , who are wellknown, does not exist. But on the other hand some idea different from these well known figures comes into the mind when the lords of the quarters do not become aropyamanas or the objects superimpo- sed. At this juncture there will be the consideration of their protection to the world only.]

Arthalankara Prakaranam 269

BHRĀNTIMADALANKĀRA: ERROR

If there is the experience of the object superimposed in the subject (visaya) whieh is concealed on account of the poetic similarity it is known as bhrantiman.

[To think of an object as something else is an illusion. Wheresoever this type of illusion exists it is called the figure bhrantiman. Here there is the similarity between the prak, ta and aprakrta as expressed by the poetic imagination If this poetic similarity does not exist it cannot be the figure bhranti- măn ]

as -

When the rich glory of the Kakati-lord spreads through out the space between Earth and Heaven, the cakora birds are getting satisfied under the impression that it is moonlight even in day time. (61)

[Here glory is visaya and moon ight is the aropyomana. The experience of the illusion of the cakoras as the moonlight in the glory is described here. Henee this is a case of bhränti- man.

APAHNAVĀLANKARA : CONCEALMENT

I' there is the denial of an object and superimposition of another object on it, because of poetic similarity, it beromes apahnuti

This is of three types: 1. first concealment and then superimposition, 2. first superimposition and then conctaling, and 3. to establish falsehood of the visaya by the usage of the words like chala, etc., (kapata, vyāja and misa are the words that come under the category cf chala.) Example of the first two:

This is the agitation of the four oceans that are overflow. ing but not the uproar of the armies. This is not the roaring of the kettle drum but the sound of the dhakka of Siva at the time of delusion Thus when the heads of Adisesa are bent down due

270 PratāparudrĪyam

to the weight of the Earth during the conquests of the king Rudra, even the lords of the quarters were lost in amage- ment. (62)

[In this verse the first line serves as an example of the second variety, when there is superimposition first and then the denial. In the second line of the verse there is the example of the first variety, where there is the denial first and then the superimposition.

These two aropa and nisedha enhance the poetic charm. If aropa enhances the charm in one case, the nisedha enhances in another case.]

The third variety: Establishment of falsehood by the usage of the words like chala, etc. as :

Śiva, the Svayambhu has attained the governing position in this middle world to protect the entire Earth under the pretext of the king Käkati Virarudra. If not how can the cities of enemies be reduced to ashes with a simple glance that is fearful or odd and the kings are humiliated ? (63)

[Here there is the usage of the word chala by which there is the falsehood superimposed on the prakrta. So this is the third variety of the figure apahnava.]

ULLEKHALANKĀRA : REPRESENTATION

To conceive of an object in different ways in accordance with the difference in perceivers due to certain purpose (artha- yoga), respect (ruci or taste) or double entendre (ślesa) is said to be (the figure) ullekha.

a) Rucyarthayoga, as :

All the kings praise the city of the Kakati-lord always as the abode of Laksmi (wealth), the warriors of the enemy camp eulogize as the deep mine of valour, and the men of letters extoll it as the strolling site of knowledge. (64)

Arthalankara Prakaranam 271

[In this verse it is noticed that the king's enemies and scholars are representing the city of Prataparudra, as they per- ceive it from their stand point of view, as the city abounds in wealth, valour and education. This type of representation in different ways by different persons is known as the figure ullekha. Here the respect of the people for the city as well their purpose (arthayoga) also can be noticed.]

b) Śleșa, as : Poets speak of the king Rudra as Sive or cruel to the enemies; as the Sun or lustrous in qualities, as Srirama or attractive in limbs; as Bhima or dreadful in wars and Visnu or the foremost among men in the case of sports with Lalsmi or wealth. (65)

[Here there is no difference in persons; but there is diffe- rence with regard to the object described, i.e. difference in visaya The common property exists because of double entendre Hence this is a case of ullekha.]

UTPREKSĀLAŅKARA : POETICAL FANCY

The two figures of speech (utpreksa and atisayokti) based on adhyavasaya are being enumerated. To conceal either visaya (upameya) or visayi (upamana) for the sake of knowledge of non-difference (abhedapratipatti) is adhyavasaya. It is of two types: 1. by concealıng visayi and 2. by concealing visaya.

[As in the case of aropa there is the knowledge of ncn- difference But even then adhyavasaya is superior to aropa. In adhyavasaya there exists aropa and vice versa. But the nomen- clature depends on the importance between adhyavasaya and aropa. In the case of adhyavasaya the charm is because of the relationship of guna and kriya which are aprakrtas with the prakrta. As such this is considered more superior to aropa. Adhyavasāya means conclusive knowledge (niścayajnana) which shines as non-different. This niscayajnana may be real

272 Pratāparudriyam

or illusory. To take a serpent as serpent is real and to take a rope as a serpent is illusory. As there is no charm in both these casts it is not a figure. When we intentionally believe a thing to be some other thing, though in fact it is not so, because of the existence of the common property, it becomes a figure based on adhyavasāya. In this process either visaya or visayi can be concealed. Concealment lies in falsehood. If visayi is concealed by false- hood it is called sadhyādhyavasaya and if visaya is concealed by falsehood it is called siddhadhyavasaya; e.g. : ,

The face is vişaya (upameya) and the Moon is visayi (upa- mana). If the face is said as Moon, though it is known in reality that it is not so, by superimposing the qualities of Moon on it, the Moon a visayi, shines concealed through the face which is a vişaya in reality. In the statement 'the face is really the Moon' though there cannot exist knowledge of non-difference between Moon and face, as the face is real and Moon is unreal, this non- difference is created by the usage of the words like manye, sanke, dhruvam, prāyah and nūnam. This is called sadhyādhyavasāya. It is so called because it is achieved by effort though it is not real.

In the case of a statement 'this is Moon' where the word face is absent, there sparkles reality though it is false, as the word face, which becomes the cause of falsehood, is absent. The face which is a visaya though it is real is concealed without being expressed. As such in instances of this type the adhya- vasāya is known as siddhādhyavasāya. The adhyavasita is made important here.]

Definition of utpreksa : If the prakrta (the object on hand) is fancied as something else due to the relationship of other object it is said as utpreksd by the learned.

Where the prakrta is fancied as the aprakrta because of the relationship of guna and kriya of the aprakrta it is called utpreksa or poetical fancy. It is of two kinds: 1. vacya and

Arthalankāra Prakaranam 273

2. pratiyamana. If the words like nunam. dhruvam and prayah, etc., which establish the element of fancy are used it becomes vacya and in their absence it becomes pratiyamana. Again when jati, kriya, guņa and dravya become factors r f adhyavasāya or complete idetification it (utpreksa) becomes urfold. When these are fancied as bhava and abhava it again becomes eight- fold. The adhyavasaya may be due to guna cr krija when it becomes separately sixteenfold. It is enly in the vācyotpreksa there is the twofold division of the cause (nimitta) as vac a and gamya. In the case of prativamanotpreksa if the werds lke iva, etc., (which are sambhavandvacakas) are not used and the cause also is not exoressed the utpreksa becomes bacele e Lile this due to svarupa, heru and phala there are many varieties in the case of dhyavasaya. Even in the case of vacyotpreksa wher. hetu and phala become the factors of utpreksa the cause (nimitta) should be expressed. It is so, when the means r.re expressed without expressing the end, it cannot properly be con trued. Similar is the case if the end is expressed without mentioning the means because they are mutual expectants ,i.e. they are mutu- ally dependents on each other). In the case of hetūtpreksa the fruit or phala becomes the cause or nimittu. If it (phala) is not expressed with which it can be construed as a cauic or hetu? In the case of phalotpreksd the sadhana or means is the cause. If it is not expressed with which phala can be construed? [When the prakrta is fancied as aprakrta on account of its relationship through guna and kria it becomes the figure utpreksa; for e g. the face is considered as prakrta and the Moon is aprakrta, i.e. a different object. Because of the quahties of clarity and delightfulness belonging to the Moon which are con- nected with guna and kriya are found in the face, the face is fancied as the Moon. Then,it becomes tte figure utpreksa. There are two divisions in this figure as: 1 vacyotpreksa and 2. pratiyamanotpreksa. When the words like nunam (verily), dhruvam (surely) and prayah (often), etc, which indicate fancy are used it becomes vacya. When the words like nunem, etc., are not used it becomes pratiyamana. Further, in the course of adhyavasaya or complete identification, depending on the tactors like jāti, kriya, guna and dravya each of the above two divi- sions seperately becomes fourfold. Again when these four con- neeted with jati are fancied as bhavarupas and abhavarupas the

661 -- 18

274 Pratāparudriyam

vacya type becomes eightfold and the pratiyamana type becomes eightfold. The adhyavasaya or complete identification may be either connected with guna or kriya. So basing on these gunas and kriyas each division becomes sixteenfold. If the types con- nected with jati, guna, kriya and dravya are fancied as svarūpa (svarupotprekșa), hetu (hetutpreksa) and phala (phalotpreksa) each one again becomes fortyeightfold These are otherwise known as: jātyutpreksa 12 types; kriyotpreksa 12 types; gunot- prekşā 12 types and dravyotpreksa 12 types.

In svarūpotpreksa, the utprekșās considered as guņanimitta- jatibhavotprekșās arc four types; similarly the abhāvotpreksas are four types; likewise the kriyanimittabhavotpreksas are four types, . and the kriyanimittabhavottpreksas are four types. The same is the division in the case of hetu and phalotpreksas In this way the vacyotpreksa becomes 48 types or fortyeightfold and the pratiyamānotpreksā also is fortyeightfold.

In vacyotpreks there are some more types as resulted from the cause or nimitta, being vacva or gamya. When the cause is vācya 'expressed verbally', the divisions like gunanimitta or kriya- nimitta are clear; but when the nimitta is gamya there will not be divsion: lıke guņanimitta and kriyānimitta gamyotpreksās. The verbal expression of guna and kriya does not arise when the nimitta itself is not expressed. Hence, in the case of nimitta not being expressed there will be only one type. In all the varieties of vacyotpreksa also this nimitta does not figure as not being expressed. It is only in the case of svarupotpresksa these divi- sions occur; but in the case of hetūtpreksā and phalotpreksā these divisions will not appear.

In the case of ketūtpreksa the phala becomes nimitta or cause and vice versa, If one is said to be the cause and the con- sequential effect is not said it becomes difficu't to construe the statements, hence in the case of hetu and phala utpreksas the nimitta should be present. As already explained if the svarupot- preksa is with nimitta it is of sixteenfold, wherein the guna- nimittas are eight and the kriyanimittas are eight. If the other eight types belong to the aupāttanimirtas i e. nimitta not ex -. pressed) are also added to these sixteen types already noticed,

Arthālankāra Prakaraņam 275

the svarupotpreksa on the whole becomes twentyfour types. In the absence of nimitta there will not be the divisions based on guna and krid and as such they are only eightfold as four types of anupāttanimitta-jatyadi-bhavotpreksas and four types of anu- pattanimītta-jātyadvabhavotpreksas. Again when these are con- sidered in the light of jati, guna kriya and dravya in each of these divisions there witl be two more types of the anupatta- nimittakas, as - anupāttanimittaka-jatibhāva-svarūpotpreksā rnd anupāttanimittaka-jatyabhava-svarupotprekșa. This division does not exist in the case of hetu and phalotpreksas. This type of division is also possible in the case of guna. kriya and dravyot- prekşās.

It is only in the case of vacyotpreksa that the nimitta becomes vacya or gamya but not in the pratiyamānotpreksā. As the words like iva, nunam, etc., which indicate fancy are not expressed. In addition to the absence of these words, if the nimitta also is not expressed the utpreksa becomes haseless. There are four factors in the body of utpreksā as prakrta, upra- krta, nimitta and sambhavana. In the absence of thete last two the first two factors only. remain. In the presence of these two only how can it be called the figure utpreksa ?. For example :

"Fortunate one ! she, not being able to obtain accommo- dation in your heart, which is occupied by the thousands of damsels, and not finding any other work is making her body, which is alredy thin, thinner and thinner every day."

Here in the expression mahilasahasrabharite tava hrdaye amanti, i.e. not being able to find accommodation in your beart which is filled with thousands of damsels, is utpreksa in which the words like iva, etc., are not used So this becomes pratiya- mana. In this context making the body thinner and thinner is nimitta or cause. If this nimitta were not expressed utpreksa becomes baseless. As such it is to be noticed that in the case of pratiyamānotpreksa the nimitta must necessarily be present. In vcya as there can be nimitta expressed and not expres.ed it becomes on the whole fiftysixfold. When the fortyeight types of pratiyamana also are added to this the figure utpreksa becomes hundred and four (104) varieties].

276 Pratāparudriyam

as - The three worlds appear as if they were immersed in the fathomless ocean of the fame of the king Prataparudra due to the contact with the ill-fame of the wretched kings. (66)

Here if the word majjana (immersion) which is the nimitta in this utpreksa is ant used the hetutpreksa by the word sangat does not create any charm.

[Here the contact of the ill-feme, though not the hetu or cuse f , the imriersion of the three wer'ds it is fancied as hetu. Herce th s is a hetutpreksa. In this instance majjana is the nimitta. If thi, were not to be said the hetutpreksa obtained by the nsage sangad iva does not bring about any charm.

Ia the case of phalotpr ksa the hetu becomes nimitta. If it. Were not to be used it becomes douhtful as to which it becomes a phala.] as = The Suo under the pretext of an image is entering the sword of the Andhra k'ng probably for the blowing of the lotus that is the abode of victory (jayaśri). (67)

Here if the entrance of the Sun which is the nimitta in this utpreksa is not said, the phalotpreksa brought out by the expres- sian jayaśrivāsakamalavikāsayeva does not fit in. Therefore, in the svarupotpreksa itself there are two types depending on the usage of nimitta and its absence (i.e. upadana and anupādana of nimitta).

The followin ' is the enumeration of the varieties of vacyot- prekşā -

i. Upattaguņunimitta-jatibhāva-svarūpotpreksā .ii. Upāttaguņanimitta-jatyabhāva-svarūpotpreksā iii. Upāttakriyānimitta-jatibhāva svarūpotprekșā iv. Upattakriyānimitta-jātyabhāva-svarūpotprekșā v. Anupattanimitte jātibhāva svarūpotprekșa vi. Anupattanimitta-jātyabhāva- svarūpotprekșa

Arthalankara Prakaraner 277

vii. Upattaguņanimitta-jatibhāva-hrtūtpreksā viii. Upāttaguņanimitta-jātyabhāva-hetūtpreksā ix. Upāttakriyānimitta iatibhāva hetūtprekșā x. Upāttakriyānimitta-jatyabhāva-hetūtprekșā xi. Upattaguņanimitta-jatibhāva-phalotpreksa xii. Upāttaguņanimitta-ja yabhāva-phalotprekșā xini Upattakriyānimitta jatibhava-phalotpreksā, and xiv. Upāttakriyānimitta jātyabhāva-phalotpreksā. These are the fourteer jātyutpreksas.

In the same manner the utpretsas with regard to guna, kriya and dravya are to be enumcrated. As suct there are fiftysix varieties in vacyorpreksa and in the case of pratīyamanot- preksa there are fortyeight varieties. But in the case of svarū- potpreksa on account of the iuevitable usage ef nimitta and absence of charm either ia the form of guna er kriya if the nimitta is made implicit, there is only one varie y. It is already observed that both the guna end kriya can become the visayas and nimirtas in an utprekşā.

The statement in the ancicnt works that 'the utpreksa is only of ninetysix varieties' is nothing but a simple eaumeration. It is only the fiftysix varieties (shown by Vidyanatha) are capa- ble of creating charm. Their illustrations are as follows:

1. Upāttaguņanimittajātibhāvasvarūpotpreksā as: The glory of the king Kaka:i-VIrarudra who ascended the throne, covering the fame of the anciert kings possessing the lustre of the millions of Suns, and risins up with the delight of obtainiog a king capable of protecting (the Eartb) is shining at the borders of the quarters like the lustre of a violent laughter of the three worlds. (68)

Here the word prabha is a jativacana. As the lustre of the violent laughter belonging to the three worlds, is only a fabrication of the poet there is no room to doubt it as upama 'simile'.

278 PratāparudrĪyam

[In this verse the pramodaguna is the nimitta; t prabha is a jativacana. The lustre of the violent laugh be natural but its connection with the three worlds is n ral. So this is to be deemed as the invention of the por dnes not give scope for a figure simile. Therefore, il iva used in the verse expresses fancy but not simile. It when the simile is wellknown in the world, it shows t mon properties but not when invented. Even the apcic of the same opinion. As such in the present instarce i1 an utpreksa but not upamana.]

2. Upāttakriyānimittajātibhāvasvarūpotprekșā as: The thick dust-line (pollen-line) that arose in n.ousiy is like the cluster of blossoms rhat sprouted uj horripilation due to joy of the Earth which is made impa. (or which is made a pond) by the waters of the corona the valourous Virarudra who has an agreeable wife.

Here in fancying as pulakankuramanjariva the sarasi is a nimitta in the form of kriya.

[Here the parāgarekhā is the visaya and the pulakan is the vişayi. The word iva is the sambhavanavacaka. The karaņa is the nimitta as a kriyā. So the pulakamanjari whi sarasikaraņa as nimitta becomes the paragavisaya in the : of the fancied identity. As such this is a case of kriyāni prekșā.]

3. Anupattanimittajatibhāvasvarūpotprekşā as : The light of the Moon in the form of nails of Prataps looks as it were the reading lamp of the seripts inscribed fate on the foreheads of the kings prostrated at the feet. Here due to the word dipika which is a jativacana th is fancied.

[Here the lustre of the nails is the visaya, the re lamp is vişayi and iva is vacaka. The jati is fancied by ut dipikeva and the nimitta is not said. As such this is a ca anupāttanimitta.]

Arthālankāra Prakaraņai 279

4. Upattaguņanimittajatyabhāvasvarūpotprel. șā 3 as : The fame of Prataparudra, having been cleansed by the billows of nector in the form of qualities and washing the haughty kings with the waters of the sword is possessing purified limbs in a bright manner. (71)

[Here the absence of dirt on the limbs i e., amalikrtangata is jatyabhava and posing purified limbs, i e., svacchata, is a guņanimitta.] . 5. Anupāttanimittajatyabhāvasvarūpotpreksā as: The dust raised by the trampling of the feet of the elephants and horses at the time of the victory marches of the king Rudra who conquers the quariers, and whose valour is well established in the universe, having eclipsed the enemy force and making the sky rid of the Sun is creating different Suns known as valour in all the direc.ions. (72)

Here this is jatyabhava (indicated) by the word asūryam.

[In the expression divam, asūryam iva krtvā, the anupātta- nimitta-jatyabha vasvarupotpreksā is to be noticed. The Sun is a jati and hence his absence is jatyabhava.] (The above five examples belong to jarisvarūpotpreksa.)

6. Jātthetūtprekşā as: The Earth is made to forget her stay on the mountains of the quarters, as it were on a soft couch, by the lofty arms of Prataparudra who is preeminent in the universe. (73)

7. It becomes a bit difficult to construe this verse unless the word fame (kIrti) is supplied. Editors have suggested different readings in this connection : i) ...... gunamrtormidhauteva rajaty amaltkrtangah, and ii) svac- chatara bhavanti. Dr. Raghavan is silent on this. The striking feature in this verse is the absence of sambhavanā- vacaka, 'the word that speaks of the fancy', when this verse is an example of vacyotpreksa. Hence there must be a slip some where in the verse. To rectify this defect it is also suggested that the words ivajau may replace bhavanti in the last line. Some of the printed 'editions give the reading samyati vlravaryah at the end of the lar line.

280 Pratāparudriyam

Here the jatihetu is by sayya eva.

[Śayyā is a jativacana. Though a soft couch is not the real cause it is said as the cause of forgetting the stay on the mountains. Hence this is a case of jatihetutpreksa. Forgetting the stay on mountains is nimitta.]

7. Jatyabhāvahetūtprekșā as : Probabiy because of the absence of the kalpa-tree on Earth, the creator having thought of, created Kakati-lord who possese ses the magnificence of the deceptionless generosity. (74)

Here the hetu i- the absence of kalpa-tree.

[In fact the absence of kolpa-tree is not the cause for. creating Prataparudra. But even then it is fancied as the cause. So this is hetūtpreksa. Kalpavrksa is a jäti and its ąbsence is jātyabhā va.]

8. Jatiphaloiprekąa av: Verily. the arms of the king Virarudra, that are long enough to touch the knees, are protracted only to see that they become the supporting pillars for the Earth, (75)

Here the phala is said by the word stambhibhavitum.

[Though the acting of the arms like pillars is not the phala it is faneied as such. The quality of being long is nimitta and the stambha is a jati which is said to be the phala.]

9. Jātyabhāvaphalotpreksā as: It looks as though, the enemies of the Kakati-lord having understood (observed) that the animals are not to be siaughtered have resorted to eat grass frequently, to shed off human nature. (76)

Here-the phala is in the jatyabhava by the word amanuşat- va ya;

Arthalankāra Prakaraņam 281

[Amanuşatva is the absence of jari. The usage amansat- vaya in the dative case indicates the phalotpr ksa. Resorting to eat grass is nimitta.]

10. Krivasvarūpotpreksā as : The forests in the deserts which have the murmuring sounds in the interiors due to the waves of breathing of the women of the enemies of the Kakati king look nke answering those who request for shelier. (77)

[Here by saying dadatīva the utpreksā of the danakriyā- svarupa is understood and possessing murmuring sounds is guna- nimitta.]

Il. Kriyasvarūpabhāvotprekąā as: When the Kakati lord is disinclined (towards his enemies) even the forest became awefully thorny. It is dragging the enemy-kings by hair as if it does not give them entry into its regions. (78)

Here the kriyasvarupabhava is by the word adadāneva.

[The abhava of the kriya or action is fancied here by using the word adadaneva, i e. as though not giving - a negation of the action. Vikarşana is nimitta.]

(In the taxt proper there is no example for nimi tānu- pādāna.)

12. Kriyāhetūtprekņā as: The sprouts of the pride of the kings are being withered away day by day as if (they were) repelled by the terrible heat of the Sun in the form of the Käkati-lord. (79)

Here the expression abhibhävad iva shows the cause of the action.

[Parimlana which is a phala is the nimitta in fancying abhibhavanakriya as hetu.]

282 Pratäparudriyam

13. Kriyabhāvahetūtpreksa4 as: [The cheeks of that girl are somehow like that. They became emaciated as though not being able to look at each other.

Apasyantav iva is the negation of the act of seeing which is fancied as the hetu and getting emaciated is the nimitta.]

14. Kriyāphalotpreksā as : The sounds of the kettle-drums at the time of war march of the Ändhra king which eclipses the great war in the form of the rage of the thunderbolt is entering the interiors of the caves of the mountains, as if in search of the enemies hidden some- where. (80)

[Here the act of searching, i.e. anveşanakriya is fancied as phala and the act of entering into the caves is the nimitta.]

15. Kriyābhāvaphalotpreksā as: The Siddha-ladies who live in the bowers of the simadris (i e. the mountains on the boundaries of this world) are singing the glory of Srivirarudra which possesses the worsbip similar to that of the one made to Moon-light as if it should not touch darkness. (81)

Here asamsprastum iva is the negation of the action or kriya which is a phala.

[The phala. is fancied in the manner of the negation of the action of touching. Hence it is kriyanimitta.]

(So far the kriyotpreksas.) .

16. Guņasvarūpotpreksā as: The beauty of the graceful sight of the Kakati-lord is shining in all beings like the form of favour. (82)

17. Vidyanatha did not illustrate this kriydbhavahetutpreksa. Hence to fill up this gap the commentator Kumarasvamin cites this verse as an example.

Arthālankāra Prakaraņam 283

[ The prasada is a quality and its identification is fanc'ed. As such this is a gunotpreksa. Because of the attribute murtiman to prasada this is an instance of utpreksd. Otherwise it would have been a simile.]

17. Guņābhāvasvurūpotpreksā as: The Earth whose limbs are cooled down by the drops of .the waters of the great coronation of Prataparudra shines as though it is freed from the hot breatbings of Adisesa who labours under the burden of the Earth. (83) Here the word praśantosma is guņābhāva. [Ūşma is a guna. As it is said that it is suppressed the abhava of gunu can be noticed there. This is only the thing that is fancied here ]

18. Guņahetūtprekșā as: The sword of Srivirarudra is becoming the patron of the wealth in the form of victories. Probably because of jealousy it is ready to snatch away the wealth of victory of the enemy kings. (84) Here asüya is the hetu for the guna.

[By the word asuyayeva the quality of jealousy is fancied as the cause (hetu). Snatching away which is a phala is the nimitta.]

19. Guņābhāvahetūtprekşā as: The oceans are having blackness in waters, as if by their unhappiness on becoming heal-deep to the depth (profoundity) of the king Virarudra. (85) Here the absence of quality in apramodad iva is the hetu. [Attaining blackness is the nimitta ]

20. Guņaphalotpreksā as : The serpents are let loosing nector to sing the qualities of the Kakati-lord, as if to attain purity for their fangs that are impure with poison. (86)

284 Pratāparudriyam

Here phala is said as guna by the expression nairmalyar- tham.

[In the word nairmalyārtham iva, the guna is fancied as phala. Singing of gunas is the nimitta. The word nairmalya suggested purity only.]

21. Guņābhāvaphalotprekșā as: The enemy-women of the Trilinga-lord, in the absence of protectors, became disinterested in the graceful movements of their eyes as if for the sake of non-enemity with the deers who are the fittest relatives in their forest-abodes. (87)

Here there is phala to the absence of guna in the word avairartham.

[The women generally possess graceful movcments of the eyes. The deer also is said to possess this grace. So there is every chance for them to come into conflict with each other. Hence it is only to avoid this conflict with the deer which neces- sarily became relatives in the forests, the ladies of the enemy- kings of Prataparudra gave up their graceful movements of the eyes.

Here in the expression avairartham iva there is the absence of guna which is fancied as phala.]

(So far the guņotpreksās. Hereafter dravyutprekșās.)

22. Dravyasvarūpotpreksā as: The new Kakati-lord is shining in this world gladdening (the people) with his lustre iike the Moon that has come down to the Earth, leaving the sky that there is no completion every day. (88) [The word indur fva is considered a dravyasvarupa which is fancied. Candra is a dravya as he is the only one and hence cannot become a jati. As there is the identification with the Moon it is utpreksa.]

Arthālankāra Prakaraņam 285

23. Dravyasvarūpābhāvotpreksā as : When the Kakati-lord, who is unparalleled in charity and who satisfies the mendicants on the spot, is shining on the Earth, the Heaven locked as though it is rid of parijata. (89)

Here the Heaven is fancied as rid of the pārijata tree.

[Parijāta is the onlv one of its type. So it is a dravya; its absence is fancied. Hence this is a case of dravyabhavotpreksa.]

24. Dravyahetūtpreksā as: The armies of the enemy-kings (the wings of the mcup. tains) are completely rooted out by the king Prataparudra as if it were by another Indra (90)

[Here apareneva vajrina shows that the dravya is faneied as the cause. Indra is a dravya.]

25. Dravyahetvabhāvotoreksā as: Brahman got agitated hy Meru whose limbs are liquidated In the heat of the valur of the Käkatlya (lord) as if it were by a mountain which is not of gold. (91)

Here there is the absence of hetu by asuvarņācalena.

Suvarnacala is the only one and so it is a dravya. When the entire Meru is melted in the heat of Prataparudra's valour it looked as if it were an ordinary mountain with stones only. So Brahman got agitated. The word asuvarnacaleneva shows the absence of this dravya which is fancied as the hetu. Here vyku- latva is the nimitta.]

26. Dravyaphalotpreksā as: The fame is spread by Prataparudra all through the quar- ters, probably for the sake of one hundred milk-oceans and one crore of Kailasa mountains. (92)

H:re dugdharnavasataya serves as the fancied phala of the dravya.

286. Pratāparudriyam

Yasakprasāra is the nimitta and dugdhārņavasata is fancied as phala.]

27. Dravyabhāvaphalotpreksā as: The dust raised in the military marches of the king Vira- rudra covering the quarters stands as if it were to wipe out the sky. (93)

Here the word nirakasa means the absence of the sky. L'kewise other varieties, as possible, can be illustrated.

Thus (ends) the description of the figures based on simi- larity.

[By the word bhedantaram it is to he noted that there are other varievies of utpreksa like upamopakramotpreksa, etc. For example the line kastūritilakanti phālaphalake devya muklām- bhoruhe is an instance of upamanopakramotpreksa and yatrollasat- phenataticchalena muktāttahāseva vibhāti sipra is an instance of sāpahnavotpreksa. So, far the utpreksa based on sādhyavasāya is enumerated. Now comes in the atisayokti based on siddhadhya- vasāya.]

ATIŚAYOKTI: HYPERBOLE

When the vişayi (upamana) is expressed without expressing the vişaya (upameya) it becomes atisayokti and it is enlivered by the pompous speech (praudhokti) of the poet.

It is atisayokti where the visayi (upamana) is established after removing the visaya (upameya) by means of the pompous expression of the poet. There are four varieties in it : 1. non- difference in difference (bhede 'bhedah), 2. difference in non- difference (abhede bhedah), 3. non-attachment in attachmet (sambandhe 'sambandhah), and 4. attachment in non-attachment (asambandhe sambandhah). Where the effect and rause are inter- changed in their positions and order, though not based on adhyavasāya or complete identification or introsusception, it is

Arthālankāra Prakaraņam 287 - - -- different from atisayokti. But it is said (by some) as atišayokti because of the pompous expression of the poet. -- [Where the adhyavasita i e the object that attained adhya- vasaya introsusception is made important it becomes the tigure atisayokti In atisayokti the complete absorption is related to the past whereas in uipreksa it is related to the present. For example, if the word lotus is used for the face, it means the lotus has swallowed the face. This means that the face is not verbally distinct as it entered the lotus Though the lotus is expressed. in reality there is no lotus there. So from this it is noted that the face which is real is established as an object which is not real and the lotus which is not real is made real. This is beyond the usual practice. Hence this becnmes atiśayokti. In utpreksã unlike this it is a doubt. That is the doubt weighs more on the side of the upamana as against the other side, This means that there is no definite knowledge As such it cannot go beyond the usual practice. In the presence of the words nunam, cic. the adhycvasaya is sadhya when it becon es utprekşa and in the absence of these words like nunam, etc. the adhyavasaya becomes siddha when the visayi (upamana) becomes important as in the case of atiśayokti.] 1. Bhede 'bhedab, as : A kalpa tree is born of the ocean of the Kakatlyas. It is befitting. But it is wonderful that this happens to be Lakşmi- pati and a great jubilee to the morta ls. (94) Here there is the abhedadhyavasaya between Pratäparudra and kalpa tree: [The birth of the kalpa tree from the ocean is befitting as said in the above verse. Laksml also is born of the ocean only. So it is natural that Laksml and kalpataru to be amicable as sisters and to be festive to the celestials. But the present kalpa tree to be festive to the mortals is rea'ly wonderful. This is the essence of the above verse.

288 Pratāparudriyam

Here the word kalpataru is said to be a vişayivācaka. By this Prataparudra is introsuscepted or comnletely identified and Pratäparudra who is a vişaya is not verbally expressed. So it is noted that there is importance here to the kalpa tree which is in complete identification. As such this becomes the figure atisa- yokti.

There is a real difference between kalpataru and Pratāpa- rudra But even then due to the force of adhyavasana there appears non-difference.

In this verse the expression kakatijamahodadheh is a rupaka. On the basis of this expression kalpatarur jatah also is to be treated as rūpaka only, because this procedure only belps the coustruing of the verse in its entirety. Though tbere is a scope for this type of doubt, here it is tr be understood that this need not be taken in its entirety for the purpose of constro. ing the sense and it can be taken in parts fer the sake of satisfy- ing the dennition of this figure atišayokti, by abhedadhyavasāya.]

2. Abhede bhedah, as: Tnat loftyness is different; this esteemed depth is beyond expression. The way of that glory and valour also is entirely unusual. The celebrity of the arms is distinct Every thing that belongs to the king Rudra is new, I cannot understand what type of material and in what manner is used by the four- faced one (i.e. the creator Brahman). (95) Here even though in reality the loftyness, etc., are not different they are spoken of as different. So between the lofty- ness (aunnatya) that is natural and the one created by the poet through his pampous speech, though there is difference there is complete identification by non-difference (abhedādhyavasāya). [In the present example in reality there is no difference between the natural loftyness and the loftyness sp ken et. But as it is said by the words anyad eva, ko 'pi, etc., it looks as though they are different.

Arthālankāra Prakaraņam 289

In this figure atisayokti there will be the hyrerbolic expres- sion always due to the genius of the poet If this were to be achieved the intention of the poet should always be in the adhyavasaya only. In the expression aunnatyam mahad anyad eva, it is to be noted that there is one natural aunnatya and another aunnatya fancied by the poet by his genius. Thcugh there is difference between these two it is also to be uuderstood that there is abhedadhyavasāya.]

3. Sumbandhe 'sambanuhah as : The cintamani is a rock. The kalpa tree is a tree. This kamadhenu is an animal. All this universe is with full of mis- takes. All this creation of Vidhata does not appear to be skill- ful So how can this (type of) creation touch upon Rudradēva who is the abode of all ruling qualitics? (96)

Here though there is connection with the crea ion of Vidbata it is said as having no connection Here the abhedadhya- vasaya is with livara who is beyond the creation of Brahran.

[In fact Brahman is connected with the creation of Prataparudra Even then non-connection only is spoken of. Isvara is beyond the creation of Brahman. Similarly Pratapa- rudra too. So there is the adhyavasaya with Isvara.

There are natural qualities of Isvara and there are the qualities of Prataparudra as expressed by the poet. The adhya- vasaya is between these two types of qualities only.]

4. Asambandhe sambandhah as : Oh Brahman! Even in the creation of the mountain Meru you did not bave so much of pleasure. What is this? Sir, it is true, my job as creator has become fruitful, as Virarudra is created. Oh! why do you speak lies? For the protection of the three worlds, Isvara bas descended to the Earth on my request; like this the conversation went on between Hari and Brabman. (97)

Here though there is no connection between Hari and Brahman in this conversation, it is described as having connec- tion. There is abhedadhyavasdya of Kakati-lord with Sambhu.

661-19

290 Pratāparudriyam

[This abhedādhyavasaya is due to the quality of protecting the universe.] 5. Kāryakāranayoķ paurvaparyaviparyayarūpātisayokti as: Mother! how is it the arrows of Cupid are falling even before the sight of the Kakati-lord? Really! Cupid who is vanquished by his ferm and charm became his servant. (98)

Here the order in the effect of falling of the arrows of Cupid and the case of falling of the glancts of the beloved is int. rehanged Now bechuse of the similarity of the word ukti and the cause of the atisayokti the sahokti is being defined :

SAHOKTYALANKARA : CONNECTED DESCRIPTION

Where the construing is with the meaning saha because of atlsayokti and the similarity concocted is at the end. there it is called (the figure) sahokti.

Where on account of atisayokti, either in the form of bhede 'bheda or the interchanging of the effect and cause there is importance for one in construing and with the meaning of saha in the case of another and the upamnopameyabhava is con- cocted there arises (the figure) sahokti. As the idea of upamana and upameya (upamānopameyabhāva) is dependent on prākariņika and aprakarinika (i.e. objects on hand and rot on hand) and because of connection with sahartha and both (upamana and upameya) being prakrtas there cannot be the real upamanopa- meyabhāva.

Kāryakāraņapaurvāparyaviparyayarūpātišayoktimūla sahoktiķ (sa- hokti whicn has the effect. and cause interchanged as its basis) as : In the battles the edges of the swords of the soldiers of the Ändhra king, possessing the lustre of the leaves of the blue lotuses, are falling on the necks of the enemy kings along with the garlands from the celestial damsels. (99)

Arthalankāra Prakaraņam 291

There is the change in order here by saying that they both (i e the swords as well as the garlands) fell simultanecusly when the falling of the garlands ought to have been said as falling after the swords.

[Here the upamanopameyabhava is suggested between the garlands and the swords, when it is understood that the swords are falling on the necks like the celestial garlands. As both the swords and garlands are prakrtas the upamanopameyabhāva is not sastric First the swords must fall and then the gariands. But here it is said that they both are falling simultaneously. As such the order in the procedure is changed.]

Šleşagarbhābhedādhyavasāyarūpā bhede'bhedarūpātisayokti- mula sahoktih: The arisayokti in the form of abheda in bheda, which has the complete identification due to non-difference on account of slesa (double entendre), becomes the cause of extreme delight. The sahokti based on this is -

The lustre of the valour of the king Rudra illuminating the vast universe every day, is prospering along with the Sun who pos esses the unblemished or chaste splendour. (100)

Here the word udayam means both prosperity as well as the Udaya mountain. There is the abhedadhy avasaya between these two through ślesa. Next vinokti which is opposed to sahokti is enumerated.

VINOKTYALAN KĀRA : SPEECH OF ABSENCE

In the absence of a related object if the delightfulness or otherwise of the other object is disregarded it is called vinokti. Tnat is vinokti, when an object in the absence of another object becomes either delightful or otherwise It is of two types I. aramyatā and 2. ramyatā.

1. Aramyata as: What is a poetic composition if it is rid of the description of the qualities of the king Prataparudra ? Oh poets! you all listen to this, (101)

292 PratāparudrĪyam

Here unshiningness of the poetic composition in the absence of the description of the qualities of Prataparudra is spoken of. From this it be omes imperative on the part of the poets who wish radiance for their compositions to delincate the qualities of Pratāparudra.

2. Ramyata as : When the king Rudra who is the Moon in the world, who is replete with all digits, who possesses the form of bliss of all the three worlds and pure wealth triumphs every dav, if the Moon possessing h's body which becomes complete day by day, without marks shines in the skies, he too can be said fortu- nate. (102) Here the Moon is said to be splendid in the absence of marks when Prataparudra shines. It mean that in the presence of an opponent who shines with all good qualities, that type of qualities only will be beautiful and not otherwise.

[As it is said that the Moon will be agreeable without the marks, this is an instance of ramyata.]

SAMĀSOKTYALAŃKĀRA: SPEECH OF BREVITY

It is called samasokti where an object not on hand is understood due to the sameness of attributes that are applicable to the object on hand.

Where another object is understood on account of the similarity of the attributes that are used for the object on hand it is samasokti. It is of three types: 1. ślistaviśeşanasāmya, 2. sadhāraņavišeşaņasāmya and 3. aupamyagarbhavišeşaņasāmya.

1. Śliştavisesaņasāmya as : The sword in the form of a creeper of the Andhra king. possessing an erect body, which has the loosened neck-ropes, and having shades is catching the enemies in their throats. Because of its touch they becoming uncontrolled with the form of blood that followed, closing their eyes for a long time and losing their consciousness are attaining an inexplicable state of mind, (103)

Arthalankāra Prakaranam 293

Here because of the attributrs like vislathamekhalam and pulakitam, etc., which are having double entendre there is the knowledge of a heroine in the creeper like sword of, the attributes like anuraktabhavavivaah, etc., there is the On account

knowledge of the heroes in the enemies.

[Some of the words used in this verse have got two mean- ings as : vislathamekhala 'a rope that can be used for the neck' and 'loosened girdle'; pulakita 'wnich possesses shades' and 'which possesses horripilation'; rivi 'which is not crooked' and 'which is not averse to sex' ; raga 'redness' and 'liking'; anu- raktabhavavivasah 'those who are uncontrolled with the form of blood that ensured' and 'those who are overwhelmed with love.'

In the light of these double entendres shoun ahove a second meaning which is connected with an object not on hand also is coming to the mind as:

A heroine in the form of a creator like sword is embracing the heroes in their necks, with the girdle loosened, experiencing horripilation, and possessing the body suitable to sex. On account of her touch, the heroes becoming uncocirele ble with the idea of love, closing their eyes due to happiness are experi- oncing inexplicable state of mind. Here the sword is considered as a heroine and the enemy kings as heroes. The properties of the hero and heroine are superimposed on the enemy kings and the sword which becomes the sense ex- pressed. Because of the double entendre in the attributes used in the verse, the usual behaviour of a heroine and hero also strikes to the mind; though this is not the subject on hand. So this is an instance of ślistavisesanasamya variety of the figure zama sokti.]

3. Sadharaņavišesaņasāma as: Oh Kakati-lord! the kings being embraced by fear, lost modesty keeping asidc pride, with shivering tone, experiencing sweat, having unbearable shivering ot the body, swooning, with

294 PratâparudrĪyam

rolli: tears, and with the horripilation generated are entering th. caves of the mountains in a lonely way. (104)

Here there is the knowledge of heroes in the kings because of th' milarity in attributes used for both srngara ard bhaya- naka sentiments, when it is said that the kings are embraced by bhiti, etc. [The attributes like vitavrida, etc., are equal in the case of hoth the sentiments śrngāra and bhayānaka. There is no question of double entendre here When it is said that the kings are embruced by bhiti, bhiti (fem. gen ) becomes the heroine and the kings become the heroes. The sentiment bhayanaka is the matter on hand which speaks of the state of the kings who are running awa" t) the caves of mountains to hide themselves. The sentiment srugara is not on hand but it is only suggested through the similarity of the attributes. This aprakrtavyavahara does not come to the mind in the absence of either dharmasamaropa or kāryasamāropa.]

3 Aupamyagarbhaviseșaņa as : The king Pratāparudra, who possesses the multitudes of gems in the form of qualities and full with waters of generosity is bearing the lustre of the Earth. .(105)

In this samasokti the superimposition of vyavahāra is always the life (i.e. it is the factor that brings about charm in the figure). This is of four kinds: 1. the superimposition of laukikavyavahāra on laukikavastu, 2. the surerimposition of šāstrī yavastuvyarahāra on laukikavastu, 3. the superimposition of śāstrīyavastuvyavahāra oa śāstrīyavastu, and 4. the superimposi- tion of laukikavastuvyavahāra on sāstrīyavastu.

[ The compounds ratnaugha and saujanyavari in the above example (v. 104) can be treated as either upamitasamāsa or rupakasamāsa Ou the strength of the context it is better to take them as gunasadrsaih ratnaiah and saujanyasadrsena variņā as a madhyamapadalopisamasa. When it becomes the aupamya- garbhavisesanasamya, there will be the suggestion of an ocean in Prataparudra and it becomes the figure samasokti. So where-

Arthalankāra Prakaraņam 295

ever the upamana becomes an instrument in sanasokti it is better to take it as aupamyagarbha if not it is better to accept sankarasamasa. From this it is noticed that this figure is of five varieties: i) slistaviseșanasamutthāpitā, ii) superimposition of dharma on sādharanavisesana, iii) superimposition of kārya on . sādharaņavišesana, iv) upamitasamasa in aupamyagarbhavisesaņa and v) sankarasamāsa in aupamyagarbhavišesaņa.

The prastuta and aprastuta both are found in rupaka and samasokti But their difference is if the aprastuta is immersed in prastuta it becomes samasokti and when prastuta is immersed in aprastuta it becomes rūpaka.]

The following are the illustrations in order :

1. Superimposition of laukikavyavahāra on laukikavastu as : Prataparudra who is shining with the wealth of charity (or rut) that is glittering through the seven limbs5 and who is in the form of bhadra is expanding the monarchism. (106)

Here there is the superimposition of a laukikavastu diggaja called sarvabhauma on a laukikaprakrtavastu Pratāpa- rudra.

[In the case of the elephant it is to be taken that the rut is flowing through the seven limbs6 and it belongs to the variety bhadra with its title sarvabhauma.]

2. Superimposition of sastravastu on laukikavastu as:

There is the highest splitting erudition in the battle sword of Prataparudra with which great knowledge it repels the wea- pons of the enemies. (107)4

Here there is the superimposition of the knowledge of the science of logic on the sword a laukika object.

5. स्वाम्यामात्यसुहत्कोशराष्ट्रुर्गबलानि सप्ताज्ञानि। 6. 'करात् कटाभ्यां मेढाच् नेत्राभ्यां च मदस्त्ुतिः' इति पालकाप्ये। करात् नासारम्घ्राभ्यामित्यर्थः ।

290 Pratāparudriyam

Traa science of logic is aprakrta; vyāpti, pakșadharmatā, het ae one terms used in anumanapramana with which the argamenis of the opponents are phoophooed.]

3. Superimposition of sastravastu on śastravastu as: Th: wealth of the compositions of the poets with refe- rence to Pr täparudra wherein the gathering of intelligent is capable of relishing the sentiment and which compositions are in ine p'ace of eloquence that is with lofty statements that are praiseworthy due to their meanings unknown previously, and which vossasses sweet essence in every word that is agreeable to the eats is conquering. (108)

Here there is the superimposition of the object of tantra- sastra oa the object belonging to the alankarasastra.

[This suggests the sense with reference to Mimamsa that the vidhivak yas that clearly extol the sacrifices, etc, which are apurvas are well set and are pleasently replete with the meanıng established by the pramaņas like sruti, linga and vākya, etc. This Mimamsasastra is superimposed on the alankara sastra in this verse.]

4. Saperimposition of laukikavyavahāra on sāstravyavahāra as : Bhärati, which is with figures of speech, shinning sylla- bles, goi qualities, replete with sentiment, and connected with bhava or thought is shinning in the Kakati-lord. (109)

Here the behaviour of a laukika heroine is superimposed on the alankarasastravyavahāra. The samasokti differs from ileşa in that both the visesana and viśesya are not expressed.

[In the above verse the attributes can safely be applied with rererence to a heroine named Bharati, who is possessing beautiful ornaments, who is lustrous, who possesses lofty quali- ties and who possesses fine sentiment of love in Prataparudra.

In this figure there will be only one prakrtavisesya expressed and the aprakriavisesya is only suggested, unlike tho figure ślesa where both prakrta and aprakrta are expressed ]

Arthalankāra Prakaraņam 297

Though there is uktisamya in other figures al<o, because of the distinct feature of śleşagarbhatva, vakrokti is being defined.

VAKROKTYALANKĀRA : CRAFTY SPEECH

If a sentence uttered is construed otherwise either due to the peculiar modulations in voice or double entendre in the words, it is said vakrokti.

If a sentence uttered by a person with some intentinn is construed by some other person with a different intention, it becomes vakrokti. Though this craftiness of speech is somehow present in other fgures also, as this type of craftiness (with reference to two persons) is not met within others. this differs from all other figures.

[This is of twu types: 1. kakuvakrokti and 2 śleņa- vakrokti. Kaku is a kind of modulation by which the meaning is suggested. So when the speaker adjusts his vocal modula- tions so as to suit his intentions, the listener construes it in some other manner understanding the modulations in a different way.]

1. Kāku as : Friend ! The king has too many wives. He is too much attached to Srl. Are you less than Sri? Why do you belittle pourself ? (110)

"You are in no way less in qualities than Śrl. Hence the king will be attached to you also. Why do you belittle yourself" is the meaning suggested due to change in modulations.

[Here the first half of the verse represents the utte- rance of a heroine who lost hopes of attaining the king. So she says that the king has naturally too many wives But he is more attached to Sridevi. Immediately her friend answers her. The second half in the verse is the answer given by her friend. When the heroine utters the above with a tone expressing despair of not attaining the king, the friend changes the modulations in

298 Pratāparudrīyam

a way to instill courage in her, saying that she is in no way less than Sridevi in qualities As such she need not belittle herself before anyone and the king is sure to be attached to her also. These words naturally strengthen her hope of union with the king. S>this type of crafty speech is called vakrokti. As this is due to kāku this is known as kākuvakrokti.]

2. Šleşavakrokti as: Friend who is it that dwells in your heart always? King (raja). Is it the Moon? No, the bearer of the Earth Oh! is it the mountain Meru? No, the all prevading Lord Rudra. Oh! is he Isvara? Friend, you spoke truth. Fortunate one! you are born essence of the mountain (i.e. you are Parvati). Thus during the jocular speech of her friend the heroine forgot a bit of her separation. (111)

[Here the words like rājā, ksonibhrttilaka and rudradeva express two meanings. They mean king and the Moon; king, who bears the Earth and the mountain Meru; Prataparudra ar.d Lord Śiva respectively. When the heroine refers to the lord of her heart, the friend takes the second meaning. So this becomes śleşavıkrokti.]

SVABHAVOKTYALANKĀRA : NATURAL DESCRIPTION

The description of an object as it is in a beautiful manner okti. is svabhāvokti.

Where there is the description of the natural set up of an object in a charming manner it is called svabhāvokti.

[Here there will be descriptions of the natural actions and characterstics of an object, as perceived by the poet in the world of beauty.] as - Kakati-Virarudra delights himself every day with the. elephant, which is shedding ichor, which is nodding its head looking as though it is giving beat with the ears that are dancing, which is standing on three feet and which is shaking its truok. (112)

Arthalankāra Prakaranam 299

[Here the nature and actions of the elephant are beauti- fully portrayed by the poet. So this is an instance of svabha- vokti.]

VYĀJOKTYALANKARA: DISSEMBLER

Next because of the similarity of ukti the word vyājokti 1s being enumerated.

If the object visible is concealed it becon es vyājokti.

When a visible object, because of implied similarity is some how concealed under some pretext it becomes vyājokti; as: When there is horripilation all ever the body on account of pleasure, at the time of taking hold of the palm of the Earth (i.e wedding time) the Moon of the Käkati-family and the fore- most of the kings (Prataparudra) being brave and benevolent is looking at the aged ministers with a sweet smile, uttering: "Is the coronation to be performed with cold water?". (113)

Here the horripilation caused by the pleasure of catchirg the palm of the Earth is concealed by the king Prataparudra who is brave and benevolent, under the pretext of experiencing it due to the cold water poured at the time of coronation looking at the ministers.

MILANALANKARA: LOST

After vyajokti because of a little resemblance milana is enumerated.

When one thing is concealed by another thing it becomes milana.

Where an object is shielded by some other object it is khown as the figure milana. It is of two kinds: I. to cover the agantukavastu by a sahajavastu, i.e. to cover the obje.t that has come unexpectedly by the natural object, and 2 to cover the sahajavastu by an agantukavastu, i.e, to cover the natural object by an object that has come unexpectedly. Illustrations respec- tively :

300 Pratāparudrìyam

1. When the husbands fled away from the battlefields to some unknown places due to the fearful exhibition of the (skill of the) pillar like arms of the king Kakati-Virarudra, the heat of the deserrs though entered their bodies on their way, was not taken note of by the enemy ladies who were experiencing the fever of the Cupid in the highest degree in their bodies. (114)

Here by the heat of the Cupid which naturally generated in the bodies of the enemy women the heat of the deserts that entered their bodies on their way was concealed.

2. Because of the perpetual inner frar of the kings, caused by the power of the arms of Prataparudra, their ladies are not believing the sweat, tears and shivering as caused in the love meetings. (115)

Here the shivering, etc., that are natural in love are con- cealed by the shivering, etc., caused by fear which has come unexpectedly.

SAMĀNYALANKĀRA: SAMENESS

When an object is identified as another object due to similarity in qualities it becomes sāmānya.

It is called the figure samanya if a thing becomes undise tinguishable from another thing on account of similarity in qualities; as :

When the Kailasa (mountain), milk-ocean and the swan vehicle became invisible in the fame of the Andhra king, those three meo are first smiling at their servants who were loitering hither and thither. (116) Here there is the identity of the pure objects like Ka lasa, ete., with the fame of Prataparudra that spread throughout the universe.

[Here there will be the identity of the object on hand with the object not on hand, on account of the common qualities present in both. Identity means a feeling of non-difference.]

Arthalankāra Prakaranam 301

TADGUŅĀLANKARA : BORROWER

Because of the common feature of excelling qualities in the presence of others tadguna is portrayed.

Where there is the adoption of the qualities of the higter object, having abandoned its natural qualities there is tadguna.

Where the natural qualities of less nature are left and the higher qualities of another object in its proximity are accepted it becomes the figure tadguna.

The heads possessing rubies of the kings who are bending down are being purified by the blossoming of the moon-light of the nails of the feet of the lord Prataparudra.

Here the rubies on the heads of the kings who are bending down having left their natural red light are adopting the white- ness of the moon-light emanated from the nails of the feet of Kākati VIrarudra.

ATADGUŅĀLANKĀRA : NON-BORROWER

Atadguna which is opposed to the previous tadguna is onumerated here.

If the qualities of another are not adopted in spite of the cause it is atadguņa.

In spite of the sufficient cause of proximity exists, if the qualities of another are not taken in this it becomes the figure atadguņa. as - The wealth of the fame of the king Rudra is maintaining its white lustre, though roaming in the vicinity of Iśvara in this world which is glowing with his sports, though loitering near about Visnu in the world which is lighted up with the brilliant blue lustre of his body, and though moving in the proximity of Brahman, in the world which is shining with the lustre of gold mingled with his body. (117)

302 Pratāparudriyam

Here it is said that the fame of Prataparudra which is always roaming in the proximity of Hara, Hari and Virinci in their worlds of differert lustres non-challently, is maintaining its own whiteness.

[Here there is every reason for obtaining the lustre belong- ing to the worlds of Hara, Hari and Virnci for the fame of Prataparudra in its course of ramblings in those wor ds. But it did not absorb anything belonging to them. On the other hand it is mamtaining its own pure lustre. Hence thi is an instance of atadguna.

VIRODHĀLANKĀRA: CONTRADICTION

In atadguna there is a slight contradiction. As such the figure virodha follows this

If there is apparent contradiction it is called the figure virodha.

Tne incongruity which appears in the beginning gets can- celled at the end, it is the figure virodha. If there is the con- tradiction of jati with jati, etc., it is of four types. If there is contradi tion of kriya with kriya, etc., it is of three types. If there is contradiction of guna with guna, etc , it is of two types. And if there is contradiction of dravya with dravya it is of on'e type On the whole there are ten varieties.

[This is otherwise called the figure virodhabhasa. Here the contradi.tion must be only in the beginning and should not run till the end, because it is to be resolved at the end. Other- wise it cannot be called the figure virodha.

If the contradiction exists between the same species (sajatīya) or the opposite species (vijātiya) among jati, kriyā guņa and dravya it becomes the figure virodha. This contradiction between jati and others multiplies as jativirodha, kriyavirodha, gunavirodha and dravyavirodha. To these four varieties, another set of three multiplied between kriya and other as kriyavirodha, gunavirodha and dravyavirodha is added when it becomes 'even in number. Now comes the turn of guna which is of two kinds.

Arthalaakāra Prakaranam 303

When multiplied between guna and dravya as two varieties with these two the number becomes nine and finally dravya alone is left and so there is only one variety in it. On the whole there are ten varieties of this virodhalankara. For the sake of easy comprehension the varieties are given below:

1. The contradiction between jati and jati 2. -do- jati and kriyā 3. -do- jati and guņa 4. -do- jāņi and dravya 5. -do- kriya and kriya 6. -do- kriyā and guņa 7. -do- kriya and dravya 8. -do- guņa and guna 9. -do- guna and dravya 10. -do- dravya and dravya.

1 & 2. The contradiction between jati and jati, and jati and kriyā as:

This lord of the Earth though the abede of lotuscs. i.e, padmakara, excellently shines as ajadasaya. Even the stream of pure water became tbe cause of distress to the enemy kings. (118)

Here in the first half by saying kamalākaro 'pi ajadasayah there is the contradiction between jati and jati. Again in the second half by saying that there is distress in the stream of pure water there is contradiction between jati and kriya. This con- tradiction is due to śleșa 'double entendre'.

[To say that padmākara 1< ajadāśaya is a contradiction unless it happens to be ajalāsaya it cannot be a padmākara. (There is no difference between da and la: So jada becomes jala.) Therefore the apparent incongruity is to be warded off by saying that though the king is the abode of wealth or LaksmI be is not the supporter of dunces or ajadas. Likewise a stream of pure water cannot become the cause of agony. So to ward off this çontradiction the word vimalataravaridhara is to be explained as

304 Pratāparudriyam

the edge of the sword. In this way the contradiction which is apparent at the beginning vanishes at the end. So this is called the figure virodha or virodhābhasa.]

3 & 4. The contradiction between jati and guna, and jati and dravya as : This king Virarudra is rid of rut though a sārvabhauma. He becomes the pleasure ground as the Moon though a Sun. (119)

Here the incongruity is between sarvabhauma and amada, jati and guņa, and bhasvān and kalānidht, jati and dravya. As kalanidhi is only one it is dravya. Here a'so this virodha is based on śleşa.

[Sarvabhauma is the nams of an elepbant of the quarters. Such being the case how can an elephant be without ichor. So there is coatradiction here. To ward off this the word sarva- bhauma is to he explained as the 'emperor' when it means though he is an emperor he is not infatuated as authority is usually said to be the cause of infatuation. Again the word kalanidhi is to be explained as the abode of arts, but not as the Moon. In such a case there is no contradiction and the word bhasvan also is to be explained as shining when the expression means that he-is shining witb arts.

[Sarvabhaumatva is jāti, mada is guņa and candra is dravya.]

5. Contradiction between kriya and kriya as : Kaka:i-Virarudra though eauses distruction to the enemies of dharma and artha and though looks after the trivargas (dharma. artha and kama) equally, has a soft corner for the enemy of kāma. (120)

Here treating all the three - dharma, artha and kama - equally and destroying the enemies of dharma and artha to make friends with the enemy of kama is a contradiction.

[To remove this contradiction the word kamadvit is to be explained as lord Siva when it means that Pratāparudra is a devotee of Śankara.]

Arthalankāra Prakarapam 305

6 & 7. Contradiction between kriya and guna, and krija and dravya as : This Andhra king though a jisnuvihara is desirous of the affection of mountains and though a raja is making the lotus merry. (121)

Here when it is said that he has affection for mountains though a jisnuvihara there is contradiction between kriya and guna and when it is said that heis making the lotuses merry though a raja (king) there is eondradiction between kria and dravya. Here also it is based on ślesa.

[Jisnu means Indra who is the destroyer of mountains. So a jisnuvihara 'one who has exploits like that of Indra' cannot have affection for the mountains. By explaining the word jisnu as 'conqueror' and the word gotra as 'family' the sentence means that though Prataparudra is a conqueror he is affectionate towards the families when the contradiction is removed, In the same manner the word raja also is to be taken in the sense of king but not the Moon and the word kamala in the sense of 'wealth' but not as 'lotuses'. So this means that he is still increasing wealth though a king by birth. As such here also the contradiction is removed.]

8. Contradiction between guna and guna as : King Rudra pleasing this universe, you became praise- worthy as raja. How is it she though ruddy has become white ! (122)

Here the cantradiction is between redness and whiteness.

[Rakta means both red and attached. There is the appa- rent contradiction if the word rakta is taken in the sense of red colour as she cannot be both red and white at the same time. So to ward off this contradiction the word rakta is to be taken in the sense 'attached', when the sentence means that she being attached to Rudra became white or pale because of separation, etc. Here red and white are gunas. Henee this is the instance of contradiction between guna and guna.]

661 - 20

306 Pratāparudriyam

9. Contradiction between guna and guna as : Though ferocious with blazing valour, the Kākati k shining time and again as the Moon who does good to the verse.

Here the contradiction is between guna and dravya as said prataparaudro 'pi jaivatrkaķ.

[The word jaivatrka means both 'Moon' and 'the lived'. So when it is taken in the first sense it becomes cc dictory as the Moon cannot be prataparaudra. But ifit is in the sense of 'the long lived' the contradiction is warde when the sentence means that he becomes 'long lived' w doing good to the universe. The Moon is dravya. So this instance of contradiction between guna and dravya.]

10. Contradiction between dravya and dravya as : This Kakati-lord though a Rudra is shining as Brah i.e., the four faced one. Likewise though a Jisnu (he) is sa Purușottama, i.e, Vișņu.

[The word caturanana means usually Brahman. S cannot be Rudra and Brahman as they are contradictory the same manner Indra and Visnu are contradictory as the jişņu means Indra and purusottama means Vișņu. But i words caturanana and purusottama are taken as meaning 'one has beautiful face' and 'one who is the best among men' rest vely the contradiction is warded off. As Rudra ete , are dr this is a case of contradiction between dravya and dravya.}

The ten varieties are thus enumerated. This can be without ślesa; as:

The sight of the Kakati king though cold by nature be the tormentor of the entire body of the enemy kings.

Here to say that the sight became the tormentor th naturally cold is contradictory.]

[This contradiction is warded off when it is taken to 1 that it is causing distress in the enemies.]

Arthālankāra Prakaranam 307

VIŠESĀLANKĀRA : EXTRAORDINARY

Now figures based on virodha are being enumerated.

When an object is described as having no support or as existing in many places or as accomplished when it is impossible it becomes the figure visea in three varieties.

When a thing is spoken of as having no support it becomes the first variety of (the figure) visesa. The second variety consists in observing a thing in many places simulta- neously and the third variety exists when a thing which is impos- sible is achieved in addition to the desired one. They are illustrated in order.

1. Without support as : The wealth of glory which restored to the kings like Nala, Nahusa, Dilipa and Dharmaputra etc., is now shining having made friends with the fame of Kakati-VIrarudra. (125)

Here there is the existence of fame which has the ancient kings as its support, in spite of their absence.

2. Existing in many places as : The enemy kings, having observed the Andhra King, bshind, in front, by the sides, within and without, as holding the sword raised, are running endlessly agitated with fear, while their arms are dropping down and their profoundity (of charac- ter) and the wealth of valour are slipping away with shivering from one mountain to the other. (126)

Here the enemies of Prataparudra are observing him in many places though he is the only one.

3. Achieving an impossibility along with the desired ane as : He, on whom falls the sight that possesses the pure and sweet course of the king Prataparudra whose benevolence is fathoms deep in the court does not attain the highest position that excells Indra and Kubera, in these three worlds surpassing all. (127)

308 PratāparudrĪyam

Here it is said that an ordinary man who becomes fit for the graceful look of Prataparudra can obtain every thing. So this is an instance of asakyavastvantarakaraņa.

ADHIKALANKĀRA : EXCEEDING

The figure of speech adhika is potrayed on account of the incongruity in the container and the contained :

It is said adhika when there is no conformity between the container and the containcd.

When there is no agreement between the substratum and the object it becomes the figure adhika. It is of two types depending on 1. the greatness of the substratum and 2. the lit- tleness of the substratum.

1. Littleness of the substratum as : The fame of the Kakati-lord which possess a great flow with a view to sport in this narrow world became contracted now when it is represented in the form of solidified Himalaya mountain, Kailasa mountain, celestial river (Ganges), the Moon and the milk-ocean. (128) Here there is the littleness of this universe which is the container, and the greatness of the fame of Prataparudra which is the object contained.

2. Greatness of the substratum as: The kings of Kalinga, Mālava, Maharaștra, Anga, Vanga, ete., though extended to the ends of the quarters of the universe with the glory of their that much armies, are being immersed in the endless ocean of armies of the king, the Kakati-Virarudra, due to its lustre in the world of arrangement, and not able to attain perfection in any angle. (129) Here there is the greatness of the ocean of the armies of Pratāparudra which is a substratum, and the littleness of the armies of the kings of Anga, Vanga, Kalinga, etc.

Arthālankāra Prakaraņam 309

[It is enough if the container and the contained do not go hand in hand.]

VIBHĀVANĀ AND VIŠESOKTI ALANKĀRAS: PECULIAR CAUSATION AND PECULIAR ALLEGATION

If there is the existence of effect (i.e. if there is effect) without cause it is vibhavana. The non-existence of effect in spite of the presence of cause, is said to be visesokti.

Where the effect exists though the well known cause is ignored there is vibhavana and in spite of the presence of suffi- cient cause, the effect does not exist, there is viśesokti. as- To the opponents who are vanquished by Prataparudra and who took refuge in the caves of Vindhya, there is the dark- ness without nights and no light exists even during the day. (130)

The well known cause for the existence of darkness is night. But the darkness is described here even without the nights which is the cause. There is grief. etc., which is not a well known reason. Similarly in spite of the presence of Sun's rays, etc., during day time the non-existence of light is described. Here there is the absence of valour, etc., (in the enemies) as cause is evident.

[Here the existence of darkness without night is an instance of vibhavana and the absence of light during day time is an instance of visesokti.]

ASANGATYALANKARA : DISCONNECTION

In the context of incongruity of cause and effect asangati is enumerated : When the cause and effect are differently located it is asangati.

If the cause and effect are described as having different locations, though they exist in one and the same place this becomes the figure asangati.

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as- When the king Virarudra is bearing the heavy burden of the Earth, the heads of the tributary princes are being frequently bent down very low. (131)

Here the burden lies on the king and the act of bending down lies with the enemies.

[According to the natural law, the person who bears the burden should bend down. But contrary to this it is described in the above verse that Prataparudra is bearing a great burden. But he is not bent down. On the other hand it is his vessels that are bent down to the lowest. So when the cause rests with Prataparudra the effect is seen in others. This shows that the cause and effect are situated in different places. So this is an example of the figure asangati.]

VICITRĀLANKĀRA : STRANGE

In the context of incongruity itself vicitra is enumerated : When there is an effort to attain the result contrary to the cause it is vicitra.

as -

In the presence of the king Pratäparudra, the kings are descending the elephants even at a distance only to ascend them without hurdles. (132)

Here the effort is only to gain a fruit contrary to the cause when it is said that ihey are descending to ascend.

ANYONYĀLANKĀRA : RECIPROCAL

Anyonya is being portrayed. It is also based on incon- gruity : It is anyonya where there is mutual relationship of generator and generated.

Where the relationship of generator and generated is through the reciprocated action there exists the figure anyonya.

Arthālankāra Prakaranam 311

as -

The Käkati throne shines well due to the king Rudra who ascended it. The king also having ascended it is possessing much more lustre due to the throne which possesses glittering diamonds. (133) Here there is mutual decoration between Prataparudra and the throne.

[Here the natural relationship of the generator and the generated is through the act of decoration. So this is an instance of the figure anyonya.]

VIŞAMALANKĀRA: INCONGRUITY

Here is visamalankāra which is based on virodha:

Where the effect is quite contrary or where it (the effect) becomes undesirable and where is an association of incongruous objects - there is the figure visama which is of three kinds.

Here the first variety is that in which the effect is contrary to the cause. The second variety consits in that where the effect is neither consistent with the cause nor desirable and the third is that in which incongruous things are brought together.

1. Effect contrary to the cause as: The minds of the people who are looking at the wealth of glory which is as white as the light of the automnal Moon, that is emanated from the black sword of the king Prataparudra are now desisting from wandering, with an experience, on hearing of the celestial river (Ganges) that is born of the feet of the enemy of Mura (i.e. Vişnu). (134)

Here there is the white fame like that of the moon-light born of the black sword.

[Vişnu is black but the Ganges born of his feet is white. Similarly the sword of Prataparurdra is black but the fame born of it is white. Here the cause and effect are quite contrary to each other.]

312 Pratāparudriyam

2. Inconsistent and undesirable effect es : Let the desire of the enemy kings who came to the battle field for a victory be so. Their arms are slipping down along with lives at the very glance of Prataparudra. (135)

Here there is not only the uon-attainment of the desired victory for those who came to the battle field (with a hope of victory) but also there is the undesired effect of losing lves.

[When the enemy does not get vietory in the battle over Prataparudra it is only a disappointment and an effect contrary to their effort. But losing lives is an unexpected and undesired effect of the battle. So this is an instance of the secord variety of visama.]

3. Association of incongruous objects as : Where are these kings whose nature is glorious with that kind of wealth and where is this dwelling in the forests that is the abode of inauspeciousness! Thus having observed the enemies again and again in the forests, the sabara heroes are praising the valour of the king Rudra in all quarters. (136) Here the incongruous association of the kings who are fit to dwell in great cities with their dwelling in inauspecious forests is brought about.

Thus the figures of speech based on virodha are classified.

SAMĀLANKĀRA: EQUAL

As the figure sama differs from visama it is now being illuse trated :

If there is connection between like objects it becomes the figure sama.

Where the union of mutually agreeable objects is brought about there it is the figure sama. as - The Brahman, by bringing together all knowledge along with Laksmi befittingly in Prataparudra of his own accrod is becoming blessed. (137)

314 Pratäparudrĺyam

DIPAKĀLANKĀRA : ILLUMINATOR

If implied resemblance is observed in both the objects on hand and not on hand as a whole on account of the common property there it is said dipaka. (140)

Where as a whole there is the implied resemblance between the objects on hand and objects not on hand because of common properties it is dipaka. It is of three types depending on the position of dharma (property) : 1. beginning, 2. middle and 3. at the end.

« 1. Ādidīpaka as : The krtayuga by Nala, the tretayuga by the valarous Rama, the illuminator of the Raghu family, the dvaparayuga by Dharmaraja and the kaliyuga by Virarudra are shining. (141)

Here the similarity is implied in the statement that the kaliyuga is shining due to Virarudra, just as the krta, treta and dvaparayugas shone due to Nala, Rama and Dharmaputra.

[In this verse the common property indicated by the word bhati is used in the beginning of the sentence. So this is an instance of adidipaka.]

2. Madhyadīpaka as : The ocean by the Ganges, the full Moon by moon-light, the Brahman by the Veda and Prataparudra by fame are shine ing. (142)

Here when it is said that Pratäparudra is shining like the ocean by the Ganges, etc., the resemblance is implied.

[Here the dharma indicated by the word rajate is in the middle of the sentence. So this is madhyadipaka.]

3. Antadipaka ası Indra, the king Virarudra and Ädiseșa are protecting the celestial world, world of men and the world of snakes respecti- vely without calamities and anxicties. (143)

Arthälankāra Prakaraņam 315

Here also the resemblance is implied when it is said that, like the celestial world and the world of snakes are protected by Indra and Adisesa (respectively), the world of men is protected by Virarudra.

[In this verse the common property indicated by the word vaksati is used at the end of the sentence. So this is an instance of antadipaka.]

PRATIVASTŪPAMĀLANKĀRA: 1YPICAL COMPARISON

After illustrating the two padarthagatalankaras the two alankāras pertaining to sentence are being illustrated :

It is called prativastüpama in which the common property is expressed separately in two sentences and the similarity is implied.

Where the common property is expressed in two separate sentences as vastuprativastubhava and by which the resemblance (between two things) is implied it is prativastupama. This is of two types depending on similarity (sadharmya) and contrast (vaidharmya).

1. Sādharmya as : The Manthana mountain is the only one capable of agitat- ing the ocean. Pratäparudra is the only one competent to shake the enemies. (144)

Hero when it is said that Pratäparudradeva is capable of shaking the enemies like the Manthana mountain that is capable of agitating the ocean, the similarity or resemblance (between Manthana mountain and Prataparudra) is implied.

[The same capability is expressed in two different words like kşamah and saktah. As such it is prativastūpama.]

2. Vaidharmya as : It is only one Prataparudra that is dexterous in pleasing the public. Baring the Moon there is no one competent to please the cakoras (birds). (145)

316 Pratāparudriyam

Here the resemblance is implied by contrast unequality when it is said that the people are pleased by Virarudra like the Cakoras by the Moon. Next drstānta. DRSȚANTĀLANKĀRA: EXEMPLIFICATION

If a similar property is expressed in two sentences as bimbapratibimbabhava it is said drstanta by scholars.

Where the eommon property is expressed in two sentences through bimbapratibimbabhava it is the figure drstanta. This also by similarity and contrast is of two types.

1. By similarity (sādharmya) as : Let other mountains bear the Earth. But it is only the Meru mountain, whose beautiful bowers create the illusion of the dwelling cities of the lords of quarters, has got the highest fame. Let kings gladden their subjects. But it is only the king Virarudra, who possesses the lustre of the arms that are strong enough to bear the burden of the three worlds, has got that diffe- rent glory. (146) Here because of bimbaprutibimbn! ava the resemblance between Prataparudra and Meru is impiled.

[Here the pratistha is the property of upamana and the mahima is the property of upameya. Due to their similarity they look identical but they are expressed separately. As the com- mon property is expressed in two different sentences through bimbapratibimbabhava 'reflective representation', it becomes the figure drstanta.]

2. By contrast (vaidharmya) as: Fortunes are awakend by a mere benevolent look of the Kakati-lord. The lotuses are asleep so long the Sun does not rise. (147) Here the sense that by a mere benevolent look of Prataparudra the fortunes are awakened just like the blossom- ing of the Jotuses by the rise of the Sun, is expressed by contrast (vaidharmya), through bimbapratibimbabhava.

Arthālankāra Prakaraņam 317

NIDARSANĀLANKARA : ILLUSTRATION

As this is the context of implied similarity the figure nidarsana is being illustrated:

When the relationship of image and its semblance is implied between upamana and upameya on account of the con- nection of impossible properties it becomes (the figure) nidar- sana.

Where the properties of upamana ascribed to upameya do not fit in the relationship of type and prototype is to be resorted to for construing, it becomes one variety of nidarsana. When this order is reversed it becomes the second variety of nidarsana.

[When the properties of upamana are ascribed in upameya the construing of the sense may not fit in. To construe it to the context the relationship of type and prototype is to be resorted to. Then it becomes nidarsana. This is one type. Similarly in the second type when the properties of upameya are attributed to upamana the construing of the sense may not usually fit in. In such circumstances also the relationship of the type and prototype is to be resorted to. This becomes the second variety of nidarsana.]

1. The properties of upamana in upameya as: The Käkati king, dispelling the darkness in the form of enemies, having seated on the gem-set throne, and becoming delightful in the three worlds is possessing the sportive beauty whose happiness (joy) is praised great in the universe of the severe Sun who is kissing the peaks of the Udayagiri. (148)

Here the happiness of the severe Sun does not fit in the present eontext. So recourse to bimbapratibimbabhava is to be taken to construe it by saying that the lustre (of Prataparudra) is similar to that of the Sun.

[Here the Sun is upamana and Pratāparudra upamēya. The lustre of the Sun does not exist in the present context. So as to relate the present object on hand to the Sun it is to be explained

318 Pratāparudrlyam

that Pratäparudra is possessing the lustre which is similar to that of the Sun by creating bimbapratibimbabhava. Here the pro- perties of upamana are ascribed to upameya.]

2. The properties of upameya in upamana as : The pure wealth of fame of the king VIrarudra is to be diseerned in the hallow of the sport-mirror in the form of milk ocean. (149)

As it is impossible to note the pure fame in the milk ocean it is to be construed by resorting to bimbaprotibimbabhava when the similarity is implied. At times this is possible by negation. There also the con- struing is only with the help of bimbapratibimbabhava.

The women of the enemies of the Käkati-king running in each and every forest are leaving the wealth of red lotuses in those places, with their feet that are not marked with red- lack. (150)

Here by saying that they are leaving (now) the wealth of red lotuses was ascribed to their feet some time before.

[On the feet these ladies used to possess beautiful lustre when they were painted with red lack to the one similar to that of red lotuses. Now that lustre which is said to be similar is to be considered in the present context to construe the sense pro- perty by which the bimbapratibimbabhava is established.]

VYATIREKĀLANKARA : CONTRAST OR DISSIMILITUDE

When similarities in differences between upamana and upa- meya are brought out, with the upameya excelling or falling short of upamana it is said vyatireka.

Where there is the excelling of falling short of upameya from upamana through difference and similarity, is implied it is the figure vyatireka.

Arthālankāra Prakaraņam 319

The lilies are not attached to the Sun and the lotuses turn away from the Moon, when Prataparudra who possesses the lustre that is honoured by both lilies and lotuses and wbo is the friend of the universe is existing (born). (151)

Here the all-agreeableness that is not to be seen in the Sun and Moon is to be observed in Prataparudra by saying that he possesses the lustre honoured by lilies and lotuses. This vyatireka is based on ślesa.

[When all agreeableness is described in Pratäparudra the upameya is made to excell the upamana. There is double entendre in the compound 'kuvalayakamaladrtaprakasah'. Kuvalaya means both lily and Earth and kamala means both Laksmi and lotus. There is abhedadhyavasaya between these two senses.]

Next the figure ślesa.

ŚLESA: PARONOMASIA

If similarity of word alone is said with reference to objects on hand, not on hand, and both, this becomes ślesa. There is the double entendre in the first two (categories) but not in the last.

In the two cases where slesa is said with reference to objects on hand only or objects not on hand only there is ślesa connected with both visesana and visesya, i.e., nouns and their attributes. But in the case of the last category of the prakrtapra- krta, i.e., a combination of objects on hand and not on hand there will be slesa in visesana only, i.e., in attributes only. Because if there is slesa in visesyas also it becomes a case of śabdasaktimuladhvani. In the case of kevalaprakrtas 'objects on hand only' and kevalaprakrtas 'objects not on hand only' if it (śleșa) were to depend on sabda 'word', there is no doubt of dhvani 'suggestion'. Here in the course of imparting two mean- ings either by prastuta or aprastuta because of the absence of incongruity abhidha itself becomes capable. But in the case of prastutaprastutasleșa as abhidha is connected with prastuta only, the knowledge of aprastuta entirely depends on vyanjanāvyapara only. This is said in the Kāvyaprakasa as :

320 Pratāparudriyam

"When the force of the word which is capable of giving rise to many meanings is restricted by samyoga, ete.,7 it is only the vyanjanavyapara that becomes responsible for the aprakrta knowledge ".

Like this ślesa is of three kinds.

[In the case of the prakrtaślesa and aprakrtaślesa there exists double entendre all through. Here both the visesanas and visesyas can give rise to many meanings. But in the last category i.e., ubhayaślesa this double entendre cannot exist in all the com- ponents. Here it is only attributes (visesanas) that can give rise to different meanings but not the nouns or visesyas as there is a likelihood of its becoming a case of sabdasaktimuladhvani if visesyas give rise to different meanings.

If a word gives rise to different meanings it is called śleșa. If the meanings pertain to the objects on hand, i.e., prakrtas then it becomes prakritaslesa. When these different meanings are connected with aprakrtas only, i.e., objects not on hand it becomes aprakrtaslesa. But if these different meanings are rela- ted to both prakrta and aprakrta it becomes ubhayaślesa. This is also called prakrtāprakṛtaśleșa

If a word gives rise ta the meanings connected with either prakrtas only or aprakrtas only it cannot be called dhvani, because in considering the different meanings in these two cases, the question of incongruity does not arise, i.e., it is not possible to say that one meaning is connected with prastuta and the other with aprastuta. As such there is vacya i.e., expressed meaning only and there is no room for dhvani though both the visesanas and visesyas give rise to different meanings.

Abhidha is always connected with the prastuta only and the context also fixes it in the sense of prastuta. Hence abhidha cannot point out to the aprastuta and so aprastuta cannot get the appellation the vacyartha In such cases if the knowledge of aprastuta were to be got it must be through vyanjanavyapara only. 7, Cf. vākyapadtya, II, 315-316.

Arthāi-oāra Prakarenam 321 So in ubhayaśleșa, višesanas only can give rise to different meanings but not visesyas. Like this the slesa is of three types! 1. prakrtaślcşa, 2 aprakrtaślesa and 3. ubhayaślesa. A section of the scholars consider the third variety as subdasaktimuladhvani, as the second meaning that is got is only through yycnjara. But our present author likes to differentiate the sabda- śaktimuladhvani from ubhayaślesa. With that view only he laid down the rule that visesya should not give rise to double entendre. Such being the case there will be scope for ślesa. In ubhayaślesa even the aprakrtartha may be through ebhidha. But when the visesyas cannot give rise to double entendre they sterd apart distinctively. So the sense connected with these visesyas is to be.assertained from abhidha only. Hence when the visesyas do not give rise to double entendre it becomes the case of ślesa only but not dhvani.

This slesa through a different rrocess is also of three types: 1. sabdaśleşa, 2. arthaślesa and 3. ubhayas!eşa. When the double entendre is connected with sabda onty it beccmes śabdaślesa which is also known as abhongaślesa. When a word gives rise to two meanings it is called arthaślega which is also called sabhangaslesa. In the combination of these two it is called ubhayaśleşa.]

1. Kevala-prākaranika (connected with objects on hand only) : as : The Sanskrit verse given as an example here, can be con- strued wtih reference to both Visnu and Siva. With reference to Visnu: (a) All the lunar days are worship worthy in the case of Visnu (the husband of LaksmI) who has the mark of peacock-plumage and who possesses as the lustre of a glittering gem. (152) With referece to Śiva : (b) All the lunar days are worship-worthy in the case of Siva (the husband of Uma) who has black neck and who possesses the lustre as that of the Moon on the head. (152)

661-21

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Here Hari and Hara are objects on hand with reference t worship.

[The compound sakalomadhave is to be split as sakala - umadhave and sakalah + madhave. Due to this type of splittin of the word this becomes sabdaslesa.]

2. Aprakaraņika as: Here also in the Sanskrit verse cited there are two mear ings connected with Prataparudra.

(a) This Kakati-lord is equal to those kings born of gres families who possess the lustrous ornaments receive on heads in the virtuous path. (153

(b) This Kakati-lord is equal to the mountains belongin to the great families which possess the wealth of slope that are shining in the paths of stars observed on th peaks. (153

Here as the simile is connected with Hariscandra, etc., wh are born of great families and the mountains of the quarters, i is an instance of objects not on hand.

3. Prakaraņika and aprākaraņika as : (a) This Rudra with the mark pratapa (i.e. Prataparudri who conquered the cities of enemies and who is in th form of ever shining, auspeciousness, and who is th head of the kings stands like Rudra (Siva). (154

This is prakaraņikarha. (b) Pratäparudra stands like Rudra (Siva) who conquere the cities of enemies who possessed the auspeciot Parvati in his entire body and who possessed th Moon on the head. (154

This is aprakaraņikartha. Here Pratäparudra and Rudra are objects on hand and no on hand, raspectively.

Arthālankara Prakaranam 323

PARIKARĀLANKARA : INSINUATOR OR THE SIGNIFICANT

Parikara is said here on account of the peculiarities of its attributes.

When the series of attributes are significant scholars call parikara.

Where there are significant epithets there the figure is parikara; as : The timely behaviour of the king Sevana, who is the dia- mond among the kings of the Yadava clan, who possessed the famous booty of valour, who excells all in the loftiest cavalry and who possesses the wealth of honour, is known only to that GautamI (river) when insulted by some general of the armies of the emperor Rudra. (155) Here all the attributes like the king, etc , are pregnant with meaning.

[When it is said that the attributes must be significant it means that the suggested meaning lies imbeded there. Hence perspicuous and deep words are used here. But this is not a case of dhvani. In these instances the suggested sense helps the expressed sense only. Hence the name parikara.

The usage of a number of epithets is a speciality here and they must be significant. It is only on account of the significance of these epithets there is charm in the idea when it becomes a figure of speech. This is indicated by the usage visesanaparam- para in the definition. As the suggested sense only supports the expressed sense the suggestion does not become important but only lies embryonic.

AKȘEPALANKARA : PARALEPSIS

Next the figure aksepa : If there is an apparent denial of what is said and going to be said with a view to indicate some special meaning it is called āksepa.

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Where there is an apparent denial of some thing that is on hand that is already expressed or would be expressed for convey- ing a special meaning there exists the figure aksepa. In the case of uktavişayakşepa at times the vastu (idea) is denied and on other occasions the narration is denied. But in the case of vakşyamanavişayaksepa it is only the narration that is denied.

Here the first variety lies in having known it in its ordinary form in the beginning and then denying it by means of a special form. The second variety lies in narrating a thing in its ordinary form and denying it as connected with some other thing. Thus this akşepa is of four types. Their examples in order :

1. Uktavişayākșepa as: Oh, the head of the kings! We are not the messangers. No one is sald to be an enemy to you, who looks upon the universe as a family. (156)

In this speech of those who arrange sandhi and vigraha for the kings, there is the denial of the vastu (ideas) in the state- ment 'we are not the messangers'. That (denial) being incon- gruous ends up in the essense that they are speaking truth without narrating the falsehood as required for the occasion connected with sandhi and vigraha. On the other hand the special sense that he (Rudradeva) has to protect those (enemy) kings as servants as it is not possible for any one to be his enemy when -he is the lord of the universe is conveyed.

[This indicates that the denial at first made is not a real denial but only an apparent one which.gives room for a special sense.]

2. Kathananişedha as: Oh, king Pratapa ! when you are the place of refuge for the three worlds how can the statement that we are without help fit in? When you are capable of protecting all people, to say that you should protect us, is surely senseless. And when you are being saluted by the three worlds it is evident that we are (also) saluting you. (157):

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In this verse, because of the uktikathananisedha by the words vayam asaranah and because it is only an apparent one, the special se ise suggested is that the protection is inevitable.

3. Kathananisedha after stating the usual thing in the case of 'yet to be said' as : Oh, you born of the Kakati family, we communicate to you this much: when you are omniccient and protector what is it to be communicated ? (158)

Here at first there is the usual statement as 'we are come municating'. But there is the kathananisedha apparently after- wards. So the special sense implied is that they should be protected always.

4. Amsantaranişedhu after stating an amia as : Pratäparudra by nature possesses the well-known power and fate also gives a helping hand to his valour. You possess the weight of cotton. If this 'were to be correct, what is the use of saying further ? (159)

Here it is said, as the utterances of the women of the enemies : "Prataparudra is great and you are all little". Having said this much they are negating further statement by the words "what is to be said further" in an apparent manner. By this the special sense implied is that they should always appease Prataparudra by (salutations) obrdience and never to have enemity with him.

Likewise an apparent order not to the taste is also known as āksepa.

Just as the negation of an object that is liked bscomes apparent when it does not fit in the context, the crder of an object that is not liked also does not fit in the context, and the order in it becomes apparent.

Hubi, if you feel like leaving the service of Prataparudra, you can leave it. The life of the women of the foresters is being practised by me. (160)

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Leaving the service of Pratäparudra which is not to the taste is ordered by a lady of the enemy. This order not fitting in the context ends in abhasa. From the statement that she is learning the style of the women of the foresters it is clear that this order is only an apparent one.

VYAJASTUTYALANKĀRA : ARTFUL PRAISC As the context belongs to implication (the figure) vyaja- stuti is enumerated :

. It is vyājastuti where praise is understood from the ex. pressed censure and blame is understood from praise. If praise is suggested through censure it is one variety of vyajastuti and when blame is suggested through praise there exists the second veriety of vyajastuti. Examples in order:

1. Nindastuti as: What is it that is made white by the fame of the Kakati- lord? Because, even now, much blackness is seen on the faces of his enemies. (161) [Here the censure, that the fame of Prataparudra is in- capable of making things white, is clear. But on contemplation it will be understood that excepting the faces of enemies the rest of the world is made white. It is natural that the faces of enemies become more and more black, as the fame of Pratapa- rudra spreads gradually through out. So the praise is suggested through censure in this caso.]

2. Stutininda : Oh! How adventurous are the enemies of Prataparudra. They are entering the oceans and cimbing up the mountains all through. (162) Here the praise of the adventures of the enemies suggests their timidity.

APRASTUTAPRAŠAMSĀLANKĀRA : INDIRECT DESCRIPTION As the context belongs to implication aprastutaprasamsa is being enumerated.

Arthālankāra Prakaraņam 327

Where an object on hand is indicated by the description of an object not on hand, it becomes aprastutaprasamsa which is governed by sarupya, etc.

Where by means of sārūpya, sāmānyavisesabhāva or kārya- karanabhava there is the knowledge of the object on hand, through the narration of an otject not on hand, it is oprastuta- prasamsa. By saying that the knowledge of prastuta is from aprastuta, samasokti is warded off. Because of the knowledge of cause from the effect, there will not be a doubt of anumana; as both pratyayya and pratyayaka (that which is indicated and that which indicates) are prakarainikas (the contextuals) in anumana. Similarly in paryayokti also the cause and effect are contextual only. Hence even that figure paryāyokti also is excluded. This is not a case of dhvani, as the suggested sense is subordinated to the expressed sense.

[When the description of an object not on hand reminds us of the object on hahd it becomes the figure aprastutaprasamsa. This is possible only because of some relationship between these two objects, i.e., object not on hand and object on hand. This relationship, which happens to be responsible for the knowledge of another object, is of three types: 1. sarūpya, 2. sāmānya- višeşabhāva and 3. kāryakāraņabhāva. In sāmānyavišeşabhāva the samanya depends on viseşa and vice versa. As such both samanya and viseşa are close to each other. Likewise the effect depends on the cause and the cause is in accordance with the effect. These two relationships, i.e., samanyavisesabhāva and kāryakāraņabhāva are real. But sarūpya is not real as it is obtained through pratiti only. Based on these the figure aprastutaprasamsa becomes fivefold: Where there is:

1. the knowlege of visesa which is the subject on hand through the samana which is not on hand,

2. the knowledge of samanya which is on hnnd through visesa which is not on hand,

3. the knowledge of the effect which is prastuta through the cause which is aprastuta,

328 Pratāparudriyam

4. the knowledg of the cause which is prastuta through the effect which is aprastuta, and

5. the knowledge of sarupya (resemblance) which is prastuta through sarupya whieh is aprastuta.]

6. Sarüpya as: What is it that can be obtained by the multitude of bees from the decayed trees whose fragrance is exhausted in the quarters. Punnaga with its new fragrant flowers is giving delight. Start your dwellings (here). (163)

Here through the episode of bees which is a subject not on hand, a subjeet on hand is indicated that the scholars having left all other kings whose fortunes are incomplete should serve Prataparudra only who is complete in all qualities and who delights all people.

[Here the episode of bees is aprastuta and the episode of Pratāparudra is prastuta ]

2. Knowledge of visesa from samanya as : The creation of Brahman which brings forth the eminent kings is famous. Because of their rules this middle world, i.e., Earth, obtained the fortune of fondling. (164)

Here the samanya is expressed when the greatness of the qualities which is on hand, of Prataparudra is indicated.

3. Knowledge of samanya from viseşa as:

Though longs to look at she does not see. Though curious to speak does not speak. Though wishes to touch does not touch. What a creation is a woman ! (165)

Here the idea that modesty is great in ladies at the first. meeting (with their husbands) is samanya which is intended as prastuta. To indicate this a visesa is expressed.

[The effects of modesty is visesa.]

Arthalankara Prakaraņam 329

4. Knowledge of cause from effect as : When the Kakati-lord descendcd on this Earth, the oceans looked like plains and the mountains low. (1€6)

Here the plainness of the nceans and the lowness of the mountains are the effects and aprastutas. From this the depth of Prataparudra which is the cause is understood.

5. Knowledge of efject from the cause as : The benevolent look of the king Prataparudra who is a kalpa tree on Earth is cast on me; friend! why are you surprised ? (167) The cause of the benevolent look ef Pratāparudra is informed to a friend who questioned him as to how the effect of grent fortune was obtained in astonishment. In this figure the other varieties of iacyasambhava. asam. bhava and ubhayarupas, (i.e. sambh.va and asambhava fcims) are to be noted for themselves (from other texts). PARYAYOKTYALANKARA : PERIPHRASIS In the context of implication paryayakti is enumerated. It is said paryayokti where the cause connectea with the present (context) is indicated by the description of the effect on hand. Where the description of the effect of the present context Indicates the cause of the present context alone it becomes paryayokti.

The soldiers of the Käkatlya army, whose bodies are with the dust of the battle field are cleansing their bodies in the wells of the mansions of the enemy kings. (168) Here by describing the act of the soldiers of Pratāparudra that they are sporting in the waters of the wells in the cities of the enemies which is an effect, it is understood that even at the commencement of the battle the enemy kings having left their towns ran away as the cause. Next Pratipa :

330 PratāparudrĪyam

PRAIIPALANKĀRA : THE CONVERSE

If there is the denial of upamana by using the word kt (in the sense of what is the use) or if the upamana is treated : 'upameya it is said pratipa. (16

When a upamana (i.e. an object known as the standard comparison) is denied on account of the superiority of tl upameya (i.e. objects of comparison) it becomes the first varie of pratipa. And where standard of comparison turned in object of comparison it becomes second variety (of pratipa.)

1. Upamana is denied as: When the fame of Pratäparudra is shining in the quarte why does this shameless Moon rise ? (17

[Here it means that the hloon is useless as the purpose the Moon is achieved by the fame itself. So here the object comparison. i.e. the Moon is denied of his status.]

2. Upamana turning into upameya as: No doubt he is Laksmipati (Vişnu) in the Kākati famil How is it the Meru is compared with him by the shallo fellows ? (17

LHere the Meru which is a standard of comparison made an object of comparison and Prataparudra becomes t! standard of comparison. So this is an instance of the secoi variety of pratipa.]

ANUMANĀLANKĀRA : INFERENCE

Next the figures based on logic are being enumerate When there is the mention of sadhya and sadhana it is sa anumāna.

[This figure is based on logic. Hence the technical tern nology of logic is made use of in the definition of this figur The words sadhya, sadhana, vyānti, paksa, sapaksa and vipak are some of the technical terms used in the science of logic.

Arthalankara Prakaranam 331

To infer the cause from the effect is the feature of infe- rence. The oft quoted example serves as an illustration to drive home this point. The smoke is the outcome of the fire. So fire is the cause and the smoke is the effect. It is a natural pheno- menon to obsorve smoke from a kitchen. From this experience one is prone to entertain the idea that fire exists wherever. there is smoke. Based on this experience when one sees smoke on a hill he immediately inferes fire on the hill. Here the smoke which prompts his inference is called sadhana; and the fire infered called sadhya. The hill which is a locus here is known as paksa.

So the inference of fire wherever there is smoke is called vyäpti. The sadhana which is nothing but the cause must be present in three things: 1. in paksa, 2. in sapaksa and 3. in vipakşa, Here the bill is the paksa; the kitchen is the sapakąa and the tank is the vipaksa. So what is connected with these sadhana certainiy becomes sadhya.

The process of inference in legic applies even in the field of alankara also. Though the process of inference is the same there is difference between these two. The infererce in the logic is not charming whereas the inferences in the figure of speech is charming. Anumana is of two types: 1. svarthanumara and 2. pararthanumana. If anumana is connected with the self it becomes svarthanumana and when it is connected with others it becomes porarthanumana. In the field of figures there will not be any distinction between these two types of anumana. As the anumana in rhetoric appears to have been connected with rūpaka it is distinct from the anumana of the logic.

The smoke of dust that is connected with the armies is spreading. The sparks of fire emanated from the swords of soldiers are visible. Therefore I infer that the great fire of anger of the king Rudra produced in the summer of military march is consuming the towns of the enemy kings. (172) [Here the fire of anger (krodhagni) is sadhya and the smoke of dust (rajodhuma) is sadhana, There is rūpaka in 'places like rajodhūma, yātrāsūcisamaya and krodhāgni, etc. This 'is an instance of rūpakānumāna.]

332 Pratäparudriyam

KAVYALINGALANKARA : POETICAL CAUSE

When the reason is embeded either in a sentence or in a word it is said kavyalinga.

If the reason is stated either in a sentence or in a word it is kavyalinga.

1, Vakyagata as: The kings who buar in mind the pancāksarimantra : pra- ta-pa-ru-dra which is wonderful and auspicious are controlling wealth. (173)

Here the reason is embeded in a sentence.

2. Padagata as : The seripis on the fore-heads of the kings though faded away is again eul vened being drenched with the nector of the moon-light of the nails of the tocs of the lord Pratäpa- rudra. (174)

Uere the denching with the moon-light of the nails of the feet of the king Prataparudra is the cause for the enlivening of the serint on the foreheads of the kings which faded away previcusly. As it is in the form of a visesana it is known as padarthagatu.

Next Arthāntaranyasa :

ARTHANTARANYASALANKARA : CORROBORATION

It is defned as arthantaranyasa where there is the mutual strengthening between effect and cause and general and parti- eular.

Where the prakrta or the subject on hand is supported either by kāryakāraņabhāva or sāmānyaviseșabhāva there it is arthantaranyāsa.

[Here the cause must strengthen the effect or the effect must strengthen the cause, Similarly a general proposition -must

Arthalankara Prakererar 373

strengthen the particular or the particaler ih . ger.ral. In this process this figure is fourfold as foilows: a) Strengthening the particula: (prope .: ion) with : general, b) Strengthening the general with a gartieu'ur. c) Strengthening the cause with the effe:t. and d) Strengthening the effect with the cause.

1. Kāryakāraņabhāva as: Oh kings! bend down befere Pra'aparudra: do net raise up. He bends down these who raise up and :. ises those who bend down. (175)

Here the effect of raising up is because cf vendirg do wn a sause which is supported. [ This idea of the verse is that by beine obedirnt one raises up in life. Raising up is the effert and berding dmp is the eause. This cause is strengthened by the effect.] 2. Strengthening the particular with a general as: The enemy kings being agitated by the accomplished acts of war of the king Rudra are afraid of the ininimate objects even. It is wonderful verily everything becmes the cause of fear for a person afraid of. (176)

Here the statement that everything becomes the cause of fear for those who are afraid which is general strergthens the particular statement that the enemy kings are afraid of even the inanimate objects. 3. Strengthening the general (proposition) by a general as: Even a wicked person becomes good with the association of the great. The kali having associated with Prataparudra, is behaving like krtayuga. (177) Here a general proposition is supported by the particular that kali with the influence of the association of Prataparudra is behaving like krtayuga.

Pratāparudriyam

In the case of karyakaranabhava the strengthening of the effect by a cause, is not illustrated under the impression that it gets merged with the kavyalinga. Hence the arthantaranyasa is only of three types.

The figures of speech based on vakya (MImamsa) are enumerated after those that are based on logic:

YATHĀSAMKHYĀLANKĀRA : RELATIVE ORDER

If a reference is made to the objects that are mentioned previously in order it is called yathasamkha.

If the order in which the objects are mentioned first, ix followed when they ara referred to afterwards it is the figure yathasamkhyā.

as - The Brahman, having observed the depth, loftyness and the unrestrained nature of Prataparudra is of the opinion that the creation of oceans, mountains and the cordinal elephants is useless. (178)

[Here the depth, loftyness and the unrestrained nature are the uddistas and the oceans, mountains and the cordinal elephants are the anuddistas, which are referred to in the order in which the first three are mentioned. So this is the figure yathasamkhya. This is also called the figure krama.]

ARTHĀPATTYALAŃKARA : PRESUMPTION OR NECESSARY CONCLUSION

If, by the production of one thing, there is the produetion of some other thing also, by means of the maxim kaimutya, it is known as the figure arthapatti.

When a conclusion in the case of a thing is automatically made easy, on the strength of the consumation of other things by means of kaimutyanyaya it is the figure arthapatti. This is not to be doubted as the figure anumana as there is no rela- tionship whatsoover in kaimutyanyāya. .

Arthalankāra Prakaranam 335

[The kaimutyanāya is known as dandāpūpikānyāya8 i.e., the maxim of the stick and the cak-, This can be understocd in the light of the following incident.

Some cakes were fastened to a stick on one end and the other end of which is tied to a peg. The rats in that room began eating the ordinary end of the stick. When questioned by the householder, his wife narrated him the act of the rates, from which it is automatically deduced that the cakes were also eaten by the rats.

This is usually expressed as "what to say about the cakes, when the rats ate the stick itself?".8 The cake is an edible and the stick is not an edible. Sueh being the case when the rats ate the stick which is not an edible, it goes without saying that they ate the cakes which are edibles. This is callel the dandapuoi- kānyāya.] as- When the king Prataparudra possesses the knotted eyetrows that indicated his anger a bit, the Sevana lord, though oceupy- ing the world with the tumultuary of the stampece of various horses that are agitated, became subdued. why count the other kings whose anger is rendered useless? (179)

[This means that it goes without saying that all other kings were defeated when the most powerful king Sevana himself was vanquished. This is an instance of arthapatti, as some other aprakaranika sense is arrived at from the prakaranika sense of the episode of Sevanapati.]

Again as: Even the golden mountain (i.e. mountain Meru) which is excellent in the three worlds falls short of a comparison with the king Prataparudra. Why count other mountains or kings? (180)

Here with reference to Prataparudra even the mountain Meru became useless. By this the uselessness of other kings is understood by the kaimutya maxim.

8. dandān eva bhakşayataļ apūpāh kimuta.

336 Pratāparudriyam

PARISAMKHYALANKARA : SPECIAL MENTION

To restrict a thing to a place when it can appear in many places simultaneously is said to be parisamkhya.

If an object can be thought of (existirg) in many places at the same time to restrict it to a particular place warding it off from other places, becomes parisamkhya. It is divided into two: 1. praśnapurvika and 2 apraśnapurvika. Again each of these two are twofold: 1. in which sabda is varjaniya (excluded) and 2. in which artha is varjaniya. Thus this is fourfold.

1. Prašnapūrvikasabdavarjanīja as: What is an ornament to the three worlds? The chief of the Kakatiyas but not the Meru mountain. Who is fit to be sung by the scholars? The king Rudra but not the mountain Mandara. (181)

[Here questions and answers can be observed.

When the question of decorating three worlds is connected with the Kakati king and the Meru mountain simultaneously 'to exclude Meru mountain' and 'to restrict it to the Käkati king' become the characteristic features of the figure parisamkhya. Similar is the position with regard to the second half of the verse. Here the exclusion is verbally expressed. So this is an instance of sabdavarjaniyā.]

2. Praśnapürvikārthavarjanīya as : What is the white canopy to the universe? The fame of the Kakati family. What is comfort to the Earth? Dwelling on the arms of the king Rudra ? (182)

[Here when the qualities of a canopy are seen both in the . moon-light and in the fame of Prataparudra they are restric- ted to the fame of Rudra and warded off from the moon-light. But the exclusion of it from the moon-light is not verbally expressed. So it is a case of arthavarjaniya.]

Arthalankāra Prakaranam 33* 3. Apraśnapūrvikasabdavarjanīya as: To the king Rudra the affection is ror piety (dharma) but not for carnal comforts; the attachment is towards the assem- bly of the pious but not towards the assembly of ladies; vice is in gnomic science but not in dice; regular skill is only in acquiring fame but not in acquiring wealth; (and) pleasure is in learning but not in servants. (183) [Here the restriction of a quality to a particular thing by excluding it from other can be clearly noticed. There are no questions here as in the previous examples and the exclusion is verbally expressed. So this is aprasnaprvikasabdavarjanīya.] 4. Apraśnapūrvikarthavarjanīya as: The Earth itself is the universe. Svayambhudeva is the only god. Prataparudra is the only king. Ekasilā is the only auspicious town. When the king Rudra who routed out the enemies is pre- tecting the Earth fear from serpents or traitors is only in the netherlands and the episodes of Indra or the stories of destroy- ing families is only in the Heaven. (184-185) Double entendre of ahibhaya and gotrabhid enhances the beauty of the figure. [In this verse varjaniya is artha. There are no questions here.] UTTARALANKARA : REPLY

When a question can be guessed from an answer and when there are series of questions and answers it is called uttara. If a question can be inferred from an answer given it becomes first kind of uttara. For the sake of beanty, if there are series of extraordinary questions followed by replies it is a second type of uttara. They are in order : 1. Question can be inferred as! Your scholarship which is well established in the scholar- dom is the scholarship? Still there is something to learn ! It is only after Prataparudra became the king, the glory of piety is

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338 Pratāparudriyam

clearly gaining victory with its head raised and the brahmins are pleased with the starting of the multifarious fortunes sprout- ing. (186)

In this verse it is said that from the time of Prataparudra's occupation of the throne the Earth became established of dharma and the brahmins also were well pleased. Here the question, whether piety is well protected in the reign of Prataparudra and whether the brahmins are happy are to be guessed from the answer given and from the (rhetorical) question "what is it you still ask?".

2. Series of questions and answers as : What is wealth ? Traditional knowledge. What is profit? Friendship with the good. Which is A city? Ekasila. Who is the king? The king Virarudra, (187)

[As there are series of questions and answers this is an instance of the second variety of uttara.]

VIKALPALANKĀRA: ALTERNATIVE

In the context of the figures based on vākyanyāya vikalpa is being enumerated.

When there is the opposition of two equal forces it is called the figure vikalpa.

When two opposite forces of equal strength are operative simultaneously, if one disappears it becomes the figure vikalpa. It is charming on account of the inliad aupamya.

[Two forces of equal strength, when opposed to each other though operative simultaneously on the strength of the rules can not exist in a place at one and the same time. As they are opposed to each other, only one should find place and the other should disappear. Then this vikalpa becomes a figure of speech. Same is the principle with regard to the vikalpa of the Mimamsa- kas. But in the vikalpa of the Mimamsakas there will not be aupamya whereas there is aupamya in the vikalpa of the Ālankarikas.]

Azthalrkāra Prakaraņam 339

Oh, kings you bend down your heads or bows. Resort to the shade of tne feet of the lord of Ändhras or the mountain Vindhya. (188)

When the problem of bending down the heads or the bows in accordance with the principle of sandhi and vigraha came to the mind of other kings simultancously in the presence of Prataparudra as they are opposed to each other and cannot be operative simultaneously, it becomes a case of vikalpa.

[In this verse an advice is given to the opponents of Praiapatudra that either they should surrender themselves to him or wage war against him. These two ihings are opposed to each other in the case of kings. But according to the chapter on sandhi it is always better to surrender to the opponent when he is more powerful and according to the chapter on vigraha on the dictum 'fame or death' to wage war is better. In the light of these two principles the bending of the heads and the bows operate simulrancously. But as they are opposed to each other they cannot exist in one and the same place. If the heads are bent down there cannot be the bending of the bows and vice versa. Thus as the simultaneity is impossible it becomes the figure vikalpa, The similarity exists in hending of the beads and the bows.]

Samuccaya which is opposed to vikalpa is now enumera- ted :

SAMUCCAYĀLANKĀRA : CONJUNCTION

If there is the simultaneity of the qualities (guna) and actions (kriya) it is said samuccaya.

FIRST VARIETY OF SAMUCCAYA

Where there is the deseription of simultaneous existence of guņas like vaimalya and kriyās like darsana there it is the figure samuccaya.

[The guņas and kriyās can be enumerated either sepera- tely or in combination. They may be different or united,

340 Pratāparudriyam

Though they are said to exist at one and the same time, if one quality exists in one thing and another quality in another thing it becomes the case of bhinnavişayata. Similarly there can be bhinnavisayata with regard to kriyas also. If one happens to be the locus for all qualities and all actions, it is ekavisayota.

1. Gunasamuccaya as : When the king Prataparudra ascended the throne the hearts of the good became pellucid while that of the wicked became turbid. (189)

[Here there is the simultaneous existence of the opposite qualities like prasanna and kaluşa in different places,]

2. Kriyāsamuccaya as : The king is beholding her. The cupid is entering. The anger is slipping away. The mind is agitated. Everything is a void. Friends,- see, what it is. (190)

[Iere the kriyāsamuccaya is clear.]

These are examples connected with bhinnavigayatva.

3. Ekavişayatva as : When the kings who arrived at the Kakati town to wait upon the lord VIrarudra who is highly famous in the three worlds, are delaying (their return journey) their ladies rush to the gates, observe before, sigh deeply, wither away, weep aloud, get emaciated, get bewildered, and swoon .. (191)

[Here there is no difference in visaya. All the actions are connected with the same objects. Hence this is ekavişayasamu- ccayalankāra.]

4. Guņakriyā samuccaya as: When the Lord Kakati Virarudra started on his victorious expeditions, the multitude of the enemy kings is loitering in every forest with rutting elephants, shaking soldiers, palpitating horses, running chariots, lustreless faces, agitated eyes, starting imbecility and with the generating tremour. (192)

Arthalaākāra Prakaraņam 341

[Here the union of gunas and kriyas connected with diffe- rent objects can be noticed.]

SECOND VARIETY OF SAMUCCAYA

If many reasons help to produce one effect, as in the case of the maxim of 'the threshing floor and the pigeons', it becomes the second variety of samuccaya.

Where many causes exist of their own accord to bring about an effect there is also the figure samuccaya because of the existence of many things simultaneously.

Pure fame, valorous behaviour, irreproachable knowledge and spotless family highlighted the extraordinary style of the king Pratāparudra. (193)

Though the fame, etc., became the causes separately in acquiring the extraordinary style they are connected on the strength of the maxim of 'the threshing floor and the pigeons'.

[ Khalekapotanyaya is connected with the following story of the Pancatantra. A multitude of pigeons alighted at a corn- field, but they were caught in a net though they vie with each other in swallowing the corn in the beginning, they conferred together when they were thus caught and flew away along with the net consolidating their strength. When the threads were cut off by their friend musika they came out and lived happily. This story illustrates how all the pigeons came together to achieve one single effect. Similarly in the present case the fame, etc., became the causes for the effect of acquiring extra- ordinary style.]

Next samadhi is enumerated :

SAMADHYALANKĀRA : FACILITATION

When a cause is about to accomplish the effect if some other cause acts upon as in the kākataliyanyaya it is said samādhi

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342 Pratāparudrļyam

When a cause starts to accomplish an effect another cause, like in the maxim of 'crow and the palm-fruit', enters in to make the effect easy there exists the figure samadhi.

[The kākatālīyanyāya: A crow purched on a palm-fruit on the tree. As the fruit was ripe by that time it fell unexpec- tedly. All this is an unexpected action. So when anything is accomplished unexpectedly it goes by the name kakatāliyanyāya. Similarly in the present case also there is the presence of some other cause which makes the accomplishment of an effect easy.]

as=

In the mouths of the kings, who were singing the praise of the king Rudra to appease his anger in the battle field, the straw is falling due to the wind. It is the partiality of the Almighty. (194)

Here the falling of straw in the mouths of the kings who were singing in praise of Pratäparudra to appease his anger in the battle filed like in the kakataliyanyaya makes the effect of bringing down the anger easy.

Next, figures based on lokanyaya are being enumerated.

BHAVIKĀLANKĀRA: VISION

It is termed bhavika when the past and future come to the mind as it were present by means of the narration of a won- derful (object).

Where by the description of a wonderful episode the objects of the past and future stand as if it were present there exists the figure bhavika. This appearance of the past and future as it were present is not incongruous; the bhavana or idea rises in the minds of those who contemplate due to the deseription of a wonderful object. If there is the contemplation of these objeets in the mind again and again it strikes certainly at the mind as it were present, like the appearance of the damsel in the mind of a traveller who contemplates deeply on her.

Arthalankāra Prakaraņam 343

This is not svabhavokti. In this fgure the appearance of the object is due to the realistic description of the object, whereas in bhavika it is achieved by the wonderful This is not the figure rasavad. In rasavad the existence of sentiment is because of the vibhavas, whereas in bhavika it is due to the wonderful. This is not utpreksa also as there is no adhyavasaya of the past and future on the present. This is also not the figure bhrantiman as the bhavana is not in the form of bhranti or doubt. Hence this figure is above all these figures. as- Hari ( Visnu) appears in the form of a boar on the banner of the Kakati-lord, on whose tip of the teeth the Earth appears like a particle of mud. (195)

Here on account of the description that the Earth com- prising of all the eighteen islands, is appearing like a particle of mud on the tip of the teeth, there is a note of wonder and in the course of that wonderful contemplation or imagination the Earth appears as present in the mind. As such this is the figure bhāvika.

Next the figure pratyanika is illustrated :

PRATYANĪKALAN KĀRA : RIVALRY

When avenging a powerful opponent becomes difficult, to harm those connected with him is called pratyanika.

Where it is not possible to avenge the enemy who is power- ful due to incapacity, to harm those who are connected with him is known as the figure pratyanika.

The submarine-fire whose greatness is repelled by the heat of the valour of the Kakati-lord is regularly teasing the ocean who possesses the depth equal to that of Prataparudra in and out. (196)

Here the similarity between the depth of Prataparudra and the ocean is the cause by which it becomes a figure of speech.

344 Pratäparudriyam

Next vyāghāta :

VYAGHATALANKĀRA: FRUSTRATION

If a thing which is accomplished by a person by some means is undone by some other person by the same means it is said vyaghāta.

When a thing is achieved by some person by some means, the same thing if destroyed by some other person by the same means it is vyāghata.

as- He who is born of the Kakatlya family is greater than he who is born of navel (i.e. Brahman). He is depriving the kings who are born of the arms, of their birth with the same arms. (197)

[Here it is said that Brahman created the kings, i.e., ksatriyas from his arms. But Pratāparudra is undoing this crea- tion with his arms, i.e. he is destroying these kings with his arms in the battle. This is a case of the figure vyaghata.]

Next the figure paryaya is illustrated on account of the context of the figure based on lokanyaya :

PARYAYĀLANKARA : SEQUENCE

If a thing resides in different places in succession or diffes rent things in one place in succession it is the figure called paryāya.

Where one object resides in different places in succession it becomes one variety of paryaya. This does not come under the figure visesa because in viseșa an object exists in many simule taneously whereas- in this paryaya it exists in suceession. In the same manner, if many things exist in one place in succession it is the second variety of paryaya. This does not come under the figure samuccaya, as in samuccaya also the existence of many in one simultaneously is observed and in the present case the existence is only in succession.

Arthālankāra Prakaraņam 345

1. One thing in different plices in succession as : The Earth which was in good old days on the teeth of the lord Saurl in the disguise of a boar, and afterwards on the mul- titude of the heads of AJisesa the lord of the nether world is now festive on the arms, which are renowned for their strength in bearing the universe, of the great Kakati-lord who tops the kings. (198)

Here the resting on one single Earth in many places in succession is depicted. (So this is the first variety of parjaya).

2. Many things in one place in succession as : From whose mouths valourous statements infused with the dignity appeared in the presence of their wives, from the same place of the kings who are afraid of the sight of the king Prataparudra timid words are emerging cut. (199)

[Here valourous statements and timid words are said to emerge out from the same mouths of the same kings. So this is an instance of the second variety of the figure paryaya.]

Next the figure suksma is being illustrated:

SŪKSMĀLANKARA: SUBTLE

It is called suksma where a subtle meaning which is not distinct is made clear.

A meaning which can be understood by the clever only if made clear by means of facial expressions and gestures becomes the figure suksma.

as -

The girl, having seen the messenger sent by the king in the presence of the elders, is anointing (the paste of) musk with a smile all over the body. (200)

Here by anointing musk on the body it is made clear that the night is the appointed time.

346 Pratāparudriyam

The anointing of the musk on the body indicates that the night is the appointed time for the king to approach her. This is made clear to the clever messenger who was sent by the king. The elders who were there could not understand this indication. So this is called the figure suksma.

Next udattalankara is being enumerated. It is also based on lokanyāya and so fit for following sūksma.

UDĀTTALANKĀRA: THE EXALTED

If there is the description of an object to its exceeding limits it becomes udatta.

Where there is the description of an object which is pros- perous and excels all ordinary experience there arises the figure udatta.

as= It is all by the grace of the munificience of the king Rudre the scholars who came to the town Ekasila, standing in the great gates of the golden houses which possessed the diamond arches are happy to observe the boys eager to play riding on the youn- glingsof elephants in the precincts of the houses. (201)-

[Here the description of an object which can grow leaps and bounds can be observed. So this is a case of the figure udātta.]

Because of the same nyaya parivrtti is illustrated:

PARIVRTTYALANKĀRA : BARTER

If there is the exchange of a thing for what is 1. equal, 2. less, or 3. greater it is called parivrtti.

If there is an'exchange of equal, less and greater objects with equal, greater and less objects it becomes parivrtti. With equals it is samaparivrtti; with less it is adhikoparivetti and with greater it is nyunaparivrtti.

Arthalankāra Prakaraņam 347

1. Samaparivrtti with equal objects as: The poets having given words that sprinkle roctor to the Kakati king are obtaining from him thousands of sn ellirg cle- phants. (202)

Here there is equality between words and th: mell'ng elephsnts.

2. Adhikaparivrtti with less objects as: All the kings having presented elephants and herses to the lord Prataparudra are receiving his steady grace. (203)

Here the grace of Prataparudra reccived by the kings is greater than the presents of elephants made.

3. Nyunaparivrtti with greater objects as: The enemy kings who are vanquished in the battle by Prataparudra having given ornaments to the kiratas are faking the garments, etc., made of bark. (204)

Here the bark garments received are less then the orna- ments given away. Next the figures based on frathalanydio are being enume- rated : KĀRAŅAMĀLĀLANKĀRA : GARLAND OF CAUSES If the preceding objects ars set as causes to the sueceeding objeets in order it is said the figure kāranamālā. When the preceding objects become the causes of the succeeding objects in order it becomes the figure karonamala. as- Highlighted modesty by education, acquisition of qualities by affability and the love of subjects by the qualities are the order in the Kakati-lord. (205)

[Here the education, etc., are the causes of modesty, etc. So this becomes the figure karanamala.]

348 Pratāparudryam

EKAVALYALANKĀRA : NECKLACE

When succeeding things become the attributes connected with the preceding things in order it is ekāvali.

If the succeeding thing becomes the attribute of the preceding thing it is called the figure ekāvali. as- (a) The city of Prataparudra shines with the blessed souls. These good people are with fortunes and the fortunes are with stability. (:06)

This is a positive illustration. [Here the city, etc., that precede become the viseşanas for the good pecple, ete., that succeed. So this is an instance of ekavali.] (b) A negative illustration as : It is not a kingdom where the subjects are not abounding in wealth. They are not subjects to whom the Kakati-lord himself is not the master. (207)

[In this figure the preceding and succeeding sen- tences unite together and appear as a single unit. So the name ekavali is befitting.]

MALĀDIPAKALANKĀRA: SERIAL ILLUMINATOR

If each preceding thing qualifies each succeeding one it is called maladīpaka.

It is maladipakalankara where each preceding thing becomes a qualification to each succeeding one.

as- The excelling fortune approached the Earth, the Earth . the arms of the Kakati-lord, the arms the unequalled valour, and the valour the three worlds. (208)

[Here greatness is assigned to the Earth, etc., by fortune, etc, So this is an Instance of maladipaka.]

Arthālankāre Prakaraņam 349

SARĀLANKĀRA : CLIMAX

A gradual rise in excellence is called the figure sara

In the universe shines the Earth, on the Earth the town Bkasila, there the Kakatiya family and in it the king Rudra. (209)

This figure sara, pertaining to Pratäparudra who bappens to be the essence of the entire universe, possesses the nomen- clature justified. Thus ends the Chapter on Figure of Speech based on sense in the rhetoric Prataparudrayascbhūșana, a com- position of Vidyanātha.

CHAPTER ON MIXED FIGURES

Next samsrsti and samkara are being enumerated, Tast as tbe gold ornaments and diamond-ornaments, which becrme the cause of beauty separately, can become more beauhifn: hy their mutual association, the figures like rupaka. etc., in a con pos trn also by their mutual association appear more charnig Th:s relationship is of two types: 1. samyogarupa and 2 samuidye- rupa. Samyoga is like tilatandulanyaya (the maxim . ! se-amum and rice) and samavaya is lıke kşiraniranayu the maxim of milk and water). It is samsrsti by the relaticnship of tilatandulanyaya and it is samkara by the relatici .hip of kşiraniranyäya. As these two separatelv becene the cau-es for the enhacement of beauty they are conswered fgure- but ret as a residue of the figures already enumerated. Here in th: Srst instance samsrsti is being explained. SAMSRSTI: COMBINATION Where the figures mix with each other by the mauim of sesamum and rice, it is said as samsrsti. Where rupaka, etc., become related to each other by th: relationship of the maxim of sesamum and ricr, there is cumsrsti. It is of three kinds from the stand point af 1, sabdai.hlaras, 2. arthalankaras and 3. ubhayālankāras

1: Šabdālankārasamsrsti as - The attempts in the victory marches of the ling Rudra, in which the surface of the Earth is cracked by the weight of the fragrant elephants which are wonderfully shining: the high horses that are jumping are ferocious; the chariots are running and the pride of the soldiers which scatters the quarters with its grand beginning; are spreading beyond boundaries. (210)

Here is the samsrsti of chekanuprāsa and vrityanuprāsu. 2. Arthalankārasamsrsti as: The army of the Kakatlyas is possesming the greatners of an ocean which is devouring the armies of the enemy kings lile the ocean, the rivers. (211)

352 Pratāparudriyam

Here is the samsrsti of nidarsana and upama.

[In the first half of the verse there is the figure nidarsana and in the second half there is the figure upana.]

3. Ubhayasamsrsti as: The staff-like arm of Prataparudra which shines with the s word is being looked at by the heroes in the battle as if it were a snake with its hood raised. (212).

Here there is the samsrsti of vrttyanuprasa and upama. Next samkara is being illustrated :

SAMKARA: COMMIXTURE

It becomes santkara when the mutual relatiouship of the figures is like the milk and water.

Where the relationship between the figures exists as of milk and water it is called samkara. This is of three types: 1. angangibhāvasamkara, 2. samdehasamkara and 3. ekavācakānu- pravesasamkara.

The angangibhavasamkara is also known as anugrahyānu- grāhakabiavasamkara. To give form to a figure another figure acis as an anga. Here angangibhavasamkara is noticed.

In samdehasamkara it is not possible to distinguish the figures as they are closely diffused. So there arises a doubt with regard to the fgure obierved. In the third variety there are two figures in one and the same expression.]

1. Agangibhāvasamkara as: The military marches of the Kakati king, which are like the past times of the rainy season (that can supress the heat of the Earth with the rain of tears of the enemy ladies) with their high sounds like that of the roaring of elephants, with the confusion of the clouds like that of the multitude of elephants, that can obstruct the slopes of the mountains or camps of the kings are giving pleasure to the world. (213)

Arthalankāra Prakaranam 253

Here there is the angangibhava between twc upamas. The upama in dvipaghatakadambini is accomplished by the figuie upama iu yatrah pravrdvihara iva as it is to be taken that the dvipaghata is like the clouds. In ksonibhrtkatakoparodha tl.cre is the atisayoktì based on ślesa.

[The two upamas that are in this verse possess the rela- tionship of angangibhava. One is samasagatopama and the other is vakyagatopama, The vakyagatopama is angi whereas the samasagatopama becomes the anga. Because there is the räkya- gatopamā ia pravravihāra iva a samāsagatopama in gajaghaļakā- dambinī is able to be accomplished. Upamitasamāsa is to be restored to in gajaghatakadambini. In kşonīhhrtkatakoparcdha there is atisayokti based on śleşa This atišayokti is an anga to the samasagatopama. Here the two upamas which become anga and angi to each other belong to the same species. So th'r is a case of sajātiyasarkara.]

2. Vijātīyasamkara as: As if it were to wash off the wretched seript written by Brahman the edge of the sword (stream of the sword) of Pratäpa- rudra is heavily falling on the foreheads of the enemies. (214)

Here there is the angangibhava between the vijatiyas by saying that rupaka is accorplished in durlipikalmasasya by the utpreksā in prakşālanāya iva.

3. Ekavācakanupravistasamkara as: The Kakatiya-lord, who eonquered the towns of enemies and who glitters with sarvamangala (all auspeciousness) shines like Sambhu on the Earth. (215)

Here the upama on account of the similarity in mearing in vijitaripura and the slesa on account of the similarity in tabda in vilasatsarvamangala enter the word iva in sambhuriva i e. to be construed with the single iva in sambhuriva. [So this is a case of ekavācakānupravistasamkara.]

354 Pratäparudrlyam

4. Samdehasamkara rs: The Moon Prataparudra born of the ocean of the Kakatlya family is making a gift of nector to the cakores of people by means of the moonlight of propitiousness. (216)

Here there is samdehasamkara of rupaka and upamā in kakatiyakulambudhi, etc., as the compound can be resolved either as kakatiyanvaya eva ambudhih, i.e. the family of Kākatīyas itself is the ocean, or kakatiyanvayo ambudhir iva i.e. the form- ing of the kakatiyas is like the ocean. As there is no authority either to establish or to refute any one of the two, it culminates always in a doubt. If there is any authority either to establish or refute one the doubt is removed.

a) Sadhaka as: The quarters in the shape of women are making the plea- sant fame in the shape of flowers, which are born of parijata in the shape of Prataparudra as ear ornaments. (217)

Here in the case of the fame which is said to be the flowers there is figure rūpaka, wherein vatamsayanti becomes a sadhaka- pramāna (a valid means to detemine it as a rupaka). There is abhedapratipatti with avatamsikarana. [Here, to establish rūpaka as kirtaya eva manjaryah there is the pramana of sadhaka in vatamsayanti. The act of decorating as earrings is only possible with regard to the flowers but not with fame. So rupaka is to be necessarily accepted. On the other hand if it were to be taken as upamitasamasa the impor- tance goes to the fame but not to flowers, when the act of deco- ration does not fit in.]

b) Bādhaka as : When the sounds of the tabor of Prataparudra are raised in the quarters, the ocean of the armies of the opponents become agitated in mind. (218)

Here for the upama in pratipaksabalārņava iva vyākulīkrta- sattvah is a badhakapramana. According to the rule upamitam vyāghrādibhih samanyaprayoge (Pan. 2.1.56), upamitasamāsa cannot

Arthālankāra Prakaranam 355

be accepted when the common property is expressed. Assuch the next alternative is only the figure rūpaka.

In a similar fashion, the samkura and samsriti as formed with other figures, can be understood from other works.

The Chapter on Mixed Figures, in the Prataparudrayaio- bhusana, a treatise on rhetoric, composed by Vidyanathamaho- pădhyăya is complete.

PRATAPARUDRIYA, A WORK ON RHETORIC, IS COMPLETE.